The Best Camera in Hollywood is... | Red V-Raptor vs Alexa Mini LF 

Even for music videos?

One of my favorite show (Stranger Things) is shot with Red cameras, and I'm in love with their look

@@jsleger3404 Season 4 is shot on arri. They dumped the Red

Alexa is only 4K just for a minute think in 2050 50% of people in this world would have 8k TV why 4K and its not 8 double difference in 4K 8k its a four time difference what will colours do if in future theatres likes Samsung 8k will come can 4K surpace it with their ripped up pixels. Red is clever and futuristic. Now Sony also joins them with Venus 2 8.6k sensor. Have you changed your mind now you idiots.

@@jsleger3404 that's more on set design/lighting/grading the Alexas handle highlights much better than Reds.

I would go as far to say the Blackmagic 12K would be a better option.

@@mrshaheedmalik I agree

Hi ji how are you... I always watch your video... You are my favorite astrologer

yep and it's that 5-10% which set it quite differently apart

The short answer is the Alexa wins. DP’s love it because it veers more on the highlights than shadows like film. You can pull back about 7 stops over believe it or not. Red does better in shadows

@@jeremy_woods So maybe when shooting on RED it makes sense to overexpose a bit and then dig from the shadows when needed? Not sure if it makes sense, just trying to follow the logic :-)

ProRes HD: largest recording area 24,88 x 14,00mm should be down sampled (merge pixels in camera) www.arri.com/resource/blob/277386/147beab6be8b5754e77ca49fc6d8e0bf/2022-05-arri-formatsandresolutionsoverview-4-data.pdf

Agree. I got an R3 and I know that if I get better at lighting and all other aspects of storytelling the camera has the picture to make a blockbuster (or proper indie film)

I thought the Red looked better in the neon, BY A LOT.

What's debayering and tonal range ?

@@creativegreats6924 Most modern camera sensors use some form of color mosaic pattern to pick up the different colors that make up an image, and when one shoots in most types of RAW the color mosaic is stored instead of something closer to the final image. Demoasicing is the the process of converting the color mosaic to some type of viewable color image. The most popular mosaic pattern used on cameras, including RED's cameras, is a Bayer mosaic. Debayering is just the term for demosaicing a bayer pattern. RED typically compresses the RAW bayer data when saving to its redcode (.r3d format) which can lead to slight shifts in color, where as ARRI does not. Tonal range, in many respects is similar to dynamic range, but the difference is tonal range refers to the total quantity of shades per color channel where as dynamic range often refers to the total luminance range. Why the difference is important is in highlight recovery. One can get more dynamic range by using a highlight recovery technique if one channel of an image has more highlight sensor information than the others; however this "recovered" information doesn't contain real color data. So it is guessed at, and can lead to inaccuracies and muddiness in the rebuilt highlights. Red uses highlight recovery as part of it's dynamic range calculation and this means the actual tonal range can be a stop or two lower than than it's suggested dynamic range. ARRI on the other hand refers to their dynamic range using tonal range, which is why they are often considered conservative on their dynamic range estimates. People will often joke that if ARRI says 14 stops of dynamic range then in RED terms it would be 15-17 stops. Likewise, with the new Alexa 35 ARRI is claiming 17 stops, in RED terms it would likely be considered 18-20 stops. Dynamic range is one of those wobbly grey areas that often doesn't remain consistent between manufacturers. This is one of the reasons some third party reviewers, like Cine-D and Gerald Undone, have switched to using the Imatest Xyla dynamic range tester system so they can do an equivalency comparison between all cameras; however, it still works off dynamic range and not tonal range, but over all it gives a more consistent comparison.

The Alexa 35 is going to be insane! The major difference to me is that Arri actually makes their own sensors and RED doesn't.

I really don’t care for RED footage. It almost always has a distinctly harsh, overly contrasty and “digitall-y” feel. Doesn’t come nearly as close to emulating the film look as Arri or Sony cinema cameras do.

Are you serious 😅😅..... Do you think the I phone will be able to compare

Yes it would!

What kinda computer is needed for open gate 4.5k arri raw ?

@@creativegreats6924 you can use a 2019 mac pro, or 2021 macbook pro 16, with ProRes no problem, and even arriRAW, the file size and drive space is the big cost

@@Cinematographer_brenton the file size and drive space ? As In hard drive on the computer and what else the cards that go into the Arri ?

