RED DSMC, EPIC-M, EPIC-M RED DRAGON, EPIC-X, SCARLET-X Operation Manual

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RED DSMC

OPERATION GUIDE

EPIC | SCARLET | V5.1

DRAGON | MYSTERIUM-X

RED.COM

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RED DSMC 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: DSMC Overview 8

DRAGON Sensor 8 MYSTERIUM-X® Sensor 8 Image Processing 9 HDRx 9 Magic Motion 10 Audio Recording 10 Microphone Level Analog Inputs 10 Line Level Analog Inputs 10 Video Monitoring Outputs 11 Lens Mounts 12 REDMOTE 12 SMPTE Timecode 12 Additional Resources 12

Chapter 2: Components and Modules 13

BRAIN 13 Side SSD Modules 15 DSMC SIDE HANDLE 18 DSMC Modules 20 REDMOTE 32 DSMC Displays 33

Chapter 3: Power the DSMC 36

Power Consumption 36 Power Priority 36 Power Status 36 Power Up 36 Power Down 37

Chapter 4: Graphical User Interface 38

Viewfinder Outputs 38 DSMC SIDE HANDLE 42 REDMOTE 42 Navigate Graphical User Interface 43

Chapter 5: Basic Menus 44

Access Advanced Menus from Basic Menus 44 Edit List Feature 44 Frame Rate (FPS) 44 ISO (Sensitivity) 44 F Stop (T Stop) 45 Exposure 45 White Balance (Color Temperature) 45 Resolution 45 REDCODE 45

Chapter 6: Advanced Menus 46

Settings Menu 46 Media Menu 92 Playback Menu 92 Power Menu 93

HDR Menu 94 Focus Menu 95 Presets Menu 101

Chapter 7: Upgrade DSMC Firmware 104

Verify Current Camera Firmware 104 Upgrade DSMC Firmware 104

Chapter 8: Audio Subsystem 106

Audio Format 106 Channel Setup 106 Source Selection 106 Channel Modes 106 Audio Recording 107 Peak Meter 107 Data Path 107 HD-SDI/HDMI Embedded Audio 107 Audio During Playback 109

Chapter 9: REDMOTE Operation 110

Control, Connectors and Display 110 Operation 112 Internal Battery 116 Upgrade REDMOTE Firmware 117

Appendix A: Input/Output Connectors 121

SSD Module Connectors 121 Camera BRAIN 121 REDMOTE 129

Appendix B: Supported Lenses 130

Lens Weight and Lens Support 130 DSMC TI PL Mount Supported Lenses 130 DSMC Canon Mount Supported Lenses 130 DSMC Nikon Mount Supported Lenses 133 DSMC Leica-M Mount Lenses 133

Appendix C: Default Key Functions 134 Appendix D: 3D Setup and Operation 137

Overview 137 Camera Setup 137 Clip Naming Conventions 137 Connecting Cameras 138 Operation 138

Appendix E: Post-Production 139

Monitoring 139 REDCINE-X® PRO 139

Appendix F: DSMC Maintenance 140

Cleaning 140 Back Focus Adjustment 141

Appendix G: Troubleshoot Your DSMC 143

Preset Could Not Be Applied 143 Camera Cannot Be Paired to REDMOTE 143 Cannot See Menus on LCD Touchscreen 143 Screen Freezes or Does Not Display 143 Image Appears Grainy 144 Black and White Image 144 Offline Clips and an Extra R3D File 144

Appendix H: Technical Specifications 145

EPIC DRAGON 145

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RED DSMC OPERATION GUIDE

EPIC MYSTERIUM-X 147 SCARLET-X DRAGON 149 SCARLET MYSTERIUM-X 151 DSMC BRAIN Dimensions 153

Appendix I: Menu Map 158

DISCLAIMER

RED has made every effort to provide clear and accurate information in these installation instructions, which are 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 Operation Guide, please send a detailed e-mail to OpsGuides@red.com.

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 or sponsored with, and has no express rights in third-party trademarks. Distagon is a registered trademark of Carl Zeiz, Inc. Leica is a regestered trademark of BV Corporation Netherlands. Nikkor, is a registered trademark of Nikon Corporation.

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RED DSMC 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 Radia-

tion.

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

EUROPEAN UNION COMPLIANCE STATEMENTS

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.

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 changes or modified

without permission from RED, the user may void his or her authority to operate the equipment.

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.

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.

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.

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

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 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

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

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

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 accompanying 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

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.

local retailer upon purchase of an equivalent

RESPONSIBLE PARTY:

RED Digital Cinema 34 Parker Irvine, CA 92618 USA

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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 DSMC 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 1/2” (1,25cm) 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 support.red.com.

 The DSMC SIDE HANDLE, SIDE SSD Module, Rear Modules

and Lens Mount are NOT HOT SWAPPABLE, meaning you cannot remove or install them while the camera is powered on. Before installing or removing any of these accessories, you MUST power down the camera. Failure to do so may result in damage to the accessory and/or camera BRAIN that will not be covered under warranty.

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

the power cord of the AC Power Adapter. A grounding-type 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.

CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To disconnect all power from the AC Power Adapter, 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.

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BATTERY STORAGE AND HANDLING

WARNING: Failure to read, understand, and

follow 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, REDVOLT XL, and RED BRICK, self-discharge over time. When storing for long periods of time, store batteries separately from the camera or charger and remember to charge batteries to a capacity level of 50% to 80%. 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 50% to 80%.

When not in use, remove the battery from the camera or charger and store the battery in a cool, dry place. Avoid non-insulated storage areas with fluctuating temperatures, 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 depleted

state may self-discharge and lose the ability to hold a charge.

WARNING: DO NOT use the battery for pur-

poses other than those specificied.

WARNING: If recharging operation fails to

complete even when a specified recharging time has elapsed, immediately stop further recharging.

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

periods of time.

 DO NOT store batteries in a fully depleted 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 store batteries in extreme hot or cold temperatures.  DO NOT store batteries in direct sunlight.  Store the battery in a location where children cannot reach it.  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.  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.  The battery incorporates built-in safety devices. 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.  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

Unless you have been certified to ship dangerous goods, you must work with a Dangerous Goods, Class 9-certified shipper to assist you with a shipment that includes a RED BRICK (or other regulated lithium ion batteries). Please note that 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.

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DSMC

Congratulations on your purchase of one of the following RED DSMC® Digital Still and Motion Cameras:

 EPIC-M RED DRAGON (CARBON FIBER)  EPIC-M  EPIC-X

 SCARLET-X Each RED DSMC BRAIN is equipped with a DRAGON or MYSTERIUM-X sensor. The RED family of Digital Still and Motion Cameras (DSMC) provide high performance digital imaging over a

wide range of frame rates and optical formats including Super 35mm/APS-H.

OVERVIEW

EPIC Digital Still and Motion Cameras (DSMC)

DRAGON SENSOR

The new 6K RED DRAGON™ sensor allows you to capture over nine (9) times more resolution than standard HD. The result is unrivaled detail and impressive native exposure eclipse 35mm film in both latitude and image density.

The DRAGON sensor is a model for image innovation, leading the way in the evolution of digital cinema technology. Boasting industry-leading specs in resolution, frame capture, dynamic range, and color science, the RED DRAGON sensor raises the bar for digital still and motion cameras, again.

MYSTERIUM-X® SENSOR

The MYSTERIUM-X sensor is specifically designed for use with the RED DSMC BRAIN, and in the EPIC it provides variable frame rate imaging at up to 95 FPS at 5K FF resolution, and up to 400 FPS at 1K WS resolution.

Native color balance for the MYSTERIUM-X sensor is 5,000 KELVIN, but it may be electronically compensated for any color temperature in the range 1,700 to 10,000 KELVIN. White balance preset values include Tungsten (3200K) and Daylight (5600K) light sources. The camera may also calculate a color neutralizing White Balance value on demand by imaging on a standard white or 18% gray card.

The MYSTERIUM-X sensor includes high precision analog to digital conversion, capable of delivering up to 13.5 stops of dynamic range with daylight light sources over a camera sensitivity rating of 320-800 ISO. In HDR

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mode, dynamic range can be extended to approximately 18 stops.

IMAGE PROCESSING

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 proprietary wavelet based REDCODE® RAW compression, then stored to a RED MINI-MAG or REDMAG 1.8" SSD.

When recorded, the RAW data is independent of any RGB domain color processing such as ISO, White Balance or other RGB color space adjustments made by the camera operator. These parameters are saved with the RAW data as reference metadata; that is, color is not burned into the recorded RAW data.

This recording technique permits RGB color processing choices to be deferred to post-production or to be adjusted in the field to help a director visualize alternative color treatments, without affecting the recorded RAW data’s image quality or dynamic range.

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

Frame guides and other camera data may be added as desired to one or more of the outputs. NOTE: The REDCINE-X® PRO software 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 this color processing choice can be the default value used in post-production. For more information about Look files, go to “Looks” on page 102.

HDRX

HDRx is an option for extending dynamic range up to 6 stops over the base dynamic range offered by the camera. When enabled, HDRx simultaneously shoots two images of identical resolution and frame rate—a normally exposed primary track (A-track), and an underexposed secondary track (X-track) whose exposure value reflects the additional stops of highlight protection desired.

For example, if you select an HDR value of +2 and your primary track exposure is 1/48 sec, the secondary track exposure will be 2 stops under, or 1/192 sec. The ISO and aperture remain the same for both exposures.

During acquisition and recording, the two tracks are “motion-conjoined”, meaning there is no gap in time between the two exposures. This is very important to note because if these were traditional alternating exposures, there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both tracks (A and X) are stored in a single .R3D® file.

Since there are two exposures in HDRx mode, the camera is recording double the amount of frames each second. For example, when shooting at 24 FPS, the camera is recording two 24 FPS tracks, which is the data rate equivalent of 48 FPS; however, after combining the A and X tracks in post-production, you will see only one 24 FPS blended image sequence.

HDRx provides multiple options for exploitation in post-production.

 Blend the two tracks in post tools like REDCINE-X PRO or any other application that supports the SDK to

create Magic Motion™. This blending of the two tracks comes with a slider so that you can decide just how much of each track you want to use. A preview window shows you the combined result of your selection, or you can view each track individually.

 Combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the motion

of a traditional camera with full motion blur. This is a tool created by The Foundry that uses a new motion estimation algorithm designed specifically for HDRx. The shorter exposure (sharper image) is blended to match the motion blur of the normal exposure. Again, a preview window shows the combined result of your selection, or you can view each track individually.

 Use the X-track data for motion tracking, then combine the X-track with the A-track, or just motion stabilize

the A-track using the motion analysis data extracted from the X-track.

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 Export to EXR file format to get a multi-view EXR with both exposures (like a stereo EXR). NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of dynamic range

just as if you had not enabled HDRx. For this reason, we encourage the A-track exposure to be “normal” as it provides the most options. If you are tempted to shoot “over-under”, you are then fully committed to using HDRx and your post-production options are reduced.

NOTE: When recording in HDRx mode, the camera records twice as many frames per second so that the maximum frame rate or minimum REDCODE ratio, and the maximum record time on your media will be cut in half.

NOTE: HDRx mode can be used with sensor syncing.

MAGIC MOTION

Shooting at 24 FPS and with an 180 degree (1/48 sec) shutter on a film or digital camera may create an optical illusion we are familiar with, however it is not really the way the eye sees motion. To understand this, ask someone to stand in front of you and swing their arm over their head from one side to the other. What you would observe in the recording is a constant motion blur until the arm stopped. What your eye sees though is both motion blur AND a sharper reference to the arm and hand all along the motion path. MAGIC MOTION provides such a combination of motion blur (A-track) and a sharper reference (X-track), with the bonus of extreme dynamic range not available with any other motion capture camera system.

AUDIO RECORDING

The RED DSMC can record up to two discreet channels of microphone level uncompressed 24-bit, 48 KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO I/O MODULE), that are synchronized with video and timecode to a RED MINI-MAG or REDMAG 1.8" SSD.

Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the desired audio reference/recording level and maximize dynamic range.

To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the graphical user interface. Meter range is -36 dBu to 20 dBu (-56 dBFS to 0 dBFS) with audio input type, reference level and audio input clipping indicators.

Audio monitor output options include a 2-channel headphone output on the DSMC BRAIN and 2-channel line level analog outputs from the optional PRO I/O MODULE, plus 2-channel and 4-channel 24-bit 48 KHz uncompressed digital audio embedded in the HD-SDI and HDMI outputs.

MICROPHONE LEVEL ANALOG INPUTS

The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain setting of the camera’s pre-amplifier. Available pre-amplifier range is 30 dB to 60 dB. The camera operator should choose a Gain value that aligns the input signal to the 0 dBu reference line drawn on the camera’s Audio Level Meter (or the 0 VU reference line if operating at that level).

This setting provides up to 30 dB of input signal headroom above reference 0 dBu level before clipping (up to 26 dB above 0 VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.

LINE LEVEL ANALOG INPUTS

The recording level of a Line input is affected only by the signal provided by the field production sound mixer or other external line level source. The sound mixer operator should choose a mixer output level that aligns a reference tone signal to the 0 dBu (-20 dBFS) reference mark drawn on the camera’s Audio Level Meter, or if using 0 VU as reference level, a mixer output level that aligns a reference tone signal to the 0 VU (-16 dBFS) reference mark.

This setting provides up to 24 dB of input signal headroom above reference 0 dBu level before clipping (up to 20 dB above 0 VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.

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VIDEO MONITORING OUTPUTS

In its default configuration, the RED DSMC can simultaneously support one VIEWFINDER output (suitable for use by a BOMB EVF®, or RED LCD) plus one PROGRAM output and one PREVIEW output (suitable for use by HDMI or HD-SDI monitors). The various monitor outputs can support a set of overlay graphics including camera GUI, timecode, clip name and framing guides; the specific overlay graphics for each type of output is user configurable.

The default VIEWFINDER output is the EVF/LCD connector located on the front face of the SIDE SSD MODULE. If neither of these is connected, the VIEWFINDER output can be transferred to either the HDMI output or the HD-SDI output of the DSMC BRAIN.

All monitors are able to display a variety of features, including:

 Surround View™, which is an additional lookaround area, visible outside of the recorded image.

 Frame Guides, showing common film presentation and television aspects such as 2.40:1 and 16:9.

 Focus, aided by high display resolution, 1:1 Focus Check function, and false color overlay.

 Exposure, aided by dual zebra indicators, RAW “traffic lights”, and RGB histogram.

 System information including current frame rate, ISO rating, shutter speed, color temperature, record reso-

lution, record quality, clip name, timecode value, and the remaining battery and media capacity.

BOMB EVF (LCOS) AND BOMB EVF (OLED)

The BOMB EVF (LCOS) and BOMB EVF (OLED) are high-definition, lightweight viewfinders that align quality performance with compact form factor.

For applications where use of an attached RED EVF or RED LCD is not desired, such as when working on a crane, the VIEWFINDER/MENU output can be transferred to the HD-SDI or HDMI outputs, supporting remote camera monitoring up to 200 ft away.

RED TOUCH LCD

The RED TOUCH LCD pixel progressive scan color display allows you to view your image and navigate through menu settings using touchscreen functionality.

NOTE: DO NOT use the RED LCD as a handle to lift or carry the DSMC. Damage to the RED LCD or other components of the DSMC system caused by using the RED LCD as a handle is not covered under warranty.

NOTE: The RED LCD swivel axis has a total range of adjustment of approximately 360˚ (180˚ clockwise or coun- terclockwise from the nominal “rear-facing” display orientation). The range of adjustment for the tilt axis is ap-

proximately 180˚. At the end of the adjustment range are internal “hard stops” for both axes. Once the swivel

or tilt hard stops have been reached, IMMEDIATELY STOP APPLYING FORCE TO THE LCD. Continuing to apply force after reaching the internal stops may damage the friction hinge. Damage to the RED LCD or other components of the DSMC system caused by using excessive force to rotate the RED LCD is not covered under warranty.

HD-SDI

A 720p or 1080p progressive scan output suitable for monitoring or recording to an external VTR or DDR device. May be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.

HDMI

A 720p or 1080p progressive scan output suitable for monitoring via a PC monitor or most HDTV displays.

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LENS MOUNTS

The RED DSMC comes with a DSMC TI PL MOUNT, and may be configured with mounts and 19 mm rods to accommodate most cinematography lenses, matte boxes, and follow focus systems. Adaptors for 15 mm offset studio and 15 mm lightweight rods are also available.

Other lens mounts, including the DSMC CANON MOUNT, are available, permitting the use of Canon EF and EF-S photographic lenses. The DSMC CANON MOUNT can report lens iris, focus, and zoom data when mated to an electronically supported lens. In addition, iris and manual or auto-focus settings may be controlled from the camera.

Lens mounts can be changed out in the field; however, it is highly recommended that this be performed in a dust-free environment, as the optical path will be exposed to the elements during this process.

REDMOTE

The REDMOTE is a camera control unit for RED DSMCs that attaches to the rear of the DSMC BRAIN or rearmost expansion module. The REDMOTE may also be detached from the camera or rearmost module and provide wireless remote control of the camera over proprietary REDlink™ protocol.

Whether attached or operating via wireless, REDMOTE supports all controls necessary to operate the camera, including Record Start/Stop, Shutter Speed, White Balance, ISO, and programmable User Keys. A color LCD displays critical camera parameters, including media and battery capacity, timecode and clip name, lens data and exposure information.

The REDMOTE includes a rechargeable Li-Ion battery, which automatically re-charges when attached to the camera or rearmost module. It may also be re-charged by connecting to a USB 2.0 based power source such as a laptop or cell phone charger. Under typical operating conditions, the REDMOTE should operate for up to 8 hours without requiring a re-charge and support a wireless communication range of approximately 50 ft.

