Nice to see someone pushing an older camera instead of the latest gear on RUclips that we all "must have." Fight the Gear Acquisition Syndrome and go create 💪🏻
I love my old reliable equipment. I know it, and it works with me. I'll use it till I wear it out. Get the right stuff and stay with it until the upgrade will suit you for 5-10 years.
Hi from Spain ! I’ve been using lot of cameras in my work (production company) like GH5, A7s2, Arri Mini and also another RED cameras… But this camera in particular, has something special. The colors, the grain, the tones and something that every person that got one, doesn’t know how to explain it. Still working with Scarlet X, I got one the last month and feels amazing.
I know he mentions several downsides, but I want to mention more for those actually considering purchasing an older RED. I will start by mentioning some of the ones he said again. -Media is a pain and relatively expensive/ hard to source last minute. -They are LOUD. -And noise is something you will be fighting even in semi-controlled environments. On top of that, -REDs are known for being notoriously unreliable and they have since stopped servicing this era of camera. -The early X and MX cameras have a very wonky color matrix. I know he likes the image out of camera and that's totally fine, but if you ARE into color grading, you'll notice this as you start to learn more and more. -And they have really started to show their age from a usability standpoint. They are sluggish and weird to navigate. If you are interested in buying an older cinema camera (in this price range), I'd look towards older Sony F series cameras like he mentions. Or if you would prefer going for something more modern, the ZCAM F6/S6 and Sony A7SIII/FX6 are great options although you might similarly have to deal with wonky color matrices. A really interesting video would be looking at some of the older cinema cameras you can get for under $10000 nowadays. The Alexa Plus, Sony F5 (or F55 if you can squeeze it), and Panasonic VariCam LT can all be had for well under $10000. These all would give unparalleled IQ for the money. And cameras like the F55 and Alexa Plus are still rentable unlike older REDs that go for less than $50 a day in LA.
@@mq4oneseventyeight567 It's all relative. The new backlit sensor that Sony has in those cameras is fantastic. The difference between consumer/prosumer cameras and the industry standard cinema cameras is in the details. Color science is a very complex topic and it costs companies millions of dollars in rnd. The higher up the ladder you climb, the more a company tends to shift away from making the general population happy and the more they get to spend time caring about how a camera translates what's hitting the sensor. Gradations in skin tones, overall consistency, etc... There's diminishing returns spending that time on prosumer cameras. That's why some of those older cinema cameras are still so relevant today. That attention to detail is what makes them have such a pleasing and versatile look. Any prosumer camera is not going to have the same care for things like their color matrix. Even cameras made by cinema camera manufacturers like RED and Sony. The Komodo is a great example. Not a lot of attention to detail in that camera. I'll end this by saying the Sony prosumer cameras are great! Especially the FX6. Even though it's the same sensor, being able to turn off NR is huge and it would send me straight towards the FX6. If you are wanting something new to mitigate risk, you can't go wrong with it.
Sony F5 owner here. Amazing camera. Affordable pre-owned. Amazing color. Still supported by Sony. PL mount with 4K upgrade and Netflix approved with 4K upgrade. 👍 I cannot shoot with old REDs due to their (possible) instability in narrative environments but older REDs do make a great image. 👍
@@FTGTapGod except that most of these cameras have RAW capability and debayering happens AFTER the RAW data hits the NLE. So none of that makes any sense whatsoever unless you are implying that for the color matrix of in camera LOG codecs, so it’s not all relative. RAW doesn’t give a damn about what brand of camera you have or how much it cost. It’s not even a video. It’s literally RAW data.
For april fools day, I feel like Caleb is the type to put up a no-nonsense full review and comparison of like a current red camera filming 8k red raw to like a sony mini-dv tape 720p handicam from the early 2000s. I would fully watch that.
Those red volts are still handy to keep the camera powered up while you're hot swapping v-mounts or gold mount bricks. Can also be achieved with a shark fin.
Hmmm, interesting, because I sold mine (Red Scarlet) to buy the big boy Black Blackmagic Ursa when it first hit the market. I liked the Ursa way better. Definitely prefer the Pocket 6K. Less headache with the work flow. The Red system was a nightmare. I hated that camera. Glad to see someone enjoys it. Nice video though. Happy filming...
I've been using RED since the RED ONE and thru its many iterations. Always either as rental packages, or production-house bought tools. I've never wanted to own one for the simple fact that even if I was given one, the ecosystem cost and pipe-line needs is too high. These cameras are exotic cars. But like exotic cars, they require allot of maintenance and that isn't cheap. The UI is pretty unresponsive, adapting them for various types of shoots is expensive, the data footprint is steep, the pipeline is cumbersome, and to be honest. Other manufactures are better featured, 70-80% the image quality, cheaper, and the ecosystem is budget friendlier. Recently shot a music video on an older RED Scarlet somebody trucked in. Major issues as the owner never kept up with servicing. It's a deal for the cost but its still a 3,000 dollar gamble.
None if you treat it well. The only servicing I can think of is if you use the camera in extremely sandy, dusty or damp environments. Then it would need some professional cleaning, but this true for every camera which has active cooling. @@nicholasboule5134
Next camera review suggestion: Sony CineAlta F35. Once $200,000 -- now $3,000 because it's giant and "only" shoots 1080p. But the global shutter 5K CCD sensor creates amazing images.
@@EJNakamura I was lucky to grab one about 3 years ago for $3,500 USD (with a monitor/recorder). I've since sold it, but I think Sony only made about ~200 F35s, so they are getting more rare by the day!
Disclaimer : this is not a video camera, this is a cinema camera. Meaning that it's not your run of the mill BMPCC6K or other camera. It's not made to be used like you describe, it needs loads of other accessories, spare SSD, batteries, monitors, motors, wireless device, etc... All of that in a proper cinema rig that is worked on by a minimum of 2 to 3 professional technicians at a time. Everything, even bolts cost a fortune, and maintenance needs professional technicians in the cinema industry or directly through RED. It's like buying a race car to go do groceries, yes it works, but really you need a proper team to do that. The big difference with cinema cameras is not just the image performance, it's the way they are used and design in the professional environment of a film set. Now that this is out of the way.... I've shot with this camera, and the biggest flaws are the noise and overall internal design. Even at it based ISO it shows quite a lot of noise, I'll recommend exposing it at 500ISO when it's possible. Then the other issues is just the RED DSCM1 series, it wasn't perfect ; confusing menus, extremely slow black-shading calibration and difficulty on keeping constant temperatures. Which you really need to constantly update with this camera because of all that noise generated, and it takes around 10min of calibrating each time, of just waiting. So if you have a lot of change of temperature, framerate or shutter speed in your films, it add's up to the difficulty.
You can say this about any camera when it's not rigged out - even a Komodo or fx6 - you can still use it yourself, it's just better to do it with a team, like with every other camera system
A cameras form factor influences how it is used in cinema not if it is a cinema camera or not. Given various Blackmagic cameras, including most if not all the modern pocket line, have been used on various Hollywood cinema productions, even some top grossing ones, it's hard to claim that any of them are not cinema cameras. While I would agree that the pocket line does not fall into the typical A cam form factor as easily as something like the RED scarlet might, this doesn't mean people haven't used them as an A camera for certain types of productions. It all comes down to what a given production calls for in order to make the production happen within it's given budget.
