Your fav late 2023 cams?

[Emanuel]

My take:

DJI Osmo Pocket 3

iPhone 15 Pro Max

Blackmagic Cinema Camera 6K (Full Frame)

Nikon Z8/Z9

Blackmagic Ursa Mini Pro 12K (with or without OLPF)

 

Note: Let alone 360º and 3D acquisition.

 

What about you folks?

[Emanuel]

5 minutes ago, Emanuel said:

Note: Let alone 360º and 3D acquisition.

*Note: Let alone 360º/180º and 3D acquisition.

[PannySVHS]

Late 2023 cameras. Z9 is not 2023:) So my cams are mostly the same, not from 2023 but to me relevant as of late 2023.

Photo: Lumix gm5, gx85. Nuff said, classics in many reagards. GM for its magnificient Bauhaus Design, GX for its overall tactility and looks. Love the rawfiles from these beauties.

Video: Lumix S1H , which I better use for photo as well with its awesome, though not 2023, sensor.

LX15 for its quirks and the challenge of working with them and enjoying that experience so much, results in photo and most the time video as well. The rendering of that lens is a thing of beauty. Dust alert behind the lens elements though after real world usuage.

Bmmcc and og Bmpcc, color grading galore gems. Alliteration where it belongs.:)

Cinealta freaking Sony F3, the image wonder marvel.

 

[MrSMW]

Came out in late ‘23 or (still) using in late ‘23?

Mix of both for me…

S1H for pure video, but the best stills camera I have owned to date.

On the stills side and an actual late ‘23 release, the Nikon Zf. Early days, but expecting to love it even more as a stills camera than the S1H.

An earlier ‘23 release, the S5ii which is probably…almost certainly, OK for stills, but I have just not been able to gel with it in that regard, mainly over what I consider to be a clunky shutter feel and sound. For video however, highly regarded all factors considered. I favour the S1H over it, probably due to it’s sensor and the OLPF…and it’s rear screen, but the S5ii form factor and AF just works slightly better for my needs.

Based on the kit I actually own.

Money no object, Hassie X2D for stills, Nikon Z9 for hybrid and would struggle to see past the S1H for video. Because I love it so.

[Emanuel]

Ready for service in 2023... From camera industry now from any usual or unusual suspects, used gear available from any store, why not? : )

44 minutes ago, PannySVHS said:

Late 2023 cameras. Z9 is not 2023:) So my cams are mostly the same, not from 2023 but to me relevant as of late 2023.

(...)

Neither the Ursa Mini Pro... ; ) For some reason the Blackmagic guys have only added the OLPF to their 2023 model and that's it! LOL ;- )

They're not 2023 cameras under the camera industry roadmap but once still to be manufactured so available or relevant as you dear Marty say, fits in the category.

 

Still for VR180 though where I would have to add the R5C too (they provide their glass solution also available to their more affordable R6II body BTW I wouldn't add to my list anyway) before the most recent announcement by Canon (despite coming soon, not yet exactly available today in any way other than as concept camera now from IBC 2003), they're ALL 2023 cameras! At least to those of us who use them! : P

 

Let our shooter side beat deeper than the geek beneath us... : D

[FHDcrew]

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

[kye]

Favourite camera I own...  GX85.

Favourite cameras I don't own...  Alexa 35, GX85 mk 2, BMPCC OG Signature Edition 2023.
(Yes, I realise that most of these cameras don't exist, but what's the difference between a camera I've never used and one that doesn't exist?  How can you have a favourite if you haven't used it?  It's like having a favourite food you haven't tasted...  Any hypothetical is a hypothetical!)

[IronFilm]

It's late 2023 already?? Where did the year go!! Scary, scarier than Halloween was. 

Just limiting ourselves to cameras released within the past year? 

The easy top three cameras of note for me released in 2023 are: 

Sony FX30 (came available for sale in stores later 2022, so just barely-ish squeaks in here if you look at the past 12 months or so). Is the latest S35 cinema camera from Sony, and also their most affordable one ever!

The L Mount camera from Blackmagic. Finally, another mirrorless mount cinema camera from BMD! Been a long time since the P4K was released. 

Blackmagic Design Micro Studio Camera 4K G2. It's a big upgrade from the previous Micro Studio Camera, especially for film shooters as it's now so much more than "just a studio camera". If you're an OG BMPCC user who thought the BMD "Pocket" 4K was too big for you, then this Micro Studio G2 is the upgrade for you! Plus it  is cheaper than ever, is priced at sub US$1K, even cheaper than the Pocket 4K. Don't be fooled by the "Studio" in its name, yes it is packed full of studio specific features, but in a way this is also their new "Micro Cinema G2" camera as well. 

