Kinefinity MAVO Edge 6K Black Camera KineMOUNT

    A010-002-03
    Price: €9,899.00
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    Swapping a filter tray mid-take is time a client is paying for, and that is the first thing the Kinefinity MAVO Edge 6K Camera KineMOUNT takes out of the shooting day. A motorised full-spectrum e-ND sits inside the body, running 0.6 to 2.4 — two to eight stops — in 0.03 or 0.3 steps, colour calibrated across the range. Density follows a moving sun on a rooftop interview, the matte box stays shut, and a gimbal build keeps its balance.

    Behind that filter sits a full-frame 6K 3:2 CMOS sensor reading 6016 x 3984 across 36 x 24 mm, its 43.3 mm image circle covering large-format primes and most anamorphic glass. Dual base ISO of 800 and 5120 gives two clean starting points, so a midday exterior and a candle-lit dialogue scene fall to one body. Latitude runs beyond 14 stops, and the OLPF with UV and IR cut keeps false colour off fine fabric. KineLOG3 carries the tonal range into the grade; custom 3D LUTs load over USB-C.

    Codec choice on the MAVO Edge 6K spans a schedule's two ends. Apple ProRes runs from 422 LT to 12-bit ProRes 4444 XQ for jobs that must reach an edit overnight, while uncompressed 12-bit CinemaDNG RAW holds every sensor value for beauty work, VFX plates and colour-critical commercials. Both write to dual PCIe 3.0 slots taking KineMAG Nano NVMe M.2 media, offloading at up to 10 Gbps over USB-C. Speed is on tap: 48 fps in 6K open gate, 75 fps at 6K 2.4:1, 112 fps in Super 35 4K DCI and up to 290 fps cropped for product inserts.

    Multi-camera days are covered by two 3G/1.5G-SDI outputs carrying embedded audio and metadata to a switcher, LTC in and out on a five-pin socket, and a SYNC port that locks several bodies for drama coverage or live capture. Two proprietary video ports feed KineMON touchscreens and the micro-OLED viewfinder independently of SDI. Four channels of 24-bit/48 kHz audio record, two of them on XLR inputs with 48 V phantom. Gigabit Ethernet and Wi-Fi 5 handle remote control plus an H.264 stream for a producer off set, and roughly 29 W comes from a hybrid V-mount or BP-U plate. The native KineMOUNT converts to PL, LPL, active EF or passive E without flange calibration, and Cooke/i lens data lands in the clip for the VFX vendor.

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    MAVO Edge 6K Full-Frame 6K Cinema Camera
    MAVO Edge 6K, a powerful new full-frame cinema camera. Equipped with a 6K full-frame 3:2 CMOS imaging sensor capable of shooting in 6K 75fps and 4K 150fps based on the high-performance computing platform of the MAVO Edge, the camera features dual native ISO (800/5120) and excellent highlights under various sensitivity settings. MAVO Edge 6K has an internal motorized full-spectrum e-ND filter (0.6-2.4), and integrates industry-standard ports and dual SSD media slots, capable of recording Apple ProRes4444/XQ and uncompressed RAW onto recording media based on NVMe M.2 2280 SSD. Weighing at only 1.6kg/3.6lbs, this compact and lightweight camera boasts powerful performance and versatility as it adapts to various demanding shooting scenarios. Like other Kinefinity cine cameras, MAVO Edge 6K brings natural color, pleasing skin tones, low noise, high dynamic range, and stunning details in an organic and delicate way.

