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. – 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. It also can embed external stereo analog audio or digital S/PDIF (Toslink) audio to the outgoing HDMI signal.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. Gofanco Prophecy 4K HDR Audio Extractor and Embedder supports the separation of high quality Stereo Analog audio and Digital S/PDIF (Toslink) audio from the incoming HDMI signal without losing any active audio channels. Contact us at here if you have any questions or concerns Our products are backed with a 1-year limited warranty and experienced tech support team in Silicon Valley. Surface mountable metal enclosure with ESD protection to prevent malfunction or breakdown. MADE IN TAIWAN & HIGH QUALITY COMPONENTS – FCC, CE & RoHS compliant.ADVANCED FEATURES – Supports CEC bypass & ARC audio extraction via Toslink.HDMI 2.0 STANDARD – Supports HDMI Input & Output up to 4K (YUV 4:4:4 8-bit), HDR 4K (YUV 4:2:0 10-bit), HDMI 2.0a, HDCP 2.2, 18Gbps.AUDIO EMBEDDER – Embeds external Stereo Analog audio or Digital S/PDIF (Toslink) audio to the outgoing HDMI signal.AUDIO EXTRACTOR – Extracts high quality Stereo Analog audio & Digital S/PDIF (Toslink) audio from the incoming HDMI signal without losing any active audio channels.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |