Kinefinity Camera Pro Pack
€6,699.00
A production day can lose time before recording starts: scattered chargers, unmatched media and an incomplete camera rig are enough. The...
Super 35 never really went away, and the Kinefinity MAVO mark2 S35 KineMOUNT makes the case in hardware. Its 6K 3:2 CMOS measures 24 × 16 mm behind a 28.8 mm image circle — taller than the DCI-shaped sensors most rivals rely on, which pays off the moment a 2x anamorphic hangs off the front. Open gate reads out at 6144 × 4016, and dual base ISO 800/3200 gives a cinematographer two clean starting points rather than one. Analogue gain drops as far as 160 for bright exteriors.
That sensor delivers 14+ stops of latitude into an Apple ProRes chain running from 422 LT up to 12-bit ProRes 4444XQ, written as QuickTime onto a single KineMAG Nano NVMe SSD with read-only and RAID 5 protection. Speed scales with the crop: 60 fps at full open gate, 75 fps in 6K DCI, 96 fps at 6K 2.4:1, then 110 and 140 fps in the Micro Four Thirds window, and 270 fps in the 16 mm region for impact shots. Readout sits near 11 ms in 6K DCI, keeping verticals honest through whip pans and handheld follows. KineLOG3 and importable 3D LUTs let a DIT push one look to camera and client monitor together.
The native KineMOUNT remains the short-flange original: PL, LPL and EF adapters change over without tools, while the Active PL and Active E mounts fit on four screws and need no flange re-measurement. Cooke/i data from the PL side travels inside the clip, reaching VFX without a separate lens log. Two 3G/1.5G SDI outputs carry embedded audio and metadata to switcher and video village, twin proprietary ports drive KineMON-5U2 or 7U2 touchscreens, and LTC in/out with RS422 sync lock the body into a multi-camera rig. Dual XLR inputs with 48 V phantom capture 24-bit/48 kHz linear PCM, so a documentary crew runs boom and lav without a second recorder.
Power comes off a hybrid plate taking 14.8 V V-mount packs or lighter BP-U cells, with 11–26 V DC input and roughly 27 W draw — useful figures for gimbal days and long studio blocks alike. An optical low-pass filter with UV and IR-cut guards the sensor, Wi-Fi 5 puts parameter changes on a phone once the body is up on a crane, and third-party NVMe M.2 2280 drives run via the KineMAG Nano Body.
Kinefinity MAVO mark2 S35 KineMOUNT 6K Camera
A010-004-02
Price: €4,189.00
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Super 35 never really went away, and the Kinefinity MAVO mark2 S35 KineMOUNT makes the case in hardware. Its 6K 3:2 CMOS measures 24 × 16 mm behind a 28.8 mm image circle — taller than the DCI-shaped sensors most rivals rely on, which pays off the moment a 2x anamorphic hangs off the front. Open gate reads out at 6144 × 4016, and dual base ISO 800/3200 gives a cinematographer two clean starting points rather than one. Analogue gain drops as far as 160 for bright exteriors.
That sensor delivers 14+ stops of latitude into an Apple ProRes chain running from 422 LT up to 12-bit ProRes 4444XQ, written as QuickTime onto a single KineMAG Nano NVMe SSD with read-only and RAID 5 protection. Speed scales with the crop: 60 fps at full open gate, 75 fps in 6K DCI, 96 fps at 6K 2.4:1, then 110 and 140 fps in the Micro Four Thirds window, and 270 fps in the 16 mm region for impact shots. Readout sits near 11 ms in 6K DCI, keeping verticals honest through whip pans and handheld follows. KineLOG3 and importable 3D LUTs let a DIT push one look to camera and client monitor together.