Film has grain, and one of the dumbest technical arguments you hear on set is how Arri's noise looks more filmic than Red's. That being said, most people would just want to shoot the cleanest images they can and leave such things to post, but cinematographers are not most people. They all want to leave their mark on their art, so many will turn to using filters to modify the image during capture instead of letting it slide to post, where there is a lot more control and feedback. Red was THE cutting edge cinema camera company back in the day, and they always expected experienced film cinematographers to use their tools. So you had to light the areas you intended to be black so that they were above the noise floor and then crush them in post. Problem was too many video people got a hold of it and didn't understand the concept of cinematic lighting. Over the years other companies jumped in and a lot of progress has been made. Even though I own an Epic Dragon I might actually turn to a Black Magic camera if I had a shoot that had a lot of outdoor night scenes. It would be an example of how selecting the right camera can save in many thousands of dollars of lighting.
You had me at FireWire800 😆 Seriously though, I seriously looked into getting this camera before grabbing a C70. They’re so capable! Being locked into Red branded memory was the deal-breaker for me. - Ryan
Dang I agree, those old red sensors look much closer to film than most new ones IMO. Probably because that was when the industry was mainly using film and needed convincing that digital was a viable replacement. Btw just saw your 6k pro on gear focus haha
I felt like this comparison between the Blackmagic and the Red Camera was like a modern vs classic cars conversation. Yeah, modern ones may have lots of comodities and technology, but man, there is something in those classics that makes them always stand out
If you want a very underrated camera to kit out for one of your videos, look at the Blackmagic Micro Cinema. Those Fairchild S16 sensors capture light so differently!
I had the fortune to work with this exact camera, on a short-film one year ago, and for my personal projects I use a Blackmagic Pocket 4K. This RED camera is very underrated, and I truly belive this is the FIRST video that give us a proper in depth explanation, I would really loved to see this video BEFORE i shoot with it. However I had the camera's owner with me, but we all know its better to know the camera. Personally I would say, if you are doing a one man short film, you better with any Blackmagic Camera. Blackmagics are way more simple, and user friendly, but this RED camera IS a true cinema camera. BRAW isnt anywhere near to the Red RAW files, with R3D files you can really do all those post adjustments, with BRAW its meh... But if you have at least a 4 person crew, you would definitely need to go with this camera if you have the chance. Its not a low-light monster, but assuming you are using this camera, you will have decent lights with you as well. My only complement is, that you cant properly replay your footages, neither deleting them. It doesnt give you a preview thumbail, so its kinda annoying. And its way easier to watch your footages with a notebook and SSD with a Blackmagic, but then again, when you shoot a serious shortfilm, this RED camera is an actual cinema camera, and it ment for narrative filmmaking. Thanks for the amazing review Caleb, keep up the good work!
BRAW is a container, and 99% of the people who state it's is worse than Redcode only have experience using it with Blackmagic's lower end pocket cameras. The reason this matters is that most of the issues people run into with BRAW are actually sensor limitations and not format limitations of BRAW, because both BRAW and Redcode are easily capable of storing far more information that any current sensors can possibly produce. That said because Redcode includes Bayer information it can be debayered in different ways which can subtly influence the overall look where as Braw's debayering is almost entirely handled by the cameras internal firmware. Whether this should be considered a limitation or not subjectively comes down to if one likes the look the the resulting demosaic.
Love the video! I've been thinking about selling my Scarlet recently, since the Ursa mini Pro 12K has become my go-to camera these days, but damn, straight out of camera the Scarlet just looks fantastic. The images just look a little soft, but still have all the details that you need. I shot a wedding on the Scarlet and my A7SII a few years ago, so just available natural light, and I tell you no amount of color grading can get them to the same level in some situations. The footage from the Scarlet is some of the most beautiful shots I've ever gotten, and the A7SII just looked like a Home Video. As the sun set the story changes of course 😅 If you are thinking about getting a scarlet yourself, I have a playlist on my channel with some Videos I have shot on it.
I've been using the Scarlet as my university graduation film camera. After using it I have personally been eyeing the Red Epic MX since it has 5K120p and is around the same price as the Scarlet. I've been using the Sony A7 line up for a couple of years. As much as I love the insane convenience and warm colours I personally just prefer the Scarlet even if it has bad low light capabilities and expensive rigging the image is just stunning compared to an a7iis or the a7iii. One day I'd love to own a Red Camera, but for now the Sony A7's will do for the mean time.
I had my BT Scarlet MX since 2012. I sold it last fall and picked up a DRAGON 6K. I know REDs been pushing their Komodos and Raptors but I feel Im graduating at my own pace and benefiting from really old tech :)
@@ericsantiago2199A lot of the the new consumer cimema cameras are great in many ways Zcam brings 6k and 8k and a decent price Red Komodo brings their image quality at an affordable price too but they all have limitations that the older cameras over come. Some do 6k others do 8k, But most of them do 60fps at 4k internally without an external recorder, which personally is a tad disappointing to me. Older Red cameras are powerhouses at specific resolutions and personally 4k Full Format or 5k is as far as feel I need to go.
I just bought a BMPCC 6K Pro 😭 haha. Just kidding. The Scarlett wouldn’t work because I want to mount it on a gimble. Thanks for all your videos Caleb. I spent a lot of time watching you review various pieces of gear to build out my rig.
Great post and thanks for giving this camera some love. The Scarlet MX was my first personal 4K sensor. Had many years with Canon XL-1, Sony Beta (insert two letters here) Pannies etc. Worked with a RED ONE but mostly post. I love this video since its brings back memories (sold it recently and moved up to a Dragon 6K) and also helping others find options. Hey if people can get work using 16mm and selling it as classic then why not the MX :)
You have not really talked about the Red learning curve. My son was trained on Red at university and it taught him a lot about lighting. The early Reds could create a great image but they needed good lighting. He has shot with an Arri Alexa, but now as a director with 10 years of experience he allows his DP to pick the suitable tool.
i have one and while ive had plenty of cameras by now, i can say with confidence its one of the easiest cameras to use second to blackmagic cameras. UI is simple, touch screen is a plus if you have it. I know how to expose an image properly by now of course, but i can tell you the red is not unforgiving at all. Its probably not gonna be your first camera, so if you have some experience it should be very easy to use.
Always excited to listen what you share :D this is awesome!
3 месяца назад
Hi, I'm searching online this answer but can't seem to find anywhere. Just got a Scarlet X, it came without the top fan (it does have the front fan). Does that mean I'll fry the camera? Can it tolerate use without the top fan? (moderate use, about 5-6 hours on per day)
I own both the cameras and you are absolutely spot on . I have found the older Blackmagic pocket cinema camera og cut quite well with the Red scarlet x. All newer Blackmagic cameras lack cinematic cadence, color density and are over sharpened in my opinion.
I was trying to figure out what I didn’t like about the pocket 6ks. I shot a bit with the urea mini and the thing was gorgeous footage wise. Crop sensor has downsides but the shots just look so nice. Been wanting to see what the deal is with reds for a while. I find some cameras just have a good feel which can definitely beat the specs or something that is technically better.
We've been shooting with a pair of 6K Pro's for the last year and they're our favourite cameras we've ever shot with! Blackmagic cameras are super underrated.
Best playlist on this channel - it’s very inspiring and I love the philosophy of « affordable cinema cameras ». Today the resolution war is utterly ridiculous and at the expense of the rugged, functional and reliable cameras.
Any plans to pick up an Alexa Classic EV? Seeing them list for around $3500 these days. Great video, by the way. Been looking forward to hearing your take on the Scarlet.
