The Kinefinity Mavo S35 MK2 and Mavo LF MK2 | A Baby Arri Alexa for $4,000?

In this video, I am going to give my thoughts on hidden gem camera company, Kinefinity, and their latest announcement of two brand new cameras, The Kinefinity Mavo LF Mark 2 and the Kinefinity Mavo S35 Mark 2. These two cameras are quite inticing offerings for aggressive pricing. The S35 Mark 2 in Particular, is sporting a brand new sensor that can potentially bring it closer to image quality to the likes of Arri.
However, with certain features missing and heavy competition from other manufactuers, is these options seriuos considerations? Tune in to find out.
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00:00 - Introduction
01:17 - Introducing the Mavo LF mk 2 and Mavo S35 Mk 2
01:50 - Mavo LF Mark 2 Breakdown
02:31 - The Difference between the Mark 2s and the Edge Cameras
03:50 - Mavo LF Recording Options
04:45 - The Image Quality
06:18 - Mavo S35 Breakdown
06:26 - Mavo S35 Recording Options
07:36 - The Prices
07:59 - The Mavo S35 Mk Sensor: Same as the XH2s?
10:21 - The Problem: The Competition
13:11 - Final Thoughts

[@JamesJacksonFilmz]

Has Kinefinity peeked your interest? Would you be interested in either of these cameras? Also would you love to see more content around Kinefinity the company as well as the cameras they produce?

[@arjunsureshlal6366]

How do you think this compares to the Z Cam E2S6? Seems like a lot of specs are common and Kinefinity is 2X the price just for the body only, You can rig out Z Cam with a lens for the price of the kinefinity body only. I couldn't find any comparison between the E2S6 and the existing Mavo Edge or any of their cameras. Do you think the Mark 2 would have that much better dynamic range, low light performance, and better rolling shutter to justify 2-3 times the price difference? I understand it has SDI outs and full size XLRs, but are those enough to justify the price difference? I'm genuinely curious as I am looking to get a cinema line camera, specifically a S35 camera. Z Cam E2 S6, FX30, and now Mavo S35 Mark II are in the list to consider.

[@rayt_visual]

As a person who has started to check out these cameras and reach out to our Kinefinity rep in Canada. They actually make a separate module you can add to the front of the camera to gain the eND back. So I am looking at the PL Mount that has an eND built in that talks to the camera. That works with the new Mavo LF 2 ... or at the least what a rep told me. And you save several thousands still from the Mavo Edge 6K.

[@JamesJacksonFilmz]

While this is true and it’s a solid solution. However it is an adapter you are now relying on the lens. Also you have to pay additional for the kine mount on the LF mark 2 (the new cameras come with no mount if you get the box only). Then pay for the adapter mount. Also I was not aware of an E-ND pl mount only the EF version. So all that adds up. Me personally I would still prefer to pay for the Edge simply for the built in ND, as well as the second media slot and Ethernet port.

[@GabrielScindian]

Whats the Dynamic Range and how foes it compare toe the c70. Usable stops. c70 is 14.2 when using clog2

[@JamesJacksonFilmz]

No one knows the usable stops but Kinefinity rate their kinelog3 profile to have 14+ stops

[@alexiscuarezma]

The 3x2 open gate is the biggest feature for me. Better than built in NDs. Excited for these. The Sony's, Canon's etc don't film open gate in 12bit or 10bit. Fuji is the only other option then the Sony Venice.

[@JamesJacksonFilmz]

Don’t forget Panasonic offers 3x2 open gate. As well as zCam. But it is a shame Sony not Canon offer this on their cameras. Especially the cameras that have a 3x2 sensor (R5C, FX3).

[@alexiscuarezma]

@@JamesJacksonFilmz correct. I looked into Panasonic and zCam but what I found was that at open gate they only offer 4:2:0. With the GFX100s & Xh2s you can get 12bit Pro Res Raw open gate. If I'm mistaken, please let me know as it would be great to see other options. Kinefitey is the other option for Vista Vision

[@JamesJacksonFilmz]

@@alexiscuarezma I believe you get 3:2 prores raw as well with Panasonic. And 10 bit prores 3:2 for the Zcam

[@alexiscuarezma]

@@JamesJacksonFilmz oh wow, that would be great. I'll look into it again if the Panasonic does 3:2 prores raw. Thanks

[@MarquelCoaxum]

Can you operate the menus with a third party monitor or does it require you to have a Kinefinity monitor?

[@JamesJacksonFilmz]

You can operate via camera and view externally but directly on the monitor I believe it’s only through kinefinity monitors you can do this.

[@MarquelCoaxum]

@@JamesJacksonFilmz thank you! I’m strongly considering the S35 MK2 for my next upgrade. Image quality looks equal to the Komodo-X and I can use my Sony E glass I already own.

[@redaizo]

both with Proprietary NVMe drive, not really an stray of shelf ssd unfortunately if i'm not mistaken

[@MartinBleazard]

Nope, you can use off the shelf, they sell the caddys separately

[@redaizo]

@@MartinBleazard Damn thats good news

[@reliantfilmsproductions9752]

So have Kineinfinity completely abandoned ef mounts for these cameras??

[@JamesJacksonFilmz]

No they come with the kine mount by default. All the previous mount adapters (EF included) are still usable with these cameras. You always had to purchase one of the ef mount adapters to get ef glass onto their cameras.

[@reliantfilmsproductions9752]

@@JamesJacksonFilmz You also mentioned Kinefinity color space or science being close to arri color space, but I could not find any information on the actual color space?? If you can I would appreciate it you can do a video on what their actual color space is or if they plan on partnering with davinci resolve??

[@WeyrdSonRecords]

why do you keep complicating the camera's name? Its Mavo S35 Mark2, not Mavo Mark2 S35... 😉 For the rest, you did a great job

[@JamesJacksonFilmz]

Thanks 😛

[@georgeblanchardjr]

Not according to B&H 🤓

[@WeyrdSonRecords]

@@georgeblanchardjr so that’s how the whole thing started! Damn B&H

[@chicobraz4335]

Still no footage ..sad

[@JamesJacksonFilmz]

Yeah. Well in the Facebook group, it’s been said that some Chinese filmmakers got their hands on some and should be releasing footage into the wild soon. I would definitely join the group if you can. Most people tend to drop stills and Vimeo footages.

[@highlycreativedigital5472]

could be a Komodo killer if they give us raw.

[@JamesJacksonFilmz]

It’s as close to Raw as you get with the 12 bit 444 prores. You even can keep most of the image through correction as if you shot raw. The only real advantage is if the raw is compressed but RED will never allow that to happen.

[@highlycreativedigital5472]

I wish cameras like the fx6 would do 444 or raw internally. I know canon gets crape. But they give you raw internally letting you achieve the best image possible on their cameras. in there ready to shoot out of the box. with the new price drop on the c500 mark ii it brings it down to the price of a rig out Komodo. you should compare them.