My friend had one of the first one's in canada. It was a dream footage wise, and a nightmare trying to process and play it. We are spoiled now with how powerful computers are today. 2007 I was in charge of post production and rendering was brutal. The last decade has been iteration on quality for both the cameras and computers! It's a great toy!
Isn't it crazy? I was reading a bunch of things from its release where people were talking about how tough it was to transcode and work with the footage. The thought never crossed my mind. My laptop has no problem breezing through it 😎
I still remember throwing gel ice packs on the red one due to its notorious overheating problems before the mx edition came out and solved some of those issues. This camera brings me right back to the start of my film career over 13 years ago. Thanks for the blast from the past.
Honestly the skin tones look great to me and more pleasing than the fx3 but the fx3 has more clarity/sharpness which is also nice. The Red looks more cinematic imo with the softness and the aspect ratio but both cameras seem pretty great to me.
Well if put the same garbage lens on that it wont look as sharp.. sorry dude I get it you are on a budget, been there I get it...but seriously that Rokinon is a TERRIBLE lens
@@tombuck Yes. You still get the "use at your own risk" warning if it's not a card on their officially tested list. But they don't cripple your options, either, like you experienced with the RED One. But most of the main reputable brands are on the list anyway, so you don't have to overspend to get rid of that popup. Komodo is popular because of its "affordable" price (compared to other high-end cine cameras). Camera itself is $6k USD and kitting it out to make it really usable will put you in the $10k area (though you can spend MUCH more if you go all out -- but those things (like a FIZ system) apply to all cine cameras). But if you think your 16GB card was small.... Komodo at medium quality recording full 6k DCI resolution gets about an hour and fifteen minutes on a 1TB card. At high quality, you only get ~45 minutes per TB. (FWIW, I am a Komodo owner/operator.)
I got 2 HDs with mine and was surprised to find I could capture 4K 16:9 in medium quality. I also found that the camera has power management circuit for up to around 16 volts, so I was able to make a cable to attach to any 12v battery (car etc) for super long exterior landscape shots.
One thing about the CF cards that were limited to 16 and 32 GB is that when released. The closest comparison people had with that image quality was 35mm film. A shoulder mounted camera running a 400 feet mag gave you... 4 min 26 seconds of footage. Probably closer to 4 min after it's spooled and ready for use. With a big 1000 ft mag for tripod use, you could record for up to 11 minutes. So at 4-5 min on a 32 gig card when running Redcode RAW 3:1 . That fit into the rythm of most productions already. So you would have a bunch of cards. Shoot until one is full, swap it with an empty card, take the full one to a person who would dump the card and make backup to 2-3 big disk drives and wipe the card for next go around. Like you said many times in the video. We do not live in 2007 any more. But that was a trade-off that were tolerable back then. And on forums there were big debates where lots of professionals argued for the benefits of many tiny cards vs one big drive. Most of the arguments did boil down to reliability issues as, if you lost one card, it was 4-5 minutes of lost footage, but if you had hours of footage on a disc that broke down. You potentially lost whole projects. I guess it was the same mentality that made cinematographers shoot extra takes "for protection" as lots of low budget labs would fudge up so many takes on a regular basis. we really are spoiled nowadays.
We were really spoiled back in 2007 too with the cost of digital video per minute when you compare that to film stock. Some projects the director would just “keep the camera rolling” between takes. That would never happen on film. It was kind of curse in many cases though.
I actually really like the footage from the RED ONE. When you switched to the talking head from the FX 3, I preferred the look of the Red over the FX 3. It's bonkers that this kind of tech came out so long ago is still technically viable enough and produces such good results. But just as you said, the Apple-esque walled gardens are not really fun to be in.
I've made a lot of videos about interesting older cameras, but they've never had image quality that would really be usable today (they're just fun to use). But the RED is definitely different! I really want to find some fun projects to use it on and/or slip some of the footage into videos mixed with other cameras.
It's not that old. 20 years. Geez what is with people these days - apple and the cellphone market has done a job on people making people think tech is obsolete in a year.
@@corail53 I never meant to say that some tech from 20 years ago is obsolete. I'm just saying the way technological advancements have come through time, there are things that still stand the test. And when we're talking about tech, at least in the current context, 20 years is considered old and above 15 years is recognized as vintage (as per definition, correct me if I'm wrong) And saying that something is old doesn't mean that it is bad, old here is just an adjective used to describe it, being old isn't the only thing it does, it also shoots really good goddamn videos.
My coloring is NOT great, so I wouldn't use this as an official image quality test 😁 But yeah, I know this camera meant a lot to Doc and his family so I really wanted to try and give it a second life.
I used this Red when it first came out. Shot a feature with it. Nothing has compared since except my Red Epic Dragon..I will say. I'm in Hollywood now shooting a feature on a Lumix s5 and a Ninja V...still can't compare to the robust imaging I got from Red One. Of course you have to understand it was designed to mimic Film cameras..so all the same applications apply for making this camera shine.
"Old" cameras are awesome. I recently got a C300 mk1 for about 450 Euros with batteries, memory cards, extra top handle etc! It's super fun to play with. Even though it's just 1080p the image quality is gorgeous!
That’s such an awesome deal. I’ve thought about searching for something like that on the used market too. Was lucky enough to use a C100 and C200 at my old job and really loved them.
@@tombuck Yes I was lucky to meet a very polite and cool seller! I have a GH5 here as well. It's more modern but there is something about the c300 images that the GH5 can't match.
Mine was gifted to me as well. Crazy to me that this piece of gear to people like you and I see it as film history, as others only see it as a door stopper in this day in age. It still produces such a rich image, and the R3DCode codec is one of the best I’ve ever worked with. Mine also came with a (still working!) 640GB HDD
I took it out of the video to save time, but I originally had a part talking about the R3D codec and how awesome it is. Still definitely a capable camera!
I was using Camcorders back then recording Home School Curriculum. I was looking at two new HD camcorders but I was saved from that purchase when I lost the contract for the curriculum. What is sad is the new HIGH end Sony Venice 8K (think Top Gun Maverick) the memory (that is 1TB) is $4000 DOLLARS! So it not just RED... The people that love RED is because of RED RAW and PRORES. Thanks for the walk down memory lane!
