Congrats on your purchase! As an owner of a Ranger Monstro, DSMC2 Monstro, and Ranger Gemini, the Monstro is undeniably the best bang for the buck. As for BM announcement - I’d still take this camera over the BM 12k any day of the week; 8K is plenty, and the sensor, latitude and .R3D codec coming from the Monstro is superior. This camera, and its image, will continue to be a high performer for years to come.
@@InfamousStar1 Don't wanna be that guy but the Ursa Cine LF gives you dynamic range comparable to the Alexa LF, 9 stops of exposure latitude and a very fast sensor readout speed. 12k 3:2 open-gate 80fps at 12ms readout speed & 8k 3:2 open-gate 144fps at 5ms readout speed. Full sensor, no crop slow motion. Higher frame rates when you decide to crop in 17:9 or 2.4:1. Extremely detailed image with a fine grain structure. Pleasing skin tones out of camera that you can park wherever you want due to it's fat BRAW codec. All at a similar price to a used Monstro. Of-course form factor is different & up to preference. The Monstro is a great camera, but in no way better than the Ursa. Still both are excellent and can rival Alexas & Venices.
People dislike Red because of their toxic business practices and because there have been reliability issues with certain models. These are valid concerns and do not apply to every camera theyve made.
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Exactly, for any camera team that had to work more than 2 days with a red camera ALWAYS ran into issues, and still does. It’s not a bad image. It’s unreliable computer, that is very sensitive to so much stuff. That’s why Sony/ARRI get the love from ACs
People usually hate on RED due to their business practices (suing left and right to keep their codec exclusive), big reliability issues and oftentimes bad value retainment. When a new model releases, your investment instantly cuts into half usually with the latest example being the Komodo X. Overall I would pose this question a lot: Take away the R3D codec, is this camera better than anything you can buy for the price? With good sensor offerings from Blackmagic, Sony (Venice), ARRI and even DJI, they are slowly losing relevance. However, RED is still a big name in the cinema and rental space, and usually cheaper than direct competitors (ARRI and Venice). Anything else is usually considered a downgrade.
the worst timing when blackmagic released their 12k Ursa mini LF body for $7000 only with the literally several times better sensor tech and amazing storage options
i can honestly say that the hate around red has NOTHING to do with the color science or anything like that but rather the reliability X factor that comes with these cameras compared to literally anything else. people like yourself have had a great experience. However, I can name off 10 cinematographers off that bat that have had top of line RED's literally fail mid shoot. like catastrophic failure. So i would say the hate really boils down to for the price you pay for everything, there are brands that are more reliable for half the cost and thats probably the most important thing over the image cause if the image is great but the camera is unreliable then the camera is literally worthless.
exactly, and when arri talks about their camera, they talk about what it has physically withstood about as much as they talk about the image. I mean when the sales reps come around they show off the stress testing footage and the photo of the alexa that was in a fire and still runs
For those talking about the new 12kLF I've been testing it here in a big studio I work for and as nice as it is it's big (super heavy kitted) and when shooting 12k needs a media dock to unload the footage. That media dock is 2k and for me not worth it. I own a Monstro 8k and Kx and here at work we own a few raptors, a couple fuji GFX II's, Ronin 4d 8k (which is the only other camera I would buy out of the bunch) and a mix of Arri's. Still choosing the Monstro and Ronin 4d 8k (and of course affordability is key).
I got my ready to shoot package for $7,137. Incredible deal for what you get. I'm loving mine. Love the no cable peripherals, HDRX, Infrared OLPF, Proxies, Interchangeable mounts, there's a lot to love.
