GEAR
KINEFINITY MAVO EDGE 6K
cost around two grand less. If you absolutely must have 8K, then buy the flagship, but a 6K Mavo is more than enough for the most part. Like the full-frame 8K version, the 6K also has a dual ISO sensor recording in 12-bit ProRes 4444, as well as built-in electronically variable ND filters, some intelligent battery solutions and dual SSD media card slots. Plus, there are plenty of professional input and output options, with built-in Wi-Fi, timecode and genlock. Twin ‘video out’ sockets are a nice feature. You can have one connection to the monitor screen, and one to the EVF for the camera operator, as well as outputting via the SDI connection to a director’s monitor or Wi-Fi video transmitter. There is also a D-Tap port, 12v RS port and lens port for powering third-party accessories. The battery solution is very clever. The rear panel comes with a slot for a standard BP-U cell, to keep it as light as possible. Take that off to find an integrated V-Mount, for clipping on large batteries. We got more than three hours out of a 150-size V-Mount. The Pro kit comes with a dedicated Movcam base plate that fastens to the bottom of the camera, which can take 15mm rails and a pair of Sony NP-F batteries. These power the camera or act as a backup. And they provide charge when the V-Mount battery runs out, without having to stop filming. The Movcam kit does add weight, height and cost to the package, but is worth it for shooting with no power problems. For media storage, there are two SSD card slots. The kit comes with a pair of Kinefinity 1TB drives that clip right in. These have USB-C output,
“The Mavo Edge 6K has all the bells and whistles of the 8K version, but with a lower-resolution sensor”
mount, complete with electronic contacts. With this new Mark III version, fit your EF in the standard bayonet fashion until it clicks into place, then snug it all down with locking levers. It’s fast and incredibly solid. The flange mount distance is short, which makes it even more surprising that Kinefinity has squeezed in a built-in variable ND filter. Instead of compromising two polarisers like external variable NDs, this uses clever electronics to lighten or darken the ND – so there are no nasty colour artefacts. It isn’t infinitely adjustable, as can be found on some Sony cameras, though. Instead, ND strength can be adjusted in small increments. It might not be seamless, but it’s a fantastic bit of kit, and one of the reasons cinema cameras are so
so can be offloaded to a computer without needing a card reader. You may purchase empty caddies that take standard NVMe SSDs, to keep media costs as low as possible. Using two fast SSDs means you could set up the camera for relay recording or lower-res proxies to one card, with full footage to the other. But it can’t handle being an instant backup, since recording the full footage to both at the same time is too data intensive. At the front is the large KineMount lever-lock bayonet, to which you attach the corresponding mount to suit your lenses. There are mounts for PL and LPL, a passive Sony E-mount and a new Canon EF
FINER THINGS The camera’s details, including battery and storage options, make for a clever design
CLEAN AND CRISP Perfect for commercials and storytelling, the Mavo Edge 6K captures colour beautifully
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PRO MOVIEMAKER
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