The Best Camera in Hollywood is... | Red V-Raptor vs Alexa Mini LF
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- čas přidán 11. 07. 2024
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It's rare you get to test out two of the top tear cameras on the market. Partnering up with my friend Rob Machado we were able to test the Red V-Raptor vs the Alexa Mini LF. It's time to see who is the real King of Cinema.
Awesome People:
Rob: / robchado
Cam: camcalloway
Sunshine: sunshinedgtl
Sonia: Artofsonia
Gear We Used (It's a-lot) :
Red V Raptor: bhpho.to/3am9Xpv
Alexa Mini LF: bhpho.to/3PViK1O
Lenses: bhpho.to/398Kmjk
Monitor: bhpho.to/3GKAKYo
Aputure 600: bhpho.to/3NKhgWe
Arri Skypanel: bhpho.to/3M9vGxR
Over Head Key: bhpho.to/3NN61wi
BTS Camera: bhpho.to/39v9HnK
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As a RED owner, and most technical specs aside, Arri wins every time. If you work in the industry or even just look at the cameras big Hollywood productions are using it is Arri 90% of the time. The Arri sensor is unmatched and especially now with the Arri 35 there is absolutely no competition when budget isn't a factor.
Even for music videos?
One of my favorite show (Stranger Things) is shot with Red cameras, and I'm in love with their look
@@jsleger3404 Season 4 is shot on arri. They dumped the Red
Alexa is only 4K just for a minute think in 2050 50% of people in this world would have 8k TV why 4K and its not 8 double difference in 4K 8k its a four time difference what will colours do if in future theatres likes Samsung 8k will come can 4K surpace it with their ripped up pixels. Red is clever and futuristic. Now Sony also joins them with Venus 2 8.6k sensor. Have you changed your mind now you idiots.
@@jsleger3404 that's more on set design/lighting/grading the Alexas handle highlights much better than Reds.
I think the RED makes more sense for way more people. It's not only a fraction of the price, enabling owner/operators to buy instead of rent, but the increased resolution along with the R3D codec's latitude in post means you can make it look like whatever you want. Projects of a level where an Alexa LF is required over a Raptor for valid technical reasons, those decisions are made by people who live in much larger houses than we do.
I would go as far to say the Blackmagic 12K would be a better option.
@@mrshaheedmalik I agree
I don't know why but if you told me this was shot on Sony A7sIII or Canon R5 I would've believed you. Feels like every camera out there is just 5-10% apart from one & other, but one thing I will admit after getting my Komodo the color science is different than my Sony A74 and A7s3 camera. It doesn't have that digital videoish look, it looks like it was shot on film and doesn't require too much color tweaking. I think in 2-3 years Hollywood and people like us will have cameras with same capability. Just like Tom Cruise has an iphone in his pocket, so do we common folks.
Hi ji how are you... I always watch your video... You are my favorite astrologer
yep and it's that 5-10% which set it quite differently apart
THANK YOU so much for having me a part of your video, so great to play music for you all and see you do your work. Inspiring! Also the music video at the end WAS A GREAT IDEA LOL 😆
These types of tests are so great!!! Real lighting type tests! Gives us a real glimpse into the capabilities!
What test? This isn’t a test at all. Its a montage of a shoot with narration stating opinions. That’s it.
These cameras are beautiful ,I wish I could get this look with my pocket 6k but I believe the look is mostly the lighting setup you guys did, that’s what I gotta learn
Thanks for this. great video. feel like it could have been twice as long and I would not have got bored. hard to see much difference on my phone but I am curious which camera rendered the neon FREAKY FAST DELIVERY more accurately?
I hope you get your hands on the new Arri 35! It looks amazing!
Great video !! Keep them coming
this is a great video and looks like a BLAST but I gotta say, using the DZOFilm Zoom Lens on the alexa probably gave a significant difference in color rendering and fringing and contrast levels. If im off-base, please LMK but i know that those lenses have a lot more character and style than the tokina prime lenses.
Those tokina cinema vista prime are gorgeous quality lenses I'm definitely going to invest in some!! Great review Brandon!!!💪🏾💪🏾💪🏾🔥🔥
Both amazing tools! Great vid B!
