Z-CAM E2N Mark II NDI 4K Cinema
€1,295.00
One Gigabit Ethernet cable is enough for the Z-CAM E2N Mark II to feed a production network, draw its power via PoE+ and return tally to the...
Twenty-four megapixels across a 36 × 24 mm imaging area, read at 3:2 — that is the starting point. The Kinefinity MAVO mark2 LF E-Mount 6K Camera carries the full-frame CMOS sensor found in MAVO Edge 6K, reading 6016 × 3984 open gate at up to 48 fps with better than 14 stops of latitude. Dual base ISO 800 and 5120 counts on night exteriors and practical-lit interiors: the second base shifts the clean exposure window instead of piling on gain.
Material lands as Apple ProRes, from 422 LT through 12-bit ProRes 4444XQ, wrapped in QuickTime and graded off the KineLOG3 curve. Compressed cDNG at 3:1, 5:1 or 7:1 keeps raw viable in DaVinci Resolve without the storage bill. The single PCIe slot takes KineMAG Nano SSD in 1 TB or 2 TB, read-only protection and RAID 5 built into the media; third-party NVMe M.2 2280 drives run through the KineMAG Nano Body. Offload goes over the mag's own USB-C port at up to 10 Gbps. No card reader travels with the kit.
The Active E Mount on this configuration talks to modern Sony E glass, setting iris, focal length and focus from camera control or by hand, with optical stabilisation still usable on lenses that carry it. Native KineMOUNT swaps its PL, LPL or EF adapters without tools, the active mounts seat without extra flange calibration, and the Active PL option writes Cooke /i metadata into the clip for VFX pulls. Crop to Super 35 and you reach 4K DCI at 112 fps, 3.8K 2.4:1 at 150 fps, then 220 fps at 2K for impact and product work. Anamorphic crews get full-frame 4:3 and 6:5 modes with in-camera de-squeeze.
Two independent 3G/1.5G-SDI outputs feed video village and a Kinefinity KineMON-5U2 or the Micro OLED viewfinder with embedded audio and metadata — worth having on multi-camera drama and live-event coverage. LTC in and out, RS422 sync, an RS232 lens port and a record trigger suit rigs built around motors, follow focus units and remote heads; Wi-Fi 5 covers app control and streaming. Twin XLR inputs with 48 V phantom take production sound directly. The hybrid plate accepts V-mount or BP-U packs plus 11–26 V DC, so existing battery stock stays in service.
Kinefinity MAVO mark2 LF E-Mount 6K Camera
A010-003-03
Price: €6,589.00
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We offer EU-wide sales, invoicing for VAT-free intra-community delivery.
Available from supplier (Delivery time to be confirmed.)
Twenty-four megapixels across a 36 × 24 mm imaging area, read at 3:2 — that is the starting point. The Kinefinity MAVO mark2 LF E-Mount 6K Camera carries the full-frame CMOS sensor found in MAVO Edge 6K, reading 6016 × 3984 open gate at up to 48 fps with better than 14 stops of latitude. Dual base ISO 800 and 5120 counts on night exteriors and practical-lit interiors: the second base shifts the clean exposure window instead of piling on gain.
Material lands as Apple ProRes, from 422 LT through 12-bit ProRes 4444XQ, wrapped in QuickTime and graded off the KineLOG3 curve. Compressed cDNG at 3:1, 5:1 or 7:1 keeps raw viable in DaVinci Resolve without the storage bill. The single PCIe slot takes KineMAG Nano SSD in 1 TB or 2 TB, read-only protection and RAID 5 built into the media; third-party NVMe M.2 2280 drives run through the KineMAG Nano Body. Offload goes over the mag's own USB-C port at up to 10 Gbps. No card reader travels with the kit.
The Active E Mount on this configuration talks to modern Sony E glass, setting iris, focal length and focus from camera control or by hand, with optical stabilisation still usable on lenses that carry it. Native KineMOUNT swaps its PL, LPL or EF adapters without tools, the active mounts seat without extra flange calibration, and the Active PL option writes Cooke /i metadata into the clip for VFX pulls. Crop to Super 35 and you reach 4K DCI at 112 fps, 3.8K 2.4:1 at 150 fps, then 220 fps at 2K for impact and product work. Anamorphic crews get full-frame 4:3 and 6:5 modes with in-camera de-squeeze.
