RED EPIC, SCARLET Operation Manual

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EPIC/SCARLET

OPERATION GUIDE

EPIC | SCARLET | V6.2

RED DRAGON | MYSTERIUM-X | MONOCHROME

RED.COM

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EPIC/SCARLET OPERATION GUIDE

Disclaimer 3 Copyright Notice 3 Trademark Disclaimer 3 Compliance Statements 4 Safety Instructions 6 Battery Storage and Handling 7 Shipping Disclaimer 7

Chapter 1: Camera Introduction 8

Read Before You Shoot 9 R3D File Format and REDCODE 9 Shoot For Video and Stills 9 Post Production with REDCINE-X PRO 10 HDRx and MAGIC MOTION 10 Additional Resources 11

Chapter 2: Camera System Components 12

Additional Resources 12 BRAIN 13 Media Modules 14 REDMAG and RED MINI-MAG Systems 16 Adaptor Modules 17 Power Modules 19 RED Batteries and Chargers 20 Other Modules 20 Displays and Electronic Viewfinders 22 LEMO Adaptors 26 Camera Control Modules 27 Lens Mounts 30 Interchangeable OLPFs 31 Rails, Mounts, Tactical Gear, and Cables 31

Chapter 3: Basic Operations 32

Power Operations 32 Configure Your Camera 34 Interchangeable OLPF System 41 Use a Tripod or Monopod 45 Video Monitor Outputs 46 Record 46

Chapter 4: Basic Menus and Controls 48

GUI Menu Introduction 48 Upper Status Row (Basic Menu) 49 Live Action Area 53 Lower Status Row 54 Navigation Controls 59

Chapter 5: Advanced Menus 66

Advanced Menus 66 Settings Menu 67 Media Menu 118 Playback Menu 119 Power Menu 121 HDRX Menu 123 Focus Menu 124 Exposure Assist 129 Presets Menu 131

Chapter 6: Record and Monitor Audio 134

Overview 134

Audio Data Path 134 Set Up Audio 135 Audio Input (Source) Options 135 Audio Output Options 137 Control Headphone Volume (BRAIN) 138 Audio Meter (VU Meter) 139 Audio During Playback 140

Chapter 7: REDMOTE Operation 141

Overview 141 Controls, Connectors, and LEDs 142 REDMOTE Basics 144 REDMOTE LCD Display Menu 147 Upgrade REDMOTE Firmware 148

Chapter 8: Timecode, Genlock, Multi-Camera Setup 151

Timecode 151 Genlock 153 Master/Slave Operation 157 Set Up Stereo/3D Configuration 160 Set Up a Camera Array 161 Set Up Motion Control (MoCo) 163 Compatible Devices 165

Chapter 9: Upgrade Camera Firmware 166

Verify Current Camera Firmware 166 Upgrade Camera Firmware 166

Chapter 10: Camera System Maintenance 168

BRAIN and Accessory Exterior Surfaces 168 Clean the Camera Sensor or OLPF 169 Clean EVF Screen 169 Clean LCD Screens 170 Water Damage 170 Adjust Back Focus 171

Chapter 11: Troubleshoot Your Camera 172

Perform a Stress Test 172 General Troubleshooting 172

Appendix A: Technical Specifications 181

EPIC DRAGON 181 SCARLET DRAGON 183 EPIC MYSTERIUM-X 185 SCARLET MYSTERIUM-X 186 BRAIN Dimensions 187

Appendix B: Input/Output Connectors 197

Record/Monitor Out Ports 198 Communication Ports 199 Audio Ports 203 Power Ports 204 SSD Module Connectors 204

Appendix C: Lens Mounts and Lenses 205

Lens Mounts 205 Lenses 208

Appendix D: Default Key Functions 215

Preset Default Key Functions 218

Appendix E: Menu Map 219]

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EPIC/SCARLET OPERATION GUIDE

DISCLAIMER

RED® has made every effort to provide clear and accurate information in this document, which is provided solely for the user’s information. While thought to be accurate, the information in this document is provided strictly “as is” and RED will not be held responsible for issues arising from typographical errors or user’s interpretation of the language used herein that is different from that intended by RED. All safety and general information is subject to change as a result of changes in local, federal or other applicable laws.

RED reserves the right to revise this document and make changes from time to time in the content hereof without obligation to notify any person of such revisions or changes. In no event shall RED, its employees or authorized agents be liable to you for any damages or losses, direct or indirect, arising from the use of any technical or operational information contained in this document.

For comments or questions about content in this document, please send a detailed email to [email protected].

COPYRIGHT NOTICE

code, and product names used in association with the accompanying product are the copyrights, trademarks, or other intellectual property owned and controlled exclusively by RED.COM, INC.

TRADEMARK DISCLAIMER

All other company, brand, and product names are trademarks or registered trademarks of their respective holders. RED has no affiliation to, is not associated with or sponsored by, and has no express rights in third-party trademarks. Adobe and Adobe Premiere Pro are registered trademarks of Adobe Systems Incorporated. AJA is a registered trademark of AJA Video Systems, Inc. Cooke and S4/i are registered trademarks of Cooke Optics Limited. DaVinci is a registered trademark of Blackmagic Design in the U.S. and other countries. Distagon, Makro-Planar, and Otus are registered trademarks of Carl Zeiss AG. Fujinon is a registered trademark of FUJIFILM CORPORATION. HDMI is a registered trademark of HDMI Licensing LLC in the United States and other countries. Leica is a registered trademark of Leica Microsystems. Loctite is a registered trademark of Henkel AG & Company KGaA. Nikkor and Nikon are registered trademarks of Nikon Corporation. Canon is a registered trademark of Canon, U.S.A. Apple, Macintosh, Final Cut Pro, and QuickTime are registered trademarks of Apple Inc. in the U.S. and other countries. Windex is a registered trademark of S. C. Johnson & Son, Inc. Windows is a registered trademark of Microsoft Corporation. LEMO is a registered trademark of LEMO USA. Sony is a registered trademark of Sony Corporation. TORX is a registered trademark of Acument Intellectual Properties, LLC in the United States or other countries. IOS is a registered trademark of Cisco in the U.S. and other countries. Avid is a registered trademark of Avid Technology, Inc. DaVinci Resolve is a registered trademark of Blackmagic Design in the U.S. and other countries. EDIUS Pro is a registered trademark of Grass Valley. Vegas Pro is a registered trademark of Sony Creative Software. IDX is a registered trademark of IDX Company, Ltd.

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EPIC/SCARLET OPERATION GUIDE

COMPLIANCE STATEMENTS

INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS

This device complies with Industry Canada license-exempt RSS standards RSS 139 and RSS 210. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device.

This Class B digital apparatus complies with Canadian ICES-003. Le présent appareil est conforme aux CNR d’Industrie Canada ap-

plicables aux appareils radio exempts de licence. L’exploitation est autorisée aux deux conditions suivantes : (1) l’appareil ne doit pas produire de brouillage, et (2) l’utilisateur de l’appareil doit accepter tout brouillage radioélectrique subi, même si le brouillage est susceptible d’en compromettre le fonctionnement.Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

FEDERAL COMMUNICATIONS COMMISSION (FCC) STATEMENTS

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio fre-

quency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

 Reorient or relocate the receiving antenna.  Increase the separation between the equipment and receiver.  Connect the equipment into an outlet on a circuit different from

that to which the receiver is connected.

 Consult the dealer or an experienced radio/TV technician for

help.

In order to maintain compliance with FCC regulations, shielded cables must be used with this equipment. Operation with non-approved equipment or unshielded cables is likely to result in interference to radio and TV reception. The user is cautioned that changes and modifications made to the equipment without the approval of manufacturer could void the users authority to operate this equipment.

NOTE: This device complies with Part 15 of the FCC Rules. Operations subjected to the following two conditions (1) this device

may not cause harmful interference, and (2) this device must accept any interference received, including that may cause undesirable interference.

CAUTION: Exposure to Radio Frequency Radiation.

CAUTION: Regulations of the FCC and FAA prohibit airborne operation of radio-frequency wireless devices because there signals could interfere with critical aircraft instruments.

CAUTION: If the device is changed or modified without permission from RED, the user may void his or her authority to operate the equipment.

AUSTRALIA AND NEW ZEALAND STATEMENTS

RED declares that the radio equipment described in this document comply with the following international standards.

 IEC 60065 - Product Safety  ETSI EN 300 328 - Technical requirement for radio equipment

RED declares digital devices described in this document comply with the following Australian and New Zealand standards.

 AS/NZS CISPR 22 – Electromagnetic Interference  AS/NZS 61000.3.2 – Power Line Harmonics  AS/NZS 61000.3.3 – Power Line Flicker

JAPAN STATEMENTS

This is a Class B product based on the standard of the Voluntary Control Council for Interference (VCCI) for information technology equipment. If this equipment is used near a radio or television receiver in a domestic environment, it may cause radio interference. Install and use the equipment according to the instruction manual.

EUROPEAN UNION COMPLIANCE STATEMENTS

RED declares that the radio equipment described in this document comply with the R&TTE Directive (1999/5/ EC) issued by the Commission of the European Community.

Compliance with this directive implies conformity to the following European Norms (in brackets are the equivalent international standards).

 EN 60065 (IEC 60065) – Product Safety  ETSI EN 300 328 Technical requirement for radio equipment  ETSI EN 301 489 General EMC requirements for radio equip-

ment.

The device shall be used in such a manner that the potential for human contact is minimized

This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment. This equipment should be installed and operated with a minimum distance of 20 cm between the radiator and your body.

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EPIC/SCARLET OPERATION GUIDE

INFORMATION

Products with the CE marking comply with the EMC Directive (2004/108/EC) and the Low Voltage Directive (2006/95/EC) issued by the Commission of the European Community. Compliance with these directives implies conformity to the following European Product Family Standards.

 EN 55022 (CISPR 22) – Electromagnetic Interference  EN 55024-1 (CISPR 24) – Electromagnetic Immunity  EN 61000-3-2 (IEC610000-3-2) – Power Line Harmonics  EN 61000-3-3 (IEC610000) – Power Line Flicker  EN 60065 (IEC60065) – Product Safety

WASTE ELECTRICAL AND ELECTRONIC EQUIPMENT (WEEE)

The Waste Electrical and Electronic Equip-

ment (WEEE) mark applies only to countries

within the European Union (EU) and Norway.

This symbol on the product and accompany-

ing documents means that used electrical

and electronic products should not be mixed

with general household waste. For proper

treatment, recovery and recycling, please

take this product to designated collection

points where it will be accepted free of

charge. Alternatively, in some countries you

may be able to return your products to your

local retailer upon purchase of an equivalent new product.

Disposing of this product correctly will help save valuable resources and prevent any potential negative effects on human health and the environment, which could otherwise arise from inappropriate waste handling. Please contact your local authority for further details of your nearest designated collection point. Penalties may be applicable for incorrect disposal of this waste, in accordance with you national legislation.

For business users in the European Union, if you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information.

NORWAY

This subsection does not apply for the geographical area within a radius of 20 km from the centre of Ny-Ålesund

Dette gjelder ikke for det geografiske området innenfor en radius av 20 km fra sentrum av Ny-Ålesund

RESPONSIBLE PARTY

RED Digital Cinema 34 Parker Irvine, CA 92618 USA

USAGE RESTRICTIONS FOR PRODUCTS THAT INCORPORATE REDLINK

Products that fall into this category are denoted by inclusion of the Class 2 identifier symbol (exclamation mark in a circle) accompanying the CE Mark on the products regulatory label, example to the left.

FRANCE

Usage Restrictions - Geographic Area Where Restriction Applies : France

For mainland France

 2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use  2.400 - 2.454 GHz (Channels 1-10) authorized for outdoor use

Restrictions d’utilisation - Zone géographique où les restrictions s’appliquent : France

Pour la France métropolitaine

 2.400 - 2.4835 GHz (Canaux 1 à 16) autorisé en usage intérieur  2.400 - 2.454 GHz (canaux 1 à 10) autorisé en usage extérieur

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EPIC/SCARLET OPERATION GUIDE

SAFETY INSTRUCTIONS

 DO NOT use the camera or accessories near water. Avoid ex-

posing your camera to moisture. The unit is not waterproof, so contact with water could cause permanent damage to the unit as well as electric shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with high moisture without appropriate protection, and immediately remove power source if camera or accessories are exposed to moisture.

WARNING: To reduce the risk of fire or electric shock, do not expose the camera to rain or moisture.

 DO NOT expose the camera to laser beams, as laser beams

may damage the sensor.

 DO NOT expose your camera to excessive vibration or impact

(shock). Be careful not to drop your camera. Internal mechanisms may be damaged by severe shock. Mechanical alignment of optical elements may be affected by excessive vibration.

 ELECTROMAGNETIC INTERFERENCE: The use of devices us-

ing radio or other communication waves may result in the malfunction or interference with the unit and/or with audio and video signals.

 Clean only using a dry cloth. When cleaning your camera, re-

member that it is not waterproof and moisture can damage electronic circuitry. DO NOT rinse or immerse any element of the camera, lens or other accessory, keep them dry at all times. DO NOT use soaps, detergents, ammonia, alkaline cleaners, and abrasive cleaning compounds or solvents. These substances may damage lens coatings and electronic circuitry.

 Maintain sufficient ventilation—DO NOT block any ventilation

openings or obstruct cooling fan airflow.

CAUTION: Proper camera ventilation requires a minimum 0.5" (1.25 cm) clearance between the camera ventilation openings and external surfaces. Verify that objects that can block the fan intake and exhaust ports do not impede airflow. Failure to permit adequate airflow may result in overheating of the camera, degraded operation and in extreme situations, damage to the camera.

 DO NOT operate or store near any heat sources such as radia-

tors, heat registers, stoves, or any other apparatus that produce heat. Store in a protected, level and ventilated place. Avoid exposure to temperature extremes, damp, severe vibration, strong magnetic fields, direct sunlight or local heat sources during storage. Remove any batteries from the camera before storage. Recommended storage and usage temperatures for your camera, lenses and other accessories are:

‒ Operating range: 0°C to 40°C (32°F to 104°F) ‒ Storage range: –20°C to 50°C (–4°F to 122°F)

If there are any performance issues with your camera or accessories when operating within this temperature range, please file a support ticket on https://support.red.com.

 Modules and lens mounts are NOT HOT SWAPPABLE, meaning

you cannot remove or install these items while the camera is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do so may result in damage to the item or camera that is not covered under warranty.

 DO NOT bypass the third prong of the grounding-type plug on

the power cord of the DSMC AC Power Adaptor. A groundingtype plug has two blades and a third “grounding” prong. The third prong is provided for your safety. A grounding-type plug shall be connected to an outlet with a protective earthen connection. If the grounding-type plug does not fit into your outlet, do not attempt to modify the plug or outlet, consult a qualified electrician.

 Protect all power cords from being pinched, walked on or

driven over by a vehicle. Replace any power cords suspected of sustaining damage due to crushing or other forms physical damage.

Products marked with this symbol are class 2 devices. These devices are not provided with a grounding type plug.

CAUTION: The power cord plug for the DSMC AC Power Adaptor is used as the power disconnect. To disconnect all power from the DSMC AC Power Adaptor, unplug the power cord plug from the wall outlet. During use, the power cord plug should remain easily accessible at all times.

 Lithium-ion batteries may be subject to special handling re-

quirements pursuant to federal and local laws. Please refer to specific shipping instructions included with your battery regarding proper transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries must be in accordance with local environmental regulations. For example, California law requires that all rechargeable batteries must be recycled by an authorized recycle center. Storing batteries fully charged or in high temperature conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.

WARNING: DO NOT expose the battery to excessive heat.

WARNING: Danger of explosion if an incorrect battery is charged with the RED Charger or is used to power the camera and accessories. Replace only with the same or equivalent type battery.

CAUTION: Refer all service and repair to qualified RED service personnel. To reduce the risk of electric shock, and damage to the camera or accessories, DO NOT attempt to perform any servicing other than any procedures that are recommended in the operating instructions.

INDOOR USE ONLY: Products marked with this symbol are designed for use indoors only.

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EPIC/SCARLET OPERATION GUIDE

BATTERY STORAGE AND HANDLING

WARNING: Failure to read, understand, and fol-

low these instructions may result in overheating, chemical leakage, smoke emission, fire, or other potentially harmful results.

Always follow proper battery handling and storage practices. Improper handling and/or failure to abide by proper storage instructions may cause permanent damage to batteries, or degrade battery charge holding capacity. Improper handling practices or failure to comply with instructions may also put you at risk.

Lithium-Ion batteries, like the REDVOLT

, self-discharge over time. When storing for long periods

BRICK of time, store batteries separately from the camera or charger and remember to charge batteries to a capacity level of 40% to 60%. If batteries will be stored for long periods of time, RED recommends that you check the charge level at least once every six (6) months, and recharge batteries to a capacity level of 40% to 60%.

When not in use, remove the battery from the camera or charger and store the battery in a cool, dry place. Avoid extreme hot temperatures (such as inside a hot car), corrosive gas, and direct sunlight. The optimal storage temperature for batteries is between –20°C to 20°C (–4°F to 68°F).

WARNING: Batteries stored in a discharged state for long periods of time may self-discharge and lose the ability to hold a charge.

WARNING: If recharging operation fails to complete even when a specified recharging time has elapsed, immediately stop further recharging.

 DO NOT store batteries in a fully charged state for extended

DO NOT store batteries in a fully charged state for extended periods of time.

 DO NOT store batteries in a fully discharged state for extended

periods of time.

 DO NOT store batteries in the camera, in a camera module, or

in a charger for extended periods of time.

 DO NOT use batteries for purposes other than their intended

use.  DO NOT store batteries in extreme hot or cold temperatures.  DO NOT store batteries in direct sunlight.  DO NOT use third-party chargers with your RED batteries.  DO NOT disassemble or modify the battery.  DO NOT overcharge batteries. Overcharging may increase in-

ternal temperature beyond the recommended limits and cause

permanent damage to the battery.  DO NOT connect the positive (+) and negative (–) terminals to

a metal object such as a wire.  DO NOT transport or store the battery together with metal ob-

jects such as jewelry, hairpins, etc. as they may generate heat

if they come into contact with the battery.  DO NOT discard the battery into fire or heat.  DO NOT store, use, or recharge the battery near a heat source

such as a fire or a heater.  DO NOT allow the battery to get wet.

, REDVOLT XL, and RED

 DO NOT pierce the battery with pointed or other sharp objects.  DO NOT step on, throw, or strike the battery with a hammer.  DO NOT use a battery that appears to be deformed or dam-

aged.  DO NOT directly solder the battery.  DO NOT put the battery into a microwave oven or a pressur-

ized container.  DO NOT use or subject the battery to intense sunlight or hot

temperatures such as in a car in hot weather.  DO NOT use it in a location where static electricity may be

present.  DO NOT exceed the recharging temperature range of 0˚C to

40˚C (32˚F to 104˚F).

 RED recommends that you only use RED chargers to recharge

RED batteries.  Store the battery in a location where children cannot reach it.  If the battery leaks or gives off a bad odor, discontinue use

immediately.  If the battery gives off an odor, generates heat, becomes dis-

colored or deformed, or in any way appears abnormal dur-

ing use, recharging or storage, immediately remove it from the

equipment or battery charger and discontinue use.  If electrolyte begins leaking from the battery and comes into

contact with your skin or clothing, immediately wash it away

with running water. Failure to do this may result in skin inflam-

mation.  If the battery leaks and the electrolyte reaches the eyes, do

not rub them. Instead, rinse the eyes with clean running water

and immediately seek medical attention. Failure to do this may

result in eye injury.  If you find discoloration, a bad odor due to leakage, overheat-

ing and/or other irregularities when using the battery for the

first time, contact your Bomb Squad representative immedi-

ately.