 

Opening it up to any cameras that exist? Then "it depends", just whatever is suitable for the job at hand. 

Even a super old Sony EX3 might be the right buy for me these days. 

Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future.  Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. 

And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 

1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever 

That means buying one of: 

Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) 

Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) 

Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 

2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective 

Which means one of these options:

Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping)

Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 

3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: 

Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR

Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. 

Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. 

Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is an even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters.

Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with. 

 

[PannySVHS]

Would love to check out a BS1H and a FX30. @IronFilm But that is just nerdom. And you already made me buy the awesome Cinealta F3 which I only have done test shots with so far.:) BS1HII with an inhouse clickon monitor like Red and a cooler name please.:)

[IronFilm]

41 minutes ago, PannySVHS said:

Would love to check out a BS1H and a FX30. @IronFilm But that is just nerdom. And you already made me buy the awesome Cinealta F3 which I only have done test shots with so far.:) BS1HII with an inhouse clickon monitor like Red and a cooler name please.:)

haha, yeah, put the Panasonic BS1H inside a Tilta camera cage, slap on a few RED stickers, and use it with the RED branded lenses (nobody will guess it isn't "a RED"! haha):

I have been very often tempted to get the RED 17-50mm or 18-50mm Cine Zoom. Or even the utterly insane RED 18-85mm lens!! It is a beast. Well, for me to use it. As I'm not used to that. But I work every week with camera ops using lenses such the Canon 17-120mm T2.95 and the Canon 25-250mm T2.95 Servo PL Lenses:

https://www.bhphotovideo.com/c/product/1633520-REG/canon_4573c011_cine_servo_25_250mm_t2_95_pl.html

https://www.bhphotovideo.com/c/product/1043631-REG/canon_9785b002_cn7x17_kas_s_cine_servo.html 

But more seriously, did you know you can get a RED Scarlet brain for just a grand and a half on eBay? (sadly just the MX sensor though, but for another US$500ish to a grand more, you could pick up a RED Scarlet Dragon. Or the RED Raven brain can be found for roughly sub US$2K, it is a Dragon sensor within the newer DSMC2 system. But with the RED Raven you're stuck with EF mount only, and it's sensor is unfortunately a little smaller than S35)

Maybe slightly over $2K-ish for a more complete RED Scarlet package that you just need to add lenses and V Mounts to. 

Perhaps I should have added one more option to this:

2 hours ago, IronFilm said:

1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever 

That means buying one of: 

RED Scarlet MX camera for US$2K (or RED Raven). Is a little more expensive than going with a Pocket 4K or Micro Studio G2 setup, but a fair bit cheaper than a BMD URSA Mini Pro and a lot cheaper than an ARRI ALEXA Classic. Yet this camera body will be a lot more portable than either! (for gimbals / steadicams / car rigs / ceiling rigs / cranes / jibs / sliders / etc)

Of course in "the real world" a RED camera is fairly worthless, especially one as old as this. But in the no budget indie / student filmmaking world, a lot of them still drool over the "RED" name. 

[kye]

4 hours ago, IronFilm said:

RED Scarlet MX camera for US$2K (or RED Raven). Is a little more expensive than going with a Pocket 4K or Micro Studio G2 setup, but a fair bit cheaper than a BMD URSA Mini Pro and a lot cheaper than an ARRI ALEXA Classic. Yet this camera body will be a lot more portable than either! (for gimbals / steadicams / car rigs / ceiling rigs / cranes / jibs / sliders / etc)

Of course in "the real world" a RED camera is fairly worthless, especially one as old as this. But in the no budget indie / student filmmaking world, a lot of them still drool over the "RED" name. 

I'd challenge your concept about worth..  all cameras are tools to do a job, and maybe that job is to create footage or to provide nostalgia or demonstrate taste or status, but they're all outcomes.

I'd suggest that the Red Raven would excel at most of these.  If you lust after the name then it would do that, if you wanted to demonstrate taste or status then it does that, and if you want to create footage with it, holy hell does it do that.....

I am not really an expert about the Red ecosystem or what all the cool kids are doing, but it looks pretty good to me.  To a certain extent it seems like Red is a bit like Apple, in that you're only cool if you have the latest model and because no-one wants yesterdays model they're all undervalued.

For USD2K, you could make some incredible wedding or corporate videos or beauty or branding videos, and if you knew what you were doing you could make some incredible money doing that with an image that good.

