Thread: Red One Vs Epic Vs everything else

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  1. #11  
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    IPP2 definitely does things better in the highlights and in mixed lighting for MX (including R1mx).

    As for the R1(mx) vs Others, I also liked the R1mx footage better than the Scarlet-X I own, even though Scarlet was a better compression ratio (6:1 vs 7.5:1 at 24fps). At the time, I thought it had to do with motion/cadence/way it captured frames (or something equally intangible); for some reason, it looked more like a mechanical shutter (sans drag) than a digital one (regardless of shutter speed), so the motion seemed more cinematic?... It certainly didn't add up on paper though.

    Conversely, the ~7.5lbs of shootable DSMC1 vs ~15lbs of a shootable R1mx was more of a gamechanger/improvement IMO. Comparing cameras with that big of a size/weight difference is basically a non-starter.
    Last edited by Mike P.; 10-14-2020 at 04:21 PM.
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  2. #12  
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    The EPIC MX cuts so nicely with the Dragon X in the IPP2 space. Hard to tell the difference if you look after the highlights. The 6K is pretty swank tho!
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  3. #13  
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    Thank you Steve. I'm excited to try it out. Red Raw has been amazing from day 1. They really got it right. As I mentioned I was blown away by the stuff we shot over 10 years ago and that's saying something!
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  4. #14  
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    Mike, it is odd how different cameras with the same sensor can produce such different images. I do remember running down London high streets carrying a hefty canon. But the Red One is cheap enough now to have as a camera you can store away for moments when inspiration strikes (like a classic car I suppose!)
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  5. #15  
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    That's great to hear Thomas. I'm excited to mess around with the image. Hopefully should have it in a week or so. Thanks!
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  6. #16  
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    I agree entirely. It has a unique look that I prefer to anything else on the market right now. I've found that it has a softness and slight halation that is very pleasing to my eye. With some time, patience, and yes, money, most of the challenges of working with this camera can be overcome and underneath it all is an amazing in-camera look.

    Quote Originally Posted by Björn Benckert View Post
    You get that texture in the more modern cameras if you shoot something like 4000ISO and push the compression to 12:1 or such in Monstro. Looks fantastic for the right project if you ask me. The image should not be underexposed but exposed to the left when doing it to shine the best. You can do the same with with dragon but go less aggressive on the compression and iso. Dragon has a really nice noise structure if shot this way.
    There is definitely something to this. I recently did a similar test with my C200 at ISO 6400. I ran it through Neat Video and saw some of the halation that I mentioned above. It added a quality that I quite liked.
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  7. #17  
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    When I was looking at getting a RED I was looking between the RED One MX or the RED Epic...

    After looking at so many pros and cons I decided to buy a RED One MX and I am utterly in love with the look, the image it produces and it's workflow.

    Would I like it lighter YES, would I swap the weight for Epic etc... NO.

    LONG LIVE RED ONE!!!
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  8. #18  
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    Isn't it true that the first digital camera to come from almost every company was their best and that everything that followed was a decline in quality?
    For me the following cameras have not been topped by any successor:
    Red: Red One.
    Sony: F35
    BM: BMCC 2.5K
    No wonder Arri is sticking with it's first (almost first) digital camera for that long.
    Digital has been hijacked by a race for higher numbers (specs) on the expense of image quality. That's a fact.
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  9. #19  
    Quote Originally Posted by Raymond Zananiri View Post
    Isn't it true that the first digital camera to come from almost every company was their best and that everything that followed was a decline in quality?
    For me the following cameras have not been topped by any successor:
    Red: Red One.
    Sony: F35
    BM: BMCC 2.5K
    No wonder Arri is sticking with it's first (almost first) digital camera for that long.
    Digital has been hijacked by a race for higher numbers (specs) on the expense of image quality. That's a fact.
    Try do chroma work on redone MX and deliver in UHD, then do the same with monstro. Its a huge difference like not even the same universe.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
    +46855524900 www.syndicate.se/axis
    VFX / Flame / Motion capture / Monstro
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  10. #20  
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    Quote Originally Posted by Björn Benckert View Post
    Try do chroma work on redone MX and deliver in UHD, then do the same with monstro. Its a huge difference like not even the same universe.
    Is that what it's about? Chroma work? How about the emotional connection with the image? I'm not contesting that the technology is more advanced today.
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