Footage, BTS, & Workflow Videos for the $3500 KineMINI 4K RAW Camera
We talk an awful lot about cameras here on No Film School. Why? Because new cameras are absurdly exciting. However, there's one camera company that might make some of the most intriguing and cost-effective cameras on the market, yet it's a company that we rarely mention. I'm talking of course about Kinefinity, the Chinese company whose cinema cameras offer many of the features and aesthetics of RED's cameras at a fraction of the cost. The folks at HDVideoshop in Berlin recently went out and shot with the KineMINI 4K, and shared some excellent footage, BTS, and workflow solutions for this unique camera.
For those of you who are unfamiliar with the impressive specs of this camera, here's a quick recap.
- 4K RAW In-Camera Recording
- 100fps@1080p(RAW) / 96fps@2K(RAW)
- Multiple Codecs: CinemaDNG, CineformRAW, ProRes, H.264,…
- sensor crop function
- 13 stops dynamic range
- 3D multicam-sync function
- Built-in 2.5” SSD Slot
- HDMI & SDI video output
- Exchangeable lens mount system
- Only 1,9 kg body weight
These days, it's hard to imagine a camera with those kinds of specs costing anywhere under $15k. That's why it's utterly amazing that the KineMINI 4K body comes in at $3500, while the Pro Pack, which contains a boatload of accessories, comes in at $6300.
Now let's get to some of the footage and BTS videos from MJIT Berlin. First, here's a quick rough cut of a piece that they threw together with the KiniMINI. Just as a heads up, I don't believe this footage has been color corrected yet (at least I hope not), so there are definitely a few shots where the color is a bit wonky, for lack of a better way to put it.
For those of you who think the ungraded footage looks awful (it definitely pushes towards cyan in the midtones for some reason), here are a few more KineMINI 4K clips from HDVideoShop, but this time you can see some basic grades on the footage.
Now let's take a look at a few quick making-of videos that have even more RAW ungraded footage interspersed throughout them.
At this point, you might be wondering about this camera's RAW workflow. Like most of the RAW camera manufacturers today, Kinefinity has its own RAW transcoding utility called Kinestation, which according to the following video, is absurdly simple to use.
I'm not entirely sure what to make of the Kinestation software, considering it looks to have zero control over output codec, metadata entry, LUT application, or anything along those lines. According to the Kinefinity website, the current version of the software (which is in beta) only supports the output of Cineform RGB 4:4:4 quicktime files, which should be an incredibly robust proxy format that you can use before color correcting and mastering from the RAW files.
Ultimately, it's hard not to be a bit skeptical about Kinefinity's cameras, especially considering the high-end feature set, the almost too-good-to-be-true pricing, and the fact that there's not much in terms of real-world testing, footage, or reviews on the internet. However, these cameras present a tremendous bargain, and if you're one of those people who like to adopt cameras early in their development, then it might be worth it to jump on over to Kinefinity's site and check out some of their offerings, as most of them are available for purchase right now.
What do you guys think of the KineMINI footage and workflow? Let's hear your thoughts about this unique camera and company down in the comments!
Link: KiniMINI 4K -- Kinefinity
[via Wolfcrow]
Your Comment
83 Comments
These cameras by Kinefinity are extremely underrated. The tests done by the company do not show the full ability of these cameras. If you play with the DNG's on there website you can see the how well they grade and how nice the image looks. Even with a bare bones version of this camera you still get 2k images in cineform and cinema DNG's and you can choose to have interchangeable mounts.
I found a few videos with there previous cameras:
http://vimeo.com/98869281
http://vimeo.com/98854276
http://vimeo.com/46219535
http://vimeo.com/53786956
http://vimeo.com/89188432
http://vimeo.com/88770398
http://vimeo.com/88850858
http://vimeo.com/97441152
http://vimeo.com/94032955
http://vimeo.com/95756746
June 25, 2014 at 5:33PM, Edited September 4, 11:56AM
*Their
June 25, 2014 at 5:34PM, Edited September 4, 11:56AM
Cool. Now color grade that ish because it looks awful.
