Just one thing to add about "mushy" footage at 2K. This is due to the LENSES used, not the sensor. Unless you are using VERY high end cinema glass, a full frame lens will not be very sharp once you crop in all the way to Super 16mm (AKA 2K). Vintage Super 16mm lenses on the other hand are built to extremely high tolerances and sharpness because they have send light to a much smaller area. Red gave this "16mm" option so people would be able to use their lenses, not just so they can take advantage of higher frame rates.
Great review. I believe you absolutely correct about Red specifically trying to match the look of a film camera and why the end result was just that. They have since strayed far away from their initial objective. Another thing I don't hear mentioned a lot is it's motion cadence. It looks very much like film. More than any other high end digital movie camera to date. Sadly I don't believe this is a hard thing to achieve yet it's completely overlooked by Red and Arri. There's something so special about the motion cadence of film. The ever so slight off timings from frame to frame eliminate the smoothness you get with video and imparts a feel that helps convey the story. It works with the idea less is more. The true to life motion you get from higher frame rates (or perfectly timed frames) distract from allowing our imaginations lend to the story making. It's ironic to me how color grading amongst other visual changes to footage are embraced in a effort to distance it from the look of reality yet the motion of the footage is overlooked.
Fascinating observation Sean, I never even considered that motion cadence or the replication of film frame rates to be a potential contributing factor, thank you. Appreciate the insight.
Oh god, i remember when you didn't have luts in monitor and needed a grader on set with dialing colors. Then if you had a low budget client they would freak out seeing the log footage because they couldn't afford the grader. I use to have a 5d mii on hand to calm them down
Wow a legendary RUclips OG checking out my channel! I've arrived! Glad you enjoyed it Tyler and Thank you for all of your own helpful videos. Big fan over here! 🙏👌
@@thesavagefilmmaker Yeah same. I was going to buy the Komodo, but went with the BM6kPro, because I couldn’t afford to wait for the Komodo to ship. A day later I won the bid on an R1 with a ton of accessories - I wasn’t expecting to win.. lol. I’ve been using it more often than the 6kpro honestly.
The redmag SSD drives and bay make a huge difference to using the camera, I bought mine with one and never used the hdds (too cumbersome) . I still own mine as that film look of it is magical.
Great review. R1MX is big, heavy and slow, but if you manage to master it without crying, you can do anything with any other camera. I still have mine and I use it most of the time. I have dance with it complete days using a Glidecam, used on a 50d vintage O'connor fluid head on a tripod, hand held, etc....but as a guerrilla filmmaker, where I direct, Im dp, produce and almost everything, it makes you think better in the way to become efficient and focused as a filmmaker. That film look it has, its pure magic. I'm still thinking in getting a second one just to keep it for future projects if I feel I need that look again.
Magical picture, but very much the anti run and gun indie filmmakers weapon of choice. A special camera which requires special care, but man worth it to get that image.
I just bought a used Red MX 1 package in Australia. Swapped out the PL mount with an EF mount, very hard to find here. Looking forward to experimenting with this camera soon. Quite different to anything else I've ever used but curios to see the final results. Black magic cameras rule here, as they are made in Australia and are quite cheap and affordable for us independent filmmakers. Don't think it would be fair to compare to my bmpcc4k. Used a red epic 12 years ago on a short and was very impressed. I don't think the mx will disappoint.
Well, liked and subscribed. Arri is still the camera for me if I shoot pro because the footage goes directly into the old and I mean old Mac G5 for editing on FCP 6. No transcoding needed but I can transcode if need to. The Red One, I have absolutely no way to make it work or transcode or proxy or anything. Even my old Intel PCs say forget it if I were to install an old but not old enough version of Davinci. I wish I could get hold of an original CD or download of the software that came with Red One. When not professional, still using Nikon D5100 with old Nikkor glass and anamorphic lens for pleasure. Even hooked up an Atomos Ninja V to this camera for monitor functions and desqueeze of anamorphic image.
