Red Camera Vs Arri Alexa | Cinema Camera Showdown

Red Camera Vs Arri Alexa | Cinema Camera Showdown

– Now this sure is weird, I have two of the greatest cameras on planet Earth right here at my disposal, and yet, I’m still shooting this video on a little Cannon M50 mirrorless camera. YouTube makes me do weird things, man. In case you’re not
familiar with these cameras I made a video about all the
Oscar nominations for this year and which cameras they were shot on. Almost all of the digitally shot films were shot on the Arri Alexa and the few that weren’t shot on the Arri were shot on the Red. But that doesn’t mean
Red’s been slacking either, they’ve been dominating the Netflix space with shows like House of
Cards, Narcos, Stranger Things. If I were to name off every single film of TV show that
these cameras have shot, I would literally be here til after dark, just going through a
giant list, encyclopedia. Over the last few years, they’ve both been making big strides on making these cameras easier to access, easier to use, more compact. And finally it’s getting to the point where you don’t need
that giant, $100,000,000 Hollywood budget to shoot on one of these. Maybe you guys have a project coming up where you’re either going to shoot on the Red or on an Arri. How do you pick between the two cameras? To be honest, they’re
very different cameras. Price, picture, how they
function, ergonomics. We’re going to start off by
throwing on matching lenses, shoot a sequence with them side by side. You guys try to let me know if you can figure our
which camera is which, so here we go. Now before I tell you
guys which one’s which I want to take a little poll. So hit that little icon on the top right and let me know which one you like better, camera one or camera two. And here we go, the answer to which camera is which is, the Red is camera number one and the Arri Alexa is camera
number two on the right side. By the way, I didn’t
color grade any of this, this is all just set on the
most common default setting so on the Arri it’s Rec709 and on the Red it’s Dragon
Color 2 with Red Gamma 4. Me personally, I was
really surprised to see how close some of these clips looked, especially when it was bright and sunny. For example, this shot a the beach, if you were to ask me which
camera was this shot on, I wouldn’t really be able to
tell you with much confidence. It was shot on the Red, but if you were to tell me this was a shot from the Alexa, I would believe you. I thought it started
becoming a lot more obvious once we started entering
different lighting environments especially when it starts getting darker. The Red naturally adds a lot
of contrast into the shadows. And I think that’s one of the reasons why the red has that natural, moody, kind of dark look that I really like. The Arri stays a little bit more consistently even throughout. It can almost even look
like they’re on a different exposure or white balance, but everything has been matched. I would describe Arri’s look as kind of warm and creamy but also very saturated with a lot of color. Opposed to the Red, which is kind of like a darker, harsher, razor-sharp look. And there really is no
right or wrong answer on which camera looks better, it’s more of a preference, so I hop back and forth
depending on the project. Now, we’re generally
starting to get a better idea of the image quality differences and characteristics of the cameras image, but how about ergonomics? We still have a lot to cover. But let’s start with my favorite segment, which is the trash talking. So let’s start with the Arri. My biggest complaint is easy, this viewfinder right here. This viewfinder alone is $7500 and technically you
don’t need the viewfinder to control the camera. You could dial in all your
settings through wifi, it has two SDI ports, so you can monitor
everything through that. But it’s still not very
fluid to work with, so, in general, if you’re
gonna book out an Arri Alexa you can assume that this viewfinder is going to come with it. Now, the eyepiece itself, I
really like it, it’s very sharp, and also even if it’s super bright out, you can just close your eyes and look through it and
it’s gonna to look good, which is kind of the benefit
of it over a monitor. If I have to rig the
camera up high or down low, it’s not really convenient
to look through this eyepiece so you can press a button and it sends the video signal to here, so this becomes like a tiny monitor. Well, my complaint is that
this is a $7500 piece of gear. That’s the price of a pretty
decent camera all in itself, but this monitor here
is just not good at all. It’s an LCD screen, when
you first turn it on, a lot of the time if flickers, there’s a lot of complaints on that, and there’s a lot of
this cable going down. I’ve actually had one viewfinder completely stop working
on me once after a shoot. Like, it didn’t completely
shut down the shoot because the camera was working fine, it’s just this viewfinder
that I have a complaint with. If you look at this camera, and you know, pan the camera around, it just does not look like a good screen. It looks like a crappy screen from like, 15 years ago. I have heard they are working
on a new, upgraded version with an LED panel here instead, but I can’t find anything online about it, so I don’t know, maybe I was
dreaming it or something. I really hope that rumor is true because this viewfinder
LCD is terrible for $7500. With both cameras, you can generally get pretty decent focus out of this viewfinder