June 25, 2014 at 5:39PM, Edited September 4, 11:56AM
Kinefinity's site is Krashed.
June 25, 2014 at 5:39PM, Edited September 4, 11:56AM
On the fence either this or aja cion , inky thing holding me back with both is possible defects and replacements by them fairly small and new companies, leaning with coin but cameras are getting cheaper by the months
Only if the A7s had 10bit video it would be almost perfect , the a7s large pixels and dynamic range even in 8 bit is amazing even in lowlight
June 25, 2014 at 8:20PM, Edited September 4, 11:56AM
I aprreciate the effort, but I don't think it helps to put 'the making of' and 'ungraded' and anything else that doesn't show us what can actually be achieved by a real pro filmmaker or operator. We saw that for months with the Digital Bolex. And when I saw some actual processed footage, it was not up to my expectations. Not even close.
M.
June 25, 2014 at 6:04PM, Edited September 4, 11:56AM
I was busy being distracted by the unnessarilly epic score in the first piece. Also they stole that first shot from Gladiator - minus Russell Crow of course. Maybe if they had hired Russel Crow I would buy this camera. I emphatically trust people from Hollywood. Also, Happy Meal toys are made in China, why not my professional cinema camera? Hmmmm. Now you've really got me thinking about this....
June 25, 2014 at 6:15PM, Edited September 4, 11:56AM
This footage definitely needs to be color-graded.
As it is, it turns me off, and makes me wonder whether this camera is ready for prime time.
Many 4K cameras have limited dynamic range. Grading the footage will go a long way
towards dispelling any concerns.
June 25, 2014 at 6:16PM, Edited September 4, 11:56AM
Well at first I was disapointed , and then I watched the making of and understood the issue. If you want to launch a camera , you have to hire a crew and proffessional cinematographer... Don't want to bash them at all , but look at the shooting condition . This mattebox, this steadiecam use, no light at all , samyang lenses... Maybe this guy is talented , but in these conditions.... I mean for the red one , they had Peter Jackson to direct the "promotion" short.
June 25, 2014 at 6:18PM, Edited September 4, 11:56AM
What a downer... "Amateur filmmaker friends try to reproduce 'big budget stuff'". Worst videos Ive seen in a long, long time... posting the first ungraded footage... with awful lighting... and final cut x???? Stop it!! Please stop posting bad videos kinefinity!! Please. Stop.
June 25, 2014 at 6:26PM, Edited September 4, 11:56AM
No XLR option at this price tag? sorry, but...
June 25, 2014 at 6:29PM, Edited September 4, 11:56AM
Well , Red cameras don't have xlr ... The lack of proper footage and test seem to be the real issue here...
June 25, 2014 at 6:46PM, Edited September 4, 11:56AM
Why do you need XLR running into a Cinema rig?
Where is your sound dept and slate?
June 25, 2014 at 6:51PM, Edited September 4, 11:56AM
Not everyone can afford to have a sound dept. A lot of indie filmmakers have to be one man bands these days. I will say, as someone who normally has to be a one man band a lot, no xlr input is certainly not a deal breaker.
June 25, 2014 at 9:47PM, Edited September 4, 11:56AM
Then either your film's sound is gonna be shit, or you're taking way too much camera for you small gig. Raw 4K is overkill if you're a videographer.
June 26, 2014 at 1:33PM, Edited September 4, 11:56AM
Pretty much. Dedicating your entire budget to a fancy-ish camera is poor budgeting and just makes your film worse.
June 26, 2014 at 6:22PM, Edited September 4, 11:56AM
Could you not just buy a $169 Tascam DR-60, and mount it to the camera if you need audio?