I’d say you have the second most under rated camera, think my Gemini 5k tops it lol . All jokes aside I think dsmc2 makes so much sense today and can compete with most new cameras released today
Dude,such a solid pickup. My A cam package is the V raptor X and we FREQUENTLY rent out the Monstro or Gemini or even the low end Raven 4.5K as a B cam and comparatively, they all hold up well with the v raptor. I tell people looking to jump into the cinema camera world to look at used Raven’s all the time because of how good they are and you can literally pick them up for less than $5K all day
The DSMC2s are still incredible cameras, especially if you can get a great deal on a used one. I directed a feature last year and we used a Red Epic-W as our A-cam (komodos as B/C cam) and the image out of these is still top notch. I understand why some people have issues with Red, but to be honest the easy Raw workflow and color science has always been why I gravitate toward them.
As a red and arri owner I tend to reach more for my red then my arri. Main reason is the red is so much easier to grab and go. The quality you get is top notch.
Love your videos and love RED cameras. They are not typical cinema cameras, but they are so versatile! Especially have been in the past compared to other manufacturers. One thing that caught me of guard though was your bangs 🫣😶
The DSMC2 cameras are still absolutely fantastic if you can find one in good condition, which it looks like you have. The size and weight is the only downside in my opinion which is only if your work requires a smaller package. Great work getting the Monstro!
Amazing video brother! Is there a place where we can see that shoot you had in b-roll with the chef? It honestly looks so beatiful i'd love to see the whole thing
My Production company Owns a RED Monstero and we were renting Komodo as a BCam on a show for about a month. The image was so Green we could not deal with how much time it took to match in post. We Got the Helium as a BCam and it matches so much better. We are really disappointed with the colors from the DSMC3 Cams. DSMC2 is still amazing in 2025! Awesome purchase. Im sure you will love working with Monstero much better.
@@jacksonpetit1983 yeah black Shaded them both in the same room same temperature. It makes no difference. Komodo Cams have funky green colors. I have even tried other Komodo’s not just the same unit. They suck they are expensive GoPros.
With owning two Monstros, a Gemini, as well as being a former owner of two Komodos, and renting the Komodo-X on a few different projects, the Monstro has the superior image, dynamic range, latitude, image fidelity, motion cadence and low light performance. It also takes in more light with its full-frame VV sensor. Heck, my Gemini outperforms both the Komodo and Komodo-X. Entry level DSMC3 offerings do not beat out flagship DSMC2 offerings.
@ I don’t agree. I shot on almost all red cameras. Komodo x easily beats all dsmc except Monstro. Even comparing to Monstro its neck n neck. Color science is even better than Monstro. After Raptor series, KX has the best IQ
I had a few week the Monstro 8K in my hands, amazing, it was very little, not much than the Komodo. The issue was that it was only the the brain (body) and the RED Touch Monitor was another 2 grants. The camera is amazing. BTW, is there any lenses that AF work great with Komodo? Better RF or EF glass for AF in Komodo? Thanks!
Have been thinking about the Monstro but worried about how loud the fan sound is for interior narrative work, have you tested it in that environment yet?
The monstro in my opinion was a bad decision. You would’ve been better off having getting a Komodo X and speedbooster. Instead you got a used, heavier, and slower camera that uses stupid memory cards. Your shots per hour will drop. At the time of release, the monstro was a crazy camera but in 2025 versatility is more important. If you wanted a studio style camera as you mentioned, the 12 LF would have been the best decisions for what you need. But logic doesn’t matter when what you “want” is what you want 🤷🏿♂️
Not a critique, the Monstro is clearly a cleaner image (and I want one). But wouldn’t you have to adjust the ISO on the Komodo depending on the brightness of the scene? If you had a mostly dark scene you would want a lower ISO for more information in the shadows, correct? I’m not sure if this is true across all RED sensors but from what I understand the Komodo’s dynamic range shifts based on where you set your ISO. So you will lose highlight detail the lower your ISO setting but you gain much more detail in the shadows, much cleaner. I understand the purpose of your testing but I also think it’s important to properly expose your camera no matter what you’re using. Curious about your experience as a Komodo user, I’m still learning.
This is mostly true yeah. But the clipping points are the clipping points. And like I stated in the video I wanted to push the cameras even if it was unfair. I expose every camera differently for themselves. Thus I’ve never really complained much about the Komodo. I do welcome the additional DR from the Monstro though. Going to make my life easier.