or the Red’s monitor but definitely not perfect. So when you rent these kits, I definitely suggest
having an external monitor that’s pretty sharp. ‘Cause with both cameras I’ve had times where I was just kind
of running through this or the Red’s monitor and I was like, “This
looks like it’s in focus.” And when I put in the computer, it just looked very, very slightly soft. It’s much easier to see
on a bigger monitor. So, I always take these
out with a full on monitor or have an AC pull in my focus. It’s still a little rough
getting that critical focus out of this viewfinder and impossible to get out of this monitor. It’s good enough for
like, composing your shot, but that’s about it. Most of the time I just leave it as a menu so you can quickly adjust all
your settings from right here. The camera itself also has two SDI ports, which is cool that there’s two of them, in case one goes down or whatever, but it doesn’t have an HDMI port. On a bigger set, we would
never use HDMI anyways because SDI is just so much
more of a solid connection. But for my size, smaller productions, there’s been a couple
times where I’m like, “Oh, if I had an HDMI,
I would’ve used it.” The Red has both SDI and HDMI. THere’s also an audio port right here, which I thought would be really awesome because then we could get reference audio but it’s like a very special cable without a pre-amp so
you can’t just plug in a random microphone into it. This audio input is
designed to get a signal from an audio mixer, where
everything’s already pre-amped and a signal fed into here. Again, big sets with
professional workflows. That’s not really a concern for them. We usually slate anyways but, you know, sometimes, if I’m just running
and gunning with this camera, I just really wish that I had some sort of reference sounds so everything would
just be easier to manage in post and syncing and all that stuff. Look at this praying
mantis that Kari found. That’s a massive praying mantis. That praying mantis is acting
as a perfect model for us so we’re gonna get a few
shots of him real quick. Or her, my apologies. This specific Red has a 5K Dragon sensor and to utilize the full sensor and lens, we’re shooting it in 5K. Let’s say you don’t want
that giant file size, you wanna trim it down a little bit. Let’s say we go into HD. Notice, it’s way more cropped in. Now, here’s the thing that
really sucks about Reds, is if you don’t shoot
at the fill resolution, you’re not gonna utilize the full sensor. You’re literally just
cropping everything out. So, in general, if you’re gonna
be shooting on a Red on RAW, you really wanna just
keep it at full resolution so you’re utilizing the
full sensor and all that. Let’s say you wanna shoot
in super slow motion. The higher you wanna
bring your frame rate, the lower you have to
drop your resolution, which means the more you’re gonna crop. So, you’re really only utilizing a very small portion of your sensor and a very small portion of your lens, which does not look good, especially if you don’t
have that much light. The Alexa, on the other hand, if you drop it into HD, it does crop in but just a tiny, tiny bit because it still tries to utilize as much of the sensor as possible and then re-samples that
image into an HD file. So, let’s say you wanna shoot
at 200 frames per second. Both of them have to drop down to about HD but the Arri still utilizes a majority of the sensor and lens while the Red just crops its way in, which is like a shame to do to the sensor. Another thing to keep in mind is how difficult these
cameras are to operate. Let’s say you’ve never shot
on these cameras before. Can you just go and rent
one and then use it? Or do you need to train on it before you go out and shoot on it? The Red, I would say, you at
least need a couple of hours to just navigate through the menus, figure out what all this stuff means, there’s some new stuff. You’re shooting RAW so you’re
dealing with compression rates and RAW codec and different
frame rates and frame sizes. There’s quite a few things you wanna learn that’s very specific to the Red. No one’s gonna go get that? Did you guys just not
see me throw that ball? Yeah, that’s right, go get it. The Arri, on the other hand, may look like a very
intimidating, complicated camera but if you know your
way around a DSLR well, you can pick up an Arri
Alexa and literally be very comfortable with
it in 10, 15 minutes. It’s very, very straightforward. You just look through the menu and everything’s very simplified. I can tell you, way easier to use than a C300 Mark II. Way easier than an FS7 or a FS700. To be honest, to dial in all
your settings and everything, I can do the Arri Alexa faster
and easier than most DSLRs. It’s really, really intuitive. Like when I was going through the menu, I was just able to scroll through and just understand what everything was. The Red, on the other hand, as I was going through
the menu, I was like, “Wait, what’s image pipeline?” Had to look that up. Color profiles and Gammas, I was like, “Okay, which one am I supposed to pick? “Which compression ratio to choose, “how does it convert over to ProRes “if I wanna shoot ProRes?” All that stuff. Now, speaking about Codecs, Red has a really, really good RAW Codecs. So, a majority of people
shooting Red shoot with Red Code. Red’s RAW Codec is really awesome. It has a lot of detail,
super flexible in post, you can change your
