Kinefinity Vista First Look

[Aussie Ash]

 

[eatstoomuchjam]

Huh.  A Sub-$3k cinema body in that form factor could be really compelling.  The big question now will be what sensor they put in there.  If it's an IMX410, it'll be big shrug from me - but if it's a newer sensor, maybe the one used in the S1 II, and they have 10-bit ProRes and, ideally, some 12-bit codec, it could be a compelling product.

Otherwise, the Nikon ZR exists, costs less, and can be shoved into any of the same spaces that the Vista would fit in.  Also has decent face detect AF which is really useful when the camera's shoved into a tiny nook/cranny.

[Aussie Ash]

open gate & internal SSD but only manual focus

[Aussie Ash]

[KnightsFan]

Looks cool, but I'm surprised that I can't find any info on frame rates or anything. As the first reply says, if it's the typical IMX410 then it's not interesting to me. I do love that it uses a generic battery and interchangeable lens mount.

[Aussie Ash]

There is nothing on their web site about it either.The full specs don't seem to be finalised yet,it looks like an entry level camera for them so logically the sensor is already used in their existing line up.Their Mavo MkII full frame body start around US $6,000  they are aiming at getting this to market at around US $3000 .

[eatstoomuchjam]

I'm pretty sure that the Mavo Mark II LF is using IMX410.  It's a great sensor which is why it's been used in so many cameras since it was introduced in 2018.  But that's also exactly the problem.  It's in a lot of cameras already.  Sell it at $1,500 and it's interesting as a budget play.  Sell it at $3,000 and you're going up against the EOS R5, Nikon Z8, Red Komodo, Nikon ZR, Panasonic S1 II, and EOS R6 Mark III.  IMO, every one of those sensors that's at least equal to the IMX410.  They also support 10-bit internal recording that doesn't look like ProRes 4444 (I think that's the only 12-bit format available on Kinefinity right now).  Of course, it's also up against the much cheaper Z Cam E2-F6 and E2-F6 Mark II which also use IMX410.

The form factor is enticing, but a ZR is even smaller and also has a big flippy 4" screen.  And internal raw.  And really good autofocus.  And costs around $1,000 less.

Just like with some of the other cameras that have been announced recently, the question to ask not just "What makes me buy this over the other cameras on the market?" - but it's also "What makes me buy this over a camera I already have?"

[Aussie Ash]

Storage: Built-in 240GB SSD + CFexpress Type B.

Power: Native LEMO 2P DC-IN + NP-F550 support.

Monitor: 4-inch High-brightness OLED Retina Touchscreen + Dual full-size 4K HDMI.

I/O: Built-in Mic + 3.5mm Mic (TC support) + Headphone jack.

Build: 600g CNC Aluminum body.

[mkabi]

I was excited for a microsecond when they said "vista" - but thats just name only.
There is so much left to be desired... the full-frame 6K space is over saturated.

Nobody is doing Medium Format above 4K.

You want to invigorate and/or disturb the cinema space in 2026 and going forward??? Bring affordable IMAX 12K sensors into a small body. 

[eatstoomuchjam]

2 minutes ago, mkabi said:

Nobody is doing Medium Format above 4K.

The GFX 100 II and, I assume, Eterna, have a 5.8k 2.35:1 full sensor width recording mode.

And the Ursa Cine 17K has a 65mm sensor.

And FWIW, any of the Red VV cameras have a 40mm-wide sensor which is exactly in the middle of the 36mm of a FF camera and the 44mm of GFX/Eterna.  Since terms don't matter anymore, they should probably just call that "medium format" since, y'know, the GFX sensor is also substantially smaller than what would traditionally be called "medium format."

9 minutes ago, mkabi said:

You want to invigorate and/or disturb the cinema space in 2026 and going forward??? Bring affordable IMAX 12K sensors into a small body. 

Unless Sony have a big 12K sensor that can read out fast enough for video, how would that happen?  There's only one 12K video sensor on the market, as far as I know, and BMD have it custom-made.  There isn't huge economy of scale in it so manufacturing costs are high.

But also, speaking as a person who owns a 12K-capable camera, there is almost never any reason whatsoever to shoot in 12K - including in IMAX.  Mine is an 8K camera nearly all the time, except when shooting plates - and when I forget to toggle back to 8K after switching plates and facepalm.

[Aussie Ash]

CineD have just dropped a 13minute interview with Cathy at NAB on youtube about this camera