Two independent 3G/1.5G-SDI outputs feed video village and a Kinefinity KineMON-5U2 or the Micro OLED viewfinder with embedded audio and metadata — worth having on multi-camera drama and live-event coverage. LTC in and out, RS422 sync, an RS232 lens port and a record trigger suit rigs built around motors, follow focus units and remote heads; Wi-Fi 5 covers app control and streaming. Twin XLR inputs with 48 V phantom take production sound directly. The hybrid plate accepts V-mount or BP-U packs plus 11–26 V DC, so existing battery stock stays in service.
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MAVO mark2 LF Full Frame 6K 3:2 / Dual Native ISO 800 & 5120 / 14+ Stops
Inherits the acclaimed full-frame sensor from MAVO Edge 6K. Wider angle, shallower depth of field, and a more immersive cinematic presence. Dual native ISO 800/5120 for exceptional low-light performance.
Active E Mount
MAVO mark2 with the Active E Mount can support most of modern and lightweight E lenses instantly. It allows users to tune the iris, focal length and focus of these electronic E lenses in camera control or manually. The lens optical stabilization can be activated if the lens has the option.
Key Features:
Full-frame 6K 3:2 CMOS (6016×3984), 14+ stops, dual native ISO 800/5120
6K86 Wide ProRes 4444XQ, 4K112, full-frame anamorphic de-squeeze
Native Sony E-mount + active PL/E adapters with lens control & metadata
KineLOG3, custom 3D LUTs, compressed cDNG (Resolve-ready)
Dual proprietary video, 3G-SDI, 2x XLR, timecode, sync
KineMAG Nano SSD (1 TB/2 TB or third-party NVMe)
Wi-Fi 5 app control, 23 W power, V-mount/BP-U hybrid
Ultra-light 1.37 kg with optical LPF + UV/IR cut
Both MAVO mark2 cameras adopt the MAVO Edge high-performance computing platform, integrate industry standard ports like independent dual SDI outputs, record in-camera ProRes4444XQ to NVMe M.2 SSD. With fully integrated, refined lightweight design and efficient workflow, the cameras help more cinematographers achieve a classic, efficient cinematic experience at a more affordable price.
Advanced Platform, Streamlined Workflow
Powerful in-camera ProRes recording, flexible SSD media, and efficient workflow from acquisition to post.
Integrated Body Design
MAVO mark2 inherits the integrated body design of MAVO Edge camera which has won the prestigious iF DESIGN AWARD 2021. The compact camera body features a host of general control ports, dual SDI outputs with embedded metadata and audio, high-quality multi-channel audio recording, timecode sync, and RS232 protocol LENS port for third-party accessories.
Comprehensive Power Solution
The MAVO mark2 offers an innovative hybrid battery plate to accommodate power demands in various shooting scenarios. It supports standard 14.8V V-mount batteries like KineBAT PD 99/200, as well as BP-U type batteries like GripBAT 4S. With the addition of Movcam KineKIT-Edge cage, NP-F550 type batteries can support an uninterruptible power supply (UPS) to the camera via the UPS baseplate.
Ultra-Compact, Ultra-Light
MAVO mark2 features a high-strength aviation aluminum alloy body with highly integrated functions, yet weighs only 1.35kg (2.98lbs). It is lighter than both MAVO Edge and MAVO LF with KineBACK, making it easy to carry and suitable for a wide range of complex and dynamic shooting scenarios.
