Kinefinity KINEMINI 4K Operation Manual

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KINEFINITY INC.

KINEMINI 4K

For KineOS 3.2

OPERATION MANUAL

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KineMINI 4K | OPERATION MANUAL

Kine Cameras is a brand-new generation of RAW-based Digital Cinema Camera (DCC) which is specifically designed and engineered for shooting movies, TV series, commercials, MTV and other creative video contents. Kinefinity Inc. has been developing the cameras covering optical design to FPGA, circuits, software and hardware, with help from domestic and foreign filmmakers and television production industry and acedemic schools, since 2008.

KineMINI 4K is a S35mm-format RAW camera, with same optical form at with standard 35 m m film, so that cinem atograp hers can frame, shoot and create in the way of standard 35mm film.

! 4K S35-sized CMOS sensor; ! 4K RAW: Recording resolution DCI 4K, UHD 2160p, DCI 2K, Full HD 1080p and 720p; ! 120FPS: 120fps@2K/1080p(2.39:1); ! 3K 4:3: Support Anamorphic Lens; ! Three RAW formats recording: Compressed Lossless RAW as KineRAW(.krw); Uncompressed RAW as CinemaDNG(.dng);

visually lossless Cineform RAW(.mov) format;

! 2.5-inch professional KineMAG SSD as Record Me d ia, a lso c o mpatible with consumer-type S S D; ! Cine-Type Active EF Mount or KineMount (Interchangeable mounting system); ! KineMount features interchangeable mounting design: supports PL/EF/Nikon F mount, B4 mount even OCT-19; ! S35mm and S16mm framing modes; ! Monitoring outputs feature Two 1080p/720p HD digital ports and One 3G SDI port, compatible with most field monitors, EVF

and broadcasting monitors;

! 3D LUT's LOOK files for color management; ! Compact and lightweight: shoot anywhere as one-man band.

KineMINI 4K is a powerful and versatile tool for 35mm like Cinematography while still being self-contained and really portable. It’s a serious film-making tool with real Digital Cinema Camera features at an affordable price.

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SAFETY TIPS

The general principles are following:

! Read all contents of the Manual Carefully; ! Pay attention to all Warnings and Notes; ! Do not use the camera in a place close to the water; prevent water droplets splashed body; ! Use a clean and dry cloth to clean the camera; ! Do not block anything in the vent to avoid the camera overheating and damage; ! Use the accessories which are verified or recommendated by Kinefinity; ! Do not use camera under direct sun; ! Operate camera in the environment of 0 ~ 40

℃;

! Do not use the camera where has too much dust, humidity or lightning weather;

When using the camera, please follow: ! Flange distance of KineMOUNT is very short, so make sure to do not attempt to attach any lens directly onto KineMount,

because the rear end of lens is likely to touch the image sensor and cause d amage.

! Camera with Active EF mount employs lock-type (cine-type) EF mount. When mounting a lens to the camera, the position of

red dot in the mount is DIFFERENT from DSLR camera. Secondly, It is LOCKING RING rotation, NOT lens rotation to make sure EF lens locked firmly and to be contacted well with pogo-pin contact inside of EF mount in any case (According to the direction of the arrow).

! When loosening the locking ring to remove the lens, be su re to hold the lens to prevent the le ns from drop ping accidentally ! ! There is a switch on the door of SSD slot: slide the switch to open the door gently. The door is active part and easy to be

damaged. Take care and do NOT insert/remove with too much force, when operating.

! It is strongly recommended th a t insert or remov e the SSD AFTER camera powers down. If hotswap, you must Unmount the

SSD at first (SSD section in UI shows an idle state), after that you can open the door to get SSD o u t.

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TABLE of CONTENTS

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1. OVERVIEW

1.1 INTERFACES AND BUTTONS

Name # Name

Locking-style Mount with locking ring

Multifunction Wheel

KineMount / native EF Mount

REC indicator/Tally light

HD Digital Port A

Configuration / Play button

4, 5

Top screw holes: 1/4-20' hole x2

Side Panel Holes: 1/4-20' hole x1

3.5mm MIC input

Power indicator/Status indicator

Zoom/Confirmation Button

PWR: Power On/Off button

Optical Plane Mark (M3 threaded holes)

REC Button

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Name # Name

3D SYNC port

MISC: miscellinious Interface

WIFI antenna port (Optional)

Pin hole for positioning KineGrip

Wireless port (reserved)

1/4-20’ hole for KineGrip

SSD slot

The vent of fan in

Side Panel Holes: 1/4-20' hole x1

DC Power input: two-pin push-pull socket

21, 23

Top screw holes: 1/4-20' x2

USB socket x2

Electrical interface for KineGrip

3.5mm headphone out

optical plane mark (M3 threaded holes)

3G SDI monitoring output (optional)

HD Digital Port B

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1.2 DESCRIPTION OF BUTTONS

1.2.1 Multifunction Wheel

Press "9. Multifunction Wheel" to adjust camera settings quickly in LIVEVIEW mode.

There are two operation modes when use "9. Multi-functional Wheel ": ! Rotation: Choose quickly in a rotary manner when selecting

certain option;

! Press: Press Up/ Left/ Down/ Right push-buttons (Push-Button 1,

2, 3, 4) as shortcuts buttons to choose different functions. Press center push-button (Push-Button 5) to con f irm or different display.

The button functions:

Button #

Operation on Wheel

Functions

Press Left Once

ISO/EI Shortcut List

Press Right Once

Iris Shortcut List

Press Up Once

Shutter Speed Shortcut List

Press Down Once

Color temp Shortcut List

Press Left Twice

Resolution Shortcut List

(Sensor FPS Shortcut List for more press)

Press Right Twice

LOOK/LUT Shortcut List

Press Up Twice

SSD Management Shortcut List

Press Down Twice

Preset Shortcut List

NOTE: Do not press too quickly when press the button repeatedly, the camera can automatically detect your operation.

In the LIVEVIEW mode or PLA Y B A C K state, the d e fa u lt d isp la y is th e im a g e with parameters and waveforms and the display can be toggled as follows when press Multifunction Wheel"Center repeatedly:

! Image with core parameters; ! Image without parameters and waveforms (Clean out); ! Image with parameters and waveforms.

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1.2.2 ZOOM

Press "7. ZOOM" Button to zoom in or zoom out images in liveview and playback state. The display ratio shifts a s f o llo ws: Fit to screen, 100% point to point, 200% Zoom scale, 800% Zoom.

Press "7. ZOOM" Button to confirm your operations. To decrease the use frequency of "9. Multi-functionral Wheel" and extend its life, we recommend you to p re ss "7 . ZOOM" Button to do confirmation.!

1.2.3 PLAYBACK

Press "8. Playback" button to switch from Liveview mode to Playback mode.

NOTE: In PLAYBACK mode, "11. CONF IG " b utton is pla y/pa u s e button.

1.2.4 CONFIG

Press "11. CONFIG" to change configurations of camera:

! In LIVEVIEW mode: Enter config m en u o r can cel co nf igu re op tion ; ! In PLAYBACK mode: Play/Pau se clips .

1.2.5 PWR

Press "14. PWR" to Power ON/Off camera:

! Power On: Press and hold "14. PWR" button. ! Power Off: Press "14. PWR" button, the power off confirmation pops up, and choose Yes to power off. ! Quick Way of Power Off: Press "14. PWR" button twice to power off quickly. ! Force Power Off: Press "14. PWR" button and hold for 5 seconds to force power off. ! When shooting, the "14. PWR" button does not work.

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1.3 THE BASIC INTERFACE AND PARAMETERS

The camera enters LIVEVIEW mode once powered on. Composing, Focusing and Exposuring can be done In LIVEVIEW mode, and at the same time, a variety of camera information can be displayed.

1.3.1 Display with whole series of parameters and waveforms

Name # Name

Display Mode: LIVEVIEW/PLAYBACK/SYNC

VU meter

ZOOM RATIO: FIT/100%/200%/800%

State of Camera

Effective Sensor Frame Size

Time Code and Type

Current Resolution

Clip Name

CMOS Sensor FPS

Record Format

Shutter Speed/Shutter Angle

SSD Status/Capacity

Iris Number (If Applicable)

Real-time Core Temperature

Monitoring LOOK/LUT

Real-time Power Voltage

Color Temperature

Waveform

EI/ISO Mode

Histogram

EI/ISO Number

Guideline

Highlight and Headroom

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1.3.2 Display with Core Parameters

Name # Name

Display Mode: LIVEVIEW/PLAYBACK/REC

EI/ISO Number

SSD Status/Capacity

Temperature Warning (When High Temp)

Shutter Speed/Shutter Angle

Real-time Power Voltage/Threshold Voltage

Iris Number (If Applicable)

Record Format

EI/ISO Mode

Time Code

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1.4 QUICK GUIDE

1.4.1 Power Supply

The camera supports different types of power supplies: ! KineGrip: Attach KineGrip onto "22. External battery grip electrical interface ", and install 3 18650 Li+ batteries in to

KineGrip to power supply for hand-hold shooting. Please refer to Section 2.6 for tips on buying and using 18650 batteries. (To achieve longest cruising time by swith of SDI, WIFI at solution of 720p)

! 14.4V Standard Broadcast Battery: Plug 2-PIN push-pull power cord (Optional) into the 2-pin power port of camera body,

and connect the battery. For a 14.4V broadcasting battery with 130Wh, it can power camera SIX hours.

! AC-DC Power adaptor to power camera with 19V directly.

1.4.2 Mount

For camera with KineMOUNT, please attach mounting adaptor before attaching lens. ! FFD of KineMOUNT is very short, and the mount looks like PL mount. DO NOT try to attach any lens into the

KineMOUNT directly, in case the rear of lens mount bump into the CMOS sensor, which leads to permanent damage.

! The KineMOUNT pin is on the lower left corner (45°angle) of the mount. To attach the mounting adaptor, please ensure

the hole in the adaptor matche s th e p in o f KineMOUNT, and then ro ta te lo ck in g rin g o n th e m o u n t c lo c kwise till fasten to avoid any loose space when attaching lens.

! For EF mounting adaptor, connect adaptor with camera body with a special push-pull cord. Connect 8-Pin end of the cord

into "25. MISC multi function socket" and 4-Pin end of cord into 4-Pin socket of EF mounting adaptor. Please ensure the hole in the sockets matches well, and operate gentlely to avoid damage.

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1.4.3 Lens

Attach different lenses into different mounts. No matter attaching DSLR lens or PL cine lens, the Kine camera employs lockstyle (Cine-style) mounting system, rather than DSLR camera mount.

! EF Lens: The camera employs whole new lock-style (Cine-Style) EF mount If you choose an EF mount camera or an

KineMOUNT camera with Cannon EF mounting adaptor:

1. We recommend you to power off your camera when attaching or removing lens;

2. Rotate locking ring of EF mount clockwise till stopping to continue to rotate (Loosen locking ring);

3. Take off all the protective dust caps from camera and lens mount;

4. Align the lens with mount to match the indicators, and attach lens.

# EF lens: Align the red dot on lens, white line on locking ring and dot and line on mount. # EF-S lens: Align the white square indicator on lens with white square indicator on mount. # Please ensure the pin on mount matches the hole of lens.

5. Rotate locking ring (NOT lens) counter-clockwise (follow the arrow of lock on mount) until it is fastened firmly;

! Nikon F lens: The camera employs whole new lock-style (Cine-Style) F mount If you choose KineMOUNT with Nikon

F mounting adaptor:

1. Rotate locking ring of F mounting adaptor counter-clockwise till stopping to continue to rotate (Loosen locking

ring);

2. Take off all the protective dust caps from camera and lens mount;

3. Align the lens with mount to match the ind ica to rs , and attach lens. Align the red dot on lens, white line on locking

ring and dot and line on mount. Please ensure the pin on mount matches the hole of lens.

4. Rotate locking ring (NOT lens) clockwise (follow the arrow of lock on mount) until it is fastened firmly;

! PL Cine Lens: If you choose KineMOUNT with PL mountin g ad ap tor:

1. Rotate locking ring of PL mounting adaptor counter-clockwise till stopping to continue to rotate (Loosen locking

ring);

2. Take off all the protective dust caps from camera and lens mount;

3. Align the lens with mount to match the ind ic ato rs , and attach lens. Please ensure the pin on the lower left corner

(45°angle) of the mount matches the hole of lens.

4. Rotate locking ring (NOT lens) clockwise (follow the arrow of lock on mount) until it is fastened firmly;

WARNING: Please hold the lens to prevent lens from d ro p p in g When removing the lens.

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1.4.4 Monitoring

Please choose recommended EVF or Field Monitors with 3G-SDI or HD digital input, and connect the input port of EVF or monitor to output port of camera body with high quality HDMI cable or SDI cable.

! Power off camera and connect output ports on the camera body to the input ports of monitors with high quality HDMI

cable or SDI cable (75 Ohm). After all cables connected power on the camera.

! We recommend to choose Zunzheng, TVLogic, Ruige (whole series of products), Sony monitor (SONY CLM-V55),

Alphatron EVF, Cineroid EVF etc. Use of other monitors not recommended, there may be problems of unstable signals, which causes the too red or blue, or even no monitor display.

1.4.5 SSD Media

Insert KineMAG SSD or other 2.5 inche s SS D in to the S S D slot. (R ec om mend: Power off your camera when insert or remove SSD)

! The Lock Switch of SSD Slot Door: Please Pull/Rotate the lock switch of SSD Slot door to open it gently, and rotate the

switch and lock to prevent accidental door bouncing.