SMPTE TIMECODE

Time Code (TC) is a SMPTE timecode track that synchronizes to the camera’s high precision internal clock, or if operated in Jam Sync mode, referencing an externally supplied SMPTE master timecode signal. TC is a sequential code that is continuous from frame to frame, but is discontinuous from clip to clip.

Edge Code (EC) is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame recorded to the digital media. It is a sequential code that is continuous from frame to frame and also continuous from clip to clip. EC is equivalent to RUN RECORD, which is commonly found on broadcast cameras.

Irrespective of the timecode mode selected, once recording starts the camera’s timecode counter will update at the same instantaneous frame rate as the recording. This ensures that a valid SMPTE timecode value is created for every frame in the clip, eliminating any timecode count jumps that could affect playback or editing.

If operating in Jam Sync mode referenced to an external timecode source, the clip’s master time reference point is the first frame of the recorded clip.

ADDITIONAL RESOURCES

The following resources offer additional information about RED, the DSMC 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.

 Support.red.com: Check the RED SUPPORT site for FAQs, or to file a support ticket.

 Reduser.net: Discuss all things RED on the REDUSER third-party forum.

 In-Camera Help: Select the Help button on an in-camera screen to open up the help for that screen.

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COMPONENTS

This section provides an overview of the DSMC components and modules. WARNING: The DSMC SIDE HANDLE, SIDE SSD MODULE, rear modules and Lens Mount are NOT HOT SWAP-

PABLE, meaning you cannot remove or install them while the camera is powered on. Before installing or removing any of these accessories, you MUST power down the camera. Failure to do so may result in damage to the accessory and/or camera BRAIN that will not be covered under warranty.

BRAIN

AND MODULES

EPIC BRAIN

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BRAIN LEDS

LED COLOR/FLASHING DESCRIPTION

Power Status LED (PWR)

Record Status LED (REC)

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

Red Power present; camera off Yellow Power present; camera booting Green Power present; camera on Green flashing Power present; running on battery Yellow flashing Power present; 5–10 minutes of

battery time left

Red flashing Power present; less than 5 minutes

of battery time left Off No media present Green Ready to record Red Recording Red slow flashing Recording; 25% media left Red fast flashing Recording; 5% media left Yellow Finalizing Both green flashing Firmware update in progress Both red flashing Firmware update failing

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SIDE SSD MODULES

RED offers the following side SSD modules:

 RED MINI-MAG SIDE SSD MODULE  Carbon Fiber RED MINI-MAG Side SSD Module  DSMC 1.8" SSD SIDE MODULE  DSMC 1.8" SSD SIDE MODULE (DRAGON)  DSMC 1.8" SSD SIDE MODULE (CARBON FIBER DRAGON)

For more information about installing and using the side SSD modules, see the DSMC Media Operation Guide available at www.red.com/downloads.

RED MINI-MAG SIDE SSD MODULE

RED offers the following RED MINI-MAG modules:

 RED MINI-MAG SIDE SSD MODULE: Mounts to any standard aluminum DSMC BRAIN.  Carbon Fiber RED MINI-MAG Side SSD Module: Mounts to any carbon fiber DSMC BRAIN, and is only available

with a carbon fiber DSMC BRAIN. Each RED MINI-MAG module attaches to the DSMC so that you can mount a RED MINI-MAG to your camera. Each RED MINI-MAG module has the same EVF/LCD LEMO connector, user keys, and REC button as the

DSMC 1.8" SSD SIDE MODULE. WARNING: The RED MINI-MAG modules are NOT HOT SWAPPABLE, meaning you cannot remove or install the

modules while the camera is powered on. Before installing or removing the modules you MUST power down the camera. Failure to do so may result in damage to the module or DSMC that will not be covered under warranty.

RED MINI-MAG SIDE SSD MODULE

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DSMC 1.8" SSD SIDE MODULE

RED offers the following DSMC 1.8" SSD SIDE MODULES:

 DSMC 1.8" SSD SIDE MODULE: Mounts to any standard aluminum DSMC BRAIN.  DSMC 1.8" SSD SIDE MODULE (DRAGON): Mounts to a DSMC with a RED DRAGON sensor, and is only avail-

able with a DSMC with a RED DRAGON sensor.

 DSMC 1.8" SSD SIDE MODULE (CARBON FIBER DRAGON): Mounts to a carbon fiber DSMC BRAIN, and is only

available with a carbon fiber DSMC BRAIN. Each DSMC 1.8" SSD SIDE MODULE attaches to the DSMC so that you can mount a REDMAG 1.8" SSD to

your camera. Each DSMC 1.8" SSD SIDE MODULE has the same EVF/LCD LEMO connector, user keys, REC button, and

LED as the RED MINI-MAG SIDE SSD MODULE. WARNING: The DSMC 1.8" SSD SIDE MODULE is NOT HOT SWAPPABLE, meaning you cannot remove or install

the module while the camera is powered on. Before installing or removing the module you MUST power down the camera. Failure to do so may result in damage to the module or DSMC that will not be covered under warranty.

SIDE SSD MODULE CONTROLS

This section describes the controls for all of the side SSD modules.

CONTROL DESCRIPTION

User Key 1 Programmable key

User Key 1 + 2 Press: Eject Media

User Key 2 Programmable key

User Key 1 + 2 Press: Eject Media

REC button Programmable key

Full Press: Record Toggle Half Press: AF Start

DSMC 1.8" SSD SIDE MODULE (Rear and Front)

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SIDE SSD MODULE LEDS

This section describes the LED for all of the side SSD modules.

LED COLOR/FLASHING DESCRIPTION

Media Indicator LED Off No media present

Green Ready to record Red Recording Red slow flashing Recording; 25% media left Red fast flashing Recording; 5% media left Yellow Finalizing Yellow flashing Accessing media (for example,

when formatting)

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DSMC SIDE HANDLE

The DSMC SIDE HANDLE provides the following:

 A battery compartment for one REDVOLT battery.  An LCD display that shows key camera parameter values.  Many programmable user keys and buttons. For a full list of all DSMC SIDE HANDLE user keys and their

default actions, go to “Default Key Functions” on page 134.

DSMC SIDE HANDLE Front (left), DSMC SIDE HANDLE Rear (right)

DSMC SIDE HANDLE (Top)

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INSTALL DSMC SIDE HANDLE

WARNING: The DSMC SIDE HANDLE is NOT HOT SWAPPABLE, meaning you cannot remove or install the DSMC

SIDE HANDLE while the camera is powered on. Before installing or removing the DSMC SIDE HANDLE, you MUST power down the camera. Failure to do so may result in damage to the DSMC SIDE HANDLE or DSMC that will not be covered under warranty.

REQUIRED TOOL: T10 Torx® driver

1. Power down the camera.

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

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

BRAIN, and remove the BRAIN side plate.

4. Insert the lip at the top of the DSMC SIDE HANDLE into the area where the lip from the BRAIN side plate

was installed.

5. Press the DSMC SIDE HANDLE down flush along side of camera BRAIN.

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

REMOVE DSMC SIDE HANDLE

WARNING: The DSMC SIDE HANDLE is NOT HOT SWAPPABLE, meaning you cannot remove or install the DSMC

1. Power down the camera.

2. Rotate the thumbscrew downward until the DSMC SIDE HANDLE detaches from the camera body.

3. Pull the bottom of the DSMC SIDE HANDLE away from the BRAIN to disengage the lip at the top of the

DSMC SIDE HANDLE away from the camera BRAIN.

4. Remove the DSMC SIDE HANDLE from the camera.

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DSMC MODULES

WARNING: The DSMC modules are NOT HOT SWAPPABLE, meaning you cannot remove or install the modules

while the camera is powered on. Before installing or removing modules, you MUST power down the camera. Failure to do so may result in damage to the modules or DSMC that will not be covered under warranty.

PRO I/O MODULE

The PRO I/O MODULE brings together the essential I/O connections into one module, providing a central hub for professional audio and video components.

 Centralized ports make it easy to manage connections and cables.  LCD/EVF port allows you to connect an additional RED LCD or EVF.  Customize triggers and interface with third-party GPIO and RS232 control devices using RED PRO I/O

cables.

 Attach an additional DSMC module or a REDMOTE to the back of the PRO I/O MODULE for additional ex-

pansion.

 Internal cooling system maintains appropriate operating temperature.

PRO I/O MODULE

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REAR SSD MODULE

The REAR SSD MODULE secures onto 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 about installing and using the REAR SSD MODULE, see the DSMC Media Operation

Guide available at www.red.com/downloads.

REAR SSD MODULE

PRO BATTERY MODULE (DUAL)

The PRO BATTERY MODULE (DUAL) enables DSMC BRAIN power support using two REDVOLT batteries. The PRO BATTERY MODULE (DUAL) also supports hot-swapping of REDVOLT batteries.

For more information about installing and using the PRO BATTERY MODULE (DUAL), see the DSMC Power

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

PRO BATTERY MODULE (DUAL)

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PRO BATTERY MODULE (QUAD)

The PRO BATTERY MODULE (QUAD) harnesses the power of four REDVOLT batteries or two REDVOLT XL batteries to power the DSMC BRAIN. Similar to the PRO BATTERY MODULE (DUAL), this module enables hot-swap support for continuous power to the camera without missing a shot.