I'm impressed by your deep commitment to making the most out of what you have. And of course Arri is king! I love Nikkor lenses about the Nikon camera. 😬
@@thesavagefilmmaker Thanks! I went to the Way Back Machine and looked at Red’s site from March of 2009. The prices are crazy. Our Red One’s easily approach $30,000 brand new.
Great video! I used this camera on a short film and after that, I said to myself "never again!" ahah The camera would overheat many times and my actress was getting upset...
it's funny watching this as I just googled Arri Alexa OG two days ago and found one for $3,000 and almost had a stroke...just the thought of owning one...but specs wise the Red One is more impressive on paper, especially for 2021/2....but the sensor, the dynamic range, the colour science of the Alexa is still the closest to celluloid digital video has ever gotten
Mysterium X Red One has same magic sauce but with much better low light performance and 2 more stops of dynamic range. We use it all the time on good budget gigs.
Have you idea for power supply to work with Red-Drive 320gb? voltage, polarity etc.for use to transfer footage to my pc, with usb wire only not work, thank you!!
Yes, it weighs an dead donkey... but I can guarantee you that despite the fact that for pro projects I shoot with the C70, which claims to have 16 stop DR, I'm absolutely floored every time I shoot with this camera... I don't know why, but the way the images scroll and the thickness of the image always make me smile automatically every time I run the whole thing in IPP2 under davinci resolve (thank you RAW).
My epic dragon now permanently runs in "safe mode" but its image still holds up unless the compression falls apart due to harsh lighting conditions. It's not quite the raptor though, She has teeth and a serious appetite.
All Red camera's are great if they get enough light!! Big fan of the the look of some of the older models though when compared to the Raptor and Komodo.
I was a bit worried at first that this might be an expensive video for me to watch. I'm glad you talked me out of it! Very interesting, though. Especially how far we've come with the tech (and the cost).
Thanks for the video. I bought a RED One MX back in 2018. Yes it does put out a wonderful picture. I do not have any issues with lighting with my small kit. I have 1 larger and two smaller LEDs (GVM models) and shoot with Rokinon primes. Maybe your lenses are the issue or ISO settings? I keep mine at 800 ISO.The one thing that bothers me is how HOT it gets sometimes and how it affects the record/stop button.
@@thesavagefilmmaker it came with a pl mount only so now we just waiting for a ef mount to here in the mail sometime next week. Can't wait to take it out shooting
Pretty serious camera for unbelievable price! It does have a nice filmic look. I’m not a filmmaker like yourself, but still a really interesting video.
I think Red One's ISO is fixed to 100 😅 the MX has an advised ISO of 800 and 1600 is completely usable Red One is legendary but I would definitely go for an MX instead
@@thesavagefilmmaker aha couldn't say better! I've read that the needs for lighting of the Red One was actually quite similar to what you needed with film (which is in fact a lot) Your example in the living room is very striking. I have an MX myself, it's not an incredible low light camera but nothing compared with this. One or two Led panels would have been enough
@@thesavagefilmmaker i still remember the first production i did with the red one... near berlin knee deep through a swamp... not a nice experience at that weight 😂
I think the new Canon R7 would be the best affordable B-cam for the C70 your colours will match really well. The Red's colours are very different to Canon's and it requires so much more light so it's not really a great option. I think it produces a better image than the 6K pro, but only in certain circumstances, it's much harder to use and it requires WAY more lighting to get those organic filmic looking images.
@@thesavagefilmmaker Great point! Thanks! I really dig the image from the MFT on the BMPCC 4k, but I'm wondering if the 6k would match better to a canon 'A' cam like the EOS MK3 since it has a super 35 sensor. Thoughts?
