Rob Bannister

This would be sweet, they can totally do it but their service has to come up in quality a bit if they are going to service a larger market of cameras. The x7s raw is beautiful, even their 10bit h265 is wonderful to grade. It's surprising how much difference this makes. I can't wait to see prores raw in something.

Hi everyone. I was looking at getting the Kinefinity Mavo LF but the more I see the soft highspeed footage I'm getting concerned using this for elements, green screen and VFX shooting. Then came the Red gemini, great for anamorphic and good highspeed modes. It's quite expensive but I'm hoping it rents enough to justify it.

Pretty bad when a tiny drone like the mavic pro 2 has 10bit h265 in it.

I'm more interested in the 5k Terra. Size is what I'm mainly looking for. I don't use my kinemini 4k as much as I'd like. I'm going 5k cause of the global shutter and the option to use rolling for more DR. The kinemax has more resolution and higher DR at reduced resolutions. This is what I like about kinefinity. You can have this, or this with trade offs etc. Awesome

Im not going to read the pages and pages of wining going on here from people who have not owned a camera from kinefinity so please forgive me if I say something thats already been covered. Kinefinity is totally a reliable company. I actually get great access to support online and they have been very open to suggestions. They added an anamorphic mode within 2 versions of the firmware. Kinestation is great, their codecs are great KRW is a lossless format that can be converted directly back to DNG (if its not shot in highspeed mode which is 4:4:4 not raw. I would say they push their cameras way further then any other company because they have no top end to gouge so why not make the cameras the best they can be. Now for the cameras. Ive owned the Kinemini when it first came out and then upgraded my body to the Kinemini4k. I was about to upgrade to the kinemax but then the Terra got announced. Who doesnt want this camera??? You are crazy, just go and spend more money on a Red Camera then. I personally dont have $40k+ to spend on a cinema camera. The image on the kinemini4k is already lovely. A good mix or the red and Alexa honestly. The noise pattern is organic and the range is there.The kinemax 16fstops in Golden 3k, this sold me along with the highspeed options. Now with the Terra comes global shutter and 15/13 stops in a smaller body. I want one so I really hope none of you do so I get one faster. I got Rich off the forumn here to modify a speedbooster for my Kinemini and then Kinefinity made one shortly after. They are a company who does listen I feel. The mount is awesome, its a sub PL mount with many options. The sensor is Super 35..... I dont know what else to say really, its a sweet vcamera and Im glad I didnt go with the black magic cameras in the end or other cameras. If you really want to know more then just speculation you can join us users over at Kinecommunity and the Kinfinity User group on facebook. Rob

Oh I still have it but this is the legendary 36!

Oh man I want this

I had a dell 4k monitor for a week and checked out the original file. It looked really nice. I did notice some heavy noise in the blacks like in the hair. Now viewing it on a dream color in HD all that noise is hidden and it really doesnt do it the image justice. Lots of nice detail I just hope that noise is handled well in this camera.

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.

This is great stuff to know Andrew thanks for the information. This is the area where I need to keep on top of for work and for myself when starting with a lower quality video its very important to keep what detail was available in the source footage. The image you posted with the issue resolved...looks awesome. I know Avid announced changees to DnxHD to include 2k, 4k and 6k but Im not sure when this is going to be available.

Andrew Im glad you are looking into nikons again. I do love them and used the D810 recently so I can agree it does feel like a much better version of the D800 camera. The video, stills and the Group focus points all are really great. I wish the value of my D800 wasnt so low now or Id sell and upgrade. As for nikon hackers I do hope they get some great advances soon. The Nikon bodies have the ability to write a lot of data to cards and buffers very quickly. Especially as Ive been saying with the XQD cards they are unbelievably fast. I have kind of given up on the DSLR Video stuff but like having it around. Ive moved on to the Kinemini 4k but its a huge camera. Anyways again glad you are pushing these guys because they will be there own worst enemy with their current mentality on what we want as users.

its great and the price is amazing. I do wish they went full 4k which has always been 4096 for me anyways. My monitor setup is getting close to needing an update too. Samsung at it again. Great stuff

Exactly what I was thinking Andrew, if you need to transcode this stuff it takes away the benefit of H265, I guess not entirely at least the footprint is smaller out in the field but it just wastes time and then using the files you will need proxies and drive space. Hopefully they can get native support in the next version of Premiere and the heavy lifting can be unloaded to the GPU. I will say i have been using the Kinemini with Cineform which the next version of premiere is adding better support for...anyways I really love that workflow now. But even then we need H265 support its really hard to distribute 4k online right now.

Is H265 compatible with any editing software like premiere yet? How heavy is it for declmressingand working with for realtime playback and editing. Did not imagine Samsung having the most interesting announcement at the show. Great stuff H265 is finally here!

i know if I owned one of these cameras I would not update the firmware after modding this. Watch rental houses buy up the rest of the stock with the current firmware.