[Benjamin Hilton]

Still been rocking the S1 and GH5s for a lot of content this year. Finally mixed it with some Canon R7 which I'm really liking. Lower dynamic range and noisier image than the S1, but the autofocus and a lens adapter ND filter has made me reach for it more and more. Just hating in front of the lens NDs more and more these days. 

Our S1 finally just quit on us, so looking at hopefully re-doing our whole system, really been needing to for a while. Just bought a Sony a7 IV and lens, hoping to eventually pair that with another one and a FX6, along with a couple more e-mount lenses. That should set us up for a while I think. We have to work really fast, so practical considerations are starting to matter more and more these days. Hence the FX6 idea. 

[QuickHitRecord]

11 hours ago, IronFilm said:

Maybe slightly over $2K-ish for a more complete RED Scarlet package that you just need to add lenses and V Mounts to. 

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased:

Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!)
2x 480GB mini mags
Side grip
Red Pro top cheese plate
Red aluminum EF mount
V-mount battery solution (pretty difficult to find at a workable price!)
Nitze top handle and monitor mount

All in all, it set me back just under $3K.

I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF.

Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera.

I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

[TomTheDP]

18 minutes ago, QuickHitRecord said:

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased:

Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!)
2x 480GB mini mags
Side grip
Red Pro top cheese plate
Red aluminum EF mount
V-mount battery solution (pretty difficult to find at a workable price!)
Nitze top handle and monitor mount

All in all, it set me back just under $3K.

I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF.

Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera.

I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

I have been considering the Scarlet as well. I do prefer the Epic image. But Scarlet's are so cheap these days. 

[QuickHitRecord]

7 hours ago, TomTheDP said:

I have been considering the Scarlet as well. I do prefer the Epic image. But Scarlet's are so cheap these days. 

Is the Epic image actually different? Lower compression ratios and a wider field of view but it's the same 5K MX sensor, right?

I've often heard about the magenta shadows the Epic-X but in my comparisons, the Scarlet-X has more neutral shadows than the magenta-leaning R1MX.

[IronFilm]

15 hours ago, kye said:

I'd challenge your concept about worth..  all cameras are tools to do a job, and maybe that job is to create footage or to provide nostalgia or demonstrate taste or status, but they're all outcomes.

I'm saying "in the real world" as shorthand for saying in a professional setting working with and for others on a filming production. 

Of course, if it is just for your own personal pleasure, then just use whatever warms your heart! 

Even the Barbie Doll Camera could be the right choice for you! 

 

8 hours ago, QuickHitRecord said:

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread.

Nice!! Start up your own thread @QuickHitRecord to track your Scarlet MX journey? Would be fascinating to follow. 

 

8 hours ago, QuickHitRecord said:

V-mount battery solution (pretty difficult to find at a workable price!)

Why was this so difficult and expensive? Just need a setup for V lock to lemo power ? 

Such as:

https://www.bhphotovideo.com/c/product/1597736-REG/indipro_tools_vmrdk_v_mount_plate_with_15mm.html

https://www.bhphotovideo.com/c/product/1470774-REG/hedbox_unix_0b_v_mount_adapter_power.html 

8 hours ago, QuickHitRecord said:

I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure.

Interesting... more prone to failure than the Scarlet-X?? That's curious

8 hours ago, QuickHitRecord said:

The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF.

Isn't the Dragon sensor a bit better at low light? As well as a stop more dynamic range? Thought Dragon also has more naturally accurate colors and better skin tones? 

8 hours ago, QuickHitRecord said:

Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard.

Cheers for that detailed analysis! I would have thought the newer DSMC2 body of the RED Raven vs the older DSMC1 makes it a slam dank case for the RED Raven (if they're both at the same price. Unless you want PL lenses, which the Raven can't handle. Which to be fair, is by itself a strong argument against the RED Raven)

8 hours ago, QuickHitRecord said:

One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera.

That is just begging to be reversed engineered.... ! Make your own DSMC2 I/O module. 

8 hours ago, QuickHitRecord said:

I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

Even though they've both got "the same MX sensor" I've heard others who prefer the RED ONE as well. Perhaps all that extra weight and processing power gives it a little extra magical something?

 

[QuickHitRecord]

17 minutes ago, IronFilm said:

Why was this so difficult and expensive? Just need a setup for V lock to lemo power ? 

Such as:

https://www.bhphotovideo.com/c/product/1597736-REG/indipro_tools_vmrdk_v_mount_plate_with_15mm.html

https://www.bhphotovideo.com/c/product/1470774-REG/hedbox_unix_0b_v_mount_adapter_power.html

There is an proprietary triangular mounting point on the back of the DSMC1 brain that requires a Wooden Camera Quick Back to act as an intermediary between the brain and the actual v-mount plate which usually has to be purchased separately -- between the two components, this could easily end up in the $400+ range. Of course, it's always an option to mount with rods instead, if you can find a 4-pin lemo v-mount plate instead of a 2-pin. But the WC option is tidier.