    Key Features:
    Full-frame 6K CMOS (6016 x 3984) with 14+ stops, dual native ISO 800/5120
    Built-in motorized e-ND: 2–8 stops (0.6–2.4) continuous
    ProRes 4444XQ internal to dual KineMAG Nano SSDs
    6K48 Open Gate, 4K112, 2K290 fps; oversampled 4K/3K modes
    KineMOUNT + active EF/PL adapters (focus/iris/zoom + Cooke /i metadata)
    Dual 3G-SDI + dual proprietary outputs, GigE control, Wi-Fi
    KineLOG3, Rec.709, custom 3D LUTs; 32 W power draw
    Aluminum body, 1.6 kg, hybrid V-mount/BP-U/L-series battery plate

    Outstanding Highlight Performance with Stunning Image Quality
    The MAVO Edge 6K is the latest full-frame camera from Kinefinity since the release of MAVO Edge 8K, and it employs a full-frame 3:2 CMOS imaging sensor that not only shows cleaner images but also provides wider viewing angles, shallower depth of field, and more immersive presence. The advanced color processing architecture from the MAVO Edge platform creates images with low noise, high latitude, and wide color gamut, delivering stunning details and organic images with exceptional quality.

    The sensor is perfectly paired with OLPF FF3 optical low pass filter which eliminates possible false color under extreme conditions while maintaining optimal sharpness. MAVO Edge 6K is equipped with dual native ISO, rated at 800 and 5120, as the second native ISO up to 5120 is perfect for low light scenes to obtain a clean image with high latitude and low noise, making the shooting process exceptionally easy and efficient.

    MAVO Edge 6K outperforms its predecessor of MAVO LF a lot when it comes to highlight performance. At the industry standard ISO 800, the default highlight of the Edge 6K is 6.0 stops, capturing more highlight details and providing a more cinematic look. When switching to Cine EI mode, similar to traditional cinema cameras, the highlight level changes with the EI value.

    Apple ProRes Recording Codec and Uncompressed RAW
    From Apple ProRes422 LT to ProRes4444 XQ and uncompressed RAW codec, the MAVO Edge 6K is capable of recording high-resolution images with high dynamic range and with low to zero compression artifacts. It simultaneously supports efficient and fast post-production workflows.

    Compared to RAW image data and other intermediate codecs, Apple ProRes encoding achieves faster post-production workflows, especially on Apple M1 Pro/Max/Ultra laptops/workstations, easily achieving proxy-free editing and color correction, greatly saving post-production time and cost.

    The MAVO Edge 6K supports 12-bit ProRes4444XQ in full frame rate and resolution, and it records with Kine LOG3 Gamma to preserve all the dynamic range captured by the CMOS imaging sensor.

    Uncompressed RAW (CinemaDNG)
    The uncompressed RAW is not debayered in-camera, and is stored in the CinemaDNG format based on image sequences, preserving all the image data captured by the sensor. Theoretically, it provides the maximum potential for post-production color correction. Requires high-bandwidth recording media — MAVO Edge 6K is equipped with dual SSD slots based on PCIe-3.0 and blazing-fast KineMAG Nano 1TB based on NVMe M.2 2280 SSD for stable storage.

    Apple ProRes4444/XQ
    Direct in-camera encoding from ProRes422 LT to ProRes4444XQ using KineLOG3 Gamma to preserve the full dynamic range, enabling proxy-free editing and faster post-production workflow, greatly reducing post-production time and cost.

    More Intuitive KineOS Firmware
    The MAVO Edge 6K is implemented with the latest KineOS 7.0 firmware, which has a redesigned user interface, and expected touch and tapping interaction with the camera. The new KineMON-5U2 and 7U2 with touchscreen monitors help to improve the user's interactive experience and lower the learning curve.

    The new interface design allows the user to control the entire functionality of the camera using only the touchscreen monitor. Frame rate, shutter angle, ISO, aperture, ND strength, color temperature, LUTs, and audio levels can all be adjusted via touchscreen control, making it easy for the cinematographer to set up the parameters intuitively and efficiently.

    In addition to the new UI, KineOS 7.0 supports Cooke/i protocol which enables the camera to record and save lens metadata into the footage, speeding up post-production VFX work. It also supports both NTFS and HFS file systems for broad storage compatibility. The MAVO Edge 6K will also implement the pre-recording function in an anticipated firmware update, ensuring the cinematographer will not miss any shot during unpredictable scenes.

