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Description
Kinefinity MAVO Edge 8K Overview
- 1Description
- 2Spectacular 8K Sensor
- 3Image Quality
- 4Dual Native ISO
- 5Electronic ND Filter
- 6Lens Mount
- 7Power
- 8Wireless and Remote Interfaces
- 9Monitoring and Connectivity
Illuminate the big screen in mesmerizing detail and color depth with the MAVO Edge 8K from Kinefinity, a carbon fiber full-frame cinema camera capable of industry-leading ProRes 4444 XQ internal recording. Capture 45-megapixel images at 45 fps to maximize resolution or freeze time with 2K/280 fps slow motion. Dual native ISO enables you to shape its 14 stops of dynamic range around either the highlights or lowlights, and its proprietary color science is ready for your 3D LUT.
The rolling shutter scans the sensor in only 12 ms, protecting even the quickest motions from distortion. Choose the oversampled 4K setting to preserve the framing and depth of field of a given lens or digitally crop to boost its magnification. A broad selection of glass is at your disposal using the manufacturer's lens adapters (available separately). The MAVO Edge 8K features a full complement of connections and power options for optimal integration with professional equipment and workflows.
- Dual SSD slots with fast NVMe M.2-based KineMAG Nano
- Two XLR ports with 48V phantom power for pro external microphones
- 3.5mm mic input and headphone output
- Dual 1.5G-/3G-SDI monitoring outputs with metadata and audio embedded
- Timecode input and output
- Genlock sync via BNC
- Sync with RS-232 and Kinefinity camera sync
- Record-trigger input with power output
Not in the Box
- Essential Recording Media (Not Included)
- Essential Lens Adapters (Not Included)
Firmware Updates
v7.1, Oct '22
- Description
- Spectacular 8K Sensor
- Image Quality
- Dual Native ISO
- Electronic ND Filter
- Lens Mount
- Power
- Wireless and Remote Interfaces
- Monitoring and Connectivity
Kinefinity MAVO Edge 8K Specs
| Lens Mount | KineMOUNT |
| Lens Communication | Yes |
| Sensor Resolution | Effective: 44.7 Megapixel (8192 x 5288) |
| Sensor Type | 36 x 24 mm (Full-Frame) CMOS |
| Image Stabilization | None |
| Built-In ND Filter | Mechanical Filter Wheel with Clear ND Filters and a 0.6 to 2.1 Stop Electronic ND Filter |
| Internal Filter Holder | Yes |
| Capture Type | Video Only |
| Shutter Type | Electronic Rolling Shutter |
| ISO Sensitivity | 250 to 800 (Extended: 800 to 16,000) |
| Shutter Angle | 0.7 to 358° |
| Advertised Dynamic Range | 14 Stops |
| Internal Recording Modes | MOV/ProRes 422/ProRes 422 HQ/ProRes 422LT/ProRes 4444/ProRes 4444XQ 8192 x 5288 from 2 to 45 fps 8192 x 4320 from 2 to 55 fps 8192 x 3384 from 2 to 70 fps 7680 x 4320 from 2 to 55 fps 7680 x 3200 from 2 to 72 fps 7168 x 4760 from 2 to 50 fps 6400 x 4760 from 2 to 50 fps 5760 x 4760 from 2 to 50 fps 4864 x 3176 from 2 to 50 fps 4224 x 3176 from 2 to 50 fps 4096 x 2644 from 2 to 45 fps 4096 x 2160 from 2 to 108 fps 4096 x 1692 from 2 to 130 fps 3840 x 3176 from 2 to 50 fps 3840 x 2160 from 2 to 108 fps 3840 x 1600 from 2 to 145 fps 6144 x 3840 from 2 to 59.94 fps 6144 x 3240 from 2 to 72 fps 6144 x 2560 from 2 to 92 fps 5760 x 3240 from 2 to 72 fps 5120 x 3840 from 2 to 59.94 fps 5120 x 2700 from 2 to 85 fps 5120 x 2160 from 2 to 108 fps 4864 x 3840 from 2 to 59.94 fps 4096 x 2560 from 2 to 59.94 fps 3456 x 2560 from 2 to 59.94 fps 3072 x 2560 from 2 to 59.94 fps 2048 x 1080p from 2 to 215 fps 2048 x 800 from 2 to 268 fps 1920 x 1080p from 2 to 215 fps 1920 x 800 from 2 to 286 fps |
| External Recording Modes | SDI/BNC 8192 x 5288 8192 x 4320 7680 x 4320 8192 x 3384 7680 x 3200 7168 x 4760 6400 x 4760 5760 x 4760 4864 x 3176 4224 x 3176 4096 x 2644 4096 x 2160 3840 x 3176 3840 x 2160 3840 x 1600 6144 x 3840 6144 x 3240 6144 x 2560 5760 x 3240 5120 x 3840 5120 x 2700 5120 x 2160 4864 x 3840 4096 x 2560 3456 x 2560 3072 x 2560 2048 x 1080p 2048 x 800 1920 x 1080p 1920 x 800 |
| Sensor Crop Modes | Super35 / APS-C |
| Sensor Crop While Recording | 6K (6144 x 2560) in 2.4:1 6K (6144 x 3240) in 1.8:1 6K (5760 x 3240) in 1.8:1 |
| Fast-/Slow-Motion Support | Yes |
| Gamma Curve | Rec709 |
| Built-In Microphone Type | Mono |
| Audio Recording | 2/4-Channel 48 kHz LPCM Audio |
| IP Streaming | Yes |
| Media/Memory Card Slot | None |
| Audio I/O | 1 x 1/8" / 3.5 mm TRS Stereo Input 2 x XLR 3-Pin Input 1 x 1/8" / 3.5 mm TS Mono Output |
| Power I/O | 1 x Proprietary (11 to 19VDC up to 3 A) Input |
| Other I/O | 1 x RJ45 (Gigabit Ethernet) Control/Data/Video Input/Output 1 x LEMO 5-Pin (Timecode) Data Input/Output 1 x BNC (Genlock) Video 1 x LEMO 6-Pin (RS-232) Control 1 x LEMO 7-Pin (RS-232) 1 x Fischer 3-Pin Input |
| Wireless | 5 GHz Wi-Fi 5 (802.11ac), Bluetooth Video Output, Audio Output, Control |
| Mobile App Compatible | No *As of December, 2022: Check with manufacturer for the most up-to-date compatibility |
| Global Positioning (GPS, GLONASS, etc.) | None |
| Type | Optional, Not Included |
| Focus Type | Auto and Manual Focus |
| Focus Mode | Automatic, Manual Focus |
| Operating Temperature | 32 to 72°F / 0 to 40°C |
| PoE Support | Yes |
| Material of Construction | Aluminum, Carbon Fiber |
