Fantastic work! It's an astonishingly good time to get a camera to work with in filmmaking! Almost all cameras these days are stellar in their own way! Even the non video exclusive cameras are excellent! Good job on making things you actually want to create and getting work!
Love that you took your time with this video and gave us every detail. It confirmed that this isn’t the cine cam for me, but I loved learning your experience in the real world with real clients. The Komodo x is the only thing that could make me return to super35. Honestly it’s the only RED I’ve seen worth the price.
Those hotswap batteries are game changers. I've never seen the one that you have on your rig. The one I have is the Jetpack EVO from Core. It was a little expensive coming in around 800 bucks, but it's so worth it.
Thank you for the long-term review and all the insights on real projects :D As a Sony Hybrid Shooter who has accumulated quite a park of lenses over the past few years, I am quite curious about the Mavo Cameras as they can be ordered with the FE-lens mount. The FX30 is too "small" to be my main production camera and it wouldn't be an upgrade to my A7IV anyway. I am in a weird spot where I either need a proper cinema camera (client work) or just one mirrorless body. I don't have any client work in-between these two ballparks anymore, which is quite nice on the one hand but the gear situation is pretty weird. I like the thought of putting my Sony Zeiss Lenses onto a camera that delivers close-to-arri colors. Thanks again, awesome content man!
Very interesting! every camera has is drawbacks so its cool to see what those are for this camera and see how you have adapted your workflow and mindset on set to make a pretty image. I would never go out of my way to use this camera but its cool to see you have made it work for your workflow and if I ever find myself using this camera I will have a great video to study :)
Great video! Many thanks! The first serious review of this camera and a big relief to see how sensible and practical it seems. Like an ARRI Micro, but at a fraction of what that would cost. How's the low light performance?
Looking forward to that comparison! Pro Res 4444 shuld be easier to handle than R3D-files in post, but that's just in theory. Some CST will probably put them very close.
Love the videos and the channel. Man that ssd thing having to power down to swap cards is a killer for me. When shooting narratives I just cannot chance big media cards so I always go 256Gb or 128Gb and swap out a ton so no way could I do a shutdown 6-7 times a day. Cool camera otherwise.
Excellent video. The camera certainly has the ability to play with the big boys. Image looks really good - great value for money - … Komodo just became a gecko.
Obviously we’re way beyond this now haha, but I’m curious if you noticed that your comparison of DR between cameras in your GoodBye video @0:30 has the XH2 DR labled as XH2s haha Also, incredible video brother. Still watching, but this is great!
@@CineDailies yeah i am just waiting for my business partner to figure out the budget... you know i am the artist, the film director and he is the money guy hahahahahahahah
I love your videos! Well done. And yes, this long and detailed video is perfect for me. I bought a BM 6K FF, Panasonic S5M2, and recently an FX3 and all have CMOS smearing issues. The FX3 has the least amount of CMOS smearing but it is there....sigh. I returned the BM and the Panasonic and am just working with the FX3. Does the Mavo s35 suffer from CMOS smearing in low key or underexposed lighting situations? Thanks!
I've been super interested in kinefinity for the past few years but couldn't find US shooters. Recently invested in an Arri amira, but I'm curious to see how the mavo compares side by side
hey! can you compare this camera to the zcam s6 ... I know the f6 pro would be a better suited comparasin but the sensors sizes are the same between the s6 and the mavo s35? thanks :)
Hey man, thanks for the suggestion. There wouldn't be much to compare. Sure image quality is something but thats so subjective in the grade scheme of things.
Very informative thank you. If you had to do it all over again, would the Mavo s35 still be at the top of your list? Whats your opinion on cameras such as the Komodo X & Ursa 12k, on how they stack up against the Mavo s35?
I would probably have gotten the Mavo LF because of the lens test I do. Seeing the full cover of a lens is helpful for production knowledge. But outside of a raw workflow, the camera is amazing. And not having raw isn't a dealbreaker
With the timecode/framerate/jam sync issue, I would assume you always keep the project at 24fps but I shoot a lot of off-speed footage so would jumping to 48 or 60fps result in having to jam sync again afterwards to remain sync'd on timecode?