NOTE: For more information regarding RED battery charging and instructions for care, please refer to our Terms and Conditions.

SHIPPING DISCLAIMER

Shipment of Lithium Ion cells and batteries is subject to national and international shipping requirements. A Class 9 Certified shipper is required to transport these products within the United States. REDVOLT, REDVOLT XL, and RED BRICK batteries are considered Dangerous Goods. Other products such as REDVOLT AA and RED Li 7.2V batteries may also be classified as Dangerous Goods when purchased in bulk. Applicable laws prohibit the shipping of batteries that are physically damaged. We urge you to look into the formal rules and regulations of shipping Class 9 Dangerous Goods prior to preparing your shipment. For more information on these regulations, please visit www.iata.org and www.dot.gov.

For more information, see our FAQs for Regulated Items (Dangerous

Goods.

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EPIC/SCARLET OPERATION GUIDE

CAMERA

The EPIC and SCARLET cameras are part of the RED® Digital Still and Motion Camera (DSMC®) system. The DSMC family includes EPIC, SCARLET®, WEAPON, SCARLET-W, and RED RAVEN cameras. With an ultra-high megapixel count, high frame rate, significant processing power, high dynamic range, and the advantages of a raw file format, each camera offers the ability to simultaneously capture video and stills.

This guide is for EPIC and SCARLET only. This section introduces the imaging capabilities and advanced features of the EPIC and SCARLET system. For information about camera systems, see the following operation guide:

 WEAPON/SCARLET-W Operation Guide, available at www.red.com/downloads.

The EPIC and SCARLET system includes the following cameras (organized by sensor type):

INTRODUCTION

EPIC Digital Still and Motion Cameras (DSMC)

SENSOR TYPE CAMERA

RED DRAGON

MYSTERIUM-X® EPIC-M MYSTERIUM-X

Monochrome EPIC-M Monochrome

RED DRAGON Monochrome EPIC-M RED DRAGON Monochrome

EPIC-M RED DRAGON (Carbon Fiber)

EPIC-M RED DRAGON EPIC-X RED DRAGON SCARLET DRAGON

EPIC-X MYSTERIUM-X SCARLET-X® MYSTERIUM-X

EPIC-X Monochrome

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EPIC/SCARLET OPERATION GUIDE

READ BEFORE YOU SHOOT

Read this operation guide carefully and in its entirety before assembling or operating your camera or other RED accessories. In addition to this document, RED offers the following operation guides for the camera system:

 DSMC Power Operation Guide  DSMC Media Operation Guide

To download RED operation guides, visit the RED downloads page at www.red.com/downloads.

R3D FILE FORMAT AND REDCODE

All videos and frames are recorded to the R3D® file format. The R3D file format was developed by RED to provide an efficient and manageable RAW video data format that promotes advanced post production editing capabilities. In the R3D file format, the digital image received from the sensor is formatted as a pixel-defect corrected (but in all other aspects unprocessed) 16-bit per pixel RAW data frame. Each RAW frame, or sequence of RAW frames in a clip, is compressed using a proprietary wavelet based REDCODE® RAW compression, then stored to a RED MINI-MAG® or REDMAG™ 1.8" SSD.

RAW data is recorded independently of any RGB domain color processing such as ISO, White Balance, or other RGB color space settings. Instead, color parameters are saved as reference metadata; that is, color is not burned into the recorded RAW data. This recording technique promotes flexibility in RGB color processing, which can be deferred to post production or adjusted in the field, without affecting the recorded RAW data image quality or dynamic range.

REDCODE is a visually lossless, wavelet-based compression codec that reduces R3D RAW files into a manageable size, allowing longer recording times on media. The ability to compress RAW data is one of the significant technologies that RED has brought to the industry.

For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads. NOTE: REDCINE-X PRO® can create and export .RMD “Look” files which may then be imported as camera

monitor path color processing presets. This information is stored as reference metadata, so that these color processing choices can be the default values used in post production. For more information, go to “Looks” on

page 111.

SHOOT FOR VIDEO AND STILLS

High resolution video, such as the digital footage captured by the camera, has surpassed the detail necessary to produce professional full-sized prints. Because of the ability to record at high frame rates and resolution, the camera is ideally suited to capture video and still images, simultaneously.

The camera is equipped with a Stills mode that makes it easier to capture stunning images. With presets optimized for stills and Swipe-Up Shortcuts for the RED Touch display, switching from Motion mode to Stills mode is seamless. Using REDCINE-X PRO, or other editing applications supporting the RED SDK, you can pull full resolution still images from R3D files.

NOTE: Stills mode is compatible with v6.0 firmware or later.

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EPIC/SCARLET OPERATION GUIDE

POST PRODUCTION WITH REDCINE-X PRO

REDCINE-X PRO

REDCINE-X PRO is a professional one-light coloring toolset, equipped with an integrated timeline and a post effects software collection that provides the ideal environment to review recorded footage, edit metadata, organize projects, and prepare your R3D files. Use either REDCINE-X PRO or a compatible third-party nonlinear editing (NLE) application to edit R3D files. For more information, see the REDCINE-X PRO Operation

Guide, available at www.red.com/downloads.

RED TETHER, included in REDCINE-X PRO, allows you to record footage from your camera directly to a computer or an external drive. Using tethering bypasses the need to record to an SSD and offload to a computer later, saving you time.

The latest version of REDCINE-X PRO is available for download at www.red.com/downloads.

NOTE: RED TETHER is included in REDCINE-X PRO build 35 or later.

HDRX AND MAGIC MOTION

HDRX

HDRx extends dynamic range up to six (6) stops by simultaneously capturing two (2) images of identical resolution and frame rate. The first image is a normally exposed track (A-track), while the second is an underexposed track (X-track) with an exposure value that reflects the additional stops of highlight protection. These tracks are “motion-conjoined” during recording, leaving no time gap between the two (2) exposures. This is different from traditional alternating exposures, which have small gaps between tracks, producing unwanted motion tracks.

MAGIC MOTION

MAGIC MOTION is a post production method that combines two (2) HDRx tracks to create an image with both natural motion blur (from the A-track) and sharper reference (the X-track). MAGIC MOTION produces an image with an extraordinary dynamic range that is not available with any other motion capture camera.

Shooting at 24 fps with a 180° (1/48 sec) shutter on traditional film or digital cameras produces motion blur throughout, which is not the way the human eye observes motion. For example, ask someone to swing their arm. What you would observe in a traditional recording of this action is constant motion blur until the arm stops. However, what your eye sees is both motion blur and a sharper reference of the arm throughout the motion path. MAGIC MOTION creates an image that matches the natural motion observed by the human eye.

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EPIC/SCARLET OPERATION GUIDE

ADDITIONAL RESOURCES

The following resources offer additional information about RED, the camera system, and the RED community:

 RED.com: Check the official RED website for the latest information about RED products.  RED Learn Articles: RED offers in-depth technical articles about RED cameras, post production, and digital

cinematography.

 RED.com/downloads: Go to the RED Downloads page to download the latest firmware, operation guides,

and post production software.

 DSMC Toolkit: Go to the RED Downloads page to find the DSMC Toolkit, which offers many helpful tools and

resources to customize and improve your camera workflow.

 Support.red.com: Check the RED SUPPORT site for FAQs, or to file a support ticket.  Bomb Squad Support: For more information, contact your Bomb Squad representative.  In-Camera Help: Select the Help button on an in-camera screen to open up the help for that screen.  Reduser.net: Discuss all things RED on the REDUSER third-party forum.

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EPIC/SCARLET OPERATION GUIDE

CAMERA SYSTEM

This section provides an overview of the camera system components, including:

 “BRAIN” on page 13  “Media Modules” on page 14  “REDMAG and RED MINI-MAG Systems” on page 16  “Adaptor Modules” on page 17  “RED Batteries and Chargers” on page 20  “Other Modules” on page 20  “Displays and Electronic Viewfinders” on page 22  “LEMO Adaptors” on page 26  “Camera Control Modules” on page 27  “Lens Mounts” on page 30  “Interchangeable OLPFs” on page 31  “Rails, Mounts, Tactical Gear, and Cables” on page 31

WARNING: Modules and lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these items while the camera is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do so may result in damage to the item or camera that is not covered under warranty.

NOTE: Availability of components listed in this chapter is subject to change at any time.

COMPONENTS

EPIC-M RED DRAGON Kit

ADDITIONAL RESOURCES

For more information on power and media, see the following guides, available at www.red.com/downloads:

 DSMC Power Operation Guide  DSMC Media Operation Guide

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BRAIN

EPIC BRAIN (Side)

The DSMC BRAIN® is the image processing center of the camera system and supports power, media, and other modules.

BRAIN CONTROL: PWR/REC KEY

 Fully press and hold the PWR/REC key for two (2) seconds to turn on/off.  When the camera is on, fully press and then release the PWR/REC key to toggle record start/stop.

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BRAIN LEDS

This section describes the LED functions for the camera.

LED COLOR/FLASHING DESCRIPTION

Power Status LED (PWR)

Record Status LED (REC)

Power Status LED (PWR) and Record Status LED (REC)

Off No power present Green Power present; camera on Amber flashing Power present; 5–10 min of battery time

available Amber Power present; camera booting Red flashing Power present; ≤ 5 min of battery time

available Red Power present; camera off Off No media present Green Ready to record Amber Finalizing Red flashing (slow) Media mounted with > 5% and ≤ 10% of media

space available Red flashing (fast) Media mounted with 5% of media space

available Red Recording Both green flashing Firmware update in progress Both red flashing Firmware update error

MEDIA MODULES

This section describes the media modules. RED offers the following media modules:

ITEM PART NUMBER

DSMC 1.8" SSD Side Module 720-0013 DSMC 1.8" SSD Side Module (DRAGON) Carbon Fiber DSMC 1.8" SSD Side Module (DRAGON)

RED MINI-MAG Carbon Fiber RED MINI-MAG Side SSD Module Rear SSD Module 720-0009

1. The DSMC 1.8" SSD Side Module (DRAGON) is only available with the purchase of a RED DRAGON sensor-based BRAIN.

2. Carbon fiber side SSD modules are only available with the purchase of a carbon fiber BRAIN.

Side SSD Module 720-0021

N/A N/A

N/A

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SIDE SSD MODULES

RED MINI-MAG Side SSD Module

Media modules attach to the camera to enable the use of RED MINI-MAG or REDMAG™ 1.8" SSD media. Both side SSD module systems have the same EVF/LCD LEMO® connector, user keys, and REC button.

For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.

SIDE SSD MODULE CONNECTOR

CONNECTOR CONNECTOR TYPE CONNECTOR FUNCTION

EVF/LCD N/A Power and external monitoring support for an electronic

viewfinder or display

SIDE SSD MODULE CONTROLS

REAR SSD MODULE

Rear SSD Module

The Rear SSD Module secures to the back of a Module Adaptor or a +1 Adaptor Module to serve as a rear location for recording to a REDMAG 1.8" SSD.

For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.

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REDMAG AND RED MINI-MAG SYSTEMS

RED MINI-MAG (120GB)

REDMAG 1.8" SSDs and RED MINI-MAG® SSDs deliver fast and reliable recording options for your camera. A RED STATION® enables you to connect media to your computer for offloading and editing.

RED offers the following RED MINI-MAG SSDs:

ITEM PART NUMBER REQUIRED FIRMWARE

RED MINI-MAG (120GB) 750-0075 v5.3.47 or later; or v6.0.40 or later RED MINI-MAG (240GB) 725-0082 v5.1.47 or later RED MINI-MAG (512GB) 725-0078 v5.1.34 or later

RED MINI-MAG (1TB)

1. The RED MINI-MAG 1TB can take up to 20 seconds to mount to a computer or a camera.

725-0081 v5.3.34 or later

RED offers the following REDMAG 1.8" SSDs and compatible RED STATIONS:

ITEM PART NUMBER

REDMAG 1.8" SSD (48GB) 750-0044 REDMAG 1.8" SSD (64GB) 750-0025 REDMAG 1.8" SSD (128GB) REDMAG 1.8" SSD (240GB) REDMAG 1.8" SSD (256GB) REDMAG 1.8" SSD (512GB)

750-0021 750-0061 750-0026

750-0037 RED STATION REDMAG 1.8" 750-0006 RED STATION REDMAG 1.8" (MINI)–ESATA 750-0035 RED STATION REDMAG 1.8" (MINI)–USB 3.0 750-0036 RED STATION REDMAG 2.5" 750-0007

1. These REDMAG 1.8" SSDs are no longer available for purchase at red.com, but are still supported by RED.

2. The REDMAG 1.8" SSD (240GB) requires that your camera is on firmware v5.1.44 or later.

For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.

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ADAPTOR MODULES

This section describes the adaptor modules.

Module Adaptor (left) and +1 Adaptor Module (right)

Adaptor modules enable you to connect other modules to the camera for expandable functionality. The +1 Adaptor Module provides an auxiliary power port for accessories and an additional EVF/LCD port for additional monitor viewing and output.

Both adaptor modules also offer additional 1/4-20 mounting points on top for configuration support. Most modules require a Module Adaptor or +1 Adaptor Module to attach to your camera.

For more information, go to “Configure Your Camera” on page 30.

WARNING: The Module Adaptor is NOT compatible with the +1 Adaptor Module. WARNING: The +1 Adaptor Module IS NOT compatible with the Module Adaptor. WARNING: DO NOT use the EVF/LCD port if a Pro I/O Module is connected to the camera.

RED offers the following adaptor modules:

ITEM PART NUMBER

Module Adaptor 720-0008 +1 Adaptor Module

1. The +1 Adaptor Module requires that your camera is on firmware v4.08 or later.

720-0018

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+1 ADAPTOR MODULE CONNECTIONS

+1 Adaptor Module

# CONNECTOR CONNECTOR TYPE CONNECTOR FUNCTION

1 Mounting 1/4-20 mounting Supports bolt-on auxiliary equipment 2 EVF/LCD

3 Auxiliary power

out (PWR)

4 REDMOTE

connector

5 Dock connector SEARAY connector Supports power and communication with modules

1. WARNING: DO NOT use the EVF/LCD connector if a Pro I/O Module is connected to the camera.

NOTE: The default auxiliary power output setting is on. To toggle the power setting on/off, go to Menu > Power > Power Out > +1 PWR. The last power output setting is saved until a firmware upgrade or a factory reset.

dock

N/A Custom digital video and power interconnection between the

camera and RED EVF or RED LCD; Pinout not published

4-pin 0B LEMO Supplies unregulated (+) 11.5 to 17 V battery pass-through;

Connect to 2-pin LEMO accessories with the RED 4-Pin to 2-Pin Adaptor Cable; Max sustained current is 2 A

8-point POGO connector

Power and support for the REDMOTE

+1 ADAPTOR MODULE ACCESSORIES

For more information, as well as a full list of EVF/LCD cables and other accessory cables, visit www.red.com.

ACCESSORY CONNECTOR TYPE CONNECTOR FUNCTION PART NUMBER

4-Pin To 2-Pin Adaptor Cable

Micro HDMI-toHDMI Adaptor

1. The 4-Pin to 2-Pin Adaptor Cable converts 4-pin power into a 2-pin female LEMO connection, enabling support for 2-pin based accessories from the +1 Adaptor Module or Pro I/O Module.

2. The Micro HDMI-to-HDMI Adaptor is field-replaceable.

4-pin 0B to 2-pin 0B

LEMO Micro HDMI to

Standard HDMI

Power support for 2-pin based accessories 790-0334

HDMI video connection from the camera to support auxiliary EVF/LCD attachment

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N/A

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POWER MODULES

This section describes the power modules for the camera.

Pro Battery Module (Quad)

Power modules attach to a Module Adaptor or +1 Adaptor Module to provide the camera with flexible power options for REDVOLT®, REDVOLT XL, and RED BRICK® batteries. When used in combination with a DSMC AC Power Adaptor or DSMC Side Handle, you can hot-swap batteries without interrupting recording.

RED offers the following power modules:

ITEM PART NUMBER

Pro Battery Module (Dual) 720-0005 Pro Battery Module (Quad) 720-0006 REDVOLT XL Module Quickplate Module 790-0343 Backpack Quickplate (Short) 790-0342 RED Quickplate 790-0008

1. The REDVOLT XL Module requires that your camera is on firmware v5.1.29 or later.

For more information, see the DSMC Power Operation Guide, available at www.red.com/downloads.

740-0031

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RED BATTERIES AND CHARGERS

This section describes the RED lithium-ion batteries and charger solutions.

REDVOLT XL (left) and REDVOLT (right)

The REDVOLT, REDVOLT XL, and RED BRICK are lightweight, rechargeable lithium-ion battery cells that provide sustained power to the camera. These batteries provide long-term mobile power and attach to the camera via a power module or other RED accessory, such as the DSMC Side Handle. RED chargers replenish lost capacity for REDVOLT, REDVOLT XL, and RED BRICK batteries.

RED offers the following batteries and chargers:

ITEM PART NUMBER

REDVOLT 740-0020 REDVOLT XL 740-0021 RED BRICK 740-0002 REDVOLT Travel Charger 790-0134 REDVOLT Charger (Quad) 740-0015 RED CHARGER 740-0006

For more information, see the DSMC Power Operation Guide, available at www.red.com/downloads.

OTHER MODULES

This section describes other modules. RED offers the following miscellaneous modules:

ITEM PART NUMBER

Pro I/O Module 720-0004 REDCAST Module

1. The REDCAST Module requires that your camera is on firmware v5.2.28 or later.

720-0025

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PRO I/O MODULE

Pro I/O Module

The Pro I/O Module brings together the essential input and output (I/O) connections in one (1) module, providing a central hub for professional audio and video components. The Pro I/O Module offers the following features:

 Centralized ports that make it easy to manage connections and cables.  LCD/EVF port that allows you to connect an additional RED LCD or EVF.  Customizable triggers that interface with third-party GPIO and RS232 control devices using Pro I/O cables.  Mounting points for an additional module or a REDMOTE.  Internal cooling system that maintains an appropriate operating temperature.

For more information, see the Pro I/O Module Operation Guide, available at www.red.com/downloads.

REDCAST MODULE

REDCAST Module

The REDCAST™ Module allows for live 4K streaming, enabling you to capture and view action in real-time. Compatible with both EPIC DRAGON and SCARLET DRAGON cameras, the REDCAST Module uses four (4) 3G-SDI output connections to broadcast 4K video at up to 60 frames per second. Five (5) 1/4-20 mounting holes are built into the top of the module, allowing for various mechanical peripherals to be attached.

For more information, see the REDCAST Module Operation Guide, available at www.red.com/downloads.

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DISPLAYS AND ELECTRONIC VIEWFINDERS

RED offers the following displays and electronic viewfinders (EVFs):

NOTE: RED offers multiple mounting solutions for each camera type.