WARNING: SSD door is movable and fragile. Please be careful when you insert SSD, and overforce is forbidden.

! Check the SSD status display:

$ Grey Dotted line and blinking yellow [No SSD]: There is no SSD inserted into the SSD slot. $ Green [Ready] with SSD available capacity and total capacity: SSD is ready to use. Press "15. REC" button to

record, with all the clips recorded into SSD.

$ Yellow [Idle] and blinking yellow [Mount SSD]: There is an unidentified SSD in the slot.

# Activate SSD: Press Multifunction Wheel"UP twice; SSD Management Shortcut List will pop out; try to

activate the SSD by Choosing Activate SSD;

# Rebuild SSD: If can not activate your SSD successfully, you may have to format it into HFS in-camera, then

activate it, the SSD shows green.

! SSD has to be Deactivated before removal: Multifunction Wheel"UP twice; SSD Manageme n t Shortcut List w ill pop out;

try to activate the SSD by Ch o o sin g Deactivate SSD. Unlock the lock switch of SSD slot door to release the SSD from slot.

WARNING: Please backup all the data before format SSD, since all the data can not be restored after Rebuilding.

WARNING: We highly recommend you to power off your camera when insert or remove SSD. Remove SSD with power on may cause

image frozen or damages.

WARNING: Performance on data spec are guarantied by KineMAG SSD. There is no technical support or help on recording issues such as frame drop or data loss if using third-party SSD. !

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1.4.6 Audio Recording

! For Consumer-type MIC, insert the Consumer-type MIC at first and then p o wer on the camera, else else KineMINI can

not recognise the MIC.

! For exteranl recorder like DR60 or wireless mic, such as SONY UWP-D, you need to

1. Power on camera with open-ended audio cable or ordinary headset connected to MIC socket of camera at first; Do

not connect audio cable to lineout of external recorder or wireless mic;

2. After power on, then connect the other end of audio cable to lineout of external recorder ; Or rep lac e the a ud io ca ble

with the wireless mic to camera MIC socke t.

1.4.7 Playback

Press "8. Playback" button to switch from Liveview mode to Playback mode. In PLAYBACK mode, press "11. CONFIG" button to play or pause.

! Parameters at the top of the playback view are the settings of LIVEVIEW mode, rather than the settings of playback clips. ! VU meters in the playback view are real-time external MIC volume indic a tio n, r ath e r th a n th e v o lu me of playback clips. ! Delete Clip: Press Multifunction Wheel"UP (3 press-button), and clip management menu pops up, choose delete current

clip to make deletion. Do Not recommend in-camera deletion to avoid ac cid e n ta l d ele tio n .

1.4.8 4K Recording Option

If you purchase 4K recording options, you can activa te 4K RAW Options anytime you buy it.

CONFIG"Shoot"Record format"True RAW/ KineRAW(.krw) or CinemaDNG(.dng)

KRW is recommended (refer to Sec tio n 4 .2 ). R ec o rd in g time of choosing different record ing formats to record 4K@24fps:

! KineRAW(.KRW), 240GB SSD: 45 minutes recording times to record 4K RAW, which is close to ProRes422HQ bitrate; ! CinemaDNG(.DNG), 240GB SSD: 15 minutes recording times to record 4K RAW; ! Cineform RAW 4K: Camera will automatically stop (showing [FL U SH ]) from record ing in 10 secon ds.

1.4.9 HiSpeed Option

If you purchase HiSpeed options, you can ca pture 96 fp s @ 1 08 0 p, an d 9 2fp s@2K , even up to 120fps @2K Scope mode:

1. CONFIG" Shoot" Image Format "HiSpeed to choose HiSpeed Options; Or in LIVEVIEW mode, press Multifunction

Wheel"DOWN (3 push-button) twice to pop up the Preset list , and choose specifc preset has HiSpeed option.

2. Press Multifunction Wheel"LEFT (2 push-button) three times to pop up frame rate/FPS list, and choose Overcrank FPS

such as 120FPS.

NOTE: Recommended ISO settings are 320 or 200 at HiSpeed mode, to get lower noise.

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1.4.10 Access Clips in SSD

To access Clips from SSDs on PC or MAC, a SATA to USB3.0 reader is needed to connect SSD and workstation or laptop:

! For MAC platform: access/copy/playback the clips in SSD directly, because SSD file format is HFS; ! For Windows platform: you need to install system plug-ins, such as HFS+ for Windows, MacDrive.

1.4.11 Playback or edit Cineform mov

Playback or edit Cineform mov files, you need to install:

! Quicktime7 can support Cineform no rendering real-time operations, which is better for you to use; ! Cineform Studio (Windows OS) or Cineform Studio Premium(MAC OS) must be installed to playback Cineform RAW

files.

1.4.12 KineStation

It runs on Windows and MAC OS platform. It can tran sc o d e C in e maDNG/KRW sequen ce , timecode, audio and LUT in to Cineform RAW mov/Cineform RGB 444 mov, or CinemaDNG so that you can use Cineform or CinemaDNG workflow:

! If recorded clips are Cineform RAW mo v, N o ne ed to use Kin eS tation ; ! If recorded clips are KRW(non HiSpeed m od e), ca n u se K ine S tation to transc od e into :

$ Cineform RAW mov or $ Cineform RGB444 mov or

$ Uncompressed CinemaDNG(is exactly same with uncompressed CinemaDNG recording in-camera). ! If recorded clips are KRW(HiSpeed mo de ), can use K ineS tation to tran sco de into C ine fo rm R G B 44 4 m o v ; ! If recorded clips are CinemaDNG, use KineStation to transcode into:

$ Cineform RAW mov or

$ Cineform RGB444 mov

NOTE: Above functions may be realized in KineStation in Windows, and not MAC. MAC version often lags two months over Windows.

NOTE: Windows OS users can download KineStation from official site, while MAC OS users need to apply it by email to

sales@kinefinity.com.

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1.5 FACTORY SETTING

Kine camera has many user-defined functions and settings to match different customs of using camera.

Section

Item

Default Value

Shooting

Frame Size

S35

Resolution

2K 2048*1080

Sensor fps

25fps

Project fps

25fps

Shutter Speed

1/50s

EI/ISO

ISO640

Highlight Level

3.6

Headroom Level

1.3

Color Temperature

5600K Daylight

LOOK

Kine709

Record Format

Cineform RAW（mov）

EF Control Iris

Enabled

Liveview

Display Resolution

720P

Histogram/Waveform

Post RGB

Zebra Threshold

90%

Color Temp Mode

Simple

Shutter Speed Mode

Time

Anamorphic Lens

None

Settings

Fan Speed

30%

Fan Stop Setting

Never

Time Code Mode

Free Run

Language

English

SDI Power

ON if Available

WIFI Power

ON if Available

DC Threshold Voltage

12.5

Battery Threshold Voltage

8.5

Audio

Capture(dB)

Live(dB)

Playback(dB)

SYNC

Tally

Beeper

Record Beep

To restore to factory settings, there are two ways: Turn on camera with any USB storage device plugged into USB socket of camera or CONFIG"System"Reset to Factory Settings.!

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2. BASIC OPERATIONS

2.1 FOCUSING, RESOLUTION AND MONITORING

2.1.1 Three types of resolutions

It involves three types of resolution when monitoring:

! Record resolution of camera: it is resolution of recorded clips,, like 4K, DCI Scope 2.3 9 :1 , 1 0 8 0 p , etc.; ! Display resolution of camera: used for m o n ito rin g in liv e vie w of playback. Not matter how much record resolution, the

display resolution is 720p or 1080p in Kine camera;

! Resolution of monitor which consists of one LCD/OLED/FLCOS display and dedicated processing hardware:

$ Physical resolution of monitor: native resolution of LCD monitor, like 1280x800;

$ Resolution supported by monitor: processing unit of monitor can turn many kinds of typical resolution like 480p

(upconvert), 720p, 1080p (downconvert) to fit th e p h ys ic al r es o lu tio n o f monitor, like 1280x800.

Monitor often has the function of 1:1 zoom: there is NO of upconvertion nor downconvertion of input resolution; it crops input image to the same with native resolutio n o f m o n ito r.

For example, the native resolution of monitor is 1280x800, but its process unit can display 1080p video by downconvertion from 1080 p to 1280x800, and can d isp la y 4 8 0 p v id e o b y u p co n v e rs ion f ro m 480p to 1280x800.

2.1.2 ZOOM button and Focusing

Zoom IN video or 1:1 by ZOOM button quickly, for example from recorded resolution o f 4 K 4096x2160, into display res o lu tio n o f 720p, 1280x720:

! Fit: 4K video Zoom out (down c o nv e rt) into 7 2 0 p v id e o o f d isp la y re so lu tio n ; ! 100%: Pixel to pixel, 1:1, Crop on 4K video into 720 video of displa y re so lu tio n . There is only part of recorded im ag e

shown on the monitor;

NOTE: image on the monitor an d display part of recorded image will be exactly 1:1 if physical resolution of monitor is also 720p, else you need to use 1:1 zoom o n th e monitor to make image on th e monitor and display part of reco rd e d image will be exactly 1:1.

! 200%: Doubling the recording area, the image may appear jagged to some extent because it is magnified and interpolated. ! 800%: Magnification of the display area to eight times, it is super magnified so that it appears jagged and color aliasing

because of interpolation.

NOTE: When focusing right, color aliasing will become clearest. It is recommended using 800% Zoom to help on focusing;

NOTE: For Kine cameras, images on monitor are not the same with recorded image. Generally speaking, images on monitor are

not good as recorded clips. There would show some jagged pattern, Moire, especially the 4K recording.

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2.2 Exposure: Waveform, Zebra and Histogram

Waveforms, zebra and histogram help cinematographers determine the exposure of images.

Reference level of exposure on waveform:

! 70 to 80% in the Post RGB mode; ! 20 to 30% in the RAW RGB mode.

2.2.1 Monitoring Different Paths of Images

Waveform in the lower right corner of UI indicates the brightness of image s o n th e h o riz on ta l d ire c tio n , w h ile h isto g r am in the middle of UI shows the statistical information on the brightness of whole image. Besides typical display the waveform and histogram, you can also choose different paths of images to check exposure: pure RAW data or RAW data loaded with monitoring LUT.

You can switch waveforms and histogram among different modes through the menu settings.

CONFIG"Liveview"Histogram

! RAW LUM: Information in the histogram d isp la y s dis trib u tio n o f lu mination based on the RAW data. It is REAL

intensity of light what sensor see s. ! RAW RGB: The histogram information display R / G / B three color channels distribution which is based on the RAW

data. It is sensor to see the brightness distribution of the three colors red, green and blue. ! Post LUM: The histogram information d isp la y d istrib u tio n o f b r ig htn e s s which is based on the processed d a ta f ro m RAW

data loaded with monitoring LUT. ! Post RGB: The histogram information display distribution of RGB which is based on RAW data after the processing of

monitoring LUT loaded.

NOTE: When selecting different histogram option, waveform can also be displayed by the same option. For example, selecting Post RGB, camera will also use processed RGB data from RAW data loaded with monitoring LUT to calculate waveform;

NOTE: When over 100% on the waveform of Post RGB, images do not mean overexposure definitely, only over 100% on the waveform of RAW RGB, images must be overexposed.

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2.2.2 Tick mark of histogram

There are two vertical lines of histogram: one is grey and the other is white. They mean:

! Grey vertical line: the grey vertical line will overlap the peak in the histogram if 18% Grey card is placed in the scene and

Iris number, Shutter Speed and ISO value match standard exposure (can be set by exposure meter), in the current situation

of lighting; ! White vertical line: the white vertical line will overlap the peak in the histogra m if 90% White card is placed in th e s c en e

and Iris number, Shutter Speed and ISO value match standard exposure (can be set by exposure meter), in the current

situation of lighting;

2.2.3. Zebra

Zebra strip is a very straightfoware way to indicate where is overexposed in the image.

Zebra threshold can set in different value:

CONFIG" Liveview " Zebra

The default is 90%: it means that it will display zebra when the light exceeds 90% of the maximum range.

NOTE: For Kine camera, the zebra calculation is based on RAW data: RAW data is almost to be over exposed, as it is up to 90% when the zebra appears. So observe zebra carefully to avoid unintentional over-exposure in most cases. Overexposed RAW data is the "dead white" in the post workflow.

NOTE: Zebra of Kine camera may appear as pink strips, or black strips, not necessarily the traditional black and white zebra.

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2.3 ACTIVE EF MOUNT AND ELECTRONIC EF LENS

As long as Kine cameras is camera body with native EF mount, or KineMOUNT + Active EF mounting adaptor, Kine cameras support the iris control of Canon EF lens which are in the white list of compatibility.

2.3.1 Enable or Disable Iris Control

Kine cameras enable the iris control. It can display and control iris of EF lens which are in the white list of compatibility if EF lens is attached well based on the quick guide.

WARNING: DO NOT attach the lens with all metal at its end, else it may damage the irs control system of Kine cameras. This kind of EF lens are often configured from other mount lens to EF lens.

If have to use such EF lens, follow the instruction to disable the iris con trol, and turn active EF mounting adaptor or EF mount into passive one.

CONFIG"Shoot" EF Iris Conrol"Disable

Just set is as [Enable] if want to enble the iris control.

2.3.2 Iris number a n d Ir is tu ning

It will show maximum Iris number in the liveview display after attaching EF lens onto EF mount for first time, like 1/2.8, 1/1.8.

