perfection finally got cheap

[@aaronthecameraguy]

Seeing you without a hat on makes me feel like I have face blindness, WHO ARE YOU!?!?

[@spensersakurai]

2024. I ditched the hat.

[@starterpvck2043]

I was thinking "Somethings....different". Couldn't quite put a pin on it.

[@jaredking232]

@@spensersakurai ditched the hat kept the hat hair

[@MIRSTROY]

Sure

[@mendodornellas]

Honest review from owner from both an Epic Dragon 6k and a BMPC 6k. The Red is a more production-ready camera, but in my opinion less reliable, it's an old camera, sometimes a little buggy. Low light is really noisy on the RED, you can't really go above 1000 ISO without having quite some noise in the shadows. It drains V-mount very fast too. Heavy camera, so get ready to buy/hire an easyrig. Red 300fps isn't really usable professionally, but fun to mess with. The image compared to the BMPC is pretty similar. You can match both very easily with some basic color correction. The RED as a more organic look straight out of the camera, but after grading it's not really noticeable. In the end, the RED feels like a real camera, but brings all the complications a real camera has.

[@claudianreyn4529]

Bmpc is garbage, I would never invest in that. Better get a Sony Fx3 or a second hand komodo.

[@nvidiashield82]

I think imma try the new Pyxis

[@bressqn]

⁠@@claudianreyn4529bmpc is gold for what you pay

[@phfx]

I said it then and standby it now. Dragon was the most important sensor RED made. It was the one that turned the heads of a lot of film-centric DPs and Directors. I got hired to do more film vs. digital tests during that era. Also, though lost to time now, when RED went modular with DSMC they were laughed at and not shockingly the whole industry adopted similar form factors and mindsets, which is pretty evident today.

[@spensersakurai]

Yessssss

[@skullerhead6150]

​@@spensersakurai can you tell us about RedRaw file sizes in various modes?

[@pathosmovies]

Red never made a sensor. Someone else males them. In that case theres no real difference between various cine cams from china and a red. Thats why their main business is defending their raw patent. Apart from thar all that Red sells is a big ego. Everything else you can get easily somewhere else for a cheaper price. Also ProRes is still a standard codec, raw isnt really needed at all, except for marketing purposes.

[@phfx]

@pathosmovies RED has a sensor design team, some of whom you can meet at tradeshows occasionally and worth chatting with, and they work with a fabricator, somewhat similar to Arri's method. They design it and its made to spec. That design ends up being exclusive RED. Which has been true for each sensor to date and also why you don't find their sensor tech in other cameras. It's a daring oversimplification thinking sensors are the same. They truly are not unless they are the same sensor. For instance, Sony makes sensors that are in various mirrorless cameras. Same sensor in each. And even with that, eqch company's unique hardware and processing often produces very slightly different results.

[@pathosmovies]

@@phfx yea, and they also claimed they use very special memory for their cameras while it was just pretty cheap consumer stuff they sold for big prices. sorry, but red is just about marketing bullshit bingo with a big skull for those who need to feel cool while holding a camera like a "weapon". They also use highlight recovery per default to cheat on dr tests. lol. If you just do some basic research you`ll see that the red raptor 8k VV i like in the same ballpark in terms of DR as common DLSMs using Sony Sensors. Be it sony, nikon or fuji. So the only advantage that remains is redcode raw. I wouldnt believe that "red design team" a single word. Maybe they painted some color on the edges of the sensor to make it "custom" :DD. and reds sensor tech is not even close to arris. Not even slightly. Its probably just a sony sensor with a custom ipp.

[@guidedvisionsmedia]

Just got a Panasonic Varicam and it’s been an amazing purchase for narrative work. Good enough for me. No need to upgrade

[@blainewalker2147]

We often shoot Varicams as b-cam alongside arri Alexa mini LF A-can

[@SoundSpeeding]

Even in 2024 the Panasonic Varicam LT is so very good!

[@alejandrovargas1171]

Dear Spencer, We need an honest comparison of this camera against the Blackmagic 6k full frame.

[@topicruben]

Man, this is real RAW and you can’t compare the colors and the dynamic range! The bmcc 6k ff is nice but can’t compare with this camera

[@benja1378]

​@@topicruben"Real Raw",right every other Raw codec is wrong lol. Have you actually tried both?

[@topicruben]

@@benja1378 I’m not here to start an argument, bro. I actually have!

[@21pix]

idk if this helps: I have the bmpcc4K (BRAW) and the sigma fp (Cinema DNG uncompressed 12 bit RAW). Even though I´m a huge Blackmagic fanboy, I have the feeling that DNG RAW is a little better. But to be honest: I can´t exactly calculate the following factors: fp is full frame (which I love) - pcc4K is micro 4/3 (not a fan), used Voigtländer Nocturns on the 4K (good lenses) - but contax zeiss on the fp (by far the best lenses i have ever used). So make of that what you want 😀

[@GreatNon-pd5ig]

@@21pix bmpcc series doesnt shoot cinemadng? I thought they do!