    Integrated Body Design of the iF Industrial Design Award
    MAVO Edge 6K inherits the integrated body design of Kinefinity's flagship product, MAVO Edge 8K which won the prestigious iF DESIGN AWARD 2021. Its ultra-high strength deformed aluminum body has superior strength and toughness even at high temperatures to meet a wide range of photographic needs. Awarded in Germany since 1953, the iF DESIGN AWARD is annually conferred by iF International Forum Design GmbH, which is the local oldest truly independent design institution. It rests on independence, rigor, and reliability, aiming to raise public awareness of design.

    Compact Camera Body with Internal e-ND Filter
    The compact camera body of the MAVO Edge 6K only weighs 1.6kg (3.6lbs), and it is equipped with a full-spectrum e-ND filter, dual SDI ports, multiple control ports, and multi-channel audio tracks, as well as powerful wired and wireless connectivity. The dedicated Video port for monitoring is independent from the SDI output, paired with Kinefinity touchscreen monitors for intuitive interactive design, allowing cinematographers to experience a smoother workflow.

    Internal Motorized Full-Spectrum e-ND System
    The built-in motor-driven full-spectrum e-ND filter ranges from 0.6 to 2.4 (2-8 stops neutral density) and can be adjusted seamlessly over all ranges, giving precise exposure control with real-time color calibration.

    Big Leap on Recording Media
    Dual SSD slot based on PCIe-3.0. KineMAG Nano 1TB uses NVMe M.2 2280 SSD with writing speed up to 10Gbps for stable uncompressed RAW recording. KineMAG Nano Body allows third-party M.2 SSDs. Universal USB-C port enables up to 10Gbps offload speeds.

    Dual SDI Outputs and Independent Monitoring
    Dual 1.5G/3G SDI outputs with embedded metadata and audio, enhancing compatibility with third-party accessories. Two proprietary Video ports connect to Kinefinity touchscreen monitors and micro-OLED viewfinder, independent from SDI.

    General Control Ports
    Synchronization and control interfaces for integration with professional production equipment, including timecode input/output and SYNC for multi-camera setups.

    High-Quality Multi-Channel Audio Record
    Four-channel 24bits/48kHz audio recording with 3.5mm stereo MIC jack and in-camera reference MIC. Two independently controlled 48V phantom powered XLR sockets for professional audio recording.

    Comprehensive Power Solution
    Innovative hybrid battery plate supports standard 14.8V V-mount batteries and BP-U type batteries. UPS Baseplate supports NP-F550 batteries for uninterrupted power. D-Tap, 12V RS, and Lens ports power third-party accessories directly.

    Powerful Wired and Wireless Function
    Gigabit Ethernet on RJ45 port, WIFI 5, and USB-C port for flexible connectivity. Output monitoring/recording image via live streaming using internal H.264 codec. Internal three-axis gyroscope records camera positioning data as a leveling indicator.

    KineMOUNT Matches the Most Kinds of Lenses
    Kinefinity introduced the first-generation cinema camera KineRAW-S35 in 2012, which featured the native ultra-short flange focal distance KineMOUNT.

    MAVO Edge 6K adopts the third-generation KineMOUNT matching the large-format CMOS imaging sensor. KineMOUNT features an ultra-short flange focal distance and uses a quick-release locking method to secure mounting adapters such as EF, passive E, PL, and the latest LPL mount, enabling almost all cinema lenses and EF-mount photographic lenses to seamlessly pair with the MAVO Edge camera to capture images in various lens styles.

