Thanks man, yeah EVFs still seem very expensive compared to monitors. At least with this the loop through has zero delay and it's got great build quality. I used to like using EVFs/viewfinders, but the problem is that they are very expensive, so I just got used to using monitors instead. But I will say using this has been great.

Thanks for being a part of it matey!

Stu don't worry man, it was great insight all round. For people who haven't used EVFs they might not know what the point of them is, so the honest perspective is good. Thanks as always for your help brother!

@films_by_aw As always Anytime!

Thanks for the visit

Great images all round.

Thanks matey, it's going around the festival circuit for a little bit, but I'll post when it's at festivals.

@@films_by_aw great looking to watch it

Dzo Pavo Anamorphic

Thanks for watching

The Arles to look good. Heavy but they are a proper Cine Lenses so it's to be expected. Yes the Remus are great. I think the Pavos are still my favourite, but they aren't a budget lens. Remus is by far the best at that price range!

@films_by_aw yeah I do love the pavos but agreed they're quite a bit over

. ​@@stuartswindellcampoy8483 1 x Pavo lens is the same price as a full set of the 6 Blazar Remus lenses. But if I had a rental budget on a job I'd always suggest the Pavos

@@films_by_aw yeah that's fair that would be good

Thanks for watching. And happy new year!

@@films_by_aw Happy new year!

Hey man, I didn't use any noise reduction in the video, I thought I would have to but in the end it's been fine on jobs. If you use a light like an Amaran F22c then using this isn't a problem (because the Amaran has a fan that seems loud as well).

Thanks for watching

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.