NOTE: The maximum Iris number may not be same with the nominal number marked on the lens, may be lower 1/3 f-stop. The max Iris number shown in the liveview display is the number told by Lens to Kine camera, NOT the value set by camera. Sometimes, it would change to be same number with the nominal number on the lens after a few times of Iris operations.

Press Multifunction Wheel"RIGHT once;

! Iris Shortcut List will pop out; try to choose the available Iris num be r with the step of 1/3

f-stop by rotation of Multifunction Wheel, as shown. Th e iris n u mber is tuned in real-time.

! If Iris Shortcut List does Not pop out, but LUT Shortcut List: it means Lens is not recognized by camera:

# Make sure attach EF lens to EF mount in right way: please refer to Section of Quick Guide – attach lens. ;

# Make sure the EF lens is compatible with Kine cameras: please refer to Section 2.3.3, EF lens white list;

# Make sure the iris control enabled: CONFIG"Shooting"EF Iris control;

# Make sure Active EF mounting adaptor assembled well if camera body is version of KineMOUNT: please refer to

quick guide-assemble mouting adaptors. Press CONFIG, it will show [EF sys 8] at the bottom o f co n f ig ur atio n lis t.

NOTE: The lens Iris changes from max Iris number to specific number chosen by user: the image changes from brightest to responding level set by specific number. This is most accurate way to set Iris number of electronic EF lens.

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2.3.3 White List of Lens Compatiblity

For the lens listed here, their Iris could be displayed and tuned by Kine cameras including KineRAW-S35 (with Active EF adaptor) and KineRAW-MINI, KineMINI and KineMAX. But even the same model of lens, lens may have some changes by lens maker in new generaration. Please double check it when you buy new lens.

For other lens not shown in the list, camera may support them after firmware update in the future.

Canon Prime

Lens

Note

EF 14mm F/2.8L USM

EF 24mm F/1.4L USM

EF 35mm F/2.0L IS

EF 35mm F/1.4L USM

EF 50mm F/1.2L USM

EF 50mm F/1.4

EF 50mm F/2.5 Macro

EF 85mm F/1.8

EF 100mm F/2.8 Macro

New Version

EF 135mm F/2L

TS-E 24mm F/3.5

TS-E 45mm F/2.8

Canon Zoom

Lens

Note

EF-S 17-55 F/2.8 IS USM

EF-S 17-85mm

EF-S 55-250mm

EF 8-15mm F/4.0L

EF 16-35mm F/2.8L

EF 16-35mm F/2.8L II

EF 24-70mm F/2.8L II

EF 24-105mm F/4 IS USM

EF 70-200mm F/2.8L USM

EF 70-200mm F/2.8L USM IS

EF 70-200mm F/2.8L USM II

EF 70-200mm F/2.8L USM IS II

EF 70-300mm F/4-5.6 USM IS

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Lens

Note

Distagon 18mm F/3.5

Distagon 21mm F/2.8

Planar 35mm F/1.4

Planar 50mm F/2.0

Planar 50mm F/1.4

Planar 85mm F/1.4

Planar 100mm F/2.0

Planar 135mm F/2.0

Sigma

Lens

Note

35mm F/1.4

50mm F/1.4

8~16mm F/4.5~5.6

18~35mm F/1.8

12-24mm F4.5-5.6DG HSM II

24~70mm F/2.8

28-300mm f/3.5-6.3 DG Macro

50-150mm f2.8 APO EX DC

70-200mm F/2.8

Early Version

Tokina

Lens

Note

11-16mm F/2.8 I

11-16mm F/2.8 II

12-24mm F/4.0

16-28mm F/2.8

Tamron

Lens

Note

18~55mm F/2.8

24~70mm F/2.8

28~75mm F/2.8

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2.4 SSD Media

Kine cameras employs industry-standard SSD, 2.5’ SSD as record media.

Insert KineMAG SSD or other 2.5 inche s SS D in to the S S D slot. T he Lo ck Sw itch of S S D Slo t Do o r: Pleas e ge ntly P u ll/Rotate the lock switch of SSD Slot do o r to o p en it, a n d ro ta te th e s w itc h a n d lo ck to p re v e n t accidental door bouncing.

Always format/rebuild SSD in-camera, not on MAC or Windows workstation.

2.4.1 SSD Status

There are three status for SSD used in Kine cameras.

! No SSD: Grey Dotted line and blinking yellow [No SSD], There is no SSD inserted into the SSD slot. ! Idle: Blinking yellow [Moun t S S D], there is an unidentified SSD in the slot or a HFS SSD not mounted. ! Ready: Green [Ready] with SSD available capacity and total capacity: SSD is ready to use. Press "15. REC" button to

record, with all the clips recorded into SSD.

For first two states, Kine camera can not record. Only third state, Kine camera can re c o rd .

It will show red when available capacity is less than 10% o f total ca pa city.

2.4.2 SSD Operations

There are also three types of operation on SSD:

! Activate SSD: Press Multifunction Wheel"UP twice; SSD Management Shortcut L ist will pop out; try to activate the

SSD by Choosing SSD management "Activate SSD; If SSD has already been formatted as HFS, it could be m o un ted

successfully and the SSD status displays green [Ready]. ! Rebuild SSD: SSDs used by Kine Camera must be formatted as HFS, and you need to do in-camera format before first

usage on Kine cameras. Press Multifunction Wheel"UP twice, and choose SSD management"Rebuild SSD. After

successfully formatted, activate SSD, SSD status displays green [In Use], and then the SSD is ready to use. ! Deactivate SSD: Press Multifunction Wheel"UP twice; SSD Management Shortcut List will pop out; if SSD is already

activated, then you can Choose SSD management "Deactivate SSD; If SSD is unmounted successfully and the SSD

status displays yellow [mount SSD].

WARNING: Please backup all the data before format SSD, since all the data can not be restored after formatting/Rebuilding;

WARNING: We highly recommend you to power off your camera when insert or remove SSD. Remove SSD with power on may cause

crashes or damages.

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2.4.3 KineMAG and 3rd party SSD

KineMAG™ is born to match Kine cameras: it can handle high bandwidth True RAW recording and also both RAW recording, with Reliability and Long life because KineMAG™ is built based SLC flash which endures much longer than SSD with MLC flash which often used in cheap SSD.

It has different capacities as 120GB and 240GB . If reco rd 2 4f ps, the reco rd time over different codecs and d iff er en t resolutions are shown as follows:

Record Format

Record Time (mins)

@KineMAG 120GB

Record Time (mins)

@KineMAG 240GB

2K@24fps Cineform RAW(.mov)

120

240

2K@24fps KineRAW(.krw)

180

2K@24fps CinemaDNG(.dng)

4K@24fps Cineform RAW(.mov)

N/A

4K@24fps KineRAW(.krw)

4K@24fps CinemaDNG(.dng)

NOTE: 4K Cineform RAW can not recorded in KineMINI for over 10 seconds, while 4K KineRAW and 4K CinemaDNG have no such limits.

Certified Compatibility: KineMAG™ is born to match Kine cameras: it can handle high bandwidth True RAW recording and also both RAW recording. It has different capacities as 120GB and 240GB. Bandwidth of 4K CinemaDNG at 30fps is around 400MB/s. KineMAG can handle the speed, and also for KineRAW codec, Cineform RAW codec too.

Reliability and Long life: Kine Cameras need to write data sequentially to KineMAG™ SSD, and zer o tole ra b le to d ata e rro r/m is sin g frame over various situation, so it demands KineMAG™ SSD w orking reliably and long-life. KineMAG™ is built on SLC flash which endures much longer than SSD with MLC flash which often used in cheap SSD.

Kine cameras do not prohibit users from using third-party SSD. Users could try to use third-party SSD, but generally speaking, thirdparty SSD are consumer-type, often using MLC flash memory chip even TLC memory chip. As known, MLC and TLC suffers from stability and much lower durance, compared to SLC Flash. KineMAG employs high qu ality SLC flash m em ory chip. On ly KineMAG SSD is recommended.

NOTE: Performance on data spec are guarantied by KineMAG SSD. There is no technical support or help on recording issues such as frame drop or data loss if using third-party SSD.

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2.5. Audio

KineMINI supports audio input (MIC-IN) to record the synchronous (mono, not stereo) audio, but it does not support the MIC of phantom power 48V. MIC-IN port is located at front of the camera with jack of 3.5m m . It w ill gene rate tw o unc ompressed audio files when recording with the external microphone inserted MIC-IN port. The audio track will be packa g e d in to a Cineform mov file directly if the record codec is Cineform RAW mov or transcoded by KineStation if project fps equals to sensor fps.

There is 3.5mm headphone socket which can be used for audio monitoring by earphone.

2.5.1 Use general/ consumer-type MIC

General/Consumer-type MIC, such as SONY ECM-DS70P, headset of computer; Insert the Consumer-type MIC at first and then power on the camera. VU meter will show the audio volume in liveview. This indicates that KineMINI can record audio through the external MIC; press the record butto n , th e n KineMINI records audio/sound into SSD together with video/images.

The sound quality of Consumer-type MIC is not very good, but it still could be used as the sync sound for post workflow.

NOTE: You MUST insert the MIC before powering on the camera, else KineMINI can not recognise the MIC, thus can not record the sound at all.

2.5.2 Use professional MIC

For professional MIC, such as NTG1/NTG2/NTG3 from Rode, most of them needs phantom power of 48V. If the MIC must require phantom power of 48V, it can not be used with KineMINI directly.

In addition, for professional MIC powered by internal 5# battery, it also needs to be inserted into MIC-in port of KineMINI before powering on the camera, otherwise KineMINI still is unable to detect sound.

The sound quality may be not good and noise level is relatively high when conn ec te d to K in e MINI, because of impedanc e m is match. You may need line-out of audio recorder to KineMINI if you want professional MIC to get better audio quality.

2.5.3 Use audio recorder

If you want to get the better in-camera audio quality, you need the help of recorder. For the professional or semi-professional audio recorder , such as Tascam DR60, H4N a nd othe r reco rde rs, no t only they ca n r ec o rd th e au d io f ile o f h ig h q ua lity in to re c o rd in g m e d ia of themselves, but also it can output Line-Out to KineMINI to make KineMINI record the in-camera high quality audio.

When using the professional MIC such as NTG3 connected to DR60, the Line-Out or Phone-Out of DR60 connects to the MIC-IN of KineMINI by an audio cable with 3.5mm plug. By this way, DR60 can output the high quality audio to KineMINI so that KineMINI can record high quality audio as in-camera recording at the same time.

You can also use the DR60 to record a high quality audio file in DR60 directly when feeding the Line-Out of DR60 to KineMINI, and then match the images recor de d b y KineMINI in the post workflo w.

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Operation Sequence:

1. Use an open-ended audio cable with 3.5mm

plug or a general MIC to connect to the MIC-IN of KineMINI at first.

NOTE: the other end of audio cable do e s NOT connect to the Line-Out of recorder;

2. After booting camera, you can see that

VU meter will show the audio volume in liveview, Do not power off the camera and connect the other end of audio cable to the Line-Out of recorder; you can also pull out the MIC, and plug in the Lin e-Out of recorder to MIC-IN of KineMINI;

3. If the recorder is on, the VU of KineMINI

will display the range of audio level from the recorder.

Use earphone to monitor the audio level of KineMINI: if the noise level is high, you can tune down the analog gain audio in CONFIG–>audio–>Gain; At the same tim e , y o u may need to increase the output v o lu me of recorder until the audio qua lity is suitable.

NOTE: You may need to connect the external MIC to the right channel/CH2 input if you use th e ex te rn a l MIC like NTG3, because the Line-Out is MONO OUT generally.

NOTE: If you can not detect the audio in KineMINI, you m ay try to ins ert to left channel/CH1, or change another audio cable.

NOTE: If using a headset, KineMINI has audio level, bu t N ot w he n u sing the L ine-Out from recorder, please follow above operation

sequence, or you need to check the VU of recorder whether it works.

NOTE: When using wireless mic, such as SONY UWP-D, you need to boot camera with open-ended audio cable or ordinary headset at first, and then connect the wireless mic after power on, otherwise KineMINI can not detect the wireless MIC.

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2.5.4 Tune gain of MIC and volume of headphone

There is a VU meter to show input level of MIC at the left corner in the liveview display. There is 3.5mm headphone socket which can be used for audio monitoring by earphone. What you hear by earphone is what to be recorded as in-camera audio.

For the input level of audio, you can tune the gain of audio in-camera, besides tuning external level of a u d io de v ic e :

CONFIG"Audio"Capture(dB)

The default value is 15dB.

The volume of headphone are two types:

! For liveview: what will be recorded when recording video, the default value of 0dB: CONFIG"Audio"Live(dB): ! For playback: what is recorded when recording video by camera, the default value of 0dB:

CONFIG"Audio"Playback(dB).

2.5.5 Audio, project fps and sensor fps.

When recording quick-mo and slow-mo, and Sensor fps is not equal to Project fps: When you transcodes from KRW or DNG into 4K Ciniform RAW mov in KineStation or record 2K Cineform RAW mov in-camera directly, the recorded audio will be copied directly into clip folder, Not embeded in to mov files.

2.5.6 Beeper and Pilot

The beeper in Kine cameras has two usages:

! Camera will make a tone of 1KHz and 2KHz respectively when beginning to shoot and stop shooting, to give signal to

crew in the field. You can disable the beeper by: CONFIG"SYNC" Beeper out; ! Camera will record the tone of 1KHz and 2KHz at the beginning of the video and end of the video when beginning to

shoot and stop shooting, as pliot for post-workflow. You can disable the function by: CONFIG"SYNC" Record Beeper.