I would choose the 6K over the 4K because you can use all your Canon lenses without an adapter on the 6K. So definitely Super35 sensor is helpful. Also they will be closer in terms of lighting requirements, so yep 6K great option if you want to own a Blackmagic.
there is something to the red one footage, its so organic, i feel the same with the original bmpcc too, (which i own) . if RED can bring back this camera with the same sensor with heating issue solved, around 2k price, that will be amazing !! great video !!
Just to say that I'm a proud owner of two RM1 and while using them with Lomo Anamorphics, I don't see NOTHING in the consumer business capable of beating up this setup. I LIVE my life to use these cameras. They will last probably longer than our own existence but as long as I'm alive, I'm living the real filmmaker DREAM of having them to play around, it doesn't matter the weight: 35mm cameras were never light anyway.
Its a good camera but like you said its not great in low light. If I was shooting a film I would use this camera outdoors and then use another camera for low light stuff. If I had Hollywood money then it does not matter use all the lights you want.
Thanks Niklas! If you have the Nikon mount, I would advise to start with the Nikkor Lenses 35 and 50mm and the 24mm after that. I had the newer Nikkor's, but the older ones will also be great for this camera. The versions with the lower f/stop (which are slightly more expensive) F2 and below will help you for this particular camera.
It does have an HDMI out, not really sure if you could run to an external recorder, but if you could it would only be a 1080 signal at best not the full 4K resolution.
Post Workflow is not too bad, the Red32 codec works very similar to the newer Red codec. But in terms of shooting on the day... yeah it needs a lot. Epic is a fantastic camera.
@@thesavagefilmmaker I wonder if you could use an Atmos Ninja or something and record directly through HDMI onto external SSD instead unless they limit HDMI out to only HD instead of 4K. That HDD doesn't sound like a fun time.
You can lock one up for 1000 but don’t forget rest of the staff you have to buy to just run it I am thinking over 3000 for full package plus if you don’t haven pl lenses adapter alone can cost you 700 to use your own lenses depends what you have before buying red make sure you work out your arms in the gym you will need the muscles 💪
This camera needs big muscles and big lights and maybe a big team! The extra's do push up the price but I got all my extra's with the camera their are quite a lot of affordable packages.
In the end, RED's unwillingness to open its ecosystem to third party accessories is going to be the end of this camera. Those hard drives are a ticking time bomb waiting to fail on the user, making the entire system more and more difficult to rely on for important projects.
I think the Alexa is a better camera visually, but it doesn't have the modern resolutions like 4K which is becoming the standard, so that is its own limitation.
La Red One è vecchia?? No... è il consumismo che dilaga. Ci sono Arriflex degli anni 30... in 35mm... ancora girano, eccome se girano! Altro che sta robetta facile facile da dilettanti.
12 bit raw doesn't matter at all, I will take a modern 10bit log file anyday. The dynamic range and especially the highlight roll-off is horid, nothing like film.
I disagree. I use all the modern camera's Canon/Blackmagic/Sony and found the Red image to feel a lot less digital, but of course it does have it's limitations
Just one thing to add about "mushy" footage at 2K. This is due to the LENSES used, not the sensor. Unless you are using VERY high end cinema glass, a full frame lens will not be very sharp once you crop in all the way to Super 16mm (AKA 2K). Vintage Super 16mm lenses on the other hand are built to extremely high tolerances and sharpness because they have send light to a much smaller area. Red gave this "16mm" option so people would be able to use their lenses, not just so they can take advantage of higher frame rates.
Appreciate the insight. I've only ever used modern full frame glass for cropping in.
Great review. I believe you absolutely correct about Red specifically trying to match the look of a film camera and why the end result was just that. They have since strayed far away from their initial objective.
Another thing I don't hear mentioned a lot is it's motion cadence. It looks very much like film. More than any other high end digital movie camera to date. Sadly I don't believe this is a hard thing to achieve yet it's completely overlooked by Red and Arri.
