Lots of new and exciting products are being discovered and examined at this year’s NAB. One of the most promising new cameras could be the new Kinefinity Terra, which comes in two flavours – 5K and 6K. Meet the Kinefintiy Terra Jihua Zheng of Kinefinity was kind enough to take us through their new and updated range of cameras, namely the Kinefinity Terra. The camera body itself is surprisingly small and compact in size—and with a weight of only 920 grams, you might be forgiven for thinking it is a DSLR body. One of the predestined areas of application could be a gimbal or—on the heavier side of things—a drone. If you intend to use this camera on a gimbal, the Kinefinity Terra camera pretty much works right out of the box. All you need is a battery, a lens and some form of HDMI monitoring solution and you’re good to go. For more demanding applications, you might need the KineBack ($1200), it offers dual SDI output, Timecode in/out, DC power out, an integrated V-mount for powering the camera and two balanced XLR audio inputs with phantom power enabled. Even without the KineBack the Kinefinity Terra camera is capable of recording audio with its built in microphone as there is a 3.5mm jack audio input available too. The Kinefinity Terra records to SSDs, and the respective slot is built right into the camera body. Kinefintiy recommends the use of so-called Kinemags but any off the shelf SSD will get the job done, as long as they are fast enough. Controls in the form of buttons and dials are built-in to the chassis, as well, only a monitor or a viewfinder is needed for basic operation. The optional Kinegrip is also available for convenient handheld operation and will serve as a powering unit for the camera with its built-in power pack. The camera comes with a native electronic EF mount or a KineMount which is a mount with a short FFD (flange focal distance) so it can be adapted to a wide range of mounts quickly, such as PL, Nikon F, or Canon EF mount. The video stream is being recorded to 12-bit KineRAW or various flavours of the ProRes Codec, such as 422 HQ, 422 LT or proxy. Additionally, several Log curves—such as a KineLog3 curve—are implemented. Two versions of the Kinefintiy Terra There are two models of the Kiniefintiy Terra camera available, the 5k and the 6K. The only difference between both models is the implemented S35 CMOS sensor and actually, the 6K sensor is the same which is build into the Kinemax camera. So it is capable of recording 6K footage with 25 fps, 4K footage with up to 100fps and 2K footage up to 225fps. The 5K version of the camera sports two shutter modes; you have the choice of either a rolling or a global shutter mode. This is the one feature Blackmagicdesign failed to deliver with their Ursa mini 4.6K camera. Kinefinity claims that even without the rolling shutter enabled, the jello effect is less severe than in previous cameras built by the company. It is capable of recording up to 60fps at 5K resolution, up to 100fps at 4K resolution and up to 200fps at 2K resolution. With the global shutter enabled the dynamic range is reduced from 15 stops down to 13 stops. We definitely will keep an eye on these values and will try to get our hands on one of these cameras for extensive testing in our test lab. Different packages of the Kinefinity Terra camera The 5K version of the Kinefintiy Terra is scheduled to be shipped for $4,999 at the end of June. If you are feeling more comfortable on the high-end side of the resolution race, the 6K version will be ready to be shipped already at the end of may for $5,999. Other packages are available, too. Learn all about the Kinefinity Terra (and preorder) on their website.Read more
Blackmagic Design announced the newest version of their popular color grading software DaVinci Resolve 11 earlier this year. Today it was released and it brings a bunch of new features that also make it a full fledged editing software! I recently transitioned to Final Cut Pro X, because I had to edit 5K RAW footage and I spent many hours learning its unusual editing method. Right now I’m facing a different option. DaVinci Resolve is both my favourite color grading software as well as a very capable and reliable tool that can easily handle 5K RAW. I’m convinced I’m not the only editor who is slowly letting go of Final Cut 7 and intrigued by the idea of using DaVinci Resolve 11 as an NLE. One of the most intriguing facts is that DaVinci Resolve is not only very professional, but the Lite version of the software is also very free, with some limitations (resolution only up to 3840×2160) that those who can’t afford the full version can usually live without. If you need the full version you will soon be able to get it here. Yesterday we wrote about the newest features of the Canon 5D mark III RAW hack which’s cinemaDNG files happen to work beautifully with DaVinci Resolve, making this the ideal editing software for 5D mark III RAW footage. If you own a full copy of DaVinci Resolve 10 you can simply upgrade by downloading version 11 here: LINK If you would like to download DaVinci Resolve 11 Lite, get it here: LINK official press releaseRead more
EOSHD reports about new samples of the Chinese KineRAW cinema camera. A probably more affordable alternative to the Arri Alexa that looks equally if not more bulky and also records at 12bit 2K RAW. The picture above is an uncompressed screenshot from one of the clips. The screenshot can be downloaded here: LINK The original 3 clips (click the green button): Clip 1 Clip 2 Clip 3 Note: You will need the CineForm decoder for the RAW codec. It’s a small program you can download for Windows and Mac here. The KineRAW S35 has a super 35mm sized sensor and can record up to 30 frames per second. There is no information on pricing as of yet. If you want to know more about this camera see the details in this article where the KineRAW camera was first announced. via EOSHDRead more
(unfortunately video is locked to Dan’s website, you’ll have to visit vimeo to see it) It’s about time someone came out with a truly affordable piece of cinema camera that would follow up on what the DSLR’s kicked loose.Read more
By: Sebastian Wöber I went over to the RED booth today which is a 200 meter (figure that out in feet yourself plz) walk from all the rest of the video gear stuff. I ran into Ted Schilowitz and I think he liked my nerdcam setup since he knew what he had in his hands was a far superior camera to any other compact shooter out there right now. You also might or might not have noticed the remark on Arri’s relatively new Alexa camera, referred to as “the rest of the world”. Yes, it’s true, the Alexa is only HD because the developers thought it would suffice back when they started creating it. The Alexa was developed in my home town by the way, in Vienna Austria, so he got me there again. No hard feelings though cause he’s got a good point saying his camera is more of a movie camera, I’d also rather reboot that Epic than rec.709 the Alexa I must admit. Ted also talked about the Epic-S camera which will be what the Scarlet once was on paper. It will have interchangeable lenses and a bigger sensor than the Scarlet. No price on the Epic-S, and I’m pretty sure that means we’ll have to wait “a bit” more. Scarlet will be around $6k, but only have a 2/3 inch sensor. I’m sure this will be THE killer documentary camera though and we’ll hear a lot about this one on cinema5D.Read more
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