The Battle for 4K RAW : A Red Epic vs Canon C500 vs Sony F55 Price Comparison

Canon C500
I’m sure you enjoyed my article on the Battle for cheap 4K. While researching for it, I also looked at the higher end cameras that do 4K – the Red Epic-X, the Canon C500 and the Sony PMW-F55.

These big guns are in a different price league, not only in their initial rigging costs but also in their post production workflows. The data rates are mind-boggling.

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It is important to wade through all the marketing speak that is flying around nowadays, to see where each camera stands in terms of price. What does it cost to put together a Red Epic, Canon C500 or Sony F55? Here’s my analysis:

Red Epic-X Canon EOS C500 Sony PMW F55
Camera body $21,200 $25,999.00 $28,990.00
What it includes SSD Side Module and EF Mount Handle, 5200mAh battery, viewfinder Audio Input Box

Note: To keep things as even as possible, prices are taken from and Specifications are taken from the operations manuals. The prices and specs might be inaccurate or is subject to change. Refer to the manufacturer’s website for correct data.

Time to bring all the cameras “up to speed”:

Bringing them up to speed
Red Epic-X Canon EOS C500 Sony PMW F55
Viewfinder Bomb EVF (OLED) $3,900 $0.00 Sony – DVF-EL100 $4,930.00
External Monitor Marshall Electronics V-LCD70MD 7″ $999 Marshall Electronics V-LCD70MD 7″ $999 Sony -DVF-L700 7″ $5,000 / Marshall Electronics V-LCD70MD 7″ $999
Battery Model, Price, Capacity Redvolt, 2250mAh, $195 Canon BP-970G, 7200mAh, $143.5 Sony BP-GL65, 5500mAh,$307.95
Operation time hrs 0.50 1.00 2.50
Batteries required for 8 hours 16 8 3
Total cost for batteries $3,120.00 $1,148.00 $985.28
4K Recorder $0.00 Convergent Design Gemini 4:4:4 $8,490 Sony AXS-R5 $5,350
Audio system Pro I/O Module $3,750* $0.00 $0.00
Battery Charger Redvolt Charger Quad $595 Dolgin Engineering TC-40-CAN $383.50 BC-L160 4-Position Charger $1,279.97
Battery Extension/Module Pro Battery Module and Adapter $2,250 $0.00 $0.00
Operation Redmote $550 $0.00 $0.00

*For audio and external recording if necessary. I’m not considering this in this comparison.

Even though both Red and Sony have proprietary external monitors, their prices are sometimes unjustifiable to a budget-conscious filmmaker, so to keep things even I decide to use a Marshall Monitor instead.

Regarding my calculations on batteries, I’ve already explained everything quite clearly in Chapter 14: Power Supplies of the Comprehensive Rigging Guide. I have used a general scenario that’s not too extreme and not small enough to be erratic. I’ve used smaller batteries only to even the playing field. In the real world, I’ll opt for bricks instead.

Both the Sony PMW-F55 and the Canon C500 need an external recorder for 4K RAW, which is understandable. The data rates for 4K RAW are just too high for smaller media cards. The F55 records 4K to XAVC internally, which should be sufficient for most 4K (Ultra HD) broadcast workflows.

The F55 excels in battery life, that’s a phenomenal achievement for such a big camera. The Red Epic is power hungry.
red epic
The Red Epic-X needs a Redmote for proper operation, so you need to factor that in. Next we’ll look at media:

Red Epic-X Canon EOS C500 Sony PMW F55
Media Type Redmag SSD SSD AXSM Memory
Capacity per hour GB 527.34 1170.50 1079.30
Media size, cost 128GB, $1,250 512GB, $1,495 512GB, $1,800
Estimated hours/day 4.00 4.00 4.00
Media Cards Required per day of shooting** 16 9 8
Total cost of media $20,599.37 $13,671.07 $15,177.61
Media Reader Red Station $250 $0.00 Sony AXS-CR1 $550

**To know how I estimate media capacity and number of cards, read Chapter 6: Media from the Comprehensive Guide to Rigging ANY Camera.
Yes, 4K RAW isn’t cheap to read or write.

I’ve used a simple 4 hour estimation, which is slightly on the higher side for the average production. Cutting corners while budgeting leads to serious ramifications later, I’ve learned from experience!

