Z-CAM E2-S6 Mark II Caméra 6K
2 119,00 €
Un seul câble réseau suffit parfois à tout un dispositif : alimentation PoE+ , pilotage à distance et diffusion SRT, RTMP ou RTSP passent...
Un plateau multicaméra se juge d'abord à sa connectique. La Kinefinity MAVO Edge 8K Camera KineMOUNT loge dans son châssis ce que le dos KineBACK-W apportait par l'extérieur : deux sorties SDI 1,5G/3G acheminent l'image et ses métadonnées vers le mélangeur ou le DIT, tandis que deux ports vidéo pilotent l'écran tactile KineMON et le viseur. Le timecode linéaire circule dans les deux sens, un SYNC sept broches en RS232 tient plusieurs corps en phase, et deux voies XLR sous 48 V fantôme gravent le son en 24 bits / 48 kHz.
L'exposition se règle sans ouvrir le mattebox. L'e-ND motorisé plein spectre parcourt 0,6 à 2,1 — deux à sept diaphragmes — en variation continue : une présentatrice passe de l'ombre au plein soleil sans que l'ouverture bouge. La sensibilité repose sur deux bases, 640 et 2560 ISO, avec leurs propres plages : 250 à 800 et 800 à 16 000. La dynamique franchit les 14 diaphragmes. Un passe-bas optique retient les UV et l'infrarouge en amont du capteur, l'obturation se module entre 0,7° et 358°, et le tirage très court de la monture KineMOUNT native accueille les bagues PL, LPL, EF actif et E passif.
Le capteur justifie à lui seul l'investissement : un CMOS plein format 36×24 mm lisant 8192×5288 en open gate 3:2, soit 45 mégapixels par image. Pour une publicité livrée en UHD, cette marge autorise un recadrage assumé, une stabilisation ou une plaque VFX propre, pris sur le plan existant, pas sur une journée supplémentaire. Le plafond de cadence dépend du format : 45 im/s sur la surface entière, 70 im/s en 8K 2.4:1, 108 im/s en Super 35 5K 2.4:1, les formats plus serrés servant aux inserts rapides.
L'enregistrement demeure interne : ProRes 4444 XQ 12 bits, ProRes 4444, puis 422 HQ, 422 et LT sur 10 bits, tous porteurs du KineLOG3. Deux baies reçoivent les SSD KineMAG Nano NVMe M.2, un corps Nano acceptant aussi les modules 2280 du commerce. Le mode d'efficacité ProRes 4444 double environ l'autonomie d'un disque ; les modes 4:3, 6:5 et 3:2 de KineOS 7.1 accueillent les optiques anamorphiques. Fibre de carbone sur aluminium aéronautique, platine hybride V-mount ou BP-U, trois sorties de puissance D-Tap, RS et objectif pour moteurs de point et retours.
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MAVO Edge 8K Full-Frame 8K Cinema Camera
MAVO Edge is a brand-new large-format 8K cine camera. With a whole-new carbon fiber camera body, MAVO Edge is equipped with a stunning 8K 70P CMOS imaging sensor and cutting-edge image processing engine. Featuring internal motorized full-spectrum e-ND, more industry-standard ports and dual SSD media slots. Recognized by Hollywood's filmmaking industry, ProRes is an universal intermediate codec. MAVO Edge integrated the functions of KineBACK-W into the camera body with numerous professional ports.
Stunning 8K 70P Imaging Sensor
The new 8K imaging sensor on the MAVO Edge is an amazing canvas with 45 million pixels on a 36x24mm full-frame CMOS sensor featuring 640/2560 dual native ISO, 8K Wide up to 70fps and latitude up to 14+ stops. Even at open gate 3:2, surprisingly this beast can still deliver a gorgeous image of 45 million pixels at up to 45 frames per second.
In-camera 8K ProRes4444
MAVO Edge can directly record Apple's ProRes4444/XQ codec which has been highly expected by the video industry. From the capture of its 8K CMOS image over the delicate color processing to the 8K ProRes4444 encoding and storage, these complex processes and the ultra-high bandwidth bitrate processing all happen within the compact MAVO Edge body.
Integration, Convenient to Use
The whole-new integrated carbon fiber body has incorporated the full-spectrum e-ND system, dual SSD slots with blazing-fast NVMe M.2-based KineMAG Nano, comprehensive networking and creative power solution. Features dual XLR ports for Phantom-powered 48V MIC, dual 1.5G/3G-SDI monitoring outputs, time code input and output, SYNC, DC Power output, innovative hybrid battery plate with D-Tap port.
Internal Motorized Full-Spectrum e-ND
The built-in motor-driven full-spectrum e-ND filter ranges from 0.6 to 2.1 (2-7 stops neutral density) and can be adjusted seamlessly over all ranges.
Dual SSD Media Slots
Dual SSD slots with blazing-fast NVMe M.2-based KineMAG Nano for high-bandwidth recording and storage.
