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Kinefinity KineMAX 6K Review – Resolution That Blows Away Your Screen

kinefinity-kinemax-6k

+++ Please note . This KineMax 6K review and footage are   based on a Pre Production model . We tend not to publish our LAB test   results unless   the camera is in its final stage . A full LAB review will be published then +++

The weatherman promised sunshine . So what . All I got was a grey windy day with some kind of natural &# 8220 ; pro Mist filter &# 8221 ; cast . Instead of crying my heart out and kick myself in the head for not running with the camera a day earlier , I decided to live with what I have and give it a try . After all , I had to send the camera back the next day .

This is not the first time that I &# 8217 ; m testing a Kinefinity camera . Back in 2013 it was the KineRAW mini  which made me appreciate what the relatively new to the market Chinese manufacturer is doing , supplying affordable high quality cameras to filmmakers like us .

And then came the opportunity to test the yet to be released  KineMAX 6K camera and let me tell you , what a powerful piece of gear   it is !

Ungraded   6K Frame Grabs :

KineMAX-3 KineMAX-5 KineMAX-2

When the package arrived at our cinema5D premises , I thought there was a mistake . The small size box made me believe we only got some   accessories to the camera and not the camera itself , so to my surprise , after opening the package , there it was . Small , lightweight , robust , well made . ( Almost &# 8220 ; German build quality &# 8221 ; sort so to speak ). Also in the   package there were   two   mounts , for PL and EF lenses .   Kinefinity developed an interchangeable mount system for their camera . Just turn the bayonet lock and change to the lens mount   of your desire , depending on the lenses you have . My take was to go with 3 EF lenses . The   Tokina 11 - 16mm F / 2 . 8 ,  Canon 24 - 105mm F / 4 . 0 IS and the   Canon 70 - 200mm F / 4 . 0 IS . Kinefinty &# 8217 ; s EF adapter is an electronic one , allowing you to control Canon lenses much like   the Metabones   adaptors do .

10 minutes into the process of refreshing my ( old ) memory with the menu structure and I could easily appreciate the actual external buttons layout   which allowed me to quickly change the camera settings to my desired resolution / recording format / FPS / ISO / Picture Profile / WB / SSD ( activating and formatting )/ Shutter speed / and IRIS .   So much   easier then AJA &# 8217 ; s CION we &# 8217 ; ve tested just a while ago . ( Try dealing with   CION &# 8217 ; s menu   without reading the manual and be prepared to lose your nerves a little ).

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When it comes to recording media , based on Kinefinity &# 8217 ; s advice we had great success recording 6K into Samsung 850 PRO 256GB SSD. ( Remember &# 8220 ; de - activating &# 8221 ; the SSD prior to taking it out of the camera slot , otherwise you might encounter error messages when connecting the SSD to your computer ).

The KineMAX 6K camera has the ability to record in numerous frame sizes , recording formats resolutions and adjustable frame rates . See the complete   list at the bottom of my article .

For this short video I used :

&# 8211 ; S35 frame size
&# 8211 ; 6K resolution ( 5760 × 2400   wide )
&# 8211 ; KineRAW codec
&# 8211 ; 25 FPS
&# 8211 ; ISO 800 ( native value )
&# 8211 ; KineLOG picture profile

For the slow motion sequence : 

&# 8211 ; S16 frame size
&# 8211 ; 2K resolution ( 2880 &# 215 ; 1200 wide )
&# 8211 ; KineRAW codec
&# 8211 ; 75 FPS

Editing

From my experience , the current bottleneck of the workflow is the editing process .

Kinefinity supplies a cross platform ( Mac / PC ) free copy of their KineStation software in order to transcode the recorded 6K footage ( in KineRAW or   CinemaDNG formats ) to Cineform RAW or Cineform RGB444 .

Transcoding 256 GB of footage recorded with KineRAW codec on my Retina Macbook Pro 2013 took the following :

&# 8211 ; To Cineform RAW ( MOV ), 53   minutes
&# 8211 ; To Cineform RGB444 ( MOV ), 71   minutes .