Sony is definitely a company that also comes to mind with proprietary media. I remember their “Memory Sticks” in the paste 90’s/early 2000’s before finally accepting SD cards.
The 2K crop is quite savage. Calling it M43 sized is not fair 🙂 A Super 35mm sensor croped to one quarter of the area is almost a perfect match for the Original Blackmagic Pocket CC sensor or just a bit less than Super 16mm. Really makes this camera a shame to use without original media. As you and Caleb called out this should be fixed, perhaps some sort of firmware hack in the future might bring compatability to fool the camera? Unlesss Red relents and releases an update... Though I can not see that ever happening. Great video!
Wow thanks for the comparison, currently looking into buying a Scarlet as a lighter-weight package to my main camera. Old REDs really have a nice shadow roll-off / saturation curve towards the shadows. It’s a look more than it is just plain, visual estate like on some modern cameras (Venice or red Komodo). Comparing a theatrical camera to something like an FX3, primarily targeted at fast-paced solo-op productions, really shows how different these cameras are tuned. The Sony is very scientific, neutral for maximum flexibility. The Red adjusts the image towards a soft feel with a distinct gamma-curve.
They're super distinct for sure. I've been trying to work with the RED more and more for fun, and like you said, it's a totally different concept than something like the FX3 but when the effort is put in to getting it set up right, the results really are stunning, even in 2023.
Pretty crazy right? I’m still impressed how how good the RED can look though. And I didn’t really go into it in the video, but working with the raw footage is so cool!
I have my Red One MX, low hours, which I purchased in 2015 a full complete package with 3 hard drives, 10 - 16 gig cards, EVF, 5" monitor, cables etc., The look of the Red is quite amazing and you get something that many cameras don't offer, 4.5K in 2.35 : 1 ratio. I also own a Sony F35 Cinema Camera, that's a beautiful beast. More now of a artistic cinema camera, because of the detail o the sensor. I'm looking to buy another Red ONE MX as a second camera.
What a great video Tom! Really enjoyed the history lesson and like you said it's really cool to compare against what we have nowadays! We should be super grateful to say the least ;)
For slightly more you can get a RED scarlet, much lighter, better cooling and basically the same image. 16 bit RAW really tramples over the 12 bit you see out of these modern cinema light cameras. RED color also just pops, though on the older sensors it isn't as great in mixed lighting conditions. Daylight and natural greens render so nicely though.
Certain LEXAR cards work fine at full res, the "real" REDMAGs are very likely made by Lexar. I used to use a tonne of those. Also had the HDD addon. Great camera. I upgraded it to an Epic MX which I still use to this day.
The red One is a great camera (trained on it when it first came out) and it can easily do everything modern cameras can do and in usual red fashion you have to kit it up well to make it useful. The other thing with the One is that it has horrible overheating issues which you need to be aware of if you are running it for longer shooting days.
I just discovered your channel, its honeslty amazing. youre very entertaining while still very informative! i just purchased the samson q9u because of your videos, for my videos. i do have a question you might be able to answer, i purchased mine for 180 at best buy but i see theyre selling for 99 on amazon with weird reviews. do you know if they are the same? thanks!
I’ve seen the $99 on Amazon and it seems legit. Always double check the seller though (I try and only get things shipped and sold through Amazon). Thank you for the kind words!
Finally, I decided to go with PL mount as is super secure, so I discovered that some M42 lenses can be cheaply adapted with a little adapter to PL mount. Now I have a super cheap vintage prime set to go with camera.
It would be interesting to get help from the people that made magic lantern for canon cameras to mod red's firmware so that you can use a non red ssd, because I bet that if the lenses you were using were the same (for the sensor size) the red would look as sharp as the fx6 but at higher f stops. Now you sparked my curiosity.
I found in general, the sony's are just sharper than red cameras. Red wants you to apply sharpening or NR in post with Redcine X. Sony usually applies that all-in camera for lower models.
This was so fun! I'm curious what the total weight is with it decked out vs a "similar" set up with fx3... Filming with the RED definitely carries a certain bravado and coolness. The other camera didn't have that FX.
What’s strange is that we’re shocked if these things ‘hold up’. 35mm stock and some of those cameras that they use still to shoot 35mm on big films to this day is technically ‘old’ we shouldn’t really be surprised.
I think I remember reading somewhere that a lot of old films can be released at like 8K resolution because film is such high quality, but there was nothing at the time that could display that. But with digital, I think it's surprising that the electronics and sensor tech reached such good levels so early on (granted these cameras were NOT cheap, but still impressive from a tech standpoint).
so this is pretty off-topic but Tom I'd love to see make videos on headphones, DACs and AMPs. I think you'd give a really solid perspective on audiophile stuff
Thank you! To be honest, I'm not super knowledgeable in that area, but my friend Ron runs a channel called New Record Day and he covers so much great stuff! It's definitely where I go when I have audiophile questions.
Thank you for going in depth into this camera. I still remember learning about RED thanks to Dave Dugdale, who did a video with one of the at the time newer RED cameras. With that said the proprietary storage and other things done by RED are very toxic and I'm happy they're not the only option now.
@@tombuck Yeah reviews like the GH4 and the original Blackmagic Pocket Camera are classics to me. The RED camera presentation he did was even reposted by an Italian channel and subtitled, and that's how I saw it for the first time.
Remember when RED used the slogan "Make obsolescence obsolete"? Pepperidge farm remembers... I am still a bit disappointed that the "3K for $3K" soccer mom all in one 2/3 sensor never materialized. But now I have a BMPCC6Kg2. Full 6K BRAW footage... on any SSD fast enough that I can hook up to the USB-C port... Damn it is a nice camera. Oh, and... I did get to use a Red ONE once. It was after the mysterium sensor was released, but before the Epic camera bodies... I remember three things: 1. That thing got HOT! I had it shoulder mounted but kept burning my ear with how hot it got... and it was in Swedish winter. I have no idea how that thing survived in Johannesburg for District 9. 2. The BOMB EVF was cool and all. But it was DLP-based and holy crap, the rainbow effect was terrible as I moved my gaze around the image. 3. The menu system was atrocious. Probably the worst I have ever used on a camera. Took forever to find anything we needed. So... I am not a fan of them any more.
