Kinefinity MAVO Edge

[rand thompson]

I extracted the Vimeo Video and ran a "Scene Auto Detect" to separate the scenes. some did ok some didn't. I removed the audio and just roughly assembled the video in no particular order. This was just a quick grade of a few scenes.

 

[rand thompson]

Replaced 4:16 minute Grade with 5:43 Grade in POST# 243 with what I think has better grades with more and better sample footage.

 

[rand thompson]

Additional Information from No Film School for "Wake Up"

https://nofilmschool.com/kinefinity-mavo-edge-8k-footage-surfaces-what-do-you-think



"Cinematographer Bochen Wan's story:

The production time for the short film Wake Up was very tight; I received the final version of the script only few days prior to the first day of shooting. I had merely 48 hours to decide the overall visual style of the film and the design of cinematography, so I sieved the key element out of the story hastily, and convert it into a visual language that can be interpreted by the images.

Wake Up is a story about a young girl whose dream and reality has overlapped with each other, so I decided to use a shallow depth of field to convey the feeling of obscurity and ambiguity. Similar to Alexa Mini LF and MAVO LF, shooting with shallow depth of field is the strength of MAVO Edge as a large frame camera. With large or full-frame CMOS imaging sensor, MAVO Edge is able to produce stunning images with a shallower depth of field while maintaining the same aperture compared to that of Super35 format.

The story of Wake Up also has a soft and relaxing vibe, so I chose ARRI Signature Prime lens for its ability of resolving high-resolution images with smooth out-of-focus transition. With its T1.8 Lens, I was able to achieve the shallowest depth of field without compromising the quality of the image. So I left the lens wide open during the entire shooting.

In addition, I chose to use Black Pro-Mist 1/8 and Hollywood Black Magic 1/8 filter during the shooting.I mainly used them for reducing highlights, softening high-frequency details, and lowering contrast, in order to give the image a sense of gracefulness even in dark and high contrasting scenes.

Script dictated me to differentiate the dream and reality scenes to avoid the confusion between different scenes. Since the tone of image is easy for people to notice, I used different tones for the reality and dream scenes. Scenes implying lonesome present had a cool tone, and scenes about the dreams had a warm tone. I used reddish tone when trying to convey vigorous feelings of the girl, and a neutral tone to imply her woeful past.

Wake Up’s timeline follows the emotion of the girl, and I wanted viewers to be able to relate to the girl as her emotions escalating toward the end of the story. Therefore, I chose 25mm/29mm/40mm/58mm as main lenses, a wide to normal focal length allows the camera to be as close to the girl as possible.


Speaking of emotions, Edge’s 8K resolution combined with ARRI Signature Prime’s resolving lens astonished me. When I first saw the images produced by Edge on iMac 5k during the shooting, the camera captured the truest emotions of the actor, especially during the close-ups. I was able to perceive actor’s emotion in a way that had never occurred in my previous projects. In my opinion, even viewers that aren’t working in the film industry will certainly be able to connect with the emotion from the stunning images of the 4K version of Wake Up on the big screen.

Since the girl’s emotion constantly changes throughout the entire film, I wanted to convey her escalating emotion through different camera movements. For the somber scene, I used GFM Primo and GFM Slider, and I used Movcam Helm while shooting the euphoric scene. For the most intense emotion moment in the film, I dealt it with hand-held shooting. Varies of camera movement are able to not only express girl’s emotions, but also inject vitality into the images, conveying a sense of awakening.

Shooting hand-held camera was effortless with Edge’s highly integrated body. Edge integrates its V-mount battery plate into the body, provides it with a higher versatility and agility when comparing to the similar products. Most importantly, the whole-new integrated carbon fiber body has incorporated the full-spectrum e-ND system, which allows the camera to adjust the exposure no matter how the camera position and lighting level changes, capturing actors’ evanescent emotion meticulously.

Overall, Edge is a handy and charming cine camera that produces flawless skin stone, sharp but organic images with natural highlight transition. Edge’s highly integrated and robust body is suitable for any types of challenges in different shooting scenarios. I can’t wait to use MAVO Edge again for my next project!"

