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On this page you will find downloadable Kinefinity MAVO Edge 8k Log footage, a few in 8K but most of them in 4K oversampled from the full frame 8K image, recorded in ProRes 444. We plan to upload more over the course of the next few weeks, so please bookmark this page.

 

A few words on the lack of RAW in the Kinefinity MAVO Edge 8K

A huge part of the success of the Arri Alexa after it’s initial release in 2010 was the implementation of oversampled ProRes 444 in 2K resolution taken from the 2.8K sensor.

The golden rule for Cmos sensors is to oversample at least by 0.7X to get past the compromising math of a Bayer sensor, which is a bit of a guessing game. If we record ARRI RAW on a standard Alexa we get 13.5 stops (xyla chart an ima test set at 0.5 signal to noise ratio) and if we record oversampled 2K ProRes we get 14 stops and even better color depth by means of less chroma noise. This increased performance is not caused by in-camera filtering like noise reduction: It is simply the result of oversampling. Another issue of digital sampling by itself is Nyquist limits. In order to get past the fixed pattern square pixel sampling we need to oversample at least 2X to get rid of aliasing artefacts and other digital issues. 

The last few years RAW has been popularized mostly because cameras that were limited internally, could potentially shoot better images by means of RAW. RAW is a highly complicated term, because the way most camera’s capture RAW is actually filtered and compressed, and sometimes even debayered partially. Potentially RAW can be smaller than ProRes 444, because ProRes has to record 3 channels per pixel (rgb), and RAW only records one channel (black and white), which is debayered in post.

But once you oversample in-camera, you can record less and better data into the 444 codec, and the data stream will be smaller than the 1:1 pixel recorded RAW equivalent.

RAW is often referred to as magic, some believe you can’t change your whitebalance or exposure on a ProRes codec, but this is nonsense, A RAW ui inside for instance Resolve is always a pass after debayer, and the only difference is that Kelvin can be expressed in kelvin numbers opposed to the white balance slider in the grading panel, but the behaviour will be the same, Same goes for Exposure, which is measured in stops in the RAW ui, and has a similar behaviour as the Offset or gain slider, in the grading panel. Changing your ISO does not exist in post production because you’re not God, and can’t change the voltage on your sensor. The only thing you can do is alter the curve which is called digital gain. That put aside we’re sad that due to political reasons we aren’t able to provide RAW with the MAVO Edge 8K, because even though it might not matter from a image fidelity point of view, we are aware that it matters politically, when working with clients or producers, who have different thoughts about what RAW is. Maybe at a later stage there will be a way to record RAW externally, but at this stage the focus is on ProRes codecs. 

The idea of oversampling on this high pixel density pixel monster is to get the best possible 4K image by means of onboard quantization of pixels. When Debayering a cmos sensor, every pixels is depended on his neighboring pixels for RGB values, and also the red and blue channel have less spatial resolution as green (which has 2 pixels per cluster of 4), this will give a few headaches because there’s no perfect mathematical formula to debayer, and there’s always a compromise in image fidelity. By oversampling 2X we kind of skip the debayer, and simply take 4 pixels (2 green 1 red 1 blue) and don’t extrapolate and exchange information to get pixel values but instead combine several pixels without debayer formulas and just average them out for one super pixel. In the case of 4k recording every 4 pixels are combined for one pixel, with lower noise values and better color fidelity and less artefacts (edge blur or pollution etc.)

Kinefinity Mavo Edge 8K seen from the side

Kinefinity MAVO EDGE 8K LOG Footage part 1

The next few downloadable clips are taken from the video above which was shot in broad daylight, when the sun was out at 10.30 am in springtime in the Netherlands, which can be quite challenging, we wanted to let the camera suffer as much as possible, so one can see what’s possible in a challenging situation like this.

Each small graded clip down below is available in Log by simply hitting the dropbox link.

An Alexa rec709 lut is a good starting point, but if you’re an experienced colorist you’ll know what to do. The Matrix will be even further fine tuned in the coming months and the goal is to have an almost perfect match with the subtractive color science of the Alexa, stay tuned. If you have any questions please reach out and for more information about the Kinefinity MAVO Edge 8K, please visit our shop page where you find a lot of information we have gathered for you under different tabs.

Sample 1

First sample is shot in oversampled 4k from the full DCI sensor part which is 36X19mm with a shutter angle of 180 degree at 24 fps / kelvin of 5600 /lens is the contax 45mm g adapted to Gafpa Gear’s mft mount with a helicoid mount to contax-g.

Sample 2

Shot in oversampled 4k from the full DCI sensor part which is 36X19mm with a shutter angle of 180 degree at 24 fps / kelvin of 5600 /lens is the contax 45mm g adapter to Gafpa Gear’s mft mount with a helicoid mount to contax-g.

Sample 3

Shot in oversampled 4k from the full DCI sensor part which is 36X19mm with a shutter angle of 180 degree at 24 fps / kelvin of 5600 /lens is the contax 45mm g adapter to Gafpa Gear’s mft mount with a helicoid mount to contax-g.

Sample 4

Shot in pixel to pixel Open gate with a staggering resolution of 8k, as you can see right away the Cooke panchro might not be the right choice for 8k since it’s rather soft, still you can see the smoothness of the oof, we will later down the road post some cooke s4 footage in 8K, bookmark this page.36X24mm / kelvin 5600 /shutter angle 180 degree/ 24fps.

Sample 5

Again the modern Contax-g underrated lens, which is not able to focus by itself but needs a helicoid mount which attaches to the Gafpa Gear MFT Mount which goes right on the native Kinemount. We kind of have a hate/love relation with this lens, its not great when the sun hits it due to the Zeiss t coating which can offset skintones quite a bit. 

Footage was shot in 8k Open gate 36X24mm at 24fps and a 180 shutter and kelvin set to 5600