Red Monstro 8K Review (vs Sony Venice) | The best cinema camera in the world

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I rented a Red Monstro 8K cinema camera for a recent short film. I used Arri Master Anamorphics for a 2.40:1 finish, so my settings were 8K 6:5, 4:1 compression at about T8 mostly.
I also tested the Sony Venice for this project, since both of them are good cameras for low light. Overall, till ISO 3200, they are pretty much similar. At ISO 6400 the Sony Venice is definitely better, and it has great IRND filters that retain color information all the way up. Still, I picked the Monstro for reasons explained in the video.
BTS by Shrey Gambhir and Shyam Kamble
Camera rented from Kshitij Entertainment
Associate Cameramen: Shomit Naik and Murugan Vellaidurai
Focus Puller: Raju Kamat
Key Grip: Ganesh
Gaffer: Mehmood Ali
I’ll publish the short film once I’m done with post.
Links related to this video:
Arri Alexa LF review:
Arri vs Red: When to pick which:
Comparison of Cine Primes for Full Frame:
Rice Mill:
Anamorphic Workflow Guide:
Red ISO page:
Written review:
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34 thoughts on “Red Monstro 8K Review (vs Sony Venice) | The best cinema camera in the world

  1. Just a quick comment on fan noise. You can shoot audio in quiet room with Monstro, you just need to set your fan settings to quiet record mode. Basically this will kill the fans during recording and then bring them back to speed when you're not recording.

  2. Can u pls upscale ur videos to 4K and upload them in 4K to youtube. this way we can see much better the video quality of your test footage. thx in advance!

  3. Hello Everyone, I d like to ask one question about the Sony VENICE Camera.
    If I shoot RAW 16 bit (RAW o OXCN ST) on the AXSM and ProRess HD on the SxS, can I transcodes(to save time) the file from Prores HD to DNxHD for avid being sure that those files will relink with the original 4k RAW footage? Thanks

  4. The lens block is removable on the Sony Venice. Did you ever have a use for that feature? Mount it to a dashboard maybe, or into tight spaces? I've seen people carry the camera on their back and use the sensor block lens in front of them (via easy rig). I'm just curious, as I've never seen anyone use that feature on set.
    Try REC2020 next time, with IPP2 when using RED.
    When you shoot slow motion on RED, you quickly see how you have to gradually lower resolution and compression to get the frame rate that you need (or are willing to settle for); it allows you to choose the best options with several variables. I believe that's why they set it up that way. RED also has a variable data rate, which gives you the highest possible data rate, but it can change throughout a clip; eg, one person on a black background would be higher than 20 people on a busy street, with camera moving. (I have not used the Monstro, but Epic-W, Epic Dagon and several other models).
    Usually Black Shading/ Black Balance is done at the beginning of the shoot day, as soon as you open the camera case. I always set it up with electrical power, as it can take up to 45minutes. Most RED cameras will give you a warning if the camera needs to be Black Balanced, but again, I have not used the Monstro.
    Yes, using a RED takes more expertise and more time at each stage of production.
    I've seen many editors not edit RED footage (.R3D RAW) correctly, and transcode it before editing, instead of editing in proxies and using REDcine. This would be a good video for your channel. I would love to just send editors a video of the proper procedure.
    Yes, the RED website is ridiculous.
    RED native ISO is to the sensor. Dragon and Helium sensors (and Monstro too I believe) have "native" ISO of 800. For many years, I only shot at ISO 800 on RED. There is something with the blacks tho. Shooting at ISO 400 creates much truer blacks. I shot a music video once for a director who made a point of asking for "the blackest blacks available." With ISO 400 (on Helium and Dragon sensors), produced "the most beautiful blacks." I've always gone out of may to not shoot at high ISOs on RED, especially the older Dragon sensor. ISO 1600 is pushing it and often requires post work. However, ISO 1600 on the Helium did look fine the few times I've shot at it. Of course, the Gemini is the low light RED camera of choice and higher ISOs look fine and is an overall sharper sensor.
    The prices have gone down on the RED minimags! That's why most people only buy two and are constantly transferring all day long.
    RED wants you to buy their proprietary everything, even cables; I'm sure that's not going to change.

  5. Even though you said both the red monstro and sony venice are neck and neck in the case of ISO, the red footage appears to have a lot more noise at higher ISOs. Can it be fixed in the post?

  6. what type of problems did you face with sony in india ? I am planning to pick up a sony so i would love to know what type of customer service i will have to deal with later …

  7. Well said. Great Review. I would really love your take & testing on the Z Cam E2, especially the 6K & 8K Full Frame releasing.

  8. You can change the Fan settings of the monstro, to the point where it stays quiet for a long time while recording, alot more quiet than the alexalf btw, that thing is loud. last Projekt i worked as a gaffer on was shot on LF and the sounddepartment was not happy.
    The netflix series i did before that was monstro and nobody complained.

  9. U told helium footage looks digital. But my thoughts your monstro footage looks very digital, and doesn't have any organic feel to it. But you say it's very filmic. But your output doesn't keep up what you say!!

  10. I can't afford anything you discussed but still I watched. Do you have recommendations for a camera less than $1K? Any thoughts on Fujifilm cameras?

  11. You are a high level professor. Thanks for sharing your knowledge. I wish you the best possible career in the cinema industry.

  12. You are India's most talented Technical Camera man. Hope someday you direct a commercial film with Salman Khan all the best may God bless you and your family

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