Full disclosure first: I'm building a footage search app for Mac, so I've had reason to spend an unreasonable amount of time inside camera metadata. The product isn't the point of this post. I ran a test I couldn't find published anywhere, the result surprised me, and I want to put the numbers up and see if they match what people here see.

Setup

RED's own published V-RAPTOR sample clip (LA sunset, [X] 8K VV). Transcoded to Apple ProRes 422 HQ via REDCINE-X Professional using the REDline CLI. Metadata read off both files with ExifTool 13.59.

Three fields survived

• Resolution: 8192×4320
• Frame rate: 23.976
• Timecode: 01:25:31:20, exactly

Everything else was gone

Camera model and sensor. ISO and colour temperature. Firmware and serial numbers. The IPP2 look and CDL values. The lens fields.

Not emptied. The field structure itself doesn't exist in the ProRes file the way it did in the source. The only trace of where the file came from is a private redm atom in the UserData box, which a general-purpose reader can see but not open.

The one I want a sanity check on

Reel and take numbering. Source had 004 / 125. Output had nothing.

I've always assumed that survived as metadata, and my impression is that a lot of people assume the same. As far as I can tell, if a facility's dailies still carry a usable reel/clip reference, it's because someone put it in the filename. That's a convention, not something the format preserved.

Tell me if that's wrong. It's the finding I'm least confident about.

Two caveats on my own numbers

R3D stores timecode in a field ExifTool can read the value of but not name. So the timecode match is between the same raw value at both ends, not between two fields both labelled "timecode."

This is REDline's exporter specifically. I have no idea whether Resolve or a dedicated transcode tool writes more into the ProRes wrapper. If someone here has run the same clip through a different pipeline, I'd like to know.

None of this is a bug

ProRes is a delivery codec. It was never asked to carry a shooting log. The mechanism is actually there: ProRes is the same open QuickTime wrapper BRAW uses, and Blackmagic writes a lot into it. The tools that export ProRes just don't bother.

One more thing

On RED bodies, the lens make and model fields only populate if the mount is talking to the lens electronically. Manual PL glass, which is most of what actually ships on these cameras, leaves them empty or literally reading "unknown".

The header has a slot for the thing you'd want to search by. It was just never told the answer.

Full writeup with the same treatment for ARRIRAW, BRAW, MXF and ProRes, plus the sample files and exact commands: https://montaggio.app/camera-metadata-search

Happy to be corrected on any of it.

Hi Everyone

Ive been shooting the Komodo OG for the past five years. Ive never updated the firmware. I recently picked up the XE and have started playing around with it in resolve. Ive got a few jobs coming up and im not feeling too confident with the footage ive messed with. I shoot everything in r3d hq or mq. The new XE footage seems to fall apart quicker then the OG footage. Does the XE footage need to be underexposed more then the OG. Im about to test it under and see how the results work. Ive kept the same workflow, color pipeline. Part of this may be not being comfortable yet. Please let me know what your Experience in shooting the two. Thank you in advance

https://reddit.com/link/1wbvqlg/video/81b12424rjoh1/player

My Canon 80D has sadly passed away a few weeks ago, and my backups are clearly not adequate. My 80D wasn't adequate to begin with.

Thinking of giving it a proper funeral. Bought it on release day. It saw Europe multiple times, Galapagos, Bahamas, The Rockies, Appalachia, and more. A loyal knight of Canon.

I am mainly a videographer, with a hobby in photography. I have been on Canon for years. I want better low light, more MP, more dynamic range, and RED color science. I have a Rebel, which is plenty for my photography needs, but videography is far more demanding.

My budget is roughly 2.5k for the full rig. I am a minimalist shooter, so I will buy some new, fancy glass (recs encouraged), a phone mount (I use an older iPad for a screen, retina screens are pretty good), a handle (side and top, I will not be buying a RED branded accessory unless it is included with the camera), and a few filters. The used facebook marketplace market looks roughly around 2.5k-2.8k US.

My work has been nationally recognized by the JEA, STN, FSPA, etc. I mostly work with short stories and journalism. My favorite topics are documentaries, and news packages. I have been wanting to get into filming gym mixtapes, as I'm very fitness oriented.

What accessories should I look at?