The good old Red Epic Dragon is still one of my favourite cameras ever skintones are amazing, much better that any other recent red camera (specially the Helium, i hate that sensor), i'd put it right after the Alexa Mini, and you can get it for cheap nowadays. But i find it funny that you say you got ONE v-mount battery, for a whole shooting day, i'd say that even with 6 150wh batteries, you'll have to be careful for them to last long enough, specially once you had a Teradek, monitor and wireless FF.
@@daniellediamond457 I would say it depends on your work. To be overly simple imo the Red Dragon is better for commercial work and the XT is better for narrative.
Can you do photography with them? The image quality is so good! Are there any advantages to using this type of cameras for photography? Or just for video?
7:36 the blackmagic looks more video-y because of the partial debayering that happens in camera. It's not real raw. Braw is like prores but with metadata. Also the sensor is from sony which contributed to that video look. Sony's prosumer camera sensors don't look as good as their more expensive counterparts. Pocket 4K and 6K are capable of much sharper image and deeper colors but since the camera doesn't record fully raw data onto the file it doesn't look good. Try downgrading the pocket 4K to firmware 6.0 and try the cinemadng out. You'll be blown away by the quality. It's the full raw data from the sensor and the debayering only happens on the nle. It will match the red much better than raw. Braw is better for live events or documentary work but not for narrative work.
dear DSLR video shooter lord,how much wordlessly this title is when seeing it straight to my heart...I still cant afford to buy it-RED epic,my favorite-I used to dream one and decided to buy it in a second hand market,7 years passed,I still earn for what I basic need in routine life and have no rest enough to collect for the price(rmb 15 thousands) in that market,7 years,last week I went to that cargo shelf where this babe is sleeping on and talked abit with her(again again again,I talked with this shop many times,just looked at it and gone away),today youtube pushed up ur old video of this one,I really really love this RED,really! If no bother,can u lend me this one just for few weeks or months to try side by side,I will be life time thankful,a bottom indie doc movie maker in China😇
i really love your old camera series, I own original BMPCC and the image out of the sensor is amazing. I am still learning though. And I think buying old red camera is great option with the down side of repairs.
About that "special" SSD... LOL. Thanks for posting this it was cool to see something that can still be relevant. If nothing else, having a red can open doors... even if it is a misguided notion.
$3000, and now can be had under $2000. Next year for $1750 and bellow. Best part about these huge cinema cameras, is that the prices just get exponentially low over time, and no one is really looking for them.
Bought one of these back around 2012, and I still love it. It's still my favorite camera. I just wish there was a bigger 3rd party support market for it, especially when it comes to the SSD's.
It seems intentional on part of RED to make 3rd party support harder. The closed ecosystem that forces you to spend money on expensive proprietary accessories is probably my biggest gripe with RED cameras.
Dude your videos look great, mostly because of your lighting and colour grading of course. But I feel like you have learnt some tricks to make your videos look good on RUclips when many of us struggle with the dreaded compression. Maybe make a video about what you've learnt? Would be great!
Everyone always overlooks the F5. Sony gave the F5 a firmware update to include nearly every feature of the F55 other than the global shutter and extended color gamut which are inherent to the sensor. I picked up a rigged out upgraded F5 for under 3k.
I agree that out the gate, the RED just looks much more ready and filmic. But you can do a few things to make the BMPCC scream too. Nice lenses, filtration and a little softening in resolve with the glow plugin and reducing the mid detail, you can get a VERY sharp yet smooth and soft image. Also I believe RED’s hace OLPF’s which help a lot in that filmic quality soft image. Which you can buy aftermarket OLPF’s from rawlite for the pocket series these days
I'd love to see a video done on a filter stack to make the Black Magic cameras more filmic. In NYC and LA you can rent just about any filter, so you could do such an analysis / review without breaking the bank.
@@robertgruen2088 sure. Personally I like the Schneider radiant soft. I use the radiant soft 3 with my sigma art lenses. The 3 strength is quite strong but with the 6k resolution and tack sharp sigmas, it balances out very nicely to give a pleasantly soft image. I like the radiant soft because it softens the skin nicely without over blooming the highlights like pro mists do. In other words, you can use a strong diffusion for the skin softening effect without the insanely bloomed highlights that often comes as a side effect. Though these are only available in rectangular sizes. The closest thing in cheaper circular filters I’ve found is tiffen glimmerglass. Here’s a music video I recently shot with said setup. Nothing spectacular, but a good representation of the look im speaking of. ruclips.net/video/X2JewhWKN2g/видео.html
I'm just going to throw out my $0.02 on one of the very subjective points in this video. We all know Caleb uses Finalcut as his primary editor of choice, and that means any RED camera is going to have RAW support, where as Blackmagic cameras do not, to my knowledge, have a Finalcut BRAW option. That would mean grading the Pocket either had to be done as RAW in something like DaVinci or as Prores in Finalcut, which is going to make grading the Pocket 6k significantly harder. If I were in a similar software situation, I would likely lean towards a RED as well. As a DaVinci Resolve user my self I find it much easier to get the look I'm after out of Blackmagic and ARRI cameras than I do RED's, but I'm sure 99% of my choice is that is my preferred software. Software choices can have a lot of influence over camera choices from the standpoint of ease of use and grading.
+1 - agreed. This was a big mistake from Caleb. Not sure why he’s not paying attention to delivery options and making videos like this. It’s a classic example of “let’s make false claims to justify a purchase” syndrome.
i wanna give a big shoutout to the green ass tint in the ungraded negative of the p6k too. surely it wouldve taken less work if it were white balanced correctly in the first place?
@@8020Alive It takes literally minutes to assign a color space and export a video to be graded in another software. He doesn't address it because he doesn't need to, as what editing software you use is irrelevant.
@@OlegUstimenko There are multiple reasons one can end up with a green tint shift without it being the cameras fault. The three most common reasons are: 1. LED lights notoriously shift towards green as they age. 2. Adding an IR-Cut filter on top of the existing IR-cut of the internal ND's can result in to much red being removed causing a green tint. 3. Some lenses can have a green tint to their glass. Some of the older Samyang/Rokinons lenses for example tended to slightly shift green.
Так ведь можно намного проще сделать в камере Pocket 6K. Можно загрузить заранее подготовленный LUT и, когда видео импортируешь в Davinci - получаешь сразу готовый LOOK, который нравится. А, если нужно что то изменить, то сразу можно отключить этот LUT (который использовался в камере)и работать уже на уровне RAW (но при этом загрузить этот LUT в программу и сразу видеть результат). А, если хочешь, то можно сразу записать LUT с файл и получить готовое, красивое видео. Я лично не вижу никаких в этом проблем. Я продал свой RedOne MX, что бы купить Pocket 4K (чему очень рад).
Hi Caleb. Have you ever considered reviewing the Sony CineAlta PMW-F5 (not to be confused with the FS5 its little brother) as a budget cinema camera? They’re available used, and still current with Sony as a model that they still sell new and provide service for (but pre-owned is way more affordable). If you like the organic look of RED and you liked the Sony F3, you might like the F5. I realize that none of us have unlimited money for cameras but since the Sony F5 pre-owned is in a similar price range to the RED that you reviewed in this video, it might be something that your viewers are interested in. I have an F5 with the 4K upgrade [also Netflix approved with the 4K upgrade] and for my needs, the Sony F5 is an affordable 4K PL mount camera with amazing natural color and affordable media cards. Thank you for providing content for filmmakers like myself that are on a budget. Sure it’s fun to watch videos about shooting with Arri Master Prime lenses, but we also need content about gear that we can actually save up for too. God bless!😊
I agree - old REDs still rock. I'm using a RED Raven I purchased used a few years ago. I have no need nor desire to switch to anything newer or different. The media is a drag, but I have a few cards and I'm fine. IMHO the image a RED produces is superior in most cases.
