Red Digital Cinema, now a subsidiary of Nikon Corporation, has unveiled its latest camera: the V-Raptor XE. Joining the Z Cinema lineup, this new model is pitched as a streamlined and more accessible version of the flagship V-Raptor [X], offering filmmakers the core tools of Red's high-end technology without some of the advanced extras.
What makes this announcement particularly significant is that, for the first time since the original Red One in 2007, the company is offering both Nikon Z-mount and Canon RF-mount options – marking a return to greater flexibility for cinematographers who want native lens choices aside from PL.
At its heart, the V-Raptor XE carries Red’s highly regarded 8K large-format VV global shutter sensor – the same found in the V-Raptor [X] series – ensuring filmmakers still benefit from industry-leading dynamic range, image fidelity and low-light performance.
Built on Red’s DSMC3 platform, the XE packs this capability into a lightweight 4lbs body, making it well suited for a wide variety of rigging setups. The sensor captures 8K video at up to 60fps, with a staggering 17+ stops of dynamic range, while also delivering a global shutter scan time of just 8ms – crucial for distortion-free footage when dealing with fast-moving action or challenging lighting.
Performance flexibility is one of the XE’s strongest attributes. It offers a broad spread of recording options, scaling from 8K up to 60fps, 6K 80fps, 5K 96fps, 4K 120fps and even 2K 240fps for super slow-motion. With Redcode RAW ensuring a vast scope for post-production adjustments, the XE also supports simultaneous ProRes proxy recording and dedicated ProRes 4444 XQ up to 4K/120.
This means productions can benefit from both uncompromising RAW workflows and more streamlined editorial formats at the same time.
To maintain its accessible price point, Red has omitted some of the advanced Global Vision features like Phantom Track and Extended Highlights, but the XE retains the same sensor, core image quality and robust workflow options as the flagship models. Its single CFexpress Type B slot delivers data rates of up to 800 MB/s, ensuring it keeps pace with demanding productions.
In terms of usability, the XE provides dual 12G-SDI outputs for discreet monitoring setups, a USB-C port for fast data transfers, and wired and wireless IP connectivity that enables app-based control and cloud collaboration – something increasingly vital in modern productions.
The on-body design is equally practical, with a compact, rugged build ready for use in a variety of environments. A 2.4-inch LCD on the right side of the camera offers intuitive menu navigation and format selection, giving both operators and ACs direct control over key functions without needing external monitors.
Additionally, when paired with Red’s Z to PL adapter with electronic ND, the XE offers continuously variable ND strength that can be adjusted in increments as fine as 1/100 of a stop over WiFi, providing unparalleled control over exposure on set.
By reintroducing native Nikon Z and Canon RF mount support, Red is making a statement that goes beyond sensor technology. It’s a nod to its history and an acknowledgment of how modern filmmakers want to build their setups, with flexibility at the core.
For many, the XE represents not just an affordable entry into Red’s cinema ecosystem, but also a bridge between traditional cinema workflows and the increasingly hybrid world of digital filmmaking.
You might also like…
See how the XE stacks up against the best cinema cameras and the best cameras for filmmaking. And take a look at the best Canon RF lenses and the best Nikon Z lenses to use with it.
You must confirm your public display name before commenting
Please logout and then login again, you will then be prompted to enter your display name.
