Kinefinity the company behind the pretty capable and high-quality Terra cinema camera has announced in preparation for NAB 2018 the new MAVO 6k cinema camera in s35 and Large Format sensor options in the LF version. Along with the new body design and expansion options the camera will include ProRes 422HQ, ProRes 444 & ProRes 444XQ recording.
Kinefinity also has a RAW format “.KRW” and this has been updated to version 2.0 to support the new camera. This is akin to REDCODE RAW as the .KRW format can compress in RAW anywhere from 2:1 best quality lossless to 10:1 with more quality loss while maintaining the benefits of RAW like dynamic range, white balance, and higher bit-depth color. It also offers the possibility to record on cinema-DNG format In-Camera at 3:1, 5:1 and 7:1 compression. The camera has several high frame rate formats depending on crop resolution.
The Panasonic EVA1 camera has started to ship to pre-order owners and some footage has started to show on the web. The camera seems to be very good at low ISOs and up to ISO 5000 it defends itself well. After that banding and heavy noise starts to become a problem. One thing to keep in mind is that the 5.7k sensor is intended to supersample for 4k to deliver unbelievable detail levels while having a detrimental effect on super high ISO. The dual native ISO settings of 800 on the low end and 2500 ISO on the high end help the camera achieve dependable noise free and extremely clean footage in those modes.
The camera can also shoot up to 240fps full HD and or 2k super slow motion video and use it’s improved sensor specs to reduce rolling shutter. The camera should be able to deliver excellent high frame rates in good light but it seems the slow-motion option offers lower quality in codec and also in noise control. We have no clue what is causing this but it is apparent from the samples that detail and quality take a hard hit in these modes.
The Panasonic AU-EVA1 Super 35mm Cinema Camera is a first for the company in several key fronts. For starters, it is abandoning the Micro 4/3 sensor in turn for a more industry standard S35 module which has a larger area and in turn much better light gathering power. Gone also is the micro 4/3 lens mount which Panasonic favors and in its place a Canon EF Electronic mount which could have been called blasphemy to see this in a product line of this price range for Panasonic.
Since the sensor-flange distance is increased you will not be able to use the Micro 4/3 or 4/3 lenses you were using with an AF100 for example. When it comes to slow motion this camera is no slouch with 240fps continuous recording to SDXC II v90 cards in both 2k resolution and full HD 1080p. It is also bringing it to the 4k 50/60p realm which now is becoming commonplace.
Panasonic has released the specs of a new smaller version of their Varicam professional video camera with an S35mm sensor. The Varicam LT is the low cost version of the Varicam 35 which has higher end specs at a significantly higher price. The Varicam 35 has a 4k mode that allows up to 120fps at full 4k resolution while the Varicam LT has less power at a maximum of 4k 60fps.
The LT is mostly identical after that 4k downgrade in the rest of it’s capabilities with dual native ISO of 800 ISO and 5000 ISO for extremely clean image quality at those native ISOs. The Sensor itself is built for those opportunities that need higher sensitivity but also allow to shoot at reduced sensitivity for bright conditions. This is great news for the use of the high frame rate feature. The inclusion of EF mount and PL signify the seriousness of the product for an installed base of videographers and film makers with a growing arsenal of Canon and PL glass instead of Panasonic only lenses. They also state that EF lens compatibility will need to be tested and they will not support it directly.
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