As someone who's AC'd on both Venice and a Red Gemini I can say the Venice is built for a crew while the RED is made for smaller productions. The Venice is a dream with its 0.3 to 2.1 stops of internal IR ND's and amount of IO. Sometimes size is needed to efficiently build out a rig comfortably while the Gemini's is solely focused around single operator comfort. Not to mention the Rialto mode. Both get beautiful images, with the correct crew and lighting can deliver astounding images.
No one asked but here's what I think. I think no matter the camera, you as a filmmaker are talented enough to create something substantial with whatever high end camera you use. After that it's all tech specs that goes unnoticed by the general pop. Cheers Kofi!
@@KofiYeboahmaybe, but according to cined's lab tests the red vraptors slightly edges out the Venice 2 8.6k in terms of dynamic range and total latitude
Always great videos. What my main takeaway as a hobbyist video person is how a sub 2k camera like an fx30 can be good enough for YT and most mediums. Wild times.
Theoretically the raptor has open gate. It just has a 17:9 sensor and this is why you don't have 3:2. The Arri 65 has 2.2:1 sensor. So you also get an interesting open gate mode.
Incredible video. As sought after as REDs were for so long, the community definitely got burned out by the hype after so many incredible cameras have hit the market in the last decade. However, that shift was so aggressive that i actually have felt that they've been fairly UNDER appreciated. R3D is such a great codec and isn't as overkill as it used to be. Now any reasonably powered machine can play those files back in realtime and you don't always have to make proxies. The Venice is also great and has its own characteristics that make it amazing too. It's just a great time to be doing this job! The tools are just getting so good.
Honestly I don't think its about the codec. The RED would outperform the Venice in Prores. I assume the Venice's noise pattern would be nicer in RAW, but it would still be present. The Raptor sensor is just better. That is why for me it would be hard to purchase the Venice 1 despite it being a more well regarded industry name. What you gain in ND's you lose in the weight which is a full 12 pounds. RED is really hated in higher end circles though.
Awesome video, stoked you got your hands on a Raptor. Never could understand why the new RED lineup only includes one card slot. How about weight difference? Once the Raptor is all kitted out, did it still feel way lighter and more mobile? I know you've mentioned even as a big guy, the Venice is hard to use handheld for any length of time.
The card slot is an interesting comparison but I wouldn’t let it determine a camera choice. Arri is arguably the industry standard and they only have one card slot.
@@TheNoobtuber27 idk we work with both flavors of the mini and the new 35 which are all pretty much the industry standard arri’s and they all only have one. You may be correct though as I recall the Amira may have two.
you can shoot open gate at 4k proress 4444xq with the raptor without cropping in. In regards to the Venice 2, the raptor still has more DR, but the Venice 2 definitely outresolves detail
Nice video! Hate to play the know it all but for the sake of people making decisions based on correct information: - Sony Venice also supports camera RAW known as X-OCN. This comes in three rates of compression XT,ST,LT The Venice 1 needs an external recorder and the raw license installed. The Venice 2 can do this without the external recorder. - RED does not hold a patent for in camera RAW it holds a patent for in camera compressed RAW above a certain compression rate (don’t know the exact rate ~ >3:1) - You can change the ISO in post on the Venice if you record RAW, your range will be limited depending on what base ISO you shot at
Thanks ! I mentioned Sonys flavour of raw being different based on how it shows up on davinci; it’s very much like Black magic raw control wise, which I understand isn’t at all the same as R3D where you actually have the iso option in the camera raw I did mention the recorder , just briefly keeping in mind the audience , and that I doubt neither is making a buying decision off this ! You’re right about the compressed v uncompressed , Freudian slip! In the camera raw tab for Venice footage, it shows up as exposure, but from what I was told that’s not the same as how R3D has both exposure comp and iso , great catches !
Apologies I missed the mention about the recorder! As for R3D vs X-OCN I believe the exposure in the camera raw tab serves the same function as iso with RED. I recently finished a project With Venice as A cam and komodo as B and C and got the same functionality in post out of both RAW formats. It would be nice to test though to see if changing exposure in post equals shooting at that ISO in camera. From what I know X-OCN is 16bit linear which is as “RAW” as it gets. BRAW is different in that it is already partially debayerd and therefore no longer RAW. Sidenote: Can’t confirm this but it seems Sony licensed compressed in camera RAW with RED for the Venice 2 since that’s the only camera besides RED’s lineup that has in camera compressed RAW without RED suing the manufacturer (Kinefinity, Nikon).
Why were the cameras at diffetent apertures in the dynamic range test of the bodybuilder? What were the camera settings? Was exposure (aperture, shutter, nd) not matched? Or how was it exposed?
