Kinefinity MAVO – New 6K Cinema Camera and Lens Family

March 18th, 2018
Kinefinity MAVO – New 6K Cinema Camera and Lens Family

Cinema camera underdog Kinefinity has just announced the latest addition to its line-up. Say hello to Kinefinity MAVO!

Kinefinity MAVO

The new Kinefinity MAVO is a 6K-capable Super 35mm cinema camera building upon the legacy of the company’s previous line, the Kinefinity Terra. Although the MAVO offers plenty of professional features, its price of “only” $14,000 for a complete camera package with all accessories is still massively disruptive – a strategy that Kinefinity is clearly intent on keeping up.

Kinefinity MAVO

The Kinefinity MAVO is a modular system similar to what the manufacturer did with the Terra line. The camera body includes the brand new 6K CMOS Super 35mm sensor, along with basic I/O, headphone output, 2.5” SSD port, built-in mic and the port to attach the SideGrip – a side handle offering basic controls and battery compartment – and the KineMON – the camera’s proprietary monitor.

Like the Terra, the Kinefinity MAVO becomes a much more powerful beast when attaching the optional KineBACK module at the rear of the camera body, which unlocks more professional features such as dual XLR inputs with phantom power, SDI outputs, V-Lock battery capabilites, D-tap power outputs, and timecode in/out. The new version – the KineBACK-W – seems a lot easier to attach, requiring only a couple of screws rather than fumbling around with a delicate ribbon cable, as was the case with the Terra. This means it is a lot quicker to go from a fully built-up camera to the compact 990g body-only, perfect for mounting on a gimbal.

Wireless Capabilities

This new version of the KineBACK, however, offers new integration for wireless functionality. It features a slot into which you can insert a new wireless transmitter card, unlocking a system capable of wireless video transmission with a claimed zero delay, as well as wireless lens control via the Movcam system, all this without additional cables or powering. 

KineMOUNT

The Kinefinity MAVO still makes use of the Kinefinity KineMOUNT system, a versatile mount that allows you not only to easily change between Sony, Canon, Nikon and PL mounts, but also takes the manufacturer’s proprietary EF or PL variable ND filter attachment and KineENHANCER (Kinefinity’s version of a Speedbooster).

Additionally, the Kinefinity MAVO will feature a removable OLPF. This is significant, as the Kinefinity TERRA 4K – the company’s current entry-level option, which also offers very interesting features at a very low price – suffered from severe OLPF reflection flare issues when pointed directly at strong sources of light. This has been a cause of concern for many potential buyers doing their due diligence, so having the possibility to remove the OLPF altogether, or easily replacing it when new and improved versions become available, could be a good compromise.

Kinefinity MAVO Image

Kinefinity’s new camera offers a Super 35mm sensor, larger than the Terra 4K sensor which was halfway between Super 35mm and Micro Four-Thirds. This new 6016×4016 pixel sensor offers over 14 stops of dynamic range, and various maximum frame rate, resolution and sensor windowing combinations including Open Gate and 4:3 for anamorphic capture, as you can see in the graphic below. Despite the larger sensor, Kinefinity claims improved rolling shutter speeds, putting it in the same ball park as the RED 8K-capable cameras.

Source: Kinefinity Live Stream

In terms of processing, the Kinefinity MAVO also has some great improvements, with the addition of ProRes 422HQ, ProRes 444, ProRes 444XQ codecs to the previously available ProRes 422. Kinefinity’s own flavour of Raw has been updated to KRW 2.0, and now allows for an adjustable compression ratio from 2:1 to 10:1. Kinefinity previously offered a free software utility to transcode KRW to cinemaDNG, so what is even bigger news is that MAVO can record cinemaDNG internally at 3:1, 5:1 and 7:1 compression ratios.

Pricing and availability

Kinefinity MAVO will be available in four packages:

  • Body Only: $7,999
  • Basic: $9,499
  • Pro: $10,999
  • Full: $13,999

If the Terra pricing scheme is anything to go by, the Basic package will also include accessories such as the KineMON, SideGrip, a couple of BP-U 30 style batteries, charger, KineMAG SSD and power cables. The Pro package will also include the KineBACK module, case and shoulder rig kit. I would guess the Full package includes all the necessary accessories to unlock the wireless capabilities of the camera. There will also be trade-in deals for owners of earlier Kinefinity cameras.