What 4K RAW do you get at the end
Red Epic-X Canon EOS C500 Sony PMW F55
Video Format 5120 x 2700 4096 x 2160 4096 x 2160
Color 12-bit 10-bit 16-bit
Compression and Codec Redcode RAW 12:1 RAW/RMF RAW
Maximum frame rate 96 30*** 60
Data Rate MB/s 150.00 333.00 307.00
Total Cost $53,464 $50,690.57 $58,262

***The C500 at 60fps needs two Gemini recorders:

Surpise! They’re all in the same ballpark. On the surface the Red Epic-X stands out with a superior resolution, lower data rate, and the ability to record RAW internally.

On the other hand, the Red Epic sucks at HD recording, and one needs an external recorder for it. This external recorder happens to be the Meizler module, selling for $13,000.

This is what the Canon C500 and Sony F55 was designed for – every broadcast workflow imaginable. If your workflow is broadcast related, you really can’t beat the Sony PMW-F55 or Canon C500, with support for 2K and every frame rate you’d possibly need (in a future firmware update in some cases).

However, if I had to make a choice for the ultimate 4K camera, I’ll go for the Sony F55. The features that gives it the edge over everybody else are:

  • Internal 4K recording to XAVC in a manageable data rate
  • 16-bit color
  • 60 fps for all formats, in-camera
  • The best ergonomics of the three cameras
  • Battery life

If your workflow is only 4K based, like films, commercials and the like, I think nothing beats the Epic. With the coming Dragon update which claims 18 stops of dynamic range, it is almost a no-brainer. I only wish they’d improve their customer service, inventory management and delivery schedules.

The Battle for cheap 4K also declared a Sony as winner, the F5. If you’re a production house looking to invest in a camera for heavy use in many scenarios, you can’t go wrong in investing in either the F5 or the F55, depending on your budget. Here’s the short film Dig, ‘starring’ the Sony F55:

2012 has been a phenomenal year for Sony. They’ve been hitting home runs in every camera department. What will 2013 bring?

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26 replies on “The Battle for 4K RAW : A Red Epic vs Canon C500 vs Sony F55 Price Comparison”

  1. Great discussion people!  As reports come trickling in, it seems that fan noise on the C500 is also an issue to consider.  Anyone verify?  And does the F55 and/or Sony recorder have similar noise?  
    As always, paper comparisons of cameras are only useful up to a point.  On paper, 12 bit sounds better than 10 bit, for example, but only by looking at the footage carefully on a 4K monitor (who can afford one of those?) can it be verified.  Canon does amazing things with 8bit with whatever magic they use in their boxes. 
    For me, (doc and indie) the leaner the machine the better.  I can’t stand all the add-ons that the modular cameras require.  Try doing a sensitive interview looking like a Christmas tree.  All these ‘rigs’ that people drool over are just more parts to go wrong.  But I appreciate that commercials and dramas are used to that and have the cash to have back ups in most cases.  If I were doing commercials or drama I would rent and only rent, when a replacement is just a phone call away.  It really makes no sense to me to buy an expensive camera that will be bettered in a year unless I’m using it every week.  
    Not perfect by any means, the 1DC makes sense to me as a personal 4K camera and a very good ‘B’ roll unit when renting something better.  In addition, awesome stills, reasonable frame grabs (not great when shooting 50 or 60 fps with much movement, apparently) make it great for events.  
    @ABRphoto  There will be a firmware upgrade for Canon 1DC to make 25p framerate, supposedly this month (April 2013). 