[@auxsom]

This man has me looking at cameras I wasn't even thinking about. LOL.

[@topicruben]

If people complain about being too sharp they can use a different lens like a vintage lens. That is a super amazing camera. Thanks, Spencer. You’re giving me my mojo back 👍

[@jka179]

Red storage is still a big cost unfortunately 😢

[@clickhum]

Used minimags are selling for the same as used cfexpress in the uk at least

[@TrustyDigitalMedia]

Record to a Atomos

[@MatejPok]

REDmags 1.8” are soo cheap. 128GB for 80€, that´s cheaper than SDXC card

[@jeansebastienleger]

back then yes, but not anymore...

[@Bobsmithabc]

Red Mags are what sucks about those cameras.

[@0009reserva]

hack?

[@BracaPhoto]

Yes - standard ssd with the "redmag" shell There was a KZbinr selling his own redmag "kits" - he showed the world it was just a standard plug and play setup with off the shelf parts Red CRUSHED him eventually but he showed us the way

[@definingslawek4731]

@@BracaPhotoHe crushed red in the end, which is quite a nice david v goliath story. I mean that in the sense that both sony and apple fought reds patent and lost. But nikon used the information from Jinni's investigative journalism videos on red to fight reds patent and win. Reds patent is invalid.

[@definingslawek4731]

Yeah, they use two adapters to obfuscate the fact that they used generic ssds. So they had m sata ssd > adapted to their chinese proprietary male port. This then goes into their chinese proprietary female port, which then gets > adapted BACK to M SATA lol. The markup was absolutely incredible. The best part is red lied and lied and lied in their forums about them using generic ssds when caught, instead of just saying yeah, we use generic ssds and we charge this much because you will pay it.

[@i.amreis]

You can upgrade the side module to Minimags. Costs money though

[@dogflirt]

THIS is the video I needed!! Hell yes. Thank you for the details man. It's been in the back of my mind, but wasn't sure how it would match up w the latest models.

[@-CLASSIFIED-]

the older boddys might be budget used but the accessories is where red really gets you

[@noth606]

This is why I have a BMCC with EF mount, I have a basic Manfrotto 'cage' on it, record onto plain SSD's etc, literally the _only_ Blackmagic part of the whole rig is the body. I'd be interested in upgrading to a Red, but redmags? The other stuff? Eeehm puh-leeaze. I shoot stuff on a budget between zero and buy me a nice dinner, plus actual costs for things I don't have being rented or bought if needed.

[@AUUA-p5v]

You don’t need to buy the accessories though

[@billyj.causeyvideoguy7361]

Dragon Tattoo was actually MX sensor Epic and Red One (they started on the Red One and finished on the Epic MX.) watch the behind the scenes.

[@spensersakurai]

proves my point even more :-)

[@robertdouble559]

NOTHING feels as good in the hands as an old epic with a side handle. It's the perfect weight, with just the right amount of inertial to glide through the air for handheld with no micro jitters. PERFECT I tells ya!

[@robertdouble559]

HAHA!!! I left the first comment while I was watching the start of the video. I just got to the end of the video and you've said pretty much exactly the same thing. Couldn't agree more.

[@pixl8]

How much does it weigh? I want to build up my C70 to get rid of the jitters. Cheers

[@mattdillman463]

Sold our Red Epic with all the extras for $2,300 2 years ago. Storage space and Red mags were the main reason I didn't keep it.

[@TrustyDigitalMedia]

Only reason I didn’t keep my EPIC MX package is because it literally fried itself and insurance wouldn’t pay to fix it.

[@doublez758]

Honestly, with all the new cameras that are on the market today, in a range between 3/4 K, buying a 13 year old elephant, with all the defects it had... doesn't make any sense to me. Obviously maximum respect for your choice and your purchase, it's your money and you do what you want with it. We then make the difference with the stories we tell and not with the equipment we use.

[@cia2928]

I own a Canon C70 and have used a Sony FS6 and Blackmagic. What makes this camera still superior is the global shutter. If you shoot in 23.97 and do alot of moving shots there is a small jitter blur that happens occasionally while you're moving. The Global shutter on the Red doesn't have that issue. So if you're shooting industrial footage and you shoot in 60P the motion jitter isn't an issue. Although if you are shooting cinematic footage for short or feature films this old red is still a better choice.

[@TrustyDigitalMedia]

I used the RED Epic MX for 10 years and the image out of that thing is something I miss every day. Nothing compares to the look of it.

[@MatejPok]

Agreed. DR is limited, but definitely usefull. Image straight out of the camera is immediately nice, I don’t even have to grade it. Saturation in low light is exceptional, you can’t find that in today’s mirrorless.

[@disco.jellyfish]

14:00 You could still get 16bit raw out of an FX3 via HDMI and record it on an external monitor. With a camera this small, that has a monitor this small you probably want an external monitor, that is not only bigger and clearer but also shows you false color and all the other super helpful info.

