+neirad537 I only had a chance to see test footage from the 5k version and play with the 6k version in person. I can tell you that the 6k image looked great, and did good all the way up to around iso 2000. If the 5k version is anything like it's bigger brother, you'll have a very nice camera.
onelonedork Yes I did not have test the camera but I downloaded some raw files and it look great. I can start with just the body and an EF mount packege, I can live without a native monitor or evf because I own one and even if I love to have native XLR with phantom power I can use my FS100 as the audio recorder and then sync in post, and use and external battery to start and then invest in the back and accessories later. I don't know if you can start with the Red Raven body only without investing in some extra module, not mention the insanely expensive media. So I'll have to do some research before committing to this camera for my raw needs. As for now I'm skipping any black magic. Now is the 5k Kinefinity or the future Raven.
+neirad537 yeah, the RED is a crazy expensive ecosystem you're buying into, it's more than just getting a camera. Kinefinity is like Aputure... 'hey, why does it have to be so bloody expensive, let's get these people some value for their money'. They just have a hard time establishing their brand well. There's quite a bit of Kinefinity 6K footage out there shot on the KineMAX, which uses the same sensor as the 6K Terra. It's a very pretty picture that comes out of it. The 5K is a whole new thing, so hopefully it will be very similar. Wouldn't export in 5 or 6K anyways, but a little oversized capture allows for a fair amount of flexibility in post for final 4K delivery. A hair of reframing or stabilization. That's also why I don't understand that camera manufacturers have nothing between 1080p and 4K. I'd love to get 1440p and 2.7K for that little bit more for 1080p projects. Sure 4K works too, but maybe is overkill/hurts your workflow. Besides 1440p and 2.7K would open up new high framerates! Like GoPro... 4K at 30, 2.7K at 60, 1440p80, 1080p120. If you shoot at 4K for better detail/quality, you're sacrificing framerates. With 1080p you have the framerates, but you have not oversized flexibility and quality. That's where the in-between resolutions could really come in handy.
Could you please tell me WHY the 5K has only the global shutter camera and rolling shutter? Why is not included in the 6K version? I dont get it at all !
+Combo Jerman It's a whole new sensor in the 5k, whereas the 6k is from the Kinemax. My bet would be they couldn't quite get there in terms of 6 k global shutter, as more pixels makes the already difficult task of global shutter even more difficult, and expensive. 5k is still huge.
+Austin Mackell Yes I get that. The new sensor is for the 5K. But I dont get why isnt that possible to get first the sensor in the 6k? The 6k is the newst model isnt it? Doesnt make any sence to bring something new with old technology. Thats my point.
If the 5K version actually delivers on it's switchable shutter and comes close to it's dynamic range promises, I think I'm sold. If the DR really is in the same ballpark as the Ursa 4.6K, the low light performance is similar, and the color science is decent, this will definitely be the camera to go with. Price-wise they're about the same, and while I will have to pick up a copy of resolve if I go this route (whereas the Ursa comes with a copy), the ability to switch out lens mounts and use a speedbooster MORE than makes up for that. Not to mention the frame rates!
+RealWorld Endo Kinefinity actually makes their own version of a speedbooster called the Kine-Enhancer and its about the same price as Meta. Its for EF btw.
+Kaster Troy but the native mount on this camera is EF based on the video. So, you would get a PL mount and then get an EF Speedbooster? Is that the idea?
+RealWorld Endo No, the native mount is the KineMount. You then simply attach your EF or EF-Enhancer mount to the KineMount. No screws or anything needed, all the mounts attach to the kinemount like a lens would.
+Kaster Troy Oh thanks! That's very interesting. So, you can actually have a full frame EF mount with their Speedbooster along with Electronic control of the iris and shutter on a 5K sensor with 13 stops of DR with global shutter! Sounds pretty sweet to me! I nearly bought their Kinefinity RAW camera last year. I just didn't trust that they would be able to deliver all the goods they said as it was pre production. Then I saw Andrew Reid's review of it afterwards. It's was so impressive how this small Chinese manufacturer has been so innovative at such low cost. This smaller module is definitely worth reconsideration. It's the same price as D1Xmk ii. 4K 60p vs. 5K 60p. hmmm. Then again, you have ProRes vs. that stupid Motion JPEG! BTW, that DualPixel AF is amazing on the 1Dxii.
So they achieved what Blackmagic Design couldn't, a camera with a switchable rolling-global shutter. The question is, Why they haven't been able to work a distribution deal in America?
+Mel Feliciano My guess is getting the camera state side would require marketing dollars that they don't have. Kinefinity is a very small company, this is literally one of the engineers speaking with me.
+Elliot Grey This camera is gonna be in a lot of peoples hands! I had my sights on the RED Scarlet-W but once I saw this I changed my mind. I also saw an interview from NAB where he says they are currently working on a USA distribution deal.