ITEM RESOLUTION PART NUMBER

DSMC2 RED Touch 7.0" LCD (Woven CF) DSMC2 RED Touch 7.0” LCD (Aluminum) DSMC2 RED Touch 4.7" LCD RED Touch 5.0" LCD RED Touch 7.0" LCD RED Touch 9.0" LCD RED PRO LCD 7"

2, 3

DSMC2 RED EVF (OLED)

BOMB EVF

(LCOS)

BOMB EVF (OLED)

1. Using this display with an EPIC or SCARLET camera requires a DSMC2 LEMO Adaptor B.

2. Using this display with a WEAPON, SCARLET-W, or RAVEN camera requires a DSMC2 LEMO Adaptor A.

3. The RED Touch 7.0" LCD requires that your camera is on firmware v5.2.38 or later.

For a full list of LCD and EVF user keys and default actions, go to “Default Key Functions” on page 188.

1920 x 1136 730-0018 1920 x 1136 730-0024 1280 x 720 730-0019 800 x 400 730-0008 1920 x 1136 730-0007 1280 x 768 730-0011 1024 x 600 730-0009 1920 x 1080 730-0021 1280 x 784 730-0004 1280 x 1024 730-0010

RED LCDS

RED Touch 7.0" LCD

RED displays provide important camera parameters on the graphical user interface (GUI) and offer a variety of monitor viewing options. RED touchscreen displays enable you to use gestures to navigate menus and adjust camera parameters. RED displays feature 8-bit RGB, 4:4:4 progressive scan, providing up to 16.7 million colors and up to 70% NTSC color gamut.

LCD PRECAUTIONS

WARNING: DO NOT use a RED display as a handle to lift or carry the camera. Damage to a RED display or other

components of the camera system caused by using the display as a handle are not covered under warranty.

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WARNING: DO NOT use the threaded holes in the RED Touch LCD base to mount the display to the camera. Damage to a RED display or other components of the camera system caused by using these threaded holes is not covered under warranty.

IMPORTANT: The RED Touch LCD swivel axis has a total adjustment range of approximately 360˚ (180˚ clockwise

or counterclockwise from the nominal “rear-facing” orientation). The tilt axis range of adjustment is approximately

180˚. Damage to a RED display or other camera components caused by excessive force is not covered under

warranty.

IMPORTANT: The DSMC2 RED Touch 4.7" LCD has a tilt axis range of approximately 240˚ (90˚ forward and 150˚

backward). Damage to a RED display or other camera components caused by excessive force is not covered under warranty.

BOMB EVFS

The BOMB EVF (LCOS) and BOMB EVF (OLED) deliver specialized viewing solutions for the camera. The BOMB EVF (LCOS) is a high-definition, lightweight, and low-profile viewfinder. The BOMB EVF (OLED) uses OLED technology, providing deeper blacks and more color accurate images.

ITEM CONTRAST RATIO DIOPTER RANGE

BOMB EVF (LCOS) BOMB EVF (OLED)

1. Using these displays with a WEAPON, SCARLET-W, or RAVEN camera requires a DSMC2 LEMO Adaptor A.

WARNING: DO NOT point the BOMB EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct sunlight may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the BOMB EVF (OLED) caused by continued exposure to direct sunlight is not covered under warranty.

1000:1 typical 2.0 to –5.0.1 >10,000:1 typical 2.0 to –5.0.1

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BOMB EVF FEATURES

5 2

# FEATURE DESCRIPTION

1 EVF connector Custom digital video and power interconnection between the camera and

RED EVF; Pinout not published

2 EVF Tally LED When enabled, the LED illuminates red when recording; For more information,

go to “Indicator” on page 80

3 Key 1 Programmable key

Magnify: Toggle

4 Key 2 Programmable key

Exposure Check: Toggle

5 Eyepiece heater The integrated eyepiece heater automatically heats the eyepiece when the

EVF detects a low ambient temperature

BOMB EVF (OLED)

DSMC2 RED EVF

The DSMC2 RED EVF (OLED) is a high definition electronic viewfinder designed as the ideal single-viewer monitoring solution. Featuring the latest OLED technology, this EVF provides an unmatched personal viewing experience with a 1080p OLED micro-display, and improved color accuracy with 30-bit RGB color represenation. View and monitor your RED footage as it is intended with truer colors and deeper blacks in a larger field of view.

Engineered with OBSOLESCENCE OBSOLETE® in mind, the DSMC2 RED EVF (OLED) is perfect for use with WEAPON, SCARLET-W, RAVEN, EPIC, or SCARLET cameras. RED offers multiple mounting solutions for each camera type.

WARNING: DO NOT point the DSMC2 RED EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct sunlight may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the DSMC2 RED EVF (OLED) caused by continued exposure to direct sunlight is not covered under warranty.

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DSMC2 RED EVF FEATURES

# FEATURE DESCRIPTION

1 DSMC2 RED EVF Mount The DSMC2 RED EVF Mount 2 EVF connector

3 Key 1 Programmable key

Custom digital video and power interconnection between the EVF and other RED devices; Pinout not published; compatible with standard RED EVF/LCD LEMO cables

Magnify: Toggle

DSMC2 RED EVF

4 Key 2 Programmable key

Exposure Check: Toggle 5 Mounting point Mounting point for the DSMC2 RED EVF Mounting Plate (Top) 6 DSMC2 RED EVF

Modular Optical Block

1. Not visible. Shown with the DSMC2 RED EVF Mount attached.

Fully coated with a > 32° field of view

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LEMO ADAPTORS

This section describes the DSMC2 LEMO Adaptor A and the DSMC2 LEMO Adaptor B. These adaptors enable you to use EPIC/SCARLET displays with your DSMC2 camera and use DSMC2 displays with your EPIC/SCARLET camera. For more information on available displays, go to “Displays and Electronic Viewfinders” on page 22.

ITEM PART NUMBER

DSMC2 LEMO Adaptor A 720-0037 DSMC2 LEMO Adaptor B 720-0038

LEMO ADAPTOR A

DSMC2 LEMO Adaptor A

The DSMC2 LEMO Adaptor A makes your existing RED Touch and RED PRO displays, as well as RED EVFs, fully compatible with the DSMC2 camera system. The DSMC2 LEMO Adaptor A converts the pogo connection on the DSMC2 camera to a legacy EVF/LCD LEMO port. The DSMC2 LEMO Adaptor A is designed to attach to the primary (top), or the secondary (side) EVF/LCD port on the DSMC2 camera.

When used along with the DSMC2 LEMO Adaptor B, this adaptor enables you to mount a DSMC2 RED Touch LCD away from the camera—to a NOGA arm or other stable mounting point.

The DSMC2 LEMO Adaptor A is compatible with the BOMB EVF, (LCOS) and (OLED) models, or later.

LEMO ADAPTOR B

DSMC2 LEMO Adaptor B

The DSMC2 LEMO Adaptor B enables you to use a DSMC2 RED Touch LCD with your existing EPIC or SCARLET camera. The DSMC2 LEMO Adaptor B converts the display signal from a pogo connection to a legacy EVF/ LCD LEMO port. The DSMC2 LEMO Adaptor B is designed to mount to your EPIC or SCARLET camera using standard 1/4-20 mounting holes.

When used along with the DSMC2 LEMO Adaptor A, this adaptor enables you to mount a DSMC2 RED Touch LCD away from the camera—to a NOGA arm or other stable mounting point.

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CAMERA CONTROL MODULES

This section describes the camera control modules. These devices provide a wide array of programmable buttons, controls, and other features to interact with the camera.

RED offers the following remotes and controls:

ITEM PART NUMBER

DSMC Side Handle 720-0012 RED Switchblade-M REDMOTE 770-0006

REDLINK

1. The RED Switchblade-M requires that your camera is on firmware v5.2.28 or later. Full functionality requires firmware v5.3 or later.

2. The REDLINK Bridge requires that your camera is on firmware v5.2.28 or later.

Bridge (REDLINK Development Kit) 720-0028

DSMC SIDE HANDLE

720-0026

DSMC Side Handle

The DSMC Side Handle provides programmable menu controls and a battery compartment that holds one (1) REDVOLT battery. The DSMC Side Handle LCD display shows camera parameter values and illuminates for operation in dark environments. When a REDVOLT is installed in the DSMC Side Handle, batteries connected to other power modules may be hot-swapped, providing uninterrupted operation.

For a full list of DSMC Side Handle user keys and default actions, go to “Default Key Functions” on page 188. NOTE: Upgrading your camera to v5.3 also upgrades the DSMC Side Handle. During the upgrade, you will be

instructed to shut down the camera twice so that the firmware upgrades successfully. Any DSMC Side Handle that is upgraded to v5.3 can only be used with cameras running v5.2 or later. To use a DSMC Side Handle with v5.1 after you have upgraded it to v5.3, first downgrade to v5.2, and then downgrade to v5.1.

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RED SWITCHBLADE-M

RED Switchblade-M

The RED Switchblade-M is a low-profile and lightweight interface solution that mounts to the side of the camera. With a 1.7” OLED display and full navigation controls, the RED Switchblade-M grants full access to menus while optimizing the size and weight of y our camera configuration.

For a full list of RED Switchblade-M user keys and default actions, go to “Default Key Functions” on page 188. NOTE: The RED Switchblade-M requires camera firmware v5.2.28 or later. Full functionality requires camera

firmware v5.3 or later.

REDMOTE

The REDMOTE is a remote camera control unit that attaches to the rear of the camera or rearmost expansion module. The REDMOTE may be detached from the camera or rearmost module and provide wireless remote control of the camera over the proprietary REDLINK protocol.

For a full list of REDMOTE user keys and default actions, go to “Default Key Functions” on page 188. For more information, go to “REDMOTE Operation” on page 146. IMPORTANT: To operate properly, upgrade both REDMOTE and camera firmware to the most recent version.

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REDLINK BRIDGE

REDLINK Bridge

The REDLINK Bridge is a wireless module that provides communication support for third-party app development. The REDLINK Bridge attaches to the rear of the camera or other compatible rear module. The REDLINK Bridge is part of the REDLINK Development Kit and uses the REDLINK Command Protocol (RCP) to communicate information between the camera and your application.

For more information, see the REDLINK Bridge Operation Guide, available at www.red.com/downloads. NOTE: The REDLINK Bridge requires camera firmware v5.2.8 or later.

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LENS MOUNTS

DSMC Mg PL Mount 2.0

RED offers the following lens mounts:

ITEM PART NUMBER

DSMC Mg PL Mount 2.0

725-0024 DSMC Ti PL Mount 725-0022 DSMC Al Canon Mount 725-0026 DSMC Ti Canon Mount 725-0005 DSMC Al Nikon Mount 725-0006 DSMC Ti Nikon Mount 725-0007 DSMC Al Leica-M Mount 725-0008 DSMC MOTION MOUNT Ti PL DSMC MOTION MOUNT Ti Canon

1. For EPIC and SCARLET cameras, the DSMC Fan 2.0 (Bottom) and the DSMC Mg PL Mount 2.0 are not natively compatible with each other, since the fan grill prevents the lens mount locking ring from rotating. To use these devices together, remove the lower tabs from the locking ring using a T8 TORX® driver.

2. The DSMC RED MOTION MOUNT requires that your camera is on firmware v5.1.14 or later.

725-0012

725-0014

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INTERCHANGEABLE OLPFS

This section describes the interchangeable optical low pass filter (OLPF) system and modular OLPFs.

DSMC Interchangeable

OLPF System

NOTE: The DSMC interchangeable OLPF system is only compatible with the DRAGON sensor. The DSMC interchangeable OLPF system is an upgrade to the optical low-pass filter (OLPF) in your EPIC

DRAGON or SCARLET DRAGON. The modular mounting system enables you to remove and replace OLPFs to achieve optimal color reproduction in any lighting and environment.

For more information, go to “Use a Tripod or Monopod” on page 45. RED offers the following modular DSMC interchangeable OLPFs for EPIC DRAGON and SCARLET DRAGON:

ITEM LABEL

DSMC Skin Tone-Highlight OLPF S 790-0461 v5.2.28 or later DSMC Low Light Optimized OLPF L 790-0462 v5.2.28 or later DSMC H DSMC Standard OLPF D 790-0517 v6.0.37 or later DSMC IR Pass OLPF (Color) I 790-0473 v5.3.33 or later DSMC Monochrome OLPF DSMC IR Pass OLPF (Monochrome)

1. Visible on the top inside part of the OLPF assembly.

2. Monochrome OLPFs are for use with the DRAGON Monochrome sensor ONLY.

O OLPF H 790-0472 v5.3.29 or later

PART NUMBER REQUIRED FIRMWARE

M 790-0481 v5.2.9 or later I 790-0474 v5.3.33 or later

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

RED offers a wide variety of support gear, mounting platforms, cables, accessories, and other equipment. For more information, visit the RED Store at www.red.com/store.

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BASIC

OPERATIONS

POWER OPERATIONS

This section describes the basic power operations of the camera system. For more information, see the DSMC Power Operation Guide, available at www.red.com/downloads. WARNING: Modules and lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these

items while the camera is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do so may result in damage to the item or camera that is not covered under warranty.

WARNING: While third-party batteries may be mechanically compatible with the camera system, the manufacturer is responsible for the performance and stability of third-party options, not RED. Damage to the camera system or third-party devices caused by using third-party power options is not covered under warranty. The camera may be unable to determine and display the voltage or remaining battery capacity of third-party power options.

POWER INPUTS

SEARAY Connector (top) and

There are two (2) primary power inputs that provide power to the camera:

# POWER INPUT DESCRIPTION

1 SEARAY power connector Provides power to the camera from attached modules 2 DC IN connector Provides power to the camera using a DSMC Power Adaptor or certain

battery modules, such as the Backpack Quickplate

NOTE: Additionally, one (1) REDVOLT short term power and support hot-swapping of other power sources.

battery may be used in conjunction with the DSMC Side Handle to provide

DC IN Connector (bottom)

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POWER PRIORITY

When multiple power sources are connected to the camera, power consumption is prioritized in this sequence:

1. DC power supply (DC IN connector)

1. Attached RED BRICK

2. Battery module batteries (SEARAY connector; lowest state of charge first)

3. REDVOLT battery in an attached DSMC Side Handle

POWER CONSUMPTION

The camera draws approximately 60 W when recording in 5K resolution, at 24 fps. Under typical conditions batteries provide the following operating time:

 REDVOLT: Powers the camera and accessories for approximately 30 minutes.  REDVOLT XL: Powers the camera and accessories for approximately 90 minutes.  REDBRICK: Powers the camera and accessories for approximately 120 minutes.  RED BRICK: Powers the camera and accessories for approximately 120 minutes.

POWER STATUS

The power status of the current primary power source displays in the Lower Status Row of the graphical user interface (GUI). Navigate to the Power In menu at Menu > Power > Power In for the status of all connected power sources. For more information, go to “Power Menu” on page 101.

(Lowest state of charge first)

APPROVED EXTERNAL DC POWER

The camera accepts input voltages of 11.5 V to 17 V DC, and can draw a maximum current of 12 A. The camera can be powered continuously by connecting one (1) of the following to the DC IN port on the camera:

 DSMC AC Power Adaptor  RED BRICK Charger: Requires a 2B-to-1B Power Adaptor Cable.  RED BRICK: Requires a Backpack Quickplate or Battery Belt Clip (DSMC). Also supported by a RED Quickplate

or RED Cradle using a 2B-to-1B Power Adaptor Cable.

 XLR DC power source: Requires an XLR Power Cable.

TURN ON THE CAMERA

1. Attach a power source to the camera.

The Power Status LED illuminates red, indicating that an appropriate power source is connected.

2. Press and release the PWR/REC key on the right side of the camera.

The Power Status LED turns off, and within five (5) seconds illuminates yellow as the camera turns on. The Power Status LED then illuminates green to confirm that the camera is turned on and ready to use.

NOTE: The Power Status LED flashes red when there is less than five (5) minutes of operating time remaining.

TURN OFF THE CAMERA

Use one of the following methods to turn off the camera:

 Go to Menu > Power and select Shutdown.  Press and hold PWR/REC until the Shutting Down... notification shows on the display.

NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.

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CONFIGURE YOUR CAMERA

This section describes common options for configuring your camera system.

INSTALL THE DSMC SIDE HANDLE

WARNING: Before installing or removing the DSMC Side Handle, you MUST turn off the camera. REQUIRED TOOL: T10 TORX

1. Turn off the camera.

2. Use a T10 TORX driver to remove the single screw located at the bottom of the BRAIN side plate (if the

side plate is installed).

driver

Remove the BRAIN Side Plate

3. Rotate the BRAIN side plate upwards to disengage the lip at the top of the side plate from the camera, and

remove the BRAIN side plate.

4. Insert the lip on the DSMC Side Handle into the slot where the lip of the BRAIN side plate was installed.

5. Press the DSMC Side Handle down flush along the side of the camera.

6. Rotate the thumbscrew upward while applying steady pressure until tight.

REMOVE THE DSMC SIDE HANDLE

WARNING: Before installing or removing the DSMC Side Handle, you MUST turn off the camera. REQUIRED TOOL: T10 TORX driver

1. Turn off the camera.

2. Rotate the thumbscrew downward until the DSMC Side Handle detaches from the camera body.

3. Disengage the tension lip on the DSMC Side Handle by pulling the bottom away from the camera.

4. Insert the tension lip on the BRAIN side plate into the recess on the side of the camera.

5. Install the appropriate screw at the bottom of the BRAIN side plate using a T10 TORX driver. DO NOT

exceed 70 in-oz, or damage may occur.

‒ EPIC side plate screw: M3x0.5 x 8 mm ‒ SCARLET side plate screw: M3x0.5 x 5.5 mm

WARNING: DO NOT OVERTIGHTEN.

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INSTALL THE RED SWITCHBLADE-M

WARNING: Before installing or removing the RED Switchblade-M, you MUST turn off the camera. REQUIRED TOOL: T10 TORX driver

1. Turn off the camera.

2. Use a T10 TORX driver to remove the single screw located at the bottom of the BRAIN side plate (if the

side plate is installed).

3. Rotate the BRAIN side plate upwards to disengage the lip at the top of the side plate from the camera, and

remove the BRAIN side plate.

4. Insert the lip on the RED Switchblade-M into the slot where the lip of the BRAIN side plate was installed.

5. Press the Switchblade-M down flush along the side of the camera.

6. Tighten the thumbscrew until finger-tight, then enage the thumbscrew mechanism.

REMOVE THE RED SWITCHBLADE-M

WARNING: Before installing or removing the RED Switchblade-M, you MUST turn off the camera. REQUIRED TOOL: T10 TORX driver

1. Turn off the camera.

2. Disengage the thumbscrew mechanism.

3. Loosen the thumbscrew until the Switchblade-M detaches from the camera.

4. Pull the bottom of the RED Switchblade-M away from the camera to disengage the tension lip.

5. Remove the RED Switchblade-M from the camera.

6. Insert the tension lip on the BRAIN side plate into the recess on the side of the camera.

7. Install the appropriate screw at the bottom of the BRAIN side plate using a T10 TORX driver. DO NOT

exceed 70 in-oz, or damage may occur.

‒ EPIC side plate screw: M3x0.5 x 8 mm ‒ SCARLET side plate screw: M3x0.5 x 5.5 mm

WARNING: DO NOT OVERTIGHTEN.

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INSTALL THE MODULE ADAPTOR

You must install an adaptor module on the back of the camera before you install a module. REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Remove the REDMOTE, if attached.

3. Position the Module Adaptor over the V-mount on the rear of the camera.

Install Module Adaptor

4. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2)

turns each using a T20 TORX driver. DO NOT FULLY TIGHTEN.

5. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T20 TORX driver.

WARNING: DO NOT OVERTIGHTEN.

