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 […]
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: Jonathan Nicol；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 […]
Cameraman/DoP: BonBon；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)
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.
KineMINI is upgrade version of KineRAW-MINI. Actually, KineMINI is not so much an upgrade but a whole new model of Kine camera. Built-in Cineform codec, 4K RAW option and HiSpeed Option, SDI output, turns KineMINI into a much more professional cinema camera, not a toy. With such performance, KineMINI keeps nearly same shape and weight […]
Since the camera is a True RAW recording camera it has only its native ‘look’ which is dark because it comes from sensor directly. To become EI ISO adjusted and to make the colors bright and sharp the camera has many LUT loaded you can pick from, these include: KineLOG™ which simulates the Cineon™ Log […]
The RAW concept in digital cinema/Video category is nearly same with the RAW image file in digital camera/photogragh category: No White-balanced process, nor Color grading. RAW images files description in Wikipedia is following: Raw image files are sometimes called digital negatives, as they fulfill the same role as negatives in film photography: that is, the […]
Current version V0.4 of KineStation™ is beta version which can run on Windows and MAC OS platform. It can transcode CinemaDNG/KNG sequence, timecode, audio and LUT into Cineform RAW mov/Cineform RGB 444 mov so that you can use Cineform workflow.