The Z CAM E2-F6 Pro Full-Frame Cinema Camera with 5” Touchscreen Monitor (Canon EF) is shipping. The E2-F6 played numerous roles in the forthcoming ‘Filmed for IMAX’ Mission Impossible 7: Dead Reckoning. That would be a major stamp of approval for Z CAM. Furthermore, the price is pretty affordable: $4,000 USD (plus the monitor).
Z CAM E2-F6 Pro
The Z CAM E2-F6 Pro is now shipping. The E2-F6 Pro is a compact full-frame cinema camera that comes with a Canon EF lens mount and can be used with separately available ARRI PL and Leica M mounts. The E2-F6 Pro captures up to 10-bit 6K60 full-frame video and offers both 12G- SDI and HDMI video outputs. The included 5″ touchscreen monitor is detachable and can be tilted. It captures an advertised 15 stops of dynamic range, supports timecode and genlock, and incorporates four user-assignable buttons along the side of the camera. Basically, the Z CAM E2-F6 Pro has the same full-frame sensor and recording options as the non-Pro version. The upgrade is on the 5 touchscreen monitor, the 12G-SDI output port, the Genlock port, and the timecode support.
E2-F6 Pro Key Features
These are the key features of the Z CAM E2-F6 Pro:
- Full-frame CMOS sensor
- 6K up to 60 fps, 4K up to 120 fps
- Up to 15 Stops of dynamic range
- Interchangeable Canon EF lens mount
- 5″ Touchscreen Monitor which offers full camera control
- Z-Log2, 10-Bit Color, ProRes 422/422 HQ
- 12-G-SDI and HDMI Outputs
- Genlock and timecode support
- CFast 2.0 or ZBlade custom media
- Integrated V-mount plate
- Supported codecs [2]
- These are the supported codecs and frame rates:
- 6064×4040 30fps max (Open Gate)
- 6064×3196 48fps max (6K DCI)
- 6064×2560 60fps max (6K 2.4:1)
- 5760×3240 48fps max (6K UHD)
- 5376×4032 30fps max (5K 4:3)
- 4848×4040 30fps max (5K 6:5)
- 4096×2160 72fps max (4K DCI)
- 4096×1728 120fps max (4K 2.4:1)
- 3840×2160 72fps max (4K UHD)
- 1920×1080 120fps max (FHD)
- ZRAW up to 4K 30fps
- ProRes RAW over HDMI is not yet supported
- Price: $4,000. The camera is ‘In Stock’ on the B&H website.
The star of Mission Impossible 7
It appears (and we wrote about it before) that the Z CAM E2-F6 was heavily utilized for shooting complex situations in Mission Impossible 7: Dead Reckoning. In fact, over 15 Z CAM F6, and more lightweight models were vital in capturing Tom Cruise’s face during pursuits and dangerous stunts. The Z CAMs were paired with the Sony VENICE which is an IMAX-certified camera. Thus, Mission Impossible 7 is aimed to be watched on the huge canvas. At Cine Gear L.A, Kinson Loo who is Z CAM CEO told us, that a BTS featurette will release, dealing with the role of of Z CAM cameras, and the E2-F6 model specifically, on Mission Impossible 7. Have a look at the BTS footage below that demonstrates the Z CAM E2-F6 shooting the pursuit sequences on MI-7:
Also, check out the BTS video recently released by Paramount Picture a few days ago.
Closing thoughts
Glad seeing the Z CAM gains success, by being utilized in top high-end productions which are aimed for the big screen. Furthermore, the Z CAM E2 F6 Pro offers solid specs/price ratio, and consider an affordable yet robust tool for filmmakers who want to get into large formats. We’re curious to learn more about the implementation of the Z CAMs on MI-7, and hoping that more info will be revealed in that regard, soon.
![First Ever Filmed for IMAX Ballet: Shot on RED V-Raptor XL [X]](https://ymcinema.com/wp-content/uploads/2024/10/First-Ever-Filmed-for-IMAX-Ballet-Shot-on-RED-V-Raptor-XL-X.001-480x384.webp)
It’s a crash cam. Notice how everyone is wearing masks? The production of MI7 was plagued with delays and rescheduling of expensive locations, and because Tom Cruise insisted on paying everyone through the shutdowns, the money wasn’t there to strap a dozen Venice Rialto units to that car and airplane.
Given the 6064 x 4040 resolution, it’s likely Z Cam is using a Sony IMX410 sensor, so the image could theoretically be adjusted to end up close to the main camera. Interestingly the sensor can provide 12-bit output at 6k 30+fps, but Z Cam’s implementation is 10-bit. Could the CFast media be limiting it? It would be interesting to hear from the DIT and colorist.
I would kind of like there to be affordable cinema cameras, but that thin off-center font used for the 4 custom buttons on the side make it seem like an Alibaba knockoff, like it might come with one of those flat membrane-switch remote controls. That chunky top connector to that monitor of unknown quality doesn’t inspire “A Cam” confidence either.