Tighten screws

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REMOVE THE MODULE ADAPTOR

REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Use a T20 TORX driver to loosen the screws attaching the Module Adaptor to the camera.

3. Remove the Module Adaptor from the camera.

INSTALL THE +1 ADAPTOR MODULE

REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Remove the REDMOTE, if attached.

3. Position the +1 Adaptor Module over the V-mount on the rear of the camera.

Install the +1 Module Adaptor

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4. Insert the HDMI connector into the HDMI port on the camera.

Insert the HDMI connector to the BRAIN

5. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2)

turns each using a T20 TORX driver. DO NOT FULLY TIGHTEN.

Tighten screws

6. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T20 TORX driver.

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE +1 ADAPTOR MODULE

REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Loosen the four (4) captive mounting screws in a cross pattern (“X” pattern) using a a T20 TORX driver.

3. Disconnect the HDMI connector from the camera.

4. Remove the +1 Adaptor Module from the camera.

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ATTACH A MODULE

REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Insert the lip at the top of the module into the recess at the top of the adaptor module.

Insert module lip

3. Rotate the module down flush with the rear of the adaptor module.

Press module flush

4. Apply pressure and use a T20 TORX driver to turn the lock on the bottom of the adaptor module clockwise

into the Lock position.

REMOVE A MODULE

REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Use a T20 TORX driver to turn the lock on the adaptor module counter-clockwise to the Unlock position.

3. Rotate the module upwards and away from the adaptor module to disengage.

4. Remove the module.

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REPLACE THE HOOD SCOOP

REQUIRED TOOL: T8 TORX driver

The hood scoop on some EPIC-X and EPIC-M models extends beyond the rear plane of the camera. RED offers shorter hood scoops so that you can attach an LCD or other accessory to the mounting locations on the top of the +1 Adaptor Module.

Replace the hood scoop

To replace fan hood scoop, follow the instructions below:

1. Turn off the camera.

2. Remove the four (4) M3x0.5 x 6 mm screws holding the hood scoop using a T8 TORX driver.

3. Remove the hood scoop.

4. Position the replacement hood scoop on the camera.

5. Align the hood scoop screw holes with the threaded holes.

6. Insert and tighten the four (4) M3x0.5 x 6 mm screws in a cross pattern (“X” pattern) using a T8 TORX driver.

DO NOT FULLY TIGHTEN.

7. Fully tighten the four (4) M3x0.5 x 6 mm cap screws evenly in a cross pattern (“X” pattern). DO NOT exceed

30 in-oz, or damage may occur. WARNING: DO NOT OVERTIGHTEN.

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INTERCHANGEABLE OLPF SYSTEM

This section describes the process for swapping an interchangeable OLPF. WARNING: Read these instructions carefully and in their entirety before removing or installing an interchangeable

OLPF. Damage caused to the OLPF module, camera, or sensor due to improper handling or use is not covered under warranty.

WARNING: Once an interchangeable OLPF is removed from the camera, the sensor is exposed. Improper handling of the OLPF modules or camera during this procedure may compromise the installation or cause irreparable damage to your camera or sensor.

WARNING: DO NOT allow any dirt or debris to enter the optical cavity. WARNING: This procedure is ONLY applicable to DRAGON sensor cameras that are compatible with the DSMC

Interchangeable OLPF system. WARNING: Use only DSMC OLPFs. DO NOT use DSMC2 OLPFs. For any questions about OLPF compatibility,

please contact your Bomb Squad representative.

SWAP AN INTERCHANGEABLE OLPF

REQUIRED TOOLS: T20 TORX driver, T6 TORX driver

1. Turn off the camera.

2. Remove any modules, cables, or other accessories that may interfere with operations.

3. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a

T20 TORX driver.

NOTE: The DSMC Mg PL Mount 2.0 has captive screws that are not removable from the mount. NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.

4. Remove the lens mount.

Remove Lens Mount

5. Use a damp, lint-free cloth to gently wipe down the area around the lens mount and OLPF module. Remove

as much dust and debris as possible.

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6. Remove the four (4) M2x0.4 x 4 mm OLPF module screws (P/N 600-0224) in a cross pattern (“X” pattern)

using a T6 TORX driver.

Remove OLPF module screws

7. Remove the OLPF module and place it in its protective case.

Remove the OLPF module

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8. Use an LED light to ensure that the optical cavity is clean and free from dust or debris.

Ensure optical cavity is clean and free of debris

9. Ensure the new OLPF module is clean and free of debris.

10. Install the new OLPF module straight into the optical cavity, keeping the front face of the OLPF module

parallel to the front of the camera. NOTE: Inserting the OLPF module at an angle may cause it to not seat properly.

11. Replace and loosely tighten the four (4) M2x0.4 x 4 mm OLPF module screws (P/N 600-0224) in a cross

pattern (“X” pattern) using a T6 TORX driver. DO NOT FULLY TIGHTEN.

Replace the OLPF module and screws

12. Fully tighten the four (4) OLPF module screws in a cross pattern (“X” pattern) using a T6 TORX driver. DO

NOT exceed 30 in-oz, or damage may occur. WARNING: DO NOT OVERTIGHTEN.

13. Replace the lens mount.

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14. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern)

using a T20 TORX driver. DO NOT FULLY TIGHTEN. NOTE: The DSMC Mg PL Mount 2.0 has captive screws that are not removable from the mount.

15. Fully tighten the four (4) lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO

NOT exceed 350 in-oz, or damage may occur. NOTE: DO NOT OVERTIGHTEN.

Replace Lens Mount

16. Turn on the camera.

17. Go to Menu > Settings > Maintenance > OLPF.

18. Select the installed OLPF from the Type drop-down menu.

IMPORTANT: Ensure the correct OLPF type is selected from the drop-down menu. Failure to select the correct OLPF type will affect color accuracy. For more information, go to “OLPF” on page 114.

OLPF Type menu selection

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VERIFY INSTALLED OLPF

You can see which DSMC interchangeable OLPF is installed even when a lens mount is attached. The OLPF type is labeled in two (2) locations on each DSMC interchangeable OLPF.

OLPF Type Labels

# LOCATION ON ASSEMBLY LABEL VISIBLE WITH

1 Top inside Identifier symbol, such as (S) PL mounts 2 Front bottom OLPF type All mounts

USE A TRIPOD OR MONOPOD

This section describes the camera mounting points and mounting equipment for use with a tripod or monopod. The camera is equipped with two (2) 3/8-16 mounting holes and one (1) 1/4-20 mounting hole on the bottom

of the camera. These mounting points are designed for use with a variety of mounting plates and hardware, to support tripods and other support systems.

WARNING: Ensure that the tripod, monopod, or support system is designed and rated to handle the weight of your camera configuration. RED is not responsible for any damage caused by using a tripod, monopod, mount, or support system that does not provide sufficient support.

WARNING: DO NOT use excessive force to mount a support accessory, as this may damage the screw threading. RED offers the following products for use with tripods and other support systems:

ITEM PART NUMBER

Mounting Plate (DSMC) 790-0094 DSMC Modular Assault Plate Pack 790-0224 DSMC Quick Release Platform Pack 790-0183 Quick Release Platform Pack (Bolt-On) 790-0078 Quick Release Platform (Dovetail) 790-0079 Quick Release Platform (Mini) 790-0390 Dovetail Mounting Plate (Long) 790-0083 Dovetail Mounting Plate (Short) 790-0084

For more information, visit the RED store at www.red.com/store.

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VIDEO MONITOR OUTPUTS

The monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel RGB 4:4:4 video signal. The signal may be modified using ISO, White Balance, or other RGB color space adjustments. The signal is then scaled and gamma-corrected to provide monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.

The camera offers the following monitor outputs:

 EVF/LCD: Supports a RED EVF or LCD display.  HD-SDI: Provides a 720p or 1080p output suitable for monitoring or recording to an external VTR or DDR

device. It may be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.

 HDMI: Provides a 480p, 720p, or 1080p output suitable for monitoring via a Windows® monitor or most

HDTVs.

VIDEO MONITOR CATEGORIES

Video monitor outputs are separated into three (3) categories:

 VIEWFINDER: The Upper Status Row, Live Action Area, and Lower Status Row display. Default output is the

EVF/LCD connector located on the front face of the side SSD module. If an EVF or LCD is not connected, you can transfer the VIEWFINDER output to either the HDMI or 3G-SDI (HD-SDI) output from the camera.

 PROGRAM/Clean: None of the graphic overlays display.  PREVIEW: The Live Action Area and associated graphic overlays display.

For more information about changing the video monitor category of your monitor, go to “Monitor Control” on

page 57.

RECORD

Perform one of the following actions to begin recording:

 Press PWR/REC on the camera.  Press REC on an attached side SSD module.  Press REC on an attached DSMC Side Handle.  Double-tap the right 25% on an attached touchscreen display (when enabled).

NOTE: To enable Double-Tap Right 25% to Record, go to Menu > Settings > Display > Monitor Control > Advanced > Gestures.

RECORD VIA HD-SDI OR HDMI

This section describes how to record via HD-SDI or HDMI through simultaneous record (recording to an SSD and an external recorder at the same time) or external record only. For more information on how to enable default menus for a external recorder, go to “Cannot Use Touchscreen or DSMC2 Sidekick” on page 151.

SIMULTANEOUS RECORD

You can record simultaneously to an external recorder and a RED SSD. To record simultaneously, follow the instructions below:

1. Connect the camera to an external recorder with an HD-SDI or HDMI cable.

2. Ensure an SSD is inserted in the camera and formatted.

3. Begin recording.

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EXTERNAL RECORD

You can record to an external recorder without recording to an SSD. To record to an external device only, follow the instructions below:

1. Connect the camera to an external recorder with an HD-SDI or HDMI cable.

2. Ensure the SSD is ejected.

3. Go to Menu > Settings > Recording > Mode.

4. Select External from the Storage drop-down menu.

5. Begin recording.

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BASIC MENUS

This chapter describes the Basic Menus and controls, including:

 “Upper Status Row (Basic Menu)” on page 49  “Live Action Area” on page 53  “Lower Status Row” on page 54  “Navigation Controls” on page 59

AND CONTROLS

GUI MENU INTRODUCTION

GUI Control Menu

This section describes the structure and layout of the graphical user interface (GUI) that overlays the video monitor signal. Advanced GUI menu controls enable convenient access to menus, overlays, and other critical camera information. Functionality varies based on monitor output type and firmware version.

The GUI menu is separated into three (3) main sections:

# ITEM DESCRIPTION

1 Upper Status Row

(Basic Menu)

2 Live Action Area Live camera recording view, overlays, guides, and more.

3 Lower Status Row Critical camera parameters, record/playback modes, media and power status,

Easy access to primary camera capture parameters. Go to “Upper Status Row (Basic Menu)” on page 49.

Go to “Live Action Area” on page 53.

and audio meter. Go to “Lower Status Row” on page 54.

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UPPER STATUS ROW (BASIC MENU)

The Upper Status Row displays basic project parameters. The currently selected parameter in the Upper Status Row is underlined with a red bar. The Upper Status Row is also known as the Basic Menu.

1 52 8763 4

Upper Status Row

The Upper Status Row includes the following GUI elements:

# ITEM DESCRIPTION FOR MORE INFORMATION, GO TO...

1 Frame Rate (fps) Recording frame rate “Frame Rate” on page 69 2 ISO Camera sensitivity “ISO” on page 65 3 Aperture Lens aperture (F stop) information “Aperture” on page 52 4 Exposure (Shutter) Integration time or shutter angle “Exposure” on page 84 5 Color Temperature White balance “Color Temperature” on page 68 6 Resolution Record resolution “Format” on page 71 7 REDCODE 8 Menu Access advanced settings “Advanced Menus” on page 53 9 Cursor Indicates currently selected Upper

REDCODE compression setting “REDCODE” on page 52

N/A

Status Row element

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ACCESS ADVANCED MENUS

For every Upper Status Row item, you can select the Advanced... button to access the related menu in the Advanced Menus.

For example, select Advanced... in the Frame Rate menu to open Menu > Settings > Project > Frame Rate. For more information about Advanced Menus, go “Advanced Menus” on page 66.

Select “Advanced...” Button

“Advanced...” Menu

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FEATURE: EDIT LIST

Select the Edit List... button in the Upper Status Row menus to change the values that display for each setting. For example, if you open the Frame Rate menu and select Edit List..., the camera lets you add or remove values to available frame rates.

Select “Edit List...” Button

“Edit List...” Menu

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APERTURE

The aperture (also known as the T stop or F stop) parameter displays when a compatible mount and lens are installed. The aperture controls the depth of field of the image and, in combination with the shutter speed/angle setting, controls the amount of light that reaches the sensor (exposure).

 Increasing the aperture to a higher number increases the depth of field, but reduces the exposure (brightness).  Decreasing the aperture to a lower number decreases the depth of field, but increases the exposure

(brightness).

RED DSMC PL MOUNT INSTALLED

The current aperture of the attached lens displays when a DSMC® PL mount is installed and a supported lens equipped with Cooke® S4/i® system is attached.

DSMC NIKON MOUNT AND CANON MOUNTINSTALLED

The Aperture menu is visible when a DSMC Nikon® Mount, DSMC Canon® Mount, or DSMC RED® MOTION MOUNT Ti Canon is installed and a supported lens is attached. This enables you to adjust the aperture of the attached lens.

Select the Advanced... button to access the Menu > Settings > Setup > Lens screen. For more information, go to

“Autofocus Modes” on page 104.

REDCODE

Select the target REDCODE compression ratio for your project. If the camera is able to achieve the target compression ratio, the compression ratio displays in white. If the

camera is unable to achieve the target compression ratio, the compression ratio displays in yellow. The current compression ratio is automatically recalculated when changes are made to the project resolution,

aspect ratio, anamorphic setting, frame rate, HDRx mode, media, or the target REDCODE compression ratio. The RECODE compression affects the overall quality of the footage. A lower compression (for example: 2:1)

increases the quality of the footage, while a higher compression (for example: 22:1) lowers the quality. For more information, go to “R3D File Format and REDCODE” on page 8.

 MYSTERIUM-X: Range is 3:1 to 18:1. Default is 8:1.  RED DRAGON: Range is 2:1 to 22:1. Default is 8:1.

For maximum available REDCODE values, see the DSMC Media Operation Guide at www.red.com/downloads.

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LIVE ACTION AREA

The Live Action Area contains the recorded image area plus Surround View look around area, plus overlays for Frame Guides, Safe Action/Safe Title, Clip Name, and Timecode values. The color of each overlay can be customized to maximize the contrast between the guide(s) and scene being captured.

The Live Action Area includes the following GUI elements:

# ITEM DESCRIPTION FOR MORE INFORMATION, GO TO...

1 Lens Information Lens information when using supported

2 AF Status Currently selected auto focus mode “Focus Menu” on page 102 3 Center Crosshair and

Spot Focus Guide

Canon, Nikon, or Cooke lenses

Crosshair: Center of selected guide Reference guides: Safe Action/Safe Title,

Picture Center, Grid Overlay

Live Action Area

“Lens Information” on page 53

“General Tab” on page 64

4 Frame Guides Record or sensor projection area “Guides” on page 63 5 Clip Filename Filename of the clip being recorded, or

filename of the next clip to be recorded

6 Timecode Value Current timecode value “Timecode” on page 71

DSMC Media Operation Guide

LENS INFORMATION

This section describes the lens information displays when a supported lens is attached.

PL LENSES

Displays the focal length and focal distance when a DSMC PL mount is installed and a lens with the Cooke S4/i system (or equivalent) is attached. For more information, go to “Lens Tab” on page 63.

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CANON AND NIKON LENSES

The camera displays the focal length and focal distance when a DSMC Canon Mount or a DSMC Nikon Mount is installed and an electronically supported lens is attached. When AF is set to Manual or Confirm mode, the focus distance displays as a pair of Near–Far distances. When in AF mode, a single estimated focus distance displays.

The focal length and focal distance values and range vary depending on the attached lens. When the focal length of the lens changes, the current values displays. For more information, go to “Lens Tab” on page 63.

LOWER STATUS ROW

The Lower Status Row provides access to key system information and camera values.

1 3 5 62

Lower Status Row: Motion

The Lower Status Row in Motion mode provides key system information and camera values, including:

# LOWER STATUS ROW ITEM SUB-ITEM/DESCRIPTION FOR MORE INFORMATION, GO TO...

1 Camera Mode Swipe up to toggle Motion/Stills/Playback

modes 2 Histogram Histogram; tap to access the Tools menu “Histogram” on page 56 3 System Status

Indicators

Tap to access the System Status menu “System Status” on page 96

Temperature: Camera sensor and core

temperature, respectively

Cal: T/E “CAL: T/E Indicator” on page 57

HDR: Displays when HDRx mode is on “HDRX Menu” on page 102

False Color Mode: Displays modes “False Color Modes” on page 54

Magnify: Tallies 1:1 if magnify is selected “Magnify” on page 56

Timecode “Timecode” on page 135

Genlock “GEN Indicator” on page 57

“Camera Mode” on page 55

“Sensor Calibration” on page 90

Sync “SYNC Indicator” on page 57

RM: Indicates link to REDMOTE “REDMOTE Operation” on page 146

LAN “LAN Indicator” on page 58

RIG: Indicates 3D rig metadata is present N/A

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4 Media Status Media location and remaining media

capacity; tap to access the Media Menu 5 Power Status DC voltage in or % of remaining battery

capacity; tap to access the Power menu 6 Audio Meter Audio input selection and levels;

tap to access the Audio menu

“Media Menu” on page 96

“Power Status” on page 58

“Audio Meter Levels” on page 134

CAMERA MODE

The Camera Mode allows you to seamlessly toggle between Motion mode, Stills mode, and Playback. To select a camera mode, select the Camera Mode icon in the Lower Status Bar, swipe up, and select a camera mode.

NOTE: Setting adjustments made in Stills mode do not affect the settings in Motion mode, and vice versa. NOTE: You can also switch between Stills and Motion mode by using the Motion/Stills switch on the DSMC Side

Handle and REDMOTE. You can select the following camera modes:

 “Motion Mode” on page 55  “Stills Mode” on page 56  “Playback Menu” on page 97

MOTION MODE

Motion mode optimizes your camera settings for capturing motion. This mode defaults the camera to Continuous Record. Motion mode includes the following features:

 Motion recording modes:

‒ “Continuous Record” on page 73 ‒ “Internal Timelapse Timer” on page 73 ‒ “Frame Trigger” on page 73 ‒ “Speed Ramp Mode” on page 74 ‒ “REDCODE Burst” on page 74

 Swipe-Up Shortcuts

‒ Camera Mode ‒ Tools ‒ Media ‒ Power

NOTE: For more information, go to “Swipe-Up Menu” on page 60.

 Default Motion Preset (RED)

NOTE: For more information, go to “Default Key Functions” on page 188.

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STILLS MODE

Stills mode optimizes your camera settings for capturing stills. In Stills mode, the camera defaults to 6K 3:2, REDCODE 3:1, Auto Exposure Single Shot, and Multi-Shot mode. Stills mode includes the following features:

 Stills recording modes:

‒ “Multi-Shot” on page 75 ‒ “Motion + Stills” on page 76

 Swipe-Up Shortcuts:

‒ Auto Exposure ‒ Auto Focus ‒ Record Mode

NOTE: For more information, go to “Swipe-Up Menu” on page 60.