In 2008 I was in film school. We were shooting on Mini DV for "practice" and 16mm for big projects. Meanwhile RED was happening and it was like "what are we even doing??" Game changer. Would rent them after school was over.
I remember hearing a similar story from my best friend who was in film school at the time. Totally crazy! It also took me longer than I’d like to admit to realize that the cameras weren’t actually the color red. 🤦🏻♂️
I have a Red One Mx full kit here in Australia. Got it cheap from a local film school that were updating. Came with everything and I swapped out the PL mount for an EF one from the US, which took me weeks to install. I'm now selling the kit as I hardly use it and could not find a Redrive that would work with it. Came with 9 cf Red 16gb cards that work, which hold about 8 mins of 4k 16.9/36 redcode footage but the work flow is just to slow. Lexar 8gb 300x cf cards apparently work and hold 4 mins but it's a nightmare. Pity as the images look great but the workflow is crap. Put a bit more money into my bmpcc4k kit which isn't the same of course but I can do more with it. Ssd and Redrives are the way to go with the Mx but the ssds are way to expensive and I had to send 3 Redrives back to a guy in Sydney, because they wouldn't format and were to slow for my camera. 2k with other cf cards is pointless.
A great video, but you got the part about it only being able to record on HDDs and CF cards wrong. RED did release a replaceable SSD module for the ONE near the end of it's life cycle (they were selling the remaining stock of brand new RED ones for 4.5K, those were the days). This module takes standard 1.8" Redmag SSDs which you can find a ton of on a used market and for low prices since it was replaced with a minimag after a few years. Those redmag SSDs ranged from 64 up to 512GB. So you do not have to use shitty CF cards, just find the SSD side module and you're good to go. As someone who owned multiple RED cameras throughout the years I had a major laugh when you tried to replace the CF board with an SSD, if you know RED, this is extremely funny, cause you know that's never going to work 😂 You can't blame them, it was an era of insanely expensive proprietary media, ARRI and Sony did the same
I know you put a lot of work into this, but have you looked into putting a red raw to slog2 LUT? Maybe transcode and correct with a color chart in Resolve. Probably not practical but this could be another camera for extremely good b-rolls.
Hi, Tom! Thanks for the great info! I need help with my own Red One rig! What d-tap cable are you using to connect your battery to your camera? I can't seem to find any d-tap cables that have the 6-pin male lemo end to connect to the camera's power input.
I went to college in that weird time when film was becoming less practical and digital was still not quite there.. BUT we did get to use the RED One alot and it was a lot of fun.. we used an old Angenieux cine zoom on it instead of the RED lenses our school bought with it. I liked shooting with it expect it didn't do sound in camera and took really long to boot up.. BUT,, editing with that footage.., in 2010-12.... was a nightmare.. lol that was the worse part of it.. I think Temple spent $60,000 for the kit when it first came out to schools.. only other digital we used were Canon.. T2i, 7D, 5Dii , etc.. when the T2i came out @ $500... i was on it! lol 24p and shallow depth of field.. 16:9 1080p.. that was huge.. felt way more cinematic than say Panasonic DVX100 or a Sony VX2000, .. while dslr had interchangeable lenses too.. and at a quarter the cost that those camcorder type cameras were at the time.. digital is much easier to take serious now.. sure resolution.., but dynamic range.. that's what its all about.. that was the major hang out for early dslr cameras.. moire, artifacting, etc.. things are so nice now.. slap on a vintage lens,, you got a pretty filmic look these days for much less $ thanks for the nostalgia!
@@schultzeworks What's interesting is, somehow you feel that I need to justify my work, which I have been doing ever since 1987... To YOU... Yes, I have had the RED Mx... when it first came out... Worked with a whole lot of RED crap... Even the house that I rent from, sends TWO EXTRA... Just so that in my time of need, the camera software doesn't hang ... and I don't either from a tree somewhere... I want dependable... Yes, this is from the guy that used to use SANYO back in the day... lol If I really wanted a cool design, with mem cards that charged me an arm and a leg... I would get an iPhone... Look bud, I am not gonna deny the fact that RED makes super cool cameras... Their sensors are out of this world... BUT, the ones I mentioned, does the same work, cheaper... and more reliably... Yes, things might be different if I have had a village for a film crew... I might still go for an Alexa... though... I know what I like, and what I can put up with to get that. RED, unfortunately, is not it. Sorry, if that hurt you in any way... I am privy to my needs and wants... what's worse... to the things I like and work with. I work hard for my money. I am the guy that uses the CAT phone, not the aforementioned iPhone ... Weird? Yes, definitely. Would I use a RED if the house sent one for me? Heck Naw... I would only use it if the Producers wanted it... Like I said.. I like my money...
you should use it in its native 800ASA to avoid cliping the highlights that much. I have loved using this camera in 2010 and 11. 4k HD is 3840x2160, what we now call UHD (the other option is what now we call 4k DCI, 4096x2160) The way the red software manage color is pretty terrible. Load it up in davinci resolve, you will get a much better color science interpretation.
I assume there are conversations elsewhere on the internet about this, but is it understood exactly how the camera identifies the ssd as not being one of their own? And if that is known, why is it then not possible to make the external ssd report as being something else so that it fools the camera firmware check?
This article covers quite a bit of it: www.cined.com/whats-inside-a-red-mini-mag-the-controversy-jarred-lands-statement/ Basically, as I understand it, the camera looks for a specific chip in the reader that says, "Yep, it's official." It doesn't actually have anything to do with the capabilities of the media, but there's no way to bypass it.
It's not hard to find memory for these or the dsmc2 ones. The memory is literally standard off the shell sata ssd: The trick its o find the exact ssd they used and the camera will accept it as it was made by red.
Can someone point me in the direction of the correct DTAP to Red power cable to get? I have been looking for DTAP to 6 pin, but seems impossible to find.
The RED media is ridiculous, especially now that we're so far away from this model. This would be akin to Arri making the ArriFlex 35iii not be able to use Kodak Vision3... But I am curious to know if you've used this RED One to shoot any of your channel videos over the past year?
