Dear CVP, the filmmaking community owes you a BIG debt of gratitude for your incredibly in-depth and informative content. I've just purchased a V-Raptor VV, in no small part due to all the fantastic information you've provided about both it and its competitors. You helped me make an informed decision, and the camera ticks all the boxes I expected. However, one thing I WASN'T ready for was just how delightfully beautiful the footage is. Coming from mirrorless hybrids (previous A-cam was Canon R5C), this thing is simply in another league. Everything is smoother, more polished, less harsh. Even zooming in at 600%, not a single pixel feels out of place. I don't see "digital noise" in the same way as I do from my old camera. Perhaps one day I will save up for an Alexa and enjoy the seemingly endless highlight headroom, but for now there's almost nothing that I don't absolutely adore about the V-Raptor. THANK YOU SO MUCH for everything you do for filmmakers like me. With best wishes from across the pond, Nick
UPDATE - RED has released more information about the sensor split issue some V-RAPTOR users have experienced and will also be offering an optional flare guard that owners can request to be fitted. You can learn more about it here - support.red.com/hc/en-us/articles/5269881273619-V-RAPTOR-Flare-Artifact It’s finally here! Sorry, this one took so long to get released, I cannot express to you how much work has gone into it. Fingers crossed, it was worth the wait! This is the last video of this year so have a great new year and we will see you when we are back in the office! Let us know if you have any more questions about the camera down below and thanks so much for watching, Jake
One thing that I missed is to see an example of zooming into the image while recording to ensure focus. That is the feature I miss the most on our Helium. Would be great to see an example of this. Great video btw!
After all the massive amount of work you guys put into this video, you still say "if you want us to do a more in depth video on 'x' us know" which would only be more work! You guys can take a break after this magnum opus that we have here!! Fantastic work, I really appreciate every hour that was spent on this video!
this will definetly be up for rent so it's not out of the question, plus now you know all about it so you won't have to spend half the time you have it trying to understand it :)
Alright, now I finished watching the whole 72 minutes and I feel like I'm even more desperate than before to get my hands on a Raptor. A really well written review, not just in-depth but insanely thorough, beautiful sample footage, what more could I want? Well, the camera itself, of course. I'm excited to see what happens with the vertical stitching issue, and also the 3rd party accessories that are sure to come out. Thanks for including the Kippertie Strata, didn't know about that one yet. All in all, a big thumbs up on the video is well deserved and of course I'll be here for when new ones are released. Thanks for making my evening!
I wish they had a prores option for the 12k. It would’ve been a no brainer. I like BRAW, but there’s still a lot of jobs requiring prores, and it just makes all the ursa 12K power useless.
@10:55 The Alexa Mini LF overexposure is mind-blowing. Ursa 12K proves that resolution is not everything. That said you can clearly see the improvement in the Raptor Sensor over the Monstro, and I commend RED for the price drop and the change in body design. Before I would not consider the RED due to their design, but that Komodo is VERY tempting to purchase for my own use.
@@BryantNaro Absolutely! The Ursa 12K and Komodo, both at just $6,000, absolutely blew me away in terms of over/underexposure tests. As did all the cameras - but those are _wild_ for the price.
The Super 35mm Alexa's are even better than the LF (more zones on the LF though due to the better signal to noise ratio). Check out the Cined Mini LF & Classic test. I am not sure if there is any camera in this world that has higher dynamic range than the Alexa.
It's crazy how hard it is to break the Alexa LF footage when over or under exposing 😍 But skintone wise when exposed correctly I actually prefer the Venice 😊 RED is cool for its size and slowmo, redraw and prize compared to Venice and Lf.
@@elitefamilyparkour Look at the black levels and amount of noise in the underexposed test, the alexa became a washed out mess while the red stayed intact
@@imabigsandwich1292 The Raptor, which is 2 years newer, was the only camera that was able to compete and I agree even beat the Alexa at underexposed levels (which is definitely impressive due to the huge price difference). When it comes to overexposure its a whole new picture and overall I would nearly always prefer the LF which has way more real world dynamic range.
Epic review guys, seriously. Your hard work is appreciated, trust me! This is the first time I’m really thinking of getting a Red. I think this would be great for professional wildlife work, something I’d love to do.
I'd bet the lack of internal NDs comes down to the camera just not being tall enough to fit that mechanism into it. The C70 has an advantage in that its smaller sensor allows for smaller NDs, and that's kind of a chunky camera too.
V-Raptor: 3 stops over + middle + 5 stops under = 9 stops Alexa LF: 5 stops over + middle + 3 stops under = 9 stops I would underexpose V-Raptor 2 stops to get the same DR profile as Alexa if there was clipping. From Monstro to V-Raptor, it looks like an improvement of 1/3 stop under and 1/3 stop over.
