REVIEWS GEAR
RED V-RAPTOR XE: A DUAL- PERSPECTIVE TEST BY TWO CINEMATOGRAPHERS Definition offered us the opportunity to have a play with the new RED V-RAPTOR XE, and we jumped at the chance! As two cinematographers working largely in different worlds, we inevitably approached our review from slightly different perspectives. Nick predominantly shoots HETV and feature films, while Ailsa works across commercials, music videos and short films. Those differing priorities revealed both strengths and weaknesses in the camera. We tested the V-RAPTOR XE extensively: first in a controlled test room alongside a line-up of other cinema cameras (ARRI ALEXA LF, ARRI ALEXA 35, Sony VENICE and DJI Ronin 4D), and then again in a real- world setting. BUILD, SIZE AND HANDLING Our first impression was its compactness. Stripped back, the XE is barely larger than its KOMODO-X cousin. Set up with the DSMC3 RED Touch 7-inch LCD, a mini V-Mount battery and a TLS rehoused Canon FD prime, the camera becomes a remarkably small package, given its specifications. Adding the RED trigger handle makes it feel like a tool you genuinely want to pick up and shoot with, which will appeal significantly to self-shooters and shooting directors. Nick, as an avid gimbal user, noted how many options that allows for, especially having recently trialled a very small version of this rig previously on a music promo, balancing the higher-spec V-RAPTOR [X] on a tiny DJI RS4 gimbal for stabilised shots in very small spaces with great results. Other systems targeting this very small-footprint market – like the VENICE Rialto Mini, for example – are useful, but being able to run the XE on a prosumer gimbal without a bulky fibre- optic tether is a huge plus. That said, the very light body can work against you, as heavier lenses make balancing delicate, often requiring counterweights. The small box format is great for flexibility too, the RED plate system that came with the test kit was assembled very quickly and easily, all with a single allen key, and allowed for the camera to be stripped back to basics for gimbals or
A CUT ABOVE Its compact form factor makes the new RED a versatile unit to shoot with
car rigs, or built up for studio builds. Both of us noted the value of the integrated Expander Blade, which provides genlock (BNC), 5-pin timecode, R/S 3-pin and RED CTRL 4-pin. It’s still frustrating that the 3-pin Fischer can’t provide power, meaning lens motors require separate power and run/stop cables. The Electronic ND Z-PL mount adapter, however, was outstanding - rock solid, with none of the play seen in earlier PL–RF adapters. The variable ND in precise 1/3-stop increments is a huge practical win, especially for a system with no internal NDs. It feels like you can be very precise with your exposure while maintaining exactly the shooting stop that you want creatively, all while saving a lot of time on-set without glass filters. The change from the clear filter cartridge to the variable ND filter in the mount took moments, although both of us dreamed of a future where the mount might contain both and be switchable via a button like the V-RAPTOR XL [X] camera, or other high-end cinema cameras with motorised internal ND systems. One relatively major downside of the variable ND to note though is that it doesn’t work with all lenses, as lenses with deeper rear
elements will foul on the glass filters in the mount. The DSMC3 RED Touch 7-inch LCD on- board monitor looks excellent, with great contrast and brightness, and the camera control via touchscreen is intuitive. But neither of us loved its RMI cable, which carries image, power and control. The screen feels designed to live in one top-mounted position, which we found limiting considering how often we want to reposition our own onboards on any given shoot day. In testing we found that the cable felt vulnerable, and we occasionally lost connection, which could be stressful on a fast-paced set. WORKFLOW, UI AND RECORDING OPTIONS Both of us already own RED KOMODOs, so the workflow was immediately familiar. Our tests were recorded in full 8K 17:9 (8192x4320) at MQ. The MQ compression has always been palatable except in extreme circumstances, like VFX or green-screen-heavy work, and keeps data rates in line with competing systems: around 55 minutes per 1TB at 8K MQ R3D RAW 16:9, compared to the ALEXA Mini LF’s 51 minutes in LF 3.8K 16:9
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