April 25, 2016 at 10:14AM
THERE IS NO PRIMARY ONBOARD SOUND IN NARRATIVE PROJECTS
HOW MANY TIMES DO WE HAVE TO GO OVER THIS
June 26, 2014 at 1:56AM, Edited September 4, 11:56AM
NOT EVERYONE BUYING A CAMERA INTENDS TO SHOOT NARRATIVE. HOW MANY TIMES DO WE NEED TO GO OVER THIS?
June 26, 2014 at 4:51AM, Edited September 4, 11:56AM
This is a cinema camera, dummy.
June 26, 2014 at 5:25AM, Edited September 4, 11:56AM
Don't be such a jerk Gene.
Anyway, although the lack of XLR connectors may or may not be a deal breaker for some people, adding them to a cinema camera isn't necessarily counter-intuitive. I can think of many applications where having XLR connectors on a cinema camera could be useful.
June 26, 2014 at 11:59AM, Edited September 4, 11:56AM
Its best to use an external recorded since mic level signals inside a camera of this type tend to pick up some EMI/RFI, enven just getting the mic cables close to the monitor can pick up the LCD back-light induced signals, so one would use a small digital recorder away from the camera, and send a line out signal to the camera's mic input through a L-pad so that you have a scratch track to sync to later. On the multi pin connector there is a auto-slate beep out pin you can send to the mic mixer so that you get a beep 1000Hz head slate and 2000Hz tail slate on the external audio. I used a mini-disk recorder as an external pre-amp and recorder with the KineRAW-S8p (tm) before and had no issues syncing up the audio since you just trim the wav file in your sound editor so that all the samples before the head slate beep are cut off. If you are shooting 24.000fps you set the external recorder to 48000 samples per second normally so you get 2000 samples per channel per frame. If you have long cable runs, its best to have the pre-amp near the mic anyway and run 600 ohm line level signals on the balanced cable to the mixer.
August 23, 2014 at 6:11AM, Edited September 4, 11:56AM
cinema = external sound, almost always.
This website (called No Film School, emphasis on FILM) needs to ditch that DSLR guide and make a Technical Basics of Narrative Filmmaking guide, it's sorely needed. Too many videographers in here complaining about stuff thats irrelevant
June 26, 2014 at 6:25PM, Edited September 4, 11:56AM
Just to point out, again---there are something like 5 Gene's commenting on this site. I strive to not be rude. Rude comments are not from me. Of course, with so many Gene's commenting how can you know which is which. I am not the above Gene.
June 26, 2014 at 9:44PM, Edited September 4, 11:56AM
I am Gene, please stop it will you?
June 28, 2014 at 4:16PM, Edited September 4, 11:56AM
Tell you what. You can be Gene.
I'll change my name. Then let's see how long it takes until another lot of commenters pops up using the new name I chose.
June 28, 2014 at 5:20PM, Edited September 4, 11:56AM
Why not The Good Gene, The Bad Gene and the Ugly Gene? You can fight out yourselves who gets to be the last one
February 13, 2016 at 2:02PM
Unless you're working CONSISTENTLY on decent budget narrative pieces (a very small percentage of people in the industry), most people are going to be shooting all types of content - often I'm looking for a camera that can tick more boxes than less, the Sony F55 for example, has XLR's and ND's - If you're purchasing a camera and you're work varies, the need for XLR's is higher, doing external sound all the time as a one man band can be a pain.
June 26, 2014 at 8:21PM, Edited September 4, 11:56AM
don't they know how bad this looks?
June 25, 2014 at 7:35PM, Edited September 4, 11:56AM
lol :(
June 25, 2014 at 10:26PM, Edited September 4, 11:56AM
There were many commenters in the past who were asking for ungraded samples. So now everything comes to us ungraded. I guess they wanted to grade it them selves. All samples should come both ungraded and graded. And graded a few different ways, I might add.
So yeah, ungraded always looks awful.