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2.6 KineGrip: Multifunction Sidegrip with power supply

KineGrip Side Handgrip with Multi-Function Control and Powering. The existence of KineGrip turns camera into a handheld camera, like DSLR. KineGrip provides not only power to camera, but also provides full control. The dials and buttons on KineGrip can control Iris (if EF lens), ISO directly, and other camera parameters .

2.6.1 KineGrip’ s buttons and dials

! Zoom Focusing: Full/1:1/1:2/1:8; ! ISO Dial: Direct tuning ISO by dial control; ! Record/Stop; ! Lower Power Switch(it may be used to switch

lower power or normal state in future firmware) ! Iris Control Dial: Direct tuning Iris by dial

control (when electronic EF lens mounted); ! Multi-function navigation buttons with Full screen

button. ! 1/4’ screws for installing Grip to Kine camera

Body.

2.6.2 KineGrip Function

The great thing of KineGrip for camear can use industry standard 18650 batteries with protection. KineGrip with New Battery Holder must use three 18650 batteries with protection at the same time. New Battery holder which is printed by 3D tech for three protected 18650 batteries can be easily operated for batteries replacement. KineMINI 4K can work up to 60 mins if using new Panasonic 18650 batteries with 3400mA capacity.

The dials and buttons of KineGrip can replace the most of buttons at the left the camera body, and are easy for handheld. And the battery voltage and warning threshold will be shown on the UI.

UPS function: when connected with external power source like broadcast battery, or AC-DC power. So that you change broadcast battery or sidegrip battery without power down camera.

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2.6.3 18650 batteries

As of 18650 batteries which KineMINI uses, guidelines are following:

! Must use 18650 battery with protection: Strongly recommend to employ 18650 batteries with 3MOS protection circuits.

3MOS protection circuits: it can protect 18650 Li batteries effectively when voltage of battery drops much;

! Must use three batteries as triplet: charging, usage, storage; ! Never rip off the thin film around the 18650 batteries: these film are to solid the protection circuits with batteries. ! Do Not charge batteries with large current: avoid charging current over 1A. Recommend NiteCore I4 charger from

Kinefinity Store. It takes around 4~6 hrs if charging a 3400mA battery to full state. ! We recommend Sanyo 2600mA 18650 battery with 3MOS protection, and Panasonic 3400mA 18650 battery with 3MOS

protection.

2.6.4 Achieve long durance for handset

To achieve long durance as possible, when using only KineGrip to power camera:

! Turn off SDI output: CONFIG"System"Settings"SDI Power"Disable; ! Turn off WIFI: CONFIG"System"Settings"WIFI Power"Disable; ! Set Display resolution to 720p: CONFIG"Liveview"Display resolution"720p.

After the above settings, and restart camera, you could get longer durance than 1 hour.

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2.7 KineStation

KineStation is the core of Kine camera system. KineStation and Kine camera consist of hybrid digital cinema system to cover serious filmmaking and quick post workflow. Kine Cameras captures light and images which are RAW and remain native information as possible at frontend, while KineStation™ transcode the RAW images into the specific format based on post workflow which may suit for this shot or this team, at backend.

2.7.1 Features of KineStation

KineStation can run on Windows and MAC OS platform. It can transcode CinemaDNG/KRW sequence, timecode, audio and LUT into Cineform RAW m o v /C in ef o rm RGB 444 mov so that yo u c a n u se C in e fo r m workflow:

! If recorded clips are Cineform RAW mo v, N o ne ed to use Kin eS tation ; ! If recorded clips are KRW(non HiSpeed m od e), can use KineStation to transcode into :

$ Cineform RAW mov or

$ Cineform RGB444 mov or

$ Uncompressed CinemaDNG(is exactly same with uncompressed CinemaDNG recording in -camera). ! If recorded clips are KRW(HiSpeed mode), can use KineStation to transcode into Cineform RGB444 mov; ! If recorded clips are CinemaDNG, can use K ine S tation to transc od e into :

$ Cineform RAW mov or

$ Cineform RGB444 mov ! It provides three Debayer options when transcod ing into C ine form RGB444: Simple, Normal and Details. ! Fast trancoding speed: For transcoding into Cineform RAW from CinemaDNG or KRW, KineStation process it with very

high efficiency, faster than copy speed if you use USB 3.0 port. It only takes around 15 mins to transcode 64GB

KineMAG SSD footages on i3 laptop, and 5 mins running on la te st MBP with i7 CPU.

For future of KineStation, it would support more output codecs like ProRes, H265, DPX for different post-workflow and different requirements on project. And Clip Manage m en ts an d m a rk, pla yb ac k, da ily.

There is a hardware fingerprint in the clip recorded by Kine cameras, so that KineStation can recognise it when transcoding.

It is free for KineMINI, KineMAX and Kine R A W -S35, but charge on KineRAW-MINI users.

NOTE: Windows OS users can download KineStation from official site, while MAC OS users need to apply it by email to sales@kinefinity.com.

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2.7.2 How to use KineStation

To work with KineStation, you need to install following software:

! GoPro Cineform Studio (free) or GoPro Cineform Studio Premium; ! Quicktime7.

Operation Steps:

1. Choose Source path of your clips: generally choosing SSD or the folder which contains clip folders.

2. Choose Destination path of transcoding;

3. Set number of process of transcoding;

4. Set Debayer Option if you choose target codec as Cineform RGB444;

5. Click OK after above settings are done.

6. There is progress log in the KineStation to show what happen to your clips when transcoding.

# If original clip is Cineform RAW mov, KineStation will copy it to destination folder;

# If original clip is KRW at HiSpeed mode, KineStation will transcode it into Cineform R G B 4 44 auto m atica lly. A nd

Debayer option does not take effect on it.

7. After transcoding, there will be new folders inside of destination folder, and structure of folder is exactly same with

original one.

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2.7.3 FAQ of KineStation

1.##Why#does#anti/virus#software#on#my#windows#regard#KineStation#as#Trojan#horse?#

Don’t worry about that; just ignore the warning. Your anti-virus software makes warning because KineStation has an encrypted shell to protect intellectual property.

2.#KineStation#support#MAC#OS?#

Yes. Only difference between Windows and MAC OS is:

! Windows version of KineStation can be downloaded from our official website; and MAC version NOT. Just write an

email to Kinefinity/Kinefinity distributors for it after you get your KR-MINI and buy KineStation; ! New function may run on Windows at first, two months head of MAC version.

3.#Why#does#KineStation#report#error:#Can#not#find#clips?#

You may need choose root folder containing all clips as source path, Not choose one single clip folder as source path. For example,

! If KineMAG SSD is

E:/, then choose E:/. It will list all clips under E:/.

! If you achieved all clips into

F:/WeakEgg/GreatShots/, then you need to choose F:/WeakEgg/GreatShots/ as source path.

4.#Why#does#KineStation#report#error:#Can#not#generate#new#mov#file?#

Possible reasons:

! Did not install Quicktime mov; ! Destination path needs to be English path, especially MAC version; ! Volume label of Destination path needs to be English word, such as GreatKine;

Please change a PC or MAC to try it if you already fix above items, because your PC may contains so many codecs or plugins to be conflicted.

NOTE: Please take care of any warnings in the KineStation log. If some clips drop frames, KineStation will only make a Cineform mov with not full length.

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3. SETTINGS AND ADVANCED OPERATIONS

3.1 UNDERCRANK OR OVERCRANK (QUICK-MO OR SLOW-MO)

3.1.1 Two types of fps

Sensor fps: It is the capturing fps of sensor. Sensor fps could be defined to any value between minimum fps (6fps, in current firmware) and the maximum sensor fps, su c h as 1 8 , 2 7 , 2 4, 48 or 59.

Project fps: It is the fps which used by playback clips, editing clips or delivery. Typical project fps are 23.976, 24.000, 25.0 00 , 2 9 .9 7 or 30.000. You can choose one of them based on your need. For example: 24fps for movie, and 25fps for TV release (PAL).

When the project fps is set to 24fps, whatever you set your sensor fps (Undercrank 20fps/10fps or Overcrank 60fps) in shooting stage, clips will be played at 24fps in post production or in-camera playback. For example: We usually choose 22fps S e n so r f p s for sho oting action movies, but choose 24fps for playback. This kind of way is called o v e rc ra n k /un d er cr an k in se rio u s filmaking which makes the actions seems more fast.

The factory setting of project fps is 25fps for TV-PAL.

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3.1.2 Maximum FPS for Typical Resolutions

In current firmware version, the minimum FPS of camera is 6fps, and the maximum FPS are different at different resolutions:

Format

Resolution

MAX FPS

Cineform

KineRAW

CinemaDNG

S35

DCI 4K

4096x2160*

✔ ✔

DCI 4K Scope

4096x1716*

✔

Ultra HD

3840x2160*

✔

Ultra HD Wide

3840x1716*

✔

DCI 2K

2048x1080

✔ ✔ ✔

DCI 2K Scope

2048x858

✔ ✔ ✔

Full HD

1920x1080

✔ ✔ ✔

Full HD Wide

1920x858

✔ ✔ ✔

1280x720

100

✔ ✔ ✔

M4/3

3K 4:3 Anamorphic

2880x2160*

✔

3K HD

2880x1520*

✔

3K HD Wide

2880x1208*

✔

HiSpeed S35

DCI 2K

2048x1080

92*

✔

DCI 2K Scope

2048x864

120*

✔

Full HD

1920x1080

96*

✔

Full HD Wide

1920x864

120*

✔

S16

DCI 2K

2048x1080

✔**

✔

DCI 2K Scope

2048x860

75*

✔**

✔

Full HD

1920x1080

✔**

✔

Full HD Wide

1920x860

75*

✔**

✔

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3.1.3 User-defined Sensor FPS

For regular fps, like 23.976、24.000、25.000、29.76、30.000, can be ch o se n in F P S Shortcut List, while sensor fps could be defined to any value between minimum fps (6fps, in current firmware) and the maximum sen s o r fp s , su c h as 1 8 , 27, 24, 48 or 59. Accuracy can be 0.001fps.

CONFIG"Shoot"Sensor FPS

You can set three user-defined sensor fps in this dialog.

For example, Sensor fps is defined to 8fps, then the 8fps will be added into the Sensor fps shortcut list at all resolutions; Sensor fps is defined to 48fps, then the 48fps option would not appear at S35, 1080p and 2K resolutions, but will be added into the Sensor fps menu at S35 HiSpeed, 720p and S16, 1080p/2K resolutions if buy HiSpeed option.

You can delete the customized Sensor fps by modify it to 24.000.

To change the project fps of camera,

CONFIG"Shoot"Project FPS

NOTE: The audio track will be packaged into a Cineform mov file directly if the record codec is Cineform RAW mov or transcoded by KineStation if project fps equals to sensor fps, else it just two uncompressed audio files in the clip fo ld er.

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3.2 COLOR TEMPERATURE AND AUTO WB

The color temperature is tuned by directly adjusting RGB channels of sensor to change original RAW data, rather than apply a digital LUT. Although you can modify white balance of RAW data or change color temperature by post processing, all the modifications are based on the data you shoot previously. In order to minimize the distortion in post processing, it is important to gain as accurate color temperature as possible in shoo tin g sta g e .

3.2.1 Two White Balance Lists

The camera has two types of color temperature list for white balance: Simple List and Complete List.

! Typical List: List most of the typical color temperatures such as 2800K, 3200K, 4300K, 5500K, 5600K, 6400K and

UserWB. Among them, UserWB is user-defined valule, which is automatically generated when do the Auto WB manually. ! Complete List: List fairly complete color temperatures according to the portfolios of color temperatures (in accordance

with the 50K for a step) and lighting types. You can simply choose the one which matchs with your shooting conditions.

To change the color temperatures in the white balance lists,

CONFIG"Liveview"Color Tempearture List

3.2.2 Auto WB

For most cases, the Complete List of color temperature can meet the need for most of cases.

However, if the color temperatures listed in the built-in lists are not enough to meet complex shooting lighting conditions, you can use a gray card or white card to do Auto WB to achieve your specific color temperature. To do the Auto WB:

1. Put a gray card at front of the camera;

2. You may use Zoom function to make the image shown in the monitor full of grey, or white card;

3. CONFIG"Liveview"Auto WB . The camera corrects the white balance parameters, and write the color temperature

value to the UserWB. Once the UserWB is set, it can be used at any time later.

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3.3 HISPEED MODE/SPORT MODE

HiSpeed Mode or Sport Mode is a special working mode of CMOS sensor for Kine cameras. When related to HiSpeed or Sport mode, they are same thing for operation. For HiSpeed Op tion, it provides more high FPS for HiS peed M od e and S1 6m m Mode.

HiSpeed mode is used for shooting quick movement or actions, especially when camera on shoulder, handheld, fast panning, or documentary-style shooting. CMOS rolling effect will be greatly reduced at HiSpeed mode, and you may have an experience of global shutter shooting when capturing quick movement.

However, the picture quality will be slightly degraded at HiSpeed mode as the latitude will be lower one f-stop than the normal S 35 mode. And you may find jagged edg e o r m o ir é.

NOTE: Recommended ISO settings are 320 or 200 at HiSpeed mode, to get lower noise.

