Thanks man. Yeah I think it's one of those things that's over stated. It's a great light for the price. Beats using a large and heavy HMI like the old days.

Both are good indeed!

So yeah good spot, at the time of filming the first part of the review I had used it with the frensel but always below 50 percent brightness. It worked well with the Molus, and it did a good job, But if you use the light100 percent brightness actually starts to melt the Aputure frensel. My friend and Gaffer Stu suggested I use the F10 from Aputure instead of the small Frensel I currently have. But that's not down to the light that is a 3rd party accessory so I thought better to not mention it, as it's not Zhiyun's fault. It shows how powerful the light is

Thanks for watching

Thank you!

They both look great. The differences are very subtle.

Thank you matey. Yes I 100 percent agree. It sets the tone for the film and alongside a treatment and script, it's the best way of convincing people you can make the project!

Thank you, they are the real heroes!

Haha, I have generous friends, that's all I can say.

Thanks for watching. It's going to be on at film festivals across the UK for the next few months. But ill post where it plays!

Thanks for watching matey. So it will be on the festival circuit for a little while, but As soon as it's available to watch I will link it to the channel.

@films_by_aw Absolutely brilliant. Are you guys based in the London area.

​@@ruff1draft I work there a bit but based in the Midlands (Stoke on Trent)

Thanks for watching matey

It will be a little while before it's publicly available but I plan on having a few more screenings!

Thanks for being a part of it Stu!

The Colour managed REC709 looked worse than the Sony2Alexa LUT

El ganador es el espectador. Ambas cámaras producen una imagen excelente.

Well I haven't compared them side by side, but overall the Kinefinity Mavo LF 2 has a better sensor ( more framecrate options etc) for sure and is better in low light. The S16K crop on the Mavo is far better imo. I do miss Pro Res in my Blackmagic 6K FF, but 6K Pro Res (in any flavour other than Proxy) is one of the most inefficient codecs out there imo. But BRAW if your clients are okay with it is better than Pro Res in almost every way. You can get 8 yes EIGHT decent CEFxpress B card for the price of 1 Kinemag. But having an E mount on the Mavo was a masterstroke as that's the most open mount for 3rd parties. UI and the OS on the Blackmagic is better (but then again it's the best) and I haven't used the Mavo since the new OS for Kinefinity came out. But at their best both sensors are both trying to emulate Arri LOG 3 (which is the best way to go imo). The Mavo LF 2 is a better camera for sure than the 6K FF, but again it's almost 3 times the cost of the 6KFF, and sadly with something like the Canon c400 coming out now at that price, I think it's a harder sell at the price. I think especially with the media costing so much Kinefinity should be selling this at the £4-4.5K price in this market imo. I had a hands on with a Pyxis briefly at an event, and I think it's the better option than the 6K FF now that the flashsale is no longer on. And if you want to compare that to the Mavo LF, I think the body if the Pyxis is better, the media is cheaper and the monitor is cheaper and has the 2nd best raw codec. But the Mavo's sensor is superior, it has pro res, more framerate options, and has a more open mount option. But it is almost 3 times the cost of the pyxis and even more than that to get it up and running (again Kinemag vs CEFxpress). So it really depends on your use case. But for the cost of a Mavo I can get a Pyxis with Laowa Ranger 28-75, Pyxis monitor, cage, loads of CEFxpress cards, and batteries. So make of that what you will.

Thanks, I appreciate the kind words.

Not sure what you mean, but if you mean why test it in meters, well for feet you just need to times the meter length by 3 and you will have your length in feet.

Never has there been such access at all budget levels to cameras that can make beautiful images, it is really all about the talent in front and behind the camera that makes a film great

😅 we'll see haha but thanks for watching

Thanks for watching

Thanks for watching

Thank you Omar

Thank you

Thank you

That's just the difference in the highlight rolloff, no filters applied.

Haha and thanks why it's muted on those shots.

I was referring at placing stuff on it ( camera, pelican case). It's not a table, mate. It's a piano.

To be honest it was just a basic Alexa LUT, not even Da Vinci Colour managed (which I would do now). Personally I think rolling shutter performance and how it impacts the image is fine for 95 percent of filming scenarios. I don't think most people who watch broadcast news across the world care that they are watching a camera with technically a slower readout speed (the FX9). But it's all about preference.

Yikes, maybe it is the LUT, but I do prefer the skin tones of the BM6K

totally the question is can you match the color skin of 6kFF to Fx and compare? I think 6KFF win and isn't far from Arri without Iso needed.

Thank you so much 😀

Thanks Don!

It packs a punch for sure!

Thanks for watching!