June 26, 2014 at 9:48PM, Edited September 4, 11:56AM
There is a analog gain override menu in the camer's setup, you can use the 800% zoom onto a white card and adjust the red and blue analog gains to get balanced data recorded, at least that is how it should be working. In case only the saturation and gamma correction would need to be adjusted to get one-light results. The Cineform is recorded with log curve and no matrix, if people grade from that without using the supplied 3D-LUT in the shot folder for monitoring matching then the primary colors can be at differing saturation, which is why a matrix is used in the monitoring. A raw recording can priduce messed up results when the people processing the footage are not bringing the raw data into alignment, there are ways around that, and hopefuly KineSTATION will be improved to offer burned in monitoring matching to the Prores trans-code option as well as to other RGB formats for people that cannot deal with real raw data (Red and Arri have their own conversion software so people using their cameras don't really need to deal with raw data as they get RGB output). There are advantages to having access to the actual raw linear data in the DNG frames, hopefully these issues with workflow will be cleared up, for now they do not prevent you from ignoring the DNG header settings and processing fine results from the actual raw data in the DNG frames, as I do with my de-Bayer progams, but the results will vary depending on the workflow used as its a raw Bayer data recording camera, not a RGB camera.
August 23, 2014 at 6:23AM, Edited September 4, 11:56AM
I found a link to some test clips on Vimeo...
https://vimeo.com/92225130
What do you guys think?
June 25, 2014 at 8:00PM, Edited September 4, 11:56AM
A good color balance makes a world of difference. I've played with those clips myself and they are very nice to work with.
June 25, 2014 at 8:19PM, Edited September 4, 11:56AM
It actually looks really nice with a proper grade on it. This camera definitely has my attention.
June 25, 2014 at 9:48PM, Edited September 4, 11:56AM
Thanks for sharing that. I'll add it to the post.
June 25, 2014 at 9:58PM, Edited September 4, 11:56AM
Robert,
Thanks very much for embedding my Vimeo test in the article.
It really made my day to be in a NFS article. ;-)
June 26, 2014 at 4:57AM, Edited September 4, 11:56AM
There are some videos done with the old cameras. You can see how if the camera is played with you can get great images.
http://vimeo.com/94032955
http://vimeo.com/53786956
http://vimeo.com/98869281
http://vimeo.com/98854276
http://www.youtube.com/watch?v=kYQ6bKAaiZw
http://vimeo.com/95756746
http://vimeo.com/89188432
http://vimeo.com/88770398
http://vimeo.com/88850858
http://vimeo.com/80769663
June 25, 2014 at 8:30PM, Edited September 4, 11:56AM
NEVER NEVER post flat film log ungraded clips without showing the same clips with a proper grade. Seeing only ungraded clips is nearly pointless and a big turn off!
June 25, 2014 at 9:42PM, Edited September 4, 11:56AM
that's like half the clips on Vimeo. Washed out faded looking, nearly log footage.
June 26, 2014 at 12:13AM, Edited September 4, 11:56AM
Will someone just test this camera correctly!!?? jeeze! Color Correct your footage or I will assume that it's just BS. I really wish one of the bigger names (philip, newman, andrew) would take one for a test run and se WTF it's really worth... in the mean time it looks like bad r3d from yesteryear.
June 25, 2014 at 9:55PM, Edited September 4, 11:56AM
No global shutter = not interested.
June 25, 2014 at 10:58PM, Edited September 4, 11:56AM
There is a 'sport mode' function that makes footage appear global shutter
June 26, 2014 at 5:27AM, Edited September 4, 11:56AM
They may sell a few of them to the Europeans and the Asians. Without the US distributor, they'll be DOA and SOL.
June 25, 2014 at 11:05PM, Edited September 4, 11:56AM
Graded Kineraw
https://www.youtube.com/watch?v=3fe3ZARvdQw
June 26, 2014 at 12:30AM, Edited September 4, 11:56AM
Kinefinity contacted me several months ago about doing a promo shoot for them with the 4k Mini. I wasn't available at the time...now I really wish I had been able to get my hands on it. If only for my personal curiosity. These cameras have so much promise, but these clips suck. I would hate to see this company go belly-up due to poor marketing.