The native KineMOUNT remains the short-flange original: PL, LPL and EF adapters change over without tools, while the Active PL and Active E mounts fit on four screws and need no flange re-measurement. Cooke/i data from the PL side travels inside the clip, reaching VFX without a separate lens log. Two 3G/1.5G SDI outputs carry embedded audio and metadata to switcher and video village, twin proprietary ports drive KineMON-5U2 or 7U2 touchscreens, and LTC in/out with RS422 sync lock the body into a multi-camera rig. Dual XLR inputs with 48 V phantom capture 24-bit/48 kHz linear PCM, so a documentary crew runs boom and lav without a second recorder.
Power comes off a hybrid plate taking 14.8 V V-mount packs or lighter BP-U cells, with 11–26 V DC input and roughly 27 W draw — useful figures for gimbal days and long studio blocks alike. An optical low-pass filter with UV and IR-cut guards the sensor, Wi-Fi 5 puts parameter changes on a phone once the body is up on a crane, and third-party NVMe M.2 2280 drives run via the KineMAG Nano Body.
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MAVO mark2 S35 is equipped with a new 6K S35 CMOS imaging sensor, its frame rate up to 96 fps at 6K Wide. Dual native ISO 800/3200 delivers clean low-light performance with 14 stops of dynamic range, providing flexible creativity and more possibilities for cinematographers.
Native KineMOUNT
The first cinema camera KineRAW-S35 launched by Kinefinity in 2012 was equipped with the short flange distance native KineMOUNT. KineMOUNT is very convenient for switching mount adapters including EF, PL and LPL adapters without tools. In addition to keeping the exclusive native KineMOUNT, MAVO mark2 provides two new lens mounts: the Active PL Mount and Active E Mount. Users can install and detach the active mounts without extra flange distance calibration.
Key Features:
Super35 6K 3:2 CMOS (6016 x 3984) with 14+ stops, dual native ISO 800/3200
6K96 Wide ProRes 4444XQ, 4K112, anamorphic de-squeeze (4:3 / 6:5)
Native KineMOUNT + optional active PL/E adapters with lens control & 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
KineMAG Nano SSD recording (1TB/2TB or third-party NVMe)
Wi-Fi app control (iOS/Android), 23 W power, V-mount/BP-U hybrid
Compact 1.37 kg body with optical LPF + UV/IR cut
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 S35 Digital Cinema Camera (KineMOUNT)
KineMOUNT
Body Cap
| CMOS Imaging Sensor | |
|---|---|
| CMOS Sensor Type | Super 35 6K 3:2 CMOS |
| Max Recording Resolution | 6144×4016 (3:2 Open Gate), 25M |
| Max Frame Rate (Wide) | 6K Wide 0.2~96fps |
| Active Sensor Area | 24×16mm, ø 28.8mm |
| Dual Base ISO | 800 / 3200 |
| Dynamic Range | >14 Stops |
| Shutter Angle | 0.7°~358° with Rolling Shutter |
| Lens Mount | KineMOUNT |
| 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 | Black |
| Body Material | Aerospace-grade Aluminum Alloy |
| Body Weight | 2.98lb / 1.35kg |
| Dimensions (W×H×L) | 4.1×4.8×4.2″ / 106×124×107mm (*without protrusions) |
| Operating Temperature | 0°C ~ 40°C |
| Recording Formats — S35 | |
| S35 6K OG | 6144×4016, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 24×16mm, ø 28.8mm |
| S35 6K DCI | 6144×3240, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 24×12.9mm, ø 27.3mm |