| Dimensions (W x H x D) | 4.9 x 4.3 x 4.2" / 124 x 109 x 106 mm (Without Protrusions) |
| Weight | 3.3 lb / 1.5 kg |
| Package Weight | 8.175 lb |
| Box Dimensions (LxWxH) | 11.9 x 10.5 x 9.8" |
Kinefinity MAVO Edge 8K Reviews
Not Sharp when blowing up
I love everything about this camera but the sensor is just not sharp enough. Not noticeable when doing a straight reduction to 4k or HD, but not sharp enough to do post-production cropping/zooming, etc. Other than that, a fantastic camera.
Amazing Image
Was so happy to see this camera on . The image out of this is amazing.
Ready for Production Use
I'm writing this review in response to an earlier review with the headline Not ready for production use by the reviewer Zach. There is a new firmware that came out in September that addresses some of the reviewer's criticisms. I purchased the camera from Kinefinity US but wanted to make a comment here since is a trusted source for consumers and I shop here often. First of all, the reviewer at the time of writing is correct on most of those counts. However, some updates are needed in his review. Version 7.1 of the firmware now allows the menu to show up on 3rd party monitors through SDI. The ghosting effect he mentions is non existent, at least through my own personal testing. Since I bought my camera recently, I'm not sure if the new firmware addresses this or if the prior user had an isolated incident. Either way, I don't see any ghosting issues. The Kinefinity App not connecting still stands however: it will not connect to the camera. Sometimes it will do a quick connect but not able to actually control or do anything with the app. I don't use this feature often. But when I need it, I will want this to work without any issues. Hopefully they get this working in the next update. Aside from the app, the camera is fantastic. The image quality is top notch and can easily cut with an Alexa. The various formats, aspect ratios, and anamorphic squeeze options make this a Filmmaker's powerhouse. The dual battery system offers flexibility in using it on a gimbal with smaller Sony batteries or go V-mount on sticks. The Kinemount allows you to use PL, EF, and E lenses with additional 3rd party adapters from C7adapters that allow you to use Canon FD, Leica M, Minolta, and Mamaya 645. If you're looking for a video camera with good autofocus, your best bet is to look at Canon or Sony. If you're looking for a purpose-built true cinema camera, look no further. One other note is that even though the menu on 3rd party monitors through SDI now works, I highly recommend getting the Kinefinity monitor over a third party monitor. This is because it uses a single cable for both power and signal eliminating extra cabling. In turn, it creates a lighter rig (since you don't need an external battery), as well as camera control directly from the monitor.
Not ready for production use.
I want people to know about the faults of this camera. I really wanted this camera to work and still fully believe its going to get to where it needs to get, but for now its absolutely not ready for production use. Here are the positives: E-ND (Incredible!), multi format capture (FF,S35,M43 & S16) Great Frame Rates, IO Built In to camera is literally everything you would need, XLR Ports Built in to Camera Body, Multiple Lens Mount Options, ProRes 4444 XQ, Nice looking Log Profile that is similar to Arri Log C. Now for the bad, and a deal breaker for me personally: You can only control the camera from a Kinefinity Monitor, the menus will not show up on an SDI menu, There is no way to monitor the audio from camera as the levels are not shown in monitor, IOS App to control camera can only connect to a separate wireless router and or a hotspot from an iphone 12 or higher via a QR code and its a pain in the you know what to actually connect, Now for the real deal breaker for me GHOSTING when shooting an image with bright backlight. I was shooting a family with window blinds behind them and the windows blinds are overlayed onto the subjects. This is a known issue as well as everything stated above. I believe the ghosting issues to be fixable with a new OLPF, but who knows when that will come? Firmware updates are always promised but seem to never come with the fixes needed. Customer service comes from 2 people period: A reseller in Amsterdam and one person from Kinefinity located in LA. Both of these contacts are great and very communicative but its not enough support period. Like I said before I do believe Kinefinity is close and will get there but for serious production use its most definitely not ready. For some it might be totally fine with the issues stated above, I can only speak for me personally and know many people will find this information useful. I plan to keep an eye on this camera and the new developments coming in the future but for now I have to return to , which thank god for the return policy as I purchased 2 of these fully kitted out. Attached below is the ghosting i talked about, maybe not super visible from a still stand point but I promise you its hard to not seeing working in an NLE.
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