Z-CAM E2-F6 Pro 6K Camera
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Frame-accurate sync is the quiet requirement behind every clean multicam production, and it is exactly where the Z-CAM E2-F6 Pro earns its keep....
Owning a set of PL glass changes what a production house looks for in a body. The Kinefinity MAVO mark2 LF PL Mount arrives with its active PL interface already fitted — a cine-style locking collar that holds heavyweight primes without play, plus Cooke /i protocol support writing focal length, iris and focus distance into every frame. Compositors receive lens data they would otherwise rebuild by hand, trimming hours off the VFX pass on commercial and episodic jobs.
At the centre sits a full-frame 6K 3:2 CMOS sensor reading 6016 x 3984 across an active area of 36 x 24 mm, with a 43.3 mm image circle — the coverage large-format spherical sets and 65 mm-style anamorphics expect. Dual base ISO 800 and 5120 gives two clean starting points: the lower for lit interiors and studio grids, the higher for night exteriors, concert floors and documentary shoots where adding light is not on the table. KineLOG3 carries past 14 stops of dynamic range, leaving speculars intact and shadow separation readable for colourists in Resolve or Baselight.
Everything the MAVO mark2 LF shoots lands internally as Apple ProRes, from 422 LT through 12-bit ProRes 4444XQ, onto a KineMAG Nano NVMe SSD of 1 TB or 2 TB; third-party M.2 2280 drives fit inside the KineMAG Nano body, and the magazine's USB-C port offloads at up to 10 Gbps without a reader. Open gate 6016 x 3984 runs to 48 fps, 6K 2.4:1 stretches to 75 fps, and cropping to Super 35 unlocks 112 fps at 4K DCI plus 150 fps at 3.8K 2.4:1. In-camera de-squeeze spans 1.25x to 2x, letting anamorphic operators frame accurately on set.
Two independent 3G-SDI outputs carry embedded audio and metadata to a director's monitor and a DIT cart at once, while proprietary video ports drive KineMON-5U2/7U2 touchscreens or the KineEVF2 OLED finder below 100 ms latency. Dual XLR inputs with 48 V phantom, 24-bit/48 kHz audio, timecode in and out, RS422 sync and an RS232 lens port cover multi-camera live switching and long-form stage capture. The hybrid plate takes 14.8 V V-mount packs or compact BP-U cells, DC input spans 11 to 26 V, and regulated outputs feed follow-focus motors directly.
Kinefinity MAVO mark2 LF PL Mount 6K Camera
A010-003-04
Price: €6,689.00
No tax
We offer EU-wide sales, invoicing for VAT-free intra-community delivery.
Available from supplier (Delivery time to be confirmed.)
Owning a set of PL glass changes what a production house looks for in a body. The Kinefinity MAVO mark2 LF PL Mount arrives with its active PL interface already fitted — a cine-style locking collar that holds heavyweight primes without play, plus Cooke /i protocol support writing focal length, iris and focus distance into every frame. Compositors receive lens data they would otherwise rebuild by hand, trimming hours off the VFX pass on commercial and episodic jobs.
At the centre sits a full-frame 6K 3:2 CMOS sensor reading 6016 x 3984 across an active area of 36 x 24 mm, with a 43.3 mm image circle — the coverage large-format spherical sets and 65 mm-style anamorphics expect. Dual base ISO 800 and 5120 gives two clean starting points: the lower for lit interiors and studio grids, the higher for night exteriors, concert floors and documentary shoots where adding light is not on the table. KineLOG3 carries past 14 stops of dynamic range, leaving speculars intact and shadow separation readable for colourists in Resolve or Baselight.
Everything the MAVO mark2 LF shoots lands internally as Apple ProRes, from 422 LT through 12-bit ProRes 4444XQ, onto a KineMAG Nano NVMe SSD of 1 TB or 2 TB; third-party M.2 2280 drives fit inside the KineMAG Nano body, and the magazine's USB-C port offloads at up to 10 Gbps without a reader. Open gate 6016 x 3984 runs to 48 fps, 6K 2.4:1 stretches to 75 fps, and cropping to Super 35 unlocks 112 fps at 4K DCI plus 150 fps at 3.8K 2.4:1. In-camera de-squeeze spans 1.25x to 2x, letting anamorphic operators frame accurately on set.
Two independent 3G-SDI outputs carry embedded audio and metadata to a director's monitor and a DIT cart at once, while proprietary video ports drive KineMON-5U2/7U2 touchscreens or the KineEVF2 OLED finder below 100 ms latency. Dual XLR inputs with 48 V phantom, 24-bit/48 kHz audio, timecode in and out, RS422 sync and an RS232 lens port cover multi-camera live switching and long-form stage capture. The hybrid plate takes 14.8 V V-mount packs or compact BP-U cells, DC input spans 11 to 26 V, and regulated outputs feed follow-focus motors directly.
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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 PL Mount
The reliable cine-style locking mechanism enables the active PL mount to connect the lens with the camera toughly. It supports the Cooke/i protocol, recording lens metadata such as focal length, aperture, and depth of field directly into footage, bringing intuitive interaction on set and flexibility in post VFX workflows.
Key Features:
Full-frame 6K 3:2 CMOS (6016 x 3984) with 14+ stops, dual native ISO 800/5120
6K86 ProRes 4444XQ, 4K58, 1080p high-frame-rate; in-camera anamorphic de-squeeze
PL mount included; active EF/E/PL adapters with lens control and metadata
KineLOG3, Rec.709, custom 3D LUTs; compressed cDNG (3:1, 5:1, 7:1)
Dual proprietary video, 3G-SDI, 2x XLR audio, timecode, sync, RS-232
KineMAG Nano SSD recording (1TB/2TB or third-party NVMe M.2)
Wi-Fi app control (iOS/Android), 23 W power, V-mount/BP-U hybrid plate
Compact, modular, 1.37 kg body with accessory threads and OLED monitoring options
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 (ARRI PL)
ARRI PL 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 PL 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: — |
A010-003-04
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
PL - 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
- 6153055144121
- mpn
- A010-003-04
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