Oliver Daniel

I'm looking at the 5k to be honest. The 6k version doesn't seem to have a 5k mode, whereas the 5k one does at 60fps. 5k 60fps is a better option than 6k in my opinion. Also the 5k has switchable shutters. The 6k doesn't. And the 5k is cheaper, but it's a new sensor. So no proof of image quality yet. Blackmagic have quality control issues, I think the prices reflect that fairly. But they should start announcing products they have made, rather than "hey, look what we are trying to make and it's available to pre-order". The weight, size and lack of extended HFR options put me off the Ursa Mini 4.6k. Even though it's a Mini, you can't ignore the sheer difference compared to the Terra. Size and weight matters. If I buy bigger, everything else (such as my grip) has to be bigger too. Smaller is the future.

Do you know that 99.9% of the film and TV series you watch all have artificial lighting, eye lights and everything? IMO it's the biggest factor to the feel and quality of the image, for any camera. Everything I shoot, I have lights set up. And make up. And sets. Locations. Actual real people doing actual things. This short shows the Kinemini 4k looks awesome in a controlled setup. There's really nice highlight rolloff and skin tones.

Cheers, good luck with the trip! Looking forward to seeing what the Terra is all about.

For me, the power features ruin the potential of this product. Doesn't make sense to have a micro type product, which you have to put on a rig to power up. Might as well have one of the larger ones off a different brand for less money.

That's why I'm still using Sony. They have the features I need with the compromise of doing more work with the colour. I think Sony should focus on the colour science and white balance for the next A7 cameras (and battery life!!), among the predictable other upgrades (every spec higher and a bit better). I do this all the time. Just recently wrapped up shooting, lighting and editing this video. FS7 + A7SII. Extreme lighting that will make pixel peepers sweat with horror (the degradation of extremes is intentional).

Found something decent shot on the Kinemini 4k - nice and organic looking. Also love the use of lenses in this short. https://vimeo.com/159982174

My opinion is that you're right. There's definitely something wrong with the A7 white balance. I've tinkered with it extensively using all sorts of different lights and methods. You CAN sort it out via the custom settings however what Jimmy says, something else goes missing or is affected which makes grading the images universally problematic. My Lupolux lights in daylight, look like daylight with the FS7. They look pale green on every picture profile on the A7 cameras. I can dial that out, but then I get a strong magenta shift in other areas. This is just one example. If your subject is a human, then there are issues. It is the job of the operator to set white balance correctly, however the A7 white balance function is drunk or something. I can get there consistently, even in Slog2, but getting there is like trying to get your drunk friend home. Takes a long time, but it can be sort of weirdly fun too.

Zach is in the X-Men and therefore defies all expectations. I'm also interested in the 360 cam stuff. I expect Sony to release 458 of them in the next year.

Awesome Mr. Jones I feel these guys at Kinefinity have a hard time with the West, as Chinese products kind of have some cheapo taboo and they don't have a decent international marketing and sales channel. It also doesn't help there's a lot of animosity online about them, mostly with those who own an expensive camera like a RED. Those who do own Kine cameras say the support is great and the products are top quality. These would be good questions: 1. Are there plans to expand their international sales channel and expand dealership of their cameras? 2. How do English speaking countries get support for the cameras (with a language barrier?) 3. Do they have a license to use ProRes and if not, when do they expect to get it? 4. Does the global/rolling switchable shutter work in any protoypes/models? If so, is there a significant quality difference? (BM failed here as GS was not good enough). 5. Is there any loss in quality using Hi Speed modes, and if so, what will be compromised? (Resolution, noise, moire, aliasing). 6. Is every frame rate/resolution on the cameras available in both Raw and ProRes? 7. What is the functionality of the KineGrip? How long can a Sony battery power the camera for via the grip? 8. How long does the Terra take to boot? 9. How much more weight will the KineBACK and regular V-lock add to the overall camera? 10. What is the native ISO? 11. If I was to pre-order the camera, when can I expect to receive it? 12. What cost are we looking at if I order the camera with a Kinemount and an extra adapter? (Like EF or PL)? 13. Does the 6k model have a 5k mode? If so, why not? 14. Are lower resolutions and Hi-Speed modes crops of the sensor or can they be used with the full Super35 image area? 15. What is included in the Wi-Fi functionality? What can we control? A lot of questions. But I love the look of the Terra and there are many unanswered questions.

