Swapping batts at 20-30% is actually a good practice because fully depleted batts usually have to do what's called a "pre-charge" cycle, where they trickle up to the first 10 percent before they can charge at full speed. If you swap before depletion they can skip that step and start charging at the full rate immediately. This can make on-set battery management a lot better. Keep up the practice!
@@joenicklo To add further, forcing them into pre-charge can add about 30-45mins of extra required charge time, which on a shoot with limited budget for batteries can be fairly detrimental to workflow.
Due to the maximum bit depth of 12 bit, this camera is unfortunately at the level of the Backmagic Ursa Mini and not at the level of a RED. The similarities are 8k and Full Frame. The camera would have to cost half as much to make it interesting, because you have to pay half as much for the Ursa Mini and the camera offers a few extra features that I don't see in the Mavo Edge.
FANTASTIC REVIEW for the Kinefinity MAVO EDGE! For others considering other Kinefinity Cameras, ALSO take a SERIOUS LOOK at the KINEFINITY MAVO LF (6K Full Frame). MAVO LF Images look like something produced from an ARRI cam!
Thank you Joe for another enjoyable camera review. At this moment, I wonder how does this camera stands next to ZCAM F6? I see here several advantages : in-house monitor, internal (very good) ND, and easily swappable lens mount. As far as I understood, there is no option to use NPF batteries. That''s what I like with my e2M4.
Glad you liked it. I’d say there are a lot more reasons over the F6. To add to everything you mentioned: - internal 4444XQ - dual media slots - dual full size XLR - 8K - SDI (2 ports even) - easier to swap lens mounts - OLPF Also, you can use the NPF style battery instead of v-mount.
I can't fins a listing anywhere of the actual resolutions that the camera can shoot. Everyone keeps talking about 8192x5288 sensor size. Can it actually shoot full gate 3:2?
Very detailed review. Great breakdown. Seems like a beautiful camera. Thanks for putting this together for us, Joe. You can tell a lot of work went into this.
Dang Kinefinity seriously upgraded their cameras from when I first checked them out! This thing is dope! What was the price when you posted this do you remember? Just checked and it's $11K and the poro kit is $16.4K so it seems like it's gone up based on your conclusion statements.
Really considering the edge of my F6 for I/O (big one) and 4444 alone. Hard to tell without using myself, but the color seems more spectral vs my F6. The F6 looks great, but seems to have a smaller pallet when it comes to each individual color. Since you’ve worked with both in post do you think the image over the F6 is worth it? I’m happy with my F6 overall and rent when an upgrade is needed, but I feel with the edge I wouldn’t need to go for a rental on bigger projects and can charge kit fee instead. Any areas where zcam is better? (Besides their awesome app).
Good question. I think that at $4000, the E2-F6 is a very underrated camera. Sure it has its flaws but it's still an amazing bargain. On the other hand, the Mavo Edge 8K is like the E2-F6 on steroids. There isn't a single thing that the Z Cam can do better than the Mavo Edge EXCEPT for the price. The color science and look of the two cameras are completely subjective so it's up to you on that.
bro... im pretty sure you are the only channel that I will watch a 24 minute review. there was no point where I lost interest. great review bro! downside is that this camera is out of my budget SO MUCH! hahaha Ready for the short film!
Anson, Consider the Kinefinity MAVO LF. It's 6K Full Frame and cuts GREAT with ARRI cams! If you want images that look like ARRI images, the MAVO LF achieves this right out of the camera!
Another banger vid brotha! This camera is nuts. I wouldnt buy it though.. or maybe I would. And then Id sell it. 🤪 haha jk. But keep the content flowing!!
@@jpgrignon1 Still, what benefit does BRAW have over ProRes 4444XQ? If they're going to spend R&D dollars on a raw codec, I'd rather it be a 16-bit uncompressed raw codec.
As a carbon fiber lover myself, this looks so good! Beautiful image out of it from what I can see! Great review Joe, very informative for your time with it
That was a great review. Apple 444 and 422 are both great codec, but they are limiting towards Mac. I was not even aware of this camera's existence. Anyway, at least you properly waited until the end to ask for "like/subscribe." I find is strange that some channels ask for a LIKE at the beginning, before you've even seen the video.
