MAVO LF, new and large-frame cine camera, 6k 75fps with 5120/800 Dual Native ISO brings stunning details, organic image and exceptional image quality, which not only shows cleaner images but provides wider viewing angles, shallower depth of field, and more immersive presence. Furthermore, body weights only 990g. Full-frame 3:2 CMOS image sensor with 6K+ record resolution (even up to 24 million pixels with open gate recording), it works up to 75fps @6K Wide, 100fps @4K Wide and 200fps @2K wide and records ProRes4444XQ or compressed RAW as cDNG in-cam directly, to get a fast and smooth post workflow.
Large Format Camera: Whole New Perspective
MAVO LF is equipped with a full-frame CMOS image sensor, effective area as 36x24mm, resolution is more than 6K: 6016×4016. Compared to the S35 format sensor, the large format CMOS sensor is 2.25 times larger, the exposure area is bigger, the single pixel pitch is larger, the SNR is better, then the picture is cleaner. In addition, large format offers a wider perspective, shallower depth of field and more immersive presence. You can use not only cinema lenses designed for large format like MAVO Prime, CP3, Cooke S7i, Arri Signature Prime and Zeiss Signature Prime, but also a large number of existing full-frame still camera lenses.
Dual Native ISO: 5120/800
MAVO LF’s whole-new full frame CMOS imaging sensor, not only brings much larger pixel size, but also has dual native ISO: 5120 and 800. The noise performance of the big guy is much better than TERRA 4K. You can trust on its native 5120 ISO when low-light even no-light cases. It helps indie filmmakers get the jobs done much easier and economically.
Super Lightweight: One-man band
Even though MAVO LF adopts 6K+ image record and whole new low noise and high speed CMOS image sensor, weight of camera body is only 990g; its size is only half or third of other MINI cinema cameras. Due to its small form factor close to DSLR, MAVO LF works well with many gimbals, and also lowers the requirements on accessories, handheld operation for one-man band. With SideGrip and 5″ fullHD KineMON, MAVO LF is ready for shooting. MAVO LF works up to 60-100min with its lightweight GripBAT (compatible with BP-U30).
Super-Fast Post Workflow: ProRes or cDNG
MAVO LF records up to 4K ProRes4444XQ even 6K ProRes4444 directly to get a super-fast workflow with very high quality footages: Apple ProRes is much better than codecs based on H264, and compatible with all post-workflow softwares. It also records compressed RAW as cDNG without external recorder. cDNG returns again in the form of an adjustable compression ratio. Current firmware supports three different compression ratios, 3:1, 5:1 and 7:1 respectively and all of them can get super image quality and enough room for grading. Davinci Resolve supports cDNG natively so that the RAW footage can be directly imported, edited and graded in DaVinci Resolve, simplifying the RAW workflow greatly.
Different Accessory Packages
Further optimization on accessory packages: basic package is renamed to Handheld package; two entirely new options called Core package and Production package (based on Core package) are added. These changes allow for more convenience to our users and to assure they get all the necessary elements of a powerful kit best suited to their needs.New accessories package options and MSRP including MAVO LF camera body as follow:
RESOLUTION, FRAME RATE AND CODECS
Image Format | Format | Resolution | Max FPS | Codec |
Full Frame | 6K Wide | 6016x2520 | 75 | ProRes or RAW |
6K DCI | 6016x3172 | 50 | ProRes or RAW | |
6K HD Wide | 5760x2400 | 75 | ProRes or RAW | |
6K HD | 5760x3240 | 50 | ProRes or RAW | |
6K Open Gate | 6016x4016 | 40 | ProRes or RAW | |
4:3 FF Anamorphic | 5376x4016 | 40 | ProRes or RAW | |
6:5 FF Anamorphic | 4864x4016 | 40 | ProRes or RAW | |
4K HD Wide (Oversample) | 3840x1600 | 75 | ProRes | |
4K HD (Oversample) | 3840x2160 | 50 | ProRes | |
3K HD Wide (Oversample) | 2944x1200 | 75 | ProRes | |
3K HD (Oversample) | 2944x1620 | 50 | ProRes | |
S35 | 5K Wide | 5120x2160 | 80 | ProRes or RAW |
5K DCI | 5120x2704 | 60 | ProRes or RAW | |
4:3 S35 Anamorhpic | 4096x3072 | 50 | ProRes or RAW | |
1:1 S35 Anamorhpic | 3072x3072 | 50 | ProRes or RAW | |
4K Wide | 4096x1720 | 100 | ProRes or RAW | |
4K | 4096x2160 | 75 | ProRes or RAW | |
4K HD Wide | 3840x1600 | 100 | ProRes or RAW | |
4K HD | 3840x2160 | 75 | ProRes or RAW | |
M43 | 3K Wide | 3072x1200 | 150 | ProRes or RAW |
3K | 3072x1620 | 100 | ProRes or RAW | |
3K HD Wide | 2944x1200 | 150 | ProRes or RAW | |
3K HD | 2944x1620 | 100 | ProRes or RAW | |
S16 | 2K Wide | 2048x860 | 200 | ProRes or RAW |
2K | 2048x1080 | 150 | ProRes or RAW | |
2K HD Wide | 1920x800 | 200 | ProRes or RAW | |
2K HD | 1920x1080 | 150 | ProRes or RAW |
Note: Frame Rate can be adjusted as 0.2~MAX fps, step accuracy of 0.001fps. Note: ProRes4444 and 4444XQ does not apply for all resolution and fps.