I've added in a few b roll shots on the sly. Planning to do more now that it can shoot at full quality. The memory is pretty limited for A cam talking head stuff, but it's perfect for b roll and stuff.
I'm not entirely sure why everyone is celebrating the image as cinematic. In my experience, the characteristic of beautiful highlight roll-off seen in real film is not present in this camera, or only in specific or controlled situations. Compare the well-lit studio scene with all other footage shot in uncontrolled lighting. The highlights are blown out and show no discernible structure in the clouds or, for instance, on the sunlit side of the dog. For some time now, I've been playing a guessing game when watching movies and I can confidently say with an accuracy rate of 95% just by looking, which films were recorded with a RED One camera... solely based on the blown-out highlights (often accompanied by a color cast) and the yellowish tone. P.s. I find it amusing how similar the experience can be: about 6 years ago, I also had a RED One and, just like you, I opened it up and tried to connect an SSD, only to be frustrated by RED's refusal. That, coupled with what I personally feel is only partially cinematic image quality, led me to abandon the idea of using RED.
The proprietary stuff is absolutely infuriating. I feel like I get a little better with this camera each time I use it, and have now been able to get some really great looking shots that I don't think any other camera could create- BUT...it's an absolute pain to get there. It's like spending 10 hours on a gourmet recipe when there's an air fryer option that's almost just as good.
RED Remain undefeated. All of that proprietary crap supposed to end with the Komodo. But no, they choose and old Canon Batteries, and must be genuine Canon Batteries with chip, and top of that you must get an approved RED CFast 2.0 card in order to use the camera.
Cmon’ man! You did a great job articulating the information and expressing your opinions of the camera, but every example shot is terrible. :/ the highlights are over exposed and blown out, and the lighting is never controlled. You gotta take the camera out and use it in a way that it is supposed to be used. A quick clip in your “studio” does not depict a proper use case for the camera.
I don't remember saying that this was the "proper" use case. I DO remember saying, "This camera is capable of great things, so if it doesn't look amazing, that's my fault." At no point have I claimed to be an expert on this, I just think it's interesting.
Blackmagic is really wild with what they’ve been able to do. Also, not that I understand it 100%, but it seems like they’re the only ones who have been able to be unaffected by Red’s legal team and patents.
My friend had one of the first one's in canada. It was a dream footage wise, and a nightmare trying to process and play it. We are spoiled now with how powerful computers are today. 2007 I was in charge of post production and rendering was brutal. The last decade has been iteration on quality for both the cameras and computers! It's a great toy!
Isn't it crazy? I was reading a bunch of things from its release where people were talking about how tough it was to transcode and work with the footage.
The thought never crossed my mind. My laptop has no problem breezing through it 😎
Actually Linus Tech Tips, did use these also. But they utilized an add-in card for debayering and also storage is an additional concern.
I remember those days as well and it was brutal trying to build a system to handle the footage back then.
I still remember throwing gel ice packs on the red one due to its notorious overheating problems before the mx edition came out and solved some of those issues.
This camera brings me right back to the start of my film career over 13 years ago. Thanks for the blast from the past.
Cool, so how are you been doing? Are you still making movies?
Holy cow! The RED looks so incredibly "cinematic"! Loved this fun video Tom!
Honestly the skin tones look great to me and more pleasing than the fx3 but the fx3 has more clarity/sharpness which is also nice. The Red looks more cinematic imo with the softness and the aspect ratio but both cameras seem pretty great to me.
I really love the aspect ratio of the RED.
Well if put the same garbage lens on that it wont look as sharp.. sorry dude I get it you are on a budget, been there I get it...but seriously that Rokinon is a TERRIBLE lens
Warning. Get REDy for the puns 😂
I just Cannon'nt 😅
The shape of it is sooo cool. It looks like something out of a 1980’s sci-fi movie, when there are trying imagine something from the future.
Right? I love it! I wish I could show the heft/feel of it through video. It’s pretty crazy.
Note that on DSMC3 generation cameras (Komodo, V-RAPTOR), RED has switched to standard media formats like CFast 2.0 (Komodo) and CFExpress (V-RAPTOR).
Have they?! That's really great to hear. I know the Komodo especially has developed a pretty die hard user base.
@@tombuck Yes. You still get the "use at your own risk" warning if it's not a card on their officially tested list. But they don't cripple your options, either, like you experienced with the RED One. But most of the main reputable brands are on the list anyway, so you don't have to overspend to get rid of that popup.
Komodo is popular because of its "affordable" price (compared to other high-end cine cameras). Camera itself is $6k USD and kitting it out to make it really usable will put you in the $10k area (though you can spend MUCH more if you go all out -- but those things (like a FIZ system) apply to all cine cameras).
But if you think your 16GB card was small.... Komodo at medium quality recording full 6k DCI resolution gets about an hour and fifteen minutes on a 1TB card. At high quality, you only get ~45 minutes per TB.
(FWIW, I am a Komodo owner/operator.)
Crazy how unquantifiably amazing that footage looks.
I feel confident in quantifying it as awesome!
It looks way better than the fx3 when u used it. Images looks so rich and thick.
No it doesn't, it looks lower quality than 1080p at 4K.
@@Mr.Plutonium He wasn’t talking about resolution
I got 2 HDs with mine and was surprised to find I could capture 4K 16:9 in medium quality. I also found that the camera has power management circuit for up to around 16 volts, so I was able to make a cable to attach to any 12v battery (car etc) for super long exterior landscape shots.
Love these old camera videos!
So much to dig into! The RED is still super usable.
One thing about the CF cards that were limited to 16 and 32 GB is that when released. The closest comparison people had with that image quality was 35mm film. A shoulder mounted camera running a 400 feet mag gave you... 4 min 26 seconds of footage. Probably closer to 4 min after it's spooled and ready for use. With a big 1000 ft mag for tripod use, you could record for up to 11 minutes. So at 4-5 min on a 32 gig card when running Redcode RAW 3:1 . That fit into the rythm of most productions already. So you would have a bunch of cards. Shoot until one is full, swap it with an empty card, take the full one to a person who would dump the card and make backup to 2-3 big disk drives and wipe the card for next go around.
