SlimRAW is a new app that lets you compress cinemaDNG files quickly and helps you save disk space. It works with Canon 5D mark III RAW footage as well as other RAW cameras like the Blackmagic cameras, Digital Bolex or Sony FS7. Remember the days when we shot RAW on the Canon 5D mark III? These days are not over and many people still use the Canon DSLR’s as RAW shooting machines with the Magic Lantern hack. We have an up to date guide on how to achieve this. SlimRAW takes a folder with cinemaDNG or regular DNG files and converts them in seconds. This saves you a ton of space. In our test the resulting files were reduced to 37.8% of the original size. We tested this with a 1 minute 5D mark III RAW sequence on a Mac Pro (quad) and it took 17 seconds to process. Workflow with 5D RAW: Shoot RAW with your camera. We created MLV files with our 5D mark III as per our tutorial. Convert the MLV files to cinemaDNG with the RAWmagic app (yes, the usable full version costs money) [UPDATE]: Apparently as of a few days ago, the newly updated RAWmagic app has lossless cinemaDNG output also. Choose the folder containing the cinemaDNG files as source and target folder. (This will overwrite the old files) We selected “overwrite” and “Premiere CC compatibility” and clicked “Start Job”. Imported the resulting cinemaDNG sequence in Premiere CC via the “Media Browser” tab. That’s it. Start editing and grading your losslessly compressed files natively. Since the firmware updates of the Blackmagic Cinema Cameras that now support losslessly compressed internal RAW recording, the app might not be so efficient for those cameras, but SlimRAW says that “slimRAW will generally achieve a bit better compression ratios since it is not limited by in-camera processing.”. The SlimRAW app costs $39 and is available here: www.slimraw.com Compress cinemaDNG with the following supported cameras: Digital Bolex D16 Blackmagic Design Cinema Camera (pre-firmware 2.1) Canon DSLR Magic Lantern raw (converted to CinemaDNG/DNG) Sony FS700/FS7 raw recorded through Convergent Design Odyssey 7Q/7Q+ Ikonoskop A-Cam dII Kinefinity KineMINI 4K, KineMAX 6K, KineRAW Indiecam indieGS2K and indiePOV (uncompressed 12-bit CinemaDNG video as exported by Indiecam Instant-RAW software) uncompressed DNG frame stacks from Fastec Imaging TS and HiSpec series cameras (10-bit in a 16-bit container and 8-bit) most other standard compliant uncompressed 8-, 12-, 14- or 16-bit CinemaDNG footage.Read more
+++ Please note. This KineMax 6K review and footage are based on a Pre Production model. We tend not to publish our LAB test results unless the camera is in its final stage. A full LAB review will be published then+++ The weatherman promised sunshine. So what. All I got was a grey windy day with some kind of natural “pro Mist filter” cast. Instead of crying my heart out and kick myself in the head for not running with the camera a day earlier, I decided to live with what I have and give it a try. After all, I had to send the camera back the next day. This is not the first time that I’m testing a Kinefinity camera. Back in 2013 it was the KineRAW mini which made me appreciate what the relatively new to the market Chinese manufacturer is doing, supplying affordable high quality cameras to filmmakers like us. And then came the opportunity to test the yet to be released KineMAX 6K camera and let me tell you, what a powerful piece of gear it is! Ungraded 6K Frame Grabs: When the package arrived at our cinema5D premises, I thought there was a mistake. The small size box made me believe we only got some accessories to the camera and not the camera itself, so to my surprise, after opening the package, there it was. Small, lightweight, robust, well made. (Almost “German build quality” sort so to speak). Also in the package there were two mounts, for PL and EF lenses. Kinefinity developed an interchangeable mount system for their camera. Just turn the bayonet lock and change to the lens mount of your desire, depending on the lenses you have. My take was to go with 3 EF lenses. The Tokina 11-16mm F/2.8, Canon 24-105mm F/4.0 IS and the Canon 70-200mm F/4.0 IS. Kinefinty’s EF adapter is an electronic one, allowing you to control Canon lenses much like the Metabones adaptors do. 10 minutes into the process of refreshing my (old) memory with the menu structure and I could easily appreciate the actual external buttons layout which allowed me to quickly change the camera settings to my desired resolution/recording format/FPS/ISO/Picture Profile/WB/SSD (activating and formatting)/Shutter speed/and IRIS. So much easier then AJA’s CION we’ve tested just a while ago. (Try dealing with CION’s menu without reading the manual and be prepared to lose your nerves a little). When it comes to recording media, based on Kinefinity’s advice we had great success recording 6K into Samsung 850 PRO 256GB SSD. (Remember “de-activating” the SSD prior to taking it out of the camera slot, otherwise you might encounter error messages when connecting the SSD to your computer). The KineMAX 6K camera has the ability to record in