ISO, your white balance. A lot of different settings
after the fact that you shoot. If you have a fast enough computer, you can just drop these
straight into Adobe Premiere and it’ll just play just
like any other file. Arri, on the other hand, has
both ProRes and RAW as well but a majority of people
shooting on Arri shoot ProRes. They have all the different, you know, 422LTs, 422HQs, 4444. If you take a ProRes
file from an Arri Alexa, drop it into Premiere, Premiere will automatically detect that it’s an Arri Alexa file, automatically apply a Rec709 light to it so it already looks like
roughly color graded but of course, you can always
revert back to the LogC flat picture profile and
grade it to your liking. Hey, why you breathing so loud? You’re messing up my audio. Nice catch! And of course, there’s also Arri RAW, which gives you that full flexibility but it’s a pretty massive RAW format. If you’re shooting ProRes 4444, I mean you’re getting
so much detail in there. It’s very unlikely that you
need that extra flexibility. Even Rodger Deacons, who just got an Oscar for best cinematography,
says ProRes is great. Arri RAW does give you that
little extra flexibility but it’s not necessary. So, most people, especially in my size productions, we always shoot ProRes and with Red, we use their RAW. Now, keep in mind, we’ve been
using the Arri Alexa Mini, which I consider to be the best bang for the buck Arri camera. And we’ve also been
using the Red Scarlet-W, which is what I consider to be the best bang for the buck Red camera. But there’s still a pretty
big difference between this and the Arri Alexa Mini. This has the 5K Dragon Sensors but my friend has an 8K Helium Sensor, which is one of their higher end sensors so let’s go test that out. You got yourself a ball. You gonna give it to me? Give me the ball. Give me the goddamn ball! – My name’s Nathaniel Carter. I’m a cinematographer and
this is my Red Epic W camera that shoots 8K resolution. It’s got a… It’s one of Red’s–
– Quiet on set. – Sorry, sorry.
– Guys, shut up. I’m trying to record a video. – Sorry. Peta, shh. – If you shoot 8K 7:1 with this, the card’ll last like eight, nine minutes. Got so much functionality and the 8K aspect of it will be
relevant in seven years, if the camera’s still running. I’d still be able to use it. I’ve had it shut itself off now, twice, randomly, for no reason. It wasn’t while I was shooting, it was while I was configuring something. Little problems and
glitches but nothing… Nothing what has been reported, a lot of people experience with Reds, which I know they can be known for. – He’s at 8K, I’m at 4K. Looking at some of these super slow-mo, 200 frames per second shots, there’s really no comparison. Remember that the Red has to crop in so we’re using a very small
portion of the sensor, which is why it looks so grainy, while the Arri still uses
a majority of it’s sensor and just re-samples it, which looks way more
usable, in my opinion. Now, if we put a microscope
up to the 8K resolution, it’s obviously a lot sharper, there’s a lot more detail
but at the same time, there’s more grain noticeable as well. Looking at the low light scenes, here, we definitely see a clear separation in color characteristics. The Red is looking kinda
like that yellow-green color, which it’s famous for, and Alexa is kinda more
of that reddish-blue. Again, there’s no right or wrong answer on which one looks better. It really comes down to preference and the project you’re working on. Both of these cameras
have a ton of flexibility when it comes to color grading so you can really stylize
both these cameras in many, many different ways. But a lot of the inherent
characteristics kind of stay along with it. So, depending on your project and taste, I would pick the one that’s closer to the look you’re going for and work on it from there. So, we generally get an idea of what the image difference
is like between the two cameras but what’s it like actually working with these cameras, hands on? You go to the rental house, what accessories do you need to book? How do you build it? How do you set it up? We’re gonna start with the Red. Now, when it comes to accessories, Red is very particular
that you use their stuff. You can technically power this camera off any V-Mount Battery but then there’s a lot
of translation issues. It doesn’t tell you when you’re
about to run out of battery, so unless you’re keeping a
close eye on that voltage meter, your camera can just
suddenly shut off on you. But at the same time, it communicates very
well with this battery and it could tell you, down to the minute, how long your battery’s gonna
last so that’s kinda cool. While the memory’s recorded
onto these Red Mini-Mags, which are not cheap (hiccup). I was fine all day and then as soon as I hit that record button, I get the hiccups. I kinda don’t love that these mini-mags are exposed but maybe I’m
just over thinking it. Up here, there’s an internal microphone, which I love. It does not sound great but in case you don’t
have a second AC to slate, it’s useful so you can sync this camera with other cameras or sound (hiccup). And this whole back unit
is a modular system. So, you can pull this off
and stick on a different one. There’s one with XLR
inputs, which is nice, but it makes the camera
quite a bit bigger. I think this is probably
the most common one ’cause it had HDMI, SDI. Also, it gives you just
a standard headphone jack and a audio mic input so I can literally just