Obviously transcoding to Cineform RAW ( MOV ) will reduce the overall &# 8220 ; downtime &# 8221 ; required from finishing shooting till you get to edit your footage ( which is anyway challenging because of the high 6K resolution ) but the real alternative should be moving into a native in - camera ProRes recording or at least ProRes transcoding and guess what , when asked about the possibility to move towards this direction the official answer we got was , &# 8220 ; Kinefinity will add ProRes codec in KineStation or in - camera recording in the future , but there is no detailed timetable &# 8221 ;.

Conclusion

All in all I had a very positive experience shooting with this new camera . Its   build and picture quality are very promising . On the negative side , evident   rolling shutter effects can be seen under certain   shooting conditions .

The Kinefinity KineMAX 6K will be available to Chinese customers in April and internationally during May . For the complete camera pricing information , please head to Kinefinity site.

Last word

The KineMAX 6K a serious film - making tool and I can only hope that professionals will give it a try and seriously consider it as a valid candidate for their next project .

Edited on Adobe Premiere CC 2014 , Colour corrected with FilmConvert &# 8211 ; get $ 30 off by using our promo code &# 8220 ; cinema5d &# 8221 ;
Music : https :// www . musicbed . com / MARIE HINES-In My Arms
For enhanced viewing experience , please download the 4K video from our  Vimeo page. ( Download / Original )

For our European followers , the camera can be purchased by clicking here

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Frame Size Format Resolution MAX FPS Cineform   KineRAW   CinemaDNG
S35 6K HD 5760 &# 215 ; 3240 * 25  ✔
6K HD Wide 5760 &# 215 ; 2400 * 30  ✔
Golden 3K 2880 &# 215 ; 1620 * 25  ✔ ✔
Golden 3K Wide 2880 &# 215 ; 1200 * 30  ✔ ✔
HiSpeed S35 4K HD 3840 &# 215 ; 2160 80 ** ✔
4K HD Wide 3840 &# 215 ; 1716 100 ** ✔
3K HD 2880 &# 215 ; 1620 80 ** ✔
3K HD Wide 2880 &# 215 ; 1200 100 ** ✔
2K HD 1920 &# 215 ; 1080 80 ** ✔
2K HD Wide 1920 &# 215 ; 864 100 ** ✔
M4 / 3 4 . 3K 4 : 3 Anamorphic 4320 &# 215 ; 3240 * 25  ✔
4K 4 : 3 Anamorphic 4096 &# 215 ; 3072 * 25  ✔
4K 4096 &# 215 ; 2160 30  ✔ ✔
4K Wide 4096 &# 215 ; 1716 48  ✔ ✔
4K HD 3840 &# 215 ; 2160 30  ✔ ✔
4K HD Wide 3840 &# 215 ; 1716 48  ✔ ✔
Golden 2K 2048 &# 215 ; 1080 30  ✔ ✔
Golden 2K Wide 2048 &# 215 ; 858 48  ✔ ✔
Golden 2K HD 1920 &# 215 ; 1080 30  ✔ ✔
Golden 2K HD Wide 1920 &# 215 ; 858 48  ✔ ✔
HiSpeed M4 / 3 2K 2048 &# 215 ; 1080 120 ** ✔
2K Wide 2048 &# 215 ; 864 144 ** ✔
S16 3K 3072 &# 215 ; 1620 50  ✔ ✔
3K Wide 3072 &# 215 ; 1280 60  ✔ ✔
3K HD 2880 &# 215 ; 1620 50  ✔ ✔
3K HD Wide 2880 &# 215 ; 1200 60  ✔ ✔
16mm 2K 2048 &# 215 ; 1080 80 ** ✔ ✔
2K Wide 2048 &# 215 ; 860 100 ** ✔ ✔
2K HD 1920 &# 215 ; 1080 80 ** ✔ ✔
2K HD Wide 1920 &# 215 ; 860 100 ** ✔ ✔

  Notes :

  1. * Means these resolution modes are only included in 6K RAW option ;
  2. ** Means these fps modes   are only included in HiSpeed option
  3. When Cineform recording , 3K HD @ 24fps , 2K HD @ 48fps or less .
  4. Frame Rate can be adjusted as 6 ~ MAX fps , step accuracy of 0. 001fps

Johnnie Behiri is a freelance documentary cameraman / editor / producer working mostly for the BBC and other respected broadcasters . He is also co - owner of cinema5d . com

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