I noticed that your memory cards are the red ones. Have you tried the black ones where you buy your own SSD and put it into the black shell? Much cheaper that way.
I have both. Watch my other video on the mavo walk through. But the Red mag is a raid 5. It have a failure safe feature. The black mag I have is just raid 0 2tb ssd
@@SodaAnt7 beats me but it is “KineMAG Nano 1TB has a built-in NVMe M.2 1TB SSD that is specially optimized, which gives the KineMAG Nano 1TB two superior safety features: Read-only and RAID 5. It improves the safeness and robustness of the KineMAG Nano while copying the SSD or writing to the SSD at blazing fast speed in the camera.” This is from the website for the Red mag
@@CineDailies Don’t believe everything you read. I was an engineering manager for ten years at a company that made RAID controllers and I can tell you categorically that you cannot implement RAID-5 with a single drive. The claim on the website is advertising hyperbole.
@@CineDailies I’ve been using them for 9 years. Been able to the entire night in a hotel without having to set an alarm. They have new Micro batteries that allow you to change out power modules in the battery as well👍🏼
Respectfully, the Kinefinity is not equal to the image quality of any RED IMHO. The fact you sold your RED Komodo and purchased a Kinefinity is a trade down I simply don't understand. RedCode RAW has 16 Bit colour science, and this is a difference you can plainly see. I love ProRes, but at best it only goes up to 12 Bit colour space, and when you're doing professional shoots and some of my clients are camera savvy, and will ask what camera you are shooting on, and when you don't say RED, then I find one has to do a whole lot more of a sales job to convince them everything will be OK. Another thing is the high end clients all know the RED look, and they can sure tell the difference between ProRes and RedCode Raw footage. Some clients just want a great image and couldn't care less, but many clients and agencies will ask what camera you're using, and you just can't show up on set with a Mirrorless, or a boutique brand camera.
This comment is really out of touch...sigh. 1. I've never owned a red 2. I am a full-time commercial director and DP for Sunny sixteen 3. Pro res is still wildly used - even in the arri's we've filmed with. Raw is overrated in MOST cases. 4. I've never been NOT hired for not owning a red. Times have changed, my guy. 5. I've worked with clients like Walmart, spotify, ford, Natgeo etc. When we're in preproduction we decide the best tool for the vision. 6. Lighting and set design is WAY more important on set. I've rolled up on set with a Sony Fx6, Fujifilm Xh2s as well. But thanks for your assumptions and opinions.
@@CineDailies Regarding the following numbers..... 1. Sorry, my bad. I confused you with another guy on UA-cam who just did this. 2. I'm a pro 34 years in the game in industrial videos in Canada. 3. I never wrote ProRes isn't widely used. I said the colour science of RedCode Raw is superior compared to ProRes in all its flavours. I also wrote that I love ProRes. RAW can't possibly be overrated, since none of your main settings are baked in like it is with ProRes. Exposure and white balance in particular. 4. I've never been not hired for owning a red either, but I have been passed over for work because I didn't shoot with a RED several times. 5. I'm an award winning Canadian Filmmaker. 6. Did I ever write that it wasn't ?
@@ChrisParayno I have done a lot of Cinema work, but now I'm semi-retired, and I am mostly freelance corporate and medium sized commercial clients now. I am concentrating more now on personal passion projects of my own. I am just getting back on my feet after life threatening illness derailed my career and regular business activities four years ago. I have greatly changed my approach and opinions about my industry over the past few years, as the industry itself has greatly changed over the same amount of time.
The Tune Highlight feature looks interesting! Pushing it more towards highlights makes it a lil more in TUNE 🥸 with exposing film! Secondly, have you shot vertically with this thing? Is rigging it a challenge in that configuration? (we shoot about 80% of our stuff in vertical)
Would love to know your thoughts!
ayyy my guy! loved the video! I've love to see more of these longer videos! big fan!
@@edwardcrockettthanks Brodie!!