We are still awaiting information regarding worldwide shipping dates, so stay tuned!

New Large Format Camera Too? Kinefinity MAVO LF

In the age of Sony VENICE, RED Monstro and ARRI ALEXA LF, it is clear that there is a tendency towards large sensors at the very top tier of cinema cameras. Clearly, Kinefinity didn’t want to lag behind.

During the live stream today, Kinefinity also announced an upcoming large-format cinema camera, the MAVO LF, which will pack a 36x24mm sensor, just a wee bit smaller than the ALEXA LF. This camera – which will no doubt become Kinefinity’s flagship after the now ageing KineMAX – will benefit from all the improvements of the upcoming Kinefinity MAVO, and will become available in August 2018.

Source: Kinefinity Live Stream

For more information about the MAVO camera line, head over to www.kinefinity.com/mavo.

New MAVO Prime range of cinema lenses

As if the announcement of two new cameras wasn’t enough, Kinefinity also announced a complete range of cinema lenses for the MAVO platform. The MAVO Prime lenses will cover 25, 35, 50, 75 and 135mm at T2 with full-frame coverage, and a price tag of around $12,000 for the whole set.

So there you have it: a news announcement to shake up your Sunday. Also, NAB 2018 is just around the corner, so we look forward to seeing if Kinefinity will have a working MAVO to check out.

NOTE: It seems that the updated Kinefinity operating system will also become available for Terra cameras. Bear in mind that not all functions will become available, likely due to hardware limitations.

Have you shot on a Kinefinity camera before? Could the MAVO finally be this manufacturer’s breakthrough into the big leagues in the cinema camera market? Let us know your thoughts in the comments below!

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Miguel Melo Queiroz
Guest
March 21st, 2018

Actually Kinefinity cameras have been having lots of DOPs backing it. Phillip Bloom is one of them and he’s just starting. For some reason these cameras have been received with an utmost silence from the industry… which is totally unfair, when you think of how many problems other brands have including months of waiting for pre-orders and cameras with dead pixels. I won’t mention names but most of you know what brands I’m talking about.

I am a professional Cinematographer and Filmmaker who has been using Kinefinity cameras since 2013. I made an unboxing video of my first camera here:

https://www.youtube.com/watch?v=-ffB6uPPrA0

Of course I’m not famous like Bloom but I wrote in 2015 a full article of their KineMINI 4K model here:

https://www.redsharknews.com/production/item/3012

Kinefinity is small company all right but, a branch of an astronomy cameras manufacturer so, they know what they are doing, and well! Trust me, I’m not paid by them and I sure am not one of their best customers as I only bought two cameras in 5 years. But I have to say I know from experiences these cameras perform outstandingly, with an image quality I’d consider much closer to the Alexa (which I also use regularly) than to any Black Magic model. Color science is fantastic and sensor technology top notch. Furthermore they shoot on SSDs (cheap) and are built like a tank!

I sure hope to see more publicity because being Kinefinity a small company they are not able to invest in marketing as they’d deserve.

 John Banovich, DGC, CSC, BA Film
John Banovich, DGC, CSC, BA Film
Member
May 25th, 2018

I wish their communication and support was better. Sony is fantastic at supporting all of their products, with service centres in most major cities… not that I have ever had any issues with any of my Sony camera. My team and I have reached out to Kinefinity several times to get a demo. We want to compare the new 6K Mavo to the Venice and the new Arri Alexa LF. So far we have little to no success. Hopefully Kinefinity will see the value and importance of getting their products to the North American market

Miguel Queiroz
Member
March 19th, 2018

Actually Kinefinity cameras have been having lots of DOPs backing it. Phillip Bloom is one of them and he’s just starting. For some reason these cameras have been received with an utmost silence from the industry… which is totally unfair, when you think of how many problems other brands have including months of waiting for pre-orders and cameras with dead pixels. I won’t mention names but most of you know what brands I’m talking about.

