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Andrew Reid

KineMINI 4K raw cinema camera review

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The KineMINI 4K is an exciting update to the 2013 model. This now records 12bit 4K raw internally and one of the raw formats is compressed. A much improved DSLR battery grip provides ‘build in’ power via lithium cells similar to those used by Telsa Motors. The CPU has had a major upgrade making the camera far more responsive. Anamorphic modes abound and behind a swappable mount sits a very capable 4K Super 35mm CMOS sensor. A starting price of 4198 euros + shipping and tax for the 4K model sits half way between the Blackmagic Production Camera and the FS700 raw output.

So does the ‘Chinese Dragon’ breathe triumphant flames or is it slain?

Read the full article here

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Cool.  It looks like all the negative hype about lack of colour science is unfounded.  I guess kineraw's videos are responsible for that.  It will be really interesting to see how the image holds up against the NX1 with the new firmware update, especially in terms of dynamic range.

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Refreshingly small for a camera that shoots 4K RAW.

6NBuCde.jpg

 

Andrew. Looks like you nailed WB with the Kine versus the 1DC in your grade. Were you going for neutral? Played with kineraw-sample-5-4k.dng in Resolve and ACR. I didn't find any obvious color casts.

V0Qxk1r.jpg

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I find the cineform workflow to be better then converting to prores or the R3D workflow. I was able to edit a 4k spot on my laptop which is impressive. Editing 2k in realtime and 4k was useable but very good. Even in my post apps like nuke cineform is supported, Im trying to get them to add it into the 64bit versions because they are updating the codec supported. (4k right now crashes due to the 32bit qt helper not being able to handle it.

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I sold my FS700 and bought a KineMINI, and I'm very happy I did. The only thing I miss are the ND filters. Cineform in 4K would be nice, because the trascoding takes a while, but at least we have Cineform in 1080p, 2K, 3K, and S16mm crop mode. Hopefully they update the codec to 64bit, like Rob said. Maybe we can get some higher frame rates too in 4K. The controls are much easier to manage than the FS700. At first the wheel was a little weird, but now it's very easy to manage. For me, it works great as a run and gun type camera too… definitely more ergonomic than the FS700, especially with a V-mount battery on back. You can mount an audio recorder(plugged into KineMini) on one side(1/4 20 mounts on both sides) and a wireless receiver on the other with quick release plates, and it works great. 

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Hey Jeff, how do you find the rolling shutter for handheld work, - do you have to use Sports mode or is it manageable in regular 4K mode?

Also, how well does KineMINI play with gimbals like Ronin?

Thanks.

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@mtheory… the rolling shutter can be pretty bad in S35 mode, if you're not careful, but it's manageable for me. I don't think it is any worse than my FS700 was. In sports mode the RS greatly reduced… it's no global shutter, but unless you're really swinging it, you'll barely notice it.

I don't know how well it works with a gimbal, but I'll let you know at the end of the month, when I buy one. Seems like it would work great.

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To be fair, not being able to edit CinemaDNG 4K is not really a con of the camera, more of your edit studio. I'd say it's a pro that it actually supports shooting CinemaDNG. 

 

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@mtheory… They say there is 1 stop less of DR, but I don't see it. I really like the look too! It's a lot more organic than the FS700. Although I shot a feature film on the FS700/Atomos Blade, with an Iscorama lens and it looks pretty nice. Sounds like shit though… had to replace 90% of the sound and dialog. 

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To be fair, not being able to edit CinemaDNG 4K is not really a con of the camera, more of your edit studio. I'd say it's a pro that it actually supports shooting CinemaDNG. 

 

​Exactly! Good storage managing skills and some HDD investment will do the trick. If not, we can do a simple roundtripping. It is hard only when dslr workflow applied.

CinemaDNG is easy and fundamental.

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​Exactly! Good storage managing skills and some HDD investment will do the trick. If not, we can do a simple roundtripping. It is hard only when dslr workflow applied.

CinemaDNG is easy and fundamental.

​Can you elaborate? I haven't worked with CinemaDNG, but may be soon so it would be nice to know how to approach it from the start.

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​Exactly! Good storage managing skills and some HDD investment will do the trick. If not, we can do a simple roundtripping. It is hard only when dslr workflow applied.

CinemaDNG is easy and fundamental.

​At 128GB per 6 minutes that's some HDD investment you're going to make over a years worth of heavy shooting, day in day out.

It has nothing to do with not applying a 'DSLR workflow', though that is a lot quicker and simpler than handling 128GB per 6 minutes of footage.

Also, 4K Cinema DNG does not playback smoothly on even a very high spec Mac.

So you have to create the proxies, then grade via roundtrip, and it's SLOW.

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