RED V-Raptor [X] 8K VV

[JudgeNick]

My latest mod - I tapped two M4 threaded holes into the front face of the DSMC3 Monitor bridge. Definitely not for the faint of heart, but actually it was very straightforward. The walls are thick enough, there's plenty of interior room and there's nothing for the screws to interfere with in the location I put them. Now I have a perfectly-placed rod clamp at all times, with no weight penalty or excess hardware. I've been searching for a solution like this for quite a while, and finally settled on this. If you want to see the whole procedure, here's the video:

 

[JudgeNick]

Another mod - designed a new top handle. At 73 grams it’s less than a third of the Komodo top handle, but still strong enough to support 100+ lbs of static load. I might be the only guy holding a $30k camera with a few grams of plastic filament, but it works for me.

 

[rand thompson]

Zero Compromises?! - RED V-RAPTOR [X] 8K VV - Owner Operator's Perspective​

By

Carlos Quintero

 

[rand thompson]

RED V-RAPTOR and V-RAPTOR [X] Firmware 1.7.2beta Released​

By CineD
Article

RED V-RAPTOR and V-RAPTOR [X] Firmware 1.7.2beta Released

RED has just released firmware 1.7.2beta for their V-RAPTOR and V-RAPTOR [X] cameras. The update, which is now available to download free of charge, adds suppor

www.cined.com

 

[Björn Benckert]

Thanks Phil! Yeah Ghostframe is clever but so far all demos of it have cameras running at 60fps, more aimed for broadcast, which makes it viable without flicker because the hidden frames are running at least at 120fps (including the Raptor X at BSC last week

And think it could be game changing with this camera if the shutter speed of the phantom track was independent of the main track…

With that you could shoot VP at 24 with 180 shutter & capture a ghost framed greenscreen at e.g. a 90 degree shutter at the same time; and without giving anyone an epileptic fit.

The problem is ghostframe hides the greenscreen slice by running the wall at 4x frame rate (2 frames of main image, 1 frame greenscreen, 1 frame magenta screen is what tricks the eye). So the shutter has to be open a shorter time to catch that ghost frame cleanly. (Of course motion blur will also be different and frame will be temporarily out of sync too, but this can still be viable for VFX)

So yeah I’m super keen to ask Red folks if that phantom shutter control can be added to the cam, (if it doesn’t do it already…)

This may be quite niche use case only for the latest virtual production volumes of course. But a very exciting possibility for the camera. Lots of buzz about it at BSC last week!

A common problems with back projection tech is lack of exposure. The screens are not bright enough as it is. If you start doing short shutter you limit your self even more.

When running dual feeds you also cut your bit rate in half. Low bitrate and chroma work is a thing to avoid. Sure you can say half bit rate is enough... But I had red cameras since day one and I'm a flame guy since 30 years back... Simply put you can't have enough bandwidth in the frames you key on, more is always better and if those half bitrate frames also has less exposure, then that's usually a problem. As when having the screen do pure G or B basically you cut down the screens brightness to 1/3 and normally even when punching out all 3 channels it usually not that bright.

 

[rand thompson]

HOW TO Mix and How To Match the Canon R5C to RED OG KOMODO, KOMODO X, RAPTOR X | YT Live Replay​

By Carlos Quintero

 

[Travis Higgins]

For those who currently have an X and have tested audio capabilities, I’m curious just how much the pre-amps have been improved and if it’s actually usable audio for corporate work.

Owning a V-Raptor and a Sony FX6, I’m always grabbing the FX6 for smaller travel jobs with a couple interview setups where a dedicated audio technician isn’t in the budget. Standard interview setup style audio - nothing crazy. Curious if the new audio hardware compares to how great the internal audio is that comes out of Sony cameras and if there’s any sort of “auto” levels available like there are on Sony cameras. Obviously, a dedicated audio tech is always preferred, but not always the case.

I bought a Mix-Pre 3 after realizing I needed gain at max to get any sort of decent level with the original V-Raptor, but that’s just one more thing to have to deal with and I eventually gave up on using my Raptor on any job that required audio where there wasn’t a dedicated audio technician. Still love the image for sports, higher budget productions, etc., but just wasn’t worth the headache for me on those types of jobs.

Thanks everyone,

 

[Russ Fill]

Hey Phil have you done any strobe or flashing lights type of tests...
Would love to know how the global shutter handles strobes or say top of cop car lights... Does it still split frame with a ban of light and part of the frame with out..??

 

[Phil Holland]

Hey Phil have you done any strobe or flashing lights type of tests...
Would love to know how the global shutter handles strobes or say top of cop car lights... Does it still split frame with a ban of light and part of the frame with out..??

Actual global shutter = no half frame strobes. Tested that day one.

 

[Russ Fill]

That’s good news sorry I must have gloss over that earlier.
Just sent my camera in for the update. Can’t wait to try the EH on fire light in slow mo.