KINEFINITY MAVO EDGE 6K GEAR REVIEW.
STAY IN CONTROL The five-inch top screen is crystal clear, allowing you to manage all the settings
scroll wheel, which is on the left of the camera body, along with six buttons to select main features. The screen displays the basic alterable settings, but for full command you need the five-inch top screen. This contains menu buttons and a control wheel, and is now a touchscreen. However, controls are somewhat laggy. The kit also comes with a high-quality EVF, featuring a comfortable eyecup – and you can change settings that way. The scroll wheel has the same flimsy feel as the one on the 8K. It works fine, but isn’t as premium as the rest. Of course, controls are limited since there is no IBIS, autoexposure or autofocus of any kind. Just old-school manual focus with peaking and a quick punch- in feature to check. Exposure is assisted by a choice of waveforms and a histogram. And you can set the shutter speed. Menus are clear and easy to work through. A long push of a custom button brings up the most- used codecs, which is helpful.
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 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 ND filter. Instead of compromising two polarisers like external of the reasons cinema cameras are so wonderful to shoot with. And there are two full-size XLR audio inputs including full controls in-menu. Like the 8K Mavo, the camera is mostly controlled from a serrated
“The kit also comes with a high-quality EVF, featuring a comfortable eyecup – and you can change settings that way”
65. JULY 2022
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