GEAR KINEFINITY TERRA 4K
Of course, the heart of the camera is its sensor and the specs it can record at. The sensor has dual native ISO feature, like the latest Panasonics. The native sensitivities are 800 and 3200 ISO, and the camera automatically switches between themwithout you knowing. This makes its performance in low light very good, especially considering the sensor itself isn’t that big. It’s bigger than Micro Four Thirds as found in a Panasonic GH5S, but smaller than Super 35. A Super 35 crop is typically 1.4 or 1.5x compared to full-frame, but the Terra 4K is 1.85x. So your lenses act like they have a longer focal length, although the depth-of- field remains the same at a given aperture and distance. Kinefinity
ABOVE The beating heart of the Terra 4K: a 4K sub Super 35 CMOS sensor with dual native ISO.
really does help and noise was not an issue at all at ISO speeds up to 6400 or even higher. This is helped by the quality of the signal from the sensor. It’s 10-bit 4:2:2 and always records in Log for lots of dynamic range. There are built-in LUTs in neutral and flat versions, or you can upload your own 3D LUTs. These are not
offers the EF KineEnhancer lens mount, which acts like a speed booster by increasing the effective speed of the lens by a stop and reducing the crop by a factor of 0.72x. So your wide-angle lens looks like a wide-angle lens. Smaller sensors aren’t known for their fantastic control of noise, but the Terra 4K’s dual native ISO
“The 6K Super 35Mavo and the full-frameMavo LF should prove to bemore affordable”
TO KINEFINITYAND BEYOND!
at the NAB show in Las Vegas and are believed to be designed with co-operation from Kinefinity. In fact, a set of the lenses with Kinefinity branding was shown at the same time as the Nisi lenses were announced, and the price revealed as just £10,795/$15,180 for the whole set of five. Shipping is set for May. Nisi says the lenses are its own design and not based on any rivals’ optics. They have 12-bladed apertures for smooth bokeh and the PLmount can be changed for Sony E or Canon EF. Nisi also revealed some special filters to give flare a horizontal streak, similar to an anamorphic lens. Camera grip manufacturer Movcam has also developed a wireless lens remote control system to work with Kinefinity cameras and Small HD’s 502 Sidefinder is optimised to work with the cameras, too.
Cinema DNG in 3:1, 5:1 or 7:1 compression, or Kinefinity’s own Raw formats, and shoot 6Kwide up to 66fps, 4Kwide up to 100fps and 3Kwide up to 196fps. It will also include a slot for a wireless card which will allowwireless video transmission at up to distances of 914mm/3000ft. Both the Mavo and full-frame Mavo LF 8Kwill also have a 6K 3:2 aspect ratio, in addition to the conventional 16:9 and 17:9 standard aspect ratio. The sensor can also record in 4:3 and 6:5 S35 anamorphic shooting. There’s no price announced for the Mavo LF yet. What has been missing is a range of affordable cine lenses to cover full-frame, but Chinese filter company Nisi has revealed a set of full-frame primes including the 25mmT2.1 and 35mm, 50mm, 75mm and 100mm optics with a maximumT2.0 aperture. These were revealed
For the more discerning filmmaker, a 4K camera with a sensor that has a 1.85x crop is just not big enough to future-proof footage or get wafer-thin depth-of-field without resorting to incredibly fast lenses. Super 35 is the minimum requirement for some, while full-frame 35mm is the obvious next big thing, as proven by new full-frame cinema cameras announced recently by RED, Sony, Canon, ARRI and Panavision. Of course, they are hugely expensive. Kinefinity recently announced the 6K Super 35 model called Mavo, and the full-frame Mavo LF, which should prove to be far more affordable than cameras from the big-name makers. Both these Kinefinity cameras have slightly different bodies than the Terra 4K but the same form factor. The 6K Mavo, due to go on sale soon for £7074/$8000 body only, will offer ProRes,
PRO MOVIEMAKER SUMMER 2018
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