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et’s talk about the elephant in the room. Building an almost industrial-style
SPEC I F I CAT I ONS SENSOR: S35MM CMOS SENSOR, 24X16MM RECORDING FORMATS: COMPRESSED CINEMA DNG 12-BIT, PRORES444XQ/ 422HQ/ 422/ 422LT/ PROXY 10-BIT MOV, COMPRESSED LOSSLESS KINERAW 12-BIT (WITH FIRMWARE UPGRADE COMING SOON) FILE SIZES AND MAXIMUM FRAME RATES: 6K WIDE 6016X4016 66FPS, 4K WIDE 4096X2160 100FPS, 3K WIDE 3017X1620 130FPS, 2K WIDE 1920X800 196FPS DYNAMIC RANGE: >14 STOPS RECORDING MEDIA: 2.5IN 7MM WIDE SSD AUDIO: IN-CAMERA MIC, 3.5MM INPUT JACK, 48V PHANTOM POWER XLR WITH KINEBACK ISO: 800 TO 24,800 WEIGHT: 990G/2.1LB BODY ONLY
modular camera that can be kept small or rigged up, and that is built to shoot Raw files, has always meant one brand, and that’s RED. It’s the dream camera for many independent filmmakers, but the cost is just too much for many to swallow. The Chinese-made Kinefinity is obviously the same style camera as a RED, with the same focus on modularity, speed and image quality. But at a fraction of the cost. A basic 5K RED package will cost about £25,600/$28,875 while a similar-spec Kinefinity Mavo 6K pro package is a far more reasonable £10,194/$13,370. Of course, you get what you pay for and if you have the budget for a RED and all its accessories, then that’s still the way you’ll go. But for the rest of us, where every bit of cash you hand over for kit has to pay for itself quickly, the Mavo is a new option that deserves a serious look. TERRA FIRST Hot on the heels of the Kinefinity Terra 4K, the Mavo is its big brother in all but size. The Terra has a sensor a little bigger than Micro Four Thirds size; the same size as a Panasonic GH5S sensor which also, like the Terra, has dual ISO native capability. The Mavo moves Kinefinity into a new arena, one that serious filmmakers want to be in, and that’s a Super35-size sensor. Just like many of the cinema cameras on the market from Sony, Canon, Panasonic and RED. A Super35 camera lets you use lenses without a big crop, and gives that wonderfully shallow depth- of-field that gives a true cinematic look. But to serious professionals,
a camera is more than a one-off purchase; something that has to last and have a service network and direct line to technical help if something goes wrong. In recent times, that’s where Kinefinity has fallen down as the cameras were usually shipped directly from China to the customer. But now Kinefinity is expanding with an all-new factory, and it knows it needs serious distributors in lots of territories to give a potential buyer the confidence to splash the cash. British firm
ABOVE The e i ght presets are a great idea but the standard size display is very hard to read .
DEF I N I T ION | SEPTEMBER 20 1 8 85
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