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Kurtisso

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Everything posted by Kurtisso

  1. In case anyone here is interested, I am selling my KineMAX 6K, packaged with some essentials:
  2. KineMAX 6K Package - The Essentials KineMAX 6k Basic Package with Gold Mount and Kinemount (Fully unlocked with KineAudio and Integrated battery plate + collapsible upper handgrip and 120GB KineMAG) EF - Kinemount active adapter (s35) EF - Kinemount active KineEnhancer adapter (full frame) 2x extra Samsung 850 PRO 512GB SSD 1x extra SSD reader/hardcase 1x Aputure FineHD VS-2 7-inch monitor with mount, sunhood, p-tap cable, battery, charger and other accessories. Camera body is brand new (Kinefinity just replaced my original one with a new one). All other pieces are barely used. I haven’t included any batteries as lithium batteries are considered dangerous goods when shipping. If you pickup in Vancouver, Canada, we could possibly work something out though! $10000 USD + shipping/duties
  3. I am pretty excited for whatever Digital Bolex comes up with next (whenever that happens). I really hope that CCD has even more to give, or that they explore something like QuantumFilm sensors.
  4. After previously owning the 24-70... These are a no-go for me.
  5. I use the 1/4 black pro mist to take the edge off sometimes. I like what it does for the highlights with rolloff and blooms. I got an 82mm one for 17.50 used
  6. Battle tested KineMINI is such a great deal right now. Kinefinity even sells kinebatts and dual chargers, pretty cheap 130watt battery sources in gold mount or v-lock. These batteries or chargers aren't the "super intelligent" antons but they also don't cost a kidney. I use them and will keep monitoring to see how they last over time. The Kine's are built pretty solid too, I don't use a cage for mine. I use the Samsung 850 Pro's for ssd. They work like a charm. I swap between the kineEnhancer for ~full frame (1.1x) and regular (s35) EF mounts and use a nikon to EF adapter for my nikkors and m42 to EF for my soviets. The cinema DNG's that come out of this cam are pretty darn fun to grade. Here's one of the .dng from a project I shot with the KineMINI earlier this year: PRJ-0001-060-A1-6274-0000199.dng Move it around in lightroom or whatever you tinker with. Didn't get much fire reflection from the torch off of the glasses from that angle so didn't end up using it.
  7. Heyo. If your final delivery is 1080p and you're finding the a7s ii on the more expensive side, why not consider the a7s i instead? If you're looking for crop room and therefore want 4k acquisition, you might not be happy with the a7s ii's internal 8-bit 4:2:0. The only way to get 4k 8-bit 4:2:2 is hdmi out to external recorder, which is the same as the a7s i. But at the end of the day, 8-bit just might not be the most fun to work with if you're coming from r3d. Is the Digital Bolex d16 in MFT mount with a speedbooster outside of the possible budget? You would get absolutely gorgeous colour, cinema dng raw files and global shutter and xlr ins for "run and gun dslr" style. Probably the most beautiful 1080p/2k in a smaller package. I did the same Jimmy, I really enjoyed the a7s though and did some cool projects. Ended up trading that in to get a Kine, which I plan to use for as many years as I can. Beautiful colour and raw, I don't see myself going back to not having those.
  8. This. If I don't have to use it I won't. But sometimes, the noise is just gnarly. Last month I was guerilla-style shooting handheld follow sequences on thai trains on the KineMAX 6k so I had to pop it into HiSpeed mode to reduce rolling shutter artifacts. The train was pretty dim at that point so exposure was far from optimal, and that mode EATS light. Our old friend vertical strips of fixed-pattern noise decided to make an appearance so NeatVideo had to come to the rescue. It's a battle between wax figures and undesirable noise (I like film grain and some cameras produce beautiful digital noise too) so there's always a balance. I do really find the noise from cinemaDNG to be quite beautiful generally!
  9. Yeap! I recently started shooting on the KineMAX 6k and really quite like the colour I can get out of it, but I think I would sacrifice 2-3k (so down to 4k or 3k raw), bring it down to 13 stops of dynamic range (vs. 14-16), and lose any frame rates over 75fps in order to get 16bit colour and global shutter. Hahaha at the same price of course... probably asking for too much again. Anyway, excited to see how that Oliviascope 1.5x turns out, it's probably more interesting than the H6D!