| S35 6K 2.4:1 | 6144×2516, 0.2~96fps Codec: up to ProRes 4444XQ Optical Format: 24×10.0mm, ø 26.0mm |
| S35 6K UHD | 5760×3240, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 22.5×12.9mm, ø 25.9mm |
| S35 5K 17:9 | 5120×2700, 0.2~90fps Codec: up to ProRes 4444XQ Optical Format: 20×10.8mm, ø 22.7mm |
| S35 5.7K 3:2 | 5760×3840, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 22.5×15.3mm, ø 27.2mm |
| S35 5K 4:3 | 5120×3840, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 20×15.3mm, ø 25.2mm |
| S35 4.8K 6:5 | 4864×3840, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 19×15.3mm, ø 24.4mm |
| S35 4K DCI (OS) | 4096×2160, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 24×12.9mm, ø 27.3mm |
| S35 4K 2.4:1 (OS) | 4096×1672, 0.2~96fps Codec: up to ProRes 4444XQ Optical Format: 24×10.0mm, ø 26.0mm |
| S35 3.8K 3:2 (OS) | 3840×2460, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 22.5×15.3mm, ø 27.2mm |
| S35 4K UHD (OS) | 3840×2160, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 22.5×12.9mm, ø 25.9mm |
| S35 3.8K 2.4:1 (OS) | 3840×1576, 0.2~96fps Codec: up to ProRes 4444XQ Optical Format: 24×10.0mm, ø 26.0mm |
| S35 3.4K 4:3 (OS) | 3456×2460, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 20×15.3mm, ø 25.2mm |
| S35 3K 6:5 (OS) | 3072×2460, 0.2~60fps Codec: up to ProRes 4444XQ Optical Format: 19×15.3mm, ø 24.4mm |
| Recording Formats — M43 | |
| M43 4K DCI | 4096×2160, 0.2~110fps Codec: up to ProRes 4444XQ Optical Format: 16×8.6mm, ø 18.2mm |
| M43 4K 2.4:1 | 4096×1672, 0.2~140fps Codec: up to ProRes 4444XQ Optical Format: 16×6.8mm, ø 17.4mm |
| M43 4K UHD | 3840×2160, 0.2~110fps Codec: up to ProRes 4444XQ Optical Format: 15×8.6mm, ø 17.3mm |
| M43 3.8K 2.4:1 | 3840×1576, 0.2~150fps Codec: up to ProRes 4444XQ Optical Format: 15×6.4mm, ø 16.3mm |
| M43 4K 4:3 | 4096×3072, 0.2~75fps Codec: up to ProRes 4444XQ Optical Format: 16×12.2mm, ø 20.1mm |
| M43 2K DCI (OS) | 2048×1080, 0.2~110fps Codec: up to ProRes 4444XQ Optical Format: 16×8.6mm, ø 18.2mm |
| M43 2K 2.4:1 (OS) | 2048×832, 0.2~140fps Codec: up to ProRes 4444XQ Optical Format: 16×6.8mm, ø 17.4mm |
| M43 2K FHD (OS) | 1920×1080, 0.2~110fps Codec: up to ProRes 4444XQ Optical Format: 15×8.6mm, ø 17.3mm |
| M43 1.9K 2.4:1 (OS) | 1920×784, 0.2~150fps Codec: up to ProRes 4444XQ Optical Format: 15×6.4mm, ø 16.3mm |
| Recording Formats — S16 / 16mm | |
| S16 2K DCI | 2048×1080, 0.2~220fps Codec: up to ProRes 4444XQ Optical Format: 8×4.3mm, ø 9.1mm |
| S16 2K 2.4:1 | 2048×832, 0.2~270fps Codec: up to ProRes 4444XQ Optical Format: 8×3.4mm, ø 8.7mm |
| S16 2K FHD | 1920×1080, 0.2~218fps Codec: up to ProRes 4444XQ Optical Format: 7.5×4.3mm, ø 8.6mm |
| S16 1.9K 2.4:1 | 1920×784, 0.2~270fps Codec: up to ProRes 4444XQ Optical Format: 7.5×3.2mm, ø 8.2mm |
A010-004-02
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 (6144 × 4016) 50/60 fps
- Output colour sampling
- RGB 4:4:4 12-bit
- Network Connection
- Wi-Fi
- Sensor Size
- Super 35mm (24x16mm)
- Lens mount
- Interchangeable mount
KineMOUNT - Internal ND filtres
- No
- Media type
- KineMAG SSD
- Battery Type
- Sony BP-U
V-Mount - Screen Type
- External
- Sensor Resolution
- 25MP
- 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
- 6153050197177
- mpn
- A010-004-02
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