Hey, I didn't do a test of the rolling shutter (like a dummy!!!) but I can send you a few clips we shot of the actor running. We didn't use them in the film but I think that might help you. Email me.
Do you still have/use the Edge 8K? Would be cool to see a follow up after a while on things like reliability, and if there are any improvements through software updates etc..
** forgot that you said you had the camera for a week🙃 anyway, if you ever get your hands on it again, i hope we get to see how the camera performs in different scenarios🤙🏻
@@joenicklo i know, but at the same time you have a camera "locked" to record only in ProRES, instead of the versatility of the .R3D of the RED..anyway, i'm really interested to buy this camera, and i have a Komodo and a Helium..
Not having internal raw in an ENG camera in 2022 is fine, but not having some form of internal raw in a cinema camera in 2022 is a dealbreaker to ever be labeled ‘the best’. I get red has the patent etc. But other companies like canon have paid the piper to license compressed raw. And without doing this, there’s no way you can be the best. I WAS very excited about this, until they lost the prores raw license. I love my atomos recorders, and used them all the time, but it’s a crutch needing the external recorder, and it’s a weak point having everything being recorded go over an sdi that can cut out or malfunction. It also has a very digital look.
I agree 100% with you. They are working on an internal raw codec though. That being said, a large amount of work shot on ARRI bodies is show in ProRes 4444
@@joenicklo absolutely you’re right. Truthfully the 4444 workflow is what I use most of the time. Most people don’t even own the arriraw license because it’s expensive and taxing workflow. I don’t even use 4444xq for VFX because I find it overkill for basic FX. But still, I like having the option. Thanks for the reply!
They need to let you get the gear for a month or two so you don’t have to keep saying “ i only had it for X amount of time “. Great review though. i know your just being honest .
Swapping batts at 20-30% is actually a good practice because fully depleted batts usually have to do what's called a "pre-charge" cycle, where they trickle up to the first 10 percent before they can charge at full speed. If you swap before depletion they can skip that step and start charging at the full rate immediately. This can make on-set battery management a lot better. Keep up the practice!
Hell yeah! Thanks for the info man.
@@joenicklo To add further, forcing them into pre-charge can add about 30-45mins of extra required charge time, which on a shoot with limited budget for batteries can be fairly detrimental to workflow.
@@zantanimus3721 That explains why I've always been really impressed with how fast V-Mounts charge :D
GET 10% OFF a yearly subscription to Artlist.io with code DRIVEN10: bit.ly/320vhN9
Due to the maximum bit depth of 12 bit, this camera is unfortunately at the level of the Backmagic Ursa Mini and not at the level of a RED. The similarities are 8k and Full Frame. The camera would have to cost half as much to make it interesting, because you have to pay half as much for the Ursa Mini and the camera offers a few extra features that I don't see in the Mavo Edge.
Happy to see a detailed review. Last time kinefinty cameras came out we got they Influencer style reviews. Those weren’t super useful.
I do my best :)
FANTASTIC REVIEW for the Kinefinity MAVO EDGE! For others considering other Kinefinity Cameras, ALSO take a SERIOUS LOOK at the KINEFINITY MAVO LF (6K Full Frame). MAVO LF Images look like something produced from an ARRI cam!
Thanks for sharing!
Thank you Joe for another enjoyable camera review. At this moment, I wonder how does this camera stands next to ZCAM F6? I see here several advantages : in-house monitor, internal (very good) ND, and easily swappable lens mount. As far as I understood, there is no option to use NPF batteries. That''s what I like with my e2M4.
Glad you liked it. I’d say there are a lot more reasons over the F6. To add to everything you mentioned:
- internal 4444XQ
- dual media slots
- dual full size XLR
- 8K
- SDI (2 ports even)
- easier to swap lens mounts
- OLPF
Also, you can use the NPF style battery instead of v-mount.
I can't fins a listing anywhere of the actual resolutions that the camera can shoot. Everyone keeps talking about 8192x5288 sensor size. Can it actually shoot full gate 3:2?