For more information about installing and using the PRO BATTERY MODULE (QUAD), see the DSMC Power

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

PRO BATTERY MODULE (QUAD)

INSTALL MODULES

Use the instructions in this section to install and remove DSMC modules.

INSTALL MODULE ADAPTOR

Use the instructions in this section to install the MODULE ADAPTOR. REQUIRED TOOL: T20 Torx® driver You must install a MODULE ADAPTOR to the back of the camera BRAIN before you install a DSMC module.

MODULE ADAPTORs are sold separately from the DSMC modules.

1. Power down the camera.

2. Remove the REDMOTE, if attached.

3. Place the MODULE ADAPTOR over the V-mount on the rear of the camera BRAIN.

MODULE ADAPTOR

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4. Use a T20 Torx driver to tighten the screws by about two turns in a cross pattern. DO NOT FULLY TIGHTEN.

5. Fully tighten the screws in a cross pattern. DO NOT OVERTIGHTEN.

Install Screws

INSTALL THE +1 ADAPTOR MODULE

Use the instructions in this section to install the +1 ADAPTOR MODULE. WARNING: DSMC modules and adaptors are NOT HOT SWAPPABLE, meaning you cannot remove or install the

modules while the camera is powered on. Before installing or removing modules, you MUST power down the camera. Failure to do so may result in damage to the modules or DSMC that will not be covered under warranty.

REQUIRED TOOL: T20 Torx driver

1. Power down the camera.

2. Remove the REDMOTE, if attached.

3. Align the +1 ADAPTOR MODULE with the back of the DSMC BRAIN.

Install +1 ADAPTOR MODULE

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4. Insert the HDMI connector into the DSMC BRAIN.

Insert the HDMI Connector to DSMC BRAIN

5. Use a T20 Torx driver to tighten four (4) captive screws. Tighten screws in a cross pattern approximately

two turns each. DO NOT FULLY TIGHTEN.

Tighten the screws in an “X” pattern

6. Fully tighten four (4) screws in a cross pattern. DO NOT OVERTIGHTEN.

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ATTACH DSMC MODULE

WARNING: The DSMC modules are NOT HOT SWAPPABLE, meaning you cannot remove or install the modules

NOTE: The instructions below are applicable to all DSMC modules. The QUAD BATTERY MODULE is shown. REQUIRED TOOL: T20 Torx® driver

1. Insert the lip at the top of the module into the recess at the top of the MODULE ADAPTOR.

Insert Module Lip

2. Rotate the module down flush with the rear of the MODULE ADAPTOR.

Press Module Flush

3. While applying steady pressure to hold the module against the MODULE ADAPTOR, use a T20 Torx driver

to rotate the lock on the MODULE ADAPTOR clockwise to the Lock position in order to secure the module.

REMOVE DSMC MODULE AND ADAPTOR PLATE

REQUIRED TOOL: T20 Torx® driver

1. Power down the camera.

2. Use a T20 Torx driver to rotate the lock on the MODULE ADAPTOR counterclockwise to the Unlock position.

3. Rotate the module upwards and down to disengage the lip at the top of the module from the MODULE

ADAPTOR.

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4. Remove the module from the MODULE ADAPTOR.

Remove Module

5. Use a T20 Torx driver to loosen the screws attaching the MODULE ADAPTOR to the camera BRAIN.

6. Remove the MODULE ADAPTOR from the camera BRAIN.

Loosen MODULE ADAPTOR

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REMOVE THE +1 ADAPTOR MODULE

Use the instructions in this section to remove the +1 ADAPTOR MODULE. WARNING: DSMC modules and adaptors are NOT HOT SWAPPABLE, meaning you cannot remove or install the

REQUIRED TOOL: T20 Torx driver

1. Power down the camera.

2. Using a T20 Torx driver, loosen four (4) captive mounting screws attaching the +1 ADAPTOR MODULE to

the DSMC BRAIN.

3. Disconnect the HDMI connector from the DSMC BRAIN.

4. Remove the +1 ADAPTOR MODULE from the DSMC BRAIN.

Loosen the screws in an “X” pattern

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MODULE ADAPTOR

The MODULE ADAPTOR enables DSMC modules to connect the DSMC BRAIN for expandable functionality. The MODULE ADAPTOR features additional ¼-20 mounting points on top for further add-ons and configuration support. Most RED DSMC modules require a MODULE ADAPTOR or +1 ADAPTOR MODULE to attach to your DSMC BRAIN.

WARNING: MODULE ADAPTOR is NOT compatible with the +1 ADAPTOR MODULE.

MODULE ADAPTOR

WARNING: The MODULE ADAPTOR IS NOT compatible with the +1 ADAPTOR MODULE.

+1 ADAPTOR MODULE

The +1 ADAPTOR MODULE mounts onto the back of a DSMC BRAIN and provides power and support for an additional RED EVF/LCD. The +1 ADAPTOR MODULE also includes an AUX power port for 4-pin third party accessories. Other 2-pin accessories are also compatible when using a 4-PIN TO 2-PIN ADAPTOR CABLE.

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 DSMC BRAIN. NOTE: The +1 ADAPTOR MODULE requires DSMC firmware v4.0.8 or later.

+1 ADAPTOR MODULE

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+1 ADAPTOR MODULE CONNECTIONS

+1 ADAPTOR MODULE Connections

CONNECTOR CONNECTOR TYPE CONNECTOR FUNCTION

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

Port

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

REDMOTE Dock Connector

Module Dock Connector

1. WARNING: DO NOT use the EVF/LCD port if a RED PRO I/O MODULE is connected to the DSMC BRAIN.

NOTE: The default Auxiliary Power Output setting is ON. Use the on-screen menu to toggle this setting ON/OFF. In the menu screen, go to: Power > Power_Out > +1_PWR. After a DSMC firmware upgrade or factory reset, the default Auxiliary Power Output setting will be turned “ON”. Thereafter, the last Auxiliary Power Output setting is restored.

16-pin 1B LEMO Custom digital video and power interconnection between DSMC

BRAIN and RED EVF or RED LCD; Pinout not published

sustained current is 2 A

8-point POGO connector

SEARAY Connector Supports power and communication with DSMC Modules

Power and support for the REDMOTE

MULTIPLE CONTROL SURFACES

The DSMC BRAIN may only utilize one control surface (LCD) at any given time. If multiple RED Touch LCDs are attached to the camera BRAIN and the +1 ADAPTOR MODULE, you may prioritize the primary control surface in the menu settings at: Settings > Display > Monitor Control > Priority. Control will automatically be given to the highest priority display attached. You may also prioritize the primary monitor control surface commands and the secondary monitor when using multiple monitors.

 The +1 ADAPTOR MODULE monitor is labeled “Rear LCD” in the on-screen menu.  Settings can be configured to transfer primary monitor settings to the secondary monitor in the event that

the primary monitor is disconnected. To accomplish this, go to Settings > Display > Monitor Control > Monitor and change the selected monitor to “Rear LCD” prior to disconnecting the primary monitor.

 The monitor port on the +1 ADAPTOR MODULE is automatically disabled when a PRO I/O MODULE is at-

tached to the camera.

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+1 ADAPTOR MODULE ACCESSORIES

+1 ADAPTOR MODULE Accessories

ACCESSORY CONNECTOR TYPE CONNECTOR FUNCTION

4-PIN TO 2-PIN ADAPTOR CABLE

Micro HDMI-toHDMI Adaptor

NOTE: 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.

NOTE: 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

HDMI video connection from DSMC BRAIN to support auxiliary EVF/LCD attachment

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REPLACE HOOD SCOOP

The hood scoop on some EPIC-X and EPIC-M models sweep back and extend beyond the rear plane of the camera. Replacement hood scoops are available to allow for the attachment of an LCD display or other RED accessories to the mounting locations on the top of the +1 ADAPTOR MODULE.

Replace the Hood Scoop

Use the following instructions to replace DSMC fan hood scoop.

1. Use a T8 Torx driver to remove the four (4) M3x0.5 x 6 mm cap screws holding the hood scoop.

2. Lift off the old hood scoop.

3. Place the replacement hood scoop on the camera. Align the hood scoop screw holes with the threaded

holes on top of the camera.

4. Attach the replacement top vent scoop to the DSMC BRAIN by installing the four (4) M3x0.5 x 6 mm cap

screws in a cross pattern with a T8 Torx driver. DO NOT FULLY TIGHTEN.

5. Tighten the M3x0.5 x 6 mm cap screws evenly. DO NOT exceed 30 in-oz, or damage may occur.

WARNING: DO NOT OVERTIGHTEN.

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REDMOTE

The REDMOTE is a camera control unit for RED DSMCs that attaches to the rear of the camera BRAIN or rearmost expansion module. The REDMOTE may also be detached from the camera or rearmost module and provide wireless remote control of the camera over proprietary REDlink™ protocol.