June 26, 2014 at 2:15AM, Edited September 4, 11:56AM
The footage looks really nice (even if in 1080p). But it won't sell well in the US.
.
BTW, Nikon released D810 today (D800/E replacement) - basically the same old, same old ... no OLPF, no 4K, 36 MP sensor. Let's see what they have for PhotoKina in September.
June 26, 2014 at 2:27AM, Edited September 4, 11:56AM
I would hope Nikon doesn't stop at 8bit video if they do 4k. They need a lineup of 10bit and 12bit color cameras.
June 26, 2014 at 2:59AM, Edited September 4, 11:56AM
10 and 12 slow down work flow. Can't scare away the lazier shooters, don't you know.
June 26, 2014 at 5:47AM, Edited September 4, 11:56AM
The latest standards call for 10-bit everywhere, including the TV's.
.
As to Nikon, it has been having a very tough time with their cameras lately, as sales and profits are way down. Wall Street Journal had an article yesterday that criticized them for basically missing out on the mirrorless market, which is the largest growing segment of the biz. My take half a year ago was that Nikon and Canon are wed to their glass and that prevents them from jumping into the mirrorless, making all those legacy lenses both their main strength and main weakness. A lot of folks, and not just Dave Dugdale, are moving into mirrorless and/or MFT because the quality, with an occasional exception for the high end wildlife and sport photography, is more than good enough and the smaller size of the cameras and the related lenses is a huge plus.
.
That said, there will allegedly be a lot of announcements prior to PhotoKina in September and the fact that D810 was unveiled in early summer implies that it is not the pièce de résistance of the 2014 Nikon product line.
June 26, 2014 at 11:28AM, Edited September 4, 11:56AM
And A movie shot with their previous camera. Footage may be similar to the mini...
https://www.youtube.com/watch?v=YeO1s9oRORw
June 26, 2014 at 12:35AM, Edited September 4, 11:56AM
Now that looks nice indeed!
June 26, 2014 at 3:28AM, Edited September 4, 11:56AM
A little soft filter never killed nobody.
July 1, 2014 at 10:11PM, Edited September 4, 11:56AM
You had me at "Cineform". It's such a great codec. I don't see why it doesn't get licensed to more camera companies.
June 26, 2014 at 2:44AM, Edited September 4, 11:56AM
You may get your wish. SMPTE is close to formally adopting the VC-5 mezzanine compression standard, which is based on the CineForm codec.
June 26, 2014 at 9:52AM, Edited September 4, 11:56AM
A so called cinema camera that can't over crank is a waste of space. AT least KMini 4K can do this at some res
June 26, 2014 at 5:43AM, Edited September 4, 11:56AM
The base price of $3,499.00 is for the body only - so it might get your attention for a nano-second. The total cost of the camera is way more when you add in all the components that are required to actually shoot.
KineMini 4K Basic Pack is $4,299 and adds the KineGrip($369), KinStation($349), KineMAG-64GB x 1($369) and KineMINI AC Power Adapter ($69).
With the Basic Pack you need an EVF and sound acquistion to start to shoot in HD. Do you want to shoot in 4K, then get the... KineMINI 4K Option - $ 669.00
If you're shooting for 10 hours and shooting raw, you're going to need more than 1 x 64GB SSD card for recording. Not sure if the Kine will accept non-Kine SSDs.
All in all, to have a basic setup to shoot for a day the KiniMINI is going to cost upwards to six or seven thousand. Still a pretty cheap alternative to other 4K options out there.
One thing most people don't factor in, but should think about is what happens when the camera or accessory breaks? I didn't see a US distributor or service facility noted on the KinFinity site. Remember, support or the ability to get support for a product is just as important when you are a professional and depend on your equipment to make money...