take the microphone off my vlog camera and plug it in and I’m getting somewhat decent audio. And my favorite think about
shooting on Red is that it’s designed so you can
use it as a cinema camera, you can build it out, but you can also use it
as a run and gun camera. Right now, we’re getting
somewhat decent sound out of it and it’s not heavy. I could run around with this all day and not get exhausted. But with the Arri, my arms
are gonna be falling off. It looks all cool and lightweight, ’cause it’s carbon fiber and everything but running around all day,
hand held with that thing sucks. Now, another thing I
love about Red’s design, everything was just designed to just be directly bolted onto the body, which means no cables that
can get snagged or yanked on. But look at this, I mean it’s beautiful. It’s just one solid piece and you can kinda move it around. You don’t have to worry
about things flopping around or coming loose or cables
getting tangled on stuff. Having everything bolted on, the one thing I don’t like
is the fact that this monitor doesn’t really have a
nice, safe spot to store. If you’re gonna transport
it, better safe than sorry, and take this monitor off every time. But I’m not a huge fan of
constantly threading things in and out of the camera because you can start wearing
away at these threads. And also, these aren’t
just regular hex keys. It’s kinda one of these star shaped tools, which isn’t impossible to come by but my point is I just wish
it wasn’t a very specific tool to take this on and off, which is something that
you do all the time. To power it on, you just
press that button for a second and you just give it about
20 to 30 seconds to boot up. Once you’re up and running, it’s either this button or this button to start recording. But to shut it down, here’s
where I think it’s kinda stupid. You can either go into the menu and navigate your way
through to the shut down or you can press and hold down this button for a couple seconds and
power down the camera, which is great because I would much rather just press a button to
shut down the camera than finagle my way
through this menu system. And here’s the part I
think is really stupid. The first time I started
using a Red camera, a couple of the times,
when I turn it back on, it said, “Improper shut down.” And your files might be screwed up. So, I double checked the manual and yeah, I was shutting it down right so why is it giving me this error message? Turns out, if you hold it
for a couple extra seconds, it does a forced shut down in case your camera
freezes up or something, which happens, by the way. And I think that’s really
stupid that this one button, if you don’t hold it long enough, it’ll just start recording a clip. If you hold it too long, it’ll
do an improper shut down. And so that gives you a
little bit of paranoia. Every time I shut it down, I press and hold it just until the shutting
down thing comes up and than I let go right away. Then you won’t have any problems but still, why couldn’t they
make that improper shut down a different button, like a
forced shut down button here and then just a regular
shut down button here because it’s just too easy
to do these forced shut downs and I don’t wanna screw up my files because I pressed this
button a little bit too long. Now this, on the other hand, is the Arri Alexa Mini. Now the Arri Alexa lineup
has been around for a while and they’re awesome cameras but when they designed this, they specifically designed it to be used for when you need a small footprint kinda like gimbals or
drones, stuff like that. Then what happened was
that people looked at this and was like, “Wait a second, “that has the same exact sensor, “theoretically getting the
same exact image quality “as its bigger brothers but
it’s cheaper and smaller.” So, Arri didn’t necessarily design this to be like the A camera. They meant it to be a B or C camera alongside the Alexa SXT
or something like that. But who doesn’t want Alexa image quality for cheaper and smaller
so people like myself had been using this as the A camera. We just attach this view finder, which also had this flip out display. Now, of course, we’re already
starting to have cables, which, again, I don’t love but they designed this camera so that you can tuck this core of the body somewhere tight and control
everything remotely. So, it makes sense that they did this. Now, both these cameras
can run off both V-Mount and Gold Mount Batteries but 90% of Red cameras I’ve
seen have V-Mount Batteries and 90% of Arris run off Gold Mount. But if you wanna cross over, it’s just a matter of
switching out this plate or using an adapter, like this, which switches that Gold
mount into a V-Mount so now, I can literally
just use the same V-Mount on the Red battery to power this Arri. See, Arri doesn’t really care what kind of battery you put on here. As long as it works,
they’re like, “It’s cool.” Alexa Mini runs off CFast Cards but they have to be
approved high speed ones so Lexar and SanDisk both make Cfast Cards that are fast enough. I personally recommend SanDisk. I’ve had the least amount of
problem with SanDisk cards. But again, Arri doesn’t care
what kind of accessories you throw on it. They just say, “Hey,
if it works, it works,” which is why I’m powering this Arri off
a Red battery right now. Back here is the power on and off button, big record button right here, and a secondary one right up here and then you have a