3.3.1 FPS for HiSpeed Option

HiSpeed Mode can support following resolution and fps:

Format

Resolution

MAX FPS

@HiSpeed Option

MAX FPS

@No HiSpeed Option

HiSpeed

DCI 2K

2048x1080

DCI 2K Scope

2048x864

120

Full HD

1920x1080

Full HD Wide

1920x864

120

S16mm

DCI 2K

2048x1080

DCI 2K Scope

2048x860

Full HD

1920x1080

Full HD Wide

1920x860

3.3.2 Set HiSpeed Mode

Two ways for swtiching HiSpeed between normal mode:

! CONFIG" Shoot" Image Format "HiSpeed to choose HiSpeed Options; ! Or in LIVEVIEW mode, press Multifunction Wheel"DOWN (3 push-button) twice to pop up the Preset list , and choose

specifc preset has HiSpeed. (Preset can be saved for current parameters: CONFIG"Shooting"Save parameters to, some

preset)

For HiSpeed mode, the codec can only be KRW. So you need transcode into Cineform mov by KineStation for post-workflow:

! Transcoding by KineStation from KRW into Cineform RGB444 mov . T h e Cineform RGB444 mov lik e Cineform RAW

mov, can be playback and edit, graded in most DI and NLE software; ! Output format is RGB444, there is no color loss due to transcoding.

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3.4 ANAMORPHIC LENS SUPPORT AND 3K RECORDING

Camera supports 3K recording and 4:3 anamorphic mode (M4/3 Frame) if purchased 4K RAW recording option, there will be more three resolutions at 3K:

Format

Resolution

MAX FPS

Cineform

KineRAW

CinemaDNG

M4/3

3K 4:3 Anamorphic

2880x2160*

✔

3K HD

2880x1520*

✔

3K HD Wide

2880x1208*

✔



For shooting at 3K resolution, it will gain much better 2K images with downconversion in post-workflow; and it can get an acceptable 4K images with upconversion in post-workflow too.

Aspect ratio of 4:3 matches anamorphic lens with factor of 2, so that it will gain CinemaScope frame as 8:3(2.66:1). With the process in post-workflow, it can reach up to 5760x2160 (6K) CinemaScope .

For monitoring when shooting at 4:3 with anamorphic lens, you can de-sqeeze the images into normal image by setting anamorphic lens factor in CONFIG m e n u . F o r e x ample, anamorphic lens factor is 2 , s e t the f ac to r in camera to 2, then you can get normal view of 6K CinemaScope, not squeezed image by lens.

Set the ratio:

CONFIG"LiveView"Anamorphic

Choose the ratio.



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3.5 SENSOR FORMAT SIZE

Kine camera supports different sensor format size for recording, like S35mm and S16mm. The type of camera sensor is 4K S35mm CMOS.

3.5.1 Sensor Format Size and Mount Type

As we all know, the effective sensor format size determines the mount and lens to be chosen.

! For S35mm mode, which is equivalent to APS-C format, and as well as S35mm size in movie, you can choose to use

movie lens or lots of SLR camera lens; ! For S16mm mode, the sensor format size is about 2/3 inch. The S16mm Cine lens or B4 lens can be also used at S16mm

mode.

S16mm mode is the crop mode of 4K S35mm sensor, so you can achieve S16mm format size at the resolution is exactly 2K.

3.5.2 Features of S16mm Mode

For S16mm mode, the 4K S35mm Sensor captures videos by setting the effective sensor format of 2K S16mm in the middle. At S16mm mode, there are several advantages:

! Supports S16mm Cine lens.

Note: most of the mount of S16mm movie lens are PL mount, just attach lens to PL mount of Kine cameras; ! Supports B4 mounting lens: Large zoom range, large aperture;

NOTE: Not all B4 mounting lenses can be attached into 2/3 inches camera s. S o me B4 mount lenses are used in 1 /2 in ch even 1/ 2.5 inche cameras. If these types of lens are attached on Kine cameras at S16mm mode, there are black corners;

! If you still use S35mm lens , such as canon Zoom lens o r S 3 5 mm Cine lens, the equvilent focal length automatically

becomes double, like turning into a long focus lens in one second;

! Sensors can realize overcrank by working on higher shooting speed, like 60fps@2K/1080p; ! Rolling effects would be reduced significantly.

NOTE: As S16mm format size by cropping and using the middle part of the sensor, which leads to latitude drop down by two f-stops, and equivalent noise increases two f-stops, so you need to lower ISO. For example, you use ISO 640 at S35mm mode, then you may need to lower your ISO to 160 at S16mm mode to get the same degree of noise.

3.5.3 How to Set S16mm Frame Two ways to set S16mm mode:

! CONFIG"Shooting"Sensor Format Size"S16mm; or ! In liveview, press “9. Multi-functional Rotary Button”Down (3 pus h -button) twice, pop up the Preset Shortcut List, and

choose S16mm option.(Preset can be saved for current parameters: CONFIG"Shooting"Save parameters to, some preset)

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3.6 LUT

The in-camera monitoring LUT control how the monitor image will look, the convert the wide range True RAW sensor data into something that fits into the smaller range a monitor can display well, and ad ju s ts th e lev e ls f o r 9 0 % white and 18% gray to meet the signal targets that are normal for a monitor image that looks correctly exposed.

3.6.1 Three in-camera LUT for monitoring

For Kine camera, the images in the field is the RAW files loaded with some monitoring LUT. For example, Kine709 LUT as default one; or choose KineLOG to show all the latitude, it helps cinematograher make judgement on lighting. For post workflow, you can choose the LUT to playback when shooting, automatically, or choose other LUT, or grade o n Logged clips directly.

The three in-camera monitoring LUT:

! Kine709: which simulates the TV and Broadcast standard signal levels to make a broadcast ready image that does not

require further grading if the in camera exposure wa s acc ura te. Th e K in eR A W™ cameras have live waveform and

histogram displays to help you get the exposure accurate, and there are tick marks on the histogram for the 18% gray and

90% white card target values so you can always use those as a reference to a card or a white shirt and such to set the target

exposure then make small adjustments using the zebras and monitor image to compensate for back light and

cinematographers preference. By default the Kine709 ™ output results (using the 3D-LUT made by the camera) are set to

ITU 601 limits. ! KineLOG: which simulates the Cineon™ Log film density curve that Kodak ™ invented for use with their film scanners,

you can take the KineLOG ™ results and open them in any standard work-flow that is currently working with 16mm or

35mm film scans and get ‘on target’ levels for 90% white and 18% gray when the camera expsoure has been made at the

EI ISO assigned to each in camera LUT, that EI ISO is selected with the ISO button and displays on the camera’s

viewfinder along with the monitoring LUT name to remind you which LUT you have selected. ! KineColor: which gives full range output and somewh a t lo w e r c o n tra st th a n Kine709 ™ for shooting pro jec ts w e re y o u

would rather have a monitor viewable result and not need to use a monitorin g L UT in your post production too ls like y o u

need to with KineLOG ™. The use of full range images that are close to final grade makes work-flow somewhat simpler

and can reduce mistakes that might happen using film log work-flow for people that have been using video post

production tools rather than film scan post production tools.

3.6.2 KineColor2 LUT and 3rd party LUT

KineOS3.2 does not support loading 3rd-party LUT into camera, and even does not support KineColor2 as in-camera monitoring.

If you want to use KineColor2 and 3

-party LUT, you need to load them in DI or NLE software. Refer to Section 4 footages and post-

workflow.

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3.7 EI/ISO MODE

The latitude of real world is very large, and human eye can discern very subtle difference on it. CMOS sensor of camera can not cover all of them. It requires reasonable configuration for Sensor of Camera: EI / ISO is a g rou p of setting s to c aptu re ligh t on the Sensor.

NOTE: Before not well understood EI and ISO, it is recommended to use ISO, rather than EI. Use of EI may cause footages underexposed.

EI / ISO is displayed at the upper right corner of the main interface, and Kine camera provide two ways to set it: ! ISO mode: nominal value of ISO is IS O ASA, will affect the RAW data, similar to the ISO meaning of Canon C300, as well as

DSLRs. $ The default mode is ISO mode configuration. ISO640, Highlight level(Highlight, that is 18% gray to ADC Clip) is 3.6 f-

stops, which corresponds to Headroom (Headroom, that is 90% white to ADC Clip) 1.3 f-stops;

$ Setting to ISO below 800, does not affect latitude, while the ISO highe r th a n 8 0 0 , latitu d e degrades. $ When Highlight number unchanged, lower ISO, dynamic range of CMOS Sensor tend to move to shadow, smaller noise,

more shadow detail, the picture looks more clean. On the contrary, in the case of external light source is not enough, you

need to increase ISO: it improves the Sensor sensitivity, but the noise increases, the highlight detail will be reduced;

$ When changing the ISO, Highlight level will not change, but remains at 3.6 f-stop. $ Highlight f-stops can be set at ISO mode. CONFIG"Shooting " Highlight level(ISO), choose from the 3.3 to 6.3 f-stops.

Headroom is equivalent to 1 to 4.3 range. When setting high light gear, ISO of available will be limited, such as high light

gear as 3.6, the lowest ISO is 200, when Highlight level is 4.3, IS O least 320, and so on.

NOTE: Use default Highlight level of 3.6 f-stops, to make exposure of clips in post-workflow same with monitoring.

$ As the name suggests, ISO in the same case, highlight level bigger,the sensitivity of the sensor will be reduced , and thus

retain more highlight detail, and fewer shadows. Less shadows means more noises.

! EI mode: like RED and Alexa, value of EI will not affect the recording of RAW data no matter it increases and decreases, but its

LUT is different. If the cinematographer is familiar with shooting RED / Alexa and lighting, EI mode can be set. In the case of big budget on the lighting and film, EI is preferred.

$ Set EI 640/800, Sensor has max dynamic range. If lighting not enough, increase the aperture a n d or add more lighting ; If

lighting is too much, add ND filter or try to reduce source of lighting. $ To recover the same brightness of image in the post-workflow, the monitoring LUT mus t be loaded on clip when EI is

used.

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3.8 CONTROL CAMERAS WITH IPAD (KINEREMOTE)

If camera is configured with WIFI option, you c an u se iP ad to co ntro l Kin e ca m era s by run nin g K ine R em o te o n iPa d.

KineRemote APP has been released in App Store, and you could search Kinefinity or KineRemote in App Store to find the KineRemote App. You can use KineRemote in your shootings once it is installed successfully:

1. Plug in Antenna to WIFI socket and lock it. A wireless hotspot (AP) will be generated by camera a u to matically. The AP

name is kinefinity _ ****, **** stands for the last four digits of the camera serial number.

2. When the camera is powered on and enters liveview mode, the wireless function is automatically enabled. There is no need to

set any parameters in the camera. (CONFIG"System" Setting"WIFI Power)

3. For iPad, search APs around, find the Kine camera’s AP and choose it;

4. Run KineRemote App installed on iPad.

5. You can directly modify a parameter in KineRemote App by finger tap. For example, to changes shutter, tap shutter Angle to

pop up shutter setting list, tap the Up or down button with your finger to d es ire d v alu e , a n d clic k OK to confirm and exit.

NOTE: LOOK is for Iris if attached an EF lens.

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3.9 SLATE

You can display and set slate information of current filmming, like Name, Director Name, DoP, reel, scene, etc.

CONFIG " shooting"SLATE

Using Multifunction dial and its nagivation buttongs to change the in fo rmation and figures in the slate. Fo r 3 D shooting, slate must be set, refering to Section 3.11 3D sync settings and shooting.

Refer to Section 4.1, the naming of clip and naming of SSD.

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3.10 FIRMWARE UPDATE AND OPTION UPGRADE

Updating firmware is easy and quick: Download firmware to FAT USB disc; insert it to KineRAW USB port; choose upgrade firmware in Config Menu. Less one minute, the update job is done. It takes effect after reboot.

3.10.1 Firmware Update

The firmware version is shown at the bottom of CONFIG menu, for example, firmware: KineOS V3.1(07), means KineOS version is

3.1 with building number of 3107. You can upgrade the firmware as following steps:

1. Download the latest firmware, and copy it to the root of FAT32 USB disk;

2. Insert the USB disk into one of USB socket of camera; there will be a usb in the UI;

3. Then CONFIG"System" Update firmware, confirm to upgrade, wait for one minute. Camera will give information of

success;

4. Power down, and get USB disk out;

5. Power on, then you can use the new firmware.

WARNING: Do NOT take any other operation when firmware update, else it may lead to failure of firmware update, even camera can not power on any more.

3.10.2 Check the option of camera

In LiveView, you can check the options of the c am e ra by

CONFIG"System"About

For example, shows:

KineOS 3.0(16)+WIFI+4K+HiSpeed+KineStation

Means in-camera options includes: 4K, HiSpeed, WIFI, KineStation. There will have 3D shown here if yo u b u y 3 D o p tio n s .

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3.10.3 Uprade in-camera option

No need to return camera to Kinefinity, you can upgrade in-camera option by youself, for example 4K recording, HiSpeed, WIFI and 3D option.

Please send the SN of camera body to us when you buy some in-camera option in Kinefinity online store. Kinefinity will send you a soft key named as kineraw.opt based on the SN of camera and factory setting of your camera. You can use the soft key to upgrade your camera.

Steps to upgrade in-camera options:

1. Copy kineraw.opt sent by Kinefinity and latest firmware (KineOS3.2 firmware pack, from our official website) download

to root folder of FAT32 USB disk.

2. Insert the USB disk into one of USB socket of camera; there will be a usb in the UI;

3. Then CONFIG"System" Update firmware, confirm to upgrade, wait for one minute. Camera will give information of

success;

4. Power down, and get USB disk out;

5. Power on, then you can use in-camera option.

WARNING: The soft Key can only apply to the camera with the same SN. It may turn the camera locked down if soft Key is used for other camera. And you have to return the locked camera to Kinefinity for unlock.