 Default Stills Preset (RED)

NOTE: For more information, go to “Preset Default Key Functions” on page 219.

HISTOGRAM

This section describes the elements that comprise the Histogram section in the Lower Status Row. This section of the GUI helps ensure that recorded footage is properly exposed.

Tap the Histogram in the Lower Status Row to access the Tools menu. For more information, go to “Tools” on

page 54.

# ITEM DESCRIPTION

1 RAW Level Bar (left)

2 RAW Level Bar (right)

3 RGB Histogram Provides a visual representation of exposure and sensor data levels for Red,

4 RAW Clip Meter Also known as “traffic lights”. Provides a visual representation of exposure and

1. The RAW Level Bars display the amount of pixels in the image that are noisy or clipped in relation to the total number of pixels in the image. For example, if the left RAW Level Bar is 1/8 of the total height, that means that approximately 1/8 of the total pixels in the total image are at an exposure level that is at risk of displaying noise when pushed to higher ISO or FLUT® values in post production.

Also known as a “goal post”. Displays the amount of pixels in the image that are underexposed (noise)

Also known as a “goal post”. Displays the amount of pixels in the image that are overexposed (clipping)

Green, and Blue channels; meter is affected by White Balance, ISO, and VIEW/ LOOK settings

sensor data levels for Red, Green, and Blue channels; Circles (traffic lights) will light up when clipping occurs

Histogram (Exposure)

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SYSTEM STATUS INDICATORS

This section describes the colors and behavior of the System Status indicators in the Lower Status Row. Tap the System Status indicators in the Lower Status Row to access the System Status menu. For more information, go to “System Status” on page 96.

CAL: T/E INDICATOR

The CAL: T/E indicator shows changes to temperature (T) or exposure (E) in relation to the active calibration map. If the temperature or exposure change significantly, black shade the camera at the desired temperature and exposure. Failure to properly calibrate the sensor may reduce image quality.

 Green: Sensor temperature or exposure are properly calibrated for current settings.  Yellow: Slight change in sensor temperature or exposure.  Red: Significant change in sensor temperature or exposure.  The – and + indicate whether the sensor temperature or exposure has decreased or increased, respectively.

NOTE: T and E indicators change colors independently of each other.

TC INDICATOR

The TC indicator shows the current timecode status.

 Grey: No analog timecode is detected.  Red: Analog timecode is detected but not enabled.  Green: Analog timecode is used to jam the time of day timecode.

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 135.

GEN INDICATOR

The GEN indicator shows the current genlock status.

 Grey: No genlock signal is detected, or the signal cannot cross-lock to project (24.00 fps vs. 23.98 fps).  Red: During process of sync, or genlock is lost while recording.  Green: A genlock signal matching the current HD-SDI monitor rate is locked.  Yellow: Timing is cross-locked to compatible but not matching monitor rate. For example, genlock is 24.00

fps, and HD-SDI monitor rate is 25.00 fps. NOTE: When the GEN indicator is yellow, DO NOT perform 3D operation. This warns that genlock source

settings and camera settings are not aligned, so phasing of the sync between cameras is not guaranteed.

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 135.

SYNC INDICATOR

The SYNC indicator shows the current sensor sync status, based on genlock.

 Grey: The sensor sync mode is not set to genlock.  Red: The sensor sync mode is set to genlock, but is not locked to a genlock signal. This may occur if

genlock or sensor sync is lost while recording.

 Green: The sensor sync mode and HD-SDI monitor rate are locked to a compatible genlock signal.

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 135.

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LAN INDICATOR

The LAN indicator shows the current status of an external LAN connection through the Gig-E port.

 Grey: External control of the camera is not enabled.  Yellow: If the LAN indicator is yellow, external camera control is not possible. For more information, go to

“Cannot Control Camera Externally” on page 149.

NOTE: The Yellow LAN indicator only applies to EPIC-X MYSTERIUM and EPIC-M MYSTERIUM-X.

 Green: Ethernet is enabled.

POWER STATUS

The Power Status element displays the current supply voltage or remaining battery capacity. Tap the Power Status element to access the Power menu. For more information, go to “Power Menu” on page 101.

DC IN SUPPLY VOLTAGE

When powering the camera via DC power, the current voltage displays. When powering the camera using batteries, the remaining battery capacity displays. The remaining capacity is indicated by the following colors:

 Green: 12.0 V and up  Yellow: 11.8 V to 11.9 V  Red: 11.6 V to 11.7 V

NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.

BATTERY TIME REMAINING

When using a REDVOLT or REDVOLT XL battery, the power status displays the location of the power source (example: SH: DSMC Side Handle; RM: Rear Module) and the remaining battery capacity. When using a RED BRICK battery connected to DC IN, the power status displays BRICK and the remaining battery capacity.

The color of the displayed battery capacity represents the amount of time remaining:

 Green: >10 minutes  Yellow: 5 to 10 minutes  Red: <5 minutes

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NAVIGATION CONTROLS

This section describes basic controls for navigating the camera menus.

TOUCHSCREEN NAVIGATION

RED Touch displays offer intuitive menu control and four (4) programmable buttons.

RED Touch 7.0" LCD

# RED TOUCH BUTTON DESCRIPTION

1 User Key 1 Toggle 1:1 Magnify on/off 2 Up Button Increase display brightness 3 Down Button Decrease display brightness 4 User Key 2 Toggle Exposure Mode on/off

NOTE: RED Touch display keys are programmable. For more information, go to “Key Mapping” on page 80. Navigate the menus using a touchscreen by using the following gestures:

 Tap: Tap has many functions:

‒ Tap to select a Basic Menu, submenu, or button. ‒ If a menu is open, tap anywhere outside the menu to save any changes and close the menu. ‒ Tap the right or left regions of the touchscreen to access the programmable soft keys.

 Swipe: Swipe to select different values in spinners or drop-down menus. For more information, go to

“Swipe-Up Menu” on page 60.

 Double-Tap: If the monitor is in Clean mode, changes to Overlay mode.  Hold: Tap and hold an icon to bring up an advanced interface display.  Pinch: Move two (2) fingers apart/together to increase/decrease the size of the image. By default, this

gesture is disabled.

For more information, go to “Gestures” on page 61.

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SWIPE-UP MENU

The Swipe-Up Menu is available in the Lower Status Row on RED Touch displays and provides Swipe-Up Shortcuts for Motion mode, Stills mode, and Playback.

For example, select the Camera Mode icon in the Lower Status Bar, swipe up, and select a Camera Mode.

Swipe Up to Select a Camera Mode

1 42 3 5 6 7

Stills Mode

# SWIPE-UP SHORTCUT DESCRIPTION

1 Camera Mode 2 Tools Set Horizon, RAW, Magnify, Zebras, and False Color 3 Media View as Percentage or Time Remaining, eject media, view clip thumbnails 4 Power View as Percentage or Time Remaining 5 Auto Focus 6 Auto Exposure 7 Record Mode

1. For more information about Stills mode and Motion mode, go to “Camera Mode” on page 55.

2. Shortcuts only available in Stills Mode.

Select Playback, Motion, or Stills

Set Zone, Size, and Mode Set Exp Comp, Speed, Metering, Priority, and Mode Select Multi-Shot or Motion + Stills

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NAVIGATION GROUP

The Navigation Group is the primary control interface on the DSMC Side Handle, RED Switchblade-M, and REDMOTE

Navigation Group

# NAVIGATION GROUP ELEMENT DESCRIPTION

1 Scroll Wheel Select and adjust the value of a selected setting 2 Directional Keys (D-Pad) Navigate menus and menu items 3 ENTER key Press ENTER to confirm a setting or access the selected menu

Navigate the menus using a DSMC Side Handle, RED Switchblade-M, or REDMOTE using the following controls:

 Press ENTER to open the menu, then rotate the Scroll Wheel clockwise to move right, counterclockwise to

move left to highlight the desired menu or parameter. Press ENTER to select.

 Press the Up Navigation Key to open the related Advanced Settings menu, if one (1) is available.

For more information, go to “Default Key Functions” on page 188. For more information on the REDMOTE, go to “REDMOTE Operation” on page 146.

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DSMC SIDE HANDLE

This section describes the controls and display of the DSMC Side Handle.

1 2

3 4

11 12

# CONTROL/ITEM DESCRIPTION

1 LCD Display Go to “DSMC Side Handle Display” on page 63 2 User Keys (1–4)

3 Menu Button Access menus or exit currently selected menu 4 Rocker Switch Open (Up)/Close (Down) Iris

User 1-4 keys are used to select a slot on the DSMC Side Handle Display. The front rotary then adjusts the value of the selected slot.

DSMC Side Handle Controls

5 User Keys (5–7) 5: Toggle Exposure Mode on/off

6: Key Disabled 7: Eject Media

6 Thumbwheel Lock Install and remove the DSMC Side Handle 7 LCD Backlight Button Toggles LCD backlight illumination 8 Navigation Group Navigate menus and menu items; go to “Navigation Group” on page 61 9 User Keys (A–D) A: Cycle Auto-Focus Mode

B: Auto White Balance C: Toggle 1:1 Magnify on/off D: Toggle Exposure Mode on/off

10 Rotary Dial Adjust camera parameter values based on the underlined value on the

DSMC Side Handle LCD Display 11 Focus/Record Button Half-press for auto-focus; full press to Start/Stop Record 12 Stills/Motion Mode Switch Toggles between Stills/Motion Mode, enabled in v6.0 firmware or later 13 Battery Door Release Press to open the battery door 14 PC Sync Port Triggers external flashes or strobes

1. Press User Keys 1 + 4 simultaneously to lock/unlock DSMC Side Handle buttons to prevent inadvertent menu changes.

NOTE: DSMC Side Handle keys are programmable. For more information, go to “Key Mapping” on page 80.

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DSMC SIDE HANDLE DISPLAY

The DSMC Side Handle displays Basic Menu parameters and other system status information.

1 2

11 10

The DSMC Side Handle displays the following camera parameters:

# DISPLAY ITEM DESCRIPTION

1 Calibration Indicator of relative change in sensor temperature and exposure since

2 Recording Frame Rate Current recording frame rate 3 White Balance Color temperature 4 Resolution Recording resolution 5 ISO Camera sensor sensitivity 6 Temperature Displays camera sensor and core temperature, respectively 7 Lens Information Displays aperture when a supported Canon, Nikon, or Cooke lens is

last calibration

attached

DSMC Side Handle Display

8 REDCODE REDCODE compression setting 9 Cursor User 1-4 keys are used to move the cursor to select a slot. The front rotary

then adjusts the value of the selected slot. 10 Shutter Speed Integration time or shutter angle 11 Media Status Displays media location and remaining media capacity 12 Power Status Indicates DC supply voltage or % of remaining battery capacity including

current supply voltage

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RED SWITCHBLADE-M

This section describes the controls and display of the RED Switchblade-M.

RED Switchblade-M

# CONTROL/ITEM DESCRIPTION

1 User Keys (A–D)

2 MENU Button 3 MODE Button Toggle RED Switchblade-M between Remote and Local Modes 4 Navigation Group Navigate menus and menu items; Go to “Navigation Group” on page 61 5 Mounting Thumbscrew Install and remove the RED Switchblade-M

1. Press User Keys A + D simultaneously to lock/unlock RED Switchblade-M buttons to prevent inadvertent menu changes.

2. MODE Button functionality requires camera firmware v5.3 or later.

NOTE: RED Switchblade-M keys are programmable. For more information, go to “Key Mapping” on page 80.

A: Cycle Auto-Focus Mode B: Auto White Balance C: Toggle 1:1 Magnify D: Toggle Exposure Mode

Access menus or exit currently selected menu

Controls

OPERATION MODES

The RED Switchblade-M OLED display reflects the currently selected mode. Use the Scroll Wheel and Directional Keys to navigate menus. Press MENU to access the Advanced Menu.

Press MODE to toggle between the following modes:

 Remote Mode: Navigate with RED Switchblade-M controls, using an attached LCD, EVF, or other monitor as

a reference. The RED Switchblade-M displays the primary control screen.

 Local Mode: Navigate using the RED Switchblade-M controls and display. User Keys A-D are inactive.

KEY LOCK/UNLOCK

Lock the keys on the RED Switchblade-M to prevent inadvertent button presses and menu changes.

 Lock: Press A + D simultaneously.  Unlock: Press A + D simultaneously. Alternatively, press and hold ENTER while keys are locked.

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RED SWITCHBLADE-M DISPLAY

The RED Switchblade-M OLED display provides basic camera parameters during operation.

2 3

5 6 7

The RED Switchblade-M displays the following camera parameters:

# DISPLAY ITEM DESCRIPTION

1 Frame Rate Current Recording Frame Rate 2 Lens Information Displays aperture when a supported Canon, Nikon, or Cooke lens is

attached 3 White Balance Color temperature 4 REDCODE REDCODE compression setting

RED Switchblade-M OLED (Local Mode)

5 Media Status Displays media location and remaining media capacity 6 Timecode Current timecode value 7 Power Status Indicates DC supply voltage or % of remaining battery capacity including

current supply voltage 8 Color and Gamma Space Currently selected RED color and gamma space settings 9 Resolution Recording resolution 10 Shutter Speed Integration time or shutter angle 11 ISO Camera sensor sensitivity

725-0003

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ADVANCED

MENUS

ADVANCED MENUS

Advanced Menu

b nvvb

The Advanced Menus include:

ADVANCED MENU DESCRIPTION FOR MORE INFORMATION, GO TO...

Settings Camera settings including: Display, Look, Project,

Audio, Recording, Setup, and Maintenance Media SSD operations including: format, eject, and more “Media Menu” on page 118 Playback View clips recorded to the attached SSD “Playback Menu” on page 119 Power Power sources, settings, status, and shutdown “Power Menu” on page 121 HDRX HDRx mode and settings “HDRX Menu” on page 123 Focus Focus modes, features, settings, and rack focus “Focus Menu” on page 124 Exposure Assist Automatic exposure settings and controls “Exposure Assist” on page 129 Presets Adjust Looks, key mappings, I/O, and more “Presets Menu” on page 131

“Settings Menu” on page 67

ACCESS THE ADVANCED MENUS

 Tap the Menu button on the DSMC® Side Handle or REDMOTE® .  Tap the Menu icon on the touchscreen.  Select the Advanced... button in any menu from the Upper Status Row.

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SETTINGS MENU

Settings Menu

The Settings menu includes: Display, Look, Project, Audio, Recording, Setup, and Maintenance.

DISPLAY

The Display menu includes: Tools, Zebra, Monitor Control, Modes, Guides, Test Signal, and REDCAST™ (the REDCAST menu is only accessible when a REDCAST Module is installed).

TOOLS

The Tools menu provides access to false color and display modes. For more information, see the Exposure with RED Cameras: False Color & Zebra Tools article, available at www.

red.com/learn/red-101/exposure-false-color-zebra-tools.

FALSE COLOR MODES

False color modes include: Off, Exposure, Video, Focus, Edge, and Gio Scope. NOTE: Only monitors with the Tools check box selected in the Monitor Control menu show the false colors. For

more information, go to “Motor Control” on page 104. NOTE: False color modes affect video recorded through HDMI® or HD-SDI to an external recorder if the Tools

check box is selected in the Monitor Control menu. When recording through HDMI or HD-SDI, use false color modes only to help configure project settings, and then disable the mode before recording.

OFF

Disables all false color modes.

EXPOSURE

Displays color overlay on top of a desaturated image that allows you to check for proper exposure. When

enabled, the “E√” indicator displays in the Lower Status Row.

The Exposure meter colors indicate the following information:

 Purple: Underexposed; indicates sensor exposure levels that may be noisy if gained up in post production.  Green: IRE 41–48; based on the RGB levels of the video out signal and not the RAW data.  Red: Overexposed; indicates sensor exposure levels that are clipping.

Purple (underexposure) and red (overexposure) are based on RAW data and show areas that are clipping or close to clipping. The RGB settings (settings in the Look menu) DO NOT affect the Exposure indicators.

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VIDEO

Displays a color overlay that indicates the video level of the RGB monitor path (calibrated to the SMPTE test

signal). When enabled, the “V√” indicator displays in the Lower Status Row.

Colors are based on the RGB levels of the video out signal (that is, the “cooked” look, and not RAW data). The RGB settings (settings in the Look menu) affect the Video indicators.

The Video indicators represent the following IRE values (at all other values, the desaturated image represents the luminance value of the ISO adjusted image):

 Purple: IRE 0–4  Blue: IRE 5  Teal: IRE 10–12  Green: IRE 41–48  Pink: IRE 61–70  Straw: IRE 92–93  Yellow: IRE 94–95  Orange: IRE 96–98  Red: IRE 99–100

FOCUS

Emphasizes contrast and edges in the image without changing brightness or image content making it easier to

judge focus. Adjust zoom and focus to easily see which objects are coming into focus. When enabled, the “F√”

indicator displays in the Lower Status Row.

EDGE

Shows the edges/outlines of objects that are in focus. When enabled, the “F√” indicator displays in the Lower

Status Row.

NOTE: The Edge setting may interfere with recordings done via HDMI or HD-SDI in Clean mode.

GIO SCOPE

Displays a color overlay on top of a desaturated image, identifying the 16 stops of light within the full dynamic range of the RED DRAGON® sensor.On cameras with the MYSTERIUM-X® sensor, you can still select up to 16 stops. However, the camera will not detect the top and bottom stops.

When enabled, the “G√” indicator displays in the Lower Status Row. The Gio Scope indicators are based on

RAW data. The RGB settings (settings in the Look menu) DO NOT affect the indicators. Each number indicates a different stop of light.

 11: Represents mid-grey.  16: Represents the top stop, and is broken up into 1/8th increments to show highlight roll-off. Each 1/8th

stop is represented by a different shade of red, ranging from light red (less light) to dark red (most light).

DISPLAY MODES

Display mode options include: Magnify, RAW, and Horizon.

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MAGNIFY

Displays the central region of the sensor in 1:1 pixel resolution. When enabled, the 1:1 text in the Lower Status Row turns green, and the AF Window and the magnified region display. The AF Window determines the center point of the magnified region. If the lens or lens mount is not capable of autofocus with the camera, use Confirm mode to turn on the AF Window. Sharpening is disabled when 1:1 magnify is enabled. The camera automatically exits magnify mode when recording begins.

The Magnify tool magnifies a 1920 x 1020 region, centered on a 1920 x 1080 display. If the resolution is lower than 1920 x 1020, the image border cannot be magnified. Use the following equations to determine the area of the image border that will not be magnified:

 Border width: (1920 – W) / 2  Border height: (1020 – H) / 2

NOTE: Frame rate and resolution cannot be modified in Magnify mode.

RAW

When enabled, the camera displays images unaffected by the RGB settings (settings in the Look menu). RAW affects the video recorded via HDMI or HD-SDI to an external recorder. RAW image parameters DO NOT affect image metadata; the parameters only affect the monitor output. The word RAW displays in the Histogram in the Lower Status Row.

The RAW image parameters are:

 Color Space: REDcolor2  Gamma Space: REDlogFilm  White Balance: 5600K  ISO: 800 ISO  Tint: 0 Tint

NOTE: In RAW mode, the following controls are disabled on all cameras: color temperature, tint, saturation, RGB gains, ISO, contrast, brightness, shadow, flut, exposure compensation, LGG controls, RGB curves, and luma curve.

HORIZON

Displays an overlay that provides a reference to the position of the horizon. The Horizon overlay consists of two (2) short side-bars that are always horizontally centered on the monitor, and a single longer horizon-line that adjusts to the horizon based on the orientation of the camera.