Exactly, I bought the hardware and I can do whatever I want with it. If its capable of doing something and I can open that up I will. I will always apply a hack if the manufacturer is pulling this crap and crippling the camera...

Beautiful flare, out of focus areas not so much but the adapter is pretty darn cheap in Anamorphic terms if you can make it work for you.

Once you drop the price that much no one will want to pay full price for that camera ever again.

Oh and as for the kinemini it has taken 9 weeks now to get my upgrade so I have no idea I have been told for the past few weeks im suppose to be getting it but it still has yet to be sent out from china....not looking good for them to support the professionals in the north american market. Whenever they decide to get their act together and get my camera back I will let you guys know....

Yes the issues came out when we told them on set to shoot a stop under. It pushed the codec too far and we were unaware that they were shooting directly to DnxHD and not to 444 DPX or raw. I think everyone was doing the change from something like the F35 to the Alexa. This was a few years ago it seemed everyone had this footage from episodic that you could not pull a clean key from. It is a lot better if you expose your GS one stop up but there still is macro blocking in these codecs...you can just make dealing with it a bit better...true 444 or raw is still the way to go.

Yeah the grids come from resampling the image...like anytime you do a transform you take a filter hit unless you are staying at whole numbers and not scaling or rotating this will be an impulse filter with no resampling. The problem with impulse is that you will see tearing if you do resize or rotate. So picking the best filter is necessary when doing these transforms, like in cubix you will start to see a grid pattern come out if you look close. Some info on filters taken from here http://www.fxguide.com/featured/Keeping_Your_Renders_Clean/ Nearest Neighbor/Impulse/Dirac: This algorithm samples only 1 pixel…the closest one to the original point. In the end, if you’re scaling upwards this simply ends up making the pixels bigger. If you’re doing an effect where you want the image to appear pixellated, this is the one for you. If you’re scaling down, the image will be very sharp yet pixels will boil and jump between frames in many situations. Box: A 1×1 square is used for interpolation. As the name suggests, this gives a boxy look and in most cases is not useable for scaling up. Bilinear: A 2×2 square is considered when interpolating imagery, ending up with a weighted average of the four pixels. This results in imagery which is far smoother than nearest neighbor. Bicubic (“cubic†in Nuke): An even larger area, 4×4, is considered for bicubic interpolation. So you end sampling a total of 16 pixels. Pixels which are closer to the original point have more of an impact on the end result (aka “weighted†higher). Imagery is shaper than Bilinear, yet smoother than nearest neighbor. Spline, Sinc, and others: Even larger areas are considered for these interpolations. They retain even more image detail than Bilinear or Bicubic when uprezzing or rotating, so if you’re doing multiple rotations which are not concatenated, they are generally a better way to go. However, these types of calculations are much more processor intensive and take a longer time to render. If you don’t need this extra detail — as mentioned above, this can depend upon your imagery — you might be able to get by with other interpolation methods. Sinc: Keeps small details when scaling down with good aliasing. Ringing problems make it a questionable choice for scaling up. Default size is 4 x 4. It can also deliver negative values, which can be interesting when working in float/channel bit depth. It is one of the best methods for scaling down. Mitchell / Catmulll-Rom : A good balance between sharpness and ringing, and so a good choice for scaling up. Sometimes Mitchell can produce better result with details, but it depends upon the content. Default size is 4 x 4. Lanczos: Similar to the Sinc filter, but with less sharpness and ringing. Most likely better quality than Mitchell /Catmull-Rom. Gaussian: Resizing is generally soft, but is good with ringing and aliasing. Jinc (Autodesk Proprietary): Found in toxik, this resizing algorithm compares to a Lanczos filter in quality — with very good results maintaing details without softening.

This was always my issue with cameras is getting raw or 4:4:4 out of it. I went with the kinemini which is actually great but that pocket camera is so cheap now. I didnt like the sensor in it or the build but at that price who cares. Just remember to light your green +1 stop to pull better keys especially when not shooting raw. Even prores and DnxHD get blocky if you go under. In film days is was always -1 stop but now we have to light brighter....which kinda sucks because you can get more spill but much better then trying to Roto fine details and Hair. Got bitten by that once on a show with the Alexa and never again.

It can be fixed, this is the thing with most old lenses. I didnt have this much issue but i did have to send both of my isco taking lenses in to get torn apart and cleaned, apertures unstuck etc. Hopefully its not too bad but most Iscoramas out there seem to need something to get them working perfectly again. Hopefully yuo can either do it yourself of someone near by can do it for you depending on your location

NP, I have done the process for Nuke and After Effects. I just sound boring in the videos right now.Will make a point to finish them up

I have a video to explain on this I just have to do the voice over. Basically if you can denoise the plate, sharpen the luma and blur the chroma then regrain it should get rid of any banding you have