DOPE VIDEO!!!! I've been thinking about switching cameras for a while now and the Kine platform looks pretty tempting.
I like the longer videos. It’s entertaining and I learn a lot about something with beautiful things to look at.
Thanks for the feedback
Those tunable highlights is a pretty neat feature!
I know right! Gonna do some more test videos - probably the best aspect of the camera
11:21 This talking head looks so clean ✨ Great video!
🙌🏽
Longer is cool when applicable like this topic, a detailed review of the gear.
Thank you for watching
Fantastic work! It's an astonishingly good time to get a camera to work with in filmmaking! Almost all cameras these days are stellar in their own way! Even the non video exclusive cameras are excellent!
Good job on making things you actually want to create and getting work!
Couldn't agree more! Thanks for watching!
Love that you took your time with this video and gave us every detail. It confirmed that this isn’t the cine cam for me, but I loved learning your experience in the real world with real clients.
The Komodo x is the only thing that could make me return to super35. Honestly it’s the only RED I’ve seen worth the price.
Epic review man, have literally the same feelings about the camera :)
Thanks for watching bro! Your content is on point!
Thanks man I really appreciate it!@@CineDailies
Totally appreciate the time put into creating a true long form review bro!!
Thank you for watching 😭😭😭
Good video, very informative and thanks to you now I know that Kinefinity is not the camera that I need (At least not for now)
Thanks😊
Glad I could help!
Big fan of the longer format - these are my favorite kind of reviews 💁🏻♂️
Really enjoyed the video and yes I love the more detailed/technical long form videos. Very refreshing to watch.
Love it - thanks for watching
Haven’t started the video and I already know I’m in for at least 27 minutes worth
❤️
Those hotswap batteries are game changers. I've never seen the one that you have on your rig. The one I have is the Jetpack EVO from Core. It was a little expensive coming in around 800 bucks, but it's so worth it.
The swift is around the same price but like you said worth the invest
Thank you for the long-term review and all the insights on real projects :D As a Sony Hybrid Shooter who has accumulated quite a park of lenses over the past few years, I am quite curious about the Mavo Cameras as they can be ordered with the FE-lens mount. The FX30 is too "small" to be my main production camera and it wouldn't be an upgrade to my A7IV anyway. I am in a weird spot where I either need a proper cinema camera (client work) or just one mirrorless body. I don't have any client work in-between these two ballparks anymore, which is quite nice on the one hand but the gear situation is pretty weird. I like the thought of putting my Sony Zeiss Lenses onto a camera that delivers close-to-arri colors. Thanks again, awesome content man!
Very interesting! every camera has is drawbacks so its cool to see what those are for this camera and see how you have adapted your workflow and mindset on set to make a pretty image. I would never go out of my way to use this camera but its cool to see you have made it work for your workflow and if I ever find myself using this camera I will have a great video to study :)
Thanks for watching!
I thoroughly enjoy your content even though I'm a KX user. Btw that Nisi Athena footage is amazing! Keep up the great work!
Thanks a ton!
I appreciate the longer vids. Great video!
🫡🫡🫡
Great video! Many thanks! The first serious review of this camera and a big relief to see how sensible and practical it seems. Like an ARRI Micro, but at a fraction of what that would cost. How's the low light performance?
Glad you enjoyed it! An image quality test vs the Komodo is coming! Low light is good. the tune highlight feature helps
Looking forward to that comparison! Pro Res 4444 shuld be easier to handle than R3D-files in post, but that's just in theory. Some CST will probably put them very close.
I've been following this brand for a while. I was considering getting it, I can't justify it.
Cool
Love the videos and the channel. Man that ssd thing having to power down to swap cards is a killer for me. When shooting narratives I just cannot chance big media cards so I always go 256Gb or 128Gb and swap out a ton so no way could I do a shutdown 6-7 times a day. Cool camera otherwise.
Excellent video. The camera certainly has the ability to play with the big boys. Image looks really good - great value for money - … Komodo just became a gecko.