June 26, 2014 at 12:44PM, Edited September 4, 11:56AM
I saw in a video that it accepts all kinds of ssd. But Kinefinity says on their website that their SSD is highly designed and assebled for this config unlike other SSDs on the market for other purposes - like to be in PCs etc.
"KineMAG employs very high quality SLC, while consumer type SSD uses MLC even TLC - SLC flash chip brings higher reliability, much faster writing speed and longer life naturally" from their website. However I dont think that a premium SSD with fast read and write speed wouldn´t work with the Kinemini.
I am in email contact with them. I asked many things and one was about a case of damage or error. In that case you can ship the camera back to Kinefinity where they repair it and send back. I think it just a matter of time that they will sell in the U.S. too.
PS: Remember how good was Ikonoskop. One of the best company was out there - you can read many positive and negative stuff about all companies, many people are Canon-Nikon, or RED-Arri fan, but I have never read any bad comments about Ikonoskop all time it exested till its bankrupt. People just loved that cam and the used ones still sells on their website almost for the original prices. Small manufactures many times hide real nice attitude and high-quality work on their products.
June 26, 2014 at 2:18PM, Edited September 4, 11:56AM
@Herschel - this is why I don't think it'll sell in the US. The full package will run close to Aja Cion and more than GH4 or A7s + Shogun. With more camera coming out, the $5K-$10K niche will soon look rather crowded. Other units may not have Raw but ProRes will be deemed good enough for most users and those who need raw will go FS-700 + Q7 or higher.
June 26, 2014 at 3:55PM, Edited September 4, 11:56AM
The disk interface is standard SATA type connector, but the KineMAG are qualified to not-drop-frames, if you use some random drive some modes may record and the higher bandwidth ones may stop mid shot because of buffer overrun, its not the camera's fault if the SSD you use cannot keep up with the high data rates, which is why the sell the KineMAG to go with the camera so you have a system that is known to work.
August 23, 2014 at 6:30AM, Edited September 4, 11:56AM
The possibilities look promising, but who the heck are they and how long have they been around? I looked on their website just before NAB 2014 finished and you could "pre-order" the KineMini 4K, but there wasn't a lot of info about it. Looked good on paper, but who would pre-order from a new-ish company who may or may not support their product, or even be around in 2-5 years? That said Black Magic Design better get their act together or these guys will bury them. Similar image only they offer slow-motion.
June 26, 2014 at 2:27PM, Edited September 4, 11:56AM
am i the only one concerned about the motion look on these clips? not crisp at all.
June 26, 2014 at 4:56PM, Edited September 4, 11:56AM
Its hard to judge motion on H.264 clips because lossy compression like that uses key frame and simulates movement, for the DCI theatre version from the DI, the JPEG2000 frames would be 24fps of actual seperate frames. Also the shutter angle used when shooting impacts the look of the motion, so it depends on if ND was used or not etc.
August 23, 2014 at 6:33AM, Edited September 4, 11:56AM
Last year I bought the KineRAW Mini (2K version), and in a few days I'll receive my upgraded KineMINI 4K. Their customer service is very good, some months ago I also got my camera sent back to Beijing for a mount upgrade and it only took 1 week (I live in China).
At some point it got harder to directly connect to vimeo from China, so I only uploaded my first test project:
http://vimeo.com/83996237
It's actually 720p at 100 fps, since the 2K version of the camera didn't have 2K high speed modes yet.
June 26, 2014 at 7:10PM, Edited September 4, 11:56AM
Nice work and I like the image it produces.
June 26, 2014 at 11:11PM, Edited September 4, 11:56AM
Last year I wanted 4k, this year I wanted a 12 bit image and now I just want to be able to shoot in front of a window and it doesn't blow out. When's that round of cameras coming out? In all seriousness this camera seems alright, hell I'd use it. I'm not sure about the DR though the image looks promising but what they really need is a viable service center and support in the US if they're looking to make a dent in the market. It seems like a nice camera, I just wouldn't want to send it back to China if it had any issues.