@ I would only look into it if the body has the Mini-mag SSD upgrade module. Adorama advertised mine to have it… it did not. So, I now have to use the 1.8” original REDMags until I can find the mini-mag module. Which in itself, may be an impossible task. Can’t find them anywhere. Especially since you already will be using the mini-mags with your Monstro. Don’t know if you have heard of cinelux, but I’d give their website a gander. These older cameras are just computers. If you can figure out a reliable media solution and maintain the internals, these things will last a long time.
I paid around $800 for a Dragon 6k brain a couple months ago. I already had accessories from my Scarlet MX, which made it easier. It was from a rental house, so I was a little worried about wear and tear, but when it arrived it had low hours and looked brand new. Replaced the clock battery and it’s been running perfectly. MPB had a bunch of 240gb 1.8” red mags for $120 a piece not long ago, but I bought all of them.
I've always liked the RED raw files over ARRI raw files, even compared to Sonny's. All these make great production cameras and great image though. V-Raptor's global shutter is cool. Still, DSMC 2's are awesome (Helium, Gemini, Monstro) and you can try to get the RED motion mount which makes it basically a global shutter camera. Just need to know how to use it correctly...
If you dont need RAW worflow support in Davinci Zcam is just the better camera all around. Much better colors, lowlight, features, and feel as well as similar if not better dynamic range, It also doesn't have proprietary everything like RED. Can just use a cheap USBC drive for storage and sony batteries. Sad that it doesn't get enough recognition.
I agree I already started investing in z cam f6 I got cage and lenses etc for it I’m buying the body at the end of February definitely underrated camera
Early adapter of the zcam. And eventually moved to RED. If Zcam adopted industry standards such as SDI early on they would have a bigger name and more recognition. they upgraded their body finally. But no global shutter except for the s6g which is old body and as expensive if not more expensive as an OG Komodo..
@ I've worked with both, and can say the image out of Zcam is clearly better than the Komodo. It'a also much easier to work with on a realistic "non Hollywood" budget. But as someone else stated, they don't do a great job with updating the body to modern industry standards, or with making their RAW workflow more streamlined for things like Davinici, which I do agree with.
My hatred of RED has absolutely nothing to do with their initial colour science and grading struggles, it's their entire ethos I hate. I don't want 8K, I barely even want 6K. I don't want proprietary everything and ugly cheap-looking dollar-store-ass branding all over the camera. Their names make me gag. "Monstro," Jesus Christ. I'm already pissed off enough at BM for pushing this 12K BS. It's like Arri is the only remaining brand that won't go beyond 4.6K in anything other than their literal 65mm sensor, and at this point it's the only brand I back
I love red cameras, I just don’t like their culture. It’s the same Bro culture that’s loves Tesla. I always hated that nasty dirty fingernail tattoo guy in the studio at RED going over the camera in their UA-cam videos. I didn’t like the whole RED image I felt it was grungy and dirty. Like a character kichen character in the TV show the Bear. I always preferred the Arri image. Both the cameras and the company and the way the product was presented But the RED cameras give a great image.
Love you spenser, but you know what else looks like the komodo, the FX30. Or any modern camera. Old tech bro, but if you like the sensor you like the sensor. But you an OG, whatever camera you are using is not the reason for the result of the final look. But you know that. You like what you like, not gonna fault you for that.
Hahaha, $10,000😂 PLS STOP MAKING CHEAP CAMERA VIDEOS!
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Like many other have said…it’s the reliability why we hate RED. An ARRI can be banged up pretty much and still work, but a RED can fail in a temperature controlled studio. If my car only worked on sunny days in the left lane, I’d be looking at other cars as well.
Yes, I'm aware of the BM announcement from this morning. The timing wasn't so good, but I still love this new camera.
Congrats on your purchase! As an owner of a Ranger Monstro, DSMC2 Monstro, and Ranger Gemini, the Monstro is undeniably the best bang for the buck.
