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Alexa 35 vs RED V-RAPTOR: The Complete Post Pipeline Comparison for Dual-Camera Productions

Compare the post-production implications of Alexa 35 ARRIRAW and RED V-RAPTOR R3D for dual-camera shoots — file sizes, color science, metadata handling, proxy requirements, conform complexity, and cloud dailies integration.

What are the post-production differences between Alexa 35 ARRIRAW and RED V-RAPTOR R3D for dual-camera shoots?

The Alexa 35 records 13-bit ARRIRAW at resolutions up to 4.6K Open Gate, producing approximately 2.7 TB per hour at 24 fps. The RED V-RAPTOR records 16-bit R3D at resolutions up to 8K VV, producing approximately 360 GB per hour at 8:1 REDCODE compression. The two formats differ fundamentally in color science (LogC4 vs REDWideGamutRGB/Log3G10), metadata structure (ARRI in-container metadata vs RED metadata and RMD sidecars), and storage requirements — but both can be ingested through the same cloud dailies pipeline using Cutsio's enterprise raw ingestion add-on, generating unified streamable review assets with Visual Intelligence indexing regardless of format.

Dual-camera ARRI-RED shoots are standard practice in professional production. The Alexa 35 runs as A-cam for primary coverage, and the RED V-RAPTOR runs as B-cam for slow-motion, gimbal work, or 8K VFX plates. The post team must handle two fundamentally different raw formats with different file structures, different color science, and different metadata models — but the dailies pipeline must treat them as a single unified library.

This comparison covers the post-production differences that matter for workflow planning, not the on-camera specification differences. If you are deciding between renting an Alexa 35 or a RED V-RAPTOR for your next production, this guide focuses on what happens after the card leaves the camera.

Working with raw camera footage? Check out How to Build a Searchable Library From ARRIRAW, RED R3D, and ProRes Footage.

How do file sizes and storage requirements compare?

The Alexa 35 and RED V-RAPTOR produce dramatically different data rates due to differences in sensor resolution, compression, and recording format.

| Recording Mode | Format | Data Rate (24 fps) | Per Hour | Per 10-Hour Day (3:1 ratio) |

| :--- | :--- | :--- | :--- | :--- |

| Alexa 35 4.6K Open Gate | ARRIRAW | ~0.75 GB/s | ~2.7 TB | ~4.9 TB |

| Alexa 35 4K 16:9 | ARRIRAW | ~0.55 GB/s | ~2.0 TB | ~3.6 TB |

| Alexa 35 4.6K Open Gate | ARRIRAW HDE | ~0.45 GB/s | ~1.6 TB | ~2.9 TB |

| RED V-RAPTOR 8K VV 17:9 | R3D 5:1 | ~11.2 GB/min | ~672 GB | ~4.0 TB |

| RED V-RAPTOR 8K VV 17:9 | R3D 8:1 | ~6.0 GB/min | ~360 GB | ~2.2 TB |

| RED V-RAPTOR 8K VV 17:9 | R3D 12:1 | ~4.0 GB/min | ~240 GB | ~1.4 TB |

| RED V-RAPTOR 6K S35 17:9 | R3D 8:1 | ~4.5 GB/min | ~270 GB | ~1.6 TB |

The key difference: ARRIRAW is uncompressed sensor data with consistent data rates. R3D uses variable REDCODE compression where the data rate changes based on compression ratio. A RED V-RAPTOR at 8:1 REDCODE produces roughly 7x less data per hour than Alexa 35 ARRIRAW at 4.6K Open Gate, but at the cost of compressed sensor data.

For a 20-day dual-camera feature with both cameras recording at similar shooting ratios, the Alexa 35 footage might consume 70-100 TB while the RED V-RAPTOR footage consumes 30-50 TB. The total storage requirement for the mixed-format production is the sum of both, not the average.

How do the color pipelines differ?

The Alexa 35 uses LogC4 with REVEAL color science and a 13-bit log encoding. The RED V-RAPTOR uses REDWideGamutRGB with Log3G10 gamma and a 16-bit linear sensor encoding compressed into the R3D container.

| Color Property | Alexa 35 ARRIRAW | RED V-RAPTOR R3D |

| :--- | :--- | :--- |

| Log format | LogC4 (13-bit) | Log3G10 (16-bit sensor) |

| Color space | AWG (Alexa Wide Gamut) | REDWideGamutRGB |

| Color science version | REVEAL (fixed, well-standardized) | RED Color 4 / IPP2 (multiple generations) |

| Viewing transform | LogC4 to Rec.709 (standardized) | REDWideGamutRGB to Rec.709 (varies by SDK version) |

| Look/metadata handling | ALF4 and ARRI metadata ecosystem | R3D metadata, RMD sidecars, and look references |

| Raw parameter control | ISO, WB, tint (full) | ISO, WB, tint, color science version (full) |

| ACES IDT | AWG LogC4 | REDWideGamutRGB Log3G10 |

For the colorist working with mixed ARRI and RED footage, the most important difference is color science standardization. ARRI's LogC4 is well-standardized across every post production tool. RED.s color science and metadata behavior can vary by camera generation, software version, and project raw settings, so a one-clip pipeline test is worth doing.

In a mixed-format dailies pipeline, Cutsio generates the review stream for each format using the correct color transform — LogC4 for Alexa 35, REDWideGamutRGB/Log3G10 for RED V-RAPTOR. The director sees both formats displayed correctly in the same review session without manual color matching.

How do metadata and look management workflows differ?

The metadata workflow is where ARRI and RED differ most significantly in day-to-day post operations.