For complete details about how to use the REDMOTE, go to “REDMOTE Operation” on page 110. For a full list of all REDMOTE user keys and their default actions, go to “Default Key Functions” on page 134. IMPORTANT: For the REDMOTE to operate properly, ensure that both REDMOTE and DSMC firmware are up-

graded to the most recent versions.

REDMOTE

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DSMC DISPLAYS

BOMB EVF (LCOS) AND BOMB EVF (OLED)

For a full list of all EVF user keys and their default actions, go to “Default Key Functions” on page 134.

BOMB EVF (LCOS)

The BOMB EVF (LCOS) is a high-definition, lightweight viewfinder that aligns quality performance with compact form factor.

 Resolution: 1280 (wide) x 784 (high) full-color  Contrast Ratio: 1000:1 typical  Available Diopter Range: 2.0 to -5.0.I

BOMB EVF (LCOS)

BOMB EVF (OLED)

The RED BOMB EVF (OLED) brings advanced OLED technology into the field, providing truer blacks and more color accurate images.

 Resolution: 1280 (wide) x 1024 (high) full-color  Contrast Ratio: > 10,000:1 typical  Available Diopter Range: 2.0 to -5.0.I

BOMB EVF (OLED)

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LCDS

RED offers three (3) LCDs:

 RED TOUCH 5.0" LCD with 800 X 400 resolution (touchscreen)  RED TOUCH 9.0" LCD with 1280 X 784 resolution (touchscreen)

 RED PRO LCD 7" with 1024 X 600 resolution Each touchscreen LCD features 4:4:4 progressive scan. When using either the RED TOUCH 5.0" LCD or RED TOUCH 9.0" LCD, you can navigate the DSMC menus and

adjust camera parameters by directly touching icons on the touchscreen LCD screen. For a full list of all LCD user keys and their default actions, go to “Default Key Functions” on page 134.

RED TOUCH 5.0” LCD

TOUCHSCREEN LCD GESTURES

 Tap: Tap on an icon to bring up a quick adjustment display.

 Double-Tap: If the monitor is in Clean mode, changes to Overlay mode.

 Hold: Touch and hold on an icon to bring up an advanced interface display.

 Slide: When a menu or drop-down menu is open, touch and slide to increment a value.

 Pinch: Touch with two fingers, then open or close to magnify or normalize the video image. By default, this

gesture is disabled.

NOTE: Some of the touchscreen gestures can be disabled. For more information about how to enable/disable these gestures, go to “Gestures” on page 51.

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TOUCHSCREEN LCD PRECAUTIONS

CAUTION: DO NOT use the threaded holes when mounting the LCD to the RED camera BRAIN. Doing so may

damage the camera or the display.

DO NOT Use Threaded Holes to Mount to DSMC

WARNING: DO NOT use the RED LCD as a handle to lift or carry the DSMC. Damage to the RED LCD or other components of the DSMC system caused by using the RED LCD as a handle are not covered under warranty.

proximately 180˚. At the end of the adjustment range are internal “hard stops” for both axes. Once the swivel

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POWER THE

NOTE: For more information about powering the DSMC, see the DSMC Power Operation Guide available at www.

red.com/downloads.

NOTE: For more information about the Power menu, go to “Power Menu” on page 93.

POWER CONSUMPTION

The camera draws approximately 60 watts when recording in 5K resolution, at 24 FPS in MOVIE mode. The camera is cooled by convection from the camera body assisted by a fan contained in a sealed air duct.

Under typical operating conditions, a REDVOLT® battery will run the camera and accessories for about 30 minutes and a REDVOLT® XL battery will run the camera and accessories for about 90 minutes.

DSMC

POWER PRIORITY

When multiple power sources are available to the camera, power consumption is prioritized as follows:

1. DC power supply

2. Attached RED BRICK (Lowest % first)

3. Battery module batteries (Lowest % first)

4. REDVOLT battery in the DSMC SIDE HANDLE

POWER STATUS

The power status of each power source displays on the Power In screen. To view the Power In screen, go to

Menu > Power > Power In.

POWER UP

1. Attach a power source to the DSMC. For more information about the different power sources, go to “Power

Status” on page 36.

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

2. Locate the Power/Record button on the right side of the DSMC BRAIN.

NOTE: The Power/Record button also serves as a Record Start/Stop button once the camera is powered up.

3. Press and release the Power/Record button.

The Power Status LED initially goes out, and within 5 seconds illuminates yellow to confirm the camera is powering up.

The Power Status LED then illuminates green to confirm that the camera is powered up and ready to use.

NOTE: Once powered up, if the Power Status LED illuminates red AND is flashing, there is less than five minutes of battery time left.

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POWER DOWN

NOTE: The DSMC automatically powers down if the supply voltage drops to 11.5 Volts.

Use either of the following ways to power down the DSMC:

 Go to Menu > Power and select Shutdown.

 Press and continue to hold the Power/Record button in its fully depressed position until the Shutting Down

notification shows on the display.

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GRAPHICAL USER

VIEWFINDER OUTPUTS

The following is a general description of the structure of the camera’s graphical user interface that overlays the video monitor signal on the Viewfinder outputs (RED PRO LCD, RED TOUCH, BOMB EVF, and external monitors) of the camera.

INTERFACE

The display elements include:

 Audio Meter: Audio input selection and levels

 Cal: T/E: Indicator of relative change in sensor temperature and exposure since your last calibration

 Clip Level Bar: Relative number of RAW pixels near clip

 Clip Meter: RGB sensor RAW clipping status

 Cursors: Reference cursors – Safe Action/Safe Title, Picture Center, Grid Overlay

 Drop: Indicates if any frames were dropped during recording of the clip

 F Stop: Functional when optional mount and lens are installed

 False Color Mode: Displays false color overlay mode

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 Frame Guide: Record or Projection area

 Frame Rate: Current frame capture rate

 Genlock: Indicates presence of valid Genlock signal/HD-SDI sync to genlock

 HDR Mode: Displays HDRx mode status

 Histogram: RGB Histogram

 ISO: Camera sensitivity

 LAN: Indicates communication via Ethernet connection

 Lens Info: Lens information when using specific Canon or Cooke lenses

 Magnify: Tallies 1:1 if magnify is selected

 Media Status: Media location and remaining media capacity in %

 Menu: Access the Advanced Menus

 Next Clip Filename: Filename of the clip that will be shot next

 Noise Level Bar: Relative number of RAW pixels in noise

 Power: Indicates DC supply voltage or % of remaining battery capacity Including current supply voltage

 Record/Playback Toggle: Toggles between Record and Playback modes

 REDCODE: REDCODE setting

 Resolution: Record Resolution

 RIG: Indicates 3D rig metadata is present

 RM: Indicates communication to REDMOTE

 Shutter Speed: Exposure time or shutter angle

 Shutter Sync: Indicates sensor shutter sync status

 TC: Indicates presence of valid SMPTE timecode signal and Jam Sync status

 Temperature: Displays camera sensor and core temperature in that order (xx/xxC)

 Timecode: Current timecode value

 White Balance: Color Temperature The GUI is broken down into the following three main sections: the Upper Status Row, the Live Action Area,

and the Lower Status Row. On VIEWFINDER output(s), all three sections are visible, on PREVIEW outputs only the Live Action Area and associated graphic overlays are visible. On PROGRAM outputs, none of the graphic overlays are visible, i.e. a PROGRAM output is defined to be a CLEAN FEED output.

UPPER STATUS ROW

Provides immediate feedback on the most critical image composition parameter settings, including (from Left to Right):

 Playback Access (Touchscreen)

 Current frame capture rate

 ISO Rating

 Shutter Speed (or Shutter Angle)

 White Balance

 Record Resolution

 Record Quality Whichever parameter is underlined with a red bar may be immediately adjusted by pressing ENTER in the Navi-

gation Group of the DSMC SIDE HANDLE or REDMOTE, then using the Scroll Wheel to change the value of that parameter. To confirm the parameter change press ENTER a second time.

NOTE: Shutter angle is displayed in Absolute mode by default, as indicated by Yellow text. If the red bar is not on the parameter you wish to change, first use the Scroll Wheel to position the red bar un-

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der that parameter, then press ENTER, adjust with the Scroll Wheel and press ENTER a second time to confirm the value change.

In the above GUI example, the Scroll Wheel has been used to move the red cursor to the Shutter Speed parameter; and the ENTER key has been pressed. This reveals the Parameter Adjust Widow. Adjust the value using the Scroll Wheel and then press ENTER to confirm the value change, then close the sub-menu.

LIVE ACTION AREA

Contains the recorded image area plus Surround View™ look around area, plus overlays for Frame Guide, Safe Action/Safe Title and the current Clip Name and Timecode values. Each overlay may be color coded in one of 5 colors to maximize the contrast between the guide(s) and scene being captured.

LENS INFORMATION DISPLAY

RED DSMC TI PL MOUNT AND LENS

When a RED DSMC TI PL Mount is installed and a lens equipped with Cooke’s S4/i system (or equivalent is attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors.