As for BM announcement - I’d still take this camera over the BM 12k any day of the week; 8K is plenty, and the sensor, latitude and .R3D codec coming from the Monstro is superior. This camera, and its image, will continue to be a high performer for years to come.
@@InfamousStar1 Don't wanna be that guy but the Ursa Cine LF gives you dynamic range comparable to the Alexa LF, 9 stops of exposure latitude and a very fast sensor readout speed. 12k 3:2 open-gate 80fps at 12ms readout speed & 8k 3:2 open-gate 144fps at 5ms readout speed. Full sensor, no crop slow motion. Higher frame rates when you decide to crop in 17:9 or 2.4:1. Extremely detailed image with a fine grain structure. Pleasing skin tones out of camera that you can park wherever you want due to it's fat BRAW codec. All at a similar price to a used Monstro. Of-course form factor is different & up to preference. The Monstro is a great camera, but in no way better than the Ursa. Still both are excellent and can rival Alexas & Venices.
You are fine Spencer, don't worry about FOMO! 😁
Big mistake
Better choice too. Red raw is better than braw.
People dislike Red because of their toxic business practices and because there have been reliability issues with certain models. These are valid concerns and do not apply to every camera theyve made.
Exactly, for any camera team that had to work more than 2 days with a red camera ALWAYS ran into issues, and still does.
It’s not a bad image. It’s unreliable computer, that is very sensitive to so much stuff.
That’s why Sony/ARRI get the love from ACs
Bullshit.
@@UA-cam_can_ESAD I own a Red, and have shot professionally on nearly every model they've released.
WTF are you talking about?
until very recently, red sued anyone who offered raw video in their cameras because they have the patent for it. that's pretty scummy
People usually hate on RED due to their business practices (suing left and right to keep their codec exclusive), big reliability issues and oftentimes bad value retainment. When a new model releases, your investment instantly cuts into half usually with the latest example being the Komodo X.
Overall I would pose this question a lot: Take away the R3D codec, is this camera better than anything you can buy for the price? With good sensor offerings from Blackmagic, Sony (Venice), ARRI and even DJI, they are slowly losing relevance. However, RED is still a big name in the cinema and rental space, and usually cheaper than direct competitors (ARRI and Venice). Anything else is usually considered a downgrade.
the worst timing when blackmagic released their 12k Ursa mini LF body for $7000 only with the literally several times better sensor tech and amazing storage options
i can honestly say that the hate around red has NOTHING to do with the color science or anything like that but rather the reliability X factor that comes with these cameras compared to literally anything else. people like yourself have had a great experience. However, I can name off 10 cinematographers off that bat that have had top of line RED's literally fail mid shoot. like catastrophic failure. So i would say the hate really boils down to for the price you pay for everything, there are brands that are more reliable for half the cost and thats probably the most important thing over the image cause if the image is great but the camera is unreliable then the camera is literally worthless.
exactly, and when arri talks about their camera, they talk about what it has physically withstood about as much as they talk about the image. I mean when the sales reps come around they show off the stress testing footage and the photo of the alexa that was in a fire and still runs
For those talking about the new 12kLF I've been testing it here in a big studio I work for and as nice as it is it's big (super heavy kitted) and when shooting 12k needs a media dock to unload the footage. That media dock is 2k and for me not worth it. I own a Monstro 8k and Kx and here at work we own a few raptors, a couple fuji GFX II's, Ronin 4d 8k (which is the only other camera I would buy out of the bunch) and a mix of Arri's. Still choosing the Monstro and Ronin 4d 8k (and of course affordability is key).
I got my ready to shoot package for $7,137. Incredible deal for what you get. I'm loving mine. Love the no cable peripherals, HDRX, Infrared OLPF, Proxies, Interchangeable mounts, there's a lot to love.
I just got my monstro Kit last week and when I tell you I love it!!!! I can’t wait to put some real dope glass on it!
