New RED V-RAPTOR 8K VV 120FPS Camera

Based on random reading over on REDuser over the last many years, equipment like this is usually for people working on a very high level and/or for wealthy individuals.

There's actually an interesting relationship between wealth and the desire for owning the world's best technology (even if it will not be directly operated by the purchaser).
 
Clermond said:
um, at least no one I know.
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I use 120fps all the time. I could see 8K having limited use for me right now, but I certainly don't feel like I NEED it. However, there are already other 8K cameras running about... Even 12K cameras... Certainly, one use is for reframing in post, especially for mixed horizontal/vertical formats for web advertising.

But I mean, neither the resolution nor the framerate seem all that unusual to me, regardless of whether you or I personally require them
 
ahalpert said:
I use 120fps all the time. I could see 8K having limited use for me right now, but I certainly don't feel like I NEED it. However, there are already other 8K cameras running about... Even 12K cameras... Certainly, one use is for reframing in post, especially for mixed horizontal/vertical formats for web advertising.

But I mean, neither the resolution nor the framerate seem all that unusual to me, regardless of whether you or I personally require them
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120p from time to time but 120p 8k??
cutting a horizontal and a vertical frame out of the same shot has never worked for me. Au contraire.
 
Clermond said:
120p from time to time but 120p 8k??
cutting a horizontal and a vertical frame out of the same shot has never worked for me. Au contraire.
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I really don't see what one has to do with the other. If you want to use 120p, you want to use 120p. If you want to use 8K, you want to use 8K. If you want to use both, then you need one that does both. Nobody says, "Hey, can your camera shoot 8K?" "No, but it can shoot 120p, so we should be fine."

I don't personally need 8K, but I suspect that it will be an ascendant format that supplants 4K. So, if you need 120p in 4K, you'll need it in 8K.

I'm not saying I fancy cutting horizontal and vertical frames out of the same shot. But the fact of the matter is I do it all the time. Typically, it's a 16x9 frame that then gets carved up into 9x16 and/or 4x5 for instagram. Of course, we usually protect for vertical when shooting it horizontally. And I don't need a crazy amount of resolution to post to instagram. But dvxusers on the forum have mentioned the specific need for high resolution to produce multi-format web ads.

And don't underestimate how editors want to **** with your footage. I worked for a wedding company for over a year (and still work for them) before I reviewed a series of my videos they had edited and realized that every single one was cropped to 2.35:1. But they never told me they were going to do that! They must have just figured that they could crop it however they wanted without considering how they could get boxed in on a 16x9 CU that would necessarily become a choker or just eyes and mouth, or considering how much better of a composition the cameraman can deliver if he/she knows what aspect ratio to frame for.

So yeah, I'm sure that editors who don't also shoot love the idea of getting more megapixels to mess with, as long as their systems can handle it.
 
ahalpert said:
I worked for a wedding company for over a year (and still work for them) before I reviewed a series of my videos they had edited and realized that every single one was cropped to 2.35:1. But they never told me they were going to do that! They must have just figured that they could crop it however they wanted without considering how they could get boxed in on a 16x9 CU that would necessarily become a choker or just eyes and mouth, or considering how much better of a composition the cameraman can deliver if he/she knows what aspect ratio to frame for.
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That has always caused a major disconnection between videographers and editors for the last 8-10 years, especially as black bars somehow became an industry-standard for a lot of content (considered "cinematic") - but hopefully the editors working on your footage are at least offsetting the picture inside the letterbox.

It doesn't solve every shot because you're likely framing some things perfectly and thinking that's how they should be shown to the audience, but at least that option is there to "fix" the cropping.
 
yes, I believe they were offsetting, further cropping in, pan-and-scanning... but ever since i realized they were doing this, i started framing for the crop. and now from what i can tell, they just use my framing

i actually really do like the look of that aspect ratio... it just lends itself to leading lines along the horizon, or to having 2 subjects (typically foreground/background) sharing the spotlight

but yeah it just seems like if they KNOW they're going to crop it....it's crazy not to tell the cameraman in advance. when i watched the first video, I thought, "Oh, the client must have ordered an anamorphic look for this video." then the second... "Oh, and this one too." and then the realization, "Oh, no. They do this for EVERY one"

and just the idea that i'm delivering them a formless plate of slop that they can parcel out however they see fit is offensive to me. as opposed to careful framing with emotional intent. so, in that regard i absolutely agree with clermond about editing horizontal/vertical video from the same frame. but that's the world we live in and i want their money. and if you plan around it, you can do a hell of a lot better than if nobody tells you in advance.
 
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Well the Stormtrooper versions are live to purchase for $24,500:

https://www.red.com/v-raptor-st?quantity=1&package=1

Description from website:

"V-RAPTOR ST 8K VV is the most powerful and advanced RED cinema camera ever. As the brand’s new flagship system and sensor, as well as the first entrant into the new DSMC3 generation of cameras, V-RAPTOR stands alone at the forefront of the of digital image capture technology.

Featuring a groundbreaking multi-format 8K sensor- with the ability to shoot 8K Large Format or 6K S35, it unlocks the largest lens selection of any comparable camera on the market and allows shooters the ability to always deliver at over 4K. The sensor also boasts the highest recorded dynamic range of any RED camera and the fastest ever cinema quality scan time. With a dynamic range of over 17 stops and featuring scan times 2x faster than any previous RED camera, allowing users to capture up to 600 fps at 2K. V-RAPTOR will also continue to feature RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and color management.

Along with a new flagship sensor, the V-RAPTOR features a modernized platform in an amazingly compact package weighing in at barely over 4 lbs. With 2 4K 12G-SDI outputs, XLR audio and phantom power via adapter, and 1080p livestream, this system can handle most anything a shooter can throw at it."