[@spensersakurai]

Yeah no thanks. Red raw FTW

[@disco.jellyfish]

@@spensersakurai After all, all RAW is the same. Its just RAW. As long as you can manage the file sizes, even if its completely uncompressed RAW, neither is really better than the other. In fact - 16bit RAW 4.2K DCI isnt all that difficult to manage filewise. Good and big hard drives like the Seagate Exos series are so dirt cheap and reliable that you can easily grave 6 or 7 of them, put them into a RAID 6 and have a very redundant, fast and safe storage for not a lot of money. Its cool that Red RAW and BRAW exist, and its definitely a good thing to compress without compromises, but it is definitely also very overrated, when you consider that some people claim that uncompressed RAW is so big that its unmanagable. If you have $50k (or more) for a camera, rig, lenses, microphones, computer, etc. etc., you definitely have 2000 bucks for a couple really good hard drives. By that I dont mean that Red RAW and BRAW are meaningless, but features such as max framerates, low light performance or even autofocus seem more significant to me than internal RAW recording. Its nice to have, but definitely not necessary. Things that actually are superior or REDs cameras over something like the FX3 are mainly dynamic range, color science and arguably I/O. Red RAW is a nice to have but not mainly to focus on feature.

[@AlexDerrick_DP]

Did you mention that older RED cameras just look BAD ASS? Great video. I just bought a used Geminito go with my OG Komodo (B-Cam). Once I got my head around R3D on Komodo, I decided to sell my A-Cam and go full IPP2. Great video! Cheers

[@YouTube_can_ESAD]

Dude, enjoy the Gemini, My favorite 35mm sensor from RED. You are going to love it! IPP2 for life! 🔥🙌🏼

[@TapeSlateProductions]

Could you list all of the accessories that are on the RED build?

[@elliotalderson2479]

I feel “cinematic” and “better image” sometime draws a bias towards “I’ve seen similar in a movie theater” sometime a way better image looks cheap and corporate commercially. Can technically be a “better image” but not always cinematic. Which is why grain emulation and film stock luts exist. Taking a “perfect” noise free rec709 image and making it interesting.

[@RubenStuveling]

Hey Spencer, great video and the RED Dragon is indeed still an amazing sensor. I have quite a random question but do you remember which OLPF you shot these sequences with? My skin tone highlight seems to be bit noisy in lowlight, so you curious what you used. Thanks!

[@spensersakurai]

Yeah I believe the skin tone OLPF shaves almost a stop of light off. Just add more light 😏 I honestly don’t remember. I think it was the standard one.

[@TheDavidcallahan]

Great review Spenser. I still am amazed by the images I get out of my Helium sensor. Having a cinema camera you can run solo has also been amazing.

[@elliotalderson2479]

Alexa hasn’t updated their sensor at all until the last camera. Even when they had the LF it was pretty much the same sensor stacked so if you don’t need more than 2k the Alexa classic still holds up because it’s the same sensor as movies shot in 2024

[@PiggyVanHausen]

Yeah, the problem with the alexa classic is that it's huge, and heavy. And not practical if you don't have a crew. Otherwise, amazing camera.

[@AxelAxe]

I would almost agree with you, until I shot with an FX 3 and realized how much faster I could move and how close the picture quality is. The new Sony color and codec is flawless and is better than Komodo in my opinion. Dragon has a beautiful image but it is slower and clunky. I guess it depends on the project and I still have used it on larger crews, but for most projects the Sony fx3 is the winner for me

[@spensersakurai]

Fx3 is overly noised reduced and has far less natural detail. R3D still wins in my book.

[@AxelAxe]

@@spensersakurai agreed, but the ease of use makes it more versatile.

[@CrumpPump]

Do you have to use the RED external monitor or can you use a ninja 5

[@spensersakurai]

You can use an external monitor but it’s harder to navigate the menus that way

[@likelovehahawow]

Great video. One thing I wish you’d talked about is the issue of being locked into over priced Red media cards (just rebadged with a price hike) on older gen models. Is this still a problem? Are external recording options a viable work around?

[@VoxeeMedia]

Just got myself a Dragon X kit not so long ago for just 4500 euros. Was looking at Komodo and FX6 and I am glad I decided to go with the RED. The image is miles better than anything I had worked before ( Sony A7iv owner, BMPCC 4k in the past, and have used fx3 plenty of times)

[@Lookacademy]

The truth is, all modern cameras are of high quality. Regardless of price, even an affordable mirrorless camera can produce excellent images with the right lighting. However, using a high-end red camera may lead others to perceive you as a professional, even though it doesn't necessarily indicate your skill level.

[@pogoprofilms]

Rocking a Scarlet-W that we bought a year or so ago. It's still a flipping beast and we're all in, lenses and everything for less than $8k. The even crazier thing is that around the same time I re-bought an OG BMPCC for about $250 and the images are shockingly close and can easily cut in with the RED for two camera setups. Probably my favorite camera of all time.