The focal length and focal distance values and range varies depending on the attached lens. When the focal length or focal distance of the lens is manipulated, the current values are displayed.

DSMC CANON MOUNT OR DSMC NIKON MOUNT AND LENS

When a DSMC Canon Mount or a DSMC Nikon Mount is installed with an electronically supported lens attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors. When AF is set to Manual or Confirm mode, the focus distance displays as a pair of Near–Far distances. When it is in AF mode, a single estimated Focus distance is displayed.

The focal length and focal distance values and range vary depending on the attached lens. When the focal length of the lens is manipulated, the current value is displayed under Focal Length. The Focal Distance can be changed under Settings > Setup > Lens. For more information, go to “Lens Tab” on page 77.

LOWER STATUS ROW

The Lower Status Row provides feedback on key systems level camera values, including:

 Clip Settings

 Exposure (Histogram)

 Temperature, Power & Sync

 Media Status

 Power Status

 Audio Levels

ICON BEHAVIOR

CAL: T/E

 T or E Green: No change in sensor temperature or exposure from the levels recorded during calibration

 T or E Yellow: Slight change in sensor temperature or exposure from the levels recorded during calibration

 T or E Red: Significant change in sensor temperature or exposure from the levels recorded during calibration

 The - and + indicate whether the sensor temperature or exposure has decreased or increased NOTE: The T and E change colors independently of each other.

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 TC Gray: No analog time code is currently detected.

 TC Red: Analog time code is being detected, but the use of it is not enabled.

 TC Green: Analog time code is being used to jam the time of day time code. TC will revert to gray if the signal

is no longer detected.

GEN

 GEN Gray: No genlock signal is currently detected, or the presented signal cannot cross-lock to project

(24.00 FPS vs. 23.98 FPS).

 GEN Red: During process of sync, or genlock is lost while recording.

 GEN Green: A genlock signal matching the current HD-SDI monitor rate has been locked to.

 GEN Yellow: When timing is cross-locking to compatible but not matching monitor rate. For example, gen-

lock = 24.00, and HD-SDI monitor rate = 25.00.

NOTE: 3D operation should not be done if GEN is yellow. This is a warning that genlock source settings and camera settings are not aligned. Phasing of the sync between cameras cannot be guaranteed when GEN is yellow.

SYNC

 SYNC Gray: The sensor sync mode is not Genlock.

 SYNC Red: The sensor sync mode is Genlock, but it is not locked to any genlock signal, or genlock or sen-

sor sync is lost while recording.

 SYNC Green: A genlock signal compatible with the HD-SDI monitor rate has been locked to and the sensor

timing is also locked to it.

LAN

 LAN Gray: External control of the camera is not currently enabled.

 LAN Yellow: If the LAN icon is yellow, you will see the message “For reliable external control over Ethernet

your camera’s hardware may need to be upgraded. Please contact your Bomb Squad representative”. If you see this message, you will not be able to control the camera externally. Please contact your Bomb Squad representative to have your hardware upgraded.

POWER STATUS

If powering camera through DC power, the current voltage will be displayed. If using batteries, the remaining battery time displays.

If using a RED BRICK or similar external battery to power the camera through DC IN, power status displays the current supply voltage available from the battery. Supply voltage decreases as battery is discharged, the displayed text is color coded as follows:

 Green: 12.0 V and up

 Yellow: 11.9 – 11.8 V

 Red: 1.7 – 11.6 V NOTE: The camera will automatically power down if supply voltage drops to 11.5 Volts. If using a REDVOLT battery in the DSMC SIDE HANDLE or Battery Module to power the camera, power status

displays the location of the power source (example: SH: SIDE HANDLE; RM: Rear Module) and reports the remaining battery capacity and the displayed text is color coded as follows:

 Green: >10 minutes

 Yellow: 5-10 minutes

 Red: <5 minutes If using a RED BRICK battery connected to DC IN, power status displays BRICK and reports the % of remaining

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battery capacity and the displayed text is color coded as follows:

 Green: >10 minutes

 Yellow: 5-10 minutes

 Red: <5 minutes

RAW CLIP METER

The RAW Clip meter looks a traffic light style meter and indicates if either of the Red, Blue or Green channels of the RAW sensor data are clipping. This meter is unaffected by White Balance, ISO, VIEW or LOOK settings and therefore represents a true measurement of the exposure levels of the sensor at all times.

RAW NOISE LEVEL BAR

The RAW noise bar displays the amount of pixels in the image that are in noise. For example, if the bar is about 1/8 of the total height, this would indicate approximately 1/8 of the total pixels in the image are at an exposure level at risk of displaying noise when pushed at higher ISO or FLUT values in post-production.

RAW CLIP LEVEL BAR

The RAW clip level bar displays the amount of pixels in the image that are clipping. For example, if the bar is about 1/4 of the total height, this would indicate approximately 1/8 of the total pixels in the image are at an exposure level at risk of clipping and may not be recoverable by lowering ISO or FLUT values in post-production.

DSMC SIDE HANDLE

As you navigate and adjust settings in the Basic Menus they will be reflected on the DSMC SIDE HANDLE LCD display.

The display elements include:

 Frame Rate: Image capture rate

 ISO Rating: Camera sensitivity

 Power: Camera power status (DC Shown)

 REDCODE: REDCODE setting

 Resolution: Recording Resolution

 Shutter Speed: Exposure time or shutter angle

 White Balance: Color Temp

REDMOTE

The display elements include:

 Battery Indicator: Displays battery life or charge status (shown) of REDMOTE

 Camera ID: Displays camera ID (DEFAULT shown)

 Clip Filename: Filename of the clip that will be shot

 Clip Meter: RGB sensor RAW clipping status

 False Color Mode: Displays false color overlay mode

 Frame Rate: Current frame capture rate

 Genlock: Indicates presence of valid Genlock signal/HD-SDI sync to genlock

 HDR Mode: Displays HDRx mode status

 Histogram: RGB Histogram

 ISO: Camera sensitivity

 LAN: Indicates communication via Ethernet connection

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 Magnify: Tallies 1:1 if magnify is selected

 Media Status: Media location and remaining media capacity in %

 Power: Indicates D.C supply voltage or % of remaining battery capacity Including current supply voltage

 Project Frame Rate: Current project TIME BASE

 REDCODE: REDCODE setting

 Resolution Recording Resolution

 RIG: Indicates 3D rig metadata is present

 Shutter Speed: Exposure time or shutter angle

 Shutter Sync: Indicates sensor shutter sync status

 TC: Indicates presence of valid SMPTE timecode signal

 Timecode: Current timecode value

 White Balance: Color Temp

 Wireless Status: Displays signal strength when connected wirelessly

NAVIGATE GRAPHICAL USER INTERFACE

The primary method to navigate Menus is via the Scroll Wheel on the REDMOTE or DSMC SIDE HANDLE. Press Enter to open the menu, and then rotate the Scroll Wheel clockwise to move right, counter clockwise to move left. However, the Left and Right direction Navigation Keys (REDMOTE or DSMC SIDE HANDLE) or Adjustment Ring (DSMC SIDE HANDLE) may also be used for this purpose.

The Up Navigation Key selects the Advanced Settings menu when pressed (if parameter has an Advanced Settings menu).

As an example, position the Cursor under the Shutter Speed (24 FPS) icon and press the UP Direction Key to access advanced adjustment values for Shutter Speed.

NAVIGATE MENUS WITH TOUCHSCREEN LCD

If operating a Touchscreen LCD, camera menu navigation may be made through finger gestures.

 To adjust a parameter value, simply touch it, and then swipe the finger left/right to adjust its value.

 To access an advanced parameter settings display, press and hold down on the parameter icon, then click

Advanced....

 Touch anywhere outside the overlay windows to enter the value changes and to hide the sub-menus.

TOUCHSCREEN SHORTCUTS

The bottom portion of the touchscreen contains shortcuts to the most-used camera screens.

ACCESS SOFT KEYS

User-programmable Soft Keys A-D and 1-4 may be accessed by tapping the left or right regions of the touchscreen.

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BASIC

Basic Menus are the menus that are available at the top row of the display screen. The Basic Menus include: Frame Rate (FPS), ISO (Sensitivity), F Stop, Exposure, White Balance, Resolution, and REDCODE (Quality).

This section gives an overview of each of the Basic Menus, and directs you to the corresponding sections in the “Advanced Menus” chapter for more information.

ACCESS ADVANCED MENUS FROM BASIC MENUS

Except for the REDCODE menu, you can select the Advanced... button to access the related settings in the Advanced Menus.

For example, if you open the Resolution menu and select Advanced..., the camera takes you directly to the Settings > Project > Format screen, where you can modify the resolution, aspect ratio, anamorphic setting, and lookaround setting.

MENUS

EDIT LIST FEATURE

In each Basic Menu, you can select the Edit List... button 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 remove or add values

to available Frame Rate values.

FRAME RATE (FPS)

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

The default sensor frame rate is 23.98 FPS, or the selected project time base when it is a value other than 23.98 FPS or 24 FPS.