Dual SDI & Independent Monitoring
Dual 1.5G/3G SDI outputs with embedded metadata for enhanced compatibility with third-party accessories. Independent Video ports for Kinefinity touchscreen monitors and EVF.
Timecode & SYNC
Linear timecode input and output, SYNC multi-camera synchronization port for seamless integration with professional production setups.
Dual XLR Phantom Power Audio
Two independently controlled 48V phantom-powered XLR inputs for professional audio recording with in-camera reference microphone and 3.5mm stereo input.
Dual XLR Phantom Power Audio
Two independently controlled 48V phantom-powered XLR inputs for professional audio recording with in-camera reference microphone and 3.5mm stereo input.
Comprehensive Power Solution
Innovative hybrid battery plate supports standard V-mount and BP-U batteries. D-Tap, RS, and Lens ports for powering third-party accessories directly.
Networking & Connectivity
Gigabit Ethernet, WiFi 5, and USB-C for flexible connectivity, live streaming, and camera control. Internal H.264 encoding for live output.
Integrated Body Design of the iF Industrial Design Award
MAVO Edge inherits the integrated carbon fiber body design which won the prestigious iF DESIGN AWARD 2021. Its carbon fiber and aircraft aluminium body has superior strength and toughness 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.
| CMOS Imaging Sensor | |
|---|---|
| Sensor | 8K 3:2 Full Frame CMOS Imaging Sensor |
| Max Recording Resolution | 8192×5288 (Open gate 3:2), 44.7M pixels |
| Active Sensor Area | 36×24mm, ø 43.3mm |
| Dual Base ISO | Regular Base ISO: 640 (from 250~800), High Base ISO: 2560 (from 800 to 16000) |
| Dynamic Range | >14 stops |
| Shutter Angle | 0.7°~358° with rolling shutter |
| Lens Mount | Native KineMOUNT with Short FFD, Adapters: PL/LPL/Active EF/passive E |
| Optical Filter | Replaceable OLPF with UV and IR-cut filter |
| ND Filter | Built-in motorized: Clear and e-ND from 0.6 to 2.1 |
| Codecs, LUT & Recording Media | |
| LUT Support | KineLOG3, Neutral (Rec 709), Custom 3D LUT support |
| Recording Media | Slot ×2, KineMAG Nano SSD (NVMe M.2); 3rd-party NVMe M.2 2280 supported via KineMAG Nano Body |
| Streaming | Live streaming via H.264 |
| ProRes 4444XQ | Format: QuickTime .mov Bit Depth: 12-bit Notes: KineLOG3 |
| ProRes 4444 | Format: QuickTime .mov Bit Depth: 12-bit Notes: KineLOG3 |
| ProRes 422HQ | Format: QuickTime .mov Bit Depth: 10-bit Notes: KineLOG3, ProRes 422/LT included |
| Recording Formats — Full Frame | |
| FF 8K OG | 8192×5288, 2~45fps Codec: ProRes Optical Format: 36×23.3mm, ø 42.9mm |
| FF 8K DCI | 8192×4320, 2~55fps Codec: ProRes Optical Format: 36×19mm, ø 40.7mm |
| FF 8K 2.4:1 | 8192×3384, 2~70fps Codec: ProRes Optical Format: 36×14.9mm, ø 39.0mm |
| FF 8K UHD | 7680×4320, 2~55fps Codec: ProRes Optical Format: 33.8×19mm, ø 38.7mm |
| FF 7.6K 2.4:1 | 7680×3200, 2~72fps Codec: ProRes Optical Format: 33.8×14.1mm, ø 36.6mm |
| FF 7.2K 3:2 | 7168×4760, 2~50fps Codec: ProRes Optical Format: 31.5×21mm, ø 37.9mm |
| FF 6.4K 4:2 | 6400×4760, 2~50fps Codec: ProRes Optical Format: 28.1×21mm, ø 35.1mm |
| FF 5.7K 6:5 | 5760×4760, 2~50fps Codec: ProRes Optical Format: 25.3×21mm, ø 32.9mm |
| FF 4.8K 3:2 (OS) | 4864×3176, 2~50fps Codec: ProRes Optical Format: 31.5×21mm, ø 37.9mm |
| FF 4.2K 4:3 (OS) | 4224×3176, 2~50fps Codec: ProRes Optical Format: 28.1×21mm, ø 35.1mm |
| FF 4K OG (OS) | 4096×2644, 2~45fps Codec: ProRes Optical Format: 36×23.3mm, ø 42.9mm |
| FF 4K DCI (OS) | 4096×2160, 2~55fps Codec: ProRes Optical Format: 36×19mm, ø 40.7mm |