As much as I love the RED’s image quality, its down sides as a camera are too big, so for the time being, I’ll keep my 6 k pro. Thanks for the awesome review 🙏
Between the Scarlet-X, Scarlet-W, Epic-MX, and the RED Raven, how would you rank them in terms of what is the best band for your buck? They’re all relatively affordable, especially for RED cameras but there really aren’t any comparison videos between any of them (probably due to the fact that none of them were originally priced for the prosumer [excluding the Raven which was top of the line prosumer] as they all now are).
Epic-MX is the best for me. It's much closer to cinema image. It has an amazing depth. Scarlet-W and Raven' image looks much more digital, like very expensive mirrorless cameras sometimes.
Funny, I almost bought one a couple of years ago but when I did my research I found that if they break it’s impossible to fix them at a reasonable cost. Still, I live the images you showed. I just bought an fx3 but I’m still wondering if that red is the one that got away…
The fx3 is a great buy. Matter of fact i just got a Scarlet X at a bargain price and might sell it to maybe get an fx3. Honestly? Media is what does it for me. Expensive, old and getting hard to come by. Other than that id keep it honestly.
Hey Joel. I hear you. I can get great images out of the fx3 when I get the lighting right. I also have a blackmagic pocket 6k and I can get better images out of that more often, except no autofocus, no flip screen and no ibis, which are very important to me when I’m one of the actors in the shot. So for me I need two cameras, one for every day and another for more cinematic shots. My biggest fear with an old scarlet is if it breaks and I can’t fix it. I love the image though…
It’s possible I’ve just finished my last ever project with a Blackmagic camera and that makes me very excited. They’re great beginner cameras but I’m ready for something more reliable and geared towards how I want to shoot.
Excellent video, thank you! One question: Where can I find Sony E - Lensmount for RedCams ? I want to avoid adapters. Is it possible that there are none ? Couldn't find anything.
Wow. I barely used my RED Scarlet I bought in 2011. It's amazing it hear it talked about like a Dino. However, it's still the reason why I still love it. Hopefully I will shoot more with it again soon.
Interesting enough, I’ve actually used this camera, and compared it to my Pocket 4K. The Red’s sensor is quite nice. Far less noisy at lower apertures than the Pocket 4K. The Pocket 4K really only had it beat at high ISOs
That Red is a Beast! I would appreciate if you could do another video doing some test footage and doing some work with The HDR on this camera. Thanks !!
I own the Scarlet-X which really is a great cinema camera, but at this point and with my style of shooting (one-man-band narrative) the camera has its clear downsides. For me the main downsides are: - Weight - it's heavy and so are the accessories, which also means you need a bigger tripod, camerabag etc. - Fan noise - I live in Scandinavia so it's not LA temperatures most of the year, but shooting with this camera for more than 5-10 minutes makes the fan work overtime (unless you have long breaks in between takes that allows the camera to 'breath' or if you set the fan at higher volume. - Iso performance - by todays standards the image gets really noisy if you shoot at night without lighting your scene. But if you can live with this, the camera gives an amazing cinematic image and with perhaps the best codec in the world for film. 64 GB cards will give you around 30 minutes of recording in 4K in raw.
@@AlChered Not to Red. But the A7iv is currently what I have my eyes set on. If the BMPCC4K was in a different form factor with better battery life I might have gone with that. But good/reliable AF is important for me too and that means either Canon or Sony and the A7iv seems like the better choice in my price point.
@@jespersichlau4343 So in the end the convenience outweighs these “cinema quality” benefits of RED. I have an FX3 and after watching this video I had that flash thought that maybe I should try to buy an old RED. But after reading the comments I have cooled down lol.
@@AlChered I mean it all comes down to your shooting style. Personally I don't own a car, so every time I need to use the camera outside my home I either need to borrow a car or rent one. That's a lot of hassle that gets in the way of being creative. I can't really use it for documentary style stuff either, but for bigger projects that's worth the hassle I still use it. I'm thinking the convienence of a lighter camera suits me and my shooting style better. At this point it's all a matter of picking your tool and making the best of it. There are so many great cameras to choose from today.
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Nice to see someone pushing an older camera instead of the latest gear on RUclips that we all "must have." Fight the Gear Acquisition Syndrome and go create 💪🏻
Facts
I love my old reliable equipment. I know it, and it works with me. I'll use it till I wear it out. Get the right stuff and stay with it until the upgrade will suit you for 5-10 years.
imagine if everyone thinks like that, then companies wouldn't be innovative
This video actually triggers my "G.A.S.", now I want to buy this Red!
Yeah and that fear filmmakers have of refusing to buy something because the next big thing is around the corner. Otherwise known as "spec hysteria".
Old Cinema camera reviews are the besttttt!!!
Thanks George!
Hi from Spain ! I’ve been using lot of cameras in my work (production company) like GH5, A7s2, Arri Mini and also another RED cameras… But this camera in particular, has something special. The colors, the grain, the tones and something that every person that got one, doesn’t know how to explain it. Still working with Scarlet X, I got one the last month and feels amazing.
I'm more interested in those Meike lenses you have. There is hardly any talk about those lenses and I'd love to hear your thoughts on them!
Same! They look great 👍🏻
Check out CVP, they've done some reviews on them.
just bought and tested 24m today, worth a look forsure, first difference from my rokinon is in the shadows, much more detail captured in the shadows
I just want one as a prop.
Would just pop one in the background for clout
Yeah waste money for no reason. There’s way better options today.
Love their body design and the elaborate emblems are so sick!
@@retrochill6527 wasting money for no reason is how I built my empire
@@impatrickt lol I just realized you’re the guy I unsubbed from a while back. “Empire”. Dude please.
I know he mentions several downsides, but I want to mention more for those actually considering purchasing an older RED.
I will start by mentioning some of the ones he said again.
-Media is a pain and relatively expensive/ hard to source last minute.
-They are LOUD.
-And noise is something you will be fighting even in semi-controlled environments.
On top of that,
-REDs are known for being notoriously unreliable and they have since stopped servicing this era of camera.
-The early X and MX cameras have a very wonky color matrix. I know he likes the image out of camera and that's totally fine, but if you ARE into color grading, you'll notice this as you start to learn more and more.
-And they have really started to show their age from a usability standpoint. They are sluggish and weird to navigate.
If you are interested in buying an older cinema camera (in this price range), I'd look towards older Sony F series cameras like he mentions. Or if you would prefer going for something more modern, the ZCAM F6/S6 and Sony A7SIII/FX6 are great options although you might similarly have to deal with wonky color matrices.
A really interesting video would be looking at some of the older cinema cameras you can get for under $10000 nowadays. The Alexa Plus, Sony F5 (or F55 if you can squeeze it), and Panasonic VariCam LT can all be had for well under $10000. These all would give unparalleled IQ for the money. And cameras like the F55 and Alexa Plus are still rentable unlike older REDs that go for less than $50 a day in LA.
Great suggestions! What do you mean a7iii fx6 would have wonky color wave?
@@mq4oneseventyeight567 It's all relative. The new backlit sensor that Sony has in those cameras is fantastic. The difference between consumer/prosumer cameras and the industry standard cinema cameras is in the details. Color science is a very complex topic and it costs companies millions of dollars in rnd. The higher up the ladder you climb, the more a company tends to shift away from making the general population happy and the more they get to spend time caring about how a camera translates what's hitting the sensor. Gradations in skin tones, overall consistency, etc... There's diminishing returns spending that time on prosumer cameras.