    Canon is a weird company and possibly disingenuous.  The 1DC is essentially a 1DX with a firmware change and a different heat sink, according to web reports.  Yet it costs thousands more.  Canon have threatened anyone who tries to hack the firmware with legal action.   I’m no lawyer but tweaking one’s own camera and reporting about how you did it is the same as tweaking one’s desktop and shouldn’t be ‘illegal’.  But I think they’ve scared off Magic Lantern.  Without peaking and zebras etc. the 1DC is not going to please everyone as a video unit.  There may be external recorders (hdmi only, so no 4K) that can add those features, but there we go with the add-ons again.  
    I suspect that it is no more expensive to manufacture 4K 4:4:4 Raw (add your favourite spec) than it is to manufacture lower spec cameras.  Allowing for R&D, we should expect to pay more for the latest and greatest but you will get no logical reason from any of the big players why a C500 costs double a C300, for example, and still can’t record 4K internally.  Even with the proposed Aja Ki Pro Quad, there is only a RAW ‘pass-through’ that requires ANOTHER recording unit (thunderbolt to laptop ingest) and it DOES NOT actually record RAW files.  If you shoot RAW, do you really want a laptop dragging behind your C500 or whatever?
    NAB can’t possibly bring any new radical cameras to the mix…. can it….?
    I want the form factor of the EX3 or the old Canon XL H1 with 4K and internal recording to CF or SxS or whatever, for the price of a 1DC.  It is, of course, entirely possible.  But it’s not gonna happen as it would be too popular!   If the Sony F5 with recorder, viewfinder, battery and monitor were $15,000, perfect!  (jury still out on its images though…)

  2. I give you an A for effort… 
    That being said both your battery and media calculations for all three camera packages are way off ;) 
    True the Sony F55 will be a real threat to the commercial, broadcast and maybe film market… but regarding your statement .. that “2012 has been a phenomenal year for Sony” the F3 was (unfortunately) whatever… and they are about to currently face a HUGE class action lawsuit for the ungodly awful flop of a camera the F65 was, I hope they give some of those pour people there 100K back :(-Avi Cohen

    1. Avi Cohen Thanks for the ‘A’. I hardly got one as a kid!
      Can you point out one example where the battery or media calculations are incorrect? If it’s wrong it doesn’t help anybody, even me.

      1. Sareesh Sudhakaran Avi Cohen

        Ahh, no problem my fine friend…
        Let’s use the epic for example as there power consumption and data rates are all close enough for the same thing to apply… With any of the above mentioned cameras, rather then using some overpriced, underpowered manufacture battery, EVERYONE for sure in any pro situation is gonna go with a gold mount or v mount aftermarket battery system, weather it be Anton Bower or a knock off lithium ion battery cousin. They make them in a range of about 60wh (watt hours) to 190wh and can be mounted to the camera with a little somethin from someone like or kept on a battery belt too keep camera weight down if that’s the goal @ the moment. All in, weather it be brand name or knock off batteries  I would say one can get away with spending between, 1K and 3K all in… the only time its advantageous in my opinion to have  a redvolt battery in the camera is one were one absolutely cant be tethered to the camera with a battery belt… and they need to keep weight or size, stripped super down… maybe if they were mounting under a car… or… uhh, on a cheap, weak jib that wouldn’t support the weight. (which sounds like a bad idea)
        Also, mind you… you cant put a redvolt in the camera without the dummy back end thing that attaches to the camera or… the side handle… which both cost between 1G and 1.5Gs… on the upshot you can completely control the camera with the side handle or the touch screen and its deff not necessary (if you have one of the two) to buy the appending redmote like you addressed earlier.
        Furthermore the media discussed being needed by you in your article is a bit skued ;) 
        in my humble opinion… one needs say about a half terabyte of storage space… unless your camera is attached to the bottom of a fighter jet… (which it would need to land for you to switch cards on and off all day anyway) ;) The most you’re gonna roll in a day is say, maybe 3 hours… and you will deff be dumping if not with a DIT, alone… the general consensus for professional video productions is to get the media off the cards and backed up as soon as possible every time… having 20K worth a media, even if you could somehow shoot 1 million hours… is definitely a bad way to spend money if you intend on leaving the media that production has payed for, on the cards all day… the cameras are indeed expensive but it takes money to make money in any industry and if you’re gonna buy anything nice for your biz… your tools are probably the # 1 thing to spend money on. 
        The post workflow… of the sony and alexa are both neck in neckish… with the epic falling behind unless production has a adobe premere post workflow which now ingests the R3D files in the raw state… and then its probably the most seamless.. unless that is you dont wanna grade or do vfx on 5K plates and you wanna go straight too a 1080P work print and then maybe one should get a… well… thats a different conversation…. all in all, I guess Im saying a closer to realistic # to spend on media is probably 5K and under with the acception of super specialty situations where I would recommend renting more media for 50 bucks.. 
        But ya ya I rate picture, skin tones and dynamic rage like this…  (mind you this is all subjective) with the sony being for sure, the most advanced technologically as its the newest… 
        But as the way the cameras picture looks is not the only consideration… so here we are…

        1. Avi Cohen Excellent observations, Avi. Experience is always the best teacher.
          I, unfortunately (or fortunately?) am totally new to 4K, so I tend to start on a more conservative note. I’m always worried about media getting erased or stolen – happens a lot in my country!
          I totally agree with you on the Alexa-Epic-Sony classification. And yet so different in many ways.
          Really appreciate the contribution. By the way, great showreel!

