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Kinefinity 2016 Nian new product launches

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The thing I like most about Kinefinity is that they very obviously listen to what filmmakers want in their cameras. 

They've literally given everything you could ask for with the Terra, including a really decent, accessible price. 

Mother camera brands are largely segmented with their product range, and therefore got crippled one way or another - such as the FS5's "10 bit" 50mbps HD XAVC-L. Simply not good enough. 

Full frame with the KINE Enhancer too. This could be the best camera release in ages.

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3 hours ago, Herb said:

I wonder what the hold up is getting an American distributor... They have one in Germany, right? Which company in the US would be the best Kinefinity representative?

I dunno they list a US distributor in LA on their website and I contacted them and they are pretty responsive thought the preorder process seems a bit messy which also makes me think I might be the only US preorder... Basically he told me to place and pay for a preorder online (it charged me shipping oddly) and then send him the confirmation so he can make sure I get the right camera and parts etc in my package when it ships, which seems pretty important given the lead time and costs of shipping replacement to or returns to/from China. It wasn't quite clear to me if they were just providing sales support and still drop shipping or would have stock of all the cameras and accessories in LA for quicker shipping and support. Perhaps they will if they gain a significantly larger market with Terra? 

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4 minutes ago, Elagabalus said:

Kristoferman, I think the Kinefinity guy meant that 6K version will be released one month from now and 5K version two months from now - putting them at the end of May and June, respectively. 

Yes that is correct, sorry for the confusion.

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On 23/04/2016 at 10:37 AM, Elagabalus said:

Kristoferman, I think the Kinefinity guy meant that 6K version will be released one month from now and 5K version two months from now - putting them at the end of May and June, respectively. 

Which is the same time frame as when they first announced the Terra.

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On 22/04/2016 at 5:16 PM, AaronChicago said:

I see that it won new camera award from news shooter.

Wow, Is there anything more pretentious someone trying to elevate their own importance by issuing awards.    If it does have to win an award, it should be "most promising camera" As we haven't seen it working or seen footage from it.

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On 4/24/2016 at 11:16 PM, MattH said:

Wow, Is there anything more pretentious someone trying to elevate their own importance by issuing awards.    If it does have to win an award, it should be "most promising camera" As we haven't seen it working or seen footage from it.

They did test the 6k camera a little bit them self , they posted sample frame from the camera on their website .

Also the camera was running and plugged on a monitor on their booth .

I agree that some fancy footage would help to sell the camera but simple footage is enough to see what the highlight and the skin tones look like .

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On 4/24/2016 at 2:16 AM, MattH said:

If it does have to win an award, it should be "most promising camera"

Arguably "new camera award" and "most promising camera award" mean similar or at least overlapping meanings, so I'm not too picky over this. 

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13 hours ago, IronFilm said:

Arguably "new camera award" and "most promising camera award" mean similar or at least overlapping meanings, so I'm not too picky over this. 

Oh Right. Thanks for letting me know.

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44 minutes ago, Hanriverprod said:

poster took down the video and reposted for some reason. here's the new upload:


Also, this is from kinemini 4k, looks nice:

 

He reposted it to correct a factual error from the original video. 

The out of camera Cineform files from Tone Mapping are available for download on the Kinefinity website. Just incredible to work with. I had a blast grading them every which way and seeing how well they held up. 

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41 minutes ago, TheRenaissanceMan said:

He reposted it to correct a factual error from the original video. 

The out of camera Cineform files from Tone Mapping are available for download on the Kinefinity website. Just incredible to work with. I had a blast grading them every which way and seeing how well they held up. 

These images look like they would be good for narrative work. They seem to make it easy to empathize with the subjects for some reason. Maybe it has to do with the 'organic' look others have mentioned. I'm considering the 5k terra for a feature film to be shot in Seoul instead of renting a red package. I hope some images start dropping soon.

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1 hour ago, Hanriverprod said:

These images look like they would be good for narrative work. They seem to make it easy to empathize with the subjects for some reason. Maybe it has to do with the 'organic' look others have mentioned. I'm considering the 5k terra for a feature film to be shot in Seoul instead of renting a red package. I hope some images start dropping soon.

My thoughts exactly. The image feels dense, as opposed to the "thin" look to color Blackmagic has sometimes. That richness really gets you more invested in what you're seeing onscreen, even if it isn't technically as "good" on an image quality level.

That shot in the thumbnail of the girl standing by the lily pond is an excellent sample of the DR, roll-off, tonality, and color rendering of this camera. The gentle highlight on the shoulder of her white shirt, the gentle slope into shadow in the distant foliage, the skin tones/hair/lily pad colors...it all feels really good. And I'm serious--you can grade this footage every which way and it holds up like a champ. Even my BMPCC doesn't have this kind of color integrity. Certainly not in ProRes. The Kinefinity seems much less "brittle" in this regard (judging purely by the Cineform files, as tthat's all I've been able to get my hands on).

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2 hours ago, TheRenaissanceMan said:

My thoughts exactly. The image feels dense, as opposed to the "thin" look to color Blackmagic has sometimes. That richness really gets you more invested in what you're seeing onscreen, even if it isn't technically as "good" on an image quality level.

That shot in the thumbnail of the girl standing by the lily pond is an excellent sample of the DR, roll-off, tonality, and color rendering of this camera. The gentle highlight on the shoulder of her white shirt, the gentle slope into shadow in the distant foliage, the skin tones/hair/lily pad colors...it all feels really good. And I'm serious--you can grade this footage every which way and it holds up like a champ. Even my BMPCC doesn't have this kind of color integrity. Certainly not in ProRes. The Kinefinity seems much less "brittle" in this regard (judging purely by the Cineform files, as tthat's all I've been able to get my hands on).

Yeah I was out of the loop with gear for a while focusing on writing and getting projects setup, so I'm just learning about what is going on these days. I shot my last feature on the first red one in Korea so missed the whole indie dslr movement but before then I made shorts on film and min-dv camcorders. So these days I was getting back into the tech side of things and was getting into the modern look of these cameras like the samsung and sony, the hyper-realism. I'm flirting with the idea of doing a production with the aesthetic of these mirrorless cameras and shooting some of it on auto-focus and not grading it to emulate film, but maintaining the aesthetics of these cameras instead of trying to resist it and conforming to past ideas of what is acceptable in narrative filmmaking. I would like to pare down the production by not seeing this current tech as limitations but a way to keep things light and moving.

But these kinefinity images remind me why it's important to have certain baselines for images in storytelling. Like you say, the gentleness of how it deals with color and light will help the viewer enter the emotional world of the characters. Style definitely has its place but for me conveying emotions is key and it's so hard to be able to do that that you need all the help you can get.

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