@@noahyv Venice was Cine ei at iso 500/500 ei Red Raptor was 500 as well although, if you’re familiar with R3D, iso doesn’t impact exposure Both on f2.8 lenses, think the Raptor was stopped up to match exposure that help?
@@KofiYeboah EI shouldn't affect exposure on either camera right? And ISO/EI numbers likely aren't very comparable in my experience. Wait why would one be at a different aperture than the other? Why wouldn't you use the same aperture on both? Were you trying to expose to match white clip to something static in the scene?
@@noahyv ei independent of itself doesn’t but using ND, light, shutter or iris will change your exposure using EI as a guide ( I made 2-3 videos check em out !) The raptor doesn’t have built in ND, and external NDs might have causes Color shift so stopping down was the next best thing
yo... I haven't even watched this video yet but, Venice is so damn heavy they have to make a detachable head unit to help manage the weight and size. And then add the raw recorder and DUNZO. It's like putting a lens on a cinder block. Yikes. can't wait to check this video out. :-P
@@JJSCTech people are confusing the quality of glass and DOP talent with that of the camera. The Komodo looks the same as the a7s3, Blackmagic pocket can look the same as Alexa mini Lf, people can’t tell the difference between a venice and a canon C500, and you can make the Fx30 look similar to the Venice. And so on.
@@marcoaslanI’m sorry but you and others who spew this rhetoric need to stop. UA-cam compression will make many things look close to each other. You cannot compare the DR, highlight roll offs, and even how cleanish the image is in low light of these cameras with an a7siii. Slog is no where as flexible as R3d when it comes to data retention and color flexibility. You can’t add what the camera didn’t capture. If your clients are happy with the bmp4k/6k and a7siii, good! That’s what matters. When you pitch to certain clients that want more detail and more true to life skin tones and etc, the a7siii will almost never make the cut.
@@JJSCTech I think we're both right in our ways, depending on the context. When we're talking about content that is destined for platforms with heavy compression, like UA-cam or Instagram, the differences between high-end cameras may be less noticeable. For many creators and clients, cameras like the FX3 or FX6 might be more than sufficient, and that's absolutely okay. Projects that require the utmost quality, flexibility, and precision, such as major films or high-end commercials, the unique characteristics of cameras like the Alexa, RED, or Venice become more critical. But if you are filming for instagram or UA-cam anything beyond FX6 is an overkill. It's not a one-size-fits-all situation. Different projects call for different tools, and what's 'overkill' for one might be essential for another. We should respect and understand the choices made by filmmakers based on the context of their work. To the general audience, especially on platforms where compression plays a significant role, many of these differences might appear unnoticeable.
![RED V-Raptor [X] Review: Four Months of Awesome](http://i.ytimg.com/vi/xTygbLtfvqo/mqdefault.jpg)
As someone who's AC'd on both Venice and a Red Gemini I can say the Venice is built for a crew while the RED is made for smaller productions. The Venice is a dream with its 0.3 to 2.1 stops of internal IR ND's and amount of IO. Sometimes size is needed to efficiently build out a rig comfortably while the Gemini's is solely focused around single operator comfort. Not to mention the Rialto mode. Both get beautiful images, with the correct crew and lighting can deliver astounding images.
Great breakdown fam! I think I'm going to buy both to vlog with.
Dual cam vlogging bruh
@@KofiYeboahgood job by comparing them two cameras…
No one asked but here's what I think. I think no matter the camera, you as a filmmaker are talented enough to create something substantial with whatever high end camera you use. After that it's all tech specs that goes unnoticed by the general pop. Cheers Kofi!
This made me even more happy with my KX purchase, specially after seeing how well it matches to the raptor.
I’m sure the Venice 2 probably would fair better , but at that point you could almost afford a home in this economy 😂
Also 👀👀 one more week
@@KofiYeboahmaybe, but according to cined's lab tests the red vraptors slightly edges out the Venice 2 8.6k in terms of dynamic range and total latitude
@@zebius4157 I haven’t even checked, so you could be totally right 😅
There’s something about the Red’s motion that I can really distinguish from other cams
Always great videos. What my main takeaway as a hobbyist video person is how a sub 2k camera like an fx30 can be good enough for YT and most mediums. Wild times.
And don’t let anyone tell you otherwise!
@@KofiYeboah 💪🏽
The import is the cinematic feeling that the camera brings not the image quality that's why the venice wins
Dude 100k is coming. Your vids are fun, to the point and just dope. Keep rocking broski! 🎥💪🏽
I’d love that! I just gotta earn my stripes
Theoretically the raptor has open gate. It just has a 17:9 sensor and this is why you don't have 3:2. The Arri 65 has 2.2:1 sensor. So you also get an interesting open gate mode.