  3. I give you an A for effort… 
    That being said both your battery and media calculations for all three camera packages are WAY off ;) 
    True the Sony F55 will be a real threat to the commercial, broadcast and maybe film market… but regarding your statement .. that “2012 has been a phenomenal year for Sony” the F3 was (unfortunately) whatever… and they are about to currently face a HUGE class action lawsuit for the ungodly awful flop of a camera the F65 was :(

  4. Very good comparison, although I do have some observations and questions regarding the c500.
    The c500 does come with an external monitor included (not sure if it’s a 7″), you can get SSD-s for less than half of that price (actually it would be quite hard to find one in the price range you mentioned – or did I overlook something? do you need special SSDs?), and there are also 4K recorders supported by Canon for 4k (pun not intended).
    Which does actually take away around 10K from the price all in all. (Or at least 5)
    Another debateable area is the question of RAW. I must confess I’m quite confused here. (to start off I can’t really figure the concept of ‘half RAW’ which allows you to record at higher framerates – and btw you forgot to finish that asterix you left at 30fps). Canon RAW is different from other RAWs and there is a good explanation about it here:
    Still I’m not quite sure where this leaves us. It seems like this 10bit is as good as RED-s 12bit however is Canon RAW truly RAW from post-production pov?
    If I would have to decide based on picture quality I would go with the 16bit F55. I am kond of a Sony fan, I must admit, having used a Minolta Dynax7 before i switched to digital. 
    However (coming from a small market – Hungary – and this might make a difference) I just can’t see how I could turn a camera with a Sony mount profitable. Sure the lenses are amazing, but budgeting in a whole line of cine primes would set me back about another 50K. And renting is virtually impossible. EF (or PL) mounts however are much more easier to come by. I can have my own set of “cheap” EF lenses (canon, or third party – Samyangs for eg) and if the project calls for it I can still rent the Zeiss primes.
    This leaves me with either the RED or the c500. And I’m left with doubts. We have all seen the EPIC at work, we know its merits and faults but we don’t really know yet where the c500 leaves us. It does seem to be way more convienient to use (have you seen that with a 750 dollar wifi attachment you can actually do everything from a laptop?) But more than 1TB an hour, this new RAW format, and the FPS misery (what is tha HRAW?) could be a bit scary.
    Also 5K res vs. 4K res … is that really that much of a difference?

    1. ABRphoto Thank you for reading!
      The SSD is a Convergent Design SSD. It’s too early to qualify other SSDs on the C500, and I surely wouldn’t use one on a professional shoot unless I was certain it’d perform!
      Regarding other recorders, I’m not sure about Aja, but the other one I know of is Codex, which is far more expensive.
      Half raw is only if you shoot at higher speeds (60-120fps), I believe, but I could be wrong. I really wouldn’t worry too much about this. After all, Red shoots heavily compressed RAW.
      The ‘true’ RAW from the F55, at 16-bit – which is even better than DSLRs, and touches medium format territory – is also compressed.
      The FZ mount has the smallest flange distance, and you can use an EF adapter for EF lenses, just like with the F3. You can mount any lens for that matter, as long as it covers the Super35mm image circle.
      I understand the part about recovering your investment. 4K RAW will need a $15K to $25K dual Xeon system for post processing, and if your business depends on it, you’ll need two of them! That’s why in my last comparison, I preferred the Sony F5 but still found it an insufficient upgrade over my existing workflow with the C300. I don’t know how to make it work financially. I prefer renting.

      By the way, thanks for pointing out the *, you need two gemini’s for 60fps:
      Lastly, 5K vs 4K? I don’t know. Which is better $5 or $4? But if your bus ticket costs $5 then what’s the point of $4? LOL.