I am a professional full-time DP and Filmmaker who has been using Kinefinity cameras since 2013. I made an unboxing video of my first camera here:

https://www.youtube.com/watch?v=-ffB6uPPrA0

Of course I’m not famous like Bloom but I wrote in 2015 a full article of their KineMINI 4K model here:

https://www.redsharknews.com/production/item/3012

Kinefinity is small company all right but, a branch of an astronomy cameras manufacturer so, they know what they are doing, and well! Trust me, I’m not paid by them and I sure am not one of their best customers as I only bought two cameras in 5 years. But I have to say I know from experiences these cameras perform outstandingly, with an image quality I’d consider much closer to the Alexa (which I also use regularly) than to any Black Magic model. Color science is fantastic and sensor technology top notch. Furthermore they shoot on SSDs (cheap) and are built like a tank!

I sure hope to see more publicity because being Kinefinity a small company they are not able to invest in marketing as they’d deserve.

Member
March 19th, 2018

Their website’s confusing. Not straightforward. I have yet to see anything of note shot on one. And they have no US distributor / repair center. No internal ND either. What are they offering hat BMD isn’t (at a better price and internal ND)?

Surya Prakash Jeson
Guest
March 19th, 2018

Look like ?

Douglas Wood
Guest
March 19th, 2018

Alexandru Cristescu, do we need this so all of CA will watch our stuff?

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
Member
March 25th, 2018
Reply to  Douglas Wood

He’s not the author, so who are you talking to?

Member
March 19th, 2018

The big question is whether they fixed the monitor lag and monitor debayer quality issues. Hard to strongly consider their cameras if you can’t monitor the image properly. That said I have a preorder for the LF just in case it’s amazing… Can cancel it if issues aren’t addressed.

Wes Anthony
Guest
March 19th, 2018

John Paul Summers

John Paul Summers
Guest
March 19th, 2018
Reply to  Wes Anthony

Interesting. I think one day I’ll come back around to it. It’s hard to rent them.

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
Member
March 25th, 2018
Reply to  Wes Anthony

I knew it wouldn’t take long before some dolt would type a random name in instead of a comment.

Do you not understand how this works? This is a comment section. If you have some observation to make, you type it out and post it here.

A random name isn’t a comment.

Jan Kek
Member
March 19th, 2018

I am getting excited for NAB. But Blackmagic seem to focus on broadcasting rather then cinema.

Austin Sabado
Guest
March 18th, 2018

Wow

Melvin Chong
Guest
March 18th, 2018

I have done some research online in China filmmaking forums and have yet to find a movie or TV production that exclusively uses Kinefinity cameras.

The China filmmaking community generally prefers Sony Cameras like the F55. It is a well-known fact that they themselves don’t trust their home-grown products. Movies made there can have a Made-in-China tag but definitely not the cameras used. Kinefinity’s design asthetics generally has a Made-in-China vibe to it, which certainly isn’t helping much.

 Tristan Chaika
Member
March 21st, 2018
Reply to  Melvin Chong

I think it’s pretty sexy looking. What about the aesthetic looks “made-in-China” to you?

 Unai Barruso Aguado
Member
March 18th, 2018

“the Kinefinity TERRA 4K – the company’s current entry-level option, which also offers very interesting features at a very low price – suffered from severe OLPF reflection flare issues when pointed directly at strong sources of light. ”

I cannot see anywhere people complaining about this. Where have you heard that? Are there any test to show this problem?

Member
March 19th, 2018

Look at the kinefinity Facebook group.

I’ve seen the olpf issue in person. That said, there are reports the issue has been minimized I’m newer models shipped in the past two months or so I believe.

 Tristan Chaika
Member
March 21st, 2018

Philip Bloom mentions it and shows examples in his review, as well.

Rocco Zehnle
Guest
March 18th, 2018

Looks amazing.

Chris Reynolds
Guest
March 18th, 2018

The camera and Kinefinity need a few DOP’s to back it and get someone to shoot a few good viral adverts to give the brand a kick start. I personally wouldn’t like to take the camera out a film a TV series if it hadn’t been road tested by people in the industry. I know that Philip Bloom has been shooting with it but I don’t know if he’s being paid or not to do so (I know he’d never put his name next to a bad camera though!!). NAB will be interesting

 John Banovich, DGC, CSC, BA Film
John Banovich, DGC, CSC, BA Film
Member
March 19th, 2018
Reply to  Chris Reynolds

Very valid point Chris. Either have some industry Director/DP’s shoot samples or allow my team and I to conduct our own. There are a plethora of questions and issues I am sure. As well, there does not seem to be much in the way of technical specs. We are working with the New Sony Venice, a LF sensor so ultimately would want to compare results with it.

