5 Reasons I Rely on the Sony ZV-E1 for Fast-Paced Documentary Work
The Sony ZV-E1 has recently become my go-to camera, which I have used in full force on the last two documentary shoots with professional boxer Cheavon Clarke. Its compact size, powerful full-frame sensor, and excellent low-light performance make it an ideal choice for capturing stunning images in almost any environment during fight camp / fight week.
So why does the Sony ZV-E1 Stand Out?
Despite being marketed as a vlogging camera, the Sony ZV-E1 packs a hell of a lot of desired features for it’s asking price and this translates into rentals as well. Many mirror the top end features of Sony’s FX3 which has been and still is the powerhouse entry level camera in Sony’s cinema series.
I’m going to share with you my 5 reasons why this camera shouldn’t be overlooked for run and gun documentary filmmaking. No camera is perfect but I think the Sony ZV-E1 ticks a hell of a lot of buttons putting it ahead of it’s competition.
Portability Without Compromise
When shooting run-and-gun documentaries as a one-man band, the ability to move quickly and stay discreet is crucial. The ZV-E1’s compact, lightweight body lets me navigate tight spaces and remain unobtrusive in sensitive situations.
For instance, filming in lifts or mini-buses is far easier with the ZV-E1. I can pull it out of my bag and shoot over a passenger seat without the hassle of a larger, rigged camera. In crowded environments, the camera's small footprint helps subjects feel more comfortable, making it easier to capture authentic moments without disrupting the scene.
Exceptional Low-Light Performance
The ZV-E1 shares the same sensor as the Sony FX3—a major factor in my decision to use it. Documentary environments are unpredictable, and strong low-light performance is essential. This camera handles everything from dim hotel rooms to late-night sprint sessions in the dark with minimal noise.
I rarely push the ISO beyond 30-40% of its range, and even at higher settings, noise remains manageable. This flexibility allows me to capture natural, ambient scenes when setting up lights isn’t an option plus a lot of the time you want to shoot in your environments natural settings.
Fast, Accurate Autofocus
In documentary filmmaking, to some degree, missing focus means missing the story. The ZV-E1’s real-time tracking and eye autofocus are exceptionally reliable—especially when using a gimbal, where manual focus adjustments are simply not to be considered.
The touch-screen focus control is intuitive, and can be used on a gimbal with practice, whereby you simply brush your finger over the screen mitigating micro-jitters. Practice makes perfect. The touch screen allowsme to make quick adjustments without disrupting the shot and is a well sought after feature.
When using handheld during fast-paced scenes like sparring sessions, the ZV-E1 locks onto subjects and maintains focus as I move around the outside of the ring. This frees my left hand to adjust other camera settings such as custom buttons, a significant advantage when working solo.
For best results, double-tap the subject's face on the touch screen to ensure the camera prioritizes them.
Versatile Shooting Profiles
The ZV-E1 offers a range of shooting profiles, but the standouts for me are S-Cinetone and S-Log3. S-Cinetone delivers a polished, cinematic look straight out of the camera, which can be perfect for corporate projects or fast-turnaround work. When time is limited, or the footage goes directly to a client, this profile saves valuable post-production hours.
On the other hand, S-Log3 provides the dynamic range and flexibility needed to grade footage and match it seamlessly with other cameras like the FX3. I often load in Phantom LUTs to maintain the specific visual style I want for my boxing documentaries.
Having both profiles at my disposal allows me to choose the right approach based on the project’s demands without sacrificing image quality.
Stabilization for Unpredictable Movement
My first documentary with Cheavon Clarke was entirely shot with a gimbal, and while the results were excellent, gimbals have their limitations. They add weight, can be difficult to put down quickly, and aren’t always practical for spontaneous moments.
I’ve been pairing the Sony ZV-E1 with the Sony G Master 24-70mm lens—an excellent all-rounder for this kind of work, although it lacks optical stabilisation because of its f2.8 aperture. The camera's built-in 5 axis stabilisation compensates for this, smoothing out handheld shots without needing to use a gimbal.
Using handheld techniques effectively still requires practice. How you walk, hold the camera, and even how you breathe all contribute to smoother footage. With the ZV-E1, I can capture dynamic scenes like following a fighter into the ring or training sessions with confidence knowing that the footage will be usable.
No camera is without it’s faults
While the ZV-E1 is a powerful tool for documentary filmmaking, it’s not without its limitations:
Overheating Issues: The compact design means limited heat dissipation, making the ZV-E1 prone to overheating during extended shoots. This can be a concern for long-form interviews or extended event coverage, where a more robust camera like the FX3 might be a better choice.
Single SD Card Slot: With only one SD card slot, there’s no option for simultaneous backup recording. This poses a risk if a card fails mid-shoot. For critical projects, I take extra precautions by frequently swapping and backing up cards.
No Viewfinder: The absence of an electronic viewfinder means you’re reliant on the flip-out screen. While it’s fine for most scenarios, bright outdoor conditions can make it difficult to monitor exposure and composition accurately.
Conclusion
The Sony ZV-E1 offers a compelling blend of portability, image quality, and advanced features, making it an excellent choice for solo documentary work. Its small size and excellent low-light performance make it ideal for capturing real-life moments without intrusion. The fast autofocus and in-body stabilization give me the confidence to tackle unpredictable situations while maintaining professional-quality results.
Despite its limitations—overheating, a single card slot, and no viewfinder—the ZV-E1 remains my go-to camera for fast-paced, intimate storytelling. It’s a tool that empowers me to focus on the story, knowing I can rely on the technology to deliver.