Like you said many times in the video. We do not live in 2007 any more. But that was a trade-off that were tolerable back then. And on forums there were big debates where lots of professionals argued for the benefits of many tiny cards vs one big drive. Most of the arguments did boil down to reliability issues as, if you lost one card, it was 4-5 minutes of lost footage, but if you had hours of footage on a disc that broke down. You potentially lost whole projects. I guess it was the same mentality that made cinematographers shoot extra takes "for protection" as lots of low budget labs would fudge up so many takes on a regular basis.
we really are spoiled nowadays.
We were really spoiled back in 2007 too with the cost of digital video per minute when you compare that to film stock. Some projects the director would just “keep the camera rolling” between takes. That would never happen on film. It was kind of curse in many cases though.
@@martinlutherkingjr.5582I still have that habit 😂 hard to break old habits but I stop and start on every take as if I was still shooting Vision.
That's REDiculously good quality for being 16 years old!
I actually really like the footage from the RED ONE. When you switched to the talking head from the FX 3, I preferred the look of the Red over the FX 3. It's bonkers that this kind of tech came out so long ago is still technically viable enough and produces such good results.
But just as you said, the Apple-esque walled gardens are not really fun to be in.
I've made a lot of videos about interesting older cameras, but they've never had image quality that would really be usable today (they're just fun to use). But the RED is definitely different! I really want to find some fun projects to use it on and/or slip some of the footage into videos mixed with other cameras.
It's not that old. 20 years. Geez what is with people these days - apple and the cellphone market has done a job on people making people think tech is obsolete in a year.
@@corail53 I never meant to say that some tech from 20 years ago is obsolete. I'm just saying the way technological advancements have come through time, there are things that still stand the test.
And when we're talking about tech, at least in the current context, 20 years is considered old and above 15 years is recognized as vintage (as per definition, correct me if I'm wrong)
And saying that something is old doesn't mean that it is bad, old here is just an adjective used to describe it, being old isn't the only thing it does, it also shoots really good goddamn videos.
Very Cool. I am sure Doc Rock will be excited to see what you did with it. I thought the Red shots were warmer looking that the FX3.
My coloring is NOT great, so I wouldn't use this as an official image quality test 😁
But yeah, I know this camera meant a lot to Doc and his family so I really wanted to try and give it a second life.
I will never buy one, BUT, loved the "rant on proprietary.." ! Yes, was fun and a good one!
So frustrating! The camera still works flawlessly but is limited by this goofy memory situation 🤦🏻♂️
I used this Red when it first came out. Shot a feature with it. Nothing has compared since except my Red Epic Dragon..I will say. I'm in Hollywood now shooting a feature on a Lumix s5 and a Ninja V...still can't compare to the robust imaging I got from Red One. Of course you have to understand it was designed to mimic Film cameras..so all the same applications apply for making this camera shine.
"Old" cameras are awesome. I recently got a C300 mk1 for about 450 Euros with batteries, memory cards, extra top handle etc! It's super fun to play with. Even though it's just 1080p the image quality is gorgeous!
That’s such an awesome deal. I’ve thought about searching for something like that on the used market too. Was lucky enough to use a C100 and C200 at my old job and really loved them.
@@tombuck Yes I was lucky to meet a very polite and cool seller! I have a GH5 here as well. It's more modern but there is something about the c300 images that the GH5 can't match.
Mine was gifted to me as well. Crazy to me that this piece of gear to people like you and I see it as film history, as others only see it as a door stopper in this day in age. It still produces such a rich image, and the R3DCode codec is one of the best I’ve ever worked with.
Mine also came with a (still working!) 640GB HDD
I took it out of the video to save time, but I originally had a part talking about the R3D codec and how awesome it is. Still definitely a capable camera!
WOW! That was cool! Kudos to Doc and jeez, you've been working hard... Great video!
Thanks Mac! Doc flew all the way from Hawaii with two of these things in huge heavy cases (and boy were his arms tired) 😬
I was using Camcorders back then recording Home School Curriculum. I was looking at two new HD camcorders but I was saved from that purchase when I lost the contract for the curriculum. What is sad is the new HIGH end Sony Venice 8K (think Top Gun Maverick) the memory (that is 1TB) is $4000 DOLLARS! So it not just RED... The people that love RED is because of RED RAW and PRORES. Thanks for the walk down memory lane!
Sony is definitely a company that also comes to mind with proprietary media. I remember their “Memory Sticks” in the paste 90’s/early 2000’s before finally accepting SD cards.
The 2K crop is quite savage. Calling it M43 sized is not fair 🙂 A Super 35mm sensor croped to one quarter of the area is almost a perfect match for the Original Blackmagic Pocket CC sensor or just a bit less than Super 16mm.
Really makes this camera a shame to use without original media. As you and Caleb called out this should be fixed, perhaps some sort of firmware hack in the future might bring compatability to fool the camera? Unlesss Red relents and releases an update... Though I can not see that ever happening.
Great video!
Wow thanks for the comparison, currently looking into buying a Scarlet as a lighter-weight package to my main camera. Old REDs really have a nice shadow roll-off / saturation curve towards the shadows. It’s a look more than it is just plain, visual estate like on some modern cameras (Venice or red Komodo).
Comparing a theatrical camera to something like an FX3, primarily targeted at fast-paced solo-op productions, really shows how different these cameras are tuned. The Sony is very scientific, neutral for maximum flexibility. The Red adjusts the image towards a soft feel with a distinct gamma-curve.
They're super distinct for sure. I've been trying to work with the RED more and more for fun, and like you said, it's a totally different concept than something like the FX3 but when the effort is put in to getting it set up right, the results really are stunning, even in 2023.
Thanks for the history lesson. Cameras sure have come a long way. 😎👍
Pretty crazy right? I’m still impressed how how good the RED can look though.
And I didn’t really go into it in the video, but working with the raw footage is so cool!
