![]() A couple of sound people we hired said that the timecode on the camera wasn’t compatible with their system. The other thing is that the audio channels are linked so you can’t adjust the levels independently. Not having manual pots to adjust the levels and having to go through a menu every time you want to adjust a setting is a little clunky for run-and-gun situations. The biggest weakness is definitely audio. What are its biggest strengths and weaknesses? © But the cameras stood up to the test.Ībove you can see some of the projects that Raafi has shot with the camera. We ripped through a lot of cheap gear on that trip and a bunch of stuff didn’t make it back. There was a big corporate sponsor behind the project and my client asked, “ Are your cameras up for this?” I said yes. The Mavo LF was the main camera and the Terra4k was the b-cam. We shot the documentary for three weeks on the road in Oklahoma, Detroit, Atlanta, with a final week in NYC, so it was a great test of reliability. ![]() The camera arrived in late November 2018 and we shot three big projects on it – a sci-fi short film, three doc-style commercials, and an hour-long documentary that aired in June. How long have you been using the MAVO LF?Ībout eight months. The last part of the video with my final thoughts was recorded the day before the theft.Įven though there’s a story of loss that drives the review, I feel very lucky to be able to do this job and wanted to share the feeling I get from it: joy. I mentioned size and weight in reviewing the Terra4K and the form factor hadn’t changed, so it wasn’t worth talking about that again. I actually recorded tons of commentary about stuff like format, highlight roll-off, and dynamic range, but in the edit, it just felt boring.Įven before the camera got stolen I’d basically cut anything remotely specs-related out of the review. But I wanted to tell a story somehow and thought recording little talks about the camera over months would give it a loose, jazzy feel, and save me from having to say everything perfectly in one go. Whenever you talk with other film people about gear there’s always someone who says, “ But, in the end, it’s really about the story.” And everyone kind of rolls their eyes. Your review is quite different from anything else that I have seen. Because the image is composed of more photosites there is less perception of noise. The other less-obvious thing about full-frame is the performance in low-light. Selective focus is one of the things that separates the “cinema” look from the “video” look. It’s more difficult to get the image in focus wide-open but there is a magic to the format as well. I spent years shooting on the Canon 5D Mk II, so full-frame has always felt like home. For you, what is the appeal of using full frame or larger sensors? A lot of cameras can beat the LF in one area, but few can beet it in all of them, especially at its price. You can shoot on affordable media like SSDs, and adapt to many lens mounts – PL, EF, Nikon, and even manual E-Mount. Kinefinity’s cameras have very few proprietary accessories. What do you think makes the MAVO LF different or unique from other cameras on the market at this price? I understand lenses and composition best in full-frame, so being able to use that format again with great specs was enticing. I’ve been working professionally for 15 years but the only camera I owned prior to the Terra was the Canon 5D Mk II. (I even watched this conversation with you and Rob Bannister years ago – ). I’ve been interested in Kinefinity for some time and took the plunge with the Terra4k in late 2017. What got you originally interested in the Kinefinity MAVO LF? I have been in contact with Raafi and I wanted to ask him about his experiences with the MAVO LF. If you are after a traditional review of the MAVO LF then this is certainly not it! Raafi has produced a rather unique review about the MAVO LF that is certainly very unconventional. Raafi Rivero has probably shot more footage and had more hands-on time with the Kinefinity MAVO LF than just about anyone.
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