 

[rand thompson]

MAVO Edge 8k Won iF Design Award 2021

Kinefinity
http://www.kinefinity.com/en/if-design-award-2021-edge/

 

[rand thompson]

I just noticed the Lower and Upper Dual Native ISOs have changed on the Kinefinity Mavo Edge. I don't know if that's good or bad. However, I think whereas with Red Cameras where you are told to expose to the Right. Kinefinity suggests exposing to the Left.



Old

New

 

[rand thompson]

First kinefinity Mavo Edge Arrives in Europe



https://www.facebook.com/plugins/vi...os/510678730291140/&show_text=false&width=560

 

[rand thompson]

Mavo LF ProRes 4444 Image Grade

Since the Mavo LF and Mavo Edge both have the same Sensor sizes, with the Mavo Edge having 8K resolution and more pixels than the 6K Mavo LF, I thought I would test the gradeability of the Mavo LF's ProRes 4444 which will also be one of the Codecs used in the Mavo Edge.

Mavo LF VS Mavo Edge Sensor Sizes

Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

Here is the Mavo LF's S35 crop ProRes 4444 footage with just the kinefinity "KC_NEUTM" Lut Applied in Davinci Resolve 17 in a REC709 Davinci YRGB Project . I think it makes the skintones a little too red.

ORIGINAL

Graded

Here is the Mavo LF's S35 crop ProRes 4444 footage imported into an ACEScct REC709 Project with an Arri IDT applied. I think the Arri IDT makes the skintones look more natural.

ORIGINAL

Graded

8 second video of still above

 

[rand thompson]

On KINEFINITY EUROPE's Facebook page, It says that it will be updating its website this week. So lets see what they change or add.

 

[Zack Birlew]

Some of those grades are a little wild with the saturated colors for my taste but, technically speaking, it just shows that the image holds up very well on either side of the spectrum! I've always liked Kinefinity's cameras but some of their earlier tech support issues put me off until the Terra series came out pretty solid as far as I've heard. I think they're great competition but with the Sony A1 out there and surely more 8K+ options coming, they may have a good fight to stay in the conversation like ZCam with their F8 which I still haven't seen anybody do anything with, even an in-depth review!

 

[rand thompson]

Another Mavo LF ProRes 4444 Test


Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

This Mavo LF's ProRes 4444 image was also imported into an ACEScct REC709 Project with an Arri IDT applied. It had like a Monochrome flat "Poo" look to it


ORIGINAL

GRADED

 

[rand thompson]

Test 3 Mavo LF ProRes 4444 Test


Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

This Mavo LF's ProRes 4444 image was also imported into an ACEScct REC709 Project but with no IDT applied, I just worked from the Log image. In Their Correction of this scene, they crushed the fuck out of the shadows. I went with more of a Zeffirelli "Jesus of Nazareth" Night Interior look


Original

How They Developed it

My Version

Crop

 

[rand thompson]

More Cinematic look


2.39:1 Output Blanking in Resolve with a Transform Y-Position=39.0000. Slightly more Saturated with a slight Noise Reduction.

Uploading DNxHR HQ video now, which may finish by 1:00AM CST or earlier

It finished early!

10 seconds long

If you want to download the 838MB 10 second 4K UHD(3840x2160) DNxHR File, you can download it at the link below for the next 7 days.

https://sendgb.com/FdlBWa9ofNz

 

[rand thompson]

New Info from Kinefinity Europe Facebook Page

 

[rand thompson]

Here's a link to the 7 Second Graded 626.5MB 3840x2160 DNxHR HQ file of the video on the previous page.

SENDGB-LINK GOOD FOR 7 DAYS
https://sendgb.com/86NEp3byUJD

 

[rand thompson]

Another Mavo LF ProRes 4444 Test


Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

This Mavo LF's ProRes 4444 image was imported into a Davinci YRGB REC709 Project with a GAFPA ETTL+1 LUT applied.


ORIGINAL

How They Developed it which is fine. You see this BLUE biased look in alot of films

My Version

Video uploading to Youtube Now.......


The Graded 10 Second 835MB 3840x2160 DNxHR HQ file can be downloaded now if you didn't want to wait for the Youtube rendering.