I have my Red One MX, low hours, which I purchased in 2015 a full complete package with 3 hard drives, 10 - 16 gig cards, EVF, 5" monitor, cables etc., The look of the Red is quite amazing and you get something that many cameras don't offer, 4.5K in 2.35 : 1 ratio. I also own a Sony F35 Cinema Camera, that's a beautiful beast. More now of a artistic cinema camera, because of the detail o the sensor. I'm looking to buy another Red ONE MX as a second camera.
I used to have the Red Scarlet MX now I have the RED Raven 4.5k -- love RED.
What a great video Tom! Really enjoyed the history lesson and like you said it's really cool to compare against what we have nowadays! We should be super grateful to say the least ;)
This was so much fun!
Good work on all the red puns bro
For slightly more you can get a RED scarlet, much lighter, better cooling and basically the same image. 16 bit RAW really tramples over the 12 bit you see out of these modern cinema light cameras. RED color also just pops, though on the older sensors it isn't as great in mixed lighting conditions. Daylight and natural greens render so nicely though.
My first cinema camera experience. The RED ONE !!!! 😍
Certain LEXAR cards work fine at full res, the "real" REDMAGs are very likely made by Lexar. I used to use a tonne of those. Also had the HDD addon. Great camera. I upgraded it to an Epic MX which I still use to this day.
You mean Lexar CF cards on Red One?
Could you please list the Lexar CF cards compatible with Red One?
Red One major issue now is the lack of media.
17:15 Journey to the End of the East Bay! One of my favorite bass lines.
I’m happy to know not was recognizable! Matt Freeman is amazing.
The red One is a great camera (trained on it when it first came out) and it can easily do everything modern cameras can do and in usual red fashion you have to kit it up well to make it useful. The other thing with the One is that it has horrible overheating issues which you need to be aware of if you are running it for longer shooting days.
Thank you so much
Definitely was not expecting a Rancid riff in the middle of this video. Made my night.
Thank you 🥹
I just discovered your channel, its honeslty amazing. youre very entertaining while still very informative! i just purchased the samson q9u because of your videos, for my videos. i do have a question you might be able to answer, i purchased mine for 180 at best buy but i see theyre selling for 99 on amazon with weird reviews. do you know if they are the same? thanks!
I’ve seen the $99 on Amazon and it seems legit. Always double check the seller though (I try and only get things shipped and sold through Amazon).
Thank you for the kind words!
oh my god this camera looks absolutely insaneeee its so pretty
love my red one mx
I bought Caleb’s full working RED ONE package and found the original EVF, and 7” RED monitor. I would love to sell it though!
That’s awesome!
Finally, I decided to go with PL mount as is super secure, so I discovered that some M42 lenses can be cheaply adapted with a little adapter to PL mount. Now I have a super cheap vintage prime set to go with camera.
PL lenses really are spectacular!
It would be interesting to get help from the people that made magic lantern for canon cameras to mod red's firmware so that you can use a non red ssd, because I bet that if the lenses you were using were the same (for the sensor size) the red would look as sharp as the fx6 but at higher f stops. Now you sparked my curiosity.
Oh yes! I remember Magic Lantern- it was so helpful.
I found in general, the sony's are just sharper than red cameras. Red wants you to apply sharpening or NR in post with Redcine X. Sony usually applies that all-in camera for lower models.
This was so fun! I'm curious what the total weight is with it decked out vs a "similar" set up with fx3... Filming with the RED definitely carries a certain bravado and coolness. The other camera didn't have that FX.
Oooh, weight-wise it's like 8 FX3's taped together 😬💪
Love it! Keep it up Tom!
Thanks!!
What’s strange is that we’re shocked if these things ‘hold up’. 35mm stock and some of those cameras that they use still to shoot 35mm on big films to this day is technically ‘old’ we shouldn’t really be surprised.
I think I remember reading somewhere that a lot of old films can be released at like 8K resolution because film is such high quality, but there was nothing at the time that could display that.
But with digital, I think it's surprising that the electronics and sensor tech reached such good levels so early on (granted these cameras were NOT cheap, but still impressive from a tech standpoint).
I still have with one MX sensor.
so this is pretty off-topic but Tom I'd love to see make videos on headphones, DACs and AMPs. I think you'd give a really solid perspective on audiophile stuff
Thank you! To be honest, I'm not super knowledgeable in that area, but my friend Ron runs a channel called New Record Day and he covers so much great stuff! It's definitely where I go when I have audiophile questions.
Thank you for going in depth into this camera. I still remember learning about RED thanks to Dave Dugdale, who did a video with one of the at the time newer RED cameras. With that said the proprietary storage and other things done by RED are very toxic and I'm happy they're not the only option now.
Dave Dugdale! He was one of the first TH-cam channels I ever subscribed to back in like 2010.
@@tombuck Yeah reviews like the GH4 and the original Blackmagic Pocket Camera are classics to me.
The RED camera presentation he did was even reposted by an Italian channel and subtitled, and that's how I saw it for the first time.
They do make a SSD module for it, and they still makes there red mags and there's plenty of them online :)
Remember when RED used the slogan "Make obsolescence obsolete"?
Pepperidge farm remembers...
I am still a bit disappointed that the "3K for $3K" soccer mom all in one 2/3 sensor never materialized.
But now I have a BMPCC6Kg2. Full 6K BRAW footage... on any SSD fast enough that I can hook up to the USB-C port... Damn it is a nice camera.
Oh, and... I did get to use a Red ONE once. It was after the mysterium sensor was released, but before the Epic camera bodies... I remember three things:
1. That thing got HOT! I had it shoulder mounted but kept burning my ear with how hot it got... and it was in Swedish winter. I have no idea how that thing survived in Johannesburg for District 9.
2. The BOMB EVF was cool and all. But it was DLP-based and holy crap, the rainbow effect was terrible as I moved my gaze around the image.
3. The menu system was atrocious. Probably the worst I have ever used on a camera. Took forever to find anything we needed.
So... I am not a fan of them any more.
As an editor I love working with .R3D files; but as a DP I hate that you have to use a Red camera to create the footage 😅
I can definitely see why this would be the case 😁
The red looks sooo much better than the FX3. Smoother, softer, it just looks much more mature and calm.