bunch of quick settings like peaking, false color, you can program all these. I have these to turn the
ND filters on and off. I love build in ND filters. And that’s one pretty big
complaint I have with the Red. I mean these, you just press a button and an ND filter will slide in so you can open up that aperture and do different things with it but the Red, if you have a cinema lens on there, you don’t have just thread on lenses. You need to put on a Matte Box, which makes the camera a whole lot bigger, and then drop in ND
filters in the Matte Box. Now, even though this camera
is bigger and bulkier, it is a bulletproof camera, which is one of my biggest reasons for trying to shoot with
Arri as much as possible. I made an entire video about how the Red just suddenly stopped working on me and how I had to ship it in. I’ve already had to service
the Red twice already. And, you know, some people
get luckier than others. I’ve had friends that have
been shooting on it for years and never had a single problem. I’ve also seen, first hand, it just stopped working all of a sudden for no apparent reason. And like another YouTube
channel, LinusTechTips, they have a video about the Red and they have a huge list
of issue they’ve had. – [Linustechtips] But
from day one, until now, we’ve had such a laundry list of issues with both of our cameras… – On bigger productions, we usually have another Red as a backup but sometimes, even just a DSLR so that at least, you can get footage, you’re not gonna walk away empty handed. Clearly, we have another Red body stashed away so. The Arri, on the other hand, you’re not really taking a risk like almost everyone I’ve
talked to with the Arri has had a pretty flawless
experience with it. I once ran into an issue
with this viewfinder but it didn’t shut down our shoot ’cause the camera was still running fine, it was just this view finder. But besides that, that’s about it and I’ve talked to a lot of
people about their experience with Arris and they’re
usually just flawless. These things can take a beating. You can take this thing
into the blazing heat or throw it in your freezer,
it’s gonna keep running. Like the Red, you’re gonna start getting
temperature warnings if it’s kind of hot out and the fan will start blowing super loud. But then, if you’re recording sound, then you have to turn the fan down but then the temperature keeps going up and it starts going in the
red like what do you do? When it comes to
reliability and durability, hands down, the Arri dominates the Red just like you may have a
good experience with it but a lot of people have had
terrible experiences with it. So, you’re kinda taking that gamble and I think that’s probably
the biggest weakness with the Red right now. And I think the issue is that they were constantly coming
out with a new camera, like literally, a couple a year. And I feel like that
just wasn’t enough time for them to perfect one camera and just run it through
its paces and test it to make it super reliable
before they release a new one. They were literally just like, “New one, new one, new one.” Now, they did just narrow
down their product line to just a few cameras and I
think that’s a great idea. Now I feel like they can probably just focus on these cameras and just perfect them before trying to just produce
more and more cameras. Fingers crossed that they’re just working on their reliability. What’s awesome is that
both of these cameras can be swapped out very
easily between a PL Mount and an EF Mount. PL Mounts are the industry standard for high-end cinema lenses and EF lenses, a lot of us already have
EF lenses for Canon cameras so just pull one off your 80D or 5D and you can slap it on this camera. So, it’s literally just a matter of switching out four screws and you can change the
mount of the camera. So, I love that. Now, the Arri Alexa Mini
comes in at $47,800 and the Red Epic-W with 8K sensor comes in at $19,500 dollars. And this is just for the body. It’s not like other cameras where if you have the body, you can generally shoot like this. You literally can’t even
attach a lens to it. You can’t turn it on. You don’t even have a
place to mount the battery. So, let’s build this out to
what you would kit it out with if you were kinda do like an independent, mid-level production. Not like big, giant Hollywood movies and also not tiny, little films. So let’s start accessorizing. The expander definitely
needs to go on the Red so you have SDI, HDMI outs. And the Red automatically
comes with all the licenses. On the Arri, on the other hand, it comes with ProRes but if you want every RAW or other licenses
like four by three open gate for anamorphic, then you need to buy these licenses but we’re gonna leave
that our for this one because, again, most of
us are gonna be shooting on ProRes for independent productions. There’s 100 different rigs
you can apply to both cameras but we’ll go with a pretty
common one for both, just over $2000 for each. Now, we need a lens mount so we’re gonna get a EF and a PL mount. A PL mount for cinematic lenses that you’re gonna be using
for bigger productions and an EF mount for when
you’re playing around. You know, you can just slap
a solid Canon L series lens on there and it’ll look pretty good. The Arri has three build in ND filters so you don’t have to have a Matte box, so let’s leave it out
for this one but the Red, you definitely need a Matte box so you can drop in those ND filters. So, we’ll go with a common Matte Box, the LMB 25, three ND filters, and we’re gonna go with four