WARNING: Do NOT take any other operation when firmware update, else it may lead to failure of firmware update, even camera can not power on any more.

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3.11 BAD PIXEL REMOVAL

Bad Pixel: dead pixel, a pixel in the CMOS Sensor can not reflect the luminence of light, and the value of the bad pixel is 4096(for 12bits). For Bayer Sensor, bad pixel will show red or green or blue dot, but not white dot. If having white dot, it is dirty spots when Appearing white dot.

Remove dead pixels: any sensor may have dead pixels, dead pixels, but you can eliminate the bad pixel from interpolation from adjact pixels. You need to care: MUST cover the lens cap on lens in dark environment as dark as possible. Removal only needs about One minute.

CONFIG" System" Settings" rem ov e de ad pixe ls

NOTE: if can not remove bad pixe l naturally, it is possible that ISO highlit was set too high, or changed ISO to hihher. Please reset to factory settings, then do a clibratio n a g a in .

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3.12 HOW TO SHOOT REAL 3D

Camera supports real 3D shooting, what you need are only:

1. Two cameras with 3D shooting options;

2. One 3D SYNC cable.

Connect two cameras firstly by SYNC cable. Can set one of the cameras as Master and the other as Slave in three second. The two cameras’ sensors are almost completely synchronized: time code synchronization, frame synchronization and scanning synchronization with less than 5us mismatch.

3.12.1 Steps for setting two cameras.

To shoot 3D:

1. Power off two cameras, and connect two "16. 3D synchronization (Sync)" ports of

cameras with special 3D SYNC cable;

2. Set shooting parameters of the two cameras to the same, such as: shutter, sensor fps,

project fps, resolution, ISO, highlights, etc.;

3. Define the clip name. CONFIG" Shoot"Slate. Please set the Lens number of Master

to 0001 , and slave one to 0002, which represent the left e ye clips and the right eye

clips. All the other clip parameters must be set exactly the same, except clip name;

4. Do Auto WB with grey or white card for two cameras respectively, so that gain

consistent color temperature;

5. For Master Camera, CONFIG" SYNC"3D Master;

6. For Slave Camera, CONFIG" SYNC"3D Slave; the n A sync con firmation pops up,

to Connect Master camera;

7. The Confirmation disappears once Connection is confirmed.

# Master Camera: Master in Green font appears on the upper left corner of the

screen;

# Slave Camera: Slave in Green font appears on the upper left corner of the screen;

Press "15. REC Record" button, two cameras will shoot fully consistent clips which match the left eye and right eye respectively.

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3.12.2 Playback and Exit 3D Shoot

In current firmware version, Playback is not sup po rted in 3D yet, a n you can only playback in 2 D mode. So you have to exit 3D settings firstly:

1. Press "11. CONFIG" button or "8 playback" button on Master or Slave camera to pop up Confirmation, Select [Disconnect

3D Sync];

# If you choose to disconnect 3D synchronization on the MASTER camera, the MASTER camera turns into 2D

/Single operation mode, and the SLAVE enters SYNC mode: Yellow SY NC shows on the slave camera to indicate the sla v e came ra enters a special intermediate state. If you want to re-enter 3D shooting mode again, only to select 3D Master in MASTER camera while the SLAVE camera do nothing;

# If disconnected from the SLA VE camera, the SLAVE camera turns into 2D /Single operation mode, and the

MASTER enters SYNC m ode. If you want to re -enter 3D shooting m ode again, need to config both MASTER and SLAVE camera again.

2. Press “8. Playback”, then playback clips you choose;

3. Press “8. Playback” again, MASTER OR SLAVE will turn into 2D/Single operation mode.

3.12.3 Clip Name for Post Workflow

The clip names for two cameras, like following if y o u s et th e 3 D cameras appropriately:

! PRJ-0002-003-A1-5D8B.mov ! PRJ-0002-003-A2-5D8B.mov

They represent the Left eye clip and Right eye clip. You can copy both left eye and right eye clips into one folder without naming conflicts, and all the right eye clips are adjacent to the corresponding left eye clips naturally.

For the naming of clips in details, please refer to Section 4.1.

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3.13 CONFIGURE CAMERA

Kine camera can set timecode working mode, body fan speed, warning of battery and shutter mode, etc.

NOTE: Turn on camera with any USB storage device plugged into USB socket of camera.

3.13.1 In-Camera Presets

In-Camera Presets are a set of parameters for recording and shooting:

! Resolution; ! FPS; ! Record Format;! ! Frame Size;

And there are four in-camera presets, and it provides quick switch for these presets: Multifunction Wheel"DOWN (3 push-button) twice to pop up the Preset Sh or tcu t lis t.

It is very convinient for shooting 4K and 2K HiSpeed, for different codecs.

The four presets of factory settings are following:

Resolution

Sensor FPS

Record Codec

Frame/Mode

Preset 1

2048x1080

Cineform(.mov)

S35

Preset 2

2048x1080

KineRAW(.krw)

HiSpeed

Preset 3

2048x1080

CinemaDNG(.dng)

S16

Preset 4

2048x1080

CinemaDNG(.dng)

S35

And customers can define and save these in-camera presets. After setting these parameters in liveview state, then,

CONFIG"Shoot"Save parameters to , Some Presets(1/2/3/4)

If you purchased HiSpeed and 4K, you c an sa ve yo ur p rese ts as follo w ing :

Resolution

Sensor FPS

Record Codec

Frame/Mode

Preset 1

4096x2160

KineRAW(.krw)

S35

Preset 2

2048x1080

KineRAW(.krw)

HiSpeed

Preset 3

2048x1080

Cineform(.mov)

S35

Preset 4

2048x858

120

KineRAW(.krw)

HiSpeed

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3.13.2 TimeCode

Timecode is one of features of cinema camera. It shows time code in the LiveView and playback state:

! Timecode will be written into recorded clips. For Cineform RAW, the mov file contain a single timecode track; For KRW

and CinemaDNG, every single frame contains a specific timecode, and the generated mov will contain the timecode track

if you use KineStation to trans co d e th em.

! Besides, camera support two types of timecode:

$ Free run: TimeCode runs all th e tim e , n o matter recording or not, and the timecode will be emb ed ed into re co rded

clips;

$ Record run: TimeCode runs only when recording; and does Not run if liveview. Suggest s e t tim e c o d e to z e ro when a

new project begins.

Setting timecode mode:

CONFIG"System"Setting"TimeCode

Setting different timecode mode and initialize the timecode if chooing Record Run.

KineMINI does not support input of timecode.

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3.13.3 Camera Fan and Core Temperature

1.#Core#Temperature#

Core Temperature is the real-time temperature of core processor, not the body te m p e ra tu re . It is show n in th e livev iew an d b otto m of CONFIG menu, so that it can be monitored by users. For KineMINI,

! If the core temperature reaches up to 70 degrees, the temperature in dic a to r will turned into yellow number. ! If the core temperature reache s up to 80 degrees , it will alarm and turn into red. It strongly recommend to cool camera

body or even turn off camera for safety, else it may bring permenant damage to camera body.

2.#Setting#Fan#Speed#

There are two fans inside the camera:

! One is core fan cooling the Core Processor; the fan runs quietly for most of time, and can NOT be set manually. ! The other is body fan cooling the whole camera body; the body fan can be set manually.

You can adjust the body fan speed (factory set to 30%): it can be adjusted from 15% to 100% according to the outside temperature, even turn off the fan.

CONFIG"System"Setting"Fan Speed

3.#Setting#Fan#Stop#if#Rec o rd #

If you enable this option, camera will turn off body fan if recording, and turn on body fan if stop recording automatically.

CONFIG"System"Setting"Fan Stop when Recording

For indoor interviews, and other quiet place required, it is very useful.

NOTE: When this feature is enabled, pay attention to core temperature in the UI, when recording.

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3.13.4 Power Supply and Warning Indicator

1.#Power#Supply#and#Voltage#Threshold##

Since camera can be powered by:

! KineGrip: Replaceable Battery as 18650 battery; Durance time is around 60mins; ! Broadcasting Battery like Rolux 14.4V 130Wh Battery, through Power Cord: Durance is around Six hou rs ; ! AC adaptor power as 19V.

Camera can automatically recognize into two types power voltages:

! Battery Voltage: for KineGrip powering; Power voltage is less than 12V; ! DC voltage: for Broadcasting battery powering and AC adaptor powering, in case power voltage is over 12V.

Camera will monitor the power voltage all the time, and give warning (Red Voltage number, like 8.2V) if out of power, based on Threshold Voltage:

! Battery Threshold Voltage: If KineGrip power is less than it, like 8.5V, the camera w ill b e p o wered off at any time to

protect the battery. Factory set for the threhold is 8.5V; ! DC Threshold voltage: If DC power is less than it, like 12V, the camera will be powered of f at any tim e if powered by

Broadcasting large batteries. Factory set for the threhold is 12V;

WARNING: If recording Cineform RAW mov, and out of battery, the recorded clip will be corrupted probably.

You can set the the two threshold voltages based on your batteries, because useable voltage batteries change when using.

CONFIG"System"Setting"Bat Threshold Voltage or DC Threshold Voltage

2.#Dual#Power#Supplies#and#UPS#

Camera can detect two types of power supply, and show what power supply used, if two power supplies applied at the same time:

! If only KineGrip powering or only external broa dca sting ba tteries: camera use the only power supply. The voltage number

shown in the UI will be the power voltage at real time; ! If two power supplies at the same time: KineGrip powering and Br o ad c a stin g b a tter y. The camera will use the

Broadcasting battery power. And voltage number shown is the Broadcasting battery power voltage at real time.

NOTE: if dual power supplies at the sa me time, the KineGrip acts as UPS: can hotswap external Broadcasting battery.

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3.13.5 Shutter Display Mode

There are two ways to show shutter: Shutter Speed and Shutter Angle:

CONFIG"LiveView"Shutter Display Mode

Calculation between Speed and Angle, if Shutter Speed is 1/50s, and fps is 25, then the shutter angle is:

25*360*(1/50) = 180 Degree

NOTE: Set appropate shutter speed to avoid flickerin: for example 1/50s, or 172.8 Degree;

NOTE: For HiSpeed, suggest choosing Shutter Angle;

NOTE: For Shutter Angle, its ranges from 0.7~358 Degree;

NOTE: For Shutter Speed, min value is 1/2000;

NOTE: Shutter Speed List provided by camera is based on 1/3 f-stop, and it does match Shutter Angle List.

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4. FOOTAGES AND WORKFLOW

To remove SSD for post workflow: If you have to remove SSD when power on, press Multifunctional Wheel"UP (1 push-button) twice, and choose SSD management"Deactivate SSD to remove your SSD at first. Please ensure the SSD status is [id le (yellow) ]then get out the SSD fro m SSD Slot.

WARNING: We highly recommend you to power off your camera when insert or remove SSD.

To access Clips from SSDs on PC or MAC, a SATA to USB3.0 reader is needed to connect S S D and workstation or laptop:

! For MAC platform: access/copy/playback the clips in SSD directly, because SSD file format is HFS; ! For Windows platform: you need to install system plug-ins, such as HFS+ for Windows, MacDrive.

To playback Cineform mov files, you need to install:

! Quicktime7 can support Cineform no rendering real-time operations, which is better for you to use; ! Cineform Studio or Cineform Studio Premium must be installed to playback Cineform RAW files.

Always format SSD in-camera, not on MAC or Windows workstation.

4.1 SSD NAMING AND CLIP NAMING

4.1.1 SSD Naming

SSD stores the folders which includes clips and other accessory files. The folder name matches the setting of camera for shots in slate. The SSD will be named like A002_6D09A6 after SSD is formated in-camera. The name of SSD means:

! A: camera number; ! 002: Reel Number; ! 6D09: four char of camera SN; ! A6: two random numbers.

NOTE: Set scenes, reel number and take number to be 1. The reel number will be incremented after formating every SSD. And the reel number will be marked into the name of SSD.

When DIT, backup clips to RAID or TB disk, suggest make a new folder with same name as SSD name, and copy all the clips into the new folder, so that the reel number can be recognized easily.

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4.1.2 Clip Naming

The folder name is nearly the same with clip name, just no file extention: for example, PRJ-0002-003-A2_5D8B:

! PRJ: Project name of clip. Default name is PRJ which can be renamed by CONFIG"Shooting"Slate; ! 0002: Number of Scenes; ! 003: Number of Takes; ! A: Number of Camera Group; ! 2: Number of Shots ! 5D8B : Random Number from time stamp and camera SN.

If record format is:

! Cineform RAW mov, then clip name is PRJ-0002-003-A2_5D8B.mov; ! KineRAW(.krw), clip contains a sequence o f fr ames, like PRJ-0002-003-A2_5D8B _ 0000001.krw; ! CinemaDNG(.dng), clip contains a sequence o f fr ames, like PRJ-0002-003-A2_5D8B _ 0000009.dng;

4.1.3 Other accessory files

Other accessory files:

! 0.bmp: a snapshot for clip, as the first fram e , 1 /2x 1 /2 re so lu tio n ; ! ***.look: monitoring LUT when reco rd in g th e c lip . It is .lo o k file which fits for Speedgrade, Cineform Firstlight; ! ***.cube: monitoring LUT when rec o rd in g th e c lip . It is .cube file which fits for Davinci Resolve, Speedgrade/ ! curve.cube: a LUT for CinemaDNG, it will for the grading purpose for DNG from linear to log(for Speedgrade). ! L01.wav, L02.wav: uncompressed aud io f ile; For KineMINI, they are same because KineMINI MIC is mono. ! Slate.txt: slate information which contains most of in f o rmation when shooting the clip, lik e sh u tte r sp e e d , IS O, highlight,

color temp, etc. ! 0.mt: internal camera information w h e n re co r din g .