Couldn't agree more
Obviously we’re way beyond this now haha, but I’m curious if you noticed that your comparison of DR between cameras in your GoodBye video @0:30 has the XH2 DR labled as XH2s haha
Also, incredible video brother. Still watching, but this is great!
Lol good eye haha
Super interesting. I wonder how this camera compares in workflow, usability and image to the URSA 12k.
Beautiful work, edit, and sound!
Thank you very much!
You’re dope my brotha! Wish I was near you to soak up all that knowledge/wisdom of film making. You are that dude! 🫡
I appreciate that - I'll be making a course this year
Been waiting for this one
🙏🏽 more to come
I want one! I almost left red to buy one but I think I’m going to rent 1st
Yes rent if you can!
Great video. Does it require a Kinefinity monitor or can you access the deeper menus with 3rd party monitors?
You can use any monitor with SDI
I like long videos. Keep it up…if you can. Hey do you. Thanks for the great content.
Thanks, will do!
I really like this type of videos
❤️
nice video man!! makes me wanna purchase it even more hahahahahaha
Hahaha let me know if you're for real!
@@CineDailies yeah i am just waiting for my business partner to figure out the budget... you know i am the artist, the film director and he is the money guy hahahahahahahah
I love your videos! Well done. And yes, this long and detailed video is perfect for me. I bought a BM 6K FF, Panasonic S5M2, and recently an FX3 and all have CMOS smearing issues. The FX3 has the least amount of CMOS smearing but it is there....sigh. I returned the BM and the Panasonic and am just working with the FX3. Does the Mavo s35 suffer from CMOS smearing in low key or underexposed lighting situations? Thanks!
Bruh I love that I pop up in broll 😂
Had to get the Brodie in
yo, does the Nisi Athena lenses works with the Active PL Mount from Kinefinity? I saw that u use the Nisi PL Adapter.
Great video bro
Appreciate it
I've been super interested in kinefinity for the past few years but couldn't find US shooters. Recently invested in an Arri amira, but I'm curious to see how the mavo compares side by side
For sure- ill drop some files soon
Fantastic video
I have the 45mm silver Proteus on loan. How do you like it?
I have the amber - so far so good. I have a review coming soon.
@@CineDailies ua-cam.com/video/ydF5JThpj9A/v-deo.htmlsi=ynX6HqfJNNh52tnX
What's the name of this wireless focus on 6:10? DJI?
It's the PDmovie wireless follow focus. My next video will talk about it
hey! can you compare this camera to the zcam s6 ... I know the f6 pro would be a better suited comparasin but the sensors sizes are the same between the s6 and the mavo s35? thanks :)
Hey man, thanks for the suggestion. There wouldn't be much to compare. Sure image quality is something but thats so subjective in the grade scheme of things.
@@CineDailies mm I understand, but speaking about image quality which would you say has overall better image quality... through your eyes of course.
Very informative thank you.
If you had to do it all over again, would the Mavo s35 still be at the top of your list?
Whats your opinion on cameras such as the Komodo X & Ursa 12k, on how they stack up against the Mavo s35?
I would probably have gotten the Mavo LF because of the lens test I do. Seeing the full cover of a lens is helpful for production knowledge. But outside of a raw workflow, the camera is amazing. And not having raw isn't a dealbreaker
How is the image in comparison with Fuji H2s? ;))
lol...both are solid. but I prefer the Mavo image over the fuji.
The DR and general QI compared to zcam?
Great video
Glad you enjoyed it
@@CineDailies you’re more than welcome
With the timecode/framerate/jam sync issue, I would assume you always keep the project at 24fps but I shoot a lot of off-speed footage so would jumping to 48 or 60fps result in having to jam sync again afterwards to remain sync'd on timecode?
I noticed that your memory cards are the red ones. Have you tried the black ones where you buy your own SSD and put it into the black shell? Much cheaper that way.
I have both. Watch my other video on the mavo walk through. But the Red mag is a raid 5. It have a failure safe feature.
The black mag I have is just raid 0 2tb ssd
@@CineDailies Raid 5 requires at least three drives. How do they manage it with a single SSD?