I would go for FS700 + 7Q at a used price. Better features. Possibly the most complete, bargain deal that exists right now. Hit up Aaron Chicago, he recently got a bundle You just have to factor in the FS700 ergonomics. Not great for handheld, so you may need to budget in some support accessories. The FS700 is destined to be a classic. A legend.

The top package is just under $9k, but if you don't need some of the other bells and whistles, you can get a package for quite a bit cheaper. The Terra rivals the much much more expensive Scarlet-W on paper, let's see if it rivals it on image quality. The issue with Kinefinity is that many of their users post awful footage that's badly graded and exposed. The decent pro stuff I've seen looks exceptional though. Very organic, thick and very pleasing. I'm very surprised there is no EOSHD opinion on the Terra announcement yet.

I agree. I think it will be an Ursa Pocket, as the Ursa range is replacing the sensor in a box designs of before. Whatever market gap there is though, BM will be on it. In terms if a camera purchase, I've also been on an A-cam yo-yo. I think an investment now really does need 4K, as in two years, clients will be asking for it as standard. The issue I have with 4K is that most of the manufacturers have bolted on thin and brittle 4K at the expense of better HD.This is also affecting high frame rates. We get brittle 4K with mediocre to poor HFR performance. The A7SII is a good example of this. 4K is ok, yet the HD HFR modes are much worse in quality. This camera screams for HD 10-bit, but it's skipped for thin low bitrate 4K. A major purchase must cover every required area at a high quality, and because clients in the UK don't care what you shoot on (as long as it looks high quality), you can get away with brands under the attractive RED logo. I love the images from the Ursa 4.6k, however the camera is still pretty chunky (needing to invest in bigger tripod, slider etc) and the HD HFR is far from ideal for professional work. Pre-NAB, the ideal camera that could last years in a professional environment is the Kinefinity Terra (if the image quality remains high). Small, light, modular form factor. 5k 60fps. 4K 100fps. Raw and ProRes. Global or rolling. Good price. Organic aesthetic. Can be speed boasted and have any mount. LUT support. SSD's. Seems like a no-brainer that will last a long time. If anyone is going to NAB, please report from the Kinefinity stand.

I can confirm after so many shoots and so many tests that Sony white balance on the A7 series DOES NOT WORK PROPERLY. How it gets into the working cameras is beyond me. I think this is the main reason why A7 colour science seems a bit like puke. FS7 and F55, much better. These cameras skin tone seem more bronzed, muted, not plastic at all. They still need much more work than other brands to get right. I'll probably always keep an A7S whatever version though as its a superb tool to have in the bag, always. Sometimes the "crappy" colour is ideal. Battery life is shocking though. They need to sort this.

I recently had a client who traveled from Dubai and one from Hong Kong. They both said that there are plenty of people who own a RED, Arri, Canon C300 II - but it's rare that any of these people have any actual talent. The ideology is different in that it's what you own, rather than what you can do. They came to the UK to get "different, creative lighting" as they can't get it where they are. The UK is a definitely what you can do, rather than what you own kinda place. Everyone wants quality.

Maps are the fundamental part to a working camera. I hope RED got their map right or we're all doomed! Not sure why there is a lot of animosity against Kinefinity. They are offering excellent cameras to the market and people are in a huff puff about it.

Not really. Some clients ask for 4K, but they just ask because it's the latest technological buzzword they see advertised. Slow motion gets asked for a lot, as does certain styles of lighting.

Seen as there worldwide EOSHD forum users, I thought it would be an interesting topic to see how the business of video production differs for each other across the globe - and see how similar or different it is. I'm from Manchester UK, and make music promos, commercial video and offer another pair of hands for other production teams. The city is a media monster, with Media City (home to peeps like the BBC) at the heart of it all. There is everything from your production companies, boutiques, one-man bands shooting everyday - video is becoming even bigger with creative agencies and the tender for all the work is fiercely competitive. Generally I have found that expectation from the clients is higher, yet the price for video is going down. Music videos especially have gone rock bottom for budgets. Some of the ideology is why pay more when Mr. DSLR can give you something decent for literally nothing but the "exposure"? Same goes for commercial and corporate jobs. The price is going down, and it gets more difficult for some of us to competitively quote. Clients here come to you for your ideas, content and quality. Unless it's a TV drama or major commercial, they couldn't give a rats ass what camera you are shooting on. As long as the end result is of excellent quality, they don't care. I shot over 100 music videos on a GH3 and no one ever said anything negative. You can get hired as an owner operator, but because the rental price for such cameras is cheap - people who want to hire one can just do it themselves. Or try. Does happen. I'm finding that the one to two man bands are the "go to" people for a majority of your lower to mid end video productions. Agencies are actually employing their own "two man bands" so they can save money (salaried earnings and reduced commission), have creative control and oversee the entire process with their own eyes. My business is generally two-man band with the appearance of a company, as we regularly work with numerous freelancers on every project as a team. So for us it's a bit of a middle man thing. As you develop and your price goes up, this has friction with the fact the price of video is going down. The quality, content and service has to be excellent to be justifiable. If Mr. DSLR has better creative work than Mr. Arri Alexa Owner and charges less than half - everybody will go for the cheapest option. Everybody wants to save money, but needs video that's "good enough". Video is booming like mad in my region, but everyone with a brain and a camera is after it! It's positive. I try harder. It's fun