[@kunstspielklavier185]

To my knowledge bolt on v-mount plates are not interchangeable between DSMC1 and DSMC2 as RED changed the Pogo-Interface as well points of contact. Same goes for sidehandles and attachments. Baseplates for DSMC1 were a bit longer compared to DSMC2 other than that they Where interchangeable. Media come with a caveat as well sind older DSMC1 Camera might still have the RED Mag SSD module as compared to the Mini MAG versions on later DSMC1 as well as DSMC2. Full Size RED Mags might be cheaper used.🤔 The only Accessories with full functionality an both DSMC1 and 2 afair are monitors, evfs.

[@kunstspielklavier185]

Any power plate using the external power in like a belt-Clip will work with both DSMC1 and 2 Bodies

[@trulyindiestudios]

Picked up a Red Epic Dragon for so inexpensive recently and still love the images out of this camera!

[@Xavier_Sc]

That cable struggling i the reason I bought the Komodo X instead of OG Komodo. Believe me, your life change in a second.

[@OwenCarr]

I just picked up a komodo. What ports/functions can the komodo x make cable-less that the komodo can't with third party adapters?

[@robwillmarsh]

I'm wondering if its worth getting a used Monstro 8K VV or an Alexa classic/plus/xt/m. They seem to go for a similar price, around $6000USD. Rocking up to set with a Ranger Monstro would be next level though.

[@spensersakurai]

@@robwillmarsh I’ve been looking 😏

[@Webrisernl]

What first red would you recommend for a 4000 dollar budget?

[@spensersakurai]

@@Webrisernl used komodo, dragon, scarlet W

[@Webrisernl]

@spensersakurai thanks alot

[@JoshSher_]

Just in terms of image quality. How does the BMCC 6K or the URSA mini 12k compare to it. Is it still a different kinda league or do those 10 years of technological advancement put them in the same realm?

[@NicolasWaldvogel]

Not Spenser but I have shot on the 12K and 6K as well as most of the DSMC2 cameras. To be honest with you, the margins these days are super small with all cameras being at least very good. Yes, if you don’t know what you’re doing or don’t have a colourist, you will get a more filmic and dramatic look out of Red or Arri cameras straight out the gate. If you grade the footage properly, you can get any of these to look very filmic and passable for narrative work. I’ve shot on the Ursa G2 that I own for years and it has produced some fantastic images and I will only really rent an Arri when I have the budget/need to. Then it becomes more of a question of ergonomics and way of working. Obvs a Red camera is much more industry standard (apart from the terrible menu system) to be used with crew. The Pocket 6K is much better for smaller/on the fly shoots where you need a low profile. The Ursa is somewhere in the middle with its ENG body and I will say, it can give results straight out of camera that are 99% there with an Alexa. We really over-obsess about cameras especially in the youtube space. Ultimately, it’s the person behind the camera that can make a great image and we should all focus more on that (says me ALSO watching this video lol)!

[@JoshSher_]

Hey Nicolas! Thanks for the detailed reply! Yes, you're definitely right! We're probably over-obsessed with cameras. And I personally certainly have over the last decade been doing it myself. And I also kinda felt it was in a way justified (in a way!). I mean for years I heard many people say "you can make great movies with any camera" and yes while that is true, it doesn't mean that you can make every kind of film with every camera. The low quality look doesn't work with every story and our eyes have been very well-trained to good quality(or at least to what we feel a film should roughly look like) for a long time in cinema and in real life. So my baseline was always. Does the image quality of this camera, still distract the viewer from the actual story, does it trigger our well-trained eyes? There were things that I knew were different from the consumer/semi-professional cameras, to the very expensive cinema cameras in terms of image quality. But one by one they have been checked off over the last 5 years or so. - Like bad recording formats, that didn't save a lot of image detail and didn't allow for flexibility in color grading. But now we got BRAW (for example). - small sensors. But now there are so many good super 35 cameras, which is the format our eyes have been trained on for so long... - bad dynamic range. But now there's plenty of it. - ugly color rendering of some sorts. Not a problem any more. - there's probably more I think those are very valid points. And I feel for quite a long time, many Low/mid priced cameras only solved some of these problems. But now I feel, especially with Blackmagic cameras, like I have no boxes left to check. Which really made me think, I know there's ergonomic, economic, service differences and so on with the ARRIs, REDs and so on, but just in terms of image quality, have the "budget" cameras reached that baseline? And also because digital cameras that were used for cinema like 12 years ago, are now getting old (which this video was about), I was wondering, do those once 60k cameras really still have some "magic" in the image quality over today's innovative more affordable cameras? That's why I asked this question. I just lack the experience(as you may have noticed by me using wrong terminology or so...), with shooting different kinds of high end cameras and I was just starting to wonder if only in terms of image quality, there even is a difference any more. Maybe something I don't understand. I'm just starting to notice that my focus starts to slowly go where it should. The writing, the set design, the actors, the lighting, the lenses, the camera movement/placement... There are things that contribute way more to the quality of the image than the camera. And it seems we are at the point where the quality of budget digital cameras doesn't distract from all of it anymore... So come out everybody! We can focus on the important stuff again 😊 Your reply was very helpful, thank you! Was interesting to hear from your more experienced perspective! 🙏 @@NicolasWaldvogel

