Kinefinity Mavo Edge

great share
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Zhang expressed copying (even if that's stealing).

The author of the article brought up IP theft.
 
The new camera supposedly has the same dynamic range as the MAVO LF. Which clearly lags behind other cameras in dynamic range.
https://www.agdok.de/de_DE/kameratest2019-en

Coupled with a no support and low resale opportunities this camera would need to be half the price for me to take a gamble on it unfortunately. Which is a pity because the form factor looks nice. Is it a reliable camera is the other big unknown...
 
yoclay said:
Yes, but the nice part of an homage, is that it's almost never as good as the original.
Click to expand...

Also a homage usually is self aware or acknowledges its origins and often isn’t conceptually the exact same idea. It’s a nod to what’s gone before and isn’t passing off the work as original.

Art references it’s own history and what’s gone before often. The kids would call it a shout out.

JB
 
This thing is ridiculous. I can't really even think of a feature I'd want on a camera that this doesn't already provide for. I couldn't see anywhere in the specs that it had a built-in microphone for scratch audio, that was the one thing it was missing... but then they listed one in the release video.

The size and weight are fantastic, the built in battery plate(s) addresses perhaps my biggest pet peeve with the Mini LF and C500ii.

Pictures from the Mavo LF looked great, so I assume this will be at least as good-looking (which is totally sufficient for my needs).

I'm also pretty sure that the TRUE 4:4:4 4k Prores recording (downsampled from the 8k sensor) is a first for any manufacturer. Very cool.

If it delivers what the specs promise, this thing could be very popular. Given the Canon C500ii doesn't really have any client-based demand for it, you wouldn't be losing out on much opting for this over the Canon (and you'd gain quite a lot features-wise).

The ONE thing I'd also really like to know (spec-wise) is the boot up time. The new Canons and the Sony Venice set the standard on that front. Hopefully this isn't too far off the pace.
 
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Grug said:
This thing is ridiculous. I can't really even think of a feature I'd want on a camera that this doesn't already provide for. I couldn't see anywhere in the specs that it had a built-in microphone for scratch audio, that was the one thing it was missing... but then they listed one in the release video.

The size and weight are fantastic, the built in battery plate(s) addresses perhaps my biggest pet peeve with the Mini LF and C500ii.

Pictures from the Mavo LF looked great, so I assume this will be at least as good-looking (which is totally sufficient for my needs).

I'm also pretty sure that the TRUE 4:4:4 4k Prores recording (downsampled from the 8k sensor) is a first for any manufacturer. Very cool.

If it delivers what the specs promise, this thing could be very popular. Given the Canon C500ii doesn't really have any client-based demand for it, you wouldn't be losing out on much opting for this over the Canon (and you'd gain quite a lot features-wise).

The ONE thing I'd also really like to know (spec-wise) is the boot up time. The new Canons and the Sony Venice set the standard on that front. Hopefully this isn't too far off the pace.
Click to expand...

I'm with you... ridiculous specs for the price. Have to believe if B&H or another big distributor picked them up... there would be lots and lots of pre-orders.
 
Can anybody explain this? I'm drooling over this camera's specs and then I read this: "While the Mounting Adapter w/ e-ND was great, it was only available in the EF and PL mounts. There was no version for Sony E-mount. The other problem was that if you used the mount you always had a minimum of 0.6 ND engaged."

Do I understand this - you always need to use a mount? There are no Kinfininty mount lenses? So you lose 2 stops to use this camera. What don't I understand?
 
Paul F said:
Can anybody explain this? I'm drooling over this camera's specs and then I read this: "While the Mounting Adapter w/ e-ND was great, it was only available in the EF and PL mounts. There was no version for Sony E-mount. The other problem was that if you used the mount you always had a minimum of 0.6 ND engaged."

Do I understand this - you always need to use a mount? There are no Kinfininty mount lenses? So you lose 2 stops to use this camera. What don't I understand?
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Kinefinity mount lenses???

Some older Kinefinity cameras have a KineMOUNT that you use with an adapter of your choice. Yes, you always have to choose an adapter as there are no Kinefinity mount lenses.

The EF and PL ones from the company have a ND filter built into them (not all of them though). Something like this:

http://www.kinefinity.com/shop/k2ef_ii_e_nd/?lang=en

The Sony E mount doesn't.

This new camera looks like it has eND built into the body.

You wouldn't lose any stops with a normal mount or in this new camera with eND off (which I'm assuming is possible). Only with one of their eND adapters with the older cameras.
 
Grug said:
I'm also pretty sure that the TRUE 4:4:4 4k Prores recording (downsampled from the 8k sensor) is a first for any manufacturer. Very cool.
Click to expand...

How is 444 ProRes from a lessor sensor not 444 ?

This is never how it washes out in final images.

I understand you're excited about supersampling and that is a good feature, but that's something different to actually referencing encoded video.

JB
 
John Brawley said:
How is 444 ProRes from a lessor sensor not 444 ?

This is never how it washes out in final images.

I understand you're excited about supersampling and that is a good feature, but that's something different to actually referencing encoded video.

JB
Click to expand...

“True” in the sense that with an 8k bayer pattern, there’s no interpolation of your chroma information. You have a discrete source of red, green and blue for every single pixel in your 4k image.

With any sensor that’s less than 8k, you won’t have 4k worth of red or blue photosites, so there’s going to be some interpolation, some guesswork, required to pad out the red and blue information in a 4:4:4 4k image.

How much practical difference is it going to make compared to the same output from a slightly lower resolution sensor (like 6k)? That we’ll need to test (I’m not expecting anything significant), but I do suspect it will be noticeable. In the same way the 1080p SR444 files from the Sony F55’s 4k sensor, always struck me as that little bit more solid than the 1080p Prores4444 from the Alexa’s 3k sensor. Though I suspect it might be something you only really feel when pulling secondary keys in the colour grade.

Downsampling really does seem to be the key to atoning for the sins of bayer pattern sensors. So I’m excited to see how this one performs.
 
Grug said:
“True” in the sense that with an 8k bayer pattern, there’s no interpolation of your chroma information. You have a discrete source of red, green and blue for every single pixel in your 4k image.

With any sensor that’s less than 8k, you won’t have 4k worth of red or blue photosites, so there’s going to be some interpolation, some guesswork, required to pad out the red and blue information in a 4:4:4 4k image.

How much practical difference is it going to make compared to the same output from a slightly lower resolution sensor (like 6k)? That we’ll need to test (I’m not expecting anything significant), but I do suspect it will be noticeable. In the same way the 1080p SR444 files from the Sony F55’s 4k sensor, always struck me as that little bit more solid than the 1080p Prores4444 from the Alexa’s 3k sensor. Though I suspect it might be something you only really feel when pulling secondary keys in the colour grade.

Downsampling really does seem to be the key to atoning for the sins of bayer pattern sensors. So I’m excited to see how this one performs.
Click to expand...

What about Red 8K to ProRes 444 4K? Or do you mean the first affordable camera to offer it?
 
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