Raafi Rivero

Apple is no stranger to overly broad patents either. Steve Jobs himself is credited as one of the authors for the patent of “swipe to unlock” on the original iPhone.

This is huge news! RED can bully little guys but now one of the five largest companies in the world has their thumbs on little Red. Getcha popcorn ready

Thanks. I haven't done anything like that but today someone showed me this pretty detailed comparison of the full-frame cinema cameras: https://www.agdok.de/de_DE/kameratest2019-en

I haven't really posted in this group much for awhile, but the launch film I created for the Mavo LF just dropped today. (It was playing at the Kinefinity booths at NAB&CineGear but it finally came online today). Article I wrote on NoFilmSchool but the film's more important - took me about a year, ha. I've always wanted to create something vaguely sci-fi. Happy to answer any technical questions, too. Cheers.

The electronic ND sounds interesting, too. No (claimed) color shift. PL mount can cover full frame, BTW

The Feelworld 279s is significantly brighter than my onboard monitor, which is rated at 500 nits. It looks a little green out of the box but has user-configurable RGB sliders and a green-magenta slider so I'll have to tweak a little bit to get the colors spot on.

2000 nits for 200 bucks. This was my one Black Friday purchase. Will update on Monday when it’s here.

Another lighter weight way to add weight and stability to a small camera is to use a gyro from Ken-Lab. I own one of them - the KS-6 - and used it on my 5D pretty often. The downside is it makes noise so it’s more suited for b-roll and MOS footage, but on the plus side it gives you a floaty steadicam-like feel. The best of both worlds is to use it as a counterweight on the back of a handheld rig, then it gives your handheld more gravitas like a larger camera even when it’s powered off, and when it’s turned on... mwah. Everything in this video was shot with that setup: 5D mk2, handheld rig, Ken-Lab KS-6 (sometimes on sometimes off): also part 2 with the actual race:

I guess if you don't count Amsterdam, Poland, Belgium, the Czech Republic, and Spain, then, yeah, there's only one distributor in Europe. I'd bet they add U.S. soon, too: http://www.kinefinity.com/kineteam/contact-us/?lang=en

do you have pics of this setup?

Most variable NDs are just two polarizers that rotate. When they line up and let the most light through then they’re at minimum. That’s why you get those weird star shaped artifacts in the bokeh when you’re stopped down a ton on a vari-ND and your lens is wide open. To get vari-ND on a matte box you need at least two stages and one stage has to be able to rotate. You should be able to drop in two polarizers and replicate the same effect. This is optically inferior to simply dropping in a single filter with the amount of ND you need, but it works. If you wanted to add a grad filter to a setup like that you’d need a three stage matte box. There is one manufacturer, I can’t remember who (can anyone help?), that made a two stage matte box with a third stage that supports a circular vari-ND so that you can use your existing ND closest to the lens and had two standard 4x4 trays for whatever else you want to add.

I use a counter-weight by Neewer on the back of my rig. It cost me $30 on Amazon. Here’s a link. Redrock Micro also sells a dual counter weight that fits on rails for around $350, LOL. @TheRenaissanceMan said it earlier. Getting your setup heavier is the only way. An extreme way of thinking about it is: you’re standing in the middle of a windy field holding a single piece of paper in your hands. You twist and kneel with it like you were operating a camera. You trade the piece of paper for a 15lb boulder, doing the same things. Which one flutters in the wind more?

There is some confusion in the metaphor you're making about film stock and digital sensors. One the one hand you say that you want companies to produce custom made sensors, then you conclude by saying you purchased a Z-cam because it uses the same sensor as the GH4. There are several layers to the way digital images are made and the sensor is just one of them. The color science of the camera matters as well - the Blackmagic CC4K and AJA Cion were released around the same time and were widely reported to use the same sensor. Both companies were known primarily for making breakout boxes and postproduction hardware. Both decided to move up the image chain to make a camera. The BMCC4K was Blackmagic's second camera. Blackmagic still makes cameras, and in fact the most popular thread on this website is about one of them. AJA produced an ergonomically superior camera. AJA released a video where the skin-tone of the models was not pleasing. AJA failed because of poor color science. So, you see, the sensor itself is not the dominant factor. Otherwise sensor makers would just make cameras. Engineering meets aesthetics in a camera. The manufacturer must have an appreciation for both - in the build and design of the camera body itself, and in its appreciation for the types of images the camera will be used to produce. Kinefinity's engineering prowess is clear. No other large format camera delivers such specs in such a small package. The aesthetic question is, of course, more subjective. I believe the Mavo LF is capable of creating excellent, cinema-quality images.

This is kind of a ridiculous statement. Not sure how you can make such a sweeping judgment not having shot on the camera. re: S35 vs Full-Frame - one of the cool things about shooting on a full-frame camera like the Mavo LF is you can always bump down to S35 mode and shoot on a traditional frame size in 4k at any time. I did it the other day.

I'll have an answer for you soon - I'm shooting the official launch film for it . Here's my unboxing of the Mavo LF - the first one to land in the US - with a tiny bit of actual production footage at the end of the video. (sorry for the audio. I'm deep in pre-pro and was rushing to get the unboxing out while in the midst of other prep). This couldn't be further from the truth. At a base price of ~$12k it's a fraction of the cost of full-frame competitors - Monstro VV =$80,000, ALEXA LF = $98,000, Canon C700= $33,000, Sony Venice = $42,500. it's a dual-native ISO 800/5120, a feature none of the competitors offer (the Varicam has a similar dual native, but isn't full-frame). Also it's a fraction of the size/weight of all those other cameras. But, yeah, nothing special. Been shooting tests all week, production starts on Saturday.