[@KevinvanDiest]

Did you have auto volume active? It’s constantly shifting in volume to maintain a certain max volume. About the vid, nice one. Indeed older RED would stil be great to have and get experienced with

[@FlyingEyes27]

My only problem on my DSMC2 Red Gemini is, that the sensor is to bright. On day, iso 250, f16 and a ND filter i need to become a good picture. Otherwise the picture blowing out. After sunset i can use a iso 400 with f4 for a normal looking image. In dark situations a f1.8 with iso 800 make the picture very brighter and the dual iso function is super rare to use. On the most cases i use it for slowmotion in dark scenes. 😂

[@Calgothits]

Use the motion mount global shutter, it cuts 2 stops of light by default lol never heard anyone mention too much sensor sensitivity 😂

[@KaceyBakerFilms]

It’s crazy that you posted this. I picked my Red Dragon up today for the first time in about 6 months (this exact model but the 2 cordless version ) thinking, my FX3 has been my work horse. It’s crazy how it’s actually the camera that shot the beautiful looking X Men apocalypse . Just be careful, RED turn a blind eye to these cameras now. So if you buy the old REDs you’re on your own, they told me months ago that they no longer service the earlier cameras. But yeah, it’s a beautiful look.

[@KaceyBakerFilms]

Ahh you just covered it :) 17:58

[@davinfitch]

I think this is a great strategy for some folks - just be aware as an owner/op you will probably not get great rental rates on these older cameras. I'm talking less than $400/day for a full DSMC-1 package (and that was in 2017) yes, the images hold up - but if you work with producers they will not be interested in renting these older cameras unless they have no choice (usually the dp rates aren't great for these jobs as well). Another thing worth noting is RED will not service or touch any of their older cameras, so it's a bit of the Wild West as far as reliability. Again, this could work out great for some folks who work directly with their clients. I just wanted to share some thoughts from some personal experience doing this specific scenario.

[@alejandrovargas1171]

a valuable and honest opinion. What camera do you recommend for a DP?

[@spensersakurai]

Rental days are coming to an end on personal cameras

[@davinfitch]

@@spensersakurai I think you're predicting the right things. Everything is going to change with biding and production structure.

[@davinfitch]

@@alejandrovargas1171 I don't want to overstep my boundaries on this chain since it's not my video, but I'm hoping to be helpful. The short answer is whatever camera will make you work efficiently by yourself in a situations where you can't get a rental. Something that will make your life easier and not rely on additional crew; for some people that's a Komodo, for others it's something like a c300iii/c500 or Sony fx9. If you can get the camera to pay itself off in 20-25 jobs, that's consider a good ROI. I think we're going to see less and less of the middle tier (the world I'm more familiar with) moving forward. I hear a lot of asks for an FX6 in the indie/doc/corporate world, but I live in Austin which is a very Sony friendly city. Don't worry about Netflix specs, they're most likely not going to rent your camera if you get on a project. Arri and Venice are what we use on the higher end of projects, but we're usually not using any of my camera gear on those since we have the needed support. Where Spenser's video is absolutely correct is you can get an inane quality out of something not super expensive. Like I said previously, it will work great for some folks but some won't be so lucky. My personal take is that it's too risky to get an a financial ROI with producers and projects where you're being brought onto as oppose to self producing. Producers will be happy to take a RED Dragon DSMC1 for free but they will not pay competitive rental rates for them. They will rent an older Alexa through a rental house for $400/day before paying $400 for a DSMC1.

[@jacopoabbruscato9271]

Does RED support older models now? Or do they still cut off support AND prevent third party from keeping their older cameras usable? A RED One-MX is just an expensive shelf decoration nowadays, due to old proprietary media failing and lack of third party options. This while some cameras from the same years are still kicking. Also in DSMC-1 bodies a lot of times you are forced to shoot in 6K or such because going any lower forces you into insane crop factors.

[@spensersakurai]

i address this in the video

[@i.amreis]

Love seeing the trusted Dragon getting some love. I still shoot on my dragon as main camera. it’s my beauty camera shots.

[@theshortlist]

i'd like to see a comparison between a dragon and a S1H with BM videoassist BRAW... the S1H ibis is a real plus !

[@shueibdahir]

This is a bit off topic but DAMN DUDE what lens was this shot 0:14 shot on?! Unbelievable level of micro contrast!

[@spensersakurai]

Test footage was on Nisi Athena

[@shueibdahir]

@@spensersakurai I'm not even suprised. Those lenses are next level. Can't wait to get my hands on them.