@@SodaAnt7 beats me but it is
“KineMAG Nano 1TB has a built-in NVMe M.2 1TB SSD that is specially optimized, which gives the KineMAG Nano 1TB two superior safety features: Read-only and RAID 5. It improves the safeness and robustness of the KineMAG Nano while copying the SSD or writing to the SSD at blazing fast speed in the camera.”
This is from the website for the Red mag
@@CineDailies Don’t believe everything you read. I was an engineering manager for ten years at a company that made RAID controllers and I can tell you categorically that you cannot implement RAID-5 with a single drive. The claim on the website is advertising hyperbole.
Hot swapping? Use PAG batteries
You just made my day, i have the swift but the PAG looks like a better fit
@@CineDailies I’ve been using them for 9 years. Been able to the entire night in a hotel without having to set an alarm. They have new Micro batteries that allow you to change out power modules in the battery as well👍🏼
@@CineDailies I’m in Atlanta, let me know if you want to see them.
Does the kine monitor have EL Zone built in as exposure?
Not yet - hopefully soon
Why would you roll for 2 hours straight?
It was the nature of the project. There was no script to follow and we need to capture any and all reactions
Respectfully, the Kinefinity is not equal to the image quality of any RED IMHO. The fact you sold your RED Komodo and purchased a Kinefinity is a trade down I simply don't understand. RedCode RAW has 16 Bit colour science, and this is a difference you can plainly see. I love ProRes, but at best it only goes up to 12 Bit colour space, and when you're doing professional shoots and some of my clients are camera savvy, and will ask what camera you are shooting on, and when you don't say RED, then I find one has to do a whole lot more of a sales job to convince them everything will be OK. Another thing is the high end clients all know the RED look, and they can sure tell the difference between ProRes and RedCode Raw footage. Some clients just want a great image and couldn't care less, but many clients and agencies will ask what camera you're using, and you just can't show up on set with a Mirrorless, or a boutique brand camera.
This comment is really out of touch...sigh.
1. I've never owned a red
2. I am a full-time commercial director and DP for Sunny sixteen
3. Pro res is still wildly used - even in the arri's we've filmed with. Raw is overrated in MOST cases.
4. I've never been NOT hired for not owning a red. Times have changed, my guy.
5. I've worked with clients like Walmart, spotify, ford, Natgeo etc. When we're in preproduction we decide the best tool for the vision.
6. Lighting and set design is WAY more important on set.
I've rolled up on set with a Sony Fx6, Fujifilm Xh2s as well.
But thanks for your assumptions and opinions.
@@CineDailies Regarding the following numbers..... 1. Sorry, my bad. I confused you with another guy on UA-cam who just did this. 2. I'm a pro 34 years in the game in industrial videos in Canada. 3. I never wrote ProRes isn't widely used. I said the colour science of RedCode Raw is superior compared to ProRes in all its flavours. I also wrote that I love ProRes. RAW can't possibly be overrated, since none of your main settings are baked in like it is with ProRes. Exposure and white balance in particular. 4. I've never been not hired for owning a red either, but I have been passed over for work because I didn't shoot with a RED several times. 5. I'm an award winning Canadian Filmmaker. 6. Did I ever write that it wasn't ?
@@markjob6354 again, thanks for your opinion
Do you do cinema work?
@@ChrisParayno I have done a lot of Cinema work, but now I'm semi-retired, and I am mostly freelance corporate and medium sized commercial clients now. I am concentrating more now on personal passion projects of my own. I am just getting back on my feet after life threatening illness derailed my career and regular business activities four years ago. I have greatly changed my approach and opinions about my industry over the past few years, as the industry itself has greatly changed over the same amount of time.
The Tune Highlight feature looks interesting! Pushing it more towards highlights makes it a lil more in TUNE 🥸 with exposing film! Secondly, have you shot vertically with this thing? Is rigging it a challenge in that configuration? (we shoot about 80% of our stuff in vertical)
Right? It's pretting handy. As for vertical shots. I have plenty of open gate options in camera so no need to rig it vertically