That's why some of those older cinema cameras are still so relevant today. That attention to detail is what makes them have such a pleasing and versatile look.
Any prosumer camera is not going to have the same care for things like their color matrix. Even cameras made by cinema camera manufacturers like RED and Sony. The Komodo is a great example. Not a lot of attention to detail in that camera.
I'll end this by saying the Sony prosumer cameras are great! Especially the FX6. Even though it's the same sensor, being able to turn off NR is huge and it would send me straight towards the FX6. If you are wanting something new to mitigate risk, you can't go wrong with it.
There is no reason for Scarlet X lol. maybe video title is reason
Sony F5 owner here. Amazing camera. Affordable pre-owned. Amazing color. Still supported by Sony. PL mount with 4K upgrade and Netflix approved with 4K upgrade. 👍 I cannot shoot with old REDs due to their (possible) instability in narrative environments but older REDs do make a great image. 👍
@@FTGTapGod except that most of these cameras have RAW capability and debayering happens AFTER the RAW data hits the NLE. So none of that makes any sense whatsoever unless you are implying that for the color matrix of in camera LOG codecs, so it’s not all relative. RAW doesn’t give a damn about what brand of camera you have or how much it cost. It’s not even a video. It’s literally RAW data.
For april fools day, I feel like Caleb is the type to put up a no-nonsense full review and comparison of like a current red camera filming 8k red raw to like a sony mini-dv tape 720p handicam from the early 2000s. I would fully watch that.
Those red volts are still handy to keep the camera powered up while you're hot swapping v-mounts or gold mount bricks. Can also be achieved with a shark fin.
I have a built-in battery for hot-swapping v-mounts on every camera kit I own. Most convenient and easy options in my opinion.
Hmmm, interesting, because I sold mine (Red Scarlet) to buy the big boy Black Blackmagic Ursa when it first hit the market. I liked the Ursa way better. Definitely prefer the Pocket 6K. Less headache with the work flow. The Red system was a nightmare. I hated that camera. Glad to see someone enjoys it. Nice video though. Happy filming...
I've been using RED since the RED ONE and thru its many iterations. Always either as rental packages, or production-house bought tools. I've never wanted to own one for the simple fact that even if I was given one, the ecosystem cost and pipe-line needs is too high. These cameras are exotic cars. But like exotic cars, they require allot of maintenance and that isn't cheap. The UI is pretty unresponsive, adapting them for various types of shoots is expensive, the data footprint is steep, the pipeline is cumbersome, and to be honest. Other manufactures are better featured, 70-80% the image quality, cheaper, and the ecosystem is budget friendlier. Recently shot a music video on an older RED Scarlet somebody trucked in. Major issues as the owner never kept up with servicing. It's a deal for the cost but its still a 3,000 dollar gamble.
a canon c70 seems a great deal
It's been well documented that the whole camera and the company built around it is a *Scam* .
What servicing needed to be done on the scarlet?
None if you treat it well. The only servicing I can think of is if you use the camera in extremely sandy, dusty or damp environments. Then it would need some professional cleaning, but this true for every camera which has active cooling. @@nicholasboule5134
My school was still using that through 2020 and it still kicked butt
We have 2 Scarlets MX - We use them to this day and the quality is amazing - We have received 28 awards for our films with them.
Next camera review suggestion: Sony CineAlta F35. Once $200,000 -- now $3,000 because it's giant and "only" shoots 1080p. But the global shutter 5K CCD sensor creates amazing images.
It is on the list!!!
@@dslrvideoshooter Would Love to See the F23, with Zeiss Digi Primes. Used on Benjamin Button for example.
The price will shoot up. Make sure you buy one before he reviews it
@@EJNakamura I was lucky to grab one about 3 years ago for $3,500 USD (with a monitor/recorder). I've since sold it, but I think Sony only made about ~200 F35s, so they are getting more rare by the day!
@@katlis wow. What made you sell it?
Disclaimer : this is not a video camera, this is a cinema camera. Meaning that it's not your run of the mill BMPCC6K or other camera. It's not made to be used like you describe, it needs loads of other accessories, spare SSD, batteries, monitors, motors, wireless device, etc... All of that in a proper cinema rig that is worked on by a minimum of 2 to 3 professional technicians at a time.
Everything, even bolts cost a fortune, and maintenance needs professional technicians in the cinema industry or directly through RED.
It's like buying a race car to go do groceries, yes it works, but really you need a proper team to do that.
The big difference with cinema cameras is not just the image performance, it's the way they are used and design in the professional environment of a film set.
Now that this is out of the way.... I've shot with this camera, and the biggest flaws are the noise and overall internal design.
Even at it based ISO it shows quite a lot of noise, I'll recommend exposing it at 500ISO when it's possible.
Then the other issues is just the RED DSCM1 series, it wasn't perfect ; confusing menus, extremely slow black-shading calibration and difficulty on keeping constant temperatures. Which you really need to constantly update with this camera because of all that noise generated, and it takes around 10min of calibrating each time, of just waiting.
So if you have a lot of change of temperature, framerate or shutter speed in your films, it add's up to the difficulty.
You can say this about any camera when it's not rigged out - even a Komodo or fx6 - you can still use it yourself, it's just better to do it with a team, like with every other camera system
Yeah that’s pretty much what he said. And all cameras benefit from an AC and crew.
A cameras form factor influences how it is used in cinema not if it is a cinema camera or not. Given various Blackmagic cameras, including most if not all the modern pocket line, have been used on various Hollywood cinema productions, even some top grossing ones, it's hard to claim that any of them are not cinema cameras. While I would agree that the pocket line does not fall into the typical A cam form factor as easily as something like the RED scarlet might, this doesn't mean people haven't used them as an A camera for certain types of productions. It all comes down to what a given production calls for in order to make the production happen within it's given budget.
Film has grain, and one of the dumbest technical arguments you hear on set is how Arri's noise looks more filmic than Red's. That being said, most people would just want to shoot the cleanest images they can and leave such things to post, but cinematographers are not most people. They all want to leave their mark on their art, so many will turn to using filters to modify the image during capture instead of letting it slide to post, where there is a lot more control and feedback.
Red was THE cutting edge cinema camera company back in the day, and they always expected experienced film cinematographers to use their tools. So you had to light the areas you intended to be black so that they were above the noise floor and then crush them in post. Problem was too many video people got a hold of it and didn't understand the concept of cinematic lighting. Over the years other companies jumped in and a lot of progress has been made. Even though I own an Epic Dragon I might actually turn to a Black Magic camera if I had a shoot that had a lot of outdoor night scenes. It would be an example of how selecting the right camera can save in many thousands of dollars of lighting.
I've been using my RED Scarlet-W Dragon 5K for almost 5 years now and it still kicks ass!
You had me at FireWire800 😆 Seriously though, I seriously looked into getting this camera before grabbing a C70. They’re so capable! Being locked into Red branded memory was the deal-breaker for me. - Ryan
That was fun to watch! Thanks for making the video Caleb :)
Dang I agree, those old red sensors look much closer to film than most new ones IMO. Probably because that was when the industry was mainly using film and needed convincing that digital was a viable replacement. Btw just saw your 6k pro on gear focus haha
Great video as always! Are you going to do a video on the Meike FF primes?
OMG Finally someone doing videos about this Jewel of Camera!!! Thank you soo Much bro!!