PACKAGE CONTENT
Kinefinity MAVO mark2 6K LF Digital Cinema Camera (Sony E)
KineMOUNT Lens Mount
Body Cap
| CMOS Imaging Sensor | |
|---|---|
| CMOS Sensor Type | Full Frame 6K 3:2 CMOS |
| Max Recording Resolution | 6016×3984 (3:2 Open Gate), 24M |
| Max Frame Rate (Wide) | 6K Wide 0.2~75fps |
| Active Sensor Area | 36×24mm, ø 43.3mm |
| Dual Base ISO | 800 / 5120 |
| Dynamic Range | >14 Stops |
| Shutter Angle | 0.7°~358° with Rolling Shutter |
| Lens Mount | Active E Mount |
| Optical Filter | Optical LPF with UV and IR-cut filter |
| Codec, LUT & Recording Media | |
| Recording Codec | ProRes 4444XQ / ProRes 4444 / ProRes 422HQ / ProRes 422 / ProRes LT |
| Format | QuickTime .mov |
| Bit Depth | 12-bit (4444XQ/4444) 10-bit (422HQ/422/LT) |
| Color Science | KineLOG3 |
| LUT Support | KineLOG3, Neutral (Rec 709), Custom 3D LUT support |
| Recording Media | KineMAG Nano SSD 1TB/2TB, single media slot. Third-party NVMe M.2 2280 SSD supported via KineMAG Nano Body. |
| Media Size (W×H×L) | 1.6×3.5×0.35″ / 40×88×9mm |
| Monitoring | |
| Video Ports | KINEFINITY Proprietary Video Port ×2 |
| SDI Outputs | 3G/1.5G SDI ×2 with metadata and audio (standard BNC) |
| Monitor Support | KINEFINITY Micro OLED EVF Viewfinder, KineMON-5U2/7U2 Ultra Bright Monitor with Touch Screen |
| Audio | |
| Audio Sampling | Linear PCM, 24-bit, 48KHz |
| Audio Input | Built-in Mono Microphone, 3.5mm Stereo Microphone Jack, 48V Phantom-power Balanced Input ×2 (standard XLR) |
| Audio Output | 3.5mm Stereo Headphone Jack |
| Wireless & Network | |
| Wireless | WiFi 5 for live streaming and camera control |
| Sensor | 3-axis accelerometer |
| SYNC & Control | |
| Timecode | Linear TC In & Out (0B 5-pin) |
| Lens Control Port | RS232 Lens Port, Power Output (0B 5-pin) |
| Multi-Sync Port | RS422 Sync and KINEFINITY Camera Sync, Power Output (0B 9-pin) |
| RS Trigger Port | Rec Trigger Input with Power Output (Fisher 3-pin) |
| Extension Ports | Data & Control, EXT 1 and EXT 2 (Pogo-pin, 2×4 contacts) |
| USB | USB Type-C ×1, for firmware updates and custom 3D LUT import |
| Power In & Out | |
| Power Consumption | 27W (6K HD 25fps, live view) |
| Power Input | Integrated Hybrid Battery Plate (V-mount or BP-U compatible), DC Input (1B 2-pin), 11~26V |
| UPS Port | EXT 3 (Pogo-pin, 2×5 contacts) |
| Power Outputs | RS ×1 @4A, SYNC ×1 @3A, Lens ×1 @6A |
| Construction & Size | |
| Body Color | Deep Grey |
| Body Material | Aerospace-grade Aluminum Alloy |
| Body Weight | 3.02lb / 1.37kg |
| Dimensions (W×H×L) | 4.1×4.8×4.2″ / 106×124×107mm (*without protrusions) |
| Operating Temperature | 0°C ~ 40°C |
| Recording Formats — Full Frame | |
| FF 6K OG | 6016×3984, 0.2~48fps Codec: up to ProRes 4444XQ Optical Format: 36×24mm, ø 43.3mm |
| FF 6K 17:9 | 6016×3172, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 36×19.1mm, ø 41.0mm |
| FF 6K 2.4:1 | 6016×2520, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 36×15.2mm, ø 39.1mm |
| FF 5.7K 3:2 | 5760×3700, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 34.5×22.2mm, ø 41.0mm |
| FF 6K UHD | 5760×3240, 0.2~58fps Codec: up to ProRes 4444XQ Optical Format: 34.5×19.5mm, ø 39.6mm |
| FF 5.7K 2.4:1 | 5760×2400, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 34.5×14.4mm, ø 37.4mm |