Quote

Interesting... more prone to failure than the Scarlet-X?? That's curious

I've read that there is a component within the Epic is that often fails and since Red won't service them anymore, it could turn your camera into a paperweight. The design was improved in the Scarlet-X, which was released after the Epic. DSMC2 bodies are supposed to be built even better, but they are also quite a bit more $$$.

Quote

Isn't the Dragon sensor a bit better at low light? As well as a stop more dynamic range? Thought Dragon also has more naturally accurate colors and better skin tones?

Ryan Walter of Indie Film Academy did a great three-part comparison between the MX and Dragon sensors. It's still on Vimeo. The Dragon has several advantages, but low-light noise performance was not one of them (unless paired with the low light OLPF, which negates the boost in the highlights). The Dragon originally shipped with the new skintone/highlight OLPF and was not designed to have interchangeable OLPFs, but there were a lot of complaints about the noise performance so they started shipping the other two OLPFs alongside a kit for user replacement.

Quote

Perhaps all that extra weight and processing power gives it a little extra magical something?

I was actually shocked by the weight of the Scarlet-X. It is 6lb lighter than my R1MX setup but it doesn't really register when I pick them up; I just know that I'm holding a heavy camera. The biggest improvement that I can see if the shape of the body. In my opinion, the only reasonable place to mount the battery on the R1MX without creating an extremely top-heavy camera is at the rear behind the LCD, and that makes for a very long camera. The Scarlet is much shorter:

The R1MX sensor appears to be a different shape than the Scarlet-X's MX sensor. So while they're both "Mysterium X", I think that they must be a little different. I also think that the OLPF of the R1MX probably plays a role in the differences in image.

[IronFilm]

16 minutes ago, QuickHitRecord said:

There is an proprietary triangular mounting point on the back of the DSMC1 brain that requires a Wooden Camera Quick Back to act as an intermediary between the brain and the actual v-mount plate which usually has to be purchased separately -- between the two components, this could easily end up in the $400+ range. Of course, it's always an option to mount with rods instead, if you can find a 4-pin lemo v mount plate instead of a 2-pin. But the WC option is tidier.

Ah, I was linking to 2 pin lemo not 4 pin lemo. Here you go then:

https://www.bhphotovideo.com/c/product/1470777-REG/hedbox_unix_1b4_v_mount_adapter_power.html

Or just get a battery plate with a pig tail then wire it up yourself! (although lemo connectors are a pain to solder)

However, not needing to always use rails is convenient. 

Maybe there is a 3D printed solution here??

19 minutes ago, QuickHitRecord said:

I've read that there is a component within the Epic is that often fails and since Red won't service them anymore, it could turn your camera into a paperweight. The design was improved in the Scarlet-X, which was released after the Epic. DSMC2 bodies are supposed to be built even better, but they are also quite a bit more $$$.

Ah true, the RED Scarlet bodies are slightly "newer". 

2 hours ago, QuickHitRecord said:

The biggest improvement that I can see if the shape of the body. In my opinion, the only reasonable place to mount the battery on the R1MX without creating an extremely top-heavy camera is at the rear behind the LCD, and that makes for a very long camera.

Yeah and even mounting the V Mount at the back of the RED One still blocks the screen at the back. 

[kye]

8 hours ago, IronFilm said:

I'm saying "in the real world" as shorthand for saying in a professional setting working with and for others on a filming production. 

So the old RED cameras don't get any credibility anymore?

Wow..  considering how great the image is, and considering RED was never perceived as a consumer brand, it's a pretty fickle attitude!

8 hours ago, IronFilm said:

Of course, if it is just for your own personal pleasure, then just use whatever warms your heart! 

Even the Barbie Doll Camera could be the right choice for you! 

However did you guess?!?!

❤️❤️❤️

Actually, after recent releases, the second hand market for them might have gone vertical!

[TomTheDP]

21 hours ago, QuickHitRecord said:

Is the Epic image actually different? Lower compression ratios and a wider field of view but it's the same 5K MX sensor, right?

I've often heard about the magenta shadows the Epic-X but in my comparisons, the Scarlet-X has more neutral shadows than the magenta-leaning R1MX.

The RED naming has always confused me. But I am talking about the RED Epic Dragon vs the RED Scarlet X. 

Having used both the Epic Dragon has a lot more highlight latitude and the colors are more neutral.