REDRAVEN
It’s the top of many people’s wish lists but does the reality of using the pricey American camera live up to the hype? WORDS ADAM DUCKWORTH W hen thousands of ProMoviemaker readers voted for their cinema camera of the year in SPECIFICATIONS Price: £15,000/$15,000 kit with
Sigma 18-35mm f/1.8 lens Sensor Size: 23.0x10.8mm, 8.8Megapixel REDDragon, 4608x2160 effective pixels Codecs: Raw, ProRes, DNxHD Maximumframe rates: 120fps at 4.5K and 4K; 150fps at 4K 2.4:1 (4096×1728) and 3K Full Format (3072×1620); 200fps at 3K 2.4:1 (3072×1296); 240fps at 2K Full Format (2048×1080); 300 fps at 2K 2.4:1 (2048×864) ISO range: 800-3200 Dynamic Range: 16.5 stops LensMount: EF Stabilisation: None Filters: None Screen: 11.93/4.7in touchscreen Audio: Integrated dual channel with integratedmic, mic input Output: 3G-SDI, HDMI, SMPTE timecode, HANCmetadata, 24- bit 48kHz audio Storage: REDMini-Mag Weight: 1.59kg/3.5lb for brain withmedia bay and lensmount
our recent awards, it wasn’t a hot new Canon, Panasonic or Sony camera that came out on top, despite thembeing the bestsellers in the market. It was a camera that has been on sale for two years, was delivered late then briefly removed from the general market and is now available through certain Apple stores, bundled with a Sigma DSLR lens. But that camera has the magic brand name RED on it, and it clearly tops the dreamwishlist of lots of filmmakers. RED has a similarly fanatical fanboy base to that enjoyed by Apple. Youmight not get punters lining up outside a RED dealer on the day of launch, but the passion around the brand is something other manufacturers can only dreamof. But does the reality live up to the hype? Can you justify splashing out the price of a decent car on a camera set-up? What about the time and expertise needed to process the files, and the huge memory and computing power needed? We investigate what it’s really like to use the RED Raven and ask if it’s a sensible buy or more of a rental option for special occasions.
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SPRING 2018 PRO MOVIEMAKER
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