Select the Advanced... button to access the Settings > Project > Frame Rate screen. For more information about the basic and advanced frame rate settings, as well as the minimum and maximum frame rates for each resolution, go to “Frame Rate” on page 56.

ISO (SENSITIVITY)

Select the native camera ISO rating. The sensitivity value is adjustable in 1/3 stop increments. 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 that you set the ISO near 800, then adjust the lens T-stop and lighting or ND filters to match. The ISO can later be adjusted around one stop for fine-tuning.

The range is ISO 250–12,800, and the default is ISO 800. Select the Advanced... button to access the Settings > Look > FLUT screen. For more information about these

settings, go to “FLUT” on page 55.

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F STOP (T STOP)

The aperture controls the depth of field of the subject imaged by the camera, and in combination with the shutter speed/angle setting controls the amount of light falling on the sensor, which is the exposure.

Increasing the F stop to a higher number reduces exposure as well as increases the depth of field. Decreasing the F stop to a lower number increases the exposure and decreases the depth of field.

You can chose either 1/3 or 1/4 stops.

RED DSMC TI PL MOUNT INSTALLED

When a lens equipped with Cooke’s S4/i system is attached to the DSMC TI PL Mount, the camera displays the current aperture (F stop) of the attached lens.

DSMC NIKON MOUNT AND CANON MOUNT INSTALLED

The F-stop menu appears when a DSMC Nikon Mount, DSMC Canon Mount, or DSMC Canon MOTION MOUNT is installed with a supported lens.

This adjusts the aperture (F stop) of the attached lens. Select the Advanced... button to access the Settings > Setup > Lens screen. For more information about the

advanced focus settings, go to “Autofocus Modes (DSMC Nikon and Canon Mounts)” on page 95.

EXPOSURE

Select the exposure value in any of the following common units: Exposure, Integration Time, and Angle. Select the Advanced... button to access the Settings > Project > Exposure screen. For more information about

these settings, go to “Exposure” on page 60.

WHITE BALANCE (COLOR TEMPERATURE)

Select a color temperature. The range is 1700 to 10,000 KELVIN, and the default is 5600 KELVIN. Select the Advanced... button to access the Settings > Look > Color Temperature screen. For more information

about these settings, go to “Color Temperature” on page 55.

RESOLUTION

Select the resolution of your project. Select the Advanced... button to access the Settings > Project > Format screen. For more information about the

available resolutions for your camera and the advanced format settings, go to “Format” on page 63.

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. To see all of the maximum available REDCODE values, see the DSMC Media Operation Guide at www.red.com/

downloads.

Range for EPIC DRAGON cameras is 2:1 to 22:1. Range for MYSTERIUM-X cameras is 3:1 to 18:1. Default is 8:1.

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ADVANCED

The Advanced Menus include: Settings, Media, Playback, Power, HDR, Focus, and Presets. You can access the Advanced Menus the following ways:

 Press the Menu button on the DSMC® SIDE HANDLE or REDMOTE.

 Press the Menu icon on the LCD.

 Go to any Basic Menu except the REDCODE menu, and select the Advanced... button to access the related

settings in the Advanced Menus. For example, if you open the Resolution menu and click Advanced, the camera takes you directly to the Settings > Project > Format screen, where you can modify the resolution, aspect ratio, anamorphic setting, and lookaround setting.

MENUS

SETTINGS MENU

This section describes the various secondary controls available to configure the camera. Menu options are Display, Look, Project, Audio, Recording, Setup, and Maintenance.

DISPLAY

Available options are Tools, Zebra, Monitor Control, Modes, Guides, and Test Signals.

TOOLS

The Tools menu allows you to use different false color modes and display modes. False color options are None, Exposure, Focus, Video, and Edge. Display mode options are Magnify and RAW.

You can access the Tools menu the following ways:

 Navigate to Settings > Display > Tools.

 Press the Histogram in the lower left area of the on-screen display. For more information about the different false color modes, check out 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

NOTE: Only monitors with the Tools check box selected in the Monitor Control screen will show the false colors.

For more information about monitor control, go to “Monitor Control” on page 48. NOTE: When enabled, the false color modes will affect video that’s recorded through HDMI or HD-SDI out to

an external recorder when the Tools check box is selected. If you’re recording through HDMI or HD-SDI, RED recommends using the false color modes only as tools to help you configure your project settings, and that you disable these modes before you start recording.

NONE

Turns off all of the false color modes.

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EXPOSURE

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

abled, the icon “E√” displays in the Lower Status Group.

Purple (underexposure) and red (overexposure) are based on RAW data, which means that these colors show which areas are clipping or close to clipping. This also means that these indicators are not affected by any RGB domain adjustments, such as ISO, FLUT, white balance, gain, or other Look information.

Green is based on the RGB levels of the video out signal (that is, the “cooked” look, and not the RAW data). The Exposure meter color bands provide the following information:

 Purple: Underexposed; indicates sensor exposure levels that are likely to be noisy if gained up in post-

production.

 Green: IRE 41–48.

 Red: Overexposed; indicates sensor exposure levels that are at clipping.

FOCUS

Emphasizes edges in the image without changing brightness or image content so it is easier to judge if the image is in focus. By adjusting your lens zoom and focus you can see which objects are coming into and falling

out of focus. When enabled, the icon “F√” displays in the Lower Status Group.

VIDEO

Displays a multi-color overlay that allows you to check the video level of the RGB monitor path (calibrated to the SMPTE test signal) and any outputs driven from that path, such as HD-SDI and HDMI. When enabled, the

icon “V√” displays in the Lower Status Group.

Color bands are based on the RGB levels of the video out signal (that is, the “cooked” look, and not the RAW data), so settings like ISO, FLUT, color space and gamma affect these values.

At all other values, the monochrome 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

EDGE

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

Status Group.

NOTE: This will potentially interfere with recordings done via HDMI or HD-SDI in Clean mode.

DISPLAY MODES

MAGNIFY

Displays the central region of the sensor in 1:1 pixel resolution. When enabled, the 1:1 text in the Lower Status Group is green, and you will see the AF Window and the magnified region.

The AF Window determines the center point of the magnified region. If you have a lens or lens mount that is not capable of autofocus with the DSMC, use Confirm mode to turn on the AF Window.

The magnified region cannot zoom in on any areas close to the edge of the screen and the size of the magnified

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region depends on the monitor screen. The camera automatically exits magnify mode when you start recording. When using a touchscreen, you can

also perform this function by pinching your fingers together and apart.

NOTE: HDR mode, frame rate, and resolution cannot be modified when in Magnify mode.

RAW

Displays images unaffected by any LOOK settings (including ISO, FLUT, color space, and gamma). When enabled, the word RAW displays in the Histogram in the Lower Status Bar.

The RAW image parameters are:

 Color Space: REDcolor2

 Gamma Space: REDlogFilm

 White Balance: 5600K

 ISO: 800 ISO

 Tint: 0 Tint NOTE: When enabled, RAW will affect video that’s recorded through HDMI or HD-SDI out to an external recorder.

Otherwise, the RAW image parameters DO NOT affect the image metadata; the parameters only define the output on the monitor.

ZEBRA

Use zebra mode to enable and adjust the upper and lower values for two independent zebra indicators. One zebra may be used for highlight exposure, and the other for mid-tones or shadows. Zebras are visible when in 1:1 zoom. By default, the zebra indicators are disabled.

As with other IRE-based modes, zebra mode is only applicable for the current ISO and Look settings (such as with HD-SDI output), and not for the raw image data. If anything is changed in post-production, the indicators will not be representative of the final output tones. For more information about zebra indicators, check out 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. Select a Zebra check box.

2. Select the low and high IRE values. Each value range is 1–100.

‒ Zebra 1: Areas of the image exposed within the IRE range are indicated by diagonal lines at -45. Default

is IRE 98–100.

‒ Zebra 2: Areas of the image exposed within the IRE range are indicated by diagonal lines at 45. Default

range is IRE 41–48.

MONITOR CONTROL

MONITOR

NOTE: Changes to the settings on the Monitor Control screen take effect after you close the screen.

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

MODE

Determines what elements display on the monitor:

 Clean: Only the video displays; you do not see any menus or overlays.

 Overlay: The overlay displays (you can select different overlays from the Overlay drop-down menu). The

overlay includes the menus and the Lower Status Bar.

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 Mirror: 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 you can mirror.

You can only set four monitors to Overlay at a time. To assign additional monitors to Overlay, mirror another monitor that has the same resolution and is set to Overlay.

OVERLAY

Select which overlay shows on top of the video. There are several default overlays that are always available and are denoted by the (RED) at the end of the overlay name. You can create custom overlays in the Overlay tab. For more information about creating overlays, go to “Overlay” on page 49.

RESOLUTION

Determines the resolution of the monitor. This option is only available for HDMI and HD-SDI monitors since the resolutions for LCD/EVF monitors are determined automatically. Available options are:

 720 P

 1080 P

FREQUENCY

Determines the frequency of the monitor. The available frequencies depend on the selected monitor. For HDSDI monitors, the frequency depends on the project rate.