I’d say you have the second most under rated camera, think my Gemini 5k tops it lol . All jokes aside I think dsmc2 makes so much sense today and can compete with most new cameras released today
Please silent I am trying to buy a second Gemini body and don't need the hype to know lol
Dude,such a solid pickup. My A cam package is the V raptor X and we FREQUENTLY rent out the Monstro or Gemini or even the low end Raven 4.5K as a B cam and comparatively, they all hold up well with the v raptor.
I tell people looking to jump into the cinema camera world to look at used Raven’s all the time because of how good they are and you can literally pick them up for less than $5K all day
The DSMC2s are still incredible cameras, especially if you can get a great deal on a used one. I directed a feature last year and we used a Red Epic-W as our A-cam (komodos as B/C cam) and the image out of these is still top notch. I understand why some people have issues with Red, but to be honest the easy Raw workflow and color science has always been why I gravitate toward them.
As a red and arri owner I tend to reach more for my red then my arri. Main reason is the red is so much easier to grab and go. The quality you get is top notch.
Love your videos and love RED cameras. They are not typical cinema cameras, but they are so versatile!
Especially have been in the past compared to other manufacturers.
One thing that caught me of guard though was your bangs 🫣😶
Great Video Spenser! I just moved from Blackmagic to RED and it's been a game changer.
The DSMC2 cameras are still absolutely fantastic if you can find one in good condition, which it looks like you have. The size and weight is the only downside in my opinion which is only if your work requires a smaller package. Great work getting the Monstro!
Your shots on the Komodo X look amazing! What lens did you use?
The chef stuff? Zeiss Milvus
@, 6:36-42 minute mark 🙂
You did Goooood!!! I love my Komodo 6k. Enjoy that big boy!
Amazing video brother! Is there a place where we can see that shoot you had in b-roll with the chef? It honestly looks so beatiful i'd love to see the whole thing
ua-cam.com/video/fUJqSR_Im-M/v-deo.htmlsi=-gSqM2Qm0UyhYrgs
@@spensersakuraiAmazing work Spenser Sakurai
My Production company Owns a RED Monstero and we were renting Komodo as a BCam on a show for about a month. The image was so Green we could not deal with how much time it took to match in post. We Got the Helium as a BCam and it matches so much better. We are really disappointed with the colors from the DSMC3 Cams. DSMC2 is still amazing in 2025! Awesome purchase. Im sure you will love working with Monstero much better.
Did you black shade when necessary? From what I understand if you don’t the image becomes green over time.
@@jacksonpetit1983 yeah black Shaded them both in the same room same temperature. It makes no difference. Komodo Cams have funky green colors. I have even tried other Komodo’s not just the same unit. They suck they are expensive GoPros.
Congrats for new camera!
BANGER.
Ooo yeah. I’m about to dive deep, and start looking online for used Montros
you forgot to mention you can run a monitor and evf at the same time and the compressions are betters and all the aspect ratios
Great overview! Would LOVE to see a comparison of Monstro vs Komodo-X - it’s a totally different sensor!
I would like to see the KX vs the Monstro as that is a combo I could see working as a good combo
Would you keep your Komodo a bcam or use a factory sealed red dragon 6k as bcam ?
Kinda crazy how much of a resolution bump you see going from 6k to 8k.
Great choice! Can’t believe how inexpensive the monstro has come.
Red Komodo X image is so beautiful. Probably better than Monstro especially in low light. What you think ?
With owning two Monstros, a Gemini, as well as being a former owner of two Komodos, and renting the Komodo-X on a few different projects, the Monstro has the superior image, dynamic range, latitude, image fidelity, motion cadence and low light performance. It also takes in more light with its full-frame VV sensor. Heck, my Gemini outperforms both the Komodo and Komodo-X.
Entry level DSMC3 offerings do not beat out flagship DSMC2 offerings.