@@creativegreats6924 Yes, the file size is very large when recording in ArriRAW. When recording in open gate you only get about 30 minutes of record time on a 1TB card. If you choose not to shoot in open gate you can double that record time to about an hour which isn't bad. But those TB's do add up quickly.

@@c8vegas when does one choose to use open gate ? And what does open gate mean?

it's just gonna be a super 35 only. something about how the back of the ALEV IV sensor is built prevents them from putting 2 sensors together

@@kwamehenry4867 i don’t believe Arri just will stop there without expanding that sensor building technology on future LF and even 65

You'd take a Venice 2 over an Alexa 35? Unless you can't afford lights for Night exteriors, I don't see why

Detach and extend sensor block ? What is that ? What's a sensor block and what are benefits of this on the Venice 2?

@@creativegreats6924 You can literally detach the sensor block that's behind the lens (the block itself is like 2" in depth) from the camera body using a cable up to 18 feet long. They used it to film in the new Top Gun inside the jets. Imagine a ZCAM but even smaller. Here's a good explanation from Sony: "VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block [8K sensor support next year] and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilizers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes, or Russian arms."

@@creativegreats6924 There's a few on RU-vid. Type in "venice sensor block"

Agreed. In my opinion, the Venice is the closest _any_ digital cinema camera has came to emulating the film look. The Venice has single-handedly won me over on digital cinematography. I used to be a film purist/holdout - but thanks to the Venice, those days are over. (Side note, I can’t wait to see the amazing stuff that will be shot on the Alexa 35.)

He did a video too.

@@bwashmedia perfect!!! Thanks B, loved the video and saving up for my Raptor!

I was thinking the same thing lol. With the sensor issues of the V-Raptor I'd be surprised if any big budget film ever uses it as an A cam. Studios seem to really like the Monstro still.

Facts. What Arri states is true DR. Red is still a nice camera but the patent on raw should make nobody want to support them. Good thing it runs out soon.

Thank you. While Red Komodo only achieve 13 Stops, claiming having 16 Stops, in tests Arri really achieves 14 Stops. "Maybe" Red can reach the 14 Stops claiming having 17 Stops.

Exactly, and we have seen what arri had to do to really put 17 stops of dynamic range in Alexa 35.

Have you done actual test to substantiate this claim? I’d love to see it as if been searching why people say this. I can’t really find a direct video showing where Red doesn’t achieve its advertised claims.

@@leochilly ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MIB9IdtFm0Y.html point: sensor performance

I have the red Gemini and can recover light in every sittuation. In the night, i can film a dark sea and in the same frame, I can seeing, the light string in a light bulb, that shine the whole frame. So... what you want more. And that all, relatively noise free at ISO 800. Now use denoiser and the frame looks great. But ok. When this is not 16,5+ stops, please show me, what i can do in the same sittuation with real 17 stops. I don't think, i can see technically a difference. 😅

Agreed. Through all of my experience and time spent in both ecosystems, I find things like crew, lighting, glass, and most importantly story, make a much more profound impact on the end result. But I do acknowledge that it is quite difficult to abstain from the war that rages in tech and spec as it relates to art. I think we are all guilty of losing sight of the bigger picture in the pursuit of technology aiding us in creation art from time to time. However I too am also glad we have two companies pushing each other in the direction of excellence. I have written on the wall of my recording studio (which is another black hole of endless gear analysis) 'Fuck gear, make art.' :)

What? Instagram filter? no better than a DSLR? pretty strong opinion there mate

To say this, you must be a really strong fanboy about arri. 😂😂😂 But is ok. Arri looks great and is the best in his category. Red is more like a allround camera. And i use a red Gemini the last 3 years and can say, its perfect in every sittuation. 😊 Quality pictures out of the video for production, low light monster, 5k resolution, low data, slowmotion and this in a light packet.

This is probably the dumbest comment ever . Red Komodo destroys those camera intermes image quality and bitrate let alone red raptor. Colors on canon are terrible unnecessary saturation and contrats applied. Reason why nobody uses those cameras in Hollywood production. Sony a7siii wrapped those cameras like folding bag in image quality. Komodo also destroys a7siii interns of image quality. Tell any Hollywood producer use.

Maybe I’ll get my hands on the 12k version and see.

LOL. There’s a reason why BM stands for Black Magic (Bowel movement.)

@@Skrenja you must be into BM’s