| FF 4K 2.4:1 (OS) | 4096×1692, 2~70fps Codec: ProRes Optical Format: 36×14.9mm, ø 39.0mm |
| FF 3.8K 6:5 (OS) | 3840×3176, 2~50fps Codec: ProRes Optical Format: 25.3×21mm, ø 32.9mm |
| FF 4K UHD (OS) | 3840×2160, 2~55fps Codec: ProRes Optical Format: 33.8×19mm, ø 38.7mm |
| FF 3.8K 2.4:1 (OS) | 3840×1600, 2~70fps Codec: ProRes Optical Format: 33.8×14.1mm, ø 36.6mm |
| Recording Formats — S35 Crop | |
| S35 6K 3:2 | 6144×3840, 2~60fps Codec: ProRes Optical Format: 27×16.8mm, ø 31.8mm |
| S35 6K DCI | 6144×3240, 2~72fps Codec: ProRes Optical Format: 27×14.2mm, ø 30.5mm |
| S35 6K 2.4:1 | 6144×2560, 2~92fps Codec: ProRes Optical Format: 27×11.3mm, ø 29.3mm |
| S35 6K UHD | 5760×3240, 2~72fps Codec: ProRes Optical Format: 25.2×14.2mm, ø 29.0mm |
| S35 5K 4:3 | 5120×3840, 2~60fps Codec: ProRes Optical Format: 22.5×16.8mm, ø 28.1mm |
| S35 5K DCI | 5120×2700, 2~85fps Codec: ProRes Optical Format: 22.5×11.9mm, ø 25.5mm |
| S35 5K 2.4:1 | 5120×2160, 2~108fps Codec: ProRes Optical Format: 22.5×9.5mm, ø 24.4mm |
| S35 4.8K 6:5 | 4864×3840, 2~60fps Codec: ProRes Optical Format: 21.4×16.8mm, ø 27.2mm |
| S35 4K 3:2 (OS) | 4096×2560, 2~60fps Codec: ProRes Optical Format: 27×16.8mm, ø 31.8mm |
| S35 4K DCI (OS) | 4096×2160, 2~72fps Codec: ProRes Optical Format: 27×14.2mm, ø 30.5mm |
| S35 4K UHD (OS) | 3840×2160, 2~72fps Codec: ProRes Optical Format: 25.2×14.2mm, ø 29.0mm |
| S35 3.8K 2.4:1 (OS) | 3840×1600, 2~92fps Codec: ProRes Optical Format: 25.2×10.5mm, ø 27.3mm |
| S35 3.4K 4:3 (OS) | 3456×2560, 2~60fps Codec: ProRes Optical Format: 22.5×16.8mm, ø 28.1mm |
| S35 3K 6:5 (OS) | 3072×2560, 2~60fps Codec: ProRes Optical Format: 21.4×16.8mm, ø 27.2mm |
| Recording Formats — Other Cropping | |
| 4K DCI | 4096×2160, 2~108fps Codec: ProRes Optical Format: — |
| 4K 2.4:1 | 4096×1692, 2~130fps Codec: ProRes Optical Format: — |
| 4K UHD | 3840×2160, 2~108fps Codec: ProRes Optical Format: — |
| 3.8K 2.4:1 | 3840×1600, 2~130fps Codec: ProRes Optical Format: — |
| 3K DCI | 3072×1620, 2~144fps Codec: ProRes Optical Format: — |
| 3K 2.4:1 | 3072×1200, 2~195fps Codec: ProRes Optical Format: — |
| 2K DCI | 2048×1080, 2~200fps Codec: ProRes Optical Format: — |
| 2K 2.4:1 | 2048×860, 2~270fps Codec: ProRes Optical Format: — |
| 2K FHD | 1920×1080, 2~220fps Codec: ProRes Optical Format: — |
| 1.9K 2.4:1 | 1920×800, 2~290fps Codec: ProRes Optical Format: — |
| Monitoring | |
| Video Ports | KINEFINITY Proprietary Video Port ×2 |
| SDI Outputs | 3G/1.5G SDI ×2 with metadata (regular BNC) |
| Monitor Support | Kinefinity 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 Microphone Jack, 48V Phantom-power Balanced Input ×2 (regular XLR) |
| Audio Output | 3.5mm Headphone Jack |
| Wireless & Network | |
| Wired Network | Gigabit Ethernet (RJ45) for live streaming, camera control and data transfer |
| 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 | Lens with RS232, Power output (0B 6-pin) |
| Multi-Sync Port | SYNC with RS232 and KINEFINITY Camera Sync (0B 7-pin) |
| RS Trigger Port | Rec trigger input with Power output (Fisher 3-pin) |
| USB | USB Type-C ×1, for firmware updates and custom 3D LUT import |
| Power In & Out | |
| Power Consumption | ~29W (8K 25fps, live view) |
| Power Input | Integrated V-mount Battery Plate (V-mount or BP-U compatible), DC Input (1B 2-pin), 11~26V |
| Power Outputs | D-tap ×1 @Vbat/3A, RS ×1 @Vbat/3A (shared with D-tap), Lens ×1 @Vbat/3A |
| Construction & Size | |
| Body Material | Carbon Fiber and Ultra-high Strength Aircraft Aluminium |
| Body Weight | ~2.2kg / 4.9lbs (only body) |
| Operating Temperature | 0°C ~ 40°C |
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