SENDGB-LINK GOOD FOR 7 DAYS
https://sendgb.com/d5S4z0vF21q

Crop

 

[rand thompson]

Yet Another Mavo LF ProRes 4444 Example


Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

This time I wanted to see if I could use the same Kinefinity Lut with the same grade in a;

1) Davinci YRGB Color Managed with a "SDR REC709" Preset for REC709 Gammma 2.4

and

2) Davinci YRGB REC709 Gamma 2.4 Workflow

The Graded 10 Second 838MB 3840x2160 DNxHR HQ file can be downloaded now if you didn't want to wait for the Youtube rendering tomorrow.

SENDGB-LINK GOOD FOR 7 DAYS
https://sendgb.com/wlGZip79FyY


Original

With Kinefinity KC_NEUTM Lut

Graded Davinci YRGB Color Managed with a "SDR REC709" Preset for REC709 Gammma 2.4

Graded Davinci YRGB REC709 Gamma 2.4 Workflow

 

[rand thompson]

Here's the Finished 4K Version

 

[rand thompson]

Here's Probably the Last Example of The Mavo LF ProRes Gradebility Tests


Mavo LF Prores 4444 sample
https://www.kinefinity.tv/footage?f...u4yD11kROP1HYx_WmGssdy2C5A16zkRHpqEkN0GfpQfVo

Here is the Workflow I Chose. I went with "Gamma 2.4" instead of "Arri LogC' For "Input Gamma" because it crushed the shit out of the image like their example did.

The Graded 9 Second 800MB 3840x2160 DNxHR HQ file can be downloaded now if you didn't want to wait for the Youtube rendering .


SENDGB-LINK GOOD FOR 7 DAYS
https://sendgb.com/E6Ge8Mfwlz2

Edit;

ARRI LOG C Worked fine, I had enabled the Lut they used by mistake

ARRI Alexa V3 + ARRI LOG C Without GAPFA_ETTL+1-Ungraded

ORIGINAL

THEIR VERSION

MY VERSION GRADED

 

[rand thompson]

The Video Examples from the download page above don't really do the Mavo LF justice nor the "WAKE UP" short film for the Upcoming Mavo Edge. TRGprod, from Paris France, is the only individual I've seen show what the Kinefinity Mavo LF is really capable of.

TRGpro Vimeo Link
https://vimeo.com/trgprod

I took one of TRGpro's videos and corrected all the individual clips for White Balance, Skintone, Hue shifts and gave the entire video a more consistent look. The video below was shot at ProRes 6K 4444 and Uploaded to Vimeo at 4k( probably H.264). I was only able to extract a 2048x858 version of the 4K UPLOAD with the program I have to extract Vimeo Videos that are not available for download. However, I upped the resolution up to DCI4K (4096X2160) and exported it out of Resolve as a DNxHR HQ file which was 12GB large.

The jumps in audio is due to the AUTO SCENE DETECT in Resolve damaging some of the clips and their corresponding audio that made them unplayable and were not included in the final edit.


Link to Original File
https://vimeo.com/363119163

Now in 4K

 

[Austin Judovsky]

I also noticed that in the comments section of this video one of the posters commented that the way the highlights looked wasn't that good in some shots. I don't know how well versed the Director and Director Of Photography are with how to expose for the Kinefinity camera or how closely they worked with Kinefinity on how to get the best results out of the camera,


Here are 4 better more clearly explained tutorials about how to get better exposure/images from the Mavo LF which will also be about the same for the Mavo Edge


Exposure Tutorial with Kinefinity MAVO LF - Part 1 - ISO vs. EI modes


By Kinefinity Europe

Exposure Tutorial with Kinefinity MAVO LF - Part 2 - ISO Highlight Stops


By Kinefinity Europe

Exposure Tutorial with Kinefinity MAVO LF - Part 3 - ETTL monitoring


By Kinefinity Europe

Exposure Tutorial with Kinefinity MAVO LF - Part 4 - DUAL ISO Sweet Spot


By Kinefinity Europe

This might be a silly question but my understanding is EI mode is much like shooting in Raw on a red camera; still having the ability to adjust ISO in post. With kinefinity announcing they will be removing cDNG and ProRes Raw, would that imply they are removing EI mode as well? Or is that still available under different codecs or am I missing something?