@ I don’t agree. I shot on almost all red cameras. Komodo x easily beats all dsmc except Monstro. Even comparing to Monstro its neck n neck. Color science is even better than Monstro. After Raptor series, KX has the best IQ
@@shinzychan5117agree to disagree.
No I wouldn’t say that at all. Monstro is way more sensitive.
I don't think that's true... technically nor in practice
I had a few week the Monstro 8K in my hands, amazing, it was very little, not much than the Komodo. The issue was that it was only the the brain (body) and the RED Touch Monitor was another 2 grants. The camera is amazing. BTW, is there any lenses that AF work great with Komodo? Better RF or EF glass for AF in Komodo? Thanks!
If you need auto focus don’t get a red haha it’s more of a back up situation. It works but not well.
Have been thinking about the Monstro but worried about how loud the fan sound is for interior narrative work, have you tested it in that environment yet?
You can set the fan settings for whatever. Plus even if it was an issue that’s a super easy thing to fix. I wouldn’t worry about it.
@@spensersakurai Great to know! thank you so much!
the sensot in the first Raptor is the same as the 2 uni body Monstro red confirmed it with me at profusion show
amazing! whats the lens at 12.20 for the depth of field test?
DZO Arles
The defiance wasn't crazy to me. In fact i felt like you can match them pretty easily.
Congrats. great vid.
Monstro is a solid camera and will be for many many years.
Komodo is “balanced DR” at 800 iso. At 400 iso, it gives more DR to shadows.
I always run Komodo at -5 Green. It makes it much better.
I always do that! But for this just wanted to see SOC.
The monstro in my opinion was a bad decision. You would’ve been better off having getting a Komodo X and speedbooster. Instead you got a used, heavier, and slower camera that uses stupid memory cards. Your shots per hour will drop. At the time of release, the monstro was a crazy camera but in 2025 versatility is more important. If you wanted a studio style camera as you mentioned, the 12 LF would have been the best decisions for what you need. But logic doesn’t matter when what you “want” is what you want 🤷🏿♂️
Like I said in the video I’ve shot a lot on the X. I like my decision for my needs. And it’s still cheaper than an X.
Not a critique, the Monstro is clearly a cleaner image (and I want one). But wouldn’t you have to adjust the ISO on the Komodo depending on the brightness of the scene? If you had a mostly dark scene you would want a lower ISO for more information in the shadows, correct? I’m not sure if this is true across all RED sensors but from what I understand the Komodo’s dynamic range shifts based on where you set your ISO. So you will lose highlight detail the lower your ISO setting but you gain much more detail in the shadows, much cleaner. I understand the purpose of your testing but I also think it’s important to properly expose your camera no matter what you’re using. Curious about your experience as a Komodo user, I’m still learning.
This is mostly true yeah. But the clipping points are the clipping points. And like I stated in the video I wanted to push the cameras even if it was unfair. I expose every camera differently for themselves. Thus I’ve never really complained much about the Komodo. I do welcome the additional DR from the Monstro though. Going to make my life easier.
@ 100%. Congrats on the new cam!
They used Red cameras to tilm Stranger Things which that footage is beautiful.
I've had so many v mounts pop off on my f55
You'd probably would have got the Blackmagic 12k LF Body for cheaper 😉
You just missed out on the Black Magic 12k. They just reduced the price.
You bought this kit out from under me… that’s okay, I got an epic dragon 6k 😍
Heck yeah. I kind of want one of those too
@ I would only look into it if the body has the Mini-mag SSD upgrade module. Adorama advertised mine to have it… it did not. So, I now have to use the 1.8” original REDMags until I can find the mini-mag module. Which in itself, may be an impossible task. Can’t find them anywhere. Especially since you already will be using the mini-mags with your Monstro. Don’t know if you have heard of cinelux, but I’d give their website a gander. These older cameras are just computers. If you can figure out a reliable media solution and maintain the internals, these things will last a long time.