Please send slate.txt and o.mt to Kinefinity if clip files shows abnormal.

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4.2 KINERAW(.KRW) CODEC

KineRAW (.krw) codec, cinema-level codec is d e v elo p e d b y Kinefinity with great efforts and re so u rc e s:

! Average compression level is 3:1, lossless compression algorithm: it remains whole information of original image, there is

no color sampling and loss. The 240GB KineMAG SSD could record around 45 minutes 4K RAW clips with its date rate

close to ProRes422HQ; ! It can be transcoded into Cineform RAW mov by KineStation V0.6 or above if recorded clips are not HiSpeed mode, for

Cineform workflow; ! It can be transcoded into Cineform RGB444 mov by KineS ta tio n V0.6 or above if recorded clips ar e HiSpeed mode, for

Cineform workflow; ! It can be re stored to CinemaDNG by K in eS taiton V0.7 or abo ve if recorded clips are not HiSpe ed mode. So it fits for

CinemaDNG workflow; ! It really fits 4K, 5K, 6K recording and HiSpe ed reco rdin g, sa ves m uc h m o re sto rag e roo m , fo r easier d ata b ack u p.

KineRAW(.krw)codec may be supported by NLE or DI software directly in the future, with the increase of more Kine cameras.

KRW can be transcoded into following industry level codec(KineStation V0.7):

Cineform RAW

Cineform RGB444

CinemaDNG

KineRAW(.krw, Not HiSpeed)

✔ ✔ ✔

KineRAW(.krw, HiSpeed)

✔

Time length of Recording over different codecs: KineRAW, CinemaDNG and Cineform mov:

Record Format

Record Time (mins) @KineMAG 120GB

Record Time (mins)

@KineMAG 240GB

2K@24fps Cineform RAW(.mov)

120

240

2K@24fps KineRAW(.krw)

180

2K@24fps CinemaDNG(.dng)

4K@24fps Cineform RAW(.mov)

N/A

4K@24fps KineRAW(.krw)

4K@24fps CinemaDNG(.dng)

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4.3 CINEFORM BASIC OPERATION

No matter recording Cineform RAW directly, or recording lossless compressed KineRAW(.krw), even uncompressed CinemaDNG(.dng), you can use Cineform in post-workflow by trancoding function of KineStation.

The Cineform is cinema-level codec, as compressed raw using very high quality wavelet compression: visually lossless, and making work-flow much more efficient.

2K Cineform RAW/RGB444 footage can be always online meaning you edit your CineForm master files with your favourite postproduction software tools – no proxy files, no conforming, and no specialised hardware.

4K Cineform RAW/RGB444 footage requires on workstation much more than 2K footage. For 4K re al-time debayer, it consumes much CPU and RAM of workstation. Generally, you may need offline/proxy files to edit 4K footages.

4.3.1 Cineform mov

To work with Cineform, you need install following software:

! GoPro Cineform Studio (free) or GoPro Cineform Studio Premium; ! Quicktime7.

Then you can playback, edit, grade Cinefomr RAW/RGB444 clips on nearly all NLE softwares like FCP, Premire Pro, Edius, Vegas and DI software like Davinci Resolve, Spee d g ra d e a n d S c ra tch.

Even ignore many unique and useful features of Cineform, Cineform mov files could be treated simply as H264 mov shot by DSLR or ProRes mov by Arri Alexa, because they share the same video container, when processed in post-workflow.

Mov video files do not mean a specific codec format, but means only video files capsulated QuickTime developed by Apple. Codec formats are not related to file exention like mov. Typically,

! Mov files shot by DSLR: codec as 8bits 420 H264; ! Mov files shot by Arri Alexa: codec as 10bits ProRes; ! Mov files shot by Kine Cameras (or transcoded by KineStation): codec as Cineform RAW or RGB444.

Cineform RAW or RGB444 clips shot by Kine Cameras (or transcoded by KineStation) are with gamma of KineLOG, like ARRI Log-C: the images show flat, low saturation if no LUT loaded.

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4.3.2 Cineform Real-time Color Correction by Active Metadata

Cineform clips feature Active Metadata which is one of great features of Cineform codec.

It can realize non-destructive, real-time primary color correction for Cineform clips plus text, LUT, and tools overlays. Cin e fo rm Studio/Cineform Studio Premium works in parallel with your editing and effects software, and maintains color adjustments and image framing as Active Metadata with your media – all processed in real time so you never need to render, and c o n se q u en tly y o u never clip highlights. Cineform Studio/Cineform Studio Premium color adjustments are immediately visible in any application that calls a GoPro-CineForm file.

For Cineform RAW clips, debayer options can be applied in real time too; but Cineform RGB444 can not be applied debayer options, because RGB444 is debayered already from RAW data.

For fast workflow, you can do primary color correction, set debayer option and load LUT in Cineform studio , a n d g et th e re su lt in real-time in NLE software, th e n rend ers output in NLE software directly.

You can access official website (http://www.kinefinity.com/tutorial-cineform-raw-3/) to watch the tutorial.

NOTE: for operations on clips in Cineform Studio/Cineform S tu d io P r emium (Firstlight), you can use CTRL+C to copy one specific operation on one clips (like adjusted exposure, color tem p er a tu re , d eb a y e r o p tio n s, e tc .), th e n C T RL+V to apply the same operation on other clips.

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4.4 PLAYBACK CINEFORM WITH LUT AUTOMATICALLY

One of very useful features of Cineform clips: When playback the cineform RAW clip, it can load the LUT automatically in workstation when recording by Kine cameras or KineStation, because there is LUT mark in the Cineform mov when recording.

That means you get two kinds of clips:

And you could also set the playback option without the LUT, then the clips comes back to clips with maximum latitude for more grading.

! Clips with LUT when recording: What You See on workstation is the same with What you saw on the mo n ito r when

recording. If you did right white balance and g ot rig ht e xp osu re, y ou do not need to grade the clips for quick workflow; ! Log Clips with maximum latitude which is also easy to be graded, if you set the playback option without th e L UT.

To realize the feature, it is different in Windows from MAC OS.

Windows OS#

You need to register the LUT at first in Windows to playback the Cineform clips with LUT:

! Double click the .look or .cube;

! Choose Lookinstaller App to install the look or cube file as the following image.

Do not need to register again for same LUT. Then playback the Cineform mov again, it will take effects on Quicktime 7 and any NLE software when editing.

If not playback with LUT, you can set playbac k op tion s as fo llow in g:

1. Right click the Cineform L OGO, pop up menu,;

2. Active Metadata–>Looks(3D-LUTs):

3. Marked to playback with LUT, Unmarked to playback without LUT (KineLOG image).

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#MAC OS!

There is direct way to register LUT files into Cineform system on MAC. You need to install Cineform Studio Premium for register LUT.

1. Install Cineform Studio Premium;

2. Drag Application

Cineform/Firstlight to Dock;

3. Drag the LUT in the clip folder to Firstlight LOGO on the dock. Then it registers

the LUT to MAC. (Igno re th e F irs tlig h t if it o p e ns; an d d o n o t n ee d to re g iste r again for same LUT files)

NOTE: Cineform links the monitoring LUT when recording. When it playbacks on the workstation, it loads the LUT automatically if the LUT is registered before. Cineform RAW mov will not load LUT when playback if not registering LUT. It shows KineLOG image.

If not playback with LUT, you can set playbac k op tion s by clicking the Cine fo r m LOGO to choose LOOK option on the status bar on MAC.

If you did right white balance and got right exposure w h en sho oting , yo u ca n u se th e LUT to render outputs in NLE software directly. It requires monitoring with Kine709 or KineCo lor L U T w he n sh oo ting .

The following image is comparison between KineLOG image (Left) and image with LUT of KineColor2 (Right).

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4.5 CINEFORM DEBAYER/DEMOSAIC OPTIONS

4.5.1 RAW and Debayer

Most RAW format cameras are single-sensor and use Bayer color filter arrays to create color. Bayer data cannot be viewed natively, so there is a key process as debayer/demosaicing to produces color images and details.

There is an option in the Cineform decoder (in Cineform Studio/Cineform Studio Premium) for users to choose debayer/demosaic option when it plays Cineform RAW into RGB444 video. The wonder of Cineform RAW for different Debayer option is that it is realtime, no rendering when ch o o sin g d iff e ren t Debayer options.

Generally speaking, Auto/Default debayer is a very simple, fast demosaic filter suitable for real-time playback and editing work, so the video seems not sharp an d n o t m u c h d e tails . S o it is NOT suitable for final rendered output. During editing, it is best to use simple or default Debayer option just because it requires the least CPU and RAM resource.

Think of the progression of Debayer/Demosaic options from Auto to CF Advanced Detail 3 as providing additional sharpening detail in your output RGB444 video. For rendering output after editing work, Advanced Details 1/2/3 as Debayer options are reommended to get more details and sharper.

For MAC, you have to set the debayer option in Cineform Studio Premium/Firstlight.

NOTE: For your own experimentation, evaluate different Debayer/Demosaic options during rendering to see what level of sharpening is best for your needs.

4.5.2 How to set Debayer Option

It is different to set debayer options in Wind o ws from MAC OS.

1.#Windows#

For windows, right click the Cineform icon in the windows system status bar;

Find the Cineform icon in the system status bar of Windows,

1. Right click the Cineform icon in the windows system status bar (Char C in red or blue color);

2. Pop up Cineform menu "Decoder Settings"Demosic Type"Advanced Details 1/2/3.

! #

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2.#MAC#

You have to use Cineform Studio Premium (Firstlight) to set the Debayer option like setting LUT of Cineform.

1. Import the clips into Firstlight;

2. Set Debayer option to Advanced Details 1/2/3 in Debayer Filter box in Firstlight.

Then it takes effects when playback in Quicktime or NLE software.

NOTE: Debayer options only are effective on Cineform RAW clips, no effect on Cineform RGB444 or YUV422 clips. That means for clips recorded in HiSpeed mode and transcoded into Cineform RGB444 mov by KineStation, can not the Debayer options.

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4.6 LOAD LUT IN DI SOFTWARE

Cineform clips can be loaded with LUT in three ways:

! Cineform clips playback with monitoring LUT automatically in workstation, because there is LUT mark in the Cineform

mov when recording; ! Besides the automatic LUT, you can also load other LUT or custom LUT onto Cineform clips in Cineform Studio

Premium(Firstlight) or Cineform Studio; ! Load 3rd-party or custom LUT in DI software, like Davinci Resolve.

4.6.1 Load LUT in Davinci Resolve

The path of LUT used by Davinci Resolve in Windows is following:

C:\ProgramData\Blackmagic Design\DaVinci Resolve\Support\LUT

In MAC system, the path is:

/Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT

1. Make a new folder named like Kine, and

2. copy the LUT with extention of .cube into the Kine fold e r,

then restart Davinci.

3. Selection the clip, and choose the LUT shown in left

illustration.

4.6.2 Load LUT in Adobe™ AfterEffect™ CS5(or Above)

For CS5 AE (or Above),

1. Apply effect: Effect"Utility"Apply Color LUT, as shown;

2. Add LUT in popup dialog;

3. Load LUT added in the effect panel, as shown.

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4.7 TYPICAL WORKFLOW OF CINEFORM

In short, you can process Cineform clips with max grading room, and but also the video you can use for quick workflow. Here we suggest five workflows, based on your platforms and the nee d s o n the f in al o u tp u ts .

1.#Quick#Workflow#using#LUT#or#Primary#Color#Correction#by#Cineform#Studio#

Platform: Windows or MAC.

1. Import clips into NLE software, and set LUT as monitoring L U T w he n rec ord ing ; and also yo u ca n u se Cineform Studio or

Firstlight to do primary color correction, or load other custom LUT: it takes effect in real time;

2. Set Debayer option to Advanced level after editing work, and render outputs.

NOTE: for operations on clips in Cin e fo rm Studio/Cineform Studio P re mium (Firstlight), you can use C T R L+C to copy one specific operation on one clips (like adjusted exposure, color temperature, debayer options, etc.), then CTRL+V to apply the same operation on other clips. And Firstlight also support FCP project.

2.#Typical#RAW#Workflow:#Conform#and#XML#netlist#

Platform: Windows or MAC; like RED RAW r3d workflow.

1. Import clips into NLE software like FCP;

2. Export XML netlist after editing job is done. XML links the original clips according to timecode in the same media pool for

grading software;

3. Import XML netlist generated from NLE software into DI so ftw are, the n g rad e the RAW clips from the same media library;

4. Rendering out to get final output.

NOTE: Davinci Resolve does not support active metadata and debayer option of Cineform.

3.#ADOBE#Suite#

Platform: Windows or MAC.

1. Import Clips into Premere Pro of CS6 or CC directly;

2. Using AE or Speedgrade of CS6 or CC to grade these edited clips, no need to generate an XML netlist as swap list.

NOTE: Adobe supports active metadata and debayer option of Cineform to get sharper images. And You can also use denoise plugin like DarkEnergy for AE to get most clean images, at the same time.

! #

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4.#Based#on#Intermediate#Codec#PRORES#

Platform: MAC; Intermediate as ProRes.