TECHNICAL SPECIFICATION
Camera Type | Large Format Digital Cinema Camera | |||
Imaging Sensor | 6K 3:2 Full FrameFormat CMOS | Active area: 36x24mm | ||
Lens Mount | Native KineMOUNT as omni mount to be PL/EF/SONY E by solid mounting adapters | *PL, PL e-ND *EF, EF e-ND, EF Enhancer *SONY E | ||
ISO | Dual Base ISO | Max | ||
5120(from 2000) | 800(below 2000) | 20480 | ||
Shutter Angle | 0.7°~358° with rolling shutter | |||
Dynamic Range | >14 stops | |||
Full Frame | FF 6K Wide | 6016x2520, 0.2~75fps | Active size: 36x15.2mm, ø 39.1mm | |
FF 6K | 6016x3172, 0.2~50fps | Active size: 36x19.1mm, ø 41.0mm | ||
FF 3:2, Open Gate | 6016x4016, 0.2~40fps | Active size: 36x24mm, ø 43.3mm | ||
FF 4:3 Ana | 5376x4016, 0.2~40fps | Active size: 32x24mm, ø 40.0mm | ||
FF 6:5 Ana | 4864x4016, 0.2~40fps | Active size: 29x24mm, ø 37.7mm | ||
S35 | S35 4K Wide | 4096x1600, 0.2~100fps | Active size: 24.5x9.6mm, ø 26.3mm | |
S35 4K | 4096x2160, 0.2~75fps | Active size: 24.5x12.9mm, ø 27.7mm | ||
S35 5K Wide | 5120x2160, 0.2~80fps | Active size: 30.5x12.9mm, ø 33.2mm | ||
S35 5K | 5120x2704, 0.2~60fps | Active size: 30.5x16.2mm, ø 34.6mm | ||
S35 4:3 Ana | 4096x3072, 0.2~50fps | Active size: 24.4x18.3mm, ø 30.6mm | ||
S35 1:1 Ana | 3072x3072, 0.2~50fps | Active size: 18.3x18.3mm, ø 25.9mm | ||
Other Cropping | 3K Wide | 3072x1200, 0.2~150fps | ||
3K | 3072x1620, 0.2~100fps | |||
2K HD Wide | 2048x860, 0.2~200fps | |||
2K HD | 2048x1080, 0.2~150fps | |||
Record Format | Codec Type | Codec Format | Bit Depth | |
Compressed cDNG | .dng | 12bits | 3:1/5:1/7:1 | |
Compressed KineRAW 2.0 | .krw | 12bits | 2:1~10:1, *Schedule 2019 | |
ProRes422HQ/422/LT/Proxy | .mov | 10bits | ||
ProRes4444 | .mov | 12bits | up to 6K 30fps | |
ProRes4444XQ | .mov | 12bits | up to 4K HD 48fps | |
Monitoring | Video Port x2 | HD Port x1 | SDI x2* | *Applicable on KineBACK-W *Slot for Wireless Tx on KineBACK-W |
Record Media | 2.5" SSD with 7mm Height | |||
Audio Capture | In-camera MIC; 3.5mm MIC-in; KineAudio* with 48V Phantom Power XLR | *Applicable on KineBACK-W | ||
Sync Function | Tally, AutoSlate, Beeper, Trigger, SMPTE LTC*, 3D/Multi-cam Sync* | *Applicable on KineBACK-W | ||
LUT | Preset: Neutral, Support Custom 3D LUT | |||
Power | Power In | Consumption | ||
DC IN 11~19V/SideGrip/V-Mount* | 23W | *Applicable on KineBACK-W | ||
Body Color | Deep Gray | |||
Weight | 2.1 lb / 990 g | *Only Body | ||
Size | 4.5x4.3x3.7" / 115x110x95 mm | *w/o projections, WxHxL | ||
Operating Temp | 0°C to +40°C |
Note:
- ALL SPECIFICATIONS SHOWN ARE PRELIMINARY AND SUBJECT TO CHANGE WITHOUT NOTICE;
- Any other trade marks belong to their respective owners.