The side-bars are green if the pitch is within +/– 1° of the calibrated zero position, otherwise they are red. The horizon-line is green if the roll is within +/– 1° of the calibrated zero position, otherwise it is red.

To add numerical values for the pitch and roll to the Horizon overlay, follow the instructions below:

1. Go to Menu > Settings > Display > Monitor Control > Overlay.

2. Select Create..., Clone..., or Edit..., respectively, for the desired overlay action.

3. Select a location on the interface to add the numerical data for the Horizon overlay.

4. Select Motion: Gyro Data (GYRO) from the Item drop-down menu.

5. Select the desired text size.

6. Select Add.

7. Select Save.

8. Go to Menu > Settings > Display > Monitor Control > Monitor, and select the overlay from the Overlay drop-

down menu.

NOTE: The internal gyroscope and accelerometer must be calibrated for the Horizon overlay to function properly. For more information, go to “Gyroscope and Accelerometer Calibration” on page 107.

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ZEBRA

Use Zebra mode to enable and adjust the upper and lower values for two (2) independent zebra indicators. Use Zebra 1 for highlight exposure, and use Zebra 2 for mid-tones or shadows. Zebras are visible in Magnify mode and are disabled by default.

The camera offers two (2) zebra types:

 Video: IRE-based mode; evaluates based on the current ISO and Look settings, and not the RAW image.  RAW: Evaluates based on the RAW image.

For more information, see the Exposure with RED Cameras: False Color & Zebra Tools article, available at www.

red.com/learn/red-101/exposure-false-color-zebra-tools.

ENABLE ZEBRA INDICATORS

1. Go to Menu > Settings > Display > Zebra.

2. Select a Zebra check box.

‒ Zebra 1:

‒ Video: Areas of the image exposed within the IRE range are indicated by red diagonal lines at –45°.

Default is 98 to 100 IRE.

‒ RAW: Areas of the image exposed within the range of stops are indicated by solid red. Default is

15.80 to 16.00 stops.

‒ Zebra 2:

‒ Video: Areas of the image exposed within the IRE range are indicated by green diagonal lines at

45°. Default is 41 to 48 IRE.

‒ RAW: Areas of the image exposed within the range of stops are indicated by solid purple. Default

is 0.00 to 4.00 stops.

MONITOR CONTROL

Use the Monitor Control menu to configure monitor and overlay settings, control surface priorities, brightness, and gestures.

MONITOR

Select the monitor to configure from the drop-down menu at the top of the menu. The other settings on the menu are applicable to the selected monitor.

NOTE: Changes to Monitor Control settings take effect when you close the menu.

MODE

Determines the elements displayed on the monitor:

 Clean: Only the video displays. The Upper Status Row, Lower Status Row, and overlays do not display.  Overlay: The overlay displays. Overlays include the Upper Status Row and the Lower Status Row.  Mirror: The monitor mirrors another screen at the same resolution. You cannot mirror a screen that is set

to Clean. The Mirror option is available based on the settings of the other attached monitors, and includes the name of the monitor that can be mirrored.

NOTE: You can set a maximum of four (4) monitors to Overlay at a time. To assign additional monitors to Overlay, mirror a monitor with the same resolution that is set to Overlay.

NOTE: When two (2) touchscreens are attached to the camera with the same resolution and one (1) is currently the control surface, set the other to mirror it and give the effect of having two (2) control surfaces.

OVERLAY

Select which overlay shows on top of the video. RED® provides preset overlays, which have “(RED)” in the overlay name. Create custom overlays in the Overlay tab. For more information, go to “Overlays” on page 72.

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RESOLUTION

Select the output resolution for monitors (you cannot select a resolution for LCDs and EVFs, since the resolution is determined automatically). For more information about available HD-SDI and HDMI resolutions, go to “3G-SDI

(HD-SDI) Out” on page 169 and “HDMI Out” on page 171.

FREQUENCY

Determines the monitor frequency. Available frequencies depend on the selected monitor. The LCD resolution defaults to 60.00 Hz, which is the optimal refresh rate for the RED LCDs.

For HD-SDI monitors, the frequency depends on the project time base. For more information, go to “3G-SDI

(HD-SDI) Out” on page 169 and “HDMI Out” on page 171.

HD-SDI Auto: Sets the frequency equal to the Project Time Base, except when the Project Time Base is

47.95/48 fps. When the Project Time Base is 47.95/48 fps, the frequency is half that rate (23.98/24 Hz).

TOOLS

Enables the false color modes on the monitor. For more information, go to “Tools” on page 67.

UI FLIP/MIRROR NOTE: This setting is NOT available on the RED Touch 7.0" LCD. For more information, go to “Flip/Mirror” on

page 71.

Flip the graphical user interface (GUI) vertically and mirror horizontally (not rotated). Use this setting when mounting a monitor upside down. This setting only affects the monitor, and does not affect captured footage.

FLIP VIDEO NOTE: This setting is NOT available on the RED Touch 7.0" LCD. For more information, go to “Flip/Mirror” on

page 71.

Flip footage horizontally, so that it is upside down. This setting only affects the monitor, and does not affect captured footage.

FLIP/MIRROR NOTE: This setting is ONLY available on the RED Touch 7.0" LCD.

Mirror and flip (invert) the graphical user interface (GUI) and footage, effectively rotating the entire displayed image 180°. Use this setting when mounting a monitor or the entire camera rig upside down. This setting only affects the monitor, and does not affect captured footage.

FRAMED OVERLAY

The video display is scaled down on the monitor so that the overlay items fit outside of the video area rather than over it. This setting only affects the monitor, and does not affect captured footage.

AUTO HIDE MENUS

Hides the Upper Status Row and Lower Status Row. When this option is disabled, the video is scaled so that the menus are not overlaid on the video. When this option is enabled, the video is not scaled. This option creates a control surface on a monitor without scaling the video. This setting only affects the monitor, and does not affect captured footage.

To toggle display/hide the menus when Auto Hide Menus is enabled, perform either of the following actions:

 Press the Menu button on the DSMC Side Handle or RED Switchblade-M.  Tap the touchscreen.

NOTE: Enabling this option on a non-control surface results in the menus never displaying on that monitor.

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OVERLAYS

Create custom overlays that include specific items. Overlays can be stored on the camera or transferred to SSD to be shared with other cameras.

 Camera: Overlays saved internally on the camera display in the Overlay drop-down menu on the Monitor

Control > Monitor tab.

 Media: Overlays saved to an SSD can be found at On Media: \overlays:.

NOTE: Overlays that end with (RED) are provided by default and cannot be edited, deleted, or exported.

OVERLAY ACTIONS

 Create...: Create a new custom overlay using a blank overlay template in the Overlay Editor.  Clone...: Create a new custom overlay using the selected camera overlay as a template in the Overlay Editor.  Edit...: Edit the selected camera overlay in the Overlay Editor.  Delete: Delete the selected camera overlay.

EXPORT AND IMPORT OVERLAYS

 : Export selected overlay from camera to SSD.  All : Export all overlays from camera to SSD.

 : Import selected overlay from SSD to camera.  All: Import all overlays from SSD to camera.

CREATE AND EDIT OVERLAYS

1. Go to Menu > Settings > Display > Monitor Control > Overlay.

2. Select Create, or select an existing overlay and select Clone or Edit.

3. If creating a new overlay, enter a name for the overlay and select OK.

4. Select any of the following check boxes to add the corresponding guides to the overlay:

‒ Frame Guide ‒ Action Guide ‒ Title Guide

5. Select a button on the matrix to add a user interface element to that position on the matrix.

By default, the Magnify indicator (MI) is on the top left, the Record indicator (REC) is on the top right, the Clip Name (CLIP) is on the bottom left, and the Timecode (TC) is on the bottom right.

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6. Selecting one (1) of the buttons opens a new dialog that lets you choose a user interface element.

7. Select the Item that you want to add.

8. Select the Size of the item.

9. If adding a Custom Label (LBL), enter the Custom Text for that item.

10. Select Add to return to the previous screen.

11. Add all of the items to the overlay.

12. Select Create or Save.

The new overlay displays in the Camera list.

NOTE: Except for the Custom Label (LBL), you can only add each element once. If you add an element you have already added to the overlay, the element moves to the new position.

LUTS

The LUTs menu is only accessible when a REDCAST Module is installed. For more information, see the REDCAST

Module Operation Guide, available at www.red.com/downloads.

PRIORITY

The camera can only have one (1) control monitor for interacting with camera settings. The Priority tab determines the order in which a monitor becomes the control monitor. If you plan on removing or adding monitors during a shoot, set up the priority list ahead of time.

For a monitor to become the control monitor, the following must occur:

 The monitor must be set to Overlay mode in the Monitor Control menu.  Each monitor that has higher priority on the list must be either detached or not set to Overlay mode.

EXAMPLE

By default, the monitor priority is:

1. BRAIN LCD

2. BRAIN EVF

3. BRAIN HDMI If you remove an LCD when an EVF is attached, then the EVF becomes the control monitor. If you then remove

the EVF when an HDMI monitor is attached, the HDMI monitor becomes the control monitor. If you then reattach the LCD, then the LCD is the control monitor again.

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BRIGHTNESS

Control the brightness of each LCD and EVF. Move to the right for a brighter display; move to the left for a dimmer display. Side UI LCD controls the brightness of the Switchblade-M LCD.

NOTE: A rear LCD/EVF is an LCD/EVF that is plugged into any rear RED module, such as the +1 Adaptor Module or the Pro I/O Module.

ADVANCED

Provides access to additional monitor settings.

GESTURES

 Pinch to Magnify: Move two (2) fingers apart or together to toggle 1:1 Magnify. For more information, go to

“Magnify” on page 69.

 Double-Tap Right 25% to Record: Double-tap the right 25% of the video area on the LCD to toggle record.  Double-Tap Left 25% to Start AF: Double-tap the left 25% of the video area on the LCD to start autofocus

when compatible lenses are used. For a list of compatible lenses, go to “Lenses” on page 178.

OTHER

 Lock Touch Screen: Touchscreen control is locked. To unlock, tap the screen and follow the on-screen

instructions.

 Use Small Dialogs on 9" LCD: The dialogs on the RED Touch 9.0" LCD are smaller than the default dialogs.

GENLOCK OFFSET

Offset the video of the HDSDI out or REDCAST Module to align it with the genlock signal:

 Negative offset: Advances the video, so the video reaches the switcher earlier than it would otherwise.  Positive offset: Advances the video, so the video reaches the switcher later than it would otherwise.

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ALLOW OPEN GATE

Open Gate allows the camera to preview images at a refresh rate that is twice the project time base. For example, if the project time base is 23.98 FPS or 24.00 FPS, enabling Open Gate causes the LCD or EVF to have a refresh rate of 48 Hz (50 Hz).

NOTE: You cannot use Open Gate when:

 Varispeed is enabled.  Speed Ramp mode is enabled.  Genlock is enabled.  The shutter angle is 180° or greater.

NOTE: When you disable Open Gate mode, the image on the EVF may be disrupted for up to three (3) seconds.

MODES

Use the Modes menu to determine how the following settings display:

 Camera  Lens

CAMERA TAB

Display Mode: Camera

EXPOSURE

 Time (Absolute): Displays the exposure time in seconds (1/xx sec). When you change the frame rate in this

mode, the shutter time stays the same, but the shutter angle changes. Time (Absolute) is the default.

 Angle (Relative): Displays the exposure as an angle (1–360°). When you change the frame rate in this mode,

the shutter angle stays the same, but the exposure time changes.

POWER

 Current Batt %: Displays the remaining percentage of active battery. (Default)  Total Time: Displays the total run-time left of battery power, taking into account all available batteries.

VU METER

 Input: Displays levels of audio inputs (pre-mixer). (Default)  Output: Displays levels of audio outputs (post-mixer).

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HISTOGRAM NOTE: The Histogram setting is not accessible on cameras with Monochrome or RED DRAGON Monochrome

sensors.

 RGB: Displays red, green, and blue channels on histogram. (Default)  Luma: Displays luma channel on histogram.

MEDIA

 Percentage: Displays media space remaining as a percentage. (Default)  Time Remaining: Displays media space remaining as time in hours and minutes (HHH:MM).

LENS TAB

Display Mode: Lens

APERTURE

 1/4 F#: Aperture increments in 1/4 stops.  1/3 F#: Aperture increments in 1/3 stops. (Default)

FOCUS DISTANCE

 Metric: Displays lens focus distances in meters.  Imperial: Displays lens focus distances in feet and inches. (Default)

MOTION MOUNT ND AND MOTION MOUNT ISO PULL

Only applicable when using a DSMC RED MOTION MOUNT®. For more information, see the RED MOTION MOUNT

Operation Guide, available at www.red.com/downloads.

RACK SHOW DISTANCE

 On: Displays the focus distance of each rack point on the Live Action Area when rack focus is enabled. For

more information, go to “Set Up Rack Focus” on page 127.

 Off: Does not display the focus distance of rack points when rack focus is enabled. (Default)

GUIDES

Use the Guides menu to configure the Frame Guide, Action Guide, and Title Guide.

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MODE

 Off: Disable all guides.  Full: Guide has the same aspect ratio as the record format.  4:3, 16:9, 1.85:1, 1.9:1, 2.4:1: Guide has the selected aspect ratio.  User: Select an aspect ratio from the drop-down menu that displays when you select this option.  Absolute: Guide is defined by absolute pixel dimensions rather than aspect ratio and scale. When you select

Absolute, the Width/Height fields replace the Scale field.

SCALE

Percentage to scale guide from its maximum possible size. Available range is 0–100%.

WIDTH/HEIGHT

The Width/Height fields replace the Scale field when you select Absolute from the Mode drop-down menu. Select the values for the width and height of the guide in pixels.

OFFSET X/Y

Percentage to offset guide from its default centered position. Available range is 0–100%.

 100%: Right-aligned (for X offset) and bottom-aligned (for Y offset).  -100%: Left-aligned (for X offset) and top-aligned (for Y offset).

APPEARANCE

 Line Style: Select one of the following line styles: Solid, Dashed, or Bracket.  Color: Select the color that has the highest contrast to the scene. The default is White.  Opacity: Set the guide opacity. Available options are 0%, 25%, 50%, 75% and 100%.

RELATIVE TO FRAME GUIDE

Select the Relative to Frame Guide check box to size and position the guide relative to (and have it bounded by) the Frame Guide instead of the record format.

NOTE: The Relative to Frame Guide check box is available on the Action Guide and Title Guide tabs.

GENERAL TAB

Enable/Disable and select the location (Relative To), color, and opacity of the following elements:

 Center: The center crosshair.  Grid: Rule-of-thirds grid.  Shading: The shaded region outside of the area of interest.

TEST SIGNAL

Use the Test Signal menu to replace the video monitor outputs with one of the following video test patterns:

 Chip Chart  SMPTE Bars  Luma

To enable a test signal, select the test signal box. To exit, tap the touchscreen or press the Enter or Menu button on the DSMC Side Handle or REDMOTE. If needed, enable an Audio Tone.

NOTE: Test signals are not recordable; they are provided to help align external HD-SDI and HDMI monitors.

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REDCAST

The REDCAST menu is only accessible when a REDCAST Module is installed. For more information, see the

REDCAST Module Operation Guide, available at www.red.com/downloads.

LOOK

The Look menu includes: Color, Gain, ISO/FLUT, Sharpness, Curves, Video, Color Temperature, and LGG (Lift, Gamma, Gain).

The Look settings affect the look of the monitor path, but do not affect the recorded RAW data.

COLOR

 Saturation: Adjusts color saturation. Range is 0.0 (monochrome) to 4.0 (super color). Default is 1.0.  Contrast: Adjusts the overall contrast of the image. Range is –1.0 (flat) to 1.0 (max contrast). Default is 0.0.  Brightness: Adjusts brightness without crushing highlights. Available range is –10.0 to 10.0. Default is 0.0.  Exp Comp: Adjusts exposure compensation. Available range is –7.0 to 7.0. Default is 0.0.

NOTE: Saturation is disabled on all Monochrome cameras.

GAIN

Adjust the Red channel, Blue channel, and Green channel individually. The range for each is 0.0 (none of the color) to 10.0, and the default for each is 1.0.

ISO/FLUT

Use the ISO/FLUT menu to adjust ISO, FLUT, and Shadow. For more information, see the following articles:

 Exposure with RED Cameras: Strategy, available at www.red.com/learn/red-101/exposure-with-red-

cameras

 ISO Speed Revisited, available at www.red.com/learn/red-101/iso-speed-revisited

ISO

Select the camera ISO rating. The sensitivity value increments in 1/3 stops. When the ISO rating is adjusted, the camera logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter images in the monitor path, and vice versa.

RED recommends setting the ISO to the default, then adjust the aperture, lighting, and ND filters to match. The ISO can later be adjusted around one (1) stop for fine-tuning.

Range is ISO 250 to 12,800. Default is ISO 800.

NOTE: For Monochrome and RED DRAGON Monochrome, the default is ISO 2000.

FLUT

Floating Point Lookup Table (FLUT) is an exposure control exclusive to RED. FLUT works like a traditional ISO setting, but can be fine-tuned in post production to any level of exposure precision. FLUT automatically protects highlights and shadows, even when changed substantially.

The FLUT setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop change in midtone exposure level. Range is –8.0 to 8.0. Default is 0.0.

SHADOW

Shadow adjusts the toe value of the FLUT (the tone near black). Increasing the Shadow value raises the video level of near blacks. Lowering the Shadow value crushes the video level of near blacks. Range is –2.0 to 2.0. Default is 0.0.

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SHARPNESS

Control the sharpness of each monitor output. Move to the left for a sharper image; move to the right for a less sharp image.

CURVES

Define the individual curves for the Luma, Red, Green, and Blue channels. You can only adjust one (1) curve at a time. Select Reset Curve to reset a curve.

NOTE: Luma is the only channel on cameras with Monochrome or RED DRAGON Monochrome sensors.

VIDEO

Use the Video menus to adjust the color space and gamma space for each monitor output. All settings in the Video menus affect metadata only, and can be changed in REDCINE-X PRO®.

NOTE: Selecting options in the Video menu may make the menu lighter or darker. The camera applies the color and gamma spaces after rendering the user interface, so changing these settings affects the user interface.

NOTE: RED recommends using the most recently released Color Space and Graded Gamma settings. Use legacy settings (such as REDcolor2) only if you need to record footage to match footage that you recorded with that legacy setting.

VIDEO SOURCE

1. Select a source from the Video Source drop-down menu:

‒ Graded: Select this to choose a color space and graded gamma space. ‒ Graded (ACES): Select this to output a graded ACES proxy. ‒ Graded (ACEScc): Select this to output a graded ACEScc proxy. ‒ RLF: Select this to output REDLogFilm. Then choose a color space and graded gamma space. Select-

ing RLF allows you to apply a neutral look to recorded files, while applying a graded look to monitors.

‒ LOG3G12: Select this to output LOG3G12. Then choose a color space and graded gamma space. ‒ ACES: Select this to output a graded ACES proxy. Then choose a graded gamma space. Selecting ACES

allows you to apply a neutral look to recorded files, while applying a graded look to monitors.

‒ ACEScc: Select this to output a graded ACEScc proxy. Then choose a graded gamma space.