[@SupremeCinema901]

How dare u talk about my fx6 like that 😂 great video

[@redmaple5863]

Slight correction Dragon Tattoo was actually produced with R1MX 4.5k and Red Epic MX 5K😊

[@connornyhan]

So older “worse” RED sensors than this one. Only further shows what a steal this camera is.

[@redmaple5863]

@@connornyhan These old MX sensors are very old but still produce today relatively nice picture most of audience will never think it is 15years old 😁 sure Dragon is way better in DR and color.

[@SneakyMawwfaka]

I like how you're aaaalmost describing a Blackmagic Pocket

[@MIRSTROY]

If an $80 million Hollywood blockbuster can do with an fx3 then we mere mortals need nothing more than that

[@kunstspielklavier185]

Without knocking the FX3, this comment neglect’s basically everything that made The Creator look the way it does. Greg Fraiser and Oren Soffer both stated in Interviews that they choose the FX3 for size and low light capability. The FX3 was able to deliver sufficient IQ to achieve the look they wanted in Post, not many „mere mortals“ I know have the knowledge or the tools to deliver a „Hollywood Blockbuster“ level of postproduction and Color grading. Let‘s call a spade a spade. IQ wise almost all cameras released in the last 10 years or so are quite capable of producing stunning imagery in the right hands.

[@MIRSTROY]

​@@kunstspielklavier185My point is that an fx3 is more than any one of us will ever need. The most important things are story, production, lighting, talent, so im terms of cameras its more than we will ever need and we need to stop talking about cameras so much and focus on story, lighting, production and talent.

[@kunstspielklavier185]

Right you are!👍

[@MIRSTROY]

​@@kunstspielklavier185👍

[@goatnicholson]

The industry is cooked

[@chickenpasta7359]

fr. im so jaded about it im considering just quitting and going back to school for a more stable career.

[@goatnicholson]

@@chickenpasta7359 it's all about supply and demand and theres way too much supply. Awful and mediocre

[@chickenpasta7359]

@@goatnicholson not only that but its a race to the bottom for value. way too many people out here doing day long shoots for $300 or less. it doesn't matter if what they make is garbage, people just want to pay less.

[@FilmBarrie]

Dude what is that V-mount plate for the Dragon? I've never seen a seamless v-mount in my life until DSMC2?????????

[@robvision3888]

The Dragon sensor imagery is synonymous to movies that actually were in the cinema theaters for a long time. And during that time, upon release the Dragon sensor was said to be the best cinema sensor in the world (arguably in contention with Arri) Some of the Marvel MCU movies, Fast & Furious movies, a bunch of David Fincher’s films, some of the Lord of the Rings “Hobbit”, and the first season of “Stranger Things” to name a few. The eyes of millions of viewers are already conditioned to accept the Dragon sensor image as cinema. On the other hand (I’m not trying to start a war here, it’s just so noticeable that a shift in image priority from RED occurred sometime post DSMC2 era) a lot of the newer content shot on the Raptor/Komodo seem to have more of the “video-like” look although really sharp. In my experience with the Raptor/Komodo you actually have to make the images look like film in post… but the Dragon Sensor images (and the Epic-MX images) look similar to film straight out the camera. With Davinci you can make anything look like film though. I think this is because back when the engineers at RED were building the specs for Dragon Sensor they actually had prioritized film emulation for Dragon’s image due to a lot of people still skeptical about digital cameras used for cinema. Basically with Dragon RED still wanted a digital version of the real cinema film look. Fast forward in time.. With the Later RED cameras I feel the they no longer wanted to emulate film, they wanted to most resolution/DR possible, they no longer prioritize the “Film” look however as for ARRI I feel all their imagery is as close to film cinema as possible

[@dathofilms]

Just curious, where would you consider BMCC6K in comparison to the RED sensors and you also mentioned FX3. Since it shoots BRAW 12bit and color science and all that? Are these old sensors better then the BMCC6K?

[@spensersakurai]

i just like the red sensor more. couldnt tell you why exactly but i just do.

[@kunstspielklavier185]

Tough question to answer as RED has so many Sensors. Starting with DSMC1 (Mysterium-X) you will probably get slightly worse or maybe equal Dynamic Range comparing to BMCC6K. Low light will be worse because of the lack of a second ISO range. Latitude might be similar. Dragon Sensor should outperform BMCC6K in dynamic range and latitude. Getting optimal IQ from DSMC1 Dragons could require Blackshading for specific shooting parameters and was said to be a bit cumbersome by some ACs when it was first released. DSMC2s handle blackshading differently, if I recall. Gemini is better for low Light, as the second ISO pushes sensitivity by about 2 Stops afair. One presentation the did in Germany when the Gemini was released showed really nasty rainbow noise in the shadow areas. They could not tell me anything about it and never got back to me. The additional sensor height is nice for shooting anamorphic. There was a Dragon 8K VV Sensor at one point, but it was replaced by the Montsro Sensor fairly quickly. Apart from occasionally visible sensor stich lines, which persisted even on V-Raptor, I have yet to hear anything bad about the Monstro sensor. You will probably always get more bang for your buck with something like the BMCC6K. REDs Camera and Sensor naming starting with DSMC2s first releases (Weapon and Raven) was somewhat confusing when they started to roll out version upon version of the DSMC2 lineup. They tried to clean it up a couple of years ago, when they changed there naming to DSMC2 plus the Sensor and Resolution. Off the top of my head you could technically get the RED weapon in at least 9 different versions (not counting Weapon Dragon 8K VV). With different recording capabilities depending on the Body and Sensor types.

