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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

RED V-Raptor 8K-VV: First Test Footage

I am really keen on the Raptor Ranger! I watched the announcement on YT and Mr. Land mentioned that there will be one with an interchangeable mount! I would be very keen on this version coming to fruition. I am also pretty spent on seeing how the "DSMC3" will develop.
 
Thanks for the test Phil! I think that was quite amazing to be able to pull that together. And does show the potential and leap forward of this new camera. One question though, Did you use 360 shutter on the beach slow mo footage? The motion blur looks a little too "long". :)

I think we got more this time than we usually did on a product launch. I can't remember that we did get actual footage on the same day before? So that is awesome and big thanks to you. Good luck on your upcoming shoots.
 
Phil, any possibility that we could get R3D stills from the shots? I would like to try my neutral LUT on these and see how things behave. Will post them here.
 
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PatrickWebb said:
I am really keen on the Raptor Ranger! I watched the announcement on YT and Mr. Land mentioned that there will be one with an interchangeable mount! I would be very keen on this version coming to fruition. I am also pretty spent on seeing how the "DSMC3" will develop.
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Yep. I'm tracking a lot of the conversation online regarding V-Raptor and it seems either people missed the live stream or didn't hear about the Ranger or XL version, don't know what it will be called. I view V-Raptor as the smallest, most compact version of this new system. And obviously for rental houses something like the Ranger and XL might be more ideal for the bulk of their inventory. Sort of the same logic of Panavision stocking DXLs and RED DSMC2 bodies.

The interchangeable mount versus using an RF>PL adapter seems to be something either people can't wrap their heads around or are stuck in a mindset that a bolting system is mandatory. In my mind they are both interchangeable, one just has a quick release to go to RF Mount. But I do understand why productions folks want that bolt on life.


Tor Øra said:
Thanks for the test Phil! I think that was quite amazing to be able to pull that together. And does show the potential and leap forward of this new camera. One question though, Did you use 360 shutter on the beach slow mo footage? The motion blur looks a little too "long". :)

I think we got more this time than we usually did on a product launch. I can't remember that we did get actual footage on the same day before? So that is awesome and big thanks to you. Good luck on your upcoming shoots.
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I did! And that was indeed intentional. Was going for more of dreamlike feel to all the beach stuff so I dragged it a bit. Interiors were 180 1/48th.

I think Jarred's teased some footage, but it was low res on social media and we had no idea what it was shot on. Jason Mamoa's visit netted some footage as well.

I basically dropped the camera off, returned all the props and everything the following day, and whacked out the edit and color. Probably spent more time finding and licensing the right music tracks.

1.74TB of material was filmed, resulting in this edit.


Robert Hofmeyr said:
Incredible what you managed to do in a few hours Phil! Thanks as usual for your effort. Any chance of some ungraded shots or r3d frames?
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Christoffer Glans said:
Phil, any possibility that we could get R3D stills from the shots? I would like to try my neutral LUT on these and see how things behave. Will post them here.
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Likely uploading a RWG/log3G10 snapshot as a tiff or something first. This is pre-release and not entirely sure everything is seeing this footage correctly yet.
 
Thanks Phil! As a user of philmColor I would really love to know the precise grading process behind the shots, could you share?
 
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Anders Ledin said:
Thanks Phil! As a user of philmColor I would really love to know the precise grading process behind the shots, could you share?
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Started before the color grade. The interiors I lit with a daylight and tungsten sources. Beach was fairly overcast for a pleasing flat light, somewhat ideal for skin actually, no dramas.

In camera used Medium Contrast/Soft Highlight Roll-Off.

Workshop Interiors = Filmed at 5600K with 0 Tint
Beach Exteriors = Filmed at 5600K with 0 Tint

Color Grade = REDCODE RAW settings adjusted Color Temp of Workshop Interiors to 4800K with a -14 Tint. Beach left as is. Pulled via ISO to scopes to match a couple of the beach shots as the light was changing over that time sublty, sun was slowly coming out.

Applied philmColorR3 Creative Cube "sol" to all shots.

Export.

Editing was tight. There's only a couple shots that didn't make the cut, an insert of the hand on sand I really wanted in there, but didn't really fit for example. Took me around an hour to unpack and setup the props. Pre-light went pretty fast, it's a 3 light setup for interiors, Nilas modified on combo stands. Key was full diffusion, Chimera. Normally if I wasn't going for the deep shadows I would have added some fill likely frame left on the workshop stuff, ideally with a practical source, but wanted those dark pockets as this was mainly a stress test. Was also implying window light raking across the wall for those first couple shots on the ground which is actually where light comes in at the location. High up big wall of windows exist frame right. Purpose of off all of that was to have harsh and soft light in the final piece really. Went likely harsher on the interior than many would in modern times. Not too keen on super soft lighting personally, don't mind a bit of softness to it though. Especially working with a slightly more surreal than natural mindset.
 
Thanks for posting those frames and 1:1 crops. Nice sensor. It has detail but thanks to the OLPF it's not aggressively sharp. That's a very film-like quality, I think. I am guessing you applied no sharpening, as there was no need. Am I right?

Footnote: I love how the lens is bigger than the camera body! :-P
 
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Karim D. Ghantous said:
Thanks for posting those frames and 1:1 crops. Nice sensor. It has detail but thanks to the OLPF it's not aggressively sharp. That's a very film-like quality, I think. I am guessing you applied no sharpening, as there was no need. Am I right?

Footnote: I love how the lens is bigger than the camera body! :-P
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No sharpening. My original plan was actually use my set of Sigma Primes, but I sent them in for servicing. Wanted to spread the lens love around to checkout how different things work and feel with the size of the camera. Tokinas, Leitz, and S7s are impressive in size compared to the body.

