I was getting about 100min per 98kWh battery, give or take, and as far as audio is concerned technically it can handle 4 inputs but it also has a scratch mic built in which was nice. The camera will NOT fit a larger battery, it must be the mini-V form factor. Those would have come in clutch, I had to run separate audio for the Sketch (the live event had separate audio anyway) and the batteries never really became an issue, but it was precarious because I only own two mini V-locks. I guess I’ll get the stuff I didn’t dig so much out of the way so we can end on the fun stuff and put the proper pep in our step on the way out.įirst off, and this is on me, I should have grabbed the wall power cable and the audio splitter/XLR Adapter from Filmtools. I used it on a run-and-gun corporate b-roll thing, a narrative sketch, and a live event and in all three instances it performed flawlessly. Having used the camera for a week straight I can tell you I really enjoy this camera. In a narrative situation you’d probably have drop in NDs or even a screw on if you were feeling frisky, but I do wish they were built-in. Accessory power can be handled by the V-Lock if necessary using Dtap, and while I’d love to see NDs in the V-Raptor, especially seeing as they’re in the XL, but oh well. In any case with the Blade attached I believe you’ve solidly got a lightweight, relatively full-featured cinema camera on your hands. I think you can use that port just for TC if you have the right cable but I didn’t test that. Now, that asterisk on the TC/GL thing is kind of big for a cinema camera, but RED do sell an adapter called the “ Expander Blade” which is very small, attaches to the camera’s EXT port and runs along the side of it, and gives you those features as well as Run/Stop and RED Ctrl LEMO ports.
#Hdmi audio splitter 3.5mm full
– Full Frame 8K Sensor w/ 6K S35 Mode et. To start, for those who may not know, the V-Raptor is RED’s first DSMC3 camera body consisting of a new Full Frame (or “Vista Vision” in their nomenclature) 8K sensor and a smaller, lighter body with a wonderful “Arri-style” (let’s call it) menu on the right side of the body and all the basic necessary ports like SDI, locking power connector, Audio, and a built-in mini V-Lock plate.īased on the criteria I built for my C70 review, examining what truly makes a “cinema camera” vs just a very nice video camera (read that article to understand I’m not making a value judgment there), let’s see where the V-Raptor lies: Note: This article was edited on 10/11/22 to include a segment towards the end talking about using the V-Raptor on a feature film. Long story short, Filmtools let me borrow their demo unit for a week and I was able to use it on a couple gigs and play around with it to my hearts content. The Ranger was the first RED in recent memory that actually got me excited, but no one had one I could borrow (I certainly wasn’t going to spend thousands to rent one for a review). They felt like computers with lens mounts more than dedicated cameras. They were a bit finicky on set, I must say. Because of that, I’ve always been interested in getting my hands on a RED for an extended period of time just to see what that system had going for it, but my brief experience with DSMC2 cameras didn’t leave me incredibly excited to hunt one down for review purposes.
Doesn’t mean anything besides I’m comfortable with them. There’s no real reason behind that, just that I’ve owned two Canon C-Series cameras and every shoot save two that I’ve been hired on where I’m not bringing gear has been Arri. If I’m privileged enough to have you as a repeat reader, you may know that I almost exclusively shoot Canon and Arri cinema cameras.
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