Cameraman: Dominic Taylor; Director: Dominic Taylor; Location: New Zealand; Camera: KineMINI 4K with KineMOUNT + EF mounting adapter; Lens: Canon EFS 17-55mm; Recording format: 4K@25fps, 2K@92fps, as KineRAW(.KRW); Setting: ISO,320; Aperture: f4.0; Post workflow: KRW clips were transcoded into Cineform RAW mov and Cineform RGB444 mov; Adobe Premiere Pro + After Effects by Dominic Taylor […]
The tutorials were made by Assimilate Inc. We group into three volumes, total 20 videos. More tutorial videos can be found in https://vimeo.com/assimilateinc, the official Vimeo account.
The operation manual of KineMAX 6K is for KineMAX 6K with KineOS 4.0. It introduces functions and settings of KineMAX: the basic interfaces, UI and operation, settings, Timecode, HiSpeed, KRW workflow, 3D setup etc.
The upgrade of KineStation from v0.7 to v0.8 is a major update: support KRW2.0, output ProRes from 422 to 4444XQ, support KineMAX HiSpeed, and more.
The tutorials were made by Assimilate Inc. We group into three volumes, total 20 videos. More tutorial videos can be found in https://vimeo.com/assimilateinc, the official Vimeo account.
SCRATCH is a state-of-the-art, all-in-one, real-time solution for on-set production through the entire post-production workflow. It integrates a suite of tools that includes data management, dailies, playback, conform, colour grading, versioning, compositing, finishing and mastering for 2D/3D productions. SCRATCH squeezes every ounce of performance out of your GPUs to provide unbeatable speeds during the entire […]
DoP: Qingqing Liu; Location: Berlin (Germany); Camera: KineMAX 6K, KineMOUNT+EF Mounting Adapter, or EF Mounting Adapter with KineEnhancer; Lens: Canon 18-135mm; Canon 70-200mm, f2.8; Rokinon Cine EF 24mm/85mm; Tokina 11-16mm EF;
DoP: Armini Dierolf; Location: Berlin (Germany); Camera: KineMAX 6K, KineMOUNT+PL Mounting Adapter; Lens: UP Prime Set: 20mm, 40mm, 100mm;
DoP: Jonathan Nicolï¼›Director: Jonathan Nicol; Location: England; Camera: KineMINI 4K, native EF Mount; Lens: Canon 24-70mm II, Samyang 35mm, ZE 50mm f1.4; Recording Format: 4K@25fps, 2K@92fps, as KineRAW(.KRW); For post workflow, KRW clips were transcoded into Cineform RAW mov and Cineform RGB444 mov; Edited in: Adobe Premiere Pro; Graded by: Jonathan Nicol (Adobe Speedgrade); Production […]
DoP: Aeyron Moore; Director: Aeyron Moore; Location: Pittsburgh(US) Camera: KineMINI 4K; Lens: Rokinon Cine 35mm/85mm EF Prime lens; Tokina 11-16mm EF Ultra Wide Lens Recording Codec: 4k DCI 4096×1716 (CinemaDNG) Edited and Graded by: Aeyron Moore (Davinci Resolve 11)
Cameraman: Orlando Bassi (Movie Studio Bali); Location: Bali Island Camera: KineMAX 6K Prototype, KineMOUNT+ PL mounting adapter; Lens: Zeiss Compact Prime Set;
Davinci Resolve is an excellent DI software, but it can not support Cineform natively and fully. Though Cineform footages can be playback, edited and graded in Resolve, but it can not access the meta data of Cineform, like DeBayer options, primary color correction in Cineform studio, so that Cineform grading in Resolve is not good […]
Cameraman/DoP: BonBonï¼›Director: ZERO; Art: Zhiling Zhou; Location: Shanghai (China); Camera: KineMINI 4K; Lens: Cooke S5i Prime Set; Artificial lights (mainly); Codec: 2K Cineform RAW mov; ISO: 800; Edited by: Zhaojun Chen (FCP 7); Graded by: Bachejian Weida Xu (Davinci Resolve)
Fill the form and submit the issue or problem of Kine camera, and we try to give you feedback in one working day (Chinese holiday may be different from your country). You need to provide following information to help us provide solution for you: SN of camera; Photos or video to reflect the issue/problem your […]
Director: Cheng Zhang; Cameraman: Yongqing Liu, Shuai Qin, Peng Cheng; Location: Shanghai China; Camera: Two KineMINI 4K; with KineMOUNT+EFMount; Lens: CP2 Prime Set; Codec: KineRAW(.krw) 2K Wide@120fps; Cineform RAW mov 2K Wide@25fps; HiSpeed: ISO 320; Normal fps: ISO 800; Edited by: Cheng Zhang, Yongqing Liu (FCP X); Graded by: Cheng Zhang; No De-noise nor Sharpen.
