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Kinemini 4k, used Red, 5DIII raw, or wait?


silvertonesx24

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I produce mostly creative corporate work for agencies and businesses. Mix of interviews and narrative shots. Some broadcast, but mostly online content. We've been shooting 5DII raw. It produces a really great image to work with, but:

1) The anti-moire filter required on the 5DII is a pain to deal with. You lose light and sharpness (especially at the edges of wider lenses).

2) The 5DII isn't that stable with raw- usable for sure, but not rock solid.

3) No slow motion and the creative possibilities it unlocks.

Some different reasons

4) The whole DSLR setup feels gimpy for when you're out of the run-and-gun setup for real shoots.

5) Clients see the budgets we ask for, and then see a $1000 7 year old DSLR. It's not a huge problem really, but it could offer the wrong impression. The reality is, stupid or not, that a "sick" rig can impress clients and believe it or not, some agencies are opening up to the whole "why don't we just have our intern shoot what we need 240p 4k on his iPhone" nonsense.

Basically, I feel as though in light of these, it might be time to upgrade. I love a wide latitude, and the creativity raw offers in post.

I haven't seen anything- at all- on the Black Magic line that has impressed me. Not one commercial, demo, short film, not anything. FS700, really looks like it's built for videography, and again the images- specifically the skin tones, don't impress. Need an external recorder for raw. C100/300- once you go raw, it's hard to go back. I don't like the concept of renting; I want to own. So it needs to be an investment that returns greater than a 5DII raw can for me, well before the camera depreciates.

 

I basically have eliminated everything down to KineMini 4k, upgrading to a 5DIII raw, a used Red (MX), or just wait for prices to drop making the investment easier to return.

I know this is a DSLR forum, but what opinions do any of you have on my thoughts?

 

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Might try to hold off until NAB to see what's just over the horizon. Out of those choices, it really depends. You'll have to really rig up both the kinemini and RED. The RED especially won't fit on gimbals and stuff so that's kinda a bummer. If you do any sort of run and gun, the 5D mark III is probably what you'd want to go with.  But i still say hold off until the new stuff gets announced. Then at the very least this stuff will get even cheaper.

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The FS7 is almost the perfect sub-10k camera, but the menus are just plain awful. It doesn't seem like a big deal but when you're using the camera in a fast paced environment it eats up alot of time. I agree that you should wait a couple of more weeks and see what NAB brings (although it may be a few months till those announced cameras ship).

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In that price range for cinema work if you need RAW, KineMINI. You can use cineform when your shooting interviews, and raw for more post intensive projects. Keep in mind you have to rig it out and pay more for 4K and Hi-speed. 

Don't use Mark 3 Raw on a professional shoot. Creative projects, sure. Never on a set where reliability is a concern. Also, like you said before the KineMINI will make your clients believe they are getting more for their dollar. Also you get in camera backup to SSD with the KineMINI, a godsend if something goes wrong. 

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In that price range for cinema work if you need RAW, KineMINI. You can use cineform when your shooting interviews, and raw for more post intensive projects. Keep in mind you have to rig it out and pay more for 4K and Hi-speed. 

Don't use Mark 3 Raw on a professional shoot. Creative projects, sure. Never on a set where reliability is a concern. Also, like you said before the KineMINI will make your clients believe they are getting more for their dollar. Also you get in camera backup to SSD with the KineMINI, a godsend if something goes wrong. 

​Thanks- I didn't think of the backup option on the KineMINI. I've used 5D2 raw for many professional shoots without any disasters, but it's just unstable/gimpy. With the style of work I produce- I always have heavy, scripted coverage, which has saved a few 5D2 drops during interviews.

FS7 seems nice, but I'd need a raw recorder, which starts building up the price. Granted on KineMINI I'd need to drop a bunch of money on D tap batteries..so back to square 1.

It seems like the Black Magic Production Camera is the logical step up from the DSLR level, trying to fit within the DSLR and Cinema Camera gap. I have just seen so little professional work from that camera that makes me say WOW, especially next to what you can get with 5D2/3 raw (in addition to a nice solid Canon resale value)

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