ARRI metadata is embedded in the MXF container header. Look files (ALF4), CDL values, scene and take information, lens data, and camera settings all travel inside the .mxf file. There are no sidecar files to manage. The metadata survives any file transfer, copy operation, or cloud upload because it is part of the file structure.

RED metadata can live in the R3D file and in optional sidecars such as RMD files. REDCINE-X and other tools may create sidecar metadata that affects the intended clip interpretation. If those files are separated during transfer, the grade may not start from the same reference image editorial approved.

| Metadata Property | Alexa 35 ARRIRAW (.mxf) | RED V-RAPTOR R3D (.r3d) |

| :--- | :--- | :--- |

| Look/metadata storage | ARRI metadata in MXF ecosystem | R3D metadata plus possible RMD/look sidecars |

| Metadata sidecars | Usually not required for camera metadata | RMD and other sidecars may be part of handoff |

| Scene/take metadata | Embedded | Embedded (Reel ID, clip name) |

| Lens data | Embedded (if connected) | Embedded (if connected) |

| Timecode | Embedded (MXF standard) | Embedded (R3D standard) |

| Sidecar fragility | Not applicable | Sidecars can be lost during transfer |

For the DIT managing a mixed-format shoot, the practical difference is file management complexity. ARRI files are self-contained — copy the .mxf and all metadata travels with it. RED files require folder-integrity management: preserve the complete RDM/RDC structure and any RMD or look-reference sidecars before erasing cards.

When uploading to Cutsio's enterprise raw ingestion add-on, ARRI .mxf files are uploaded directly with all metadata intact. RED R3D uploads should include the complete camera-original package, including RMD or other sidecar files when they are part of the approved look or metadata handoff.

How do proxy and conform requirements compare?

Both formats require transcoding for efficient editing, but the approach differs.

| Proxy/Conform Property | Alexa 35 ARRIRAW | RED V-RAPTOR R3D |

| :--- | :--- | :--- |

| Native NLE playback | Requires powerful workstation | Requires powerful workstation |

| Proxy generation | ARRIRAW to ProRes or DNxHR | R3D to ProRes or DNxHR |

| Proxy resolution | Typically 1080p ProRes Proxy | Typically 1080p ProRes Proxy |

| Conform complexity | Low (single .mxf per clip) | Medium (.r3d + .rmd management) |

| Online relink | Relink by timecode + reel name | Relink by timecode + reel name |

| XML/EDL compatibility | Full (standard) | Full (standard) |

The conform step is where the metadata differences resurface. An ARRI conform is straightforward because the .mxf file is self-contained. A RED conform requires the online editor to ensure that RMD metadata and look-reference sidecars are correctly associated with the R3D files in the online environment. Missing sidecars can mean the colorist loses the approved metadata reference.

Cutsio simplifies the conform step for both formats by retaining the original camera files as downloadable attachments. The online editor downloads the original .mxf or .r3d files directly, with all original metadata intact, and relinks in the NLE using standard timecode-based conform workflow.

How does a cloud dailies pipeline handle mixed ARRI and RED footage?

Cutsio's enterprise camera-original ingestion can support both ARRIRAW and RED R3D workflows once enabled for the production. Cutsio generates review assets from each camera-original format and places the resulting review media in the same library, searchable by the same Visual Intelligence engine.

The director watches Alexa 35 A-cam coverage and RED V-RAPTOR B-cam slow-motion clips in the same viewing session. Comments on both formats appear in the same feed. The editor sees all feedback in one place, linked to the exact frame regardless of which camera captured it.

Visual Intelligence indexes every frame of both formats uniformly. A search for "find the wide shot from Scene 24" returns results from both cameras. Agentic Chat answers natural language questions across the mixed-format library without the user specifying which camera format they are searching.

FAQ

Which camera produces more data per shoot day?

The Alexa 35 produces more raw data per hour than the RED V-RAPTOR at typical REDCODE compression ratios. Alexa 35 ARRIRAW at 4.6K Open Gate produces approximately 2.7 TB/hour. RED V-RAPTOR at 8K VV 8:1 produces approximately 360 GB/hour. However, the Alexa 35 sensor resolution is lower (4.6K vs 8K), so the file size difference reflects both compression and resolution differences.

Can ARRIRAW and R3D files be mixed in the same Cutsio library?

Yes. ARRIRAW and R3D clips from the same production can be uploaded to the same Cutsio library through the enterprise raw ingestion add-on. Visual Intelligence indexes both formats uniformly, and share links include clips regardless of acquisition format.

Which format is easier for the colorist to work with in a mixed timeline?

Both formats work well in DaVinci Resolve with the correct ACES or Resolve Color Management setup. ARRI's LogC4 is more standardized across software versions. RED's color science varies by SDK version, so the colorist should verify that their Resolve version has the correct RED SDK for the camera's firmware version.

Does Cutsio preserve RED look metadata when generating the review stream?

Cutsio retains the R3D camera-original package supplied at upload. For RED looks, preserve RMD sidecars and any look references with the clip folder. ARRI ALF4 handling is generally simpler because it travels through the ARRI metadata ecosystem.

How should a DIT budget storage for a mixed ARRI and RED shoot?

Calculate storage separately for each camera and sum the totals. A 20-day shoot with Alexa 35 at 4 TB/day and RED V-RAPTOR at 2.5 TB/day requires 80 TB for ARRIRAW and 50 TB for R3D — 130 TB total. Factor in RAID redundancy (typically 2x for on-set backup) and archive requirements.