256 gig cards for the Arri and four 240 gig Mini-Mags for the Red. The Mini-Mags are
expensive, like I mentioned. We’re gonna go with four batteries with a dual charger all
about 150 watt hours, which is decently powerful. The Arri needs that super
expensive view finder that’s $7,500, ouch. And then on the Red, you
have different sized options for monitors, but I went with
a smaller one, which is $1,450. Both require a solid monitor so let’s slap on a seven inch monitor. And then lenses. Now, lenses, you can literally
go from $50 all the way to like $500,000. But for this level production, let’s go with the
Angenieux EZ series lenses, which we were doing a
lot of these tests on. Kit comes in at $33,600. And wireless follow-focus
and wireless video used to be much more expensive but since the prices have come down on some budget friendly options, we’re just gonna kinda go
in with a low end on this, just to get the job done. And of course, taxes. Here, in California,
there’s about a 8% sales tax but there is a tax break for production so we can get away with
under 4% in sales tax and now, with our total numbers, there is still that pretty
big price difference, the Arri Alexa Mini coming
out to be quite a bit more mostly because the body is
just so much more expensive. And of course, there’s the
camera like the Red Monstro, that is way more expensive, but there’s also Mini Arris
that are way more expensive. So again, even though
this is super expensive, this is still considered kind of like the value cameras of both companies. Focus, focus, focus. Right there. I’m looking nice and sharp. I’m actually pulling my
own focus with this monitor and this follow focus unit. Both these cameras don’t
have auto focus, by the way. Auto focus is getting really, really good on the C300 Mark II and DSLRs but still hasn’t
gotten to the point where people are using it in the cinema world. We still generally go manual
focus on these cameras. We’re shooting on one of the
two cinema cameras right now. Let’s see if you guys have
learned enough about this camera to figure out which camera this is. Try to figure this out while I conveniently tell
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think camera A and B is? Well, the answer is this
right here is the Arri Alexa. Camera B is the Arri. And the easiest way to tell
is just how smooth everything looks in terms of my skin tones and also the contrast on my face, lighting hasn’t really changed. But anyways, yeah, here we go. Now let’s end this off with the usual, reading some recent comments. Let’s see what you guys
have been talking about. Over the last four videos, every comment has basically
said the same thing, which is, “You look like the kid from Up.” And everybody up votes it. Do you know who I’m talking about? – Yes, Russel. Oh my god, yes. – In the last video, I begged them to make that not the top
comment for this video. So, here’s the video I posted
a couple hours ago. What’s the top comment,
what’s the top comment? Same comment. – Now, they’re just trolling you. _ Oh, wait, hold on, it’s tied now. “You look like the kid from North Korea.” I look like Kim Jun Un. – You look maybe Korean, I guess. I don’t know. “He probably use his camera
to shoot Goku’s training “with King Kai on his Planet.” – Oh (bleep) yeah. – I don’t get the reference. – Well Kaing Kai’s planet is a circle so is this about the 3D–
– Oh, yeah. – Yeah so King Kai’s realm,
you can run around his planet just a constant–
– Oh, that make sense. – Yes.
– Okay. “I bet he will heart my comment. “I bet he won’t.” Oh yeah?
– Boom. – I just hearted it. Boom.
– Proven wrong. There’s so many up… Movie Up, movie Up, oh my god, you guys. You’re a bunch of trolls. – I just hate my
subscribers, you guys suck. But please don’t unsubscribe ’cause I need you guys but you guys suck. Since we have RJ here, let’s
go read through the comments from the video from a few weeks ago where RJ talks about
his stuntman experience. “This is a different format
from your normal episode “but I’m really digging it. “Both of your chemistry is so good.” We have good chemistry.
– Okay, yay. – I like how you try
to give me a high five and I’m just like, “Hug.” – The chemistry works. – “You two should do a part two “where you do a stunt,
yourself, Potato Jet.” – We’ve done so many stunts… Oh my god, he literally almost (laughs). – Right there. No, I’m standing on a little platform. It was very… It’s very dangerous right here. It’s a little platform, okay? – That was perfect. Well here’s part two and there’s the stunt
so that just happened. – Look how easy he made that look. If I could do that, I
would literally do it every time I go to the grocery store. I’d be like, “Hey, excuse
me, where’s the milk? “Over there, okay.” And then just Starting from now, there will be more girls subscribed to you because of him. – I doubt that. – He’s a ladies’ man. Girls just approach RJ, just go, “Hey, what are you doing? “You come here often?” And I’m like, “Why has
that never happened to me?” “Lucifer season four confirmed.” – Yes, I was on Lucifer yesterday. – Yeah. You can’t say anything about you– – I can’t say it yet
but it was a cool stunt. – When that episode– – I broke a nail. I broke a nail. – Did you really break a nail? – Yeah, just the edge of it ripped off. – To end this video off with a bang, I’m gonna do a flip off of this ledge, are you ready? Hi-ya Yeah.