 Tristan Chaika
Member
March 21st, 2018

I just was on their website and saw that they had a network of people to share/rent kinefinity cameras so others can try them out. I have zero experience with them, but might be worth looking into:
http://www.kinefinity.com/kineteam/kine-linked/?lang=en

 John Banovich, DGC, CSC, BA Film
John Banovich, DGC, CSC, BA Film
Member
March 21st, 2018
Reply to  Tristan Chaika

Thanks Tristan, Unfortunately none of them in my country have anything more than the 4K Mini and communication with the Kinefinity is challenging at best. I really want to see the full spec sheet on this up coming 6K model. They note a LF 6K version is on it’s way. This would be the time for us to conduct some tests with a prototype model to compare with our Sony but also with the new RED and Arri systems as well. It doesn’t seem like Kinefinity is very interested in participating with union’s and cinematographers society’s. Too bad. That’s how RED laid big claim to their chunk of the industry and how Sony remains a solid contender.

Miguel Queiroz
Member
March 22nd, 2018

Kinefinity IS interested in participating with cinematographers. I don’t know about unions and societies but I can tell you Phillip Bloom just made a fantastic 50 minutes review on their latest released camera (TERRA 4K).

 John Banovich, DGC, CSC, BA Film
John Banovich, DGC, CSC, BA Film
Member
March 22nd, 2018
Reply to  Miguel Queiroz

Interesting Miguel.

We reached out to them but their response was less than inspiring. It consisted of a long winded sales pitch but quick frankly, without a formal field test we have little interest in making a purchase or recommendation.

I’m a senior union DP and a twenty year full member of the Society of Cinematographers, so my tests and findings would be shared amongst my colleagues, even in our publications. Not Bloom but equally as valuable.

If you have any information as to a direct contact please forward.

Miguel Queiroz
Member
March 22nd, 2018

Sure John, Of course I’ll let you know should there be any word regarding that. I am also a professional DP senior member of BECTU UK union and MA Film. I am not member of any society because instead of working in the Industry I have been doing mostly corporate stuff and custom fiction shorts for private customers so I only have a few IMDB credits in 18 years. My work has been featured on Channel 4 and ARTE channel though and I did write a review for the KineMINI 4K in 2016, for RedShark News.

Despite all that, maybe because Kinefinity is primarily focused on the Asian market, it hasn’t been easy to get them to provide cameras for testing. I agree that is hard to understand. Maybe because of being such a small company they are manufacturing little quantities at a time and generally have long waiting queues but, quite frankly I can’t assert the reasons.

Kinefinity is small company all right but, a branch of an astronomy cameras manufacturer so, they know what they are doing, and well! Trust me, I’m not paid by them and I sure am not one of their best customers as I only bought two cameras in 5 years. But I have to say I know from experiences these cameras perform outstandingly, with an image quality I’d consider much closer to the Alexa (which I also use regularly) than to any Black Magic model.

 John Banovich, DGC, CSC, BA Film
John Banovich, DGC, CSC, BA Film
Member
March 22nd, 2018
Reply to  Miguel Queiroz

Can you offer an unbiased comparison to the Sony Venice in terms of lossless colour retention, (compared to the X-OCN for example). How does the camera handle movement with a it’s rolling shutter on long lenses (1000mm) especially wide open? At what ISO point does the image noise reach roll off, lost pixels per hundred? Also wanted to know what is the max frame rate in 4K and what is the highest data rate achievable. As well, connectively is important so wondering about wifi, Bluetooth, uncompressed out, etc? HDR numbers can be misleading so curious to see natural light tests with extreme light while panning on animal actions. Have you or anyone captured anything like this?

I see several comments comparing it to a RED and they don’t really apply to our needs. We work with Sony Alta Cine cameras capturing wildlife and Natural History. We have also been working with Arri’s newest Alexa as well, but it really is more of a studio/location camera so a different comparison all together.

I am sure my DIT and operator would have some questions as well if you are wiling to help. Thanks.