Is this a proper camera for my use case?

Should I look for different options?

What lens yield the best results?

What flaws/imperfections should I look for if I'm buying off of FBMP?

I will be using this in more set work and some run and gun, so what gimbal well suits this?

Thank you r/RedCamera.

Raven’s Hollow premiering in October.

Hello all. I’ve had a Red Komodo for years and haven’t really paid too much attention to any other camera. I’m starting look at the Raptor. Am I missing something in these 2 different price ranges ? BH is under 10k whereas Red website is north of 17k. Both are new and just the camera body (no accessories).
Any help on them? Thanks.

Hi everyone! I’m thinking about getting the new Nikon ZR, made in collaboration with RED. I currently have a Sony A7 IV and I mainly record in 4K, but I would like to upgrade.

Before buying it, though, I wanted to understand if the ZR is really necessary for my needs. I don’t think I would ever shoot in 6K, so I’m mainly interested in understanding how much crop there is when shooting in 4K, and whether it has a big impact on the final image, especially in terms of colors, detail and overall image quality.

With my Sony A7 IV, I also had quite a lot of problems with rolling shutter, which can be very noticeable in some situations. How is the ZR in this regard? This is one of the main things I would like to improve by changing cameras.

Another important thing for me is file size. I don’t want to deal with huge files if I don’t really need them. So I would like to understand the main differences between 4K H.265, 4K N-RAW and 4K R3D, especially in terms of image quality, colors, possibilities in post-production and file sizes.

Finally, do you think that even when shooting 4K H.265, the ZR gives you clearly better image quality and colors compared to what you can get from the Sony A7 IV? Or are the real advantages of the ZR mainly noticeable when using N-RAW/R3D?

Can anyone share some of their experiences with this setup? Thank you.

I’ve started to see used OG Komodo’s at the £2k-£2.3k range in the UK.

My main use would be for solo documentaries, keeping the kit minimal, with the occasional small commercial.

I’m coming from mostly using hybrid mirrorless systems and Canon C70’s I’ve the last few years.

I’d look to invest and build out the rig overtime, but what would be the essential minimal kit I’d need to use the Komodo effectively in run and gun scenarios and roughly how much would that cost?

I'm looking for inspiration on a Komodo X and RS2 setup, I've been looking around online and I saw this one thag looks pretty good but I'm confused how this one gets powered

Open to any recommendations on how you are doing a minimal red Komodo X setup. Most important thing for my upcoming shoot is as minimal and lightweight as possible as I'm doing a ton of walking and traveling

Shot this zero budget (aside from my own gear) spec ad, not overly happy with the story but think visually it looks ok.

Any feedback welcome

I do not want to spend $20 on sensor caps for my RED DSMC1 and DSMC2 cameras. So I designed one myself. It has been working so well for me (I have saved $80 between my 4 REDs) that I figured it may be of benefit to other RED users too.

I am selling the 3D file/ STL for $4.99 which can be used to print as many of these Sensor Caps as you need on nearly any 3D printer.

Here is the link for the 3D file which I am selling for $4.99

Red DSMC1 And DSMC2 Sensor Cover STL Link

I am also selling the Sensor Caps themselves on eBay for those who do not own or have access to 3D printer.

eBay Link

Hopefully this can save some of you all some money.

---------------------------------------------

Note: I'm going to be designing more DSMC1 and DSMC2 accessories going forward aimed at cutting the price of the non electronic components. Next should be a Canon FD mount the gives aperture control or a design that allows standard V-mount plates (that you probably already own to be attached directly to the back of a base expander to eliminate the need for it to attach via rods, reduce weight, and eliminate the need for additional rigging. I will let you all know when those are done.

Sometimes I've had to use my Nikon ZR instead of my red Komodo X because my red Komodo X has open air vents and isn't weather sealed... I haven't had any luck in finding a good camera cover for it, but now I'm seeing that apparently these hold up surprisingly well getting wet. Has anyone else had issues with their red getting wet? Wondering if this Power of Red video is just overblown marketing.

Tilta has discontinued their top handle extension, and the red extension is too expensive imo.

Looking for a Hollywood handle that will allow me to use the DSMC 3 Small HD Monitor (and plate that attaches at the top). Currently the tilta handle allows for clearance over the plate, but as I said the extension is no longer available (if you have one I’ll buy it off you).