      1. Sareesh Sudhakaran ABRphoto 
        Sareesh Sudhakaran
        Two Geminis? What the… that’s just simply … I have no words for that and I am not even sure how that would work as the c500 has only two 3G-SDI outlets and both are needed to connect a single recorder unit. But this seems like a serious issue as shooting 60fps has become a bare minimum requirement in the past few years.
        Wich leads us back to that HRAW question. I just simply can’t put my head around the notion of halfing only the horizontal resolution. How does that work? Does it give you a 16:4,5 aspect ratio? (I’m pretty sure it doesn’t, but I can’t figure this out). I’m really curious about this as high frame rates are important to me.
        On the 5k vs 4K: To me it’s a bit like choosing the 24MP DSLR over the 21MP only because the resolution …. does it really matter though?
        Aja is listed on the official c500 page as one of the supported recorders so it should be ok, but after this table you linked I’m really not sure what to think anymore.
        On the SSDs: I’m 99% sure that Convergent Design does not make it’s own SSDs. It’s probably another brand relabeled and repacked and priced 3 times more. There are about 3-4 manufacturers in the world who make SSDs and chips. It’s a whole different industry and it simply wouldn’t make sense for convergent to make their own. All we need now is someone to take apart a 1.5k SSD to see what’s truly inside :)
        Now about recovering the investment. The post processing part I am not interested in. I plan to rent this camera out to other productions with me and my crew as camera technicians, focus pullers, steadycam operators etc. After the shoot I would have nothing to do with the recorded material.
        I would of course use it for my own projects if needed. But I would edit it with proxies and send it to a pro lab for grading. And I would only shoot in 4k and RAW if needed. Most of the time I shoot for web. HD is enough and though RAW is tempting it’s not always worth it (time and money wise).
        You did get my attention with the FZ mount and the EF adapter. Do you have any more thoughts on that? Like advantages and disadvantages? Does it complicate things? Or take away from image quality?

        1. ABRphoto
          Haha…One Gemini can record 60fps at half RAW. Two Geminis are connected to one 3G-SDI port each, this guide explains it:
          One 3G-SDI is able to sustain 3Gbps, and I think full 4K RAW won’t cross 0.7 Gbps at 60fps.
          I don’t know how half raw works, but since RAW begs interpolation anyway I don’t think it would be much of a problem – maybe just like anamorphic systems?

          “On the 5k vs 4K: To me it’s a bit like choosing
          the 24MP DSLR over the 21MP only because the resolution …. does it
          really matter though?”
          Not really. It’s a pain conforming it to DCP!
          I understand what you’re saying about SSDs, and I agree – if somebody finds a cheaper and equally reliable option, why not?
          “You did get my attention with the FZ mount and the
          EF adapter. Do you have any more thoughts on that? Like advantages and
          disadvantages? Does it complicate things? Or take away from image
          quality? ”
          No image quality loss. The success of the Sony F3 with bot PL and EF lenses prove that.
          Disadvantages? Sure. Any adapter slightly alters the flange distance, and the focusing system. A good one must still let you focus at infinity, and must work without shimming. Don’t buy the cheap ones. Check this from P+S Technik:

        2. Sareesh Sudhakaran ABRphoto 
          Just a few things to clear up about Epic. 
          1.The camera processes data at 16bit raw
           2.There are also external options for recording HD that cost a lot less than the Meizler module however if you do go with the Meizler module you also get a number of other features like wireless audio and video transmission, and wireless camera and lens control with iphone and ipad. 
          3.5K recording for 4K or HD finish does make a difference. Those who use it every day really appreciate the extra clean, re-framable, image to work with in post.

        3. Larry Kelly Sareesh Sudhakaran ABRphoto Thanks for the update, Larry.
          The problem with the 16-bit thing is that Red does not state it explicitly. If 16-bit is only used partially in the entire chain then it is not 16-bit, unlike medium format cameras, and the Sony F55/F65. Furthermore, at 16-bit and 3:1 compression, the data rates would be much higher than what it is now. But I’ll wait for Red to say it explicitly.

          Re-framing is definitely one big advantage. I guess what ABRphoto was referring to was whether there is a substantial difference between 4K and 5K. I agree with you that downsampling from 4K to HD is much better than shooting in HD – the difference is there, no doubt about it.
          The Meizler module is a very cool idea, I feel. It will definitely tilt the balance in favor of the Red Epic for film workflows, but at $13K it will also up the price to F65 territory. What if Sony fulfills their promise of 8K? It’s a battle to the death, this one.