I felt like this comparison between the Blackmagic and the Red Camera was like a modern vs classic cars conversation. Yeah, modern ones may have lots of comodities and technology, but man, there is something in those classics that makes them always stand out
Maybe it’s the engine sound and nice build quality.
If you want a very underrated camera to kit out for one of your videos, look at the Blackmagic Micro Cinema. Those Fairchild S16 sensors capture light so differently!
Fantastic video! Thanks Caleb. That sensor is beautiful! Loved the quality of the end results.
I had the fortune to work with this exact camera, on a short-film one year ago, and for my personal projects I use a Blackmagic Pocket 4K. This RED camera is very underrated, and I truly belive this is the FIRST video that give us a proper in depth explanation, I would really loved to see this video BEFORE i shoot with it. However I had the camera's owner with me, but we all know its better to know the camera.
Personally I would say, if you are doing a one man short film, you better with any Blackmagic Camera. Blackmagics are way more simple, and user friendly, but this RED camera IS a true cinema camera. BRAW isnt anywhere near to the Red RAW files, with R3D files you can really do all those post adjustments, with BRAW its meh... But if you have at least a 4 person crew, you would definitely need to go with this camera if you have the chance. Its not a low-light monster, but assuming you are using this camera, you will have decent lights with you as well.
My only complement is, that you cant properly replay your footages, neither deleting them. It doesnt give you a preview thumbail, so its kinda annoying. And its way easier to watch your footages with a notebook and SSD with a Blackmagic, but then again, when you shoot a serious shortfilm, this RED camera is an actual cinema camera, and it ment for narrative filmmaking.
Thanks for the amazing review Caleb, keep up the good work!
BRAW is a container, and 99% of the people who state it's is worse than Redcode only have experience using it with Blackmagic's lower end pocket cameras. The reason this matters is that most of the issues people run into with BRAW are actually sensor limitations and not format limitations of BRAW, because both BRAW and Redcode are easily capable of storing far more information that any current sensors can possibly produce. That said because Redcode includes Bayer information it can be debayered in different ways which can subtly influence the overall look where as Braw's debayering is almost entirely handled by the cameras internal firmware. Whether this should be considered a limitation or not subjectively comes down to if one likes the look the the resulting demosaic.
Love the video!
I've been thinking about selling my Scarlet recently, since the Ursa mini Pro 12K has become my go-to camera these days, but damn, straight out of camera the Scarlet just looks fantastic.
The images just look a little soft, but still have all the details that you need.
I shot a wedding on the Scarlet and my A7SII a few years ago, so just available natural light, and I tell you no amount of color grading can get them to the same level in some situations. The footage from the Scarlet is some of the most beautiful shots I've ever gotten, and the A7SII just looked like a Home Video. As the sun set the story changes of course 😅
If you are thinking about getting a scarlet yourself, I have a playlist on my channel with some Videos I have shot on it.
Why do we need 12k or for that matter 6k? What is the benefit you see as a filmmaker
I've been using the Scarlet as my university graduation film camera. After using it I have personally been eyeing the Red Epic MX since it has 5K120p and is around the same price as the Scarlet.
I've been using the Sony A7 line up for a couple of years. As much as I love the insane convenience and warm colours I personally just prefer the Scarlet even if it has bad low light capabilities and expensive rigging the image is just stunning compared to an a7iis or the a7iii. One day I'd love to own a Red Camera, but for now the Sony A7's will do for the mean time.
I had my BT Scarlet MX since 2012. I sold it last fall and picked up a DRAGON 6K. I know REDs been pushing their Komodos and Raptors but I feel Im graduating at my own pace and benefiting from really old tech :)
@@ericsantiago2199A lot of the the new consumer cimema cameras are great in many ways Zcam brings 6k and 8k and a decent price Red Komodo brings their image quality at an affordable price too but they all have limitations that the older cameras over come. Some do 6k others do 8k, But most of them do 60fps at 4k internally without an external recorder, which personally is a tad disappointing to me. Older Red cameras are powerhouses at specific resolutions and personally 4k Full Format or 5k is as far as feel I need to go.
I just bought a BMPCC 6K Pro 😭 haha. Just kidding. The Scarlett wouldn’t work because I want to mount it on a gimble.
Thanks for all your videos Caleb. I spent a lot of time watching you review various pieces of gear to build out my rig.
Great post and thanks for giving this camera some love. The Scarlet MX was my first personal 4K sensor. Had many years with Canon XL-1, Sony Beta (insert two letters here) Pannies etc.
Worked with a RED ONE but mostly post. I love this video since its brings back memories (sold it recently and moved up to a Dragon 6K) and also helping others find options. Hey if people can get work using 16mm and selling it as classic then why not the MX :)
You have not really talked about the Red learning curve. My son was trained on Red at university and it taught him a lot about lighting. The early Reds could create a great image but they needed good lighting. He has shot with an Arri Alexa, but now as a director with 10 years of experience he allows his DP to pick the suitable tool.
Letting your dp “pick” is called being lazy and not informing yourself. There’s no virtue in that
@@Frontigenics pretty sure a director with 10 years of experience who knows how to collaborate with DPs that probably know their stuff is not lazy.
@@Frontigenics DPs pick the camera. That’s completely normal. Many directors aren’t camera nerds at all.
@@Frontigenics You pick your DP, there’s no laziness there.
i have one and while ive had plenty of cameras by now, i can say with confidence its one of the easiest cameras to use second to blackmagic cameras. UI is simple, touch screen is a plus if you have it. I know how to expose an image properly by now of course, but i can tell you the red is not unforgiving at all. Its probably not gonna be your first camera, so if you have some experience it should be very easy to use.
Red epic owner since 2013. Still love it more than my a7s3 and r5. I remember why I bought it every time I use it.
i am here watching this video because i own a RED MX Cinema camera, i love so much more then my old BMP 6K
Always excited to listen what you share :D this is awesome!
Hi, I'm searching online this answer but can't seem to find anywhere. Just got a Scarlet X, it came without the top fan (it does have the front fan). Does that mean I'll fry the camera? Can it tolerate use without the top fan? (moderate use, about 5-6 hours on per day)
The MX sensor is a magical thing, it is so great with skin tone.
I own both the cameras and you are absolutely spot on . I have found the older Blackmagic pocket cinema camera og cut quite well with the Red scarlet x. All newer Blackmagic cameras lack cinematic cadence, color density and are over sharpened in my opinion.
I was trying to figure out what I didn’t like about the pocket 6ks. I shot a bit with the urea mini and the thing was gorgeous footage wise. Crop sensor has downsides but the shots just look so nice. Been wanting to see what the deal is with reds for a while. I find some cameras just have a good feel which can definitely beat the specs or something that is technically better.
Great review as always. Thanks a million Caleb. Thanks for all the content, not sure you know how many times you've helped out. Have a nice day.
We've been shooting with a pair of 6K Pro's for the last year and they're our favourite cameras we've ever shot with! Blackmagic cameras are super underrated.
everyone has a black magic camera so underrated is hardly true
on the old red mags like a 64gb card, how much 4k 24p recording time would you get?
Best playlist on this channel - it’s very inspiring and I love the philosophy of « affordable cinema cameras ».
Today the resolution war is utterly ridiculous and at the expense of the rugged, functional and reliable cameras.
THOSE SKIN TONES!!! :D WOWZAZ! Incredible man. Thanks for another amazing video. I might actually try this myself.
Any plans to pick up an Alexa Classic EV? Seeing them list for around $3500 these days. Great video, by the way. Been looking forward to hearing your take on the Scarlet.