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  1. *CORRECTION – shot at 13:40 and 13:47 was 800 ISO, not 3200 ISO.

    Alsoooo, <3 <3 <3 to anyone who watched the whole thing! 🤘

  2. i bet you can replace those torx style screws with regular phillips ones. just match the thread type and length and you should be good to go.

  3. Please Never Go Full Retard, Never. Now You Can Stop Looking At My Username. My Work Here Is Done says:

    I dont have the money for neither of these cameras yet Im here watching the video like if I will get one tomorrow

  4. Why buy the body when you can hire the latest. Buy a decent set of glass, that never goes out of fashion.

  5. Ya know money is not a object in professional filmmaking and other similar fields but GOD LORD 7500 FOR THAT FUCKING VIEWFINDER???!!! That is BEYOND absurd. If I had three million dollars to build a God Tier unparalleled camera rig I still wouldn't buy that viewfinder because priniplce, that's bullshit. I can spend a grand on an S10+ and it has a display far beyond the garbage of that screen. I could buy an 6k TV and a portable ish kinda rig for it for 7500 dollars. That is just insane.

  6. for a youtube viewer these two cameras have no sensible or any other value/advantage over your pocket camera, mobile or some dslr/mirrorless camera. period

  7. Highlight rolloff gave it away for me in the bright scenes. But it is crazy how obvious it was to me which cam was which.