June 26, 2014 at 10:42PM, Edited September 4, 11:56AM
I at first was not pleased with the image, but as I read on in the posts and discover more footage I am seeing this could be a great camera!!
June 27, 2014 at 4:26AM, Edited September 4, 11:56AM
Hi, this is Michel from Kinefinity Europe
first, thanks for the feedback, good or bad, I highly apreciate it
Please take into consideration that:
1. we are not an experienced production company, never claimed this, we're a shop for cameras and camera accessories. We just started producing our own stuff so we can be more efficient in our profession as a dealer. All the production stuff is done at overtime and self-financed.
2. the footage is not intended to show how "beautiful" the end-product of KineMINI looks, only to show the "look" of the camera, so people have a reference.
3. At the time there was only one unit available, and time was limited because we had to ship it after the week-end, no tester or blogger was available so we had to do something ourselves.
4. the video on YT is highly compressed - I have put together a few DNGs which you can download here:
http://we.tl/sHFgeUoHBW
Please accept my apologies if our video led to misunderstandings, I'm sure we'll see some great results from more experienced cinematographers that will use these cameras soon
Greetings from Berlin
June 27, 2014 at 5:11AM, Edited September 4, 11:56AM
Hey Michel,
I just bought the kineraw s35mm camera from belgiu (joachim Vansteelant), the camera is promising, although I would love to upgrade it to 4k. tried to send you a email two weeks ago, but didnt had a reaction.
here is a GRADED shot of the Amsterdam Canals shot on the kineraw camera. A lot of great stuff shot on the camera is coming up ( just shot a couple of commercials on it).
https://www.youtube.com/watch?v=BgLtXnt3Ew0
Not that this footage is shot with a rokinon 24mm at 8.0 with a 0.9 nd filter without ir cut.
THis camera needs as most digital cameras need it , a ir cut filter. Just shot a lot of test shots, with different lenses, and working on some luts. Hope to hear back from you soon
June 27, 2014 at 11:20AM, Edited September 4, 11:56AM
Hi Michel, thanks for posting the work you have done with this camera. I have been following this company since NAB and I think this will be my next camera. Hopefully soon Kinefinity will get this camera out to some pros (DPs, bloggers, etc) to really put the camera through its paces. Maybe get one out to Philip Bloom?
Anyway, I think this camera is definitely showing up on peoples radar and I hope Kinefinity can put the camera in the hands of the right people. This camera has huge potential.
Thanks for sharing!
June 27, 2014 at 12:56PM, Edited September 4, 11:56AM
Ohh my god! Among the DNG pics theres the number 00000116 - what is that noise?
June 27, 2014 at 3:38PM, Edited September 4, 11:56AM
a graded shot, shot on the bigger s35 kineraw camera.
https://www.youtube.com/watch?v=BgLtXnt3Ew0
Camera will look better with proper nd with ir cut.
Will post a lot more test on it, if people are interested
June 27, 2014 at 11:22AM, Edited September 4, 11:56AM
just uploaded a second graded kinefinity shot. Would love to hear what you guys think about it.
https://www.youtube.com/watch?v=bZZ7ocW8N5s&feature=youtu.be
June 27, 2014 at 11:51AM, Edited September 4, 11:56AM
and to top it off, a small film i shot in 30 minutes for a video magazine. its a secret link, so dont share it too much, otherwise my client will be pissed off!
http://vimeo.com/shotofjoy/review/99291631/be80778a57
June 27, 2014 at 11:54AM, Edited September 4, 11:56AM
Password, pls :)
June 27, 2014 at 2:24PM, Edited September 4, 11:56AM
Sorry, here it is again:
http://vimeo.com/shotofjoy/timknol
password: tim
June 27, 2014 at 6:44PM, Edited September 4, 11:56AM
Yeah, some of the shots are really nice! In the beginning when the car is passing by you can see the rolling shutter issue a little bit, the rest is really nice looking! Maybe the issue solved in the Kinemini with that sport mode how they say.