    CMOS Imaging Sensor
    Sensor6K 3:2 Full Frame CMOS Imaging Sensor
    Max Recording Resolution6016×3984 (Open gate 3:2), 24M
    Frame Rate0.2~75fps @FF 6K Wide, 0.2~150fps @S35 4K Wide
    Active Sensor Area36×24mm, ø 43.3mm
    Dual Base ISORegular Base ISO: 800 (500–2560), High Base ISO: 5120 (3200–20480)
    Dynamic Range>14 stops
    Shutter Angle0.7°~358° with rolling shutter
    Lens MountOmni Native KineMOUNT, Short FFD Adapters: PL / LPL / Active EF / passive E
    Optical FilterOLPF with UV and IR-cut filter
    ND FilterBuilt-in motorized: Clear and e-ND from 0.6 to 2.4
    Codecs, LUT & Recording Media
    LUT SupportKineLOG3, Neutral (Rec 709), Custom 3D LUT support
    Recording MediaSlot ×2, KineMAG Nano SSD 1TB (NVMe M.2); 3rd-party NVMe M.2 2280 supported via KineMAG Nano Body
    Media Size (W×H×L)1.6×3.5×0.35″ / 40×88×9mm
    Uncompressed RAWFormat: DNG
    Bit Depth: 12-bit
    Notes: RAW frame rate updated in subsequent firmware
    ProRes 4444XQFormat: QuickTime .mov
    Bit Depth: 12-bit
    Notes: KineLOG3
    ProRes 4444Format: QuickTime .mov
    Bit Depth: 12-bit
    Notes: KineLOG3
    ProRes 422HQFormat: QuickTime .mov
    Bit Depth: 10-bit
    Notes: KineLOG3, ProRes 422/LT included
    Recording Formats — Full Frame
    FF 6K OG6016×3984, 0.2~48fps
    Codec: ProRes
    Optical Format: 36×24mm, ø 43.3mm
    FF 6K 17:96016×3172, 0.2~60fps
    Codec: ProRes
    Optical Format: 36×19.1mm, ø 41.0mm
    FF 6K 2.4:16016×2520, 0.2~75fps
    Codec: ProRes
    Optical Format: 36×15.2mm, ø 39.1mm
    FF 5.7K 3:25760×3700, 0.2~50fps
    Codec: ProRes
    Optical Format: 34.5×22.2mm, ø 41.0mm
    FF 6K UHD5760×3240, 0.2~58fps
    Codec: ProRes
    Optical Format: 34.5×19.5mm, ø 39.6mm
    FF 5.7K 2.4:15760×2400, 0.2~75fps
    Codec: ProRes
    Optical Format: 34.5×14.4mm, ø 37.4mm
    FF 5K 4:35120×3700, 0.2~50fps
    Codec: ProRes
    Optical Format: 30.6×22.3mm, ø 37.9mm
    FF 5K DCI5120×2700, 0.2~70fps
    Codec: ProRes
    Optical Format: 30.6×16.2mm, ø 34.6mm
    FF 5K 2.4:15120×2160, 0.2~86fps
    Codec: ProRes
    Optical Format: 30.6×12.9mm, ø 33.2mm
    FF 4.6K 6:54608×3700, 0.2~50fps
    Codec: ProRes
    Optical Format: 27.6×22.3mm, ø 35.5mm
    FF 3.8K 3:2 (OS)3840×2460, 0.2~50fps
    Codec: ProRes
    Optical Format: 34.5×22.2mm, ø 41.0mm
    FF 4K UHD (OS)3840×2160, 0.2~58fps
    Codec: ProRes
    Optical Format: 34.5×19.5mm, ø 39.6mm
    FF 3.8K 2.4:1 (OS)3840×1600, 0.2~75fps
    Codec: ProRes
    Optical Format: 34.5×14.4mm, ø 37.4mm
    FF 3.4K 4:3 (OS)3456×2460, 0.2~50fps
    Codec: ProRes
    Optical Format: 31.0×22.1mm, ø 38.1mm
    FF 3K 6:5 (OS)3072×2460, 0.2~50fps
    Codec: ProRes
    Optical Format: 27.6×22.1mm, ø 35.3mm
    Recording Formats — S35 Crop
    S35 4K 3:24096×2700, 0.2~70fps
    Codec: ProRes
    Optical Format: 24.5×16.1mm, ø 29.3mm
    S35 4K DCI4096×2160, 0.2~112fps
    Codec: ProRes
    Optical Format: 24.5×12.9mm, ø 27.7mm
    S35 4K 2.4:14096×1720, 0.2~140fps
    Codec: ProRes
    Optical Format: 24.5×10.3mm, ø 26.6mm
    S35 4K UHD3840×2160, 0.2~112fps
