Emanuel

Maybe I m optimistic but I assume that a company would not release a product inferior to their previous release especially for a camera.
I mean the kine mini is cheaper and the image quality is already good enough for me so I hardly see why the quality would be lower than that .
The selling point is the slow mo /mount/form factor for me.
 
Also I m living in Japan and I will get one delivered in china, so I will get the basic pack for 5600 usd with no extra charges .

I feel you're brave to order that before we've even seen any footage from it!

After all they're attempting what nobody has done before (global/rolling sensor), BMD tried and failed at it. 

Are there any samples from the 5K Terra sensor yet? The 6K is a known quantity since they used it in the Kinemax, but I haven't seen anything from the 5K yet besides its promising specs. 

I pre ordered the 5k one .
If you shoot music video/fashion, you need clean slow mo and there is nothing else in the price range. It s basically a red epic MX ++ for 5kusd ...
It s more compact/light than blackmagic , color science is better than panasonic/sony/blackmagic (you should play with the DNG they provide and the image is great , I was amazed by how much you can recover on the landscape/lake shot).
There is a shoot comparing multiple cameras from GH4 to alexa and the tester said that the kinefinity images where the closest one to red/arri from the lot.
And the mount system look great , that mean you can get fast zoom easily with the focal reducer.
I understand that because it s a unknown Chinese company, people are skeptical and if it was their first camera I probably would not have pre ordered it .
But if you look at Dji , they are also a Chinese company and they have great product .
 
 
 

Im not going to read the pages and pages of wining going on here from people who have not owned a camera from kinefinity so please forgive me if I say something thats already been covered.
Kinefinity is totally a reliable company. I actually get great access to support online and they have been very open to suggestions. They added an anamorphic mode within 2 versions of the firmware. Kinestation is great, their codecs are great KRW is a lossless format that can be converted directly back to DNG (if its not shot in highspeed mode which is 4:4:4 not raw. I would say they push their cameras way further then any other company because they have no top end to gouge so why not make the cameras the best they can be.
Now for the cameras. Ive owned the Kinemini when it first came out and then upgraded my body to the Kinemini4k. I was about to upgrade to the kinemax but then the Terra got announced. Who doesnt want this camera??? You are crazy, just go and spend more money on a Red Camera then. I personally dont have $40k+ to spend on a cinema camera. The image on the kinemini4k is already lovely. A good mix or the red and Alexa honestly. The noise pattern is organic and the range is there.The kinemax 16fstops in Golden 3k, this sold me along with the highspeed options. Now with the Terra comes global shutter and 15/13 stops in a smaller body. I want one so I really hope none of you do so I get one faster.
I got Rich off the forumn here to modify a speedbooster for my Kinemini and then Kinefinity made one shortly after. They are a company who does listen I feel. The mount is awesome, its a sub PL mount with many options. The sensor is Super 35.....
I dont know what else to say really, its a sweet vcamera and Im glad I didnt go with the black magic cameras in the end or other cameras. If you really want to know more then just speculation you can join us users over at Kinecommunity and the Kinfinity User group on facebook.
 
Rob

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A few others have been going in the opposite direction such as this shooter here:
 

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A few others have been going in the opposite direction such as this shooter here:
 

For sure. New Nikons do it.

These cams do look pretty nice and I'll probably get the 24-85, but I'd still love to see an update to the LX100. That could be the ultimate compact if done right. 

Yep that interview was also conveniently less than 3 min  

Hue... Very stupid choice BTW
No natural colors anymore... no sense at all

Sit back a few years, then you get a camera that's usually 50% off the first price and has no more bugs.
You can leap frog from older camera to older camera.
You can right now use the Sony F3 and own it for $4k or so used, and then when you are ready, switch to a F5 or F55 or FS7 when it comes down in price.
With the savings, invest in lighting, glass, and tripod, and camera movement.
Find your niche - are you good at lighting?  Composition?  Movement.  
Invest in that.
The Red One MX still has probably 90% of what you need vs a Red Dragon or Weapon or bla bla bla.  
Do tests.
Sorry Andrew about the FS5 issues.  But you get what you pay for.

