Will the native Pl or Ef mounts from RED will give you metadata to Servo lenses like canon 17-120 t2.9 or canon 25-250 t2.9 or others ? Great review as always; thank you
Vistavision is a film size that is slightly larger than 35mm full frame. VV is 37.70 by 25.20 mm, where full frame is 36 by 24 mm. Red calls their sensor Vistavision, but its actually wider at 40.96 by 21.60mm.
Also does the XL take like 10-15 seconds to get into playback mode like the Raptor VV? I don't love it when client is trying to quick review a clip and the camera is just sitting there with the screen glitching.
Just used one on a shoot. Definitely an awesome camera and having NDs was awesome. Honestly though, I think the v-raptor would be better suited for my style. The XL is a chunky boy!
Yes but is not Full Frame like the Sony EV1. I am just kidding. I have been reading comments about the new Sony vlog camera people think full frame is everything. Super 35 for film all the way.
I will never support RED. RED has a patent for compression on a camera of RAW video. You cannot compress 4K or higher RAW on a camera without RED’s blessing and if you try - they will sue you
So? The other companies arent angels, they all would have done the same thing given the chance. Raw isn't always the best anyway, a huge range of productions dont even bother using it since it's often overkill anyway.
@@TwatMcGee to each their own. I wonder why there isn't a patent for photo raw in camera? It's a practice that is holding back the camera industry and I will not support a company that does that.
Isn't that just how patents work in general? Like, if you follow through a utility similar to someone before, that party that owns the patent will want licensing for that? Like how litepanels operates
I was in B&H and one of the old timers was helping me decide on a purchase. I was considering the Black Magic 8k when he asked: "And what will you be using this camera for? Scientific applications? Because right now, that's what it is used for. You might be better off with a 4k and more purchasing power for other things like lenses, etc." He was right. Nothing wrong with 8k but do you really need it?
I shot in 8K a handful of times and the ability to punch in all the way is actually really nice, but not a necessity. It's definitely made for VFX work than anything else as is shown by the fact that Arri took so long to even get up to 4K and beyond and they're the standard for any big production in Hollywood. The space needed to shoot in 8K and the cost of the camera makes it more of a gimmick to me. And even when it comes to VFX work, shows like Stranger Things are being shot on Alexa LF not the 8K Raptor now that Arri's are Netflix approved.
Or, and what he implied, is all the sensors are really good, the ISO's are off the charts on any sensor today, so yes, the last variable is the glass. Trust me, I used a 40mm micro, which is where you will see even more detail because its a micro and it's simply amazing. Z6II. Yes, a mirrorless. Put your ass in the glass.
Wait, why is there visible IR pollution BEFORE the NDs are engaged. That should be the cleanest the image, and then as NDs are engaged and the IR wavelength is slowed down, IR pollution should increase… im dumbfounded that this camera is being made in 2023 and has this poor of an image out of the box. Not to mention the fact that simply by engaging the first available amount of ND you are shifting your image so drastically. How does one maintain image consistency with this camera? Just brutal compared to other camera systems in the $40k zone
Would it possible to compare it to a Monstro VV? With them going at around 15k for a used kit, it's tempting to see how they fare against the new DSMC3 flagship
Thanks for doing the Internal ND test. It gets me very excited for the upcoming VND RF>PL mount that RED is working on. If the VND mount is anywhere near as good as the internal ND they're using on the XL I'm going to be very excited.
I was recently on set with this camera shooting Panavision anamorphics with it. It was stunning, the steadycam op loved the layout and ease of use of it all.
It's the bean counters at the other companies that create artificial market segmentation, omitting essential features and tools and either not offering firmware updates, or releasing half-baked cameras and offering software updates years after release. Then there's Sony and ARRI, whose media and media readers alone cost as much as my very first car and whose licenses for anamorphic, HFR, full frame and RAW on previous bodies cost thousands of dollars.
Can you do a video of some test footage with RED V-Raptor XL 8K s35 used and a how to as well? I've been looking at using that camera to use for making films?
at 7:48, is that a high voltage Core pass-through plate? The one I have will only send a max of 14 volts. Also notable to mention is the ability on the XL to output 59.94 through the EVF SDI, while maintaining the base frame rate through the other three SDI ports. A much better user experience with any Zacuto EVF!
Thank you for sharing bro. I originally thought if you guys and the crew behind the scenes were still cool with Pearl then the recent drama was all fake. But now learning about the contracts it shows that even if they wanted to speak out they can’t. Damn so sad see, thanks for exposing what’s really going on. Much respect just subbed.
As we said in the video, we talk about the image this sensor can capture in our full V-RAPTOR review here - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MIB9IdtFm0Y.html All the image-related changes are mentioned between the two in the video. Jake
We are all using Mac Studios of varying spec, our main render pc is a full maxed out one. Our main bottleneck currently is our RAID. When editing/colouring off of the internal drives, performance is vastly improved! We’ve used proxies a few times, but it’s not common in our workflow. Jake
To be very honest the one thing I'm thinking when I look at both the regular and XL raptors is that perhaps one day there will be a motion mount for DMSC3. What do you guys think about that?
@@CVPTV Yeah, but that's a different tool than a soft global shutter mount would be and such mount could only be had on an interchangeable system. I think that is exactly why they didn't build it into the regular V-Raptor, a rough marketing move to build a gap on cameras with identical sensors and protect the Komodo's value. The current motion mount only supports certain DMSC2 bodies and I guess it wasn't really popular, given that there's very few videos and informations on it but I might be wrong. It certainly was the only way of having globabl shutter on RED cine cameras pre-Komodo and perhaps for any camera. Don't get me wrong, the new sensors have good rolling shutter performance but they're still rolling shutter cameras. I am looking for one to shoot action sports, music events and motorsports with so global shutter is a must. That would make the Freefly Ember a better camera for me, but it does come with its flaws and won't record RAW at the same price point as a V-Raptor. I think that is currently an unfilled gap in the camera world and global shutter will probably take over completely in the near future, the tech isn't just there yet. On a sidenote I am looking forward to the Ember video, do tell me if you're still looking for shot ideas for it. Lastly just imagine a V-Raptor with soft global shutter and no image quality loss though, it would be wild!
Hey Phil, have you seen REDs new PL to RF adapter? I think that could be solid option if you don’t think you’ll take advantage of the other features the XL has over the regular RAPTORS. They also have an ND version coming soon too! Hope you’re well, Jake
@@CVPTV not a fan of the adapters tbh I feel this is a step back from dsmc in that area. RFmount is not exactly rock solid from what I saw of it and that's what you are attaching to even bolted in.
Totally agree with you. I prefer the system from DSMC2/XL. But once locked down, it does feel very solid as it bolts onto the camera very securely, though time will tell how it fares in the field. Just thought I’d mention incase you hadn’t seen it as I know it’s going to be a popular solution! Jake
Does RED still record in 4GB clips? As a VFX artist, I worked with RED footage on one film. I discovered, the hard way, that if the footage isn't properly managed I can end up with shots that are incomplete because the RED file isn't properly linked to all of the 4GB clips that make up a single shot.
It'll be like every other RED camera - Looks good but internally a bag of crap with propriety crap bolt-ons. Reminds me of certain computer and phone company, called apple.