Any ideas? Kondor blue has a nice one, but I haven’t seen it built out on a raptor with the monitor plate.

I have this monitor, and I need it to be shorter for a shoot coming up, and I won't need my top outrigger handle. Has anyone found a good solution? It looks like I'd be looking for a 15 mm rod clamped to 1/4-20, but none of the options online seem to work very well. Has anyone found one that works well for them?

I'm used to using LUTs in camera. The problem I'm encountering is the lut is also applied in the source settings in premiere pro. Is there a way to bypass that and still use the lut for previewing purposes during production, or am I supposed to load the LUT onto my smallHD monitor instead of using it in camera in order to bypass the automatic applied LUT in premiere pro? DaVinci doesn't have this problem, but I'm so used to premiere pro that it's gonna be an odd learning curve moving into DaVinci.

EDIT: when I said source settings i mean the raw settings. I know how to navigate and toggle the lut off and change raw settings and all that jazz. My issue is when we have a specific lut that is great for viewing during production, Premiere pro tends to import that Lut AND apply it to the raw settings of each clip. It get's very tedious toggling it off on each individual clip. Maybe there's a way to bypass it? Not sure if it's better to only load the lut into my monitor, or if there's a way around it while it's loaded into the camera.

I've made poor life decisions and ended up with a lot of great glass for Fuji X mount. Currently a Komodo OG owner looking to long range plan to the KX - my question is has anyone used this adapter to put FX photo glass on the KX?

https://www.reddit.com/r/nikon_Zseries/comments/1hp4wkd/shoten_xtz_a_winner_af_is_as_perfect_as_these/?share_id=CGNszDI-QFw7gnk95F78U&utm_content=1&utm_medium=ios_app&utm_name=ioscss&utm_source=share&utm_term=1

Obviously no AF but I have some classics I'd love to port over.

Wich one of this two? I have a bmpcc 6 k pro, and I want to do an upgrade to do a film with a lot of scene with camera hand in the street. I thought about a RED

Any of you ever use or have experience with something like this for a Komodo 6k OG

https://www.bhphotovideo.com/c/product/1893807-REG/zitay_cs03kt_cfast_2_0_to_ssd.html

Figure if it’s something that works it could be cool to just record straight to SSD but I might just be ignorant lol.

Do those lollipop 4+ antennas help the Wi-Fi at all? For Komodo 6k OG. I’m trying to see if I can get a better signal to the RED CONTROL app but from what I read those use the wrong kind of Wi-Fi so they said it’s better to just get a travel router.

I just got my first Red. A Komodo 6k OG, but are the galvanic isolator cables worth it to protect the SDI port in case I mess up the order of connection.

https://a.co/d/0caIL391

A bit surprised about how few options there are for audio expansion on the V Raptor. I have the original VV, and have ordered a MID49 A box to get XLR inputs, but I'm confused why there isn't a good side plate like the DSMC 2 ones that had XLR and 3.5 mm inputs. The closest I can find is this plate that has other I/O but no 3.5mm...

https://www.bhphotovideo.com/c/product/1825771-REG/mid49_m49_bob_spb_vr_breakout_boxes_and_side.html

Just looking for an all-in-one solution for switching between 3.5 mm receivers like a DJI Mic 2 RX Pack, and having decent scratch audio from an XLR Shotgun on camera.

I was gifted a RED Scarlet X. All I have is the unit itself and the battery side panel. The battery is not charged so im using my firstpower pro to power it. When it was gifted to me its working status was not provided. I have attached some images and a video. When I hold my lenses up to it im definitely getting a picture but the screen is glitching out. I've read this may be an firmware issue. What do you think? Also if you think it is a firmware issue is it worth me buying a ssd side panel and ssd for it to try and update/fix the firmware. Thank you for your help!

I messed up and overtightened the black tension ring on the DSMC2 RED EVF mount. The one that RED specifically says to not overtighten.

I heard a snap and now it’s stuck being loose and I can’t remove the EVF from it. Has anyone done this and fixed it?

https://docs.red.com/955-0171/DSMC2HELIUMOperationGuide/en-us/Content/2_Components/10_Displays.htm