Love my Helium and Komodo, but so far I'm not impressed by the Raptor at all. The Arri looks so much better in these tests. The scene with the neon sign just goes to show how great Arri is, the way it rendered those colors was really beautiful. I thought the Arri looked more realistic too which goes to show that resolution doesn't mean too much. In all honesty, at triple the price of the Raptor, the Arri should look better.
I thought the Red looked better in the neon, BY A LOT.
Really cool to meet you this day and see you do your thing!
8:44 when you matched the red color to the alexa, please tell me which neon sign looked more like the real life color you saw with your eyes on set? Because after the match that sign is still more yellow on the red. I look forward to your response, since I am purchasing a camera soon.
Love the Tests
Really great review. Appreciated the comparison in low light. Would've also liked to have seen some comparison in high lights too. Which camera blows out the quickest maybe. Still out of my price range but even then really cool.
The short answer is the Alexa wins. DP’s love it because it veers more on the highlights than shadows like film. You can pull back about 7 stops over believe it or not. Red does better in shadows
@@jeremy_woods So maybe when shooting on RED it makes sense to overexpose a bit and then dig from the shadows when needed? Not sure if it makes sense, just trying to follow the logic :-)
Hi Brandon! I love your videos.
If I may ask something a bit tangential, I am actually pretty sure I want to purchase a RED Raptor, and I was thinking whether I should purchase RF prime lenses that fit really simply and I can have autofocus, or go for the trouble of using an adapter and getting a "higher quality" lenses like Zeiss prime lenses, Tokina, etc. Would love to get some input from you 🙂
As I see it the cinema lenses will be more exact in an interview setting, where I can check the distance to my subject and gauge everything, but the autofocus would be tremendously helpful when I'm filming on the street, because let's face it - it's a bit hard to dial the manual focus while having a 4kg setup on the other hand.
Yo! Is that the LG DualUp 16:18 monitor? If so what’s your thoughts or are you gonna do a review? Very curious
Great comparison bro!!
I would love to see a full breakdown of those sets!
ha!! glad I stayed for the very end. That was fun
Great video. I appreciate your taking a position on which camera you like. I watch your videos to learn and get opinions but often the conclusions are very neutral and non-committal. This video is how I hoped your other videos would end- with B-Dub’s stance/opinion. Good stuff, Fam!
I think the biggest differences to me were the obvious color shifts in the RED footage, and while in the one shot the darker red mid-tones were color matched, the yellow orange hue shift in the highlights remained where as on the Alexa the reds shifted into pinks as it rolled into the highlights as one would expect. I noticed a similar drift in some of the other moody shots with the reds as well. Now while the RED's footage might have looked cleaner out of the gate once delivered here on CZcams the only time I really took notice of the additional noise is when it was zoomed in on. So, for me, the color shift was a much, much more noticeable issue. We should also acknowledge that the Alexa isn't a compressed RAW, and even though RED's compression occurs before debayering, that compression can still result in color shifts in exchange for an easier to edit format.
On a slightly different topic is the idea of market appeal. ARRI isn't after things like the highest resolution, the RF mounts or trying to misrepresent their dynamic range in order to sound better than they actually are. ARRI has only been after one thing, to producing the most beautiful, color rich and appealing image with exceptional tonal range. It's taken over a decade for others to come close to matching the kind of image ARRI offered, and now the Alexa 35 has come out they have raised that image bar again.
What's debayering and tonal range ?
@@creativegreats6924 Most modern camera sensors use some form of color mosaic pattern to pick up the different colors that make up an image, and when one shoots in most types of RAW the color mosaic is stored instead of something closer to the final image. Demoasicing is the the process of converting the color mosaic to some type of viewable color image. The most popular mosaic pattern used on cameras, including RED's cameras, is a Bayer mosaic. Debayering is just the term for demosaicing a bayer pattern. RED typically compresses the RAW bayer data when saving to its redcode (.r3d format) which can lead to slight shifts in color, where as ARRI does not.
Tonal range, in many respects is similar to dynamic range, but the difference is tonal range refers to the total quantity of shades per color channel where as dynamic range often refers to the total luminance range. Why the difference is important is in highlight recovery. One can get more dynamic range by using a highlight recovery technique if one channel of an image has more highlight sensor information than the others; however this "recovered" information doesn't contain real color data. So it is guessed at, and can lead to inaccuracies and muddiness in the rebuilt highlights. Red uses highlight recovery as part of it's dynamic range calculation and this means the actual tonal range can be a stop or two lower than than it's suggested dynamic range. ARRI on the other hand refers to their dynamic range using tonal range, which is why they are often considered conservative on their dynamic range estimates. People will often joke that if ARRI says 14 stops of dynamic range then in RED terms it would be 15-17 stops. Likewise, with the new Alexa 35 ARRI is claiming 17 stops, in RED terms it would likely be considered 18-20 stops. Dynamic range is one of those wobbly grey areas that often doesn't remain consistent between manufacturers. This is one of the reasons some third party reviewers, like Cine-D and Gerald Undone, have switched to using the Imatest Xyla dynamic range tester system so they can do an equivalency comparison between all cameras; however, it still works off dynamic range and not tonal range, but over all it gives a more consistent comparison.
The Alexa 35 is going to be insane! The major difference to me is that Arri actually makes their own sensors and RED doesn't.
I really don’t care for RED footage. It almost always has a distinctly harsh, overly contrasty and “digitall-y” feel. Doesn’t come nearly as close to emulating the film look as Arri or Sony cinema cameras do.
I think you can make a great film with most cinema cameras these days, even some mirrorless cameras. It is all about the story and the skills of the Director, the DP/Cinematographers, and talent. If a film is well made with the right lenses, I doubt your average moviegoer would notice the difference in the picture quality whether you used a Venice 2, Arri LF, or a Red Raptor. If your goal is to impress industry professionals and critics with your equipment then that is a different story. For me, I would go with the Raptor.
Agree. I got an R3 and I know that if I get better at lighting and all other aspects of storytelling the camera has the picture to make a blockbuster (or proper indie film)
People talk about low light performance with cameras as if shadow recovery is the end-all of a good sensor, when what really matters is how well the camera can render color in low light. If you light a scene dark, like in The Batman, you aren't underexposing and lifting your shadows in post, you're lighting for a specific level of light and darkness, and the colors need to hold up within the limited light available to read those colors. That's why The Batman was shot on Arri even though Red may have had better shadow recovery. Arri has the color fidelity.
What ISO did you use on the RED in low light?
Dope. What is your dual monitor setup?
Great stuff! What is the name of the song in the beginning?
hii brandon.i have a question :
so you have a super 35 sensor built in alexa 35 and it can shoot 4.6 k and it uses the whole surfaces of the sensor
my first question is :
when i want to shoot 1080p with alexa 35 , does it use a small part of the sensor only for this to achieve ?
what if it use the whole surface of the sensor for shooting lower resolutions like 1080 p and 720 but instead it will have bigger pixel size,bigger than 6.5 micro meter
is it possible that the camera merges some 4 pixels together so they represent one pixel to shoot 720p for example?
ProRes HD: largest recording area 24,88 x 14,00mm
should be down sampled (merge pixels in camera)
www.arri.com/resource/blob/277386/147beab6be8b5754e77ca49fc6d8e0bf/2022-05-arri-formatsandresolutionsoverview-4-data.pdf
A surprise, to be sure, but a welcome one!
I need to know how you did that intro lol that was super clean
Really nice comparison! I see you color grade in FCPX, would be cool to see how you color grade the Raptor in FCPX
Yes it would!
I'd like to see the Raptor compared to the Sony Venice which is around the same price of the Alexa Mini LF. The Venice seems to be getting used a lot such as in Top Gun 2 and Avatars 2-5. Also, it is probably an advantage (money wise) to have the FX6 and FX3 for B roll as opposed to just the Komodo.
I'm used to shooting on Red, I own one as well. I love the cameras. But if you're on a set that's costing tens of thousands of dollars a day, time is precious and Arri is just easier to light for. Fewer windows need to be scrimmed or ND's when working on location, even when the highlights or shadows do clip, it looks nice because it retains the color as the detail fades. The camera better aids you when you're put into difficult situations, slip up, or when you have to move quickly. It's just a better tool generally.
That being said, if you can't make the image out of the red look the way you want in ideal situations, you won't be able to on Arri either.
Even though I don’t own neither of the two, I still find these videos amazing to watch. Someday
Both look amazing to me! Still looking forward to that Raptor Vs iPhone video!!
Are you serious 😅😅..... Do you think the I phone will be able to compare
Most movies and series I actually watch were shot on either Arri or Sony. Very few productions shot on RED that I saw or even wanted to see, in recent years at least.
Thats not even a question
Man, I can't wait until I can afford one of these cameras. Or that new Alexa 35!
Yoooo. You got some smooth moves. 👏🏻
Well technically the ARRI is the better camera for Hollywood. Especially considering that the Alexa LF has been used on over 51 Hollywood movies and even more when adding in non Hollywood features/ series.
The raptor is cool no doubt and a great camera but it’s not built for Hollywood. It seems more like a camera built for owner/ operator DP’s. Just the fact that it has a native RF Mount instead of a locking PL makes it way less usable for features. Not saying RF Mount sucks because it is a great Mount with many possibilities but it was a Mount built for photo lenses.
I think a lot of indi filmmakers have had a challenging time with 8k files, but I recently shot some open gate 4.5k Arri raw, and the data rate was insanity! It was 4 times the data rate i shoot on the 8k epic w, and I realize I can’t afford to shoot uncompressed yet 😆 did you guys shoot prores 4444XQ on the Alexa for these tests?
What kinda computer is needed for open gate 4.5k arri raw ?
@@creativegreats6924 you can use a 2019 mac pro, or 2021 macbook pro 16, with ProRes no problem, and even arriRAW, the file size and drive space is the big cost
@@Cinematographer_brenton the file size and drive space ? As In hard drive on the computer and what else the cards that go into the Arri ?
@@creativegreats6924 Yes, the file size is very large when recording in ArriRAW. When recording in open gate you only get about 30 minutes of record time on a 1TB card. If you choose not to shoot in open gate you can double that record time to about an hour which isn't bad. But those TB's do add up quickly.
@@c8vegas when does one choose to use open gate ? And what does open gate mean?
Dope!
Superb
Thank you for this great video, but in the end i really dont know what's your answer to the video Title : "The Best Camera in Hollywood is..." which one?
I would imagine the Alexa having cleaner shadows than the Red but… It doesn’t look that way. The Red seems to have less noise. Can’t wait to see when Arri comes out with Alexa 35LF and see how they compare to the Raptor XL
it's just gonna be a super 35 only. something about how the back of the ALEV IV sensor is built prevents them from putting 2 sensors together
@@kwamehenry4867 i don’t believe Arri just will stop there without expanding that sensor building technology on future LF and even 65
RED is more of an owner/operation type of Camera. They are used to make movies however REDs are mostly used in the commercial/documentary space and are more popular amongst mid level and higher media companies and REDs are often shot by their owners.
Arri cameras are more like entertainment studio cameras.
They shoot predominantly for theatrical cinema releases, and everything else (commercial, doc) comes secondary to its use. Arri cameras are almost always rented.
One of the best and most relevant camera comparisons ever. The cult of ARRI needs to be challenged.
Saying that the Raptor is Red's flagship camera when it comes to professional film productions is not really accurate. The cam only came out at the end of last year. Most Hollywood films are still shot on DSMC-2 cameras like the Helium 8K or Monstro. Those imo have a more filmic look that the Komodo and Raptor albeit being worse in lowlight and not having some of the new specs. Thanks for the test anyway, just thought it was worth mentioning.
I was thinking the same thing lol. With the sensor issues of the V-Raptor I'd be surprised if any big budget film ever uses it as an A cam. Studios seem to really like the Monstro still.
As a V-raptor owner myself, I would like to test and see tested vs the new Alexa S35 (even though the sensor size is different) Please consider this test in a future video
I’d love to hear Rob’s thoughts on this if you could do a follow up.
He did a video too.
@@bwashmedia perfect!!! Thanks B, loved the video and saving up for my Raptor!
Dance skills! hehe
The V raptor does not have 17 stops of dynamic range. Always subtract 3-4 stops from Red’s advertised numbers
Facts. What Arri states is true DR. Red is still a nice camera but the patent on raw should make nobody want to support them. Good thing it runs out soon.
🔥🔥🔥🔥
Super
Both awesome cameras. But if I had the budget for a feature, I'd opt to rent a Sony Venice 2. Faster readout than the Alexa, better gain, awesome form factor (especially being able to detach and extend the sensor block with a cable, like they used on Top Gun Maverick), and great color.
You'd take a Venice 2 over an Alexa 35? Unless you can't afford lights for Night exteriors, I don't see why
Detach and extend sensor block ? What is that ? What's a sensor block and what are benefits of this on the Venice 2?
@@creativegreats6924 You can literally detach the sensor block that's behind the lens (the block itself is like 2" in depth) from the camera body using a cable up to 18 feet long. They used it to film in the new Top Gun inside the jets. Imagine a ZCAM but even smaller. Here's a good explanation from Sony: "VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block [8K sensor support next year] and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilizers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes, or Russian arms."
@@creativegreats6924 There's a few on CZcams. Type in "venice sensor block"
Agreed. In my opinion, the Venice is the closest _any_ digital cinema camera has came to emulating the film look. The Venice has single-handedly won me over on digital cinematography. I used to be a film purist/holdout - but thanks to the Venice, those days are over.
(Side note, I can’t wait to see the amazing stuff that will be shot on the Alexa 35.)
the venice is seriouisly missing from this comparison. that camera is shooting SO much now.
price diffrnts
ARRI has been the standard in the movie industry for decades. I do think RED has come a long way. They produce some amazing images and when it comes to color science and look its subjective. I own a RED and it's fantastic. Most people don't own ARRI, but rent instead. RED has given a lot of filmmakers an affordable camera to own and create amazing images and stories.
I was also shocked when I tested both, the v raptor blows the arri lf .
Thank God for the alexa 35 , arri remains the king
B Boy Washington in the building 🔥
I actually sold my LF and bought Raptor. 90k LF is an overkill for most of the jobs that I do.
"17" stops rated by Red is more like a few stops lower in reality, versus the Arri's "14" stops being accurate if not underrated by Arri
Thank you. While Red Komodo only achieve 13 Stops, claiming having 16 Stops, in tests Arri really achieves 14 Stops. "Maybe" Red can reach the 14 Stops claiming having 17 Stops.
Exactly, and we have seen what arri had to do to really put 17 stops of dynamic range in Alexa 35.
Have you done actual test to substantiate this claim? I’d love to see it as if been searching why people say this. I can’t really find a direct video showing where Red doesn’t achieve its advertised claims.
@@leochilly czcams.com/video/MIB9IdtFm0Y/video.html
point: sensor performance
I have the red Gemini and can recover light in every sittuation.
In the night, i can film a dark sea and in the same frame, I can seeing, the light string in a light bulb, that shine the whole frame.
So... what you want more. And that all, relatively noise free at ISO 800.
Now use denoiser and the frame looks great.
But ok. When this is not 16,5+ stops, please show me, what i can do in the same sittuation with real 17 stops. I don't think, i can see technically a difference. 😅
You can fake any UHD footage to emulate Red footage in post, but that creamy Arri dynamic range is unmatchable
ARRI color 🤤
… the Alexa 35 ;-)
And hows is the Komodo?
For me Alexa has more filmic colors
you didn't talk about the dynamic range recovery strength of the mini, I also think your review was very biased because you're a red owner.
I always find these arguments entertaining. Both are excellent and any color differences can be easily corrected in post. I like ARRI, I like RED, but at the end of the day I can afford a RED, so that would be the camera in my shop. As I enjoy saying: "The intensity of an opinion on any given camera is usually based on the amount of money needed to pay it off." Everyone defends the gear they are making a living on. Any DP that cannot make an award winning image on either of these cameras should question the person in the mirror, not the camera. Finally, company image. This is a big thing to a lot of industry folks. Some like the way ARRI presents themselves, and other like RED. This is a matter of personal taste and has little to do with the cameras themselves. That said the marketing war between the two is intense. I for one am very grateful there are two different companies out there pushing each other. This is the kind of competition that benefits everyone. Level headed professionals should be extremely glad that both ARRI and RED exist in the marketplace. Dissing one camera to favor another is the stuff of high school students, not professionals.
Agreed. Through all of my experience and time spent in both ecosystems, I find things like crew, lighting, glass, and most importantly story, make a much more profound impact on the end result. But I do acknowledge that it is quite difficult to abstain from the war that rages in tech and spec as it relates to art. I think we are all guilty of losing sight of the bigger picture in the pursuit of technology aiding us in creation art from time to time. However I too am also glad we have two companies pushing each other in the direction of excellence. I have written on the wall of my recording studio (which is another black hole of endless gear analysis) 'Fuck gear, make art.' :)
Arri 35 color science is the most realistic I've ever seen. Red, to me, is not much better than a DSLR... Show me some good footage shot on a DMSC 3 camera and I'll choke on my words but I haven't seen it -- everything looks like an instagram filter... Why spend $30k when you can get a R5c/c70 for 1/7th the cost?
What? Instagram filter? no better than a DSLR? pretty strong opinion there mate
To say this, you must be a really strong fanboy about arri. 😂😂😂
But is ok. Arri looks great and is the best in his category.
Red is more like a allround camera. And i use a red Gemini the last 3 years and can say, its perfect in every sittuation. 😊
Quality pictures out of the video for production, low light monster, 5k resolution, low data, slowmotion and this in a light packet.
This is probably the dumbest comment ever . Red Komodo destroys those camera intermes image quality and bitrate let alone red raptor. Colors on canon are terrible unnecessary saturation and contrats applied. Reason why nobody uses those cameras in Hollywood production. Sony a7siii wrapped those cameras like folding bag in image quality. Komodo also destroys a7siii interns of image quality.
Tell any Hollywood producer use.
What is the best camera for Mortal Humans who pay bills and don’t make money on set, yet?
I just want an arri.
I am also very happy to make video films but unfortunately my videos are not crowded to watch, I know I still have many shortcomings and need to study harder, maybe friends can help with corrections where I need to improve in making cinematic videos, thank you
In terms of look. All Arri camera's beat what's on the market. Hands down. It's the fabulous sensor.
Still no NDs on a Red flagship after all these years. It is just ridiculous at this point.
If we talking digital ARRI has godlike image reproduction. Especially with new more HDR focused Alexa 35 they have no competitor. Venice 2 comes close.
I have never really been impressed with REDs. They are famous for being problematic on sets. They lack basic features such as dual media slots. And their image is nothing that special. Dynamic range is no where near what they claim.
RED’s DSMC3 image is a step backwards in my opinion. Looks very digital….
Arri or nothing! If you want it cheaper, take a Blackmagic but don't take a Red, I don't know what for.
HA! Dude the V-Raptor barely goes out on TV & Film Sets and the LF while gaining popularity has been outdone by the Venice 2. The industry is experiencing a Sony Venice shortage. There's too much demand and not enough Sony Venice's to meet them. The LF is mainly being used for some high-end features and a ton of commercials. Not talking about the Venice in regards to Hollywood really shows you don't have an in into what's going on in the industry like you think.
first?
Tell me you like the youtube content creator look more than the high-budget cinema look without telling me...
I understand u own raptor and wanna hype it.. but dude alexa 35 is way over ur budget and capabilities.. so leave it alone than comparing it with something way below Alexa’s standard
ALEXA WINS if you are filming people. It is perfect.
Red? LMAO.
As soon as it said the Raptor has 17 stops of latitude and and the Mini LF has 14 stops I stopped taking this video seriously. Sorry.
Hey I have a raptor that felt from a trailer anyone interested in buying it hit me up its new in the box 😊 hallo I'm asking $25k can't go wrong with that price.
You're saying ARRI incorrectly... its "air-y." You're in Hollywood, you'll learn. ;)
Pointless
Dude you reallt dont know what u r talking about
The Blackmagic URSA cameras would walk all over these cameras.
Maybe I’ll get my hands on the 12k version and see.
LOL. There’s a reason why BM stands for Black Magic (Bowel movement.)
@@Skrenja you must be into BM’s