Pro Moviemaker Summer 2018


with an upcoming firmware upgrade. It’s unfortunate we didn’t get to try the Raw option, but will as soon as it becomes available. In terms of file sizes and maximum frame rates, the headline figure is that at DCI 4K and HD it shoots up to 75fps, in DCI 4K cropped to 2.39:1 Cinemascope and cropped HD up to 100fps. In

camera with the tools that are needed, and nothing else added. Of course, everyone wants to know what exactly the camera can record in, in terms of codec, frame rates and file sizes. It records ProRes 422 in up to HQ, as well as 422LT all in 10-bit MOV, and will record compressed lossless KineRAW format in 12-bit soon,

baked in to the footage, so can be easily changed in post-processing. Using an ARRI-C LUT on some out-of-camera Log footage showed a very ARRI-like colour palette, which is no bad thing. Experiment away and the footage has lots of meat in it to allow you to push it around in post as much as you like. Getting the exposure right can be an issue when shooting any camera in Log, but the Terra 4K offers Raw RGB monitoring which means the waveform is measuring the Raw output, not the LUT version you’ll see on the screen. You can change the settings to see the waveform reflecting the LUT version, if you like. It’s this sort of thinking that shows Kinefinity has worked hard in making a professional-grade filmmaking

ABOVE Rig up the Terra 4K to suit your shooting requirements.

RIGHT The Terra 4K is one of the few rugged, modular cameras to offer Raw and ProRes 10-bit 4:2:2.

“That’s a very impressive spec for such a relatively inexpensive camera”



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