There's something so special about the motion cadence of film. The ever so slight off timings from frame to frame eliminate the smoothness you get with video and imparts a feel that helps convey the story. It works with the idea less is more. The true to life motion you get from higher frame rates (or perfectly timed frames) distract from allowing our imaginations lend to the story making. It's ironic to me how color grading amongst other visual changes to footage are embraced in a effort to distance it from the look of reality yet the motion of the footage is overlooked.
Fascinating observation Sean, I never even considered that motion cadence or the replication of film frame rates to be a potential contributing factor, thank you. Appreciate the insight.
Oh god, i remember when you didn't have luts in monitor and needed a grader on set with dialing colors. Then if you had a low budget client they would freak out seeing the log footage because they couldn't afford the grader. I use to have a 5d mii on hand to calm them down
Hahaha, the struggle was real!
This was a great watch, thanks for putting so much work into it!
Wow a legendary RUclips OG checking out my channel! I've arrived! Glad you enjoyed it Tyler and Thank you for all of your own helpful videos. Big fan over here! 🙏👌
@@thesavagefilmmaker That's so kind of you to say! But yeah, what a few of your recent videos and you're on to something special. 👍
Just got one myself. Such a beast. Great video.
Amazing image, wish they'd make a Red One image in a Red Komodo body.
@@thesavagefilmmaker Yeah same. I was going to buy the Komodo, but went with the BM6kPro, because I couldn’t afford to wait for the Komodo to ship. A day later I won the bid on an R1 with a ton of accessories - I wasn’t expecting to win.. lol. I’ve been using it more often than the 6kpro honestly.
The redmag SSD drives and bay make a huge difference to using the camera, I bought mine with one and never used the hdds (too cumbersome) . I still own mine as that film look of it is magical.
Sounds like you’ve got yourself a Unicorn there! Beautiful image!
Fantastic comparison, I love your style and your voice
Thank you, my voice will remain consistent in all my videos 😅🙏
I think your channel just became my favorite.
Awesome to hear Nick, glad you're checking out the back catalogue!
Great review. R1MX is big, heavy and slow, but if you manage to master it without crying, you can do anything with any other camera. I still have mine and I use it most of the time. I have dance with it complete days using a Glidecam, used on a 50d vintage O'connor fluid head on a tripod, hand held, etc....but as a guerrilla filmmaker, where I direct, Im dp, produce and almost everything, it makes you think better in the way to become efficient and focused as a filmmaker. That film look it has, its pure magic. I'm still thinking in getting a second one just to keep it for future projects if I feel I need that look again.
Magical picture, but very much the anti run and gun indie filmmakers weapon of choice. A special camera which requires special care, but man worth it to get that image.
Nobody released a 4K camera before! You are right!! Oh wait, except the Dalsa Origin.. Which was then bought by RED founders.
I stand corrected. 🙏
I just bought a used Red MX 1 package in Australia. Swapped out the PL mount with an EF mount, very hard to find here. Looking forward to experimenting with this camera soon. Quite different to anything else I've ever used but curios to see the final results. Black magic cameras rule here, as they are made in Australia and are quite cheap and affordable for us independent filmmakers. Don't think it would be fair to compare to my bmpcc4k. Used a red epic 12 years ago on a short and was very impressed. I don't think the mx will disappoint.
I hope you're enjoying the MX, it's a hell of a camera!! And better in lowlight than the original which is my main issue with it.
Well, liked and subscribed. Arri is still the camera for me if I shoot pro because the footage goes directly into the old and I mean old Mac G5 for editing on FCP 6. No transcoding needed but I can transcode if need to. The Red One, I have absolutely no way to make it work or transcode or proxy or anything. Even my old Intel PCs say forget it if I were to install an old but not old enough version of Davinci. I wish I could get hold of an original CD or download of the software that came with Red One.
When not professional, still using Nikon D5100 with old Nikkor glass and anamorphic lens for pleasure. Even hooked up an Atomos Ninja V to this camera for monitor functions and desqueeze of anamorphic image.