[@alejandrovargas1171]

@@kunstspielklavier185 Thank you, there is very little information about this on the internet and it is very important since there are many people thinking about buying these cameras.

[@TrustyDigitalMedia]

The old RED sensors don’t need a reason why. Its so obvious they have a special, rare look

[@gabrielmachadobsb]

I can't argue with the image, but the only time I've worked with a RED DSMC2, it was a nightmare on set. I don't know if we were just unlucky or the cameras are really that finicky, but that experience put me off of using RED (and it has been 8 years)

[@tadypetr]

Do you think the RED Scarlet-W is a good first RED buy? I have an opportunity to pick one body up for 1900 euro (2000 dollars).

[@spensersakurai]

Yes, I meant to mention that in the video. its great because its the DSMC2 body. you are only slightly limited by frame rates. only does 50fps at full sensor. sensor size is the same as komodo

[@CGPENT]

I repair DSMC1 if you need any maintenance or repairs just let me know.

[@YouTube_can_ESAD]

Subscribing to you now, do you do any work on the DSMC2 Cameras? Thanks man, cheers.

[@CGPENT]

@ yes I do

[@pierceklinke13]

All the proprietary BS is one big thing that swayed me away from RED, albeit they've gotten better about it in the last few generations of cameras it is still ridiculous. Upgraded to a Kinefinity Mavo LF and have been loving it

[@YouTube_can_ESAD]

Jesus dude… Ever work with Arri, Sony, Vision Research, etc? I love most cameras but I’m not into the Malvo, would like to test their EVF though. Your excuse is a bit ridiculous, every modern cinema camera has very specific “proprietary BS” to each manufacturer. But hey, go enjoy and make great images with what you’ve got, we live in a time of embarrassing riches when it comes to Cameras of all shapes, sizes, formats and price.

[@maxgreen2365]

I still standby the idea that the dragon is the best cinema camera you can buy for under 5 grand

[@kunstspielklavier185]

I have seen some Alexas for less then 5k. On workflow and IQ many might prefer those. DSMC1 and 2 are more versatile though.

[@nes.torfernandez]

It’s funny because I just bought that same DSMC2 dragon X on eBay, the same exact listing. I paid 5.5k and this will be my introduction to RED, I’m currently using the canon C70. I hope I die the right move 😅

[@GabrielScindian]

What lens were you using for the shots of the project youre working on?

[@spensersakurai]

All these shots were Nisi Athena

[@GabrielScindian]

@@spensersakurai Yeah I saw and the imagery looked amazing especially the lighting. I was referring to the focal length. 24mm for the widest shot you did or was the 50mm used the entire time

[@TogheFace]

is this @CreativeRyan brother?

[@FidesRex]

I still have and use my RED Scarlet-W 5k, great camera!

[@pixl8]

I wanted one of these. Great camera.

[@tadypetr]

Hi, do you think it's worth to buy the Scarlet W in 2024?

[@staples7762]

Hey Spencer, big fan! Could you make a video about the Dulens lenses? I watched your videos on the Meike lens and i would love to know how they compare to those or other similiar priced optics. Especially because im thinking about getting them and i trust your opinion.

[@spensersakurai]

Coming soon!

[@TrustyDigitalMedia]

Man, if someone invented a way to replace the REDVOLT it would have changed the entire game for the old Epics

[@Auteur_Vision]

funny your looking for an old red as b camera for your komodo and im looking for a used komodo as b camera for my gemini lol. I waant a used komodo to use stripped down for gimbal shots really so I dont have to "de-rig" my komodo for gimbal work and I know it will match becasue of IPP2.

[@quiztasiarocks]

Looking for a cheap dragon x

[@clickhum]

Shame you didn’t show off the switchblade side control unit. They’re rare and I love using mine so much. Epic-x dragon is probably the best red for the cost and producers love it 🙂

[@dm.b7560]

Guys movies like The Lord of the Rings, or Mission Impossible used RED Dragon cameras as B cams, cut the BS, these are amazing cameras.

[@Abdi_Mohamed_]

Ain’t these the bodies that you have to purchase RED proprietary accessories which were so overpriced?

[@KARIMYATRIB]

This is why am still with my Epic M !!!