1. Import Clips into NLE software like FCP to edit clips; (All NLE so ftw ares sup po rt A ctive m etad ata)

2. Export ProRes444 and ProRes422HQ after editing job is done.

3. Import the ProRes video into DI software, and grade it.

Actually, it is same with other ProRes workflow after it is converted into ProRes file. You can choose debayer option advanced details when exporting to ProRes to get sharper images.

5.#Based#on#Intermediate#Codec#Cineform#RGB444#or#YUV422#

Platform: Windows or MAC, Intermediate as Cineform 12bits RGB444 or 10bits YUV422.

1. Import Clips into Premere Pro of CS6 or CC directly ;

2. Use DarkEnergy plug-in in AE to do de-noise and output Cineform RGB444 or YUV422. (At same time, you could set

debayer option advanced details when rendering by DE), so that you get sharper and cleaner RGB444 video;

3. Grade the RGB444 video in DI software.

This workflow is intended to TVC with high requirements on image quality, but with low budget for front-end shooting. RGB444 is very close to RAW in the terms of grading room.

Note: you need to purchase Cineform Studio Premium to output Cineform 12bits RGB444, else 10bits YUV422.

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5. FAQ

1.#Press#REC#button,#camera#does#not#record,#no#tally#light.#!

Note the SSD status of camera, if

! Grey Dotted line and blinking yellow [No SSD]: There is no SSD inserted into the SSD slot. ! Green [Ready] with SSD available capacity and total capacity: SSD is ready to use. Press "15. REC" button to record,

with all the clips recorded into SSD.

! Yellow [Idle] and blinking yellow [Mount SSD]: There is an unidentified SSD in th e slo t.

# Activate SSD: Press Multifunction Wheel UP twice; SSD Management Shortcut List w ill p o p ou t; tr y to a c tiv a te th e

SSD by Choosing Activate SSD;

# Rebuild SSD: If can not activate your SSD successf u lly , y o u m a y h a v e to f o rmat it into HFS in-camera, then

activate it, the SSD shows green.

2.#Camera#stop#recording#automatically#after#a#few#seconds#when#recording.##

! Check if your SSD has no capacity, and it shows red; ! Check if you use KineMAG SSD: if you use 3

-party SSD, its speed may be fast enough;

! Check if you record Cineform format at 4K resolution, or Cineform at 2K 30fps above: please chan g e th e re co r d fo rmat to

KineRAW(.krw) or CinemaDNG;

3.#There#is#no#signal#on#HDMI#monitor,#or#redish,#greenish:###

! Power off camera and connect output ports on the camera body to the input ports of monitors with high quality HDMI cabl.

After all cables connected power on the camera. ! We recommend to choose Zunzheng, TVLogic, Ruige (whole series of products), Sony monitor (SONY CLM-V55),

Alphatron EVF, Cineroid EVF etc. Use of other monitors not recommended, there may be problems of unstable signals,

which causes the too red or blue hues, or even no monitor display. ! Current camera model does not support SmallHD DP7 .

4.#No#images#from#SDI#monitor:##

1. Please make sure if you bought SDI output option;

2. Check whether SDI output is powered on: CONFIG"Settings"SDI Power. Set it On;

3. If does not work still, set display resolution of Kine camera to 720p(SDI monitoring signal is 720p@60fps, or 1080p

@60fps, HD-SDI and 3G-SDI respectively): CONFIG"Liveview"Display Resolution, and restart Kine camera.

! #

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5.#Can#not#power#on#when#using#KineGrip#with#18650#batteries:#

18650 batteries are not well installed probably:

1. Check polarity of 18650 batteries;

2. Check 18650 batteries are well contacted inside of KineGrip;

3. Check KineGrip are installed well.

Please visit official website about choice of 18650 batteries: http://www.kinefinity.com/shop/kinegrip/

6.#Iris#of#electronic#EF#lens#can#not#be#tuned:#!

1. Make sure attach EF lens to EF mount in right way: please refer to Section of Quick Guide

– attach lens;!

2. Make sure the EF lens is compatible with Kine cameras: please refer to Section 2.3.3, EF

lens white list;

3. Make sure the iris control enabled: CONFIG"Shooting"EF Iris control;

4. Make sure Active EF mounting adaptor assembled well if camera body is version of

KineMOUNT: please refer to quick guide-assemble mouting adaptors. Press CONFIG, it

will show [EF sys 8] at the bottom of configuration list.

7.#There#is#no#sound#after#inserting#MIC:#!

! You MUST insert the MIC before powering on the camera if using ordinary MIC; ! Please refer to Section 2.5.3 about how to use audio recorder if using audio recorder or

wireless microphone like SONY UWP-D;

8.#Monitoring#seems#droping#or#skipping#frame,#stutter#when#camera#pan s:#!

It is normal for monitoring when panning, but reco rde d clip s do no t drop an y fra m e if us ing Kin eMAG SSD. ! Skipping frame on monitoring: monitoring signal from Kine camera is based on 25f p s p ro g re ss iv e (o r o th e r CMOS sensor

fps), not 50i; ! Skipping frame when playback on workstation: if recorded clips are 25fps, less than 30fps, the clips will show it. If

recording 50fps, and playback at 50fps, it will be much better.

9.#Image#freezes,#no#any#resp o n s e #fo r#a n y #b u tto n s .# No#update#for#video#output.##!

Hot-swap SSD or active EF lens cause it probably. Suggest replace SSD or Active EF lens after power off.

10.#Images#show#abnorma l#st rip s #or#snow#in#livew#or#recording,#and#time#code#runs#into #ra n d o m#number#(if#set#time#code #in to #f re e #

run#mode)#!

1. Press Playback to switch into playback state, then press it again to switch back in to liv ev ie w state;

2. Else, restart camera.

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11.#KineOS#can#not#update#camera#with#new#firmware:#!

1. Check whether [USB] shown in the UI after USB stick is inserted to the USB socket of camera, else change another USB

socket to try it;

2. Check U disk is FAT32, NOT NTFS, or HFS;

3. Check firmware is stored at the root folder of U disk, and there is no other firmware files in the same place;

4. Change another U disk, like Sandisk to try again.

12. SSD#can#not#recognized#in#Windows#OS:##

! MAC OS: Plug the SSD into a USB port on th e MAC and get the files in SSD d ire c tly . It b e ne f its f ro m HFS format of

SSD which compatible to MAC. ! Windows OS: Install HFS+ for Windows or MacDrive to get the files in SSD.

13.#Can#not#playback#Cineform#clips:##

Please install softwares as following:

! Quicktime7: Quicktime7 can support Cineform operations of no rendering real-time, and faster and easier to use; ! Cineform Studio (Windows OS) or Cineform Studio Premium (MAC OS).

14.#Can#not#playback#KineRAW(.krw):#

KRW codec has not been supported by DI software. It needs KineStation (KineStation V0.7) to transode it into Cinefo rm or

restore it to CinemaDNG.

15.#KineStation#can#not#find#clips#when#running#it:!

Please make sure your folder chosen as source path is not a single clip, but a directory containning all clips. Please refer to section 2.7.3 FAQ of KineStation.

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6. TECH PARAMETERS

6.1 RECORD FORMATS, RESOLUTION, FPS AND RECORDING TIME

Kine cameras support different record formats, operation modes and frame size, many resolutions and fps. The following table shows all fps, resolutions and record formats after buy 4K and HiSpeed options.

Format

Resolution

MAX FPS

Cineform

KineRAW

CinemaDNG

S35

DCI 4K

4096x2160*

✔ ✔

DCI 4K Scope

4096x1716*

✔

Ultra HD

3840x2160*

✔

Ultra HD Wide

3840x1716*

✔

DCI 2K

2048x1080

✔ ✔ ✔

DCI 2K Scope

2048x858

✔ ✔ ✔

Full HD

1920x1080

✔ ✔ ✔

Full HD Wide

1920x858

✔ ✔ ✔

1280x720

100

✔ ✔ ✔

M4/3

3K 4:3 Anamorphic

2880x2160*

✔

3K HD

2880x1520*

✔

3K HD Wide

2880x1208*

✔

HiSpeed S35

DCI 2K

2048x1080

92*

✔

DCI 2K Scope

2048x864

120*

✔

Full HD

1920x1080

96*

✔

Full HD Wide

1920x864

120*

✔

S16

DCI 2K

2048x1080

✔**

✔

DCI 2K Scope

2048x860

75*

✔**

✔

Full HD

1920x1080

✔**

✔

Full HD Wide

1920x860

75*

✔**

✔

NOTE: *: resolutions over 2K resolution is 4K option; HiSpeed Option covers higher fps over 30fp s at HiSpeed Mode and higher fps than 60fps at S16mm Mo d e ; !

NOTE: *: It can record Cineform RAW mov only less than 10 seconds at 4K or UHD; !

NOTE: **: It can record Cineform RAW mov only less than 10 seconds if fps higher than 30fps at S16mm.

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KineRAW (.krw) codec, cinema-level codec is developed by Kinefinity: Average c o m p r es sio n le v el is 3 :1 , L o s sle ss co mpression by advanced algorithm. Compared to Cineform RAW mov and Uncompressed CinemaDNG, the recording time on KineMAG:

Record Format

Record Time (mins) @KineMAG 120GB

Record Time (mins)

@KineMAG 240GB

2K@24fps Cineform RAW(.mov)

120

240

2K@24fps KineRAW(.krw)

180

2K@24fps CinemaDNG(.dng)

4K@24fps Cineform RAW(.mov)

N/A

4K@24fps KineRAW(.krw)

4K@24fps CinemaDNG(.dng)

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6.2 4K RECORD OPTION AND HISPEED OPTION

4K Record option support more 4K and UHD resolution, and even 3K 4:3 anamorphic mode :

Format

Resolution

4K Option

No 4K Option

S35

DCI 4K

4096x2160*

✔

DCI 4K Scope

4096x1716*

✔

Ultra HD

3840x2160*

✔

Ultra HD Wide

3840x1716*

✔

DCI 2K

2048x1080

✔

DCI 2K Scope

2048x858

✔

Full HD

1920x1080

✔

Full HD Wide

1920x858

✔

1280x720

✔

M/3

3K 4:3 Anamorphic

2880x2160*

✔

3K HD

2880x1520*

✔

3K HD Wide

2880x1208*

✔

HiSpeed

DCI 2K

2048x1080

✔

DCI 2K Scope

2048x864

✔

Full HD

1920x1080

✔

Full HD Wide

1920x864

✔

S16

DCI 2K

2048x1080

✔

DCI 2K Scope

2048x860

✔

Full HD

1920x1080

✔

Full HD Wide

1920x860

✔

HiSpeed Option: Support more high fps on 2K and Full HD:

Format

Resolution

MAX FPS

@HiSpeed Option

MAX FPS

@No HiSpeed Option

HiSpeed

DCI 2K

2048x1080

DCI 2K Scope

2048x864

120

Full HD

1920x1080

Full HD Wide

1920x864

120

S16

DCI 2K

2048x1080

DCI 2K Scope

2048x860

Full HD

1920x1080

Full HD Wide

1920x860

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6.3 TECH SPECS

Camera Type

S35 Film-Style Digital Cinema Camera

Sensor Type

Super 35mm 4K CMOS

Lens Mount

New Lock-Style EF Or Steel KineMOUNT

Record Formats Codec Type

Codec Format

Output

Compressed RAW

KineRAW(.krw)

12bits

All resolution

Uncompressed RAW

CinemaDNG(.dng)

12bits

All resolution

Compressed RAW

Cineform(.mov)

12bits

2K or Below

Record Resolution 4K

3K(4:3*)

Full HD

4096x2160

2880x2160

2048x1080

1920x1080

Dynamic Range

>13 f-stops

>13 f-stops @binning2K >12 f-stops @4K

ISO Max Exposure

Base

MAX

800

20480

Shutter Angle

0.7°~358°

Monitoring HD Digital Portx2

SDIx1

1080p/720p

*SDI as option

Sync Function

Tally, AutoSlate, Beeper, 3D/Multi-cam Sync

*3D/Multi-cam Sync is Optional

LUT

Preset: KineLOG/Kine709/KineColor, Support User-Defined LUT

Audio Capture

3.5mm MIC (Mono)

No Phantom 48V Support

Record Media

2.5' SSD (x1 SSD Slot)

Power DC IN

Consumption

6~19V

20W

Weight (Only Body)

1.5Kg(EF)/1.9Kg(KineMOUNT)

*Only Body, no Handgrip, no SSD

Size (WxHxL, mm)

94x118x199.5(EF)/94x118x176.5(KineMOUNT)

*Only Body, no Handgrip, *Without projections

Operating Temp

0°C to +40°C

ALL SPECIFICATIONS SHOWN ARE PRELIMINARY AND SUBJECT TO CHANGE WITHOUT NOTICE. !

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6.4 PHYSICAL PARAMETERS

6.4.1 Version with EF mount

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6.4.2 Version of KineMOUNT

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Kinefinity Inc.

Address: Tower C, Dongsheng Bldg., No.8, East Zhongguancun Rd.,

Haidian District, Beijing, China

100084 Phone: 010-51243411 Email: support@kinefinity.com sales@kinefinity.com

www.kinefinity.com/?lang=en

ALL SPECIFICATIONS SHOWN ARE PRELIMINARY AND SUBJECT TO CHANGE WITHOUT NOTICE

KineMINI™, KineMAG™, KineKIT™ are trademark of Kinefinity™

Other trademarks belong to respective owners.