I'm with you. The Raptor is significantly better when underexposed than the Alexa. And I'd give it a full stop in total gain over the Monstro honestly.
Dens and informative video. The best camera review and test that I’ve seen. Amazing! I would appreciate a longer walk through of the Red Cine X Pro. Thank you!
This video is the best Christmas present I could have asked for! Thank you guys so much for all the hard work and time you put into making this superb content! So grateful for you guys!
guys do you recommended buying V-RAPTOR for shooting my TV series instead of renting Mini Alexa ? i have Arri Ziess Master Prime lenses with PL mount , and as i see shooting s35 6k mean losing some quality of the image and not getting the benefit of the 8k Quality , am i right ? and which lenses is the best for shooting TV SERIES with 8K ? advice me please , note am a Producer and Director not a Pro DOP
Holy shit raptor digs hard into those shadows. New low light Queen. The mini lf wtf 5 stops over walk in the park. Ursa 12k impressive 4 stops over wow.
Incredible review guys. Really happy that you compare with Helium and Monstro since I know those well. I did not know that pre record is now cached into memory, that is a big step forward.
This test is very useful compared to many other tests I see. Great work and thanks for doing this! I'm very impressed with the Raptors retention when under exposing the sensor.
Thanks a lot for this amazing review. One question regarding over/under exposure: considering the V-Raptor is much better in lowlight but much worse in the highlights than the Arri Alexa Mini, shouldn't the V-Raptor be rated at a higher ISO (to shift middle gray)? How would that even out the results?
Great video. This video came up while looking at Front Load Washing machines?! Maybe the RU-vid algorithm sees the Thumb of this video as a row of front load washers?
Hi, I hope this message finds you well. I have a question regarding the RED RAPTOR camera. Is it possible to use the RED RAPTOR camera for capturing photos during a drone scanning mission? Looking forward to your response. Best regards,
Thanks for the kind words Sophus! We've done a good amount of content on the KOMODO before, which you can see in this playlist! ru-vid.com/group/PLa69puhqWCfJfFe2F7ZPzimaORag4jEKL Is there anything outside of these videos that you think we should cover? Thanks for watching, Jake
Please do the Red Cine Pro walkthroughs! I have no idea where to start or how to use it . I’m sure there are other people like me that are new to red !! Amazing review ! This is a movie 🍿 not just a review !
Great review by the way. I've saved this video and keep coming back to it. I would like a complete breakdown of the control app if you would do a video. One of the things I can't solve is going to playback on the control app on a device and just getting back to the camera layout. Thanks
I’d love to see you guys collaborate with some colorists on RU-vid to see how this in the Komodo stack up to lower priced options from blackmagic and Sony at a picture level.
Amazing review, guys. Loved it. Really informative. What lights do you use in studio when shooting at frame rates like 1,000? HMI? Your images are very clean. I did some tests myself at 1,000 fps and was getting pretty noticeable flicker no matter what I used.
Thanks Robert! I believe we used the 600D Pro. I would keep an eye on the Aputure 1200D as I think that will be an awesome option for HFR work soon! Jake
Thanks for the insightful review. Your hard work is much appreciated. A question regarding the overexposure tests. Did you use the highlight recovery tool for the blackmagic Ursa 12K?
How much computing power do you need for a proper Red 8K raptor workflow ? I’m making the jump from a Sony A7s so I’m curious what you recommend. Thanks again. Great video 🙏
Honeslty, I would wait until Apple (hopefully this Spring) release iMac / Mac Pro's with their latest M1 silicon. Fully spec M1 MAX MacBook Pro's look to perform excellently, so a desktop version should be even better!! Jake
Amazing video, thank you so much for making this thorough video. On the data sheet, would it be possible to add the ProRes data as well, for comparison between the formats like prores 4444 vs raw LT or thr new elq. Thanks!
I’d love even to get a red Komodo BUT every place says out of stock… I’d love to get an R3… out of stock… these new camera videos have lost a bit of spark because the lack of availability is making me stretch my old gear out longer 😋
Great video tutorial, precise and accurate. The movie science must go on and this kind of camera is the best money can buy. Lucky I don't need it for my video purpose because I'm not conditioned by Netflix's request for advanced technology. But I'm aware important movie productions want to use the best you can find on the market. good for me my customer doesn't need it so I have not to spend all this money. But thanks again for your tutorial.