I'm impressed by your deep commitment to making the most out of what you have. And of course Arri is king! I love Nikkor lenses about the Nikon camera. 😬
Computing power is probably your limitation mate.
Have you had any luck using the CF cards and offloading to a computer? If so - what do you use as a reader?
Yes I think when I used my Kingston Cfast card reader I had no issues here.
@@thesavagefilmmaker Thanks! I went to the Way Back Machine and looked at Red’s site from March of 2009. The prices are crazy. Our Red One’s easily approach $30,000 brand new.
Great video!
I used this camera on a short film and after that, I said to myself "never again!" ahah
The camera would overheat many times and my actress was getting upset...
Haha, I feel your pain!
Still love the image coming from that sensor. It’s just SO HEAVY…!
Beautiful image, made for a team to lug around.
I loved mine, but it was way too heavy so I sold it to get an Epic MX. Same beautiful sensor, just half the weight.
A hell of a great trade-up!!
it's funny watching this as I just googled Arri Alexa OG two days ago and found one for $3,000 and almost had a stroke...just the thought of owning one...but specs wise the Red One is more impressive on paper, especially for 2021/2....but the sensor, the dynamic range, the colour science of the Alexa is still the closest to celluloid digital video has ever gotten
Absolutely agree, if workflow requires 4K delivery then the Red One it is. But if not Alexa classic all day!
Mysterium X Red One has same magic sauce but with much better low light performance and 2 more stops of dynamic range. We use it all the time on good budget gigs.
Would love to utilise this version.
I did a shoot, maybe about 10 years ago and I lost so much footage because of dropped frames. It soured me on RED for ages.
Yeah this is definitely not the most practical design. Technology has come a long way.
Have you idea for power supply to work with Red-Drive 320gb? voltage, polarity etc.for use to transfer footage to my pc, with usb wire only not work, thank you!!
Yes, it weighs an dead donkey... but I can guarantee you that despite the fact that for pro projects I shoot with the C70, which claims to have 16 stop DR, I'm absolutely floored every time I shoot with this camera... I don't know why, but the way the images scroll and the thickness of the image always make me smile automatically every time I run the whole thing in IPP2 under davinci resolve (thank you RAW).
Absolutely, nothing quite like it!
My epic dragon now permanently runs in "safe mode" but its image still holds up unless the compression falls apart due to harsh lighting conditions. It's not quite the raptor though, She has teeth and a serious appetite.
All Red camera's are great if they get enough light!! Big fan of the the look of some of the older models though when compared to the Raptor and Komodo.
I was a bit worried at first that this might be an expensive video for me to watch. I'm glad you talked me out of it! Very interesting, though. Especially how far we've come with the tech (and the cost).
Haha, your money is safe.
Id love to see red take the mx sensor and re release it to fit a full 15 stops of DR to match kodak vision 3.
It would be glorious.
Thanks, You got my support as usual.
Much appreciated!
Thanks for the video. I bought a RED One MX back in 2018. Yes it does put out a wonderful picture. I do not have any issues with lighting with my small kit. I have 1 larger and two smaller LEDs (GVM models) and shoot with Rokinon primes. Maybe your lenses are the issue or ISO settings? I keep mine at 800 ISO.The one thing that bothers me is how HOT it gets sometimes and how it affects the record/stop button.
I think it's because I'm using the original Red One and you have the MX which was the upgraded version, which was known for being better in Low Light.
The Nikon mount is due to the flange distance.
Do you have a link to the stabiliser that you are using @12:31 ? I have a red one and want to use it more but it is sooo heavy!
Think i got a lucky find yesterday then. A one mx with ssd bay and the other parts for it for 500$ cant wait to shoot with it
Hell yeah you got lucky!
@@thesavagefilmmaker it came with a pl mount only so now we just waiting for a ef mount to here in the mail sometime next week. Can't wait to take it out shooting
Pretty serious camera for unbelievable price! It does have a nice filmic look. I’m not a filmmaker like yourself, but still a really interesting video.
