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Andrew Reid

KineMAX 6K specs and raw footage

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I would take the time to post Some footage and share my experience with the camera.

It seems that the module KineAudio
will be ready this summer.

I can not say more about adjust the XLR from the camera  and the ratio of audio recording.

 

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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

To hell with Ursa mini and Aja. Cfast 2.0 cards are dumb. There are 1TB ssds and I calculated the price for the work flow of Kinemax 6k is $18,000-22,000. Much cheaper than Aja and Ursa mini. I know you see me switching sides constantly... Well I'm researching the cameras. I think the Kinemax is best for the low budget filmmaker unless you can afford a boat. And in fact this is as much as a Mustang GT with a V6 engine. FS7 looks more expensive because of the cards.

​Yeah, I also figured out that the Kinemax is not much more expensive that URSA Mini 4.7k or AJA Cion. For me, it makes absolutely no sense to spend money on a Cion, which already has an outdated sensor. I played with both the Kinemax and URSA Mini at NAB and they're both lovely cameras, but I can't help but feel that the Kinemax is much more of serious filmmaking camera. It just feels hardcore and the quality of the images coming out of it, in my opinion, are more organic and cinematic than what I've seen in the URSA 4.6k reel on BM's site, or from the Cion. When the Kinemax has internal ProRes (hopefully later this year) that will be a huge plus. I'm undecided though and I need to get confirmation on the audio recording capabilities of the Kinemax. For example, if you can't change the audio levels of the XLR inputs, without needing a separate mixer, that will be a huge deal breaker for me.

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I emailed Kinefinity with a few questions and here are the answers for those interested:

Q) Is there a way to adjust audio levels when using the XLR audio inputs? I do not remember seeing any specific audio level control on the camera at NAB. Can you adjust the audio levels on each of the channels independently and select which track the sound records to. For example, can you mix two audio sources in camera?
 
A) Yes, there is a menu to turn up or down the gain of audio capturing, and so far tuning gain applies all channels at the same time
 
Q) Was is the approximate dynamic range of the camera when using Sport Mode? Is there a significant drop in quality. 
 
A) Sport Mode/HiSpeed mode: Dynamic range remains same, but it brings some moire and aliasing to the images
 
Q) When is the new expected ship date to US customers?
 
A) 2015 July for US customers
 
Q) Will I be able to get the camera serviced (if necessary) a the US distributor when you have one, or would I need to buy the camera from them rather than directly from Kinefinity?
 
A) Yes, your camera will get serviced if we have US distributor. Before that, we will take care of your camera directly
 
Q) Is there an estimated timeline for in-camera ProRes implementation? Are you able to tell me if this will include ProRes 422HQ or 444XQ?
 
A) In this year, for in-camera ProRes. Yes, it will include 422, 444, and 444XQ. It is a hardware update, not firmware.
 
Q) I know that the current EF mount does not support image stabilization. Is there a plan to implement this function?
 
A) IS for EF lens, we don’t have plan in near future. But it may be in the future. 

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I emailed Kinefinity with a few questions and here are the answers for those interested:

Q) Is there a way to adjust audio levels when using the XLR audio inputs? I do not remember seeing any specific audio level control on the camera at NAB. Can you adjust the audio levels on each of the channels independently and select which track the sound records to. For example, can you mix two audio sources in camera?
 
A) Yes, there is a menu to turn up or down the gain of audio capturing, and so far tuning gain applies all channels at the same time
 
Q) Was is the approximate dynamic range of the camera when using Sport Mode? Is there a significant drop in quality. 
 
A) Sport Mode/HiSpeed mode: Dynamic range remains same, but it brings some moire and aliasing to the images
 
Q) When is the new expected ship date to US customers?
 
A) 2015 July for US customers
 
Q) Will I be able to get the camera serviced (if necessary) a the US distributor when you have one, or would I need to buy the camera from them rather than directly from Kinefinity?
 
A) Yes, your camera will get serviced if we have US distributor. Before that, we will take care of your camera directly
 
Q) Is there an estimated timeline for in-camera ProRes implementation? Are you able to tell me if this will include ProRes 422HQ or 444XQ?
 
A) In this year, for in-camera ProRes. Yes, it will include 422, 444, and 444XQ. It is a hardware update, not firmware.
 
Q) I know that the current EF mount does not support image stabilization. Is there a plan to implement this function?
 
A) IS for EF lens, we don’t have plan in near future. But it may be in the future. 

​The Sport Mode not dropping DR is great news.

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A test done quickly with Kinemax
Certain shots are a little too red due to a filter and a bad white balance.

The compression format is also a little bastard.

The compression does not do justice to the image quality. The next move I'll try better compression.

https://vimeo.com/12976005

​Thanks for posting Marco. Some lovely shots in there. Looking forward to seeing more! Any chance you could post something that has a more contemporary, brighter, grade, maybe with a standard REC-709 LUT? I've noticed that Kinecolor seems to give a very classical, slightly desaturated look to the image, which isn't necessarily a bad thing, but I'm interested to see something different. 

P.s. You have a pet owl !!!!?

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hahaha

A friend of mine, save an owl that had fallen from its nest. It feels very comfortable with humans.

  It s true that Kinecolor is very classic, I wanted to keep it quite basic, if ever want to play with some colorization and see what it can give.

When I have more time I would suggest another further test. I would put REC-709 LUTs and more contemporary grades. I will do something more substantial.


For the moment I am trying to do the editing of my first documentary feature film it s labor intensive, especially when you don t have the budget to hire an editor and you have to do it yourself but I hope to have time to propose a new test soon.

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Additionally, at NAB, Kinefinity showed me in Scratch how gradable the footage is. They were able to make a nighttime shot of a train in a station look like daytime, with no visible noise (without pixel peeping) in the lowlights. I was impressed to say the least. 

​Hi all,

Just in case you missed it, Kinefinity now bundles SCRATCH with its 4K and 6K cameras.  Existing camera owners can also get a huge discount by entering their camera SN# on the order page.

They also started posting the SCRATCH tutorials with Chinese subtitles on their Vimeo channel https://vimeo.com/kinefinity 

http://www.kinefinity.com/news-2015-kine-assimilate-press/?lang=en

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