IPP2 Workflow is pretty easy and gives a great starting point.
Can’t wait. Thanks for finding the awesome deals
Thank you for watching!
The good old Red Epic Dragon is still one of my favourite cameras ever skintones are amazing, much better that any other recent red camera (specially the Helium, i hate that sensor), i'd put it right after the Alexa Mini, and you can get it for cheap nowadays.
But i find it funny that you say you got ONE v-mount battery, for a whole shooting day, i'd say that even with 6 150wh batteries, you'll have to be careful for them to last long enough, specially once you had a Teradek, monitor and wireless FF.
Would you get a Red Epic Dragon over something like an ARRI Alexa XT?
@@daniellediamond457 I would say it depends on your work. To be overly simple imo the Red Dragon is better for commercial work and the XT is better for narrative.
1 of the best videos on cinema I've ever seen.
Can you do photography with them? The image quality is so good! Are there any advantages to using this type of cameras for photography? Or just for video?
7:36 the blackmagic looks more video-y because of the partial debayering that happens in camera. It's not real raw. Braw is like prores but with metadata. Also the sensor is from sony which contributed to that video look. Sony's prosumer camera sensors don't look as good as their more expensive counterparts.
Pocket 4K and 6K are capable of much sharper image and deeper colors but since the camera doesn't record fully raw data onto the file it doesn't look good.
Try downgrading the pocket 4K to firmware 6.0 and try the cinemadng out. You'll be blown away by the quality. It's the full raw data from the sensor and the debayering only happens on the nle. It will match the red much better than raw.
Braw is better for live events or documentary work but not for narrative work.
dear DSLR video shooter lord,how much wordlessly this title is when seeing it straight to my heart...I still cant afford to buy it-RED epic,my favorite-I used to dream one and decided to buy it in a second hand market,7 years passed,I still earn for what I basic need in routine life and have no rest enough to collect for the price(rmb 15 thousands) in that market,7 years,last week I went to that cargo shelf where this babe is sleeping on and talked abit with her(again again again,I talked with this shop many times,just looked at it and gone away),today youtube pushed up ur old video of this one,I really really love this RED,really! If no bother,can u lend me this one just for few weeks or months to try side by side,I will be life time thankful,a bottom indie doc movie maker in China😇
I mean scarlet,wrong put...both them to me are all goods
i really love your old camera series, I own original BMPCC and the image out of the sensor is amazing. I am still learning though. And I think buying old red camera is great option with the down side of repairs.
About that "special" SSD... LOL. Thanks for posting this it was cool to see something that can still be relevant. If nothing else, having a red can open doors... even if it is a misguided notion.
In the world of cinema, Red does not open doors, Arri does...
Amazing video. Exactly what I was looking for.
$3000, and now can be had under $2000. Next year for $1750 and bellow. Best part about these huge cinema cameras, is that the prices just get exponentially low over time, and no one is really looking for them.
Bought one of these back around 2012, and I still love it. It's still my favorite camera. I just wish there was a bigger 3rd party support market for it, especially when it comes to the SSD's.
there is no clean HDMI/SDI output to use with external recorder? and prolly it kills RAW availability?
@@KamilKeenanVisuals HDMI and SDI on these were both 1080p out, so you couldn't record 4K.
It seems intentional on part of RED to make 3rd party support harder. The closed ecosystem that forces you to spend money on expensive proprietary accessories is probably my biggest gripe with RED cameras.
Dude your videos look great, mostly because of your lighting and colour grading of course. But I feel like you have learnt some tricks to make your videos look good on RUclips when many of us struggle with the dreaded compression.
Maybe make a video about what you've learnt? Would be great!
I looooove these old cinema camera reviews! It inspired me to look at older cameras and buy a c100mkii :)
Please, more review like this! And comparison with more modern cameras! Thanks
MX sensor still holds up today!
If I could I definitely would consider
Just got mine! Thanks for the video! Will there be a camera guide for this camera?
Awesome video! The RED seems to have more intense color banding. Any thoughts on that?
Thanks Caleb. It's a great help
Love these old cinema camera reviews, keep ‘‘em coming.
Everyone always overlooks the F5. Sony gave the F5 a firmware update to include nearly every feature of the F55 other than the global shutter and extended color gamut which are inherent to the sensor. I picked up a rigged out upgraded F5 for under 3k.
I agree that out the gate, the RED just looks much more ready and filmic. But you can do a few things to make the BMPCC scream too. Nice lenses, filtration and a little softening in resolve with the glow plugin and reducing the mid detail, you can get a VERY sharp yet smooth and soft image. Also I believe RED’s hace OLPF’s which help a lot in that filmic quality soft image. Which you can buy aftermarket OLPF’s from rawlite for the pocket series these days
I'd love to see a video done on a filter stack to make the Black Magic cameras more filmic. In NYC and LA you can rent just about any filter, so you could do such an analysis / review without breaking the bank.
@@robertgruen2088 sure. Personally I like the Schneider radiant soft. I use the radiant soft 3 with my sigma art lenses. The 3 strength is quite strong but with the 6k resolution and tack sharp sigmas, it balances out very nicely to give a pleasantly soft image.
I like the radiant soft because it softens the skin nicely without over blooming the highlights like pro mists do. In other words, you can use a strong diffusion for the skin softening effect without the insanely bloomed highlights that often comes as a side effect. Though these are only available in rectangular sizes. The closest thing in cheaper circular filters I’ve found is tiffen glimmerglass.
Here’s a music video I recently shot with said setup. Nothing spectacular, but a good representation of the look im speaking of.
ruclips.net/video/X2JewhWKN2g/видео.html
@@robertgruen2088 It also helps a ton we had a phenomenal colorist for that video
absolutely love it - great vid i was mesmerized
I'm just going to throw out my $0.02 on one of the very subjective points in this video. We all know Caleb uses Finalcut as his primary editor of choice, and that means any RED camera is going to have RAW support, where as Blackmagic cameras do not, to my knowledge, have a Finalcut BRAW option. That would mean grading the Pocket either had to be done as RAW in something like DaVinci or as Prores in Finalcut, which is going to make grading the Pocket 6k significantly harder. If I were in a similar software situation, I would likely lean towards a RED as well. As a DaVinci Resolve user my self I find it much easier to get the look I'm after out of Blackmagic and ARRI cameras than I do RED's, but I'm sure 99% of my choice is that is my preferred software. Software choices can have a lot of influence over camera choices from the standpoint of ease of use and grading.
+1 - agreed. This was a big mistake from Caleb. Not sure why he’s not paying attention to delivery options and making videos like this. It’s a classic example of “let’s make false claims to justify a purchase” syndrome.
i wanna give a big shoutout to the green ass tint in the ungraded negative of the p6k too. surely it wouldve taken less work if it were white balanced correctly in the first place?
@@8020Alive It takes literally minutes to assign a color space and export a video to be graded in another software. He doesn't address it because he doesn't need to, as what editing software you use is irrelevant.
@@OlegUstimenko There are multiple reasons one can end up with a green tint shift without it being the cameras fault. The three most common reasons are:
1. LED lights notoriously shift towards green as they age.
2. Adding an IR-Cut filter on top of the existing IR-cut of the internal ND's can result in to much red being removed causing a green tint.
3. Some lenses can have a green tint to their glass. Some of the older Samyang/Rokinons lenses for example tended to slightly shift green.
@@8020Alive BRAW is not the equivalent of RED RAW. Not till 2028 will the two be similar.
I just bought a RED Raven last night.
