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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

New 6K Terra Camera: 6K for $5400?

KINEFINITY 6K slow rolling shutter

KINEFINITY 6K slow rolling shutter

The most glaring problem with the 6K sensor used in both the Terra 6K and the older Kinemax is that at 6K the rolling shutter is about as bad as it could possibly be. The skew, or time between begin and end of readout, is ~30ms. That means 33.33 frames/sec is a limitation of the sensors full-sensor readout speed at full bit-depth, and has nothing to do with down-stream processing. I am excited to see the image produced by the Terra 5K in global shutter mode. I cannot yet figure out where they are sourcing their sensor. At first glance, I thought it was likely the CMOSIS CMV20000, which is a 5120x3840 global shutter CMOS, but then I realized the the CMOSIS sensor does not support rolling shutter read-out and the 16 LVDS 480Mbps channels are not enough to carry Kinefinity's cited 3840x2700 12-bit at 50fps readout. Does anyone have any idea where they are sourcing their sensors?
 
How cheap is their 4k cameras and are they all in one eng capable?
 
It is just as "all in one ENG capable" as a RED is! ha (so yes... some mad souls do that, but it isn't recommended. Use something like a Panasonic DVX200 or whatever for that instead)

Their battle tested Kinefinity KineMINI 4K (with the options) goes for US$3.5K (basic version is $2.5K).
 
Thanks David.

David Peterson said:
It is just as "all in one ENG capable" as a RED is! ha (so yes... some mad souls do that, but it isn't recommended. Use something like a Panasonic DVX200 or whatever for that instead)

Their battle tested Kinefinity KineMINI 4K (with the options) goes for US$3.5K (basic version is $2.5K).
Click to expand...

Sounds like a mini Ursa 4k price. Is the sensor similar?
 
Which sensor do they use?
 
So, a mystery, or known? There are only a limited number of such manufacturers that have that grade product of suitable quality, and maybe more that can produce a custom version. Through the process of elimination, it should be able to be worked out (and by testing surface of various sensors for the pixel structure),
 
Far out, just nearly a month short of a year for this expensive camera to shoot footage. :)

If it is your footage Sandeep, congratulations. Looked at a few samples on YouTube, looked nice. We don't see much of Terra, lots of talk but not much footage links here. It's like it exists behind an eclipse in the west.
 
Yes, I coproduced that music video- the other videos are not mine but shows the colour science and sensor capability. It's a great camera for the price who cannot afford RED and better camera the ursa alike. We are keeping it and getting the scarlet w. Once the terra5k with global shutter is out, it can be a good B camera or action sports camera :)
 
I saw it at NAB and will re-visit them at BIRtv (Beijing)

It has a kind of RED ONE charm to it, I have to say.

Actually the references are plentyful. Back at NAB, only Scratch did fully support the RAW format. I guess that rings a bell... :)

Image-wise, I would say it is promising...
But mostly if you have Scratch.

If you use the transcode tool and go from there, not so much.
But I dunno if they have gained wider support for their RAW format.

Now, that's all nice and dandy.

BUT, they also have a lot of the newbie problems that riddles BlackMagic.

In short: With what I do now, their camera is unusable to me.

But if I transpose myself back to 2006, I would have bought it in a heartbeat and accepted the issues to get access to the images.

Now I don't work with any productions that could have used that cam without serious compromises.

It is easy to forget the incredible work Deanan DaSilva did to make the RED a "production" camera for Pirates of Caribbean back in the day.
 
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We'll see where the camera and support is in a year. Getting KineRAW into Lightworks by the end of the year would certainly help them gain some market share. Though, I don't think we'll see any real support for it until next year, around NAB.
 
The cameras have been out nearly as long as Red has had theirs, and it had a cineform license, out since before Red (I was also offered a license before Red was out). I was there when David from cineform cane up with the proposal for the RAW version, and redcode was a late licensed of the technology. How long does it take to get support for such a common Pro format?

I got to admit, I've been dismayed at the pricing trend at BMD, that there wouldn't be cheaper cameras since the collapse of craft. But I've forgotten about kinefinity that could do a 4k workhorse for the third world for $2000 (a 4kp50-120 version). Panasonic does pro versions of their consumer cameras into these markets, Kinefinity could do the same into these markets in 4k. It's all about market control, you can use mobile chipsets to do better 4k into these markets.

They could go foveon, stuff the raw license, use the modern jpeg photo equivalent that delivers about the same performance as jpeg2k on less processing. The sensor technology maybe not as good as Sony and Red, but the spatial accuracy of three color imaging in great light is better per pixel.
 
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Explains a lot, without volume it is higher price.
 
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