Incredible video. As sought after as REDs were for so long, the community definitely got burned out by the hype after so many incredible cameras have hit the market in the last decade. However, that shift was so aggressive that i actually have felt that they've been fairly UNDER appreciated. R3D is such a great codec and isn't as overkill as it used to be. Now any reasonably powered machine can play those files back in realtime and you don't always have to make proxies.
The Venice is also great and has its own characteristics that make it amazing too. It's just a great time to be doing this job! The tools are just getting so good.
Cameras are honestly on super saiyan nowadays
You've been putting out so much good stuff man! Keep it going.
Appreciate it! Course man 🙏🏾
Honestly I don't think its about the codec. The RED would outperform the Venice in Prores. I assume the Venice's noise pattern would be nicer in RAW, but it would still be present. The Raptor sensor is just better. That is why for me it would be hard to purchase the Venice 1 despite it being a more well regarded industry name. What you gain in ND's you lose in the weight which is a full 12 pounds.
RED is really hated in higher end circles though.
Great stuff dude! That R3D is 🔥
It really is! It’s surprisingly good
Awesome video, stoked you got your hands on a Raptor. Never could understand why the new RED lineup only includes one card slot. How about weight difference? Once the Raptor is all kitted out, did it still feel way lighter and more mobile? I know you've mentioned even as a big guy, the Venice is hard to use handheld for any length of time.
Nah rigged out the Venice is easily heavier ahah
The card slot is an interesting comparison but I wouldn’t let it determine a camera choice. Arri is arguably the industry standard and they only have one card slot.
Fair enough, I’m far more risk averse 😅
@@KofiYeboah haha I totally feel ya! Having a secondary backup definitely helps with the anxieties
actually a lot of arris have 2 slots
@@TheNoobtuber27 idk we work with both flavors of the mini and the new 35 which are all pretty much the industry standard arri’s and they all only have one. You may be correct though as I recall the Amira may have two.
This was cool. Thanks for sharing this with us man!
Glad you enjoyed it!
you can shoot open gate at 4k proress 4444xq with the raptor without cropping in. In regards to the Venice 2, the raptor still has more DR, but the Venice 2 definitely outresolves detail
I gotta try the Venice 2 next !
YES! Been waiting for this one 👏🏻
Ayyy glad you liked it !
The raptor out performing the Venice in its higher base iso is insane…
That R3D Raw be something else mannnnn
I never record redundant. as long as you've got a DIT who's doing their job, you're data is gonna be fine, and you'll be far more data efficient
All about preference ! 😁
Totally killing the game! Love your videos
Thanks homie!
If you are worried about only one card slot just stick a Ninja on top and record backup to there.
I love the smallhds on these though 🥲
Great Video mate could you Provide some raw footage that you shoot!
one card slot means unprofessional doesn't it? I mean that is what everyone in my comments always tell me... lol
Guess we gotta tell ARRI that too, 😂 I’m just risk averse because if it can happen to me, it’ll happen to me
Venice 2 vs raptor would be interesting
I don’t have the monies for that aha
Great Video Kofi!
No problem !!
Cool and simple comparison, I liked it.
Sony Venice is only 2 years and a half older than Raptor, not 6 though.
Venice release was 2017, so correction 6 years ago, the raptor was last august
Nice video! Hate to play the know it all but for the sake of people making decisions based on correct information:
- Sony Venice also supports camera RAW known as X-OCN.
This comes in three rates of compression XT,ST,LT
The Venice 1 needs an external recorder and the raw license installed.
The Venice 2 can do this without the external recorder.
- RED does not hold a patent for in camera RAW it holds a patent for in camera compressed RAW above a certain compression rate (don’t know the exact rate ~ >3:1)
- You can change the ISO in post on the Venice if you record RAW, your range will be limited depending on what base ISO you shot at
Thanks ! I mentioned Sonys flavour of raw being different based on how it shows up on davinci; it’s very much like Black magic raw control wise, which I understand isn’t at all the same as R3D where you actually have the iso option in the camera raw
I did mention the recorder , just briefly keeping in mind the audience , and that I doubt neither is making a buying decision off this !
You’re right about the compressed v uncompressed , Freudian slip!
In the camera raw tab for Venice footage, it shows up as exposure, but from what I was told that’s not the same as how R3D has both exposure comp and iso , great catches !
Apologies I missed the mention about the recorder!