numerous frame sizes, recording formats resolutions and adjustable frame rates. See the complete list at the bottom of my article. For this short video I used: – S35 frame size – 6K resolution (5760×2400 wide) – KineRAW codec – 25 FPS – ISO 800 (native value) – KineLOG picture profile For the slow motion sequence: – S16 frame size – 2K resolution (2880×1200 wide) – KineRAW codec – 75 FPS Editing From my experience, the current bottleneck of the workflow is the editing process. Kinefinity supplies a cross platform (Mac/PC) free copy of their KineStation software in order to transcode the recorded 6K footage (in KineRAW or CinemaDNG formats) to Cineform RAW or Cineform RGB444. Transcoding 256 GB of footage recorded with KineRAW codec on my Retina Macbook Pro 2013 took the following: – To Cineform RAW (MOV), 53 minutes – To Cineform RGB444 (MOV), 71 minutes. Obviously transcoding to Cineform RAW (MOV) will reduce the overall “downtime” required from finishing shooting till you get to edit your footage (which is anyway challenging because of the high 6K resolution) but the real alternative should be moving into a native in-camera ProRes recording or at least ProRes transcoding and guess what, when asked about the possibility to move towards this direction the official answer we got was, “Kinefinity will add ProRes codec in KineStation or in-camera recording in the future, but there is no detailed timetable”. Conclusion All in all I had a very positive experience shooting with this new camera. Its build and picture quality are very promising. On the negative side, evident rolling shutter effects can be seen under certain shooting conditions. The Kinefinity KineMAX 6K will be available to Chinese customers in April and internationally during May. For the complete camera pricing information, please head to Kinefinity site. Last word The KineMAX 6K a serious film-making tool and I can only hope that professionals will give it a try and seriously consider it as a valid candidate for their next project. Edited on Adobe Premiere CC 2014, Colour corrected with FilmConvert – get $30 off by using our promo code “cinema5d” Music: https://www.musicbed.com/ MARIE HINES-In My Arms For enhanced viewing experience, please download the 4K video from our Vimeo page. (Download/Original) For our European followers, the camera can be purchased by clicking here Frame Size Format Resolution MAX FPS Cineform KineRAW CinemaDNG S35 6K HD 5760×3240* 25 ✔ 6K HD Wide 5760×2400* 30 ✔ Golden 3K 2880×1620* 25 ✔ ✔ ✔ Golden 3K Wide 2880×1200* 30 ✔ ✔ ✔ HiSpeed S35 4K HD 3840×2160 80** ✔ 4K HD Wide 3840×1716 100** ✔ 3K HD 2880×1620 80** ✔ 3K HD Wide 2880×1200 100** ✔ 2K HD 1920×1080 80** ✔ 2K HD Wide 1920×864 100** ✔ M4/3 4.3K 4:3 Anamorphic 4320×3240* 25 ✔ 4K 4:3 Anamorphic 4096×3072* 25 ✔ 4K 4096×2160 30 ✔ ✔ 4K Wide 4096×1716 48 ✔ ✔ 4K HD 3840×2160 30 ✔ ✔ 4K HD Wide 3840×1716 48 ✔ ✔ Golden 2K 2048×1080 30 ✔ ✔ ✔ Golden 2K Wide 2048×858 48 ✔ ✔ ✔ Golden 2K HD 1920×1080 30 ✔ ✔ ✔ Golden 2K HD Wide 1920×858 48 ✔ ✔ ✔ HiSpeed M4/3 2K 2048×1080 120** ✔ 2K Wide 2048×864 144** ✔ S16 3K 3072×1620 50 ✔ ✔ 3K Wide 3072×1280 60 ✔ ✔ 3K HD 2880×1620 50 ✔ ✔ ✔ 3K HD Wide 2880×1200 60 ✔ ✔ ✔ 16mm 2K 2048×1080 80** ✔ ✔ ✔ 2K Wide 2048×860 100** ✔ ✔ ✔ 2K HD 1920×1080 80** ✔ ✔ ✔ 2K HD Wide 1920×860 100** ✔ ✔ ✔ Notes: * Means these resolution modes are only included in 6K RAW option; ** Means these fps modes are only included in HiSpeed option When Cineform recording, 3K HD @24fps, 2K HD @48fps or less. Frame Rate can be adjusted as 6~MAX fps, step accuracy of 0.001fps Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of cinema5d.comRead more
Roughly a year ago Chinese camera manufacturer Kinefinity presented their KineMax 6K cinema camera alongside the release of a new 4K KineMini. They offer high resolution cinematic RAW recording at an affordable price point. Now footage in 6K resolution hit the web and we can actually take a look and download the source files. This video that was uploaded by Kinefinity showcases some short sample clips that can be watched in glorious 4K. If your Vimeo player doesn’t do that, just head over to Vimeo and download the source files. I must comment that this looks amazing on a 4K display ;) Kinefinity also provides downloadable RAW files here which do give you an even better impression of what this camera can do. I played with these myself and both the dynamic range as well as the resolution seem truly impressive. You can see a screenshot in 5760×2400 by downloading that first image from this article here. One thing I noticed though was that there were strong aliasing in the slow motion footage. It seems like there is line-skipping to achieve the same resolution at higher frame rates. Anyway, if you need 6K then there’s currently nothing that can get you there faster than this camera. For such impressive specs (see chart on the left) one would usually pay a lot, but the KineMax is very affordable: Camera body only: $8,000 Starter: $9,000 Standard: $11,000 Professional: $13,000 The Starter, Standard, and Professional packages include a bunch of add-ons, like the KineAudio/Pro Audio Module, integrated battery plate, KineGrip, KineMag-120GB/240GB SSD, and much more. Both are $1000. You should also keep in mind that the prices for the first 100 units are marked down $1000 for each package. Unfortunately, 6K RAW, 4K 4:3 Anamorphic, and HiSpeed options are not included, but you can purchase KineMAX 6K RAW and KineMAX HiSpeed upgrades. [Update]: Apparently the .com website is down. Here’s the Europe website www.kinefinity.tv via nofilmschool.comRead more