    Codec: ProRes
    Optical Format: 23.0×12.9mm, ø 26.4mm
    S35 3.8K 2.4:13840×1600, 0.2~150fps
    Codec: ProRes
    Optical Format: 23.0×9.6mm, ø 24.9mm
    S35 3.6K 4:33712×2700, 0.2~70fps
    Codec: ProRes
    Optical Format: 22.2×16.1mm, ø 27.4mm
    S35 3.2K 6:53328×2700, 0.2~70fps
    Codec: ProRes
    Optical Format: 19.9×16.1mm, ø 25.6mm
    S35 2.7K 1:12688×2688, 0.2~70fps
    Codec: ProRes
    Optical Format: 16.1×16.1mm, ø 22.8mm
    S35 2K DCI (OS)2048×1080, 0.2~112fps
    Codec: ProRes
    Optical Format: 24.5×12.9mm, ø 27.7mm
    S35 2K 2.4:1 (OS)2048×860, 0.2~140fps
    Codec: ProRes
    Optical Format: 24.5×10.3mm, ø 26.6mm
    S35 2K FHD (OS)1920×1080, 0.2~112fps
    Codec: ProRes
    Optical Format: 23.0×12.9mm, ø 26.4mm
    S35 1.9K 2.4:1 (OS)1920×800, 0.2~140fps
    Codec: ProRes
    Optical Format: 23.0×9.6mm, ø 24.9mm
    Recording Formats — Other Cropping
    3K DCI3072×1620, 0.2~144fps
    Codec: ProRes
    Optical Format: —
    3K 2.4:13072×1200, 0.2~195fps
    Codec: ProRes
    Optical Format: —
    3K HD2944×1620, 0.2~145fps
    Codec: ProRes
    Optical Format: —
    3K HD 2.4:12944×1200, 0.2~195fps
    Codec: ProRes
    Optical Format: —
    2K DCI2048×1080, 0.2~200fps
    Codec: ProRes
    Optical Format: —
    2K 2.4:12048×860, 0.2~270fps
    Codec: ProRes
    Optical Format: —
    2K FHD1920×1080, 0.2~220fps
    Codec: ProRes
    Optical Format: —
    1.9K 2.4:11920×800, 0.2~290fps
    Codec: ProRes
    Optical Format: —
    Monitoring
    Video PortsKINEFINITY Proprietary Video Port ×2
    SDI Outputs3G/1.5G SDI ×2 with metadata (regular BNC)
    Monitor SupportKinefinity Viewfinder, KineMON-5U2/7U2 Ultra Bright Monitor with Touch Screen
    Audio
    Audio SamplingLinear PCM, 24-bit, 48KHz
    Audio InputBuilt-in Mono Microphone, 3.5mm Microphone Jack, 48V Phantom-power Balanced Input ×2 (regular XLR)
    Audio Output3.5mm Headphone Jack
    Wireless & Network
    Wired NetworkGigabit Ethernet (RJ45) for live streaming, camera control and data transfer
    WirelessWiFi 5 for live streaming and camera control
    Sensor3-axis accelerometer
    SYNC & Control
    TimecodeLinear TC In & Out (0B 5-pin)
    Lens Control PortLens with RS232, Power output (0B 6-pin)
    Multi-Sync PortSYNC with RS232 and KINEFINITY Camera Sync (0B 7-pin)
    RS Trigger PortRec trigger input with Power output (Fisher 3-pin)
    Extension PortsData & Control, EXT 1 and EXT 2 (Pogo-pin, 2×4 contacts)
    USBUSB Type-C ×1, for firmware updates and custom 3D LUT import
    Power In & Out
    Power Consumption29W (6K HD 25fps, live view)
    Power InputIntegrated V-mount Battery Plate (V-mount or BP-U compatible), DC Input (1B 2-pin), 11~26V; UPS EXT 3 (Pogo-pin, 2×5 contacts)
    Power OutputsD-tap ×1 @Vbat/3A, RS ×1 @Vbat/3A (shared with D-tap), Lens ×1 @Vbat/3A
    Construction & Size
    Body MaterialUltra-high Strength Aircraft Aluminium
    Body Weight3.5lb / 1.6kg
    Dimensions (W×H×L)4.1×4.8×4.3″ / 106×124×109mm (*without protrusions)
    Operating Temperature0°C ~ 40°C
    A010-002-03