If I recall correctly It did have an open gate setting
Very detailed review. Great breakdown. Seems like a beautiful camera. Thanks for putting this together for us, Joe. You can tell a lot of work went into this.
My pleasure!
Dang Kinefinity seriously upgraded their cameras from when I first checked them out! This thing is dope!
What was the price when you posted this do you remember? Just checked and it's $11K and the poro kit is $16.4K so it seems like it's gone up based on your conclusion statements.
I don't recall what the price was back then, but that would suck if it went UP. The camera was really nice, I wish I had more time with it.
@@joenicklo Yeah I may seek one out to mess with soon enough after watching this! Thanks for the great content amigo!
Really considering the edge of my F6 for I/O (big one) and 4444 alone. Hard to tell without using myself, but the color seems more spectral vs my F6. The F6 looks great, but seems to have a smaller pallet when it comes to each individual color.
Since you’ve worked with both in post do you think the image over the F6 is worth it? I’m happy with my F6 overall and rent when an upgrade is needed, but I feel with the edge I wouldn’t need to go for a rental on bigger projects and can charge kit fee instead. Any areas where zcam is better? (Besides their awesome app).
Good question. I think that at $4000, the E2-F6 is a very underrated camera. Sure it has its flaws but it's still an amazing bargain. On the other hand, the Mavo Edge 8K is like the E2-F6 on steroids. There isn't a single thing that the Z Cam can do better than the Mavo Edge EXCEPT for the price. The color science and look of the two cameras are completely subjective so it's up to you on that.
bro... im pretty sure you are the only channel that I will watch a 24 minute review. there was no point where I lost interest. great review bro! downside is that this camera is out of my budget SO MUCH! hahaha Ready for the short film!
Thanks anson :D appreciate it.
Anson, Consider the Kinefinity MAVO LF. It's 6K Full Frame and cuts GREAT with ARRI cams! If you want images that look like ARRI images, the MAVO LF achieves this right out of the camera!
@@ntouched Don't encourage him Troy :D I'm trying to keep Anson on his current camera system(s) for more than 6 months.
Another banger vid brotha! This camera is nuts. I wouldnt buy it though.. or maybe I would. And then Id sell it. 🤪 haha jk. But keep the content flowing!!
I know that's exactly what you'd do LOL
Thank you for your detailed review! Looks like an awesome camera, even though it‘s a little bit out of most people‘s price range ^^
You’re welcome
I think kinefinity should just adopt b raw
That would require a license, and if they already have 12-bit ProRes 4444XQ, its not even worth it.
@@joenicklo bmd licenses braw for free.
@@jpgrignon1 Still, what benefit does BRAW have over ProRes 4444XQ? If they're going to spend R&D dollars on a raw codec, I'd rather it be a 16-bit uncompressed raw codec.
@@joenicklo files are much smaller and you have just as much if not more latitude in post when using resolve
Great stuff! Not sure it’s a camera I would buy but it’s a cool camera nonetheless
Definitely worth renting at the very least.
As a carbon fiber lover myself, this looks so good! Beautiful image out of it from what I can see! Great review Joe, very informative for your time with it
Appreciate you watching. I hope to see more carbon fiber camera bodies at this price point in the future.
DR looks more like 12-13 stops. The highlights clip pretty fast and hard
Could’ve also have been my shooting to be honest. I didn’t have this camera that long and couldn’t really do much testing. Wish I had it longer.
Hard to not think about the V-Raptor comparison.....yeah, it's 2x, but also.....It's Red's workflow! Is the Edge Netflix approved?
I don’t believe the Edge is approved. Having shot on both the edge and the v-raptor, I’d take the raptor all day long.
idk why but for me the image looks super digital. not feeling it. But great review non the less
Honestly, that could be my grade. I added a textureizer node to the actor's face because I didn't feel he looked "dirty" enough with the makeup.
That was a great review. Apple 444 and 422 are both great codec, but they are limiting towards Mac. I was not even aware of this camera's existence. Anyway, at least you properly waited until the end to ask for "like/subscribe." I find is strange that some channels ask for a LIKE at the beginning, before you've even seen the video.