2. Graded and RLF: Select a color space from the Color Space drop-down menu.

3. Graded, RLF, and ACES: Select a graded gamma space from the Graded Gamma Space drop-down menu.

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4. IRLF and ACES: Set up the Monitor Configuration. For more information, go to “Monitor Config (Monitor

Configuration)” on page 80.

MONITOR CONFIG (MONITOR CONFIGURATION)

The Monitor Configu menu is available if the Video Source is set to RLF or ACES. For more information, go to

“Video Source” on page 74.

Use the Monitor Config menu to apply a curve to each monitor output.

1. Select the monitor to configure from the drop-down menu at the top of the menu.

2. Select a curve from the Curve drop-down menu:

‒ Neutral: The camera does not apply a graded gamma space to the monitor output. ‒ Graded: The camera applies a graded gamma space to the monitor output.

The Video Path displays the video source and graded gamma space applied to the monitor.

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COLOR TEMPERATURE

Select a color temperature. The range is 1700 to 10,000 KELVIN, and the default is 5600 KELVIN.

NOTE: Color temperature is disabled on all Monochrome cameras. NOTE: The Color Temperature settings are not accessible on cameras with Monochrome or RED DRAGON

Monochrome sensors.

TINT

Color temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging. To compensate for any residual colorcast, the Tint parameter adjusts the RGB color balance with a compensating magenta-green color component. Tint range is –100 to 100, with a default of 0.000.

NOTE: Selecting Auto White Balance calculates a new Tint value. The value does not change if you adjust the color temperature manually. Selecting a preset resets Tint to 0.000.

NOTE: Tint is disabled on all Monochrome cameras.

PRESETS

Each preset has 0.000 Tint. Available preset options are:

 Incandescent: 2800 K  Tungsten: 3200 K  Fluorescent: 4500 K  Flash: 5500 K  Daylight: 5600 K  Cloudy: 7500 K  Shade: 9000 K

AUTO WHITE BALANCE

Auto white balance analyzes the central 25% of the image visible in the monitor to calculate a color temperature that will render a white object as white.

To use auto white balance, follow the instructions below:

1. Place a white or grey object under the ambient light.

2. Go to Menu > Settings > Look > Color Temp.

Alternatively, select Color Temperature > Advanced... from the Upper Status Row.

3. Select Auto White Balance.

LGG (LIFT, GAMMA, GAIN)

Adjust the lift, gamma, and gain for the Red channel, Blue channel, and Green channel individually.

PROJECT

The Project menu includes: Frame Rate, Exposure, Timecode, Slate, Format, and Sensor.

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FRAME RATE

RECORDING FRAME RATE

Select the recording frame rate (also referred to as the capture frame rate). The recording frame rate is the number of frames per second (fps) that are recorded. The recording frame rate is different from the project time base, which is the rate at which the footage will be played back.

The default recording frame rate is 23.98 fps. If you change the project time base, the recording frame rate automatically changes its value to match the project time base.

The maximum frame rate for each format is determined by several factors, including project time base, REDCODE, and Lookaround. For more information about the maximum REDCODE settings for each common recording frame rate, see the DSMC Media Operation Guide, available at www.red.com/downloads.

PROJECT TIME BASE

Select the project time base, which is the rate at which the footage will be played back. The project time base displays in the lower left corner of the display.

The following project time bases are available:

 23.98 fps (Default)  24.00 fps  25.00 fps  29.97 fps  47.95 fps  48.00 fps  50.00 fps  59.94 fps

VARISPEED

When a recording frame rate other than the current project time base is selected, the fps text turns yellow and the word Varispeed replaces the Audio Meter in the lower right corner of the display.

Audio is not recorded in Varispeed mode.

EXPOSURE

Select the exposure (shutter speed) of each frame. You can change exposure while recording. Decreasing shutter speed increases the amount of time that light hits the sensor, which increases exposure and

motion blur of moving objects. Increasing shutter speed decreases the amount of time that light hits the sensor, which decreases exposure and motion blur of moving objects.

The Upper Status Row displays the exposure as either shutter speed or shutter angle. For more information, go to “Exposure” on page 67.

If the camera is able to achieve the target exposure, the exposure value displays in white. If the camera is unable to achieve the target exposure, the exposure value displays in yellow, and the camera uses the closest available exposure.

NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera ramps to a frame rate that is incompatible with the current exposure, the exposure changes to the longest exposure possible for the frame rate. For more information, go to “Speed Ramp Mode” on page 93.

NOTE: You cannot change the exposure when HDR is enabled.

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INTEGRATION TIME

Enter the exposure value as a shutter speed (1/xx sec).

 MYSTERIUM-X: Slowest speed is 1/recording frame rate. For 24 fps, the slowest speed is 1/24 sec.  RED DRAGON: Slowest speed is 1/8 sec, regardless of the recording frame rate.

The fastest speed is 1/131,579 sec. Default is 1/48 sec.

SHUTTER ANGLE

Enter the exposure value as a shutter angle (xx°). Range is 1.000–360.000°. Default is 180.000°.

EXPOSURE CONVERSIONS

The table below lists common shutter speed and shutter angle equivalents.

SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°) SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°)

1/32 270 1/120 72 1/48 180 1/192 45 1/50 172.8 1/348 22.5 1/60 144 1/696 11 1/96 90 1/1000 8.6

CONVERT SHUTTER SPEED TO SHUTTER ANGLE

Shutter Angle = (Shutter Speed x Frame Rate x 360) Example: (1/48 x 24 x 360) = 180

CONVERT SHUTTER ANGLE TO SHUTTER SPEED

Shutter Speed = 1/(Frame Rate x 360/Angle) Example: 1/(24 x 360/180) = 1/48

TIMECODE

For more information about timecode, go to “Timecode, Genlock, Multi-Camera Setup” on page 135.

TIMECODE SOURCE MODE DESCRIPTION

User Provided (Internal) Use Real Time Clock

(RTC)

Set Manually Define a custom value as the timecode counter seed. Set

External: BRAIN Varies by device Uses the timecode from an external device connected to

Uses the internal Real Time Clock as the timecode counter source. You can set the hours, minutes, and seconds in the numerical boxes on the screen.

the hours, minutes, and seconds in the numerical boxes on the screen.

the timecode connector on the camera.

External: Rear Module Varies by device Uses the timecode from an external device connected to a

Pro I/O Module or a REDCAST Module.

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LTC OUT

The LTC Out (linear timecode out) check box is only available when a Pro I/O Module is attached. Select the LTC Out check box to output the linear timecode signal generated by the camera through the timecode (TCODE) port on the Pro I/O Module.

NOTE: If jamming camera timecode to a timecode device, ensure that LTC Out is disabled.

SLATE

Use the Slate menu to add metadata to clips. After configuring the following fields, the information populates in the Media menu when formatting media:

 Cam ID  Cam Pos

NOTE: The scene name is limited to eight (8) characters.

AUTO-INCREMENT TAKE

To automatically increment the take number when the camera stops recording, follow the instructions below:

1. Go to Menu > Settings > Project > Slate > Scene.

2. Enter a value in the Take box.

AUTO SLATE

Frame values for Auto Head Frames and Auto Tail Frames on the Auto Slate tab, these values only show in-camera. The Auto Head Frames and Auto Tail Frames metadata values are currently disabled in REDCINE-X PRO.

FORMAT

Use the Format menu to select the resolution, aspect ratio, anamorphic setting, and lookaround setting. The available aspect ratios are determined by the selected resolution.

After selecting format settings, select Set Format. When you lower the resolution on a camera, only a portion of the sensor is used. The camera does not

downscale from full frame when recording RAW.

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EPIC DRAGON FORMATS

The table below describes the formats that are available for EPIC DRAGON. Default for EPIC DRAGON is 6K 2:1. The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format

and the corresponding non-anamorphic format are the same. For more information, go to “Anamorphic” on

page 89.

Using a 6:5 aspect ratio at 2x anamorphic gives you a 2.4:1 aspect ratio.

RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

6K FF 6144 3160 30.72 15.80 34.55 6K 2:1 6144 3072 30.72 15.36 34.35 6K 2.4:1 (WS) 6144 2592 30.72 12.96 33.34 6K 16:9 (HD) 5568 3132 27.84 15.66 31.94 6K 3:2 4752 3160 23.76 15.80 28.53 6K 6:5 3792 3160 18.96 15.80 24.68 6K 4:1 6144 1536 30.72 7.68 31.67 6K 8:1 6144 768 30.72 3.84 30.96

5.5K FF 5632 2948 28.16 14.74 31.78

5.5K 2:1 5632 2816 28.16 14.08 31.48

5.5K 2.4:1 (WS) 5632 2376 28.16 11.88 30.56

5.5K 16:9 (HD) 5376 3024 26.88 15.12 30.84

5.5K 4:1 5632 1408 28.16 7.04 29.03

5.5K 8:1 5632 704 28.16 3.52 28.38 5K FF 5120 2700 25.60 13.50 28.94 5K 2:1 5120 2560 25.60 12.80 28.62 5K 2.4:1 (WS) 5120 2160 25.60 10.80 27.78 5K 16:9 (HD) 4800 2700 24.00 13.50 27.54 5K 6:5 3240 2700 16.20 13.50 21.09 5K 4:1 5120 1280 25.60 6.40 26.39 5K 8:1 5120 640 25.60 3.20 25.80

4.5K FF 4608 2412 23.04 12.06 26.01

4.5K 2:1 4608 2304 23.04 11.52 25.76

4.5K 2.4:1 (WS) 4608 1944 23.04 9.72 25.01

4.5K 16:9 (HD) 4224 2376 21.12 11.88 24.23

4.5K 3:2 4320 2880 21.60 14.40 25.96

4.5K 4:1 4608 1152 23.04 5.76 23.75

4.5K 8:1 4608 576 23.04 2.88 23.22 4K FF 4096 2160 20.48 10.80 23.15 4K 2:1 4096 2048 20.48 10.24 22.90

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

4K 2.4:1 (WS) 4096 1728 20.48 8.64 22.23 4K 16:9 (HD) 3840 2160 19.20 10.80 22.03 4K 6:5 2592 2160 12.96 10.80 16.87 4K 3:2 3840 2560 19.20 12.80 23.08 4K 4:3 3840 2880 19.20 14.40 24.00 4K 5:4 3840 3072 19.20 15.36 24.59 4K 4:1 4096 1024 20.48 5.12 21.11 4K 8:1 4096 512 20.48 2.56 20.64

3.5K FF 3584 1876 17.92 9.38 20.23

3.5K 2:1 3584 1792 17.92 8.96 20.04

3.5K 2.4:1 (WS) 3584 1512 17.92 7.56 19.45

3.5K 16:9 (HD) 3456 1944 17.28 9.72 19.83

3.5K 3:2 3360 2240 16.80 11.20 20.19

3.5K 4:3 3360 2520 16.80 12.60 21.00

3.5K 5:4 3360 2688 16.80 13.44 21.51

3.5K 4:1 3584 896 17.92 4.48 18.47

3.5K 8:1 3584 448 17.92 2.24 18.06 3K FF 3072 1620 15.36 8.10 17.36 3K 2:1 3072 1536 15.36 7.68 17.17 3K 2.4:1 (WS) 3072 1296 15.36 6.48 16.67 3K 16:9 (HD) 2880 1620 14.40 8.10 16.52 3K 6:5 1944 1620 9.72 8.10 12.65 3K 3:2 2880 1920 14.40 9.60 17.31 3K 4:3 2880 2160 14.40 10.80 18.00 3K 5:4 2880 2304 14.40 11.52 18.44 3K 4:1 3072 768 15.36 3.84 15.83 3K 8:1 3072 384 15.36 1.92 15.48

2.5K FF 2560 1340 12.80 6.70 14.45

2.5K 2:1 2560 1280 12.80 6.40 14.31

2.5K 2.4:1 (WS) 2560 1080 12.80 5.40 13.89

2.5K 16:9 (HD) 2304 1296 11.52 6.48 13.22

2.5K 3:2 2400 1600 12.00 8.00 14.42

2.5K 4:3 2400 1800 12.00 9.00 15.00

2.5K 5:4 2400 1920 12.00 9.60 15.37

2.5K 4:1 2560 640 12.80 3.20 13.19

2.5K 8:1 2560 320 12.80 1.60 12.90

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

2K FF 2048 1080 10.24 5.40 11.58 2K 2:1 2048 1024 10.24 5.12 11.45 2K 2.4:1 (WS) 2048 864 10.24 4.32 11.11 2K 16:9 (HD) 1920 1080 9.60 5.40 11.01 2K 3:2 1920 1280 9.60 6.40 11.54 2K 4:3 1920 1440 9.60 7.20 12.00 2K 5:4 1920 1536 9.60 7.68 12.29 2K 6:5 1296 1080 6.48 5.40 8.44 2K 4:1 2048 512 10.24 2.56 10.56 2K 8:1 2048 256 10.24 1.28 10.32

SCARLET DRAGON FORMATS

The table below describes the formats that are available for SCARLET DRAGON. SCARLET DRAGON offers a 6:5 aspect ratio for each resolution. Using a 6:5 aspect ratio at 2x anamorphic

gives you a 2:40:1 aspect ratio.

RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

6K 6144 3160 30.72 15.80 34.55 6K 3:2 4752 3160 23.76 15.80 28.53 6K 6:5 3792 3160 18.96 15.80 24.68 5K 5120 2700 25.60 13.50 28.94 5K 2:1 5120 2560 25.60 12.80 28.62 5K 2.4:1 (WS) 5120 2160 25.60 10.80 27.78 5K 16:9 (HD) 4800 2700 24.00 13.50 27.54 5K 6:5 3240 2700 16.20 13.50 21.09 4K 4096 2160 20.48 10.80 23.15 4K 2:1 4096 2048 20.48 10.24 22.90 4K 2.4:1 (WS) 4096 1728 20.48 8.64 22.23 4K 16:9 (HD) 3840 2160 19.20 10.80 22.03 4K 6:5 2592 2160 12.96 10.80 16.87 3K 3072 1620 15.36 8.10 17.36 3K 2:1 3072 1536 15.36 7.68 17.17 3K 2.4:1 (WS) 3072 1296 15.36 6.48 16.67 3K 16:9 (HD) 2880 1620 14.40 8.10 16.52 3K 6:5 1944 1620 9.72 8.10 12.65 2K 2048 1080 10.24 5.40 11.58

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

2K 2:1 2048 1024 10.24 5.12 11.45 2K 2.4:1 (WS) 2048 864 10.24 4.32 11.11 2K 16:9 (HD) 1920 1080 9.60 5.40 11.01 2K 6:5 1296 1080 6.48 5.40 8.44

EPIC MYSTERIUM-X AND SCARLET MYSTERIUM-X FORMATS

The table below describes the formats that are available for EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X.

 EPIC MYSTERIUM-X: Default is 5K 2:1.  SCARLET MYSTERIUM-X: Default is 4K.

The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format and the corresponding non-anamorphic format are the same. For more information, go to “Anamorphic” on

page 89.

RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

5K FF 5120 2700 27.65 14.58 31.26 5K 2:1 5120 2560 27.65 13.82 30.91 5K 2.4:1 (WS) 5120 2160 27.65 11.66 30.01 5K 16:9 (HD) 4800 2700 25.92 14.58 29.74 5K 1.22:1 3300 2700 17.80 14.58 23.01 4K FF 4096 2160 22.12 11.66 25.01 4K 2.4:1 (WS) 4096 1708 22.12 9.22 23.96 4K 16:9 (HD) 3840 2160 20.74 11.66 23.79 3K FF 3072 1620 16.59 8.75 18.75 3K 2.4:1 (WS) 3072 1284 16.59 6.93 17.98 3K 16:9 (HD) 2880 1620 15.55 8.75 17.84 2K FF 2048 1080 11.06 5.83 12.50 2K 2.4:1 (WS) 2048 854 11.06 4.61 11.98 2K 16:9 (HD) 1920 1080 10.37 5.83 11.90 1K 16:9 (HD) 1280 720 6.91 3.89 7.93 1K 2.4:1 (WS) 1280 480 6.91 2.59 7.38

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ANAMORPHIC

Select an Anamorphic setting, if applicable. The anamorphic setting de-squeezes the image on the monitor and marks the footage as anamorphic in the clip metadata. When you open the clip in REDCINE-X PRO, the program automatically de-squeezes the image. The available anamorphic settings depend on your camera type.

 EPIC DRAGON: Supports anamorphic 1.3x and 2x with each format.  SCARLET DRAGON: Supports anamorphic 2x for 5K 6:5.  EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: Supports the following:

‒ 5K FF: Anamorphic 1.3x and 2x ‒ 5K 1.22:1: Anamorphic 2x

NOTE: Anamorphic de-squeeze on the RED PRO LCD 7.0" requires that your camera is on firmware v5.3 or later.

DE-SQUEEZED RESOLUTION AND DE-SQUEEZED ASPECT RATIO

When you enable anamorphic, both the actual format and the de-squeezed format display at the bottom of the Format menu. To view the actual format and the de-squeezed format, go to Menu > Settings > Project > Format > Format.

When anamorphic is enabled, the camera does not crop the sensor image, so the recorded image has the same resolution and dimensions as the corresponding non-anamorphic format.

After de-squeezing the footage in post production, the resulting footage has a different format than the original recorded image. The format of the de-squeezed footage is the second format (resolution and aspect ratio) that displays on the Format menu.

Since the camera does not crop the image, you will have additional horizontal area to frame the image. Then, crop or scale the footage to the intended aspect ratio.

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SHORT-CUT TO INDUSTRY-STANDARD ANAMORPHIC FORMATS

To quickly access industry-standard anamorphic formats, go to Menu > Settings > Project > Format > Anamorphic. The Anamorphic tab is a short-cut to all of the industry-standard anamorphic formats, so that you can easily select the most common anamorphic formats.

The Anamorphic tab lists the following anamorphic formats:

 EPIC DRAGON: Every format with a 6:5, 5:4, or 4:3 aspect ratio and a 1.3x or 2x anamorphic setting  SCARLET DRAGON: 5K 6:5 2x  EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: 5K 1.22:1 2x

NOTE: The Anamorphic tab only lists industry-standard anamorphic formats. To access all of the anamorphic and non-anamorphic formats, go to Menu > Settings > Project > Format > Format.

LOOKAROUND

When Lookaround is enabled, the Frame Guide and recording area are scaled down on the display so that you can see what images will enter the recording area.

To assign a Shading overlay to the Lookaround area (the area outside of the recording area), go to “General

Tab” on page 77.

Lookaround limits the available frame rates. Also, Lookaround is either very limited or not possible for high resolutions (such as 5K Full Frame in EPIC MYSTERIUM-X and 6K Full Frame in EPIC DRAGON). At high resolutions, the recording area on the display shows the full sensor area or full sensor height, so there is no extra room for Lookaround.

UHD

The UHD menu is only accessible when a REDCAST Module is installed. For more information, see the REDCAST

MODULE Operation Guide, available at www.red.com/downloads.

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SENSOR (FLIP/MIRROR SCAN DIRECTION)

NOTE: Flip/Mirror Scan Direction is only available on an EPIC DRAGON or SCARLET DRAGON.

The Flip/Mirror Scan Direction feature rotates the image 180°, both on the monitor and in the recorded R3D file. Normally, the sensor scans the image from the top to the bottom. When the Flip/Mirror Scan Direction feature is enabled, the sensor scan direction reverses, and the sensor scans the image from the bottom to the top.