Can't get a better look for the price... under the right circumstances. Thanks Luke!
Hey, what affordable lens and other kit would you recommend for this camera?
If you have the Nikon mount then it has to be the Nikkor lenses, incredibly cheap. If you have an EF mount Sigma Art series.
I think Red One's ISO is fixed to 100 😅
the MX has an advised ISO of 800 and 1600 is completely usable
Red One is legendary but I would definitely go for an MX instead
There Red One's ISO is - 'you need to buy more lights!'. Would be very interested to test out the MX.
@@thesavagefilmmaker aha couldn't say better! I've read that the needs for lighting of the Red One was actually quite similar to what you needed with film (which is in fact a lot)
Your example in the living room is very striking. I have an MX myself, it's not an incredible low light camera but nothing compared with this. One or two Led panels would have been enough
Worst nightmare as a DP 😂 I owned this tank for 2 month in 2016 - because of the weight I updated to the epic dragon 🎥
Not really a one person camera. But what an ideal upgrade 👌
@@thesavagefilmmaker i still remember the first production i did with the red one... near berlin knee deep through a swamp... not a nice experience at that weight 😂
I learned a lot!
Glad to help 🙏
Nice video! Do you think the image on the RED one looks better than the bmpcc 4k/ 6k pro?
I’m looking for a great ‘B’ cam for my canon c70.
I think the new Canon R7 would be the best affordable B-cam for the C70 your colours will match really well. The Red's colours are very different to Canon's and it requires so much more light so it's not really a great option. I think it produces a better image than the 6K pro, but only in certain circumstances, it's much harder to use and it requires WAY more lighting to get those organic filmic looking images.
@@thesavagefilmmaker Great point! Thanks!
I really dig the image from the MFT on the BMPCC 4k, but I'm wondering if the 6k would match better to a canon 'A' cam like the EOS MK3 since it has a super 35 sensor. Thoughts?
I would choose the 6K over the 4K because you can use all your Canon lenses without an adapter on the 6K. So definitely Super35 sensor is helpful. Also they will be closer in terms of lighting requirements, so yep 6K great option if you want to own a Blackmagic.
Does the RED scarlet perform better with lighting than the Red ONE?
Yes all other Red's perform better.
@@thesavagefilmmaker thanks man!
there is something to the red one footage, its so organic, i feel the same with the original bmpcc too, (which i own) . if RED can bring back this camera with the same sensor with heating issue solved, around 2k price, that will be amazing !! great video !!
It would be very interesting to see them do this. Would love to try out the BMPCC original as well.
Aloha🤙, what to you think about the red scarlet x?
I have not tried it unfortunately.
Just try the new IPP2 mode from the new RedCode and all the noise and chroma low light noise from the old RM1 will be gone.
Too late my friend, I'm on to the Red Komodo now.
What is the working ISO on this camera and how better is MX version?
I think it’s 800. The MX is much better in low light, but I have not used it.
6:54 couldn’t agree with you more. So true. Not to mention the latest cameras process 24p differently and screams “video”.
It's been a curious evolution of the Red camera's.
Just to say that I'm a proud owner of two RM1 and while using them with Lomo Anamorphics, I don't see NOTHING in the consumer business capable of beating up this setup. I LIVE my life to use these cameras. They will last probably longer than our own existence but as long as I'm alive, I'm living the real filmmaker DREAM of having them to play around, it doesn't matter the weight: 35mm cameras were never light anyway.
Hey man, if you can make it work, it's a stunning image. Amazing camera.
That is so motivational!!! Long life to R1!!! 💎💥✊🏻
i mean maybe colour grading could fix this but i'm seeing a very noticeable green colour cast on a lot of these images which i rly don't like
Red is notorious for having a greenish hue to its look. But I'm sure I could have fought that more in the grade.