Glad you enjoyed the review. And yeah you can’t like it if you haven’t watched it 😂
Rolling shutter? please respond thanks
Hey, I didn't do a test of the rolling shutter (like a dummy!!!) but I can send you a few clips we shot of the actor running. We didn't use them in the film but I think that might help you. Email me.
@@joenicklo just one question. Does it have rolling or global?
@@SuperFilmregisseur rolling.
I was hoping for more test footage to get a better sense of the image quality :( Thanks for the review thought 👍
I’m more than happy to provide you with some shots, but they’re 8k and gigantic.
No mac meme, I riot
Sorry to disappoint :) haha
Do you still have/use the Edge 8K? Would be cool to see a follow up after a while on things like reliability, and if there are any improvements through software updates etc..
** forgot that you said you had the camera for a week🙃 anyway, if you ever get your hands on it again, i hope we get to see how the camera performs in different scenarios🤙🏻
@@sondrevestheim Yeah, sadly I only had it a short time. Great camera but PERSONALLY, I'd go for the RED V-Raptor over this...which I am :)
Thank you for your video. how long can you record on 1TB in 8k, 4444xq, 24fps?
Fantastic review! These guys are putting out some serious cameras
Yes they are!
Nice channel subbed instantly. Thanks for great episode
You’re very welcome Carlos. Thank you for watching.
price a full set is too close to the RED Raptor, but this camera is really interesting
At the same time, you get EVERYTHING you'd need to start shooting. 2 1TB mags, a monitor, EVF, cage, batteries, chargers etc.,
@@joenicklo i know, but at the same time you have a camera "locked" to record only in ProRES, instead of the versatility of the .R3D of the RED..anyway, i'm really interested to buy this camera, and i have a Komodo and a Helium..
@@airfilm_it Great point! The Raptor is honestly such an enticing camera.
Now this is what i call a camera review .
Thank you! This comment made my day. Seriously.
@@joenicklo keep up the good work man , I really love this review .
@@Kashilembo Will do. TY!
Something about this camera body design I really like.
Its a very well designed camera.
Which is?
Not having internal raw in an ENG camera in 2022 is fine, but not having some form of internal raw in a cinema camera in 2022 is a dealbreaker to ever be labeled ‘the best’.
I get red has the patent etc. But other companies like canon have paid the piper to license compressed raw. And without doing this, there’s no way you can be the best. I WAS very excited about this, until they lost the prores raw license.
I love my atomos recorders, and used them all the time, but it’s a crutch needing the external recorder, and it’s a weak point having everything being recorded go over an sdi that can cut out or malfunction.
It also has a very digital look.
I agree 100% with you. They are working on an internal raw codec though. That being said, a large amount of work shot on ARRI bodies is show in ProRes 4444
@@joenicklo absolutely you’re right. Truthfully the 4444 workflow is what I use most of the time. Most people don’t even own the arriraw license because it’s expensive and taxing workflow. I don’t even use 4444xq for VFX because I find it overkill for basic FX. But still, I like having the option.
Thanks for the reply!
@@MrMacroJesseSky No problem! I appreciate you taking the time to watch AND comment.
Dude, how did you get your hands on it? Lol great video.
Someone likes me I guess. Thanks for watching :)
@@joenicklo lol
Ready for this!
How ready?
@@joenicklo did I comment this before I watched it? Hahaha
@@Ansonandco I think you did.
do they have mft mount?
I do not think so.
Uuuuuuuuuiiiiiiiiii cme and dont cme with anything
k
They need to let you get the gear for a month or two so you don’t have to keep saying “ i only had it for X amount of time “. Great review though. i know your just being honest .
Sometimes things need to be repeated. 🤷🏻♂️
great review nonetheless bro
@@iThinkWeGotIt Appreciate it :)
Why don't you talk about focus system on the camera? Raw capabilities is depends on red co. I personally prefer Nikon Z9 over all.
Because there is no focus system. It’s manual focus.
@@joenicklo yeah I know it but you could still explain the system of MF.
@@dimitrimoonlight I'm sorry but it really goes without saying. I appreciate the suggestion though.