I know I'll slap my MS-Optics 28mm f/2 on there at some point. Then people won't know there's a lens at all.
 
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  • #53
Joe Pontecorvo said:
Hi Phil, Can I ask what mount you are using with built-in ND?
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I used the prototype Breakthrough Filters RF>PL Drop-In ND Mount (Cine Gear timeframe will showcase I think the full kit, I've been testing this for a while). Interiors were the straight NDs, Beach was their VND. More of a choice of "need for speed" and keeping the camera small.
 
Phil Holland said:
Likely uploading a RWG/log3G10 snapshot as a tiff or something first. This is pre-release and not entirely sure everything is seeing this footage correctly yet.
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Yeah, that will work to, the LUT I'm using is based off it so if it's set to a balanced ISO it'll work fine :smiley:
 
So when is this batch of bad boys supposed to ship? Last I heard the ST's were already built, and Red was just waiting on the media to ship out with them.
 
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Ryan Chernin said:
So when is this batch of bad boys supposed to ship? Last I heard the ST's were already built, and Red was just waiting on the media to ship out with them.
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RED.com stated 3-4 weeks on announcement day for those first STs. They also sold out that day across dealers that had them for preorder as far as I know. Might be some lingering around somewhere.

Due to it's price point, don't think we'll see the crazy Komodo related shortages of accessories, there's thousands of those cameras out there at this point and many more coming. I'm already kitting up just in case on little things I'll be needing outside of system-centric stuff.
 
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  • #57
Andrew Dease said:
Phil did you say you returned the camera to red?
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Yes. Very literally right after wrapping. Shoes wet and covered in sand. That was Jarred's camera and done the weekend shot the weekend before the announcement. Very much a quick ninja operation.


What I've been doing since is looking closely at the footage. I'm being reserved, very reserved, because I haven't conducted a round of technical tests to produce hard numbers. But V-Raptor shows it's strengths in a few critical areas when it comes to image quality.

Take what I'm saying with that in mind, also take the fact that I am rather intimate with all current cameras. Dynamic Range is on par or slightly better than Monstro, hard to know exactly just yet. Image is significantly cleaner in the shadows than the Standard or Low Light Optimized OLPF with Monstro. I often shoot with the Skin Tone - Highlight OLPF, significantly cleaner than that obviously. It's not actually just the shadows, it's noise improvements across across the board. Noticeable in midtones and down basically. Seems to be a bit more juice in the highlights. That's tricky to test without charts, but I grabbed a shot on a clipping lamp not to mention most of the sparks I shot were fully exposed given the relative light level.

I'd say that's impressively clean considering the ISO 800 120fps material I shot indoors.

Color-wise, it's very good. I'll leave that there for now. The new OLPF looks fantastic, another one I need to test further. The immediate standout IQ improvements I'm seeing are related to image noise and dynamic range. Like spooky clean for a RAW camera clean. Toggling CNR on and off via the SDK or REDCINE-X PRO is interesting and reveals additional chroma noise, but we're not talking a significant amount.

The cleaner shadows are fascinating as there's more color down there. Monstro already excelled on this level versus other premium digital cinema cameras, but this is something else entirely.

This will be an interesting Cine Gear with several new cameras being announced shortly. Be prepared for a lot more "flash and sparkle" in those camera announcements.

I'm testing a few other things while gearing up a bit. I have some very specific tests I am doing and still will need to conduct.


For long time members of this board, this I'd say is as big to me as Dragon or the Dragon vs. Monstro release. Many likely won't remember all of what has transpired along the way with each notable leap in image quality related to the camera hardware and image processing, but that's what's on the table here. I'm holding my excitement back to a degree because I'm just not going to go that hard and I don't do much hyping in that fashion, but I am excited by this camera. This is in my mind a critical leap in digital acquisition for cinema. I won't sugar coat that aspect. This camera is incredibly small and outperforms pretty much anything you can think of on the market in most ways. The only thing I'll be comparing it to outside of Monstro is all the new stuff that's incoming and likely last gen stuff. I'm certain I'll be doing a studio funded camera shootout again in a few months based on all that I know is coming out. But in a sense for digital cinema cameras, the tides have once again turned.


A couple of sample REDWideGamutRGB/Log3G10 frames, 8K full resolution. Full sized web optimzed JPG there and a link to an uncompressed 16-bit TIF. When I get the chance to shoot some additional material, I'll be making some short R3Ds available for download. For now enjoy these.

Awaken ISO 800 REDCODE RAW HQ
phfx_RED_VRAPTOR_RWGLog3G10_VM_awaken.jpg

200MB TIF = http://www.phfx.com/temp/reduser/phfx_RED_VRAPTOR_RWGLog3G10_VM_awaken.tif

Sparks ISO 800 REDCODE RAW LQ
phfx_RED_VRAPTOR_RWGLog3G10_VM_sparks.jpg

200MB TIF = http://www.phfx.com/temp/reduser/phfx_RED_VRAPTOR_RWGLog3G10_VM_sparks.tif
 
Thanks Phil!

Feels like my neutral LUT transfers nicely. Here's the basic conversion and a slight neutral grade together with it. (I'm a big fan of neutral looks, so that's the aim for these tests).

Phil-Raptor-1-CGLUT.jpg

Phil-Raptor-1-CGLUT-GRADE.jpg

Phil-Raptor-2-CGLUT.jpg

Phil-Raptor-2-CGLUT-GRADE.jpg


I can definitely see a difference in the lower ends but would need an R3D in motion in order to fully experiment with that.

Here's the gallery for larger images
 
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