Homerus

So you picked one sentence that doesn't even remotely relate to his reviews (or standing at a booth for that matter) out of an entire explanation text that is specifically written for leery people like you. Yes, I do think Philip spent two moments of his spare time to tell people about a camera that pleasantly surprised him. Do you perhaps also sell tinfoil hats? With your clear negative bias towards Kinefinity and remarks like "I paid for your camera!" you're making a complete ass of yourself. No one takes you seriously with that attitude mate.

Over the course of several years that I've been following Kinefinity and owning the KineMini I've found that there is a certain group that has a negative bias towards the company and try to pick apart every little detail that they don't do right. It's like Trump supporters still moaning about Hillary's emails. Yes, I've been critical of many of their choices and many times I considered moving to a different brand. Now I have a Terra 4K being delivered any day. Why? Because it is perfect for ME and MY line of work. But whatever. If you don't want it, don't buy it.

Yeah right... "One would naturally assume the latter" Why would you assume the latter? Why can't he be doing this out of charity? What makes you so biased towards the idea that PB would be in this for the money? You don't make any sense :/ That's cool, tastes are tastes. But this camera has been compared to the Alexa for a reason. If you'd tell anyone the c200 looked remotely like an Alexa people would laugh in your face.

That's exactly what they are doing... Perfect description, I'm going to remember that one

You can download DNG's from Kinefinity's website to compare. I've been closely following the 4.6K and it absolutely is very nice, I even considered buying it. But it just doesn't have that cinematic (or "filmic") quality that Red/Arri/F55/Kinefinity have. It's more of a mix between FS7 and Red to me. Like Oliver said it has a more modern feel to it. Even the KineMini 4K is still on par with the Ursa Mini 4.6K, and that cam is one and a half years old now. But it has a very different "feel" to it, a feel I happen to really like. If I know Kinefinity, they'll up the game even more with the Terra.

The (cinematic) image quality of the KineMini 4K/KineMax 6K is comparable with RED/ALEXA (unlike the Ursa Mini...) As a happy KineMini 4K owner I'll bet it will kick ass

To be fair, not being able to edit CinemaDNG 4K is not really a con of the camera, more of your edit studio. I'd say it's a pro that it actually supports shooting CinemaDNG.

No camera in this price range is as cinematic as the Kinemini, not even the 1D C

Well, ok. The - again - was a bit spikey, but I did purposely use this tone because I think Andrew seems biased in his comparisons, and this is not the first one. My observation is that the exposure and grading are particularly worse in the footage of the other cameras.

Andrew, it seems that - again - you are pretty inconsistent when it comes to exposure and grading in these tests. It also strikes me that there is so little talk about the major compression artefacts the internal recording has. When you grade this stuff, it just turns to mush... so no, the a7S will NOT beat 5D Mark III Raw. The a7S only really starts to become interesting with an external recorder

I've recently stabilised GH4 4K footage (cameraman on the back of a bicycle, lots of shakiness) with Lock&Load and it turned out perfect. (no, I don't work for them) There are 3 very important considerations when you shoot for post-stabilisation: 1. Shoot with a high shutterspeed - this prevents trails, trails can't be removed in post. 2. Shoot with a wide lens - the wider the better, shakiness decreases when shooting wider. 3. Good software - I've tried many, many plugins that failed at doing proper stabilising And if you shoot with rolling shutter: 4. Look for a plugin that has rolling shutter reduction, it really helps.

Thanks everyone :) Nope, just good ol' 8 bit h.264. I used Contax Zeiss lenses back then (and still do, they are amazing)

I really, really like the GH4. But now that I've been able to get a "raw" taste of CinemaDNG (see what I did there), I think I'll save up for the Kinemini 4K

I shot my short film on the 550D. Some shots still look quite amazing:

The video is just badly shot and badly graded. Try download the .dng files, they're amazing.

Hahaha now that's hilarious! And I guess you don't even know which camera you have, because the 550D doesn't have an articulating screen...

Same problem here, just over half way there though. The grip was more of a joke ;) I'll go with a v-mount. For those interested, you can download some dng stills here: http://bit.ly/1oSCOCM The images are truly amazing, way better representation than the video they made.

I've been watching Kinefinity and I gotta say, the MINI got all the features I need. I also love the design of the MINI, it feel like an old camera. Wish I could pop a grip underneath it with a recording trigger. Even though the shots in the video aren't great and the 2K 96fps sucks atm, it's still on my to buy list.

This camera reminds me of them Alienware laptops... or an Aventador

The 5D weighs around 1 kg, adding a 7 kg recorder to it seems absolutely mental... on CF cards for bloody sake. I'd rather go with Atomos or Odyssey

That picture... is this real or did you just Photoshop that?

Wow, 7,5 kg is ridiculous. BMD sure don't fail to surprise me with their weird and unpractical designs. And what's up with URSA? Did they watch After Earth and thought that was a good name or something? The GH2 is in no way comparable with 5D Raw, sorry but it just isn't. 5D/KineRaw are quite a match for each other though.

Although pretty faint, the doorways actually show more definition and color-retainment in the 5D. Take a look at the round building in the background and the lamppost on the right. The 5D maintains a lot of detail in the building and at the same time still shows the bulb of the lamppost at high ISO's. The bulb in the GH4 lamppost is indistinguishable and the building is just a black smudge. Also, when it comes to color retainment: take a look at the little plants on the right. They are green in the 5D, but grey in the GH4. This is also noticeable in the last shot (check the green leafs). This is of course the benefit of Raw (imagine a GH4 with Raw hack... :rolleyes:) Maybe the vof is influenced by the speedbooster? I don't know. The Sigma/Metabones combo also suffers a lot less from CA (+1 for Metabones). Still, for the price the GH4 is an awesome piece of gear and it is still on my comparison list!

Thanks for the test Andrew. Did you shoot the 5D in h.264 or Raw? It seems h.264'ísh but I could be wrong... The GH4 seems to have less dynamic range overall, having a darker sky and more blown out lights and reflections on the windscreens. The DOF difference is also pretty huge, but that was to be expected. To me, the 5D still remains the ruler of the dark....