        4. Sareesh Sudhakaran Larry Kelly ABRphoto
          Having read up a bit on the F55, I’ve found another big advantage:
          Unlike the RED cameras the F55 won’t crop/zoom into the image when you record on a lower resolution than the sensor size. You can switch from 4K to 2K or HD (for higher fps or smaller amount of data) without having to change lenses. And you also don’t have to get extra short optics to get a decent wideshot.

        5. ABRphoto Sareesh Sudhakaran Larry Kelly 
          The F55 has a lot going for it but that said, you don’t start cropping the sensor on the Epic until you exceed 120FPS. At this frame rate you are still shooting in 5K. No compromises here. If I’m shooting a feature and planning for a 4K finish, I don’t have to go to another camera option to get the off speed scenes. Yes you do crop once you start shooting at higher speeds but you have the option to shoot at up to 300FPS.

        6. Larry Kelly ABRphoto For features I’m with Larry – I would hands down pick the Epic over any other. For day-in and day-out production work, I’d choose the F55 (if my business could afford it, which it can’t). Two different tools, really.

          Once the F5 becomes mainstay, I might even ditch the C300 and go Sony. Rented, of course.
          It’s a very strange situation – cameras were supposed to get cheaper but prices are going up! The only company that bucks this trend is Red, but they make up for it in poor service and delivery.

        7. Sareesh Sudhakaran Larry Kelly ABRphoto
          Well features are not really an option for me to make a living. If I could pull in two 10 day shoots a year it would be a miracle. This is a small market, features are not profitable. Comercials on the other hand…
          And again I wouldn’t recommend 4k RAW for every project. Handling all that data and paying for the postprod might not be worth it in a lot of projects.

        8. ABRphoto Sareesh Sudhakaran Larry Kelly  By investigating into what others who have mastered the post work flow of Epic Raw footage you may discover that there are very easy and workable solutions that are not too expensive and don’t take a lot of time especially for commercial work where you are not shooting hours of footage. 
          That said you are right, everyone has a different take on what they need with respect to gear in order to make a living. If there were not all of these great companies pushing the limits and suppling options for the industry it would be a very hum drum world. These discussions are valuable because we all learn the strengths and weaknesses of various cameras and gear. Comments have sent me digging for specs and features of cameras where I may not have bothered otherwise.

        9. Larry Kelly  
          I hate digging too! Sometimes I wonder why manufacturers – who can make brilliant cameras – can’t produce a decent manual. 

          What camera do you use currently for commercials?

        10. Sareesh Sudhakaran
          Well, most of the time it’s RED as there are no other choices really. Somtimes on major shoots some people use alexas, but that’s rare I think. I’ve also seen DSLRs used on bigger commercials which was funny cos at the time I was doing the BTS with my 5D and they were actually using a 7D for the ad.
          This is the main reason why I’m bending towards the F55 actually. there are a lot of Epics out there but there is no choice. And a lot of people are complaining aboutthe REDs. They might or might not be true but the thing is these people want to try something else.
          Larry Kelly
          You don’t know how right you are. Just a week ago I decided to invest in a camera. When I started my research I was almost certain I would go for the C500 and I was sure I’d never choose the F55. This ha completely turned around and through this week there was a point where I even considered the Epic. 
          I’ve learned that the C500, though very promising at first glance, will probably be no match for its competition at this price, and that the F55’s short flange distance and many adapters makes it easy to use with virtually any lens (this was my biggest “fear” about it).
          The main problem with the C500 and the F55 is that apart from those couple of shorts that were made (mostly out of the manufacturers pocket) no one has any real experience about them. You can read a lot about the REDs, about their advantagges and disadvantages, because they have been around for a couple of years now, but this is not so with the C500 and the F55. All you find is brouchures and marketing stuff. Even this 96 page “report” is very one sided:

          Discussions like this however can be very useful.

        11. Sareesh Sudhakaran that 24p framerate is everything but promissing from my point of view. and 60p in HD? I can do that with my 5DII with magic lantern. 
          also without raw i cannot compete with the reds and i need to make this camera rentable.

        12. Sareesh Sudhakaran

          Great video, thanks!Looks like recording to 2 Geminis at the same time would be pretty much a good scenario for a disaster. I wouldn’t like to be the AD on that production.

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