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PROAV’S TOP CINEMA CAMERAS
Kinefinity Mavo Edge 6K The Edge 6K brings the fantastic sensor of the Mavo LF into the body style used in the 8K version. Excellent low-light performance, ProRes recording up to 4444 HQ, modular monitoring and power solutions, dual SSD drives and interchangeable lens mounts – the list of advantages goes on and on. Those willing to welcome this brand will find a lot to love about the Edge 6K.
Blackmagic Pocket 6K Pro On a really tight budget, nothing will get you the picture quality of the Pocket 6K in a narrative situation. The 6K Pro goes a long way to improve on the Pocket cameras flaws by adding an optional EVF, better battery and a tilting bright LCD panel. Rigging is more difficult, and they often rely on lots of support gear, which can remove some of the advantages you gained from choosing this style of camera. When choosing a camera purely for a narrative production with a crew, I tend to recommend a modular system. But most of the industry doesn’t work like that. If you move between a variety of work, such as a corporate brand film one day and a short film the next, this category of camera is likely to be the most sensible choice.
a lovely unit – but not actually one that fits with the classic mental image we all have of a Red. Yes, it gets you access to the fantastic R3D Raw codec, and is certainly capable of incredible things, but I can’t help feeling it could be more… well… Red! It’s not full-frame and it’s not that sharp and detailed compared to other options on the market. It has to crop in for any slow motion, which reveals a pretty high noise floor in your images. It’s a great choice if you want to fit into a Red workflow though, and it’s undoubtedly a brand with a cache. Canon, Sony and Panasonic The Canon EOS C70, Sony FX6 and Panasonic S1H are all designed for one operator to work as quickly as possible. This has definite advantages, but also limitations when working with a crew.
a much sought-after look. Kinefinity cameras have very similar colour profile to Arri, but with a rich, detailed, high- resolution capability that we usually only get from Red. They are based around a ProRes workflow and have a complete monitoring and rigging solution with a fantastic EVF, touchscreen monitors, interchangeable lens mounts and flexible power solutions. Perhaps the main thing holding it back is simply brand recognition. I believe as the industry becomes familiar with them, we will see more and more Kinefinity on UK productions. Red A camera that has no such problems with brand recognition is the Red Komodo. A small modular cube, with a Super 35 sensor and the lowest price point of any camera we have seen from Red so far, it’s
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