GE AR RE V I EW. KINEFINITY MAVO EDGE 8K
and monitor, it becomes a bit of a weighty beast. Of course, what this camera is all about is image quality and resolution – which it has in bucketloads – thanks to an 8K sensor that offers dual base ISO and lots of resolution options, including open gate. If you need to shoot 8K, you have a quality option here. The Kinefinity might not be cheap, but it doesn’t cost as much as rival high-end brands. Having such high resolution is great for future-proofing your footage: for archival video, SFX workers or cropping in post. If that’s you, then this is ideal, especially as there are no overheating concerns, as on 8K mirrorless cameras. But this product really excels when you use it in oversampled 4K, as it still records from the full 8K sensor. There’s no line skipping or pixel binning to get the footage down to 4K, which would reduce quality. So, the 4K, full-frame offering is simply incredible, with lots of detail and accurate colours that are reminiscent of an Arri palette. We shot in Log, then graded the footage, which was easy to do. The resulting images were simply wonderful – natural and smooth, with just the right amount “Having such high resolution is great for future-proofing your footage: for archival video, SFX workers or cropping in post”
cropped 6K DCI at 72fps, cropped 4K wide at 145fps, 2K DCI at up to 215fps, and 2K wide at 280fps. There are also anamorphic options that max out at 60fps. That’s a decent range of speeds, although having such a high- resolution sensor means it’s not as fast as some rivals. The large sensor means rolling shutter can rear its ugly head. It’s not the best action camera for super-fast whip pans. It’s ideal for controlled, narrative, calculated shooting, that calls for amazing colour and image quality and resolution.
of contrast. You can also change all these things in post. Skin tones are very pleasing and there is lots of dynamic range. That’s ‘despite’ it not shooting in Raw, as you might on a Sony, Canon, Blackmagic or other high- end camera. Kinefinity says 16-bit Raw may come in the future. But, right now, 8K or oversampled 4K shot in 12-bit ProRes 4444 XQ is simply stunning. Raw may give an extra edge, but you’d have to be a very high-end SFX user to need it. At the base ISO of 640, there is virtually no noise, and even when you crank it up past its second base ISO of 2560, the noise is well controlled. It takes a silly-high ISO of around 12,800 before noise starts to get too obvious – and it can be reduced in software. This camera performs well in low light. In terms of maximum frame rates, the camera can shoot 8K at a maximum of 70fps, oversampled full-frame 4K wide at 55fps,
SCREEN TIME In order to control the 8K Edge, you need the five-inch top screen (above), but it is not touch sensitive
Conclusion The Mavo Edge 8K is by far the best and most capable camera Kinefinity has ever produced. It’s well designed, with some great features that users will love. It’s small and light, so can be stripped down for gimbals, or rigged up for serious cinematography. The battery options are great, with the memory affordable and fast, too. Image quality is excellent, with great control of noise and simply beautiful colours. There’s no Raw, but the 12-bit ProRes 4444 is so packed with data that you won’t miss it. It’s a fantastic cinema camera, and at £12,600/$11,999 (body only) offers great value for money. Especially compared to the body-only price of, for example, a full-frame Red Monstro 8K VV, which is around four times the price. Or five times the price for a Red Monstro 8K VV Ranger with integrated I/O, like the Kinefinity has. However, Red has just unveiled the autofocus, full-frame V-Raptor that shoots Raw 8K at up to 120fps. It will still cost double the price of the Mavo Edge 8K, which means that for an 8K modular cinema camera, the Kinefinity Mavo Edge 8K is by far the most affordable.
Powered by FlippingBook