MONITOR CHECK BOXES

 Tools: Enables the false color modes on the monitor. For more information about false color modes, go to

“Tools” on page 46.

 Flip/Mirror UI: The overlay is flipped vertically and mirrored horizontally (not rotated). This setting is useful

when mounting a monitor upside down. This setting does not change how your footage is captured; you will only see the difference on the monitor.

 Flip Video: The video footage is flipped horizontally on your monitor, so that it is upside down. This setting

does not change how your footage is captured; you will only see the difference on the monitor.

 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.

 Auto Hide Menus: Hides the menus (top and bottom bars on the display). 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, and you can bring up the menus on the LCD by pressing the Menu button on the DSMC SIDE HANDLE or by tapping the screen. This lets you have a control surface on a monitor without having to scale the video. Enabling this option on a non-control surface results in the menus never displaying on that monitor.

NOTE: If you have two touch LCDs attached to the DSMC with the same resolution and one is currently the control surface, you can set the other to mirror it and give the effect of having two control surfaces.

OVERLAY

You can create custom overlays that include specific items and icons. Overlays can be stored on the camera or transferred to SSD, so that you can build a library of overlays or quickly copy an overlay from one camera to another via SSD.

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

on the Monitor Control: Monitor tab.

 Media: Overlays that are on the SSD in the path shown (for example, S-SSD\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 new overlay template in the Overlay Editor.

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 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 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 click OK.

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

‒ Frame Guide ‒ Action Guide ‒ Title Guide

5. Click 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 Time Code (TC) is on the bottom right.

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

6. Select the Item that you want to add.

7. Select the Size of the item.

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

9. Click Add to return to the previous screen.

10. Add all of the items to the overlay.

11. After setting up your overlay, 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 will move to the new position.

PRIORITY

The camera can only have a single control monitor which allows you to interact with the camera settings. The order of the list determines which monitor is the control monitor. The monitor that has highest priority (is closest to the top of the list) and is set to Overlay mode in the Monitor

Control screen is the control monitor. For more information about changing the monitor mode, go to “Mode”

on page 48.

To change the order of the monitors in the list, select a monitor and use the Up and Down buttons to move the monitor up and down, respectively.

BRIGHTNESS

You can control the brightness of each of your LCDs and EVFs. Slide to the right for a brighter display; slide to the left for a dimmer display.

NOTE: A rear LCD/EVF is one that is plugged into any rear RED module, such as the +1 ADAPTOR MODULE or the PRO I/O MODULE.

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ADVANCED

GESTURES

 Pinch to Magnify: Use two fingers to pinch inward OR slide apart on the LCD to toggle 1:1 Magnify. For more

information about 1:1 Magnify, go to “Magnify” on page 47.

 Double-Click Right 25% to Record: Double-tap the right 25% of the video area on the LCD to toggle record.

 Double-Click Left 25% to Start AF: Double-tap the left 25% of the video area on the LCD to start autofocus

when compTatible lenses are used. For a list of compatible lenses, go to “Supported Lenses” on page 130.

OTHER

 Lock Touch Screen: Touches to the LCD are locked out. To unlock, touch 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.

 EVF Tally Light: The Record Tally red LED on the EVF lights when recording.

DISPLAY MODES

Settings in this screen determine how different settings display on the main screen.

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. This is the default.

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

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

NOTE: If the target you select is not currently achievable, the shutter speed turns yellow, which indicates that the camera is using the closest available shutter speed. Unachievable settings are grayed out on the Exposure spin wheel until you change a parameter that’s limiting the shutter speed (such as sensor frame rate).

APERTURE

 1/4 F#: Aperture spinner shows 1/4 stops.

 1/3 F#: Aperture spinner shows 1/3 stops. This is the default.

FOCUS DISTANCE

 Metric: Displays lens focus distances in meters.

 Imperial: Displays lens focus distances in feet and inches. This is the default.

REMAINING POWER

 Current Batt %: Displays the remaining percentage of active battery. This is the default.

 Total Time: Displays the total run-time left of battery power, taking into account all available batteries.

VU METER SOURCE

 Input: Displays levels of audio inputs (pre-mixer). This is the default.

 Output: Displays levels of audio outputs (post-mixer).

HISTOGRAM

 RGB: Displays red, green, and blue channels on histogram. This is the default.

 Luma: Displays luma channel on histogram.

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MOTION MOUNT ND

Only applicable when using a DSMC® RED MOTION MOUNTTM. Select how the ND value displays in the top left corner of the main screen.

 Fraction: Displays the neutral density value as a fraction of light transmission. This is the default.

 Density: Displays the neutral density value as an optical density value.

 Stop: Displays the neutral density value as a stop loss.

MOTION MOUNT ISO PULL

Only applicable when using a DSMC® RED MOTION MOUNTTM. When using any ND filter, including the MOTION MOUNT, the effective ISO is reduced because the ND filter

reduces light transmission to the sensor. The MOTION MOUNT and DSMC give you the ability to see both the effective ISO (on the main screen) and the native camera sensor ISO (in the FLUT screen).

 On: Displays the effective ISO. While the effective ISO is displayed on the main screen, you should continue

to follow standard exposure best practices and select your ISO based on the camera’s native ISO.

 Off: Displays actual ISO. This is the default.

RACK TARGET FOCUS

Displays the focus distance of each rack point on the main screen when rack focus is enabled. For more information about rack focus, go to “Set Up Rack Focus” on page 99.

GUIDES

Set up how you want the Frame Guide, Action Guide, and Title Guide to display. You can also enable/disable each of these guides.

MODE

 Off: Do not show guide.

 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 a customized aspect ratio for the guide from the drop-down menu that appears when you se-

lect this option.

 Absolute: Guide is defined by absolute pixel dimensions rather than aspect ratio and scale. When you select

Absolute, the Scale field is replaced with Width/Height fields.

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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: You can choose the following line styles: Solid, Dashed, or Bracket.

 Color: Select a color for the guide. Select the color that provides maximum color contrast with the scene

you are shooting. The default is White.

 Opacity: Set the guide opacity. Available options are 0%, 25%, 50%, 75% and 100%.

RELATIVE TO FRAME GUIDE

Only available on the Action Guide and Title Guide tabs. Select this check box so that the guide is sized and positioned relative to (and bounded by) the Frame Guide

instead of the record format.

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GENERAL TAB

You can 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 SIGNALS

Permits the video monitor outputs to be replaced with one of the following video test patterns:

 Chip Chart

 SMPTE Bars

 LUMA RAMP To enable a test signal, select the test signal box. To exit the test signal, tap the touchscreen once or press the

Enter or Menu button on the DSMC SIDE HANDLE or REDMOTE. You can also enable an Audio Tone while a test pattern is active.

Chip Chart

SMPTE Bars with Pluge Pulse

Luma Ramp

NOTE: RED DSMC test signals are not recordable; they are provided to help align external video monitors connected via the HD-SDI or HDMI outputs.

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LOOK

The Look menu permits adjustment of Color, Gain, FLUT®, Curves, Color/Gamma, and Color Temperature metadata values. These parameters will affect the look of the monitor path, but do not affect the actual REDCODE RAW data being recorded.

COLOR

You can adjust the following:

 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.

 Exposure: Adjusts exposure compensation. Available range is -7.0 to 7.0. Default is 0.0.

GAIN

You can 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.

FLUT

You can adjust the following:

 ISO (Native): Adjusts the camera’s native ISO value. RED recommends that you set the ISO near 800, then

adjust the lens T-stop and lighting or ND filters to match. The ISO can later be adjusted around one stop for fine-tuning. Range is ISO 250–12,800. Default is ISO 800.

 FLUT: FLUT (Floating Point Lookup Table) adjusts mid-range tone values. Range -8.0 to 8.0. Default is 0.0.

 Shadow: Adjusts the toe value of the FLUT, or in other words, the tone near Black. Range is -2.0 to 2.0.

Default is 0.0. Increasing the Shadow value raises the video level of near Blacks. Lowering the Shadow value crushes the video level of near Blacks.

CURVES

You can define the curves for the Luma, Red, Green, and Blue channels. Select Reset Curve to reset the currently selected curve.

COLOR/GAMMA

You can adjust the monitor output Color Space and Gamma curves. RED recommends using the most recently released Color Space and Gamma settings, and use legacy settings (such as REDcolor2) only if you need to record footage to match footage that you recorded with that legacy setting.

For more information about RED gamma settings, check out the Understanding REDlogFilm and REDgamma article available at www.red.com/learn/red-101/redlogfilm-redgamma.

COLOR TEMPERATURE

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

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. This value doesn’t change if you adjust the color temperature manually. If you select any preset, Tint will be reset to 0.000.

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PRESETS

Each preset has 0 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

The auto white balance function 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 the auto white balance function, follow the instructions below:

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

2. Select Auto White Balance.

PROJECT

The project menu sets the operating parameters the camera will use for a given project. Options available are Frame Rate, Exposure, Time Code, Slate, and Format.

FRAME RATE