12:40 The Red DSMC 2 Cameras have better and more natural color science compared to the DSMC 3 Cameras. My favourite is Red Monstro followed by the Helium, ARRI and lastly Venice
What the Alexa LF does to the rest of these blokes is super unfair in that under and over test. Especially the over. 😂 😂 😂 😂 It's ridiculous how Arri mastered a sensor once and called it a day. (sure they make adjustments to the way it's processed but other than that. Nothing). However the Raptor seems like a great addition to the Red lineup. Thanks again CVP for a great review.
This is true but for some reason in high end productions I love the image out of a Red LF over ARRI. Almost like the Red seems a bit sharper and looks so crisp. A lot of examples...watch Stranger Things or Squid Game shot on a Monstro at 8k.
Footage looks great but in your favorite shots I don't get why you have so many gradation lines. For instance the guy with the flames doing a back flip. My guess its your editing software and final output delivery but it looks really bad.
Allthough you are salesmen and we know salesmen are not into "fights". But I would love if you would do serious dynamic range test with your cameras. Im exicited to know the V-Raptor XL price.
I’m not a salesman, I may work for a company that sells cameras but my and CVPs goal is to help our customers, as well as the thousands that don’t buy from us yet who watch the videos, to make the most educated purchases decision possible, not sell them kit they don’t need. This includes the negatives which we don’t hold back from in our content and conversations. Jake
@@CVPTV Ok so please do objective DR tests. Only CineD and Gerald Undone are doing it. But they do it just frquently or they are not receiving all of the cameras. In my opinion it would put your reviews on another level :)
We did include a DR reading at 02:39 , just not using imatest but this chart (www.image-engineering.de/products/charts/all/406-te269) with our LE7 system. Jake
@@CVPTV for: 7:34-11:54 . What was the base indicated reading? How was it taken? Reflected light or incident light? Average (shadow/highlight ) or highlight reading? Skin tone or grey scale? I worked as a stills photographer for many years, for my ‘indicated’ base reading, I would take an incident, highlight reading. Then fill shadows with a reflector. My studio tabletop/still life was always backlit and filled with a reflective sheet. Looking at your scene, it looks like an average reading. (Dome of the light meter pointing to camera with half highlight and half shadow on the white dome) … Cine was mostly ‘average’ reading to expose for shadow and highlights.
@@MrRobbish Was rushed during the last response, didn't realise you wouldn't know what false colour is my bad. You can learn more about it here - www.red.com/red-101/exposure-false-color-zebra-tools We exposed each camera system using their built in false colour, so we can set our IRE values correctly for mid grey on our chart for the cameras given gamma. Hope this is a bit more helpful :) Jake PS - Looking forward to the English lessons!
This 8K sensor is starting to run up against the limitations of our lenses. Artifacts you might never notice on an S35 or lower-res sensor are really starting to poke through! (CA, fringing, ghosting, softness) It's looking like data rates and resolution are no longer the bottlenecks to image quality these days, and you'll need some serious glass to really let the qualities of this camera shine through. Of course vintage/characterful lenses will always have their place, but a lot of their flaws got buried by SD/HD delivery formats. They're a little less charming when viewed in such stunning detail!
23:40 so you monitor at a lower iso than 800, so 640 for instance and then bring it down even further in post to like 400? This doesn't sound right to me lol
I think what they are saying is that because ISO is just metadata with RED RAW they just expose as bright as they can - up to a point where no highlights are clipping (using the stoplights) but monitor at a lower ISO and then in post / edit set the ISO as desired. The key being to not clip any highlights. Again I’m assuming but the logic for monitoring at a lower ISO using this technique would be so the image they are viewing does not look too bright / overexposed. It’s kind of like ETTR but in this case you can set your ISO to a level that appears to be “correct” on the monitor but you’re still pushing more light to the sensor. They never stated what the specific “lower ISO” was and that would be because it varies depending on how bright the scene is.
@@jeremeyshelton yeah I understand that may be easier - but the more highlights you have in your frame, the higher your iso should be to retain highlight information, so shouldn't monitoring iso depend on the image, and wheather highlight retention is needed (preferably a higher iso), or shadow retention (preferably a lower iso) So for instance, if I'm doing a night scene I will make my iso lower in monitoring (400 for instance) so that I can see how the shadows look and so that I retain detail in them, and then light the scene accordingly And when I'm shooting an exterior of the sun for instance, I put my in camera iso to 1250 let's say, so that highlight retention is better. That's why this doesn't make sense to me
Anyone else noticed that the Raptor seem to have quite a weird artificial rendering to faces? Not as bad as I've seen in other videos but it's there in this video too? Can't imagine how long this video took to make. Good job 👌👍
Marks on the wall behind that become visible at the deeper T stops. You can see them on the rest of the cameras full images here - vimeo.com/659027003/eda2e7abdb Jake