Red red Oneee, stay close to meee 🎶
Gotta love that look!!
Its a good camera but like you said its not great in low light. If I was shooting a film I would use this camera outdoors and then use another camera for low light stuff. If I had Hollywood money then it does not matter use all the lights you want.
Yeah it's just hard to light to a professional standard without the lighting truck with this particular Red. Is very good for outdoors though.
I really love your content! I was wondering which lenses would you recommend with the red one mx? keep it up! :)
Thanks Niklas! If you have the Nikon mount, I would advise to start with the Nikkor Lenses 35 and 50mm and the 24mm after that. I had the newer Nikkor's, but the older ones will also be great for this camera. The versions with the lower f/stop (which are slightly more expensive) F2 and below will help you for this particular camera.
@@thesavagefilmmaker Thanks so much, will definitely check them out!
Is it possible to run an external recorder to avoid the hdd/flash memory issues?
It does have an HDMI out, not really sure if you could run to an external recorder, but if you could it would only be a 1080 signal at best not the full 4K resolution.
at 5:20 - 5:50 : is that fixed pattern noice in the shadows that were just crushed to hide them?
Yes, I did not notice this as I graded but it's there alright.
yes this is awesome!!
Thanks man! Glad you dug it. 🙏
Def not a bad deal, but man I am so happy with my Epic-X Dragon. I can't imagine the workflow on the Red One, oof.
Post Workflow is not too bad, the Red32 codec works very similar to the newer Red codec. But in terms of shooting on the day... yeah it needs a lot. Epic is a fantastic camera.
@@thesavagefilmmaker I wonder if you could use an Atmos Ninja or something and record directly through HDMI onto external SSD instead unless they limit HDMI out to only HD instead of 4K. That HDD doesn't sound like a fun time.
Yes I think it does not output 4K. I've not seen anyone manage that workaround. The Harddrive use is pretty crazy.
❤❤❤
You can lock one up for 1000 but don’t forget rest of the staff you have to buy to just run it I am thinking over 3000 for full package plus if you don’t haven pl lenses adapter alone can cost you 700 to use your own lenses depends what you have before buying red make sure you work out your arms in the gym you will need the muscles 💪
This camera needs big muscles and big lights and maybe a big team! The extra's do push up the price but I got all my extra's with the camera their are quite a lot of affordable packages.
In the end, RED's unwillingness to open its ecosystem to third party accessories is going to be the end of this camera. Those hard drives are a ticking time bomb waiting to fail on the user, making the entire system more and more difficult to rely on for important projects.
Yes it's a real shame, but I think they're beginning to see the error of that mentality and changing with Komodo and Raptor.
Can’t say you hate red cus of price lol
i dunno, id rather consider an old alexa
I think the Alexa is a better camera visually, but it doesn't have the modern resolutions like 4K which is becoming the standard, so that is its own limitation.
*recording there is no film in there. ;)
MX isnt the original, I used the original sensor and it was horrific dogshit
Also there is a guy I know who literally used one as a doorstop on the camera truck (it was water damaged anyway)
This is not the MX it's just got an MX cover on the side. I thought the sensor was great.... as long as you have a shit tonne of light.
La Red One è vecchia?? No... è il consumismo che dilaga. Ci sono Arriflex degli anni 30... in 35mm... ancora girano, eccome se girano! Altro che sta robetta facile facile da dilettanti.
You're not wrong. Still a magnificent camera.
12 bit raw doesn't matter at all, I will take a modern 10bit log file anyday. The dynamic range and especially the highlight roll-off is horid, nothing like film.
I disagree. I use all the modern camera's Canon/Blackmagic/Sony and found the Red image to feel a lot less digital, but of course it does have it's limitations
Crappy content doesn’t help a good camera
You mean this content is crappy? 😢
just get a RED Epic Dragon 6K $3k
They weren't $3K in 2021, but HELL YES.