KINEFINITY KineMINI 4K & KineMAX 6K cameras

Color science is perhaps the most important aspect of these cameras after reliability. We're renting an Alexa for a short because of how they render color. I recently went to a Sony DIT seminar and the F55 is really well engineered with regard to the color space it's managing and its color filter. Even if you feel, as some do that the image is over engineered, clinical, you have to admit that the color rendering on the Sony's is true to life. That's no accident or lucky sensor side effect. They engineer the crap out of those cameras.
 
Thanks for the update!

hscully said:
Color science is perhaps the most important aspect of these cameras after reliability. We're renting an Alexa for a short because of how they render color. I recently went to a Sony DIT seminar and the F55 is really well engineered with regard to the color space it's managing and its color filter. Even if you feel, as some do that the image is over engineered, clinical, you have to admit that the color rendering on the Sony's is true to life. That's no accident or lucky sensor side effect. They engineer the crap out of those cameras.
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Agreed. If they can deliver those specs at that price point(s) with a close to good image and color science, then this could truly be a "game changer." The problem for us in the US would be actually finding a place to buy them though.
 
The color definitely looks oversaturated in the beginning, but I actually think the middle clips look pretty darn good. Hard to tell in such a short clip though.
 
echo9 said:
The color definitely looks oversaturated in the beginning, but I actually think the middle clips look pretty darn good. Hard to tell in such a short clip though.
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Who knows if the color is the camera or whom ever did the grading in post. ( looks like a bad grade to me )
 
These cameras are so frustrating to me. They look amazing. The specs are... amazing. I so badly want an excuse to try one out or to buy one. But the image just seems lacking. I don't know what it is, but the overall color, motion cadence etc, just doesn't feel right or at least not nearly as well tuned as other Cinema cameras. Even compared to the BMCC the image itself just really seems lacking.

These guys seem to be on exactly the right track. No BS with this company and they seem to be eager to give every single feature you could possibly want, but they just don't have a good grip on the actual image acquisition / processing element. Whenever they figure out how to really fine tune the image and get color looking as good as others, kinefinity will be beyond tempting.
 
Here's hoping that they will make that Kinemount to E-mount adapter. Michel Juknat mentioned in nofilmschool.com interview that they are considering it. Speedboosted FD lenses with KineMINI would be awesome.
 
blofeld said:
Here's hoping that they will make that Kinemount to E-mount adapter. Michel Juknat mentioned in nofilmschool.com interview that they are considering it. Speedboosted FD lenses with KineMINI would be awesome.
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That would indeed be awesome. I have a speedbooster on my Blackmagic Cinema Camera and it's fantastic.

After watching the sample KineMini video from NAB I'm more convinced that it's just a bad color grade than bad color science. I could be wrong though.

I did find this review and video that was shot on the older Kinefinity camera, the KineRAW. I think it looks amazing and if the new cameras are as good or better image wise with those specs than I think they'll be winners.

http://frankglencairn.wordpress.com/2014/04/05/chinese-raw-hands-on-the-kinefinity-kineraw-s35/
 
It's going to be tough for them to dial in reviews with all the "big name" cinematographer/review sites until they have a solid distribution network. But no distribution is going to come until independent testers get their hands on this bad boy. Fingers crossed someone takes a chance and flat out buys one to test and shares the news with us!
 
I have been a user of Kinefinity cameras since January last year and can only say the best things about them. Of course there are several very good camera systems out there and RED is by far one of the best ones. But each system has not only it's strengths and weaknesses, as it will appeal subjectively more to some people than others. Depending on your kind of work, your aesthetic image preferences, your favorite workflow, or indeed what you value more in a camera... You will tend to prefer a certain line of gear. BMCC is also an excellent piece of gear and although I'd never exchange my Kine camera for a BMCC in terms of sensor or the way it processes images, I have to admit it may have some advantages in terms of maneuverability, flexibility or indeed overall bang for buck aspects.

I have two different types of work. Some more narrative oriented (short feature films, institutional, music clips) and some more point and shoot oriented (events, concerts, congresses or even weddings). For the way I like to work, my KineMINI camera is perfect for the narrative type of work. For the point and shoot or even for some types of documentary or sports... Forget it. I definitely prefer a Canon XF305 or the new Panasonic HC-X1000. To each his own but, the most important is to have a good understanding of the right tool for the right job and for the right person.

For what it's worth, here's the unboxing video...
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https://www.youtube.com/watch?v=-ffB6uPPrA0

The dynamic range of these cameras is impressive. Unfortunately the tests I made got a bit screwed up when converting to H.264but that was my bad, because I was so eager to post something that I didn't pay much attention to encoding settings. But there's a lot of tests out there on youtube and Vimeo.
 
Wat's up with the Kinemax? Wonder how far it is in progress? In the beginning of next year i'm planning to buy a new beast. The Kinemini lacks the features I want.
I'm thinking about a RED Scarlet dragon or Epic. The best I can get for around 15k But Kinemax looks like an option to, because 16+ stops, raw 6K (pull photo's) and slowmo.
And might save me money.
 
Hmm....not sure what to think. Two cliches - slap a 3D lut on and make the whole thing slow mo. A simple curve and saturaton boost would have given us a better idea of the colour science me thinks
 
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