Z-CAM E2-F6 Pro Caméra 6K
3 890,00 €
Vingt-six mégapixels sur un capteur CMOS plein format de 37,09 x 24,75 mm : la Z-CAM E2-F6 Pro aborde la captation cinéma par la matière...
Monter une optique Sony E sur un boîtier cinéma grand format sans bague passive : voilà le point de départ de la Kinefinity MAVO mark2 LF E-Mount 6K. La monture Active E pilote diaphragme, focale et mise au point depuis les menus ou à la main, et laisse agir la stabilisation optique des objectifs qui en disposent. Le KineMOUNT natif change d'adaptateur PL, LPL ou EF sans outil, et les montures actives se posent sans recalibrage de tirage. La monture Active PL inscrit les métadonnées Cooke /i dans les rushes.
Derrière la monture travaille le capteur CMOS 6K 3:2 plein format hérité du MAVO Edge 6K : 36 × 24 mm de surface active, 6016 × 3984 en open gate, plus de 14 diaphragmes de latitude. La double sensibilité native 800 et 5120 ISO compte sur les tournages nocturnes et les intérieurs en lumière disponible, le second palier déplaçant la fenêtre propre au lieu d'ajouter du gain. En recadrage Super 35, le capteur monte à 112 im/s en 4K DCI et 150 im/s en 3.8K 2.4:1 ; le 2K atteint 220 im/s. Les modes anamorphiques 4:3 et 6:5, désanamorphosés dans le boîtier, amènent les optiques 2x vers un rendu 65 mm.
L'enregistrement se fait en Apple ProRes, du 422 LT au ProRes 4444XQ 12 bits, sous conteneur QuickTime et courbe KineLOG3, avec import de LUT 3D par USB-C. Le cDNG compressé en 3:1, 5:1 ou 7:1 garde le raw praticable dans DaVinci Resolve sans saturer les serveurs. Le logement PCIe accueille les SSD KineMAG Nano 1 To ou 2 To, protection en lecture seule et RAID 5 embarqués, ainsi que les NVMe M.2 2280 tiers via le KineMAG Nano Body. Le déchargement passe par le port USB-C du magasin, jusqu'à 10 Gb/s.
Deux sorties 3G/1.5G-SDI indépendantes, audio et métadonnées incluses, alimentent le combo, un moniteur Kinefinity KineMON-5U2 ou le viseur OLED : de quoi tenir une fiction multicaméra ou une captation événementielle. Timecode LTC entrée et sortie, synchro RS422, port objectif RS232 et déclenchement à distance couvrent les configurations à moteurs et têtes robotisées. Le Wi-Fi 5 assure le contrôle par application et la diffusion. Deux entrées XLR à alimentation fantôme 48 V reçoivent le son direct, et la platine hybride accepte V-mount, BP-U ou du continu de 11 à 26 V.
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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: — |
Fiche technique
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