  8. I love Potato Jet but I need to make a movie. All I do is watch these videos about expensive gear. 😢

  9. For first time renters it's great that all major players have menu simulators on their site. (Arri, RED, Sony, Canon and Panasonic.)
    Still not a fan of the RED workflow on set. I rather have a full sized of any of the other brands.
    The modular works great for a few occasions but for the majority of the time it just adds unnecessary bloat.
    They should really make a full sized camera that is actually available world wide instead of what they did with the Panavision DXL.

    As for Netflix, I am pretty certain that if Arri would have a proper 4k 35mm camera that isn't up scaled that it would beat out the RED.
    But as they only have the large sensor versions I don't think RED will ever get beaten by the Alexa's.

  10. I’m sure you could grade it to match but the Arri just looks like tv and film. The Red looks like YouTube. The prices are nutty on both but red also seems to pretend their consumer grade bits are premium and has no redundancy. Arri is what I would class as professional whereas the red is like a gamers version of a cinema camera.

  11. RED basically uses DRM to lock down their accessory compability. Thats how they get away with selling e.g. their minimags for a huge profit margin. I used both brands and I found the RED annoying to use, also darker scenes sometimes looked like they were shot on a phone (bit of exaggeration). What annoyed me the most were their forums, the CEO and COO of Red are basically two assholes that think a little too much of their products.

  12. The ARRI colors are simply soooooooooooo good … everytime when i think "WOW these colors are so nice"…. it is a arri

  13. why use the word 'utilize' when the word 'use' serves the same function? 'utilize' is like the corporate idiot version of 'use.'

  14. "This odd star-shaped thing" – that's called TORX, and it's by far the most superior system for screws of the commonly used ones.
    It's widely used everywhere, it translates force better (so it doesn't wear the threads and the screw heads out so fast as phlips head or hex does) and the tools can be got everywhere.
    You can use the same system for construction work, computer accessories, cameras, and whatnot. Sorry to break it to you, but hex head screws just SUCK in comparison. (rant over)

  15. If one has shot Eastman Kodak motion picture film and Fujifilm motion picture film before, it is easy to spot the differences of Red and ARRI. Or have 300-1000 hours on both platforms. One is the iPhone and the other is the android. Two very distinct and very different flavors. But get your hands on a "Panavised 8K Red" Millenium DXL2 and Light Iron grading, and you'll have something to talk about.

  16. Both look gorgeous. But coming from film my eye prefers the red, but I would prefer the Arri to work with since the contrast isn't as high for the dark areas, it would be easier for me to color grade. But if someone gave me a Red, I would love it 🙂 (fat chance that'll happen)

  17. The arri has a higher dynamic range so the lights are super exposed while haveing a lot of details on darker areas… i dont know how many f stops there are in tye arri but if you know pls tell me…

  18. Are you able to intentionally “clip” the highlights on the Alexa to get a soft yet brightly exposed image?

  19. Well?. As i said. The MKll 6K is Here.

  20. worked with ARRIs for around 500 shooting days, had two complete failures. shot around 50 days with REDs – same amount of failures. the modularity is the biggest problem imho – often connections or complete modules fail. and let's not talk about the inability of RED cameras to compress footage properly. haha

  21. HAVE WORKED on both of them but i cant understand why your footage has such a huge difference the blacks are crushed in red like heck

  22. That star shaped tool you are referring to is actually a Torx driver. You can buy really good professional Torx Drivers for cheap. I recommend Tekton. Take a look at their website. Torx is superior to many other fasteners. Please dont refer to them as star. There is actually another fastener that is commonly known as star. It has 5 points, Torx has 6. Star fasteners are found on cheap devices. Torx bolts are probably the type of fastener your car's crankshaft is held by.

  23. 110k dollars. Way… way…. WAYYYYYYY beyond my production reach. Gonna stick with my GH5s and try not to think about it to not get depressed.

  24. You have such an amazing personality live your videos. I like the extra contrast on the Red. The costs for these cameras are nit worth the cost they charge in my opinion.

  25. I really think that they a both Crap… Maybe it is just the bloke behind the camera.Or maybe all this is just overpriced unusable junk – kind of like a Ferrari … nice to dream about but you wouldn't want to own one.

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