20:07 "4k HD" is quad-HD AKA "Ultra-HD", so 3840x2160, as opposed the proper 4k AKA DCI-4k (4096 pixels wide).
In 2008 I was in film school. We were shooting on Mini DV for "practice" and 16mm for big projects. Meanwhile RED was happening and it was like "what are we even doing??" Game changer. Would rent them after school was over.
I remember hearing a similar story from my best friend who was in film school at the time. Totally crazy!
It also took me longer than I’d like to admit to realize that the cameras weren’t actually the color red. 🤦🏻♂️
Spray paint it! It SHOULD be Red!
I’m red’y 😂😂❤❤❤❤❤
I have a Red One Mx full kit here in Australia. Got it cheap from a local film school that were updating. Came with everything and I swapped out the PL mount for an EF one from the US, which took me weeks to install. I'm now selling the kit as I hardly use it and could not find a Redrive that would work with it. Came with 9 cf Red 16gb cards that work, which hold about 8 mins of 4k 16.9/36 redcode footage but the work flow is just to slow. Lexar 8gb 300x cf cards apparently work and hold 4 mins but it's a nightmare. Pity as the images look great but the workflow is crap. Put a bit more money into my bmpcc4k kit which isn't the same of course but I can do more with it. Ssd and Redrives are the way to go with the Mx but the ssds are way to expensive and I had to send 3 Redrives back to a guy in Sydney, because they wouldn't format and were to slow for my camera. 2k with other cf cards is pointless.
The workflow is definitely a bit rough, but dang does that footage ever look great!
The RED looked soo much better
A great video, but you got the part about it only being able to record on HDDs and CF cards wrong. RED did release a replaceable SSD module for the ONE near the end of it's life cycle (they were selling the remaining stock of brand new RED ones for 4.5K, those were the days). This module takes standard 1.8" Redmag SSDs which you can find a ton of on a used market and for low prices since it was replaced with a minimag after a few years. Those redmag SSDs ranged from 64 up to 512GB. So you do not have to use shitty CF cards, just find the SSD side module and you're good to go.
As someone who owned multiple RED cameras throughout the years I had a major laugh when you tried to replace the CF board with an SSD, if you know RED, this is extremely funny, cause you know that's never going to work 😂 You can't blame them, it was an era of insanely expensive proprietary media, ARRI and Sony did the same
I know you put a lot of work into this, but have you looked into putting a red raw to slog2 LUT? Maybe transcode and correct with a color chart in Resolve. Probably not practical but this could be another camera for extremely good b-rolls.
I didn't take too much time to talk about the RED software or RED RAW, but it's pretty amazing. The flexibility of the .r3d files is unreal!
👏👏👏
great work on this vid! I need to make lenses, it would be easy to sell PL lenses ;D
Hi, Tom! Thanks for the great info! I need help with my own Red One rig! What d-tap cable are you using to connect your battery to your camera? I can't seem to find any d-tap cables that have the 6-pin male lemo end to connect to the camera's power input.
I'm assuming 4K HD means DCI since a lot of cine geared cameras label 16:9 4K as "Ultra HD"
Ahh, that makes a bit more sense.
i have been just started watching your videos and guess what, i somehow bought the rodecaster pro first gen after watching your videos.
Hope you really enjoy it!
I went to college in that weird time when film was becoming less practical and digital was still not quite there.. BUT we did get to use the RED One alot and it was a lot of fun.. we used an old Angenieux cine zoom on it instead of the RED lenses our school bought with it. I liked shooting with it expect it didn't do sound in camera and took really long to boot up.. BUT,, editing with that footage.., in 2010-12.... was a nightmare.. lol that was the worse part of it.. I think Temple spent $60,000 for the kit when it first came out to schools.. only other digital we used were Canon.. T2i, 7D, 5Dii , etc.. when the T2i came out @ $500... i was on it! lol 24p and shallow depth of field.. 16:9 1080p.. that was huge.. felt way more cinematic than say Panasonic DVX100 or a Sony VX2000, .. while dslr had interchangeable lenses too.. and at a quarter the cost that those camcorder type cameras were at the time.. digital is much easier to take serious now.. sure resolution.., but dynamic range.. that's what its all about.. that was the major hang out for early dslr cameras.. moire, artifacting, etc.. things are so nice now.. slap on a vintage lens,, you got a pretty filmic look these days for much less $ thanks for the nostalgia!
NOPE... I will always be an Alexa, BlackMagic and/or a Panasonic guy
Very interesting. I am thoroughly enjoying your nuanced reasoning and detailed context.
@@schultzeworks What's interesting is, somehow you feel that I need to justify my work, which I have been doing ever since 1987... To YOU...
Yes, I have had the RED Mx... when it first came out...
Worked with a whole lot of RED crap...
Even the house that I rent from, sends TWO EXTRA...
Just so that in my time of need, the camera software doesn't hang ... and I don't either from a tree somewhere...
I want dependable...
Yes, this is from the guy that used to use SANYO back in the day... lol
If I really wanted a cool design, with mem cards that charged me an arm and a leg...
I would get an iPhone...
Look bud, I am not gonna deny the fact that RED makes super cool cameras...
Their sensors are out of this world...
BUT, the ones I mentioned, does the same work, cheaper... and more reliably...
Yes, things might be different if I have had a village for a film crew...
I might still go for an Alexa... though...
I know what I like, and what I can put up with to get that.
RED, unfortunately, is not it.
Sorry, if that hurt you in any way...
I am privy to my needs and wants... what's worse... to the things I like and work with.
I work hard for my money.
I am the guy that uses the CAT phone, not the aforementioned iPhone ...
Weird? Yes, definitely.
Would I use a RED if the house sent one for me? Heck Naw...
I would only use it if the Producers wanted it...
Like I said.. I like my money...
It’s just a tool to tell stories, get over your brand loyalty
That camera is older than me! Only by a year 😂Certinly any RED cameras will make you re-mortgage a house
And now I feel ancient 🫠
I only wish you'd made a few more puns, really missed an opportunity there
A Monstro-ous mistake!
(Also I’m geeking out a bit because I absolutely love your channel).