People sleep on the Sony F3/F5/F55 for cameras like this….dont! They even have internal NDs! Also…why are you comparing a FX3 to Venice in terms of upgradability? It’s an Apple to orange comparison. You should compare F3/F5 and Venice, and then you could bring a lot of accessories…

[@tyleradams3490]

If you wanna know a guy that knows VFX/CGI going on 15 years, lets talk. I want to do some next level stuff if you're bold enough to try!

[@indopacificfilms4257]

You have got yourself a A cam as B cam 😉

[@WesleyClouden]

all do stack up on the CF bodies and its all wins. and shooting things on low compressing works well , upgrade all my ssds myself with micron ssd Gemini XL are my Favs next to CF Weapons oh sidekick is the better win for MX-dsmc2

[@mikeyoutube3665]

When you say that you have upgraded your ssds, have you managed to to spoof the SMART data on the disk to buy new disks? Thanks 🙌

[@philpritchard5173]

Grt video tx. Been thinking the same thing. How would you feel about the Scarlett Dragon as opposed to then Epic?

[@kunstspielklavier185]

The biggest issue with the Scarlet Dragon would be the rather limiting 12 fps at full 6K readout, whereas the Epic Dragon can go out to 75fps. Cropping to 5K on the Scarlet Dragon should yield upto 48fps while still employing a S35 Sensor area.

[@kunstspielklavier185]

Something to consider with a Full Readout of the 6K Dragon sensor is that it is quite a bit larger than S35 with an Aspect ratio of 1.9:1 which means that you can run into coverage issues especially with older 35mm oder S35mm glass especially at the wide end. Fun Fact the 6K Dragon Sensor is almost as large as the 16:9 3.8K (Netflix Mode) recording area of the Alexa LF.

[@philpritchard5173]

@@kunstspielklavier185 Wow, interesting, tx

[@kylelowe]

I want to do this, but with a used Alexa.

[@Joseff600]

Subscribed!

[@seanmccoyphotography]

I've owned a Dragon X for almost two years now and I love it. There's a bit of a learning curve, but man when you learn how to use this camera it slaps.

[@nofutureinYT]

Who is this video targeting? Because I bet most of us are like… that’s not cheap

[@decarlismadison369]

I agree

[@MichaelHalsell]

Thank you for highlighting the value and option of purchasing a RED pre-generation camera. Combined with the current DMSC and the pre owned market, these are good options for creators.

[@definingslawek4731]

Sonys don't shoot raw because RED since the beginning has held a fradulent patent on compressed raw recording. Nikon has proven in court the patent is invalid and hopefully we will see compressed raw in the next wave of hybrid cameras. If sony and canon won't do it to not cannibalise their expensive cameras then nikon might.

[@gregtockner]

Damnit Spenser now you are going to get all the Views on this 😂

[@chrisw443]

The f5 and the f3 and the f35/ srw9000 are out there. They are cheap. The ls300 is too.

[@BrodiBarringer]

Ive heard nothing but bad remarks about older red cameras..hard to get repaired as they do not make parts for them anymore..expensive media, still..unreliable..no, no red cam for me thank you..for an older cam id go with Varicam lt..

[@benja1378]

Yeah no, I don't need to spend even more money on "new" cameras lol. This is what's wrong with KZbin Filmmaking.

[@inakiortizvillasenor6564]

11:09 That what she said

[@timdanyo898]

All you gotta do is get a ninja V and you have 16bit RAW for FX3,6.

[@alejandrovargas1171]

This raw is not compatible with Davinci Resolve. It is a very big problem for professional workflows.

[@DennisSchmitz]

RED Dragon still outperforms most other RED cameras in terms of DR, especially when using IPP2.

[@spensersakurai]

I'd like to see these tests.

[@CartyCantDance]

HE HAS HAIR!?!?!?

[@spensersakurai]

Hahaha

[@albionmerrick]

I just got a Scarlet W package for 3000. I feel great about it!

[@matthiasmartin1975]

But WHY have they suddenly become so affordable? Who needs 8k? Is it because there is now the Sony A7SIII, which is already perfect? So the Epic is perfect but heavy?

[@D3cker1]

With the advent of A.I. I predict we are going to find these at pawnshops in the next 5 years... 😔

[@lkptlst3256]

nah, old Reds? im out

[@CRITICO774]

just get a black magic

[@motionpikczer]

I am selling the entire DSMC2 set. I bought an FX6. How great Red's system used to be - today it's day and night. With Sony I feel free. This is the 21st century. With Red you will go back in time by a decade. If I ever read something like this, I would burst out laughing. And he thought how he can compare the Dragon sensor with the REDRAW workflow to the sensor from a mirrorless camera in a plastic FX6 body! This is an insult! Technological progress buried these old machines for good.

[@cia2928]

Yeah, but what about the Dragon Global shutter for shooting in 24p on a Gimbal. Still a smoother & more cinematic look than an FX6.