  10. It seems that all the top end medium format cams that don't shoot video use CCD sensors instead of CMOS. Is there a reason outside of cost or processing power for why not? CCD would allow for global shutter no? Or am I asking for too much again... Also, anyone know anything about medium format to full frame focal reducers? @richg101?
  11. Totally, that film grain will look absolutely delicious! Yeah, I don't know if I subscribe to the "35mm is 4-6k, S16 is 2-4K and S8mm is HD" or that you can get "4k out of Super 8". From the little that I understand and can remember from photo class about analog film (so please correct me if I'm totally wrong), but I believe the "resolution" is happening at a molecular level? And because of that, technically the resolution is denser than our camera sensor pixel array, unless we can create pixels that are even smaller! However, these tiny chemical reactions do not always behave in a "clean, individual molecule" kind of way, and have chain reactions based on proximity so you get "less pixel-sharp" images in certain areas like bright skintones which are softened...maybe highlight blooms too? The things we tend to like from film and try to emulate with digital cinema. So I assume that on the 4k scan of super 8 film, it picks up some details "in 4k" and some are lost in a lower resolution. I also assume sharpness of your glass makes a difference too in creating that sharpness on the film itself.. Cool thing too, if the scanners keep getting better, it's possible that your film's resolution can get better too! I realize I've veered away a bit from the OP's topic, so to bring it back... Kodak is launching the new camera with the model of "You buy it, shoot it, ship it. We process it, scan it, deliver it". Seems like you won't have to hunt down high quality scanners. Might be an option for narrative that won't blow the budget. Then again, Kodak might charge a $$$hit ton for the round trip. I'm excited to see though! :D
  12. mmmmm tasty diffusion... nice blooming highlights...Now that's a battle! Tomas Bangaltar vs Ice Cream Coney. On another side of things, the super 8 revival is looking really interesting with the Logmar and Kodak (coming in 2016 supposedly) cyborgs! It seems that the film scanning technology is getting really good and affordable. Kodak is claiming they will provide 4k or 5k resolution for super8 scans when you use their film stock!
  13. A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode). I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
  14. Focal reducer for m4/3 crop mode? The KineEnhancer only gets super35 to almost full frame (1.1 I believe) Built in ND mount adaptor? Oval bokeh drop ins for mount adapter to kinemount like the DSO Trump system? :D
  15. Long time lurker, first time poster. I've learned quite a bit about things like anamorphics on these forums, thanks for all the sharing! Also a lot about how to become obsessed with gear porn and bicker about silly things. HA. I have a KineMAX 6k and it is bloody awesome. Instead of trusting someone else's abilities (or lack of abilities) to test out a camera for me and just "believe" that what's true for their experience is true for mine... I rented a KineMINI 4k (http://creativecamerarentals.com/) and gave it a spin. That experience was absolutely wonderful, coming from someone that shot a7s + shogun, fs7, fs700, 5D3, c300, c100, Ursa Mini just prior to it. It's not a perfect camera, but no camera is. Even Alexa's have problems, like being outside my price-range! I could rave so hard about this cam, but I would just be listing out the spec-sheet and confirming each point. Probably better to see some films shot on it and then see if you can rent/borrow one. Customer support has been good. Emails and shipping back and forth, pretty standard for dealing with warranty stuff and the likes. They actually update firmware too, offer trade-ins and deliver on their promises to their customers. There's a really helpful community on Facebook for Kinefinity users too, even with a couple Kine reps on there. Oh and in case you had any misconceptions about language, you don't have to learn Mandarin or Cantonese, communication can be done in English (smoother by email of course). To the ProRes point, meh. It should be added to the existing cams in a firmware update too. Kinefinity has delivered on everything so far. If your client wants ProRes files, you can transcode the files no? Pretty easy to click a few buttons and let it run. If it's for yourself, you can probably quite easily work it into your workflow. If someone else is editing, I ship them ProRes proxies, then I grade the KRW's in Scratch. I switched over from Resolve, it wasn't as arduous as it can appear. Scratch seems to have much better 4k playback on my 2012 crapbook pro.
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