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Andrew Reid

KineMAX 6K specs and raw footage

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The KineMAX 6K cinema camera is nearing a release and I might have my hands on a prototype soon here in Berlin (I happen to be down the road from my friends at HDVideoShop who are the official European dealer). This is a significantly higher spec cinema camera on paper than anything else under the price of a Red Dragon for now. Kinefinity have just released the first 6K footage from the camera and even some original material direct from the SSD card is available, for grading trials.

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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

Right on- a camera test with people and skin tones (;))! Looks pretty good, especially for the price.

What's the raw bitdeph?

Raw is fine for narrative, would more versatile with on-camera deBayering and efficient compressed codecs. If it shot ProRes or similar might be a good ARRI alternative.

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God I love the look of the Kine cameras. Hope they find success. If I ever get into more feature films (right now mainly doc work) I'll probably invest in them, 3K 16-bit is astounding. Still hoping they find a US Distributor.

Right on- a camera test with people and skin tones (;))! Looks pretty good, especially for the price.

What's the raw bitdeph?

Raw is fine for narrative, would more versatile with on-camera deBayering and efficient compressed codecs. If it shot ProRes or similar might be a good ARRI alternative.

​You can find some samples of the Cineform files that the kineMINI produces online, excellent non-raw codec that edits in all editors and has more efficient encoding than ProRes. 

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That looks so gorgeous and I would love to own such a great camera and play around with it. But this ratrace for tech and gear is exhausting and these permanent comparisons between video and film are unnecesssary. Video is video and film is film. What's wrong with that?

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​You can find some samples of the Cineform files that the kineMINI produces online, excellent non-raw codec that edits in all editors and has more efficient encoding than ProRes. 

​It looks like KineMini uses Cineform RAW- which is wavelet compressed Bayer data (http://www.kinefinity.tv/cameras/kinemax-6k/). Wavelet compression doesn't suffer from macroblock artifacts (as ProRes can). However wavelet compression doesn't work very well at higher compression ratios. As compression level goes up, the entire images gets softer (higher frequency information is discarded). Depending on the compression level supported, it's clear that Cineform RAW files (basically a form of MJPEG2000 encoding single-planer Bayer data) could be smaller than ProRes (422/444 YUV (3 planes) MJPEG) and potentially look better with no macroblock artifacts. Decompressing wavelets is very fast, however high quality debayering requires GPU acceleration to run in real-time.

Which is better in practice? Sounds like a good test :)

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I love this camera, but I don't like the colorist work here at all. At the beginning the colors are too vivid and there is a feel of color tint to the image. Overall the look is too creamy to my eyes, though it might be because of the lens used and "organic" location. And why is there always a painted face in the camera test footages?=)

I hope one day I get this camera

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Nope. Video and digital film are two very different things.

​Ah... I think I got it: Video means broadcast cameras and digital film is for digital cinema (plus digital projection)?!

Ok, that's different then: Comparison between "digital film" and film. However this digital film looks great :)

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Looks like Kinefinity is firing the first shots at the NAB crowd..and their body engineering is getting better...wouldn't be surprised if they announce an even smaller form factor for KineMINI this year. Really curious about the rolling shutter performance at 6K and 3K on the KineMAX, looking forward to the review.

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I absolutely love the images I see in the "test". The flesh tones look full and rich to me. Also worth talking about is the camera's ergonomics. While it may not displace an Amira soon, it definitely will take a broadside at Red. What I see design wise over Red is placing all the ins and outs on the dumb side facing the rear. Used an Epic last week and it reminded  me what a  POA it is to getting to some of its ins/outs especially the HDMI. Also, the Kine's menu and dedicated function buttons for things like ISO, WB, IRIS, etc. will be welcome. Though once an Epic owner, the touchscreen system never sat well with me. It's not only an extra appendage that's useless for critical focus but I can't tell you the number of times my hand grazed across it and changed a critical setting - it has no bloody settings lock!  Then the last thing that's quite exciting is Kine's PL style EF mount. Optitek makes one for F5/55 and one for Nikon lenses. I've tried it and with this type of mount, your lenses will not think of jiggling. Far better than the twist and click. 

This camera has me considering getting back into the owner / op game as it offers the right specs, decent ergo and great price. A real deal sealer would be built in ND's. Sony and Arri heard the call and answered this while Red's best effort is the light sucking motion mount. 

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oh common now 6 k what next 15k eye candy for us 99.9% of population dont even care and we are trying to sell the content to them

​Like or not, 4k deliveables will become standard. I personally don't care for it. I diffuse images already in 2k. All but one Acedemy nominee was mastered in 2k. But TV's must be sold so 4k is here to come. That being the case, for crop in and motion stabilzation you might as well be shooting 6k for 4k broadcast,

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