Reputation from BTM_Pix - Page 318

BTM_Pix got a reaction from IronFilm in Kinefinity TERRA 4K Selling at ProAV March 1, 2018

Netflix requirements says 4096 wide so whilst its not on their approved list of cameras, its 4096x2800 sensor is within their spec.

BTM_Pix got a reaction from Alpicat in Kinefinity TERRA 4K Selling at ProAV March 2, 2018

So, I managed to brave the elements and get to the BVE show and have a look at it.
First impression is that it was much smaller than I was expecting it to be. Took a snap of it next to a 5D MKIV for comparison and weight wise it was similar too.
The interchangeable mount is interesting and the one pictured is the locking EF with in built ND and they also have a speedboosted EF and PL.

The crop factor with the speedboosted mount is 1.3 but 1.8 without. That surprised me as I just assumed it was 1.5 to be honest.
There is an E Mount adapter too (which wasn't on show) and that option has become more interesting now with the Sigma E Mount ARTs and Fuji doing their cine ones in E Mount too.
The dual iso is 800 and 3200 and they told me it's pretty clean at 12800 as a consequence but the proof of that etc...
The rear module gives you all the additional SDI connectivity, V Mount battery capability, external power tap, XLRs etc but it the camera is still operable without it if you want to keep the weight/form factor/price down.
It has full size HDMI on the main unit so you can connect whatever EVF/Monitor you want.
If you go for the grip then it also holds a battery as per the RED handgrip its obviously modelled on but unlike the RED it uses regular Sony NP batteries rather than an expensive proprietary type. The grip does feel like a cheap version of the RED one (cos it is!!!) but its great as a way to keep the cost down power wise as you save the cost of the rear module and the V locks. Power time via the grip is about 30 mins apparently.
Talking of non-proprietary, it also uses regular SSD media and does internal ProRes. However, the RAW format IS their own format (but can be transcoded with their own tools) but I'm not sure if its a supported format within Resolve?
Talking of BM, I was told that Kinefinity are pitching the camera as a direct competitor to the Ursa Mini Pro though its more RED form factor to me.
With regard to support, the plan seems to be swap out units at least during the initial period and I think that's fair enough. Its worth bearing in mind that for those of us who were outside of the US when being early adopters of the RED ONE it is no different.
First impression is that if you are in the EVA-1/C200/URSA Mini Pro then its certianly worth looking at Kinefinity if you have a distributor in your country. People are very wary of the support aspect but to be honest, the distributors who take it on are WELL aware of that and so, conversely, you might well end up getting BETTER service as they seek to overcome that objection.
Bottom line is that if this camera had a different name on it then there would be a LOT more buzz about it.
Full details of packages here
https://www.proav.co.uk/cine/cameras/kinefinity

BTM_Pix got a reaction from IronFilm in Kinefinity TERRA 4K Selling at ProAV March 1, 2018

I think they're showing it at the BVE show this week.
I'm in London on Thursday so might pop in to have a look.
That is if all public transport hasn't been cancelled and a state of emergency declared in a pant wetting reaction to the suggestion of snow.

BTM_Pix got a reaction from webrunner5 in Kinefinity TERRA 4K Selling at ProAV March 1, 2018

I think you doth protest too much about this camera. You want one really don't you

BTM_Pix got a reaction from Tim Sewell in Kinefinity TERRA 4K Selling at ProAV March 2, 2018

Definitely a case of crossing that bridge when you come to it with regards to what to use when commissioned for a Netflix Original production.
The only Netflix spec that I have to concern myself with meeting is the £7.99 a month payment

BTM_Pix got a reaction from IronFilm in Kinefinity TERRA 4K Selling at ProAV March 1, 2018

So, I managed to brave the elements and get to the BVE show and have a look at it.
First impression is that it was much smaller than I was expecting it to be. Took a snap of it next to a 5D MKIV for comparison and weight wise it was similar too.
The interchangeable mount is interesting and the one pictured is the locking EF with in built ND and they also have a speedboosted EF and PL.

The crop factor with the speedboosted mount is 1.3 but 1.8 without. That surprised me as I just assumed it was 1.5 to be honest.
There is an E Mount adapter too (which wasn't on show) and that option has become more interesting now with the Sigma E Mount ARTs and Fuji doing their cine ones in E Mount too.
The dual iso is 800 and 3200 and they told me it's pretty clean at 12800 as a consequence but the proof of that etc...
The rear module gives you all the additional SDI connectivity, V Mount battery capability, external power tap, XLRs etc but it the camera is still operable without it if you want to keep the weight/form factor/price down.
It has full size HDMI on the main unit so you can connect whatever EVF/Monitor you want.
If you go for the grip then it also holds a battery as per the RED handgrip its obviously modelled on but unlike the RED it uses regular Sony NP batteries rather than an expensive proprietary type. The grip does feel like a cheap version of the RED one (cos it is!!!) but its great as a way to keep the cost down power wise as you save the cost of the rear module and the V locks. Power time via the grip is about 30 mins apparently.
Talking of non-proprietary, it also uses regular SSD media and does internal ProRes. However, the RAW format IS their own format (but can be transcoded with their own tools) but I'm not sure if its a supported format within Resolve?
Talking of BM, I was told that Kinefinity are pitching the camera as a direct competitor to the Ursa Mini Pro though its more RED form factor to me.
With regard to support, the plan seems to be swap out units at least during the initial period and I think that's fair enough. Its worth bearing in mind that for those of us who were outside of the US when being early adopters of the RED ONE it is no different.
First impression is that if you are in the EVA-1/C200/URSA Mini Pro then its certianly worth looking at Kinefinity if you have a distributor in your country. People are very wary of the support aspect but to be honest, the distributors who take it on are WELL aware of that and so, conversely, you might well end up getting BETTER service as they seek to overcome that objection.
Bottom line is that if this camera had a different name on it then there would be a LOT more buzz about it.
Full details of packages here
https://www.proav.co.uk/cine/cameras/kinefinity

BTM_Pix reacted to Mattias Burling in Sony a7 III discussion March 1, 2018

No its not bad. It is market value. Its just that market value has gone up at the rate of specs the last few years.
So the "cheap DSLR revolution" isn't exactly around anymore. This cost about the same as a pro video camera did back when the revolution started.
We started using cheaper cameras and then started asking for more features in them, features from the expensive cameras.
And the companies gave it to us, the prices to

And it sometimes seems like we still think we are using cheap cameras just because they are hybrids or still cameras.
But in reality plenty of pro video and cinema cameras are cheaper these days.

Just thinking out loud.