Kinefinity Mavo Edge

[DLD]

http://theendearingdesigner.com/hilarious-knockoff-brands/#here

The Mikes look pretty good.

A friend of mine spent a couple of years in France/Belgium in the early 1980's. The Europeans do have a fascination with Americana but it's often on this "Mike" level - make imitation product that looks like it's American but, if you're an American, a quick glance will tell you that it's not. We joked that, there was a faux NFL apparel, that one could easy find a "Green Bay Dolphins" shirts or hats.

In the old USSR, there was a line of jeans called "Montana". It was made in Odessa but the name sounded cool because, obviously, no one associated with the brand manufacturing - it was done illegally - has ever been to Montana. or Idaho. Or Wyoming. Or even seen them on TV.

PS. 4K 444 is 26.4 MPX but the color filter has to be RGB too (it was in F35 and, I believe, the original C300).

 

[Grug]

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

Red doesn’t do 4k in Prores4444 (as far as I know). Only 4:2:2. You have to drop down to 2k for 4:4:4.

 

[Grug]

PS. 4K 444 is 26.4 MPX but the color filter has to be RGB too (it was in F35 and, I believe, the original C300).

Not with a bayer pattern sensor.

 

[Guest]

Red doesn’t do 4k in Prores4444 (as far as I know). Only 4:2:2. You have to drop down to 2k for 4:4:4.

you are right. Sorry about that.

 

[John Brawley]

red doesn’t do 4k in prores4444 (as far as i know). Only 4:2:2. You have to drop down to 2k for 4:4:4.

dxl

jb

 

[Tamerlin]

Red doesn’t do 4k in Prores4444 (as far as I know). Only 4:2:2. You have to drop down to 2k for 4:4:4.

I honestly don't like 4:4:4 ProRes. It looks great and it's very flexible in post, but it's also ridiculously large.

Even 4:2:2 ProRes in 4K has nearly the same data rate as Redcode at 10:1 in 8K... which turned me off to using ProRes at all unless it's for an HD or 2K deliverable; there's not enough benefit in record time with 4K ProRes.

4:4:4 though is almost as bulky as cDNG, though less annoying to wrangle since it's single big, honkin' files.

But I suppose if you are in a position to not need to care about storage and offload times, then it's great for baked look workflows to save post time, though these days the baked look is just as easy to implement with raw from nearly every professional cinema camera available, including Black Magic... though I get the impression that a lot of Black Magic users don't realize that.

 

[Guest]

What is baked about ProRes 4:4:4? You've got three color channels at 12bits each, no? Pretty unbaked sounding to me.

I'll agree though, raw, being smaller, makes little sense to shooting in Prores 444 at a lower resolution. Just a lot of bulk.

2K ProRes LT is a dream. Holds up well and is smooth as silk in playback on any machine. Great for indie projects needing quick review, or loading up the days of shooting onto a laptop's internal SSD.

 

[DLD]

Not with a bayer pattern sensor.

Not the sensor per se but the color filter array (CFA). For example, Fuji has its own CFA design, as had F-65.

 

[Tamerlin]

What is baked about ProRes 4:4:4? You've got three color channels at 12bits each, no? Pretty unbaked sounding to me.

I didn't say that it IS baked, I said it's good for workflows where a baked look is desirable.

2K ProRes LT is a dream. Holds up well and is smooth as silk in playback on any machine. Great for indie projects needing quick review, or loading up the days of shooting onto a laptop's internal SSD.

I DIT my footage on a laptop on set, and since I use Scratch for dailies I can sync + play 8K footage in 4K right there. Because of that I don't bother wasting space recording proxies any more; I just wait until I have production audio, sync it all, and then render the proxies with the synced audio.

 

[Guest]

I didn't say that it IS baked, I said it's good for workflows where a baked look is desirable.



I DIT my footage on a laptop on set, and since I use Scratch for dailies I can sync + play 8K footage in 4K right there. Because of that I don't bother wasting space recording proxies any more; I just wait until I have production audio, sync it all, and then render the proxies with the synced audio.

That is awesome. I’m seeing all these real time playback of 8K laptops, but i have gone for them yet. Soon proxies will be just an option. Rather than the work around they still fill in many workflows today.