Miguel Queiroz
Member
March 22nd, 2018

Sure and with pleasure. Let me try and address some of the issues you mention (the ones I am able to answer). First of all they have different ranges and generations of cameras:

2013: KineRAW S-35 and KineRAW Mini (2K RAW 12bit 444 cameras). Rolling shutter with considerable skewing, limited over-cranking, etc… Although these are old news, the cameras had by then excellent specs and color science. It recorded cDNG internally. I had a KineRAW Mini myself. The sensor was already 4K in these 2K cameras, they binmed the data in the sensor for S35 mode but they used single pixel in S16 crop mode, so S16 mode was already using 4K sensor but cropped it due to processing limitations. By shooting 2K in S16 crop mode with one of my sharper lenses, I would then stamp box that so that the 2048×1080 resolution would be 1:1 in the 4K or Quad-HD frame, and I would then look at the results on a 4K monitor. The quality was outstanding and showed the results of Kinefinity’s fantastic color/image science. In terms of connections they had 2x SDI Out, 2x HDMI, a Stereoscopic 3D sync output and while the KineRAW Mini had only a bad quality jack audio input, the S-35 had proper XLR audio inputs.

2014: KineMAX 6K and KineMINI 4K. Two cameras and two different sensors (mainly bigger sensor, larger resolutions and dynamic range on the KineMAX). Again both shot Cineform and cDNG RAW internally 12bit 444, but now they also recorded in proprietary KRW RAW compressed lossless format. These could also be transcoded to all flavors of ProRes (from LT to 4444XQ) while being extracted to a computer. I have a KineMINI 4K and it has a different OLPF from the KineRAW Mini. If you google RedShark News KineMINI you’ll find my article with lots of detail. The KineMAX was great to shoot anamorphic since the sensor was large enough that even by cropping an area of 3867×3240 out of the 5760×3240 frame and then re-format that to 3840×1608 letter boxed into 3840×2160, for Quad-HD distribution as wide screen with the DCI standard shape(2048×858 shape about 2.39:1). The horizontal pixels recording true RAW data were/are enough to get results without showing digital and de-Bayer artifacts. It would give close to film like results due to the vertical squeeze canceling some of the Bayer filter “interlace” of having red and blue pixels only on alternate lines.
The KineMAX could/can shoot 6K up to 30fps, 4K up to 100fps and 1080p up to 225fps. In terms of connections they had 2x SDI Out, 2x HDMI, a Stereoscopic 3D sync output and while the KineMINI had only a bad quality jack audio input, the KineMAX had 2x proper XLR audio inputs.

2016: TERRA 6K and TERRA 4K.
The TERRA 6K came before and uses the same sensor as the KineMAX. it provides 14 stops at 6K resolution and 16 stops at what they call “golden 3K” or at 2K. All Kine cameras have rolling shutter skew issues but, using their proprietary HiSpeed mode (in which you can also achieve the highest frame rates) you manage to significantly reduce skewing specially at 4K/3K/2K. this slightly reduces low light sensitivity and creates a bit of moire and aliasing issues but usually not noticeable unless in very extreme circumstances (filming a hose). It has dual base ISO (800/1600).
The TERRA 4K is a more recent camera. It has the same body and connections as the TERRA 6K but, a newer sensor and it has dual base ISO (800/3200). It shoots [email protected], [email protected] and [email protected] with no need for the HiSpeed mode compromises.

Finally the upcoming MAVO S35 and MAFO LF (full frame and dual ISO 800/1600) cameras have impressive specs in paper but haven’t been released yet. For that you can read this article or read the full comparative specs at http://www.kinefinity.com/mavo/?lang=en (please use google translate to translate the page and you’ll see all details).

I honestly cannot compare to the Sony Venice as I never used it. I only heard (unconfirmed) that in terms of color science Kine Cameras use subtractive color science like the Alexa (and like film and also CMYK) as opposed to additive, as in most digital cinema cameras, including the RED. Rolling shutter as I mentioned has been a bit of an issue. They had a TERRA 5K announced with Global Shutter which was going to address the problem but it never hit the streets. However the MAVO cameras are promised to dramatically reduce skewing global shutter issues. I also cannot precisely tell you at what point noise reaches roll off but, it will obviously be different for each camera and for those with higher or double ISO the results will be much better. In terms of connectivity I’ve told you most of it but also, all cameras have WiFi since the first models.

I hope this helps without being too much jargon.

Mathias Sonnleitner
Guest
March 18th, 2018

Holt ihr euch auch die Objektive zum Test?

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