RED intentionally crippling the third party compatibility of their cameras is why I'll never get one. Still a neat camera, though.
you should use it in its native 800ASA to avoid cliping the highlights that much.
I have loved using this camera in 2010 and 11.
4k HD is 3840x2160, what we now call UHD (the other option is what now we call 4k DCI, 4096x2160)
The way the red software manage color is pretty terrible. Load it up in davinci resolve, you will get a much better color science interpretation.
I WANT TO BUY IT UUHHHHHG
Also forgot to say, 4k hd is just 16:9, in this case it's 4096*2304
I assume there are conversations elsewhere on the internet about this, but is it understood exactly how the camera identifies the ssd as not being one of their own? And if that is known, why is it then not possible to make the external ssd report as being something else so that it fools the camera firmware check?
This article covers quite a bit of it: www.cined.com/whats-inside-a-red-mini-mag-the-controversy-jarred-lands-statement/
Basically, as I understand it, the camera looks for a specific chip in the reader that says, "Yep, it's official." It doesn't actually have anything to do with the capabilities of the media, but there's no way to bypass it.
i have a question, where is all the blooming on the videos from ? is it from lens or camera ? cuz i don think rokinon are that bloomy no ?
It's not hard to find memory for these or the dsmc2 ones. The memory is literally standard off the shell sata ssd: The trick its o find the exact ssd they used and the camera will accept it as it was made by red.
Isn't there a way to modify the media CF/SSD to cheat the camera to think that it's recording to the official RED storage?
Focusing on the fact that it is 4K is like mising the entire point...
Can someone point me in the direction of the correct DTAP to Red power cable to get? I have been looking for DTAP to 6 pin, but seems impossible to find.
The RED media is ridiculous, especially now that we're so far away from this model. This would be akin to Arri making the ArriFlex 35iii not be able to use Kodak Vision3... But I am curious to know if you've used this RED One to shoot any of your channel videos over the past year?
I've added in a few b roll shots on the sly. Planning to do more now that it can shoot at full quality.
The memory is pretty limited for A cam talking head stuff, but it's perfect for b roll and stuff.
I'm not entirely sure why everyone is celebrating the image as cinematic. In my experience, the characteristic of beautiful highlight roll-off seen in real film is not present in this camera, or only in specific or controlled situations.
Compare the well-lit studio scene with all other footage shot in uncontrolled lighting. The highlights are blown out and show no discernible structure in the clouds or, for instance, on the sunlit side of the dog. For some time now, I've been playing a guessing game when watching movies and I can confidently say with an accuracy rate of 95% just by looking, which films were recorded with a RED One camera... solely based on the blown-out highlights (often accompanied by a color cast) and the yellowish tone.
P.s. I find it amusing how similar the experience can be: about 6 years ago, I also had a RED One and, just like you, I opened it up and tried to connect an SSD, only to be frustrated by RED's refusal. That, coupled with what I personally feel is only partially cinematic image quality, led me to abandon the idea of using RED.
The proprietary stuff is absolutely infuriating.
I feel like I get a little better with this camera each time I use it, and have now been able to get some really great looking shots that I don't think any other camera could create- BUT...it's an absolute pain to get there. It's like spending 10 hours on a gourmet recipe when there's an air fryer option that's almost just as good.
@@tombuck It is undoubtedly a camera that encourages learning and pushing its capabilities, thus allowing for a deeper understanding of all cameras.👌
Did you use the same lens on the FX3 as you did the RED? Probably would have given us a more accurate representation of how the sensors compare
I don't have a way to mount a Sony lens on the RED (it's a PL mount with a Nikon adapter), so this is as close as I could get.
@@tombuck Why not use a Sony E to Nikon F mount for the FX3? That way you could use the Rokinon on both.
RED Remain undefeated. All of that proprietary crap supposed to end with the Komodo. But no, they choose and old Canon Batteries, and must be genuine Canon Batteries with chip, and top of that you must get an approved RED CFast 2.0 card in order to use the camera.
I like your puns, the are very punny.
Puns this time were especially strained. 😁
So much fun to experiment with!
Tom is still the PUN-isher of tech videos.😅
20k in 2007 is something like 38k today. It wasn’t that cheap.
I wish i could own one, but it´s still prohibitive where i live....anyway a good a6300 does the job perfectly.
The a6300 is absolutely stellar. 😎
@@tombuck a true beast, a super sensor in the body of a prosumer...the velociraptor of cameras....
Cmon’ man! You did a great job articulating the information and expressing your opinions of the camera, but every example shot is terrible. :/ the highlights are over exposed and blown out, and the lighting is never controlled. You gotta take the camera out and use it in a way that it is supposed to be used. A quick clip in your “studio” does not depict a proper use case for the camera.
I don't remember saying that this was the "proper" use case. I DO remember saying, "This camera is capable of great things, so if it doesn't look amazing, that's my fault."
At no point have I claimed to be an expert on this, I just think it's interesting.
RED looks like film the FX3 looks like video.
That's true. I don't know what "filmic" quality is, but the RED has plenty of it.
When I bought my Red One, to make it properly running I had to spend 50.000
Oh my gosh, that's way beyond my estimate, but makes sense.
To the end to the end I’ll jouuuurney to the end
Dude you can just hook up a Red Drive. Do some research next time. No on ever used the CF cards
Sorry I just realized you did do good research. My bad.
oh cool
*continues to use film cameras that can be fixed and repaired without the threat of needing to sell my kidney*
real cinema camera. better then alexa. I have both
But I will say that a Red one MX is FAR better and competes with any modern camera, while having its own buttery look. You have a non-mx model
Yep, this was the original (that also made finding memory harder since it seems a lot of storage is MX-specific).
Ya the Red looks better the Sony looks to crisp
I'm a fan of the "Sony Crispness™" but the RED is super nice.
$17,000 for the body. Blackmagic Production 4k destroyed that red one in image quality and price.
Blackmagic is really wild with what they’ve been able to do. Also, not that I understand it 100%, but it seems like they’re the only ones who have been able to be unaffected by Red’s legal team and patents.
honestly red looks movie´ish and thats why they are where they are and there is nothing to say about that ;)
Red image looked so much better than fx3.. fx3 looked like a phony digital image