I think the better cameras to compare here are the EVA1 and MAVO 6K. Both have S35 sized sensors, with similar resolutions, and both aren’t hailed as “low light kings” compared with the GH5S and TERRA 4K, for example. However, the EVA1 does have Dual ISO, which the MAVO 6K doesn’t, right?
So how do they stack up against each other with regards to light sensitivity and dynamic range?
Thinking out loud; would it be safe to say that the sensitivity and cleanliness of the MAVO 6K’s sensor is like that of the Mysterium-X, which also had a native / base ISO of 800? Because I personally found the Scarlet-X and Epic-X to produce very “clean” images, and more often than not required NDs due to how sensitive they were.
Not having shot with either it’s tough to say what the advantages of sensitivity or image cleanliness might be. But there are some structural factors built into the camera bodies that we can compare without footage.
Both are pretty compact, lightweight camera bodies. And if you get one of the lens mounts with electronic ND from Kinefinity, then both have ND as well.
To me the biggest advantage that the Kinefinity cameras offer over the Eva-1 are SSD media, internal ProRes, and the KineMount.
SSDs are great to capture media, but they’re also hard drives, too, so you can edit from them in a pinch if you’re in the field. They’re relatively affordable, too.
ProRes is a flexible codec that’s great for editing. Internal Raw via CinemaDNG is also available on Kinefinity bodies. The Eva-1 can only do raw recording via external recorder (which is both more expensive and sometimes unwieldy to use in the field).
And the KineMount is a marvel of engineering that allows you to mount nearly any type of lens to the camera, enabling a much wider variety of lenses. The Eva-1 only has an EF mount. But with the KineMount to E-Mount adapter, for instance, you could use the new Fuji MK lenses (which are only available in E-mount) and have access to the lightest-weight parfocal cine zooms available. If you had a big client/shoot and wanted to go the other way you could rent a PL-mount Optimo zoom and go with one of the most expensive zooms on the market. Or the generations of PL cine glass that’s available. in addition to whatever EF mount lenses are available on both cameras.