People who own Kineraw S35, Kineraw mini and Kinemini please upload, share those videos and links taken with these cameras! I also share two links (maybe someone did before above) which impressed me the most so far - and they were even the older models with 2K "limitations":
http://vimeo.com/98869281 Kinemini raw 2K
http://vimeo.com/86290938 Kineraw S35 with Arri S16 lenses (the low light scenes are unbelievable)
June 27, 2014 at 7:53PM, Edited September 4, 11:56AM
yep i have to agree the only thing which reveils that we are not shooting film is the rolling shutter, sometimes the rolling shutter repair from after effects can help to resolve but in shots with a lot of motion blur there is nothing to repair, try to avoid to shoot 180 degrees shutter when your doing handheld.
By the way I have to clear up things, i own the big s35 kineraw there first version before the kinemini, but its the same camera (the mine has some extra functions), so all the cameras the 2k and 4k have the same sensor and same colour science, the only thing whihc differs is the processor, and the olpf, as you can see the s16 shots on that film your posting tend to look a bit soft. I wil let my camera upgrade to 4k, so i have the same chip without pixel binnin..The only thing which attracts me to go 4k, is the ability to shoot 100fps in 2k mode.
My camera has sport mode to reduce rolling shutter effects as well, I didnt tested it yet, but what I heard is that it will decrease your dr with about a 1/2 stop (thats still more then a blackmagic 4k) and it might introduce some alliasing and moire. if you shoot sportmode, it wont record to dng, but to a kinefinity raw format which you can transcode at their free kinefinity software to cineform raw,
Cineform raw is almost the same quality wise as dng but way eats way less harddisks! So its absolutly wonderfull to record cineform raw at this camera!
June 27, 2014 at 11:08PM, Edited September 4, 11:56AM
password is : pissed off
June 27, 2014 at 1:52PM, Edited September 4, 11:56AM
Sorry, here it is again:
http://vimeo.com/shotofjoy/timknol
password: tim
June 27, 2014 at 6:18PM, Edited September 4, 11:56AM
I have made soem monitoring tables for the Kine- cameras to emulate the gray scale curves of ARRI Log-C, Sony S-Log(1), S-Log2, S-Log3, and Canon CLOG as well as revised Kodak Cineon Film Log, those tables are look groups named, KineLOGC, KineLOGS1, KineLOGS2, KineLOGS3, KineLOGN and KineLOGF, you can see the test video U1 at,
http://vimeo.com/105938940
and
http://youtu.be/5ycLVMH0wI4
If you want the LK5 and cube files I have them in some zip files and can email them to you for testing, my email is: tempnulbox (at) yahoo (dot) com the cube files not starting with Kine are from the internet you need to google to get those.
September 26, 2014 at 7:42PM, Edited September 26, 7:42PM
I just purchased one of these cams and it is fantastic. We went out just to take it in natural lighting and see what we got once it was Color graded. Was very pleased!
http://youtu.be/VsL0ftvW0OE
We used a:
Rokinon cine 35mm
Rokinon cine 85mm
Tokina 11-16mm
Shot at 4k DCI 4096x1716
November 3, 2014 at 9:34AM, Edited November 3, 9:34AM
Don't look at this stuff in the article, it's awful. I own a KineMini 4K and although it needs to be handled with care, I absolutely love it. Considering this camera is already well over one and a half years old, it's striking how far ahead of it's game Kinefinity really is. Footage I shoot with it are definitely on par with the Ursa Mini 4.6K, which isn't even out yet as of writing. It only has slightly lower DR and slowmotion and no global shutter (but sportsmode is great). But then again, there's the KineMax 6K camera, which blows the Ursa 4.6K out of the water and just costs a few 1000$ more (complete package).
February 13, 2016 at 2:13PM