    Data sheet

    Video Output
    Kinefinity Video Port
    SDI
    Audio Input
    Built-in microphone
    Mini Jack 3.5mm
    XLR
    Audio Output
    HDMI Embedded
    Mini Jack 3.5mm
    SDI Embedded
    Max Output Resolution
    6K Open Gate (6016 × 3984) 48 fps
    Output colour sampling
    RGB 4:4:4 12-bit
    Network Connection
    Wi-Fi
    Sensor Size
    Full Frame (36x24mm)
    Lens mount
    Interchangeable mount
    KineMOUNT
    Internal ND filtres
    Yes
    Media type
    KineMAG SSD
    Battery Type
    Sony BP-U
    V-Mount
    Screen Type
    External
    Sensor Resolution
    24MP
    Sensor Type
    CMOS
    Image Stabilization
    No
    ISO Sensitivity Range
    160-81920
    Dynamic Range
    14 stops
    Shutter Type
    Electronic Shutter
    Shutter Speed
    1/2000s-1/24s
    Bit Depth
    12-bit
    Viewfinder Type
    External
    Focus Mode
    Manual
    Internal Recording Modes
    ProRes 422
    ProRes 422 HQ
    ProRes 4444
    ProRes 4444XQ
    ProRes LT
    RAW CinemaDNG
    External Recording Modes
    RAW CinemaDNG
    Timecode
    Yes
    Genlock
    No

    Specific References

    mpn
    A010-002-03

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    Kinefinity MAVO Edge 6K Black Camera KineMOUNT

    Swapping a filter tray mid-take is time a client is paying for, and that is the first thing the Kinefinity MAVO Edge 6K Camera KineMOUNT takes out of the shooting day. A motorised full-spectrum e-ND sits inside the body, running 0.6 to 2.4 — two to eight stops — in 0.03 or 0.3 steps, colour calibrated across the range. Density follows a moving sun on a rooftop interview, the matte box stays shut, and a gimbal build keeps its balance.

    Behind that filter sits a full-frame 6K 3:2 CMOS sensor reading 6016 x 3984 across 36 x 24 mm, its 43.3 mm image circle covering large-format primes and most anamorphic glass. Dual base ISO of 800 and 5120 gives two clean starting points, so a midday exterior and a candle-lit dialogue scene fall to one body. Latitude runs beyond 14 stops, and the OLPF with UV and IR cut keeps false colour off fine fabric. KineLOG3 carries the tonal range into the grade; custom 3D LUTs load over USB-C.

    Codec choice on the MAVO Edge 6K spans a schedule's two ends. Apple ProRes runs from 422 LT to 12-bit ProRes 4444 XQ for jobs that must reach an edit overnight, while uncompressed 12-bit CinemaDNG RAW holds every sensor value for beauty work, VFX plates and colour-critical commercials. Both write to dual PCIe 3.0 slots taking KineMAG Nano NVMe M.2 media, offloading at up to 10 Gbps over USB-C. Speed is on tap: 48 fps in 6K open gate, 75 fps at 6K 2.4:1, 112 fps in Super 35 4K DCI and up to 290 fps cropped for product inserts.

    Multi-camera days are covered by two 3G/1.5G-SDI outputs carrying embedded audio and metadata to a switcher, LTC in and out on a five-pin socket, and a SYNC port that locks several bodies for drama coverage or live capture. Two proprietary video ports feed KineMON touchscreens and the micro-OLED viewfinder independently of SDI. Four channels of 24-bit/48 kHz audio record, two of them on XLR inputs with 48 V phantom. Gigabit Ethernet and Wi-Fi 5 handle remote control plus an H.264 stream for a producer off set, and roughly 29 W comes from a hybrid V-mount or BP-U plate. The native KineMOUNT converts to PL, LPL, active EF or passive E without flange calibration, and Cooke/i lens data lands in the clip for the VFX vendor.

    Write your review

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