I mean you already don’t shoot proxies. So, i guess it’s already begun.

 

[Tamerlin]

That is awesome. I’m seeing all these real time playback of 8K laptops, but i have gone for them yet. Soon proxies will be just an option. Rather than the work around they still fill in many workflows today.

They won't even be all that expensive in the near future, once the AMD + Turing or Ampere systems start appearing.

I mean you already don’t shoot proxies. So, i guess it’s already begun.

My laptop doesn't have enough GPU horsepower to playback 8K at full resolution, but it doesn't need to. Being able to work in 4K is enough, since most of the functionality in color grading applications is resolution independent.

 

[Guest]

They won't even be all that expensive in the near future, once the AMD + Turing or Ampere systems start appearing.



My laptop doesn't have enough GPU horsepower to playback 8K at full resolution, but it doesn't need to. Being able to work in 4K is enough, since most of the functionality in color grading applications is resolution independent.

You talking about working at 1/2 playback? Or working in a 4K timeline?

 

[Tamerlin]

You talking about working at 1/2 playback? Or working in a 4K timeline?

Working in a 4K timeline. Indies don't need 8K, but the people that I've shot films for love the color and the dynamic range makes production easier, and saves time in color grading.

 

[Guest]

Working in a 4K timeline. Indies don't need 8K, but the people that I've shot films for love the color and the dynamic range makes production easier, and saves time in color grading.

I hear that!

 

[Tamerlin]

I hear that!

Not many get that. They're too focused on silly thing like... well, 8K and "large format" and other things that don't really matter all that much to most.

 

[ahalpert]

I didn't say that it IS baked, I said it's good for workflows where a baked look is desirable.



I DIT my footage on a laptop on set, and since I use Scratch for dailies I can sync + play 8K footage in 4K right there. Because of that I don't bother wasting space recording proxies any more; I just wait until I have production audio, sync it all, and then render the proxies with the synced audio.

Interesting - it looks like Scratch is available for free until November for those of us (like me) who just heard about it from you and now are curious.

https://register.assimilateinc.com/registration.aspx?p=1

 

[Tamerlin]

https://www.redsharknews.com/post-vfx/item/7076-scratch-9-2-the-colour-grading-software-gets-substantial-new-features

 

[NorBro]

I know most people don't care, but Kinefinity released a FW update for the TERRA 4K today.

4K/150p PR HQ and 4K/80p PR 444, which is practically unheard of. (The only non RAW-only camera I know of offering this was the big URSA, but CFast cards at the time in 2014 weren't fast enough to handle it so you'd have to dual-record CDNG, alternating a frame on each card.)

https://www.newsshooter.com/2020/07/08/kineos-6-4-firmware-update-released/

 

[Guest]

Interesting - it looks like Scratch is available for free until November for those of us (like me) who just heard about it from you and now are curious.

https://register.assimilateinc.com/registration.aspx?p=1

Actually, I've been looking for a new tool for LUT building. I've not found a video grading tool that has good curves tools. The one in Davinci is a bit sensitive, and posterizes or gets all burnt and crispy looking. I feel a little blind with wheels when I am making a LUT with a mouse. I want to have a visual representation.

Ironically, the Curves tools last time I used Adobe PP CC were awful. Yet Photoshop curves are rather nice.

May start a thread as I research it. Just seeing if anyone has any suggestions. Big thanks for the Scratch link. I'll check it out.

 

[Guest]

Kinefinity just announced its new Mavo Edge, a new 8K camera with a carbon fiber body, integrated connections like timecode, SDI, and XLRs with phantom power, and only draws 32 watts.

https://www.newsshooter.com/2020/04/27/kinefinity-mavo-edge-8k-internal-prores-raw-recording/

This is still one of the more exciting announcements this year, and we have had a bunch of big announcements this year.

C3003 (As well as C5002 nd Fx9 really getting out in the wild in this year)
Komodo
A7sIII successor
XT4 (for those that know what they are doing, insane value)
Canon's R5 and R6
BMPCC6K price drop to $2K
Alexa Classic's for $5K
What else?

But yeah, the EDGE is just everything in one go. here's hoping.