As for R3D vs X-OCN I believe the exposure in the camera raw tab serves the same function as iso with RED. I recently finished a project With Venice as A cam and komodo as B and C and got the same functionality in post out of both RAW formats. It would be nice to test though to see if changing exposure in post equals shooting at that ISO in camera. From what I know X-OCN is 16bit linear which is as “RAW” as it gets. BRAW is different in that it is already partially debayerd and therefore no longer RAW.
Sidenote: Can’t confirm this but it seems Sony licensed compressed in camera RAW with RED for the Venice 2 since that’s the only camera besides RED’s lineup that has in camera compressed RAW without RED suing the manufacturer (Kinefinity, Nikon).
Good evening, I want to know if it's about the Venice 2 or 1
I said it in the intro 👍🏾
Give yourself grace, bro. This was a very good video.
I appreciate that thank you man
Cool video Big Bro, thanks. 💯💯💯💯
Thanks for chimin in 🙏🏾
Bro has all the wonderful toys
I get to borrow *
I am just now realizing that gym is First Health Club lol
Ahah yessir !
Why were the cameras at diffetent apertures in the dynamic range test of the bodybuilder? What were the camera settings? Was exposure (aperture, shutter, nd) not matched? Or how was it exposed?
One doesn’t have inter ND filters, Cine ei on the Venice , traffic lights on the red as it has no native iso
@@KofiYeboah that's a bit unclear. Can you say the settings you used?
@@noahyv Venice was Cine ei at iso 500/500 ei
Red Raptor was 500 as well although, if you’re familiar with R3D, iso doesn’t impact exposure
Both on f2.8 lenses, think the Raptor was stopped up to match exposure that help?
@@KofiYeboah EI shouldn't affect exposure on either camera right? And ISO/EI numbers likely aren't very comparable in my experience. Wait why would one be at a different aperture than the other? Why wouldn't you use the same aperture on both? Were you trying to expose to match white clip to something static in the scene?
@@noahyv ei independent of itself doesn’t but using ND, light, shutter or iris will change your exposure using EI as a guide ( I made 2-3 videos check em out !)
The raptor doesn’t have built in ND, and external NDs might have causes Color shift so stopping down was the next best thing
What lens was used for the shot at 9:00?
The DZO 16mm👍🏾
Great video!
Thanks 🙏🏾
Set me up with the slower one??? This was rigged! 🤣
👀oops
yo... I haven't even watched this video yet but, Venice is so damn heavy they have to make a detachable head unit to help manage the weight and size. And then add the raw recorder and DUNZO. It's like putting a lens on a cinder block. Yikes. can't wait to check this video out. :-P
It’s a thiccccc camera for sure
This is Sony Venice 1 OR 2 ?
Venice 1
Sony burano has entered the room..
I can’t wait to use it !
All cameras look the same. The only one that stands out in image is the Alexa35.
Sure!
Lol!
@@JJSCTech people are confusing the quality of glass and DOP talent with that of the camera. The Komodo looks the same as the a7s3, Blackmagic pocket can look the same as Alexa mini Lf, people can’t tell the difference between a venice and a canon C500, and you can make the Fx30 look similar to the Venice. And so on.
@@marcoaslanI’m sorry but you and others who spew this rhetoric need to stop. UA-cam compression will make many things look close to each other. You cannot compare the DR, highlight roll offs, and even how cleanish the image is in low light of these cameras with an a7siii. Slog is no where as flexible as R3d when it comes to data retention and color flexibility. You can’t add what the camera didn’t capture. If your clients are happy with the bmp4k/6k and a7siii, good! That’s what matters. When you pitch to certain clients that want more detail and more true to life skin tones and etc, the a7siii will almost never make the cut.
@@JJSCTech I think we're both right in our ways, depending on the context. When we're talking about content that is destined for platforms with heavy compression, like UA-cam or Instagram, the differences between high-end cameras may be less noticeable. For many creators and clients, cameras like the FX3 or FX6 might be more than sufficient, and that's absolutely okay.
Projects that require the utmost quality, flexibility, and precision, such as major films or high-end commercials, the unique characteristics of cameras like the Alexa, RED, or Venice become more critical. But if you are filming for instagram or UA-cam anything beyond FX6 is an overkill.
It's not a one-size-fits-all situation. Different projects call for different tools, and what's 'overkill' for one might be essential for another. We should respect and understand the choices made by filmmakers based on the context of their work.
To the general audience, especially on platforms where compression plays a significant role, many of these differences might appear unnoticeable.
Does anyone have autofocus
Raptor, sorta ahah
😂 tell me the truth how many times has a memory card died on you?
Three times actually
@@KofiYeboah ouch man, my worst nightmare
Stop putting yourself down in your videos
Ok?