| FF 5K 4:3 | 5120×3700, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 30.6×22.3mm, ø 37.9mm |
| FF 5K DCI | 5120×2700, 0.2~70fps Codec: up to ProRes 4444XQ Optical Format: 30.6×16.2mm, ø 34.6mm |
| FF 5K 2.4:1 | 5120×2160, 0.2~86fps Codec: up to ProRes 4444XQ Optical Format: 30.6×12.9mm, ø 33.2mm |
| FF 4.6K 6:5 | 4608×3700, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 27.6×22.3mm, ø 35.5mm |
| FF 3.8K 3:2 (OS) | 3840×2460, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 34.5×22.2mm, ø 41.0mm |
| FF 4K UHD (OS) | 3840×2160, 0.2~58fps Codec: up to ProRes 4444XQ Optical Format: 34.5×19.5mm, ø 39.6mm |
| FF 3.8K 2.4:1 (OS) | 3840×1600, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 34.5×14.4mm, ø 37.4mm |
| FF 3.4K 4:3 (OS) | 3456×2460, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 31.0×22.1mm, ø 38.1mm |
| FF 3K 6:5 (OS) | 3072×2460, 0.2~50fps Codec: up to ProRes 4444XQ Optical Format: 27.6×22.3mm, ø 35.3mm |
| Recording Formats — S35 Crop | |
| S35 4K 3:2 | 4096×2700, 0.2~70fps Codec: up to ProRes 4444XQ Optical Format: 24.5×16.1mm, ø 29.3mm |
| S35 4K DCI | 4096×2160, 0.2~112fps Codec: up to ProRes 4444XQ Optical Format: 24.5×12.9mm, ø 27.7mm |
| S35 4K 2.4:1 | 4096×1720, 0.2~140fps Codec: up to ProRes 4444XQ Optical Format: 24.5×10.3mm, ø 26.6mm |
| S35 4K UHD | 3840×2160, 0.2~112fps Codec: up to ProRes 4444XQ Optical Format: 23.0×12.9mm, ø 26.4mm |
| S35 3.8K 2.4:1 | 3840×1600, 0.2~150fps Codec: up to ProRes 4444XQ Optical Format: 23.0×9.6mm, ø 24.9mm |
| S35 3.6K 4:3 | 3712×2700, 0.2~70fps Codec: up to ProRes 4444XQ Optical Format: 22.2×16.1mm, ø 27.4mm |
| S35 3.2K 6:5 | 3328×2700, 0.2~70fps Codec: up to ProRes 4444XQ Optical Format: 19.9×16.1mm, ø 25.6mm |
| S35 2.7K 1:1 | 2688×2688, 0.2~70fps Codec: up to ProRes 4444XQ Optical Format: 16.1×16.1mm, ø 22.8mm |
| S35 2K DCI (OS) | 2048×1080, 0.2~112fps Codec: up to ProRes 4444XQ Optical Format: 24.5×12.9mm, ø 27.7mm |
| S35 2K 2.4:1 (OS) | 2048×860, 0.2~140fps Codec: up to ProRes 4444XQ Optical Format: 24.5×10.3mm, ø 26.6mm |
| S35 2K FHD (OS) | 1920×1080, 0.2~112fps Codec: up to ProRes 4444XQ Optical Format: 23.0×12.9mm, ø 26.4mm |
| S35 1.9K 2.4:1 (OS) | 1920×800, 0.2~140fps Codec: up to ProRes 4444XQ Optical Format: 23.0×9.6mm, ø 24.9mm |
| Recording Formats — Other Cropping | |
| 3K DCI | 3072×1620, 0.2~144fps Codec: up to ProRes 4444XQ Optical Format: — |
| 3K 2.4:1 | 3072×1200, 0.2~195fps Codec: up to ProRes 4444XQ Optical Format: — |
| 3K HD | 2944×1620, 0.2~145fps Codec: up to ProRes 4444XQ Optical Format: — |
| 3K HD 2.4:1 | 2944×1200, 0.2~195fps Codec: up to ProRes 4444XQ Optical Format: — |
| 2K DCI | 2048×1080, 0.2~200fps Codec: up to ProRes 4444XQ Optical Format: — |
| 2K 2.4:1 | 2048×860, 0.2~270fps Codec: up to ProRes 4444XQ Optical Format: — |
| 2K FHD | 1920×1080, 0.2~220fps Codec: up to ProRes 4444XQ Optical Format: — |
| 1.9K 2.4:1 | 1920×800, 0.2~290fps Codec: up to ProRes 4444XQ Optical Format: — |
A010-003-03
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
Sony E - Internal ND filtres
- No
- 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
- ean13
- 6153057858811
- mpn
- A010-003-03
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