I don't know Mattias, you might say it was just for fun but your dog looks like getting paid to stay still. 

The video posted by avril is quite outsanding imo.

Since the issue of black levels in LOG mode on the Leica SL was raised on EOSHD, Leica have reached out to me. Here I can reveal Leica are working hard on video related refinements.
Last week in Berlin, product manager Steffen invited me to see the new firmware in action.
Read the full article

That explains a lot.
There's nothing unprofessional about a speedbooster or anything else used to get the shot. I use DIY Kino's, foamcore for reflectors and a shower curtain as a diffuser, and one of my tripods has seen so much use its looks like a tiger's chew toy, whatever it takes to get the shot. You get hired for the image, not for pretty gear.
Amateurs worry about what their gear looks like. 

This camera needs light. I mean, A LOT of light in Slog2. The RX10 II only does Slog well if it's very, very bright. And I AM CRAZY!!! 
I don't regret it at all.
I took a massive risk filming the video with a new, untested camera. The great thing was, we only had 6 hours to shoot it and the camera versatility really helped. 
On further projects, I got detached from the camera as I couldn't get the aesthetic I wanted (sterile lens and small sensor). Went back to the GH3 and the image + adapted FD lens is superior to the RX10 II (non-technical, just how it feels). 
Got rid of both my GH3's and RX10 II's and now have the A7S II. The A7R II is now on the way (multi-cam purposes). Not had enough time with the A7S II but impressed so far. 
All in all, you can make professional video quite easily with the RX10 II. It just comes down to what you want as an artist. Unfortunately, the camera was the wrong paintbrush for me. Although it will be right for some! 

Um...did you forget Blackmagic?
 

The spread of strengths across the camera industry is driving me a bit nuts.
Only Blackmagic do cheap affordable int. 10bit ProRes.
Only Olympus do effective stabilisation.
Only Panasonic do cheap 4K in Micro Four Thirds cam
Only Fuji do a film-inspired shooting experience (although Olympus run them close)
Only Sony max out the specs and do a full frame mirrorless camera
Only Samsung do a really responsive fast ergonomic DSLR-style mirrorless camera
Only Canon... I mean only Magic Lantern do raw video.
 
The A7S II is closest to the perfect camera but the handling is just...so soulless.
Currently I am thinking of keeping hold of the E-M5 II as a stills camera, second to the NX1 and A7S II as my main video cameras.

Everything I said is true and is backed up with hard evidence.  There's no magic here - just good optics.  Perhaps you might actually read the white paper I gave you a link to?
Eventually, conservative established lens makers in Japan and Germany will wake up and realize the true benefit of the Speed Booster approach for designing high-speed short BFL optics.  With any luck I'll be retiring on royalties when they do
There are numerous examples of Speed Booster/lens combinations that beat native lenses.  For instance, a Voigtlander 90mm/3.5 plus S.B. gives a 60mm f/2.5 that is better than the latest Olympus 60mm f/2.8 macro lens:  http://***URL removed***/forums/post/51895542 .  A Sigma 35/1.4 plus S.B. gives a 25/1.0 that is much better than a Voigtlander 25/0.95:  http://***URL removed***/forums/post/55298481 .  And these examples use the old version of the Speed Booster.  The new ones referred to in my white paper are even better.  Finally, I defy you to find any f/1.0 lens with better image quality than a Zeiss Otus combined with a Speed Booster Ultra.

Brian (designer of the Metabones Speed Booster optics for those who don't realise) is 100% right
And I see it with my own eyes when I use the latest Speed Boosters, especially the XL-T on Micro Four Thirds.
I will likely be selling most of my native Micro Four Thirds lenses soon, unless the manufacturers wake up!

If I can cut the onion a tiny bit slimmer -- I'm not loving much of the cinematography in the clips on that thread, but the image quality itself (i.e. skin-tones, dynamic range, rolling shutter, etc.) looks pretty good. It's like, playing on a Fender won't make the average guitarist into Jimi Hendrix.