China based camera manufacturer Kinefinity is known for their very affordable RAW shooting cameras that were released earlier this year. Now they introduced a new codec that improves storage space by 3x. Kinefinity has created a lot of headlines for their very affordable 4K KineMINI camera and the 6K KineMAX that is to arrive next. We notice that Kinefinity is still working on improving the camera firmware and eco system around it. The introduction of their proprietary KineRAW codec and the continued improvement of the internal color matrix is just another step in making their cameras more accessible to filmmakers. Previously users could only record uncompressed DNG files in camera, the KineRAW codec promises a 3:1 compression without loss of quality. The new codec will be available soon. For more information check out their website: www.kinefinity.tv image via newsshooterRead more
In an online press-conference Chinese camera manufacturer Kinefinity just presented a new 4K and as well a 6K camera. Unfortunately the entire presentation was held in Mandarin and since most of the details were embedded within .jpg files we only have very limited technical information. The things we could decipher however are very intriguing hinting and towards an improved workflow, connectivity, multiple format output and wireless iPhone remote monitoring. The biggest things here today are a 4K camera that shoots RAW and 100fps slomo for under $6000 and the 6K version shoots 4K 50fps, but there’s no pricing yet. It looks like the KineRAW Mini we had in for review a couple of months ago has been upgraded to become a 4K camera. Here are more details (phrases) we could read. No guarantees yet: • OLPF for 4K (the camera seems to have an optical lowpass filter on the sensor) • 1080p: 100fps (certainly looks like a slow motion feature in 1080p as well as 2K mode) • SDI connection (the previous camera only had hdmi and a slow 20fps @ 720p output which was difficult for monitoring. An SDI connection seems like a hint that something has been improved here) • Something at the back is 1.5cm. Couldn’t say what. • There are 2 USB3.0 connections (interesting) • The camera has WIFI 802.11AC built in. Maybe the iPhone is used as a wireless remote monitor. • The supported lens bayonets seem to be: EF / Nikon F / PL / B4 (very nice!) • The codec it records in seems to be cinemaDNG RAW (12bit / 14bit) which can be transcoded with a separate device called “KineStation” that would output to formats like ProRes 422HQ, Cineform RAW or h.264. the KineStation would also include a loaded LUT file. The question I suppose is how fast can the KineStation transcode and how convenient is the workflow. All supported formats: – Apple ProRes 4444 – Apple ProRes 422 / 422 HQ / 422 LT – Cineform RAW / YUV / 444 – H.264 / H.265 / CPX / RGB 444 • PRICING: Seems like the price for the body will be: $3220 Additionally the slowmotion feature and 4K feature seem to be $647 each. Price for the KineStation can’t be identified. The premium package including two 64GB mags seems to be $5823. All very affordable if it’s a good 4K. • Now there’s new pricing. Looks like it’s for the first 100 customers and they get a discount. KineMAX 6K camera: The specs we could make out: • Shoots 4K @ 50fps • Looks like it has the same lens-mount options as the KineMINI (EF / Nikon F / PL / B4) • It also has an iPhone leaning on the camera and WIFI connection. Something seems to be going on between the two. • Framerates: – 30fps @ 6K – 50fps @ 4K – 100fps @ 2K – (also shoots 1080p & 720p) • Connections: – 48V phantom powered XLR – USB (3.0 maybe?) – SDI & hdmi • Records 6K in cinemaDNG to an SSD mag. • There also seem to be sensor crop modes (much like RED does it) for 4K, 3K & 2K. • Dynamic range seems to be 16 stops @4K and 14 stops @ 6K. • and there’s also mention of an OLPF filter. • Something about KineMINI 30%. Maybe that the KineMAX is 30% bigger? • Seems like two color options. Black & Metallic. • They now show 3 different kit options, but there’s no pricing revealed in the charts. I think that green symbol means something like “to be announced”. • The words KineMAX and NAB 2014 show up. We will be there on April 7th and check the camera out. Since these are all 3D renderings I wonder how “ready” the products are and when they can be expected. This might take a little more time. Couldn’t decipher a release date. They showed a “one more thing” slide and the rendering above followed. Not sure there’s actually anything else coming.Read more
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