Last time I checked this was a gear blog that analyses the performance of different cameras, lenses etc - mostly those devices in the affordable price range. The blog reports that Canon is still behind Sony & Panasonic in terms of video quality in this range. Don't see anything wrong with that. We all know that the best video quality from Canon is reserved for professionals, but we're a bit grumpy because we wish they actually did improve their video at the lower end, but it's more likely Arri will release a sub $5k cinema camera than Canon doing just that. We all know that the man/woman behind the camera is obviously the most important. But this isn't the blog for that.

A skilled person can make the Sony cameras sing, but having been a user of Sony for years, there is definitely something about their colour that isn't quite right, especially the mirrorless range. White balance on the A7 series does not work properly. I have an A7SII and I'm forever tinkering with white balance on set. It's never quite right and is what I believe many users are getting very wrong, hence all the very poor "sickly" footage out there with "bad" colour science. FS7 and upwards are vastly superior and are pleasant to use (for colour). Bit muted and cold in the spectrum, but very nice indeed. Canon DSLRs have a very punchy, yet pleasing colour rendition. Cinema EOS are fantastic and generally beautiful. They offer a quick road to pleasing colour. I do like how you can pick more of a look with the Sony cams, as Canon seems more baked and stubbornly accurate. It depends if you are willing to do more of the work in post (which I personally enjoy). It's all subjective though. Whatever camera is best for the job and best for you is the way to go. Not what the Internet says is the best. The 80d will be best for many.

The Terra has a lot of advantages over the URSA Mini 4.6k. - Higher Resolution. - Switchable shutter (the irony). - Higher FPS. - Lightweight, smaller and more modular. - Kinemount. - Choice between V-lock and Sony batteries. Blackmagic obviously have a much stronger sales channel and a vast user base . Plus the image quality comparison is up for questioning. Still, it's a very interesting prospect I'm very keen to explore.

Totally right - I don't get the animosity here. You can now get the Kinemini 4k with ALL options for $3499: http://www.kinefinity.com/shop/kinemini-battle-tested/?lang=en The TERRA is also up for pre-order at HD Video Shop in Berlin: http://hdvideoshop.com/kinefinity/2505-kinefinity-terra-5k-6k-preorder.html#/terra_preorder_prio_-no/terra_5_or_6k-5k I find the 5k version more compelling - as you get dual shutter modes and 5k 60fps. The 6k version doesn't have this (you get a bit higher FPS and 1 more stop of DR). Looking forward to seeing some footage.

Wow, a conversation about a new camera release has turned into arguments over ProRes licensing? Kinefinity are actually a small unit in a huge Chinese astronomy imagery company, I'm sure they have all this stuff sorted. Aside the negativity... this camera is a very compelling option which needs better worldwide support. I'm excited to see more of this camera soon.

My first DSLR was a Canon 60d and I loved it because it was quite revolutionary at the time. Filming video with a DSLR certainly had this very new, exciting feel to it. I'd be pretty annoyed if they haven't improved video quality since, however us EOSHD readers know where else to look. I think for it's target market it's just fine though. Not the camera for people who need very high performance video features and images.

Yes... some great stuff there to see though. There's a thread on RedUser about the Terra - bloody hell some of those guys probably wear pyjamas with the Red logo on them. Lots of negativity towards Kinefinity. Insane.

Another RX10.... crazy! I owned the RX10 II for 3 months. I didn't like it at all - the image aesthetic with the 1" sensor is not for me. Nice zoom range on this one though.