Kinefinity should concentrate its R&D efforts on color sciences rather than on spec and performances. Unfortunately, the color science is not there yet and can not be compared to other professional cinema solutions (ARRI, RED, Canon…) There is some deficit of a unique artistic look. Large format cinema camera, which is also affordable is a rare privilege in our industry. Kinefinity offers us, filmmakers, something we can’t refuse. Give it a try, watch the film, and comment below what you think. All in all, the image is polished, but lack of an artistic look, but again, it’s my sole opinion. Have to say that the blacks are crushed a lot of times, which is not good. In my personal opinion, the imagery is a bit too soft. The colors are accurate, as well as skin tones which look precise. Transcoded everything to 1080p proxies in LT first, then replaced everything towards the end with the full-res in order to deliver in 4k. Rivera says that the film was edited in FCPX: “We did one shoot in CinemaDNG, but I ended up transcoding those to ProRes anyway since FCP doesn’t have a Raw workflow yet.” The rest of the stuff was shot in ProRes 4444 XQ. I wanted to put the camera in as many challenging situations as possible – scenes with low light, saturated sources, and high dynamic range Director Rafi Rivero Post-production The film was shot using Kinefinity’s new Mavo Prime lenses which cover full-frame.Īccording to Rivero, the MAVO LF was tested under challenging production environments: “I wanted to put the camera in as many challenging situations as possible – scenes with low light, saturated sources, and high dynamic range.” Onset footage. Jihua Zheng, CEO of Kinefinity, says, “we wanted a film that shows the Mavo LF as a storytelling tool, not just another camera test.” Rivero was tasked by Kinefinity, to demonstrate the camera’s capabilities with a variety of lighting conditions and skin tones. Re/Connections, directed by Rafi Rivero from The Color Machine, is the first narrative short to be created with Kinefinity MAVO LF. We wanted a film that shows the Mavo LF as a storytelling tool, not just another camera test Jihua Zheng, Kinefinity CEO The MAVO LF as a storytelling tool High on Films Recommends | First Edition | May 2023 Nonetheless, the Kinefinity has a lot to prove, since impressive specs are not enough. Nevertheless, it seems that the Chinese company, Kinefinity, has found a way to build state of the art 6K Large Format machine that can compete against other known camera manufactures. However, large format cinema cameras are expensive (price starts at $30,000) since there are significant technology barriers and limitations that can cause some decent engineering challenges. Large format sensor allows more flexibility on shot’s kinetics, larger field of view and shallower depth of field. The pros and cons of large format cinematography are definite. Advantages of Large Format cinematography Regarding specs, the camera can shoot 6k resolution, 14 stops of dynamic range, and owns dual-native ISO for better utilization in low light scenarios. Kinefinity claims that the MAVO LF is based on advanced color processing architecture and a new CMOS image sensors to achieve super low-noise and high dynamic range. The MAVO LF is a cinema camera features a 36x24mm sensor for $12,000 (body-only), which makes it the most affordable full-frame cinema camera on the market. Picture by Ralston Smith An affordable large sensor cinema camera Has the MAVO LF got what it takes to be defined as a professional storytelling tool? Kinefinity MAVO LF on set. Director Raafi Rivero gives us an inside look at his project, which is the first narrative short film shot on Kinefinity’s flagship.
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