The Flip/Mirror Scan Direction feature is intended for multi-camera arrays when all sensors are synchronized, and at least one (1) camera is mounted upside-down. Using this feature is helpful for matching the line scan direction for the cameras in the array.

To enable the Flip/Mirror Scan Direction feature, follow the instructions below:

1. Go to Menu > Settings > Project > Sensor.

2. Select the Flip/Mirror Scan Direction check box.

The camera rotates the image 180° on the monitor and in the recorded R3D file.

AUDIO

The Audio menu lets you configure the audio subsystem. For more information, go to “Record and Monitor

Audio” on page 130.

RECORDING

The Recording menu includes: Mode, Codec, Frame Processing, Pre-Record, and Indicator.

MODE

You can select the following recording modes: Continuous Record, Internal Timelapse Timer, Frame Trigger, REDCODE Burst, Speed Ramp Mode, Multi-Shot, and Motion + Stills.

NOTE: Audio is recorded only in Continuous Record and Motion + Stills modes.

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STORAGE

You can select the following storage locations:

 Local: Stores footage directly to an SSD  Network: Stores footage to a network

NOTE: HDRx is disabled in Network Storage mode. NOTE: The Network option is only available on an EPIC DRAGON or SCARLET DRAGON.

 External: Stores footage to an external device

NOTE: In External storage, you can only select Continuous Record and Motion + Stills recording modes.

CONTINUOUS RECORD

NOTE: This mode is not available in Stills mode.

Continuous Record is the “normal” recording mode. The camera continuously records frames at the current recording frame rate. You can limit each recording to a specific amount of frames using the Limit Recording to setting.

INTERNAL TIMELAPSE TIMER

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Internal Timelapse Timer mode.

In Internal Timelapse Timer mode, the camera records a specified number of frames at a specified interval. The current recording frame rate determines the timing of the frames per pulse.

For example, in Internal Timelapse Timer mode, you can choose to record a total amount of 1000 frames, and take 1 frame every 4.67 seconds. After recording 1000 frames (which takes 4,670.00 seconds), the recording process stops.

To use Internal Timelapse Timer mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select Internal Timelapse Timer from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select the number of frames to be captured in the Record field.

5. Select the time interval from the Interval field (range is 1–3,599 sec). The Interval setting specifies the

frequency at which the frame or group of frames is captured.

6. Close the menu.

7. Start recording to start the interval.

The overlay displays the number of frames recorded out of the total amount of frames.

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FRAME TRIGGER

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Frame Trigger mode.

In Frame Trigger mode, the camera records the specified number of frames for each external trigger. This mode limits the REDCODE based on sustainable record rates.

To use Frame Trigger mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select Frame Trigger from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a Pre Count and Post Count. For more information, go to “Pre Count and Post Count” on page 94.

5. Close the menu.

6. Start recording.

The overlay displays the number of frames recorded out of the total amount of frames.

NOTE: There may be a delay between receiving the external trigger and capturing the next frame(s). The delay may be as long one (1) frame period at the current recording frame rate. To completely synchronize frames to an external trigger, set Sensor Sync Mode to MoCo. For more information, go to “Sync” on page 101.

SPEED RAMP MODE

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Speed Ramp mode.

Speed Ramp mode lets you program the current recording frame rate to transition to different recording frame rates during recording.

1. Go to Menu > Settings > Recording > Mode.

2. Select Speed Ramp Mode from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a ramp target:

‒ Ramp A/B/C/D: Each ramp target is tied to a specific Target/Duration combination. ‒ Ramp Reset: Ramp to the starting frame rate with the specified Duration.

5. Set the Target frame rate.

6. Set the Duration, which is how long it takes to transition from the current frame rate to the target frame rate.

7. Go to Menu > Settings > Setup > Keys and program a key to one of the following functions:

‒ Record: Start Speed Ramp A/B/C/D ‒ Record: Start Speed Ramp Reset

8. Start recording.

9. To start speed ramp, press the key that you have mapped to start the speed ramp.

The frame rate transitions to the target frame rate during the duration you set up.

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REDCODE BURST

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in REDCODE Burst mode.

In REDCODE Burst mode, the camera can record at a lower compression (REDCODE) for the specified amount of frames. When REDCODE Burst mode is enabled and recording starts, the camera captures a “burst” of frames at the lower REDCODE, and then continues to record at the next available REDCODE. To add more bursts to clips during recording, press any key mapped to “Record: Mark Frame”.

To use REDCODE Burst mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select REDCODE Burst from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a Pre Count and Post Count. For more information, go to “Pre Count and Post Count” on page 94

5. Close the menu.

6. Start recording.

PRE COUNT AND POST COUNT

When Frame Trigger or Burst mode is enabled, select the number of frames for the Pre Count and Post Count:

 Pre Count: The camera captures the frame cache from the time preceding the marker.  Post Count: The camera captures the remaining frame cache after the marker.

The maximum frame counts are listed in the Available column, and are based on format and REDCODE.

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MULTI-SHOT

NOTE: Multi-Shot mode is only available on an EPIC DRAGON or SCARLET DRAGON. NOTE: The camera does not sync timecode in Multi-Shot mode. NOTE: This mode is available in Motion mode, but is only recommended in Stills mode. NOTE: Audio is not recorded in Multi-Shot mode.

Multi-Shot mode removes restrictions on Recording Frame Rate and REDCODE, allowing you to shoot at a high resolution, high frame rate, and low compression. These restrictions are removed because the camera records first to the camera’s memory, and then offloads (while recording) to SSD after the camera’s buffer fills up. Since the camera records only as fast as the buffer can transfer data, frames are dropped from the clip.

Multi-Shot mode has two sub-modes:

 Basic Multi-Shot mode  Advanced Multi-Shot mode

BASIC MULTI-SHOT MODE

In Basic Multi-Shot mode, you can record a one-frame clip by pressing a Record key, or you can continuously record frames by holding a Record key. This mode is the easiest way to shoot stills, but there is some latency (about 700 milliseconds) when you press Record.

This mode only involves Record keys on the side SSD modules, REDMOTE, and DSMC Side Handle. Pressing the PWR/REC key on the camera initiates Advanced Multi-Shot mode.

To use Basic Multi-Shot mode, perform one of the following:

 Press a Record key to record a one-frame clip.  Press and hold a Record key to start a new clip and continuously add frames to that clip. Release the Record

key to stop adding frames and end the clip.

ADVANCED MULTI-SHOT MODE

In this mode, the camera is continuously recording, but is not saving frames. This eliminates the delay you get in Basic Multi-Shot mode. Since the camera is continuously recording, the camera requires the same amount of power it does during Continuous Record (as opposed to Preview mode). Unlike Basic mode, all frames are added to one (1) clip, instead of to separate clips.

To use Advanced Multi-Shot mode, follow the instructions below:

1. Press the PWR/REC key on the camera to start a new clip. This initial press adds one (1) frame to the clip.

2. Press a Record key on the side SSD module, REDMOTE, or DSMC Side Handle to add frames to the clip:

‒ Press a Record key once to add a few frames to the clip. (The number of frames varies, and depends

on the buffer.)

‒ Press and hold a Record key to continuously add frames; release the Record key to stop adding frames.

3. Press the PWR/REC key on the camera to end the clip. NOTE: You cannot shut down the camera until you end the clip.

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ENABLE MULTI-SHOT MODE

To enable Multi-Shot mode, follow the instructions below:

1. Set the camera to Stills mode.

2. Go to Menu > Settings > Recording > Mode.

3. Select Multi-Shot from the Mode drop-down menu.

4. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

5. Close the menu.

6. For more information on using the different sub-modes, go to:

‒ “Basic Multi-Shot Mode” on page 95 ‒ “Advanced Multi-Shot Mode” on page 95

MOTION + STILLS

NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.

Motion + Stills mode is identical to Continuous Record, except that when you initiate recording by pressing the PWR/REC key on the camera, all other Record keys mark frames for the duration of the clip. (If you initiate recording by pressing any other Record key, you can press any key mapped to “Record: Mark Frame” to mark stills.)

To use Motion + Stills mode, follow the instructions below:

1. Set the camera to Stills mode.

2. Go to Menu > Settings > Recording > Mode.

3. Select Motion + Stills from the Mode drop-down menu.

4. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

5. Close the menu.

6. Press the PWR/REC key on the camera to start recording.

7. Press a Record key on the side SSD module, REDMOTE, or DSMC Side Handle to mark a frame.

8. Press the PWR/REC key on the camera to stop recording.

CODEC

Select the target REDCODE compression ratio for your project from the REDCODE drop-down menu. For more information, go to “REDCODE” on page 41.

FRAME PROCESSING

NOTE: Frame processing is not supported in Speed Ramp Mode. For more information, go to “Speed Ramp

Mode” on page 93.

Frame processing allows for the combination of multiple captured frames into one recorded frame. The combination occurs before the resulting frame is encoded. You can select the following frame processing settings: No Frame Processing, Frame Summing, Frame Averaging.

When in Frame Summing mode or Frame Averaging mode, the current integration time is applied to each frame. This means if the integration time is not the entire frame time (or 360°) there are gaps between the images used to create the combined frame. This may lead to unexpected motion artifacts.

The effect of frame processing is only visible during record. In Frame Summing mode, this means the exposure changes between preview and record. Experiment with the exposure and frame processing settings to achieve the effect you want.

NO FRAME PROCESSING

Normal frame processing mode. The Frames to Process selection does not affect recording.

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FRAME SUMMING

Frame Summing combines the specified number of frames into one frame, and adds together the exposure time for each of the original frames. The resulting frame has an effective integration time that is equal to the current integration time multiplied by the number of frames.

For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image has an effective integration time of 1/3 sec (16 x 1/48).

Frame summing results in a final image that is brighter and possibly blurrier than any of the original frames, so you can use frame summing to achieve the effect of long-exposure.

FRAME AVERAGING

Frame Averaging combines the specified number of frames into one frame, and averages the exposure time for each of the original frames. The resulting frame has an effective integration time that is equal to the current integration time.

For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image still has the exposure value of 1/48 sec, along with the effect of long-exposure.

You can use frame averaging to achieve the effect of long-exposure along with the benefits of reduced noise. However, frame averaging does affect motion blur characteristics.

PRE-RECORD

When enabled, the Pre-Record setting continuously captures a cache of footage before recording starts. Select to have 4–30 seconds (incremented at two second intervals) of pre-record time added to the actual footage. When Pre-Record is enabled, you will not miss the start of a shot by being a little slow on the trigger.

 Pre-Record Duration: Select the pre-record time.  Always trigger Pre-Record before recording: When selected, Pre-Record always starts when recording starts:

A. Press PWR/REC to activate Pre-Record. B. Press PWR/REC a second time to start recording. C. Press PWR/REC a third time to stop recording.

 Trigger Pre-Record Now: When selected, the Pre-Record menu closes and Pre-Record mode starts.

NOTE: Always perform a Secure Format before using Pre-Record. A Secure Format restores the SSD back to factory out-of-box settings, and optimizes the SSD for Pre-Record.

NOTE: To use Pre-Record only for specific situations, map Pre-Record to a key (Menu > Settings > Setup > Keys > Record: Start Pre-Record). For more information, go to “Keys” on page 98.

INDICATOR

 Enable Sounds: Select this check box to enable sounds. Then select sounds for the following actions:

‒ Record Start ‒ Record Stop ‒ Mark Still Frame

 EVF Tally Light: Select this check box to enable the EVF Record Tally LED on the EVF to illuminate red when

recording.

SETUP

The Setup menu includes: Keys, Date/Time, Communication, REDMOTE, GPIO/Sync, Fan Control, Lens, and Motor Control.

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KEYS

Map keys to often-used actions to easily control the camera. For a full list of the default key mappings, go to

“Default Key Functions” on page 188.

KEY MAPPING

To map or remap a user key:

1. Press the user key that you want to map.

2. Select an action from the Press (or CCW) drop-down menu that you want to map to the user key.

3. To un-map a key, select -Key Disabled- from the drop-down menu.

4. If you want, map a Release or (CW) action to the key.

A Release action occurs when a pressed key is released.

OPTIONS

 Lock Side Module keys: None of the module keys perform any actions when pressed, unless you set up the

exceptions below:

‒ Record key remains active when locked ‒ Navigation keys remain active when locked

 Show key action notifications: A notification displays on the bottom of the display when you perform an

action mapped to a key.

SOFT KEYS

The following sets of soft keys are available on the touchscreen:

 A, B, C, D: Left side of the touchscreen  1, 2, 3, 4: Right side of the touchscreen

To map or remap a soft key, select an action from the drop-down menu next to the key you want to map.

 Enable Soft Keys on touchscreen: Tap the left or right side of the touchscreen to show the soft keys.  Show key actions as labels: When the soft keys display, the number/letter of the key and the key action

display.

ADVANCED

Use the Advanced tab to map any key, even if the key is not currently accessible. For example, you can map the REDMOTE keys even if a REDMOTE is not present.

WARNING: It is possible to remap the navigation keys using this tab. However, if you do not have a touchscreen attached, it is possible to lock out control. Be careful when remapping navigation keys.

DATE/TIME

Use the Date/Time menu to reset the internal clock of the camera. The time and date are timestamps on R3D files when recording to an SSD. The camera uses the 24-hour clock convention (military time). For example, enter 2:35 p.m. as 14:35:00.

The date and time are saved when you close the Date/Time menu.

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COMMUNICATION

Use the Communication menu to allow one (1) or more cameras to communicate with each other or external devices.

You can use the serial port or a direct Ethernet cable to connect two (2) cameras, or one (1) camera and one (1) external device. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate with each other.

For example, on a multi-rig 3D shoot, you can send commands to an individual camera (Example: Set CAM_A_L to 1/48 exposure), to a group of cameras (Example: Set 3DRIG_A to 48 fps), or to all cameras (Example: Start Recording on all cameras).

CAMERA NAME

Use the Camera menu to set up a unique identifier for your camera (or a group of cameras). All command filtering happens on the receiver side of the communication link. Use camera names and group names to address commands to a specific camera or group of networked cameras.

 Camera ID: Enter a unique camera name to use in network communications. The field is limited to eight (8)

characters.

 Group ID: Enter a group name to identify the camera as a member of a group of devices. The field is limited

to eight (8) characters, and the default name is DEFAULT.

 Target: Specify which devices the camera can send commands to:

‒ All: The camera can send commands to all devices on the network. ‒ None: The camera can only receive commands. The camera cannot send commands. ‒ Custom: The camera can send commands to a specific camera/device (enter the name of the camera/

device in the Target ID text box) or a specific group (enter the name of the group in the Target ID text box). The camera/group name must match the name entered in the Name/Group field of the target device(s).

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SERIAL PROTOCOL

The camera can communicate to external devices via the CTRL and the GIG-E connectors (camera-to-camera communication is possible only via GIG-E or the REDLINK® Bridge).

Select one of the following protocols from the Serial Protocol drop-down menu:

 None (Default)  Element Technica  3ality SPC 7XXX  REDLINK Command Protocol

ETHERNET

Use the settings on the Ethernet tab to configure the GIG-E port. Each camera or device requires a unique IP address. For camera-to-camera communication via Ethernet, both cameras need to be in the same sub-net (have the same netmask address) and have the same gateway address.

 Enable DHCP: Enables DHCP. If a DHCP-server is available in the communications network, the camera

obtains an IP address, netmask address, and gateway address automatically from the DHCP server. You cannot manually enter anything in the IP Address, Netmask, and Gateway fields when this check box is selected.

 Enable Camera to Camera: A change to settings on this camera is sent to other cameras via the network as

a SET command (as UDP packets). The SET command then sets the property on other cameras. If this camera receives a SET command, the camera does not send the command to other cameras/devices.

 Enable External Control: This camera can be controlled via TCP/IP from an external device.

WIFI

The settings on the WiFi menu are only used when a REDLINK Bridge is attached to the camera. For more information, see the REDLINK Bridge Operation Guide, available at www.red.com/downloads.

RCP

Select the Enable Remote Control Panel (RCP) check box to enable a remote control panel (RCP).

COMPATIBLE REMOTE CONTROL PANELS (RCP)

The following remote control panels have been confirmed for compatibility with the camera:

 Sony® RCP-1500  Sony RCP-1501  Sony RCP-1530  Sony MSU-1500

REDMOTE

Use the REDMOTE menu to pair a REDMOTE to the camera. For more information, go to “REDMOTE Operation”

on page 146.

 Wireless Enable: When selected, the camera produces a wireless signal. Disable wireless in any setting in

which the wireless signal could interfere with other devices, such as in a helicopter.

 Wireless Channel: Select the communication channel for the wireless connection in the event of interference

from other wireless devices.

 Camera MAC: View the camera MAC address.

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TABLE OF CONTENTS

DISCLAIMER

COPYRIGHT NOTICE

TRADEMARK DISCLAIMER

COMPLIANCE STATEMENTS

SAFETY INSTRUCTIONS

BATTERY STORAGE AND HANDLING

SHIPPING DISCLAIMER

READ BEFORE YOU SHOOT

R3D FILE FORMAT AND REDCODE

SHOOT FOR VIDEO AND STILLS

POST PRODUCTION WITH REDCINE-X PRO

HDRX AND MAGIC MOTION

HDRX

MAGIC MOTION

ADDITIONAL RESOURCES

ADDITIONAL RESOURCES

BRAIN

BRAIN CONTROL: PWR/REC KEY

BRAIN LEDS

MEDIA MODULES

SIDE SSD MODULES

SIDE SSD MODULE CONNECTOR

SIDE SSD MODULE CONTROLS

REAR SSD MODULE

REDMAG AND RED MINI-MAG SYSTEMS

ADAPTOR MODULES

+1 ADAPTOR MODULE CONNECTIONS

+1 ADAPTOR MODULE ACCESSORIES

POWER MODULES

RED BATTERIES AND CHARGERS

OTHER MODULES

PRO I/O MODULE

REDCAST MODULE

DISPLAYS AND ELECTRONIC VIEWFINDERS

RED LCDS

LCD PRECAUTIONS

BOMB EVFS

BOMB EVF FEATURES

DSMC2 RED EVF

DSMC2 RED EVF FEATURES

LEMO ADAPTORS

LEMO ADAPTOR A

LEMO ADAPTOR B

CAMERA CONTROL MODULES

DSMC SIDE HANDLE

RED SWITCHBLADE-M

REDMOTE

REDLINK BRIDGE

LENS MOUNTS

INTERCHANGEABLE OLPFS

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

POWER OPERATIONS

POWER INPUTS

POWER PRIORITY

POWER CONSUMPTION

POWER STATUS

APPROVED EXTERNAL DC POWER

TURN ON THE CAMERA

TURN OFF THE CAMERA

CONFIGURE YOUR CAMERA

INSTALL THE DSMC SIDE HANDLE

REMOVE THE DSMC SIDE HANDLE

INSTALL THE RED SWITCHBLADE-M

REMOVE THE RED SWITCHBLADE-M

INSTALL THE MODULE ADAPTOR

REMOVE THE MODULE ADAPTOR

INSTALL THE +1 ADAPTOR MODULE

REMOVE THE +1 ADAPTOR MODULE

ATTACH A MODULE

REMOVE A MODULE

REPLACE THE HOOD SCOOP

INTERCHANGEABLE OLPF SYSTEM

SWAP AN INTERCHANGEABLE OLPF

VERIFY INSTALLED OLPF

USE A TRIPOD OR MONOPOD

VIDEO MONITOR OUTPUTS

VIDEO MONITOR CATEGORIES

RECORD