A few tech specs:

Sensor Type: V-RAPTOR™ 8K VV 35.4 Megapixel CMOS
Effective Pixels: 8192 x 4320
Sensor Size: 40.96 mm x 21.60 mm (Diagonal: 46.31 mm)
Dynamic Range: 17+ stops
Mount Type: Integrated RF mount with RF lens support
Max Frame Rates:
120 fps at 8K 17:9 (8192 x 4320), 150 fps at 8K 2.4:1 (8192 x 3456)
140 fps at 7K 17:9 (7168 x 3780), 175 fps at 7K 2.4:1 (7168 x 3024)
160 fps at 6K 17:9 (6144 x 3240), 200 fps at 6K 2.4:1 (6144 x 2592)
192 fps at 5K 17:9 (5120 x 2700), 240 fps at 5K 2.4:1 (5120 x 2160)
240 fps at 4K 17:9 (4096 x 2160), 300 fps at 4K 2.4:1 (4096 x 1728)
320 fps at 3K 17:9 (3072 x 1620), 400 fps at 3K 2.4:1 (3072 x 1296)
480 fps at 2K 17:9 (2048 x 1080), 600 fps at 2K 2.4:1 (2048 x 864)

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https://www.youtube.com/watch?v=HRsw8TbMjFo
 

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Lol, agreed. I had predicted maybe it would land in the $12 - $15K range, but nope. Will be interesting to see the images it produces, but it's tough to be "wowed" nowadays with so many really, really good and cheap options.
 
Teddy_Dem said:
Well the Stormtrooper versions are live to purchase for $24,500:

https://www.red.com/v-raptor-st?quantity=1&package=1

Description from website:

"V-RAPTOR ST 8K VV is the most powerful and advanced RED cinema camera ever. As the brand’s new flagship system and sensor, as well as the first entrant into the new DSMC3 generation of cameras, V-RAPTOR stands alone at the forefront of the of digital image capture technology.

Featuring a groundbreaking multi-format 8K sensor- with the ability to shoot 8K Large Format or 6K S35, it unlocks the largest lens selection of any comparable camera on the market and allows shooters the ability to always deliver at over 4K. The sensor also boasts the highest recorded dynamic range of any RED camera and the fastest ever cinema quality scan time. With a dynamic range of over 17 stops and featuring scan times 2x faster than any previous RED camera, allowing users to capture up to 600 fps at 2K. V-RAPTOR will also continue to feature RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and color management.

Along with a new flagship sensor, the V-RAPTOR features a modernized platform in an amazingly compact package weighing in at barely over 4 lbs. With 2 4K 12G-SDI outputs, XLR audio and phantom power via adapter, and 1080p livestream, this system can handle most anything a shooter can throw at it."


A few tech specs:

Sensor Type: V-RAPTOR™ 8K VV 35.4 Megapixel CMOS
Effective Pixels: 8192 x 4320
Sensor Size: 40.96 mm x 21.60 mm (Diagonal: 46.31 mm)
Dynamic Range: 17+ stops
Mount Type: Integrated RF mount with RF lens support
Max Frame Rates:
120 fps at 8K 17:9 (8192 x 4320), 150 fps at 8K 2.4:1 (8192 x 3456)
140 fps at 7K 17:9 (7168 x 3780), 175 fps at 7K 2.4:1 (7168 x 3024)
160 fps at 6K 17:9 (6144 x 3240), 200 fps at 6K 2.4:1 (6144 x 2592)
192 fps at 5K 17:9 (5120 x 2700), 240 fps at 5K 2.4:1 (5120 x 2160)
240 fps at 4K 17:9 (4096 x 2160), 300 fps at 4K 2.4:1 (4096 x 1728)
320 fps at 3K 17:9 (3072 x 1620), 400 fps at 3K 2.4:1 (3072 x 1296)
480 fps at 2K 17:9 (2048 x 1080), 600 fps at 2K 2.4:1 (2048 x 864)

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https://www.youtube.com/watch?v=HRsw8TbMjFo
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So many questions...

Is there a ProRes record option?
What's the power draw?
Are those frame rates/resolutions 'windowed'?
What CFexpress cards work with this baby?
Why does it look like a cheap toaster?
 
Liam Hall said:
So many questions...

Is there a ProRes record option? Yes
What's the power draw? One hour for a 98Wh batt
Are those frame rates/resolutions 'windowed'? No
What CFexpress cards work with this baby? So far, Red's and a new Angelbird card are approved.
Why does it look like a cheap toaster?
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Is there a ProRes record option? Yes

What's the power draw? One hour for a 98Wh batt

Are those frame rates/resolutions 'windowed'? No

What CFexpress cards work with this baby? So far, Red's and a new Angelbird card are approved.

Why does it look like a cheap toaster?
Expensive toasters would make feel like you're getting a toaster. Cheap toasters makes you feel like you're getting an expensive camera. This is well studied in several peer reviewed journals.

Edit: Yes, appears to be windowed.
 
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Liam Hall said:
Is there a ProRes record option?
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Coming soon (Jarred says it's being certified)

What's the power draw?
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They're saying they're getting around an hour per battery, so I'm guessing around 60 watts.

Are those frame rates/resolutions 'windowed'?
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I think so. I was hoping they'd be scaled, but it seems like BMD stands alone in that still.

What CFexpress cards work with this baby?
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They're testing and certifying cards, starting with an upcoming updated Angelbird card that the Red branded cards are.

The 800 MBps data rate is pretty intense. I think that only the BMD 12K has higher when running in 12K. And is the only other camera in even close to the ballpark that can record 8K at 120fps, but I believe that the 12K is still the only one that can do that with the full field of view and still record raw.
 
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