I paid around $800 for a Dragon 6k brain a couple months ago. I already had accessories from my Scarlet MX, which made it easier. It was from a rental house, so I was a little worried about wear and tear, but when it arrived it had low hours and looked brand new. Replaced the clock battery and it’s been running perfectly.
MPB had a bunch of 240gb 1.8” red mags for $120 a piece not long ago, but I bought all of them.
@ hell yeah. I didn’t get as lucky with price, but psyched to get it up and running
He said package 😂
I've always liked the RED raw files over ARRI raw files, even compared to Sonny's. All these make great production cameras and great image though. V-Raptor's global shutter is cool. Still, DSMC 2's are awesome (Helium, Gemini, Monstro) and you can try to get the RED motion mount which makes it basically a global shutter camera. Just need to know how to use it correctly...
😂 😂 😂 What do you mean hard to get the cinematic look out of early RED cameras. I still believe the Red one MX has the most filmic look.
Hey Spenser another great video! Thanks for the info!
Monstro is awesome.
Image is undoubtedly nice but personally I don’t like the footprint
If you dont need RAW worflow support in Davinci Zcam is just the better camera all around. Much better colors, lowlight, features, and feel as well as similar if not better dynamic range, It also doesn't have proprietary everything like RED. Can just use a cheap USBC drive for storage and sony batteries. Sad that it doesn't get enough recognition.
I agree I already started investing in z cam f6 I got cage and lenses etc for it I’m buying the body at the end of February definitely underrated camera
Early adapter of the zcam. And eventually moved to RED. If Zcam adopted industry standards such as SDI early on they would have a bigger name and more recognition. they upgraded their body finally. But no global shutter except for the s6g which is old body and as expensive if not more expensive as an OG Komodo..
You’re bugging.
@ I've worked with both, and can say the image out of Zcam is clearly better than the Komodo. It'a also much easier to work with on a realistic "non Hollywood" budget. But as someone else stated, they don't do a great job with updating the body to modern industry standards, or with making their RAW workflow more streamlined for things like Davinici, which I do agree with.
The modularity of the dsmc2 bodies is still hard to beat with just about any of the sensor options.
Damn, amazing timing
Been eyeing a dragon x kit on ebay, great deal
This video is clearly a sign🪄
Mpb has a couple deals on dragon bodies
@spensersakurai thanks I'll check it out!
My hatred of RED has absolutely nothing to do with their initial colour science and grading struggles, it's their entire ethos I hate. I don't want 8K, I barely even want 6K. I don't want proprietary everything and ugly cheap-looking dollar-store-ass branding all over the camera. Their names make me gag. "Monstro," Jesus Christ. I'm already pissed off enough at BM for pushing this 12K BS. It's like Arri is the only remaining brand that won't go beyond 4.6K in anything other than their literal 65mm sensor, and at this point it's the only brand I back
how is red underrated
I love red cameras, I just don’t like their culture. It’s the same Bro culture that’s loves Tesla. I always hated that nasty dirty fingernail tattoo guy in the studio at RED going over the camera in their UA-cam videos. I didn’t like the whole RED image I felt it was grungy and dirty. Like a character kichen character in the TV show the Bear. I always preferred the Arri image. Both the cameras and the company and the way the product was presented But the RED cameras give a great image.
I’ve said this very thing about Tesla
Love you spenser, but you know what else looks like the komodo, the FX30. Or any modern camera. Old tech bro, but if you like the sensor you like the sensor. But you an OG, whatever camera you are using is not the reason for the result of the final look. But you know that. You like what you like, not gonna fault you for that.
Lots of rambling there
Yeah you know I know that. I’m just getting a sharper blade cuz I can and I want it.
Enjoy your camera!
Red gets hate because they’re actually good cameras.
Hahaha, $10,000😂 PLS STOP MAKING CHEAP CAMERA VIDEOS!
Like many other have said…it’s the reliability why we hate RED.
An ARRI can be banged up pretty much and still work, but a RED can fail in a temperature controlled studio.
If my car only worked on sunny days in the left lane, I’d be looking at other cars as well.