We want to see your footage review of Meike cine FF prime lineup, I heard a lot good things about them.
I can’t believe in not subscribe to your channel. No joke I’ve been watching your videos for years now lol
Good afternoon. Really big fan of your channel. Quick question what brand the v mount adapter that you use to mount on the back of your red?
Так ведь можно намного проще сделать в камере Pocket 6K. Можно загрузить заранее подготовленный LUT и, когда видео импортируешь в Davinci - получаешь сразу готовый LOOK, который нравится. А, если нужно что то изменить, то сразу можно отключить этот LUT (который использовался в камере)и работать уже на уровне RAW (но при этом загрузить этот LUT в программу и сразу видеть результат). А, если хочешь, то можно сразу записать LUT с файл и получить готовое, красивое видео. Я лично не вижу никаких в этом проблем. Я продал свой RedOne MX, что бы купить Pocket 4K (чему очень рад).
the best part of the side handle and redvolt is that you can have that and then hot swap your v-mount or gold mount batteries on the back.
This is my next purchase...I absolutely love this model and the price as well
Amazing review, thank you! Where did you get that Scarlet Vmount cheese plate adapter from?? I have been looking for something like that for months.
This is why I shoot Red. There's something about the look. And it's so effortless to grade.
I love experiencing these older cinema cameras through and your money 😂
I thought the 6k looked better personally ..and I watched on my 75 inch TV
Hi Caleb. Have you ever considered reviewing the Sony CineAlta PMW-F5 (not to be confused with the FS5 its little brother) as a budget cinema camera? They’re available used, and still current with Sony as a model that they still sell new and provide service for (but pre-owned is way more affordable). If you like the organic look of RED and you liked the Sony F3, you might like the F5. I realize that none of us have unlimited money for cameras but since the Sony F5 pre-owned is in a similar price range to the RED that you reviewed in this video, it might be something that your viewers are interested in. I have an F5 with the 4K upgrade [also Netflix approved with the 4K upgrade] and for my needs, the Sony F5 is an affordable 4K PL mount camera with amazing natural color and affordable media cards. Thank you for providing content for filmmakers like myself that are on a budget. Sure it’s fun to watch videos about shooting with Arri Master Prime lenses, but we also need content about gear that we can actually save up for too. God bless!😊
Ahh I miss the RED ONE, what a tank that thing was. Good ol days
Ive got my 6d, nifty fifty, and magic lantern and it still looks pretty dang good
Can still remember when this came out
Love my Epic-X Dragon for more or less the same reasons, well said.
I can’t wait for o see your Arri Alexa classic review!!
I agree - old REDs still rock. I'm using a RED Raven I purchased used a few years ago. I have no need nor desire to switch to anything newer or different. The media is a drag, but I have a few cards and I'm fine. IMHO the image a RED produces is superior in most cases.
The usual great content! Kudos!
As much as I love the RED’s image quality, its down sides as a camera are too big, so for the time being, I’ll keep my 6 k pro. Thanks for the awesome review 🙏
Between the Scarlet-X, Scarlet-W, Epic-MX, and the RED Raven, how would you rank them in terms of what is the best band for your buck? They’re all relatively affordable, especially for RED cameras but there really aren’t any comparison videos between any of them (probably due to the fact that none of them were originally priced for the prosumer [excluding the Raven which was top of the line prosumer] as they all now are).
Epic-MX is the best for me. It's much closer to cinema image. It has an amazing depth. Scarlet-W and Raven' image looks much more digital, like very expensive mirrorless cameras sometimes.
Not sure if I agree with your image comparison, the banding on the red was very noticeable.
Funny, I almost bought one a couple of years ago but when I did my research I found that if they break it’s impossible to fix them at a reasonable cost. Still, I live the images you showed. I just bought an fx3 but I’m still wondering if that red is the one that got away…
The fx3 is a great buy. Matter of fact i just got a Scarlet X at a bargain price and might sell it to maybe get an fx3. Honestly? Media is what does it for me. Expensive, old and getting hard to come by. Other than that id keep it honestly.
Hey Joel. I hear you. I can get great images out of the fx3 when I get the lighting right. I also have a blackmagic pocket 6k and I can get better images out of that more often, except no autofocus, no flip screen and no ibis, which are very important to me when I’m one of the actors in the shot. So for me I need two cameras, one for every day and another for more cinematic shots. My biggest fear with an old scarlet is if it breaks and I can’t fix it. I love the image though…
Always great content !
We just see, MEIKE prime cine lens :D
Tell us tell us in a dedicated videooo 💪🏻
thanks for the effort and sharing. i am an appreciative subscriber. (and boy, are your kids bigger!) thumbs up.
Thank you smalltalk! Much appreciated :-)
It’s possible I’ve just finished my last ever project with a Blackmagic camera and that makes me very excited. They’re great beginner cameras but I’m ready for something more reliable and geared towards how I want to shoot.
The Blackmagic Cameras are NOT beginner cameras in the slightest. Most beginners couldn't get a descent image out of one.
Excellent video, thank you!
One question: Where can I find Sony E - Lensmount for RedCams ? I want to avoid adapters. Is it possible that there are none ? Couldn't find anything.
Wow. I barely used my RED Scarlet I bought in 2011. It's amazing it hear it talked about like a Dino. However, it's still the reason why I still love it. Hopefully I will shoot more with it again soon.
Interesting enough, I’ve actually used this camera, and compared it to my Pocket 4K. The Red’s sensor is quite nice. Far less noisy at lower apertures than the Pocket 4K. The Pocket 4K really only had it beat at high ISOs
Great presentation, thanks!
That Red is a Beast! I would appreciate if you could do another video doing some test footage and doing some work with The HDR on this camera. Thanks !!
My little gem 😍 I love my Scarlet MX
I own the Scarlet-X which really is a great cinema camera, but at this point and with my style of shooting (one-man-band narrative) the camera has its clear downsides.
For me the main downsides are:
- Weight - it's heavy and so are the accessories, which also means you need a bigger tripod, camerabag etc.
- Fan noise - I live in Scandinavia so it's not LA temperatures most of the year, but shooting with this camera for more than 5-10 minutes makes the fan work overtime (unless you have long breaks in between takes that allows the camera to 'breath' or if you set the fan at higher volume.
- Iso performance - by todays standards the image gets really noisy if you shoot at night without lighting your scene.
But if you can live with this, the camera gives an amazing cinematic image and with perhaps the best codec in the world for film. 64 GB cards will give you around 30 minutes of recording in 4K in raw.
Hey! Thanks for your points! Do you plan upgrading?
@@AlChered Not to Red. But the A7iv is currently what I have my eyes set on. If the BMPCC4K was in a different form factor with better battery life I might have gone with that. But good/reliable AF is important for me too and that means either Canon or Sony and the A7iv seems like the better choice in my price point.
@@jespersichlau4343 So in the end the convenience outweighs these “cinema quality” benefits of RED. I have an FX3 and after watching this video I had that flash thought that maybe I should try to buy an old RED. But after reading the comments I have cooled down lol.
@@AlChered I mean it all comes down to your shooting style. Personally I don't own a car, so every time I need to use the camera outside my home I either need to borrow a car or rent one. That's a lot of hassle that gets in the way of being creative. I can't really use it for documentary style stuff either, but for bigger projects that's worth the hassle I still use it. I'm thinking the convienence of a lighter camera suits me and my shooting style better. At this point it's all a matter of picking your tool and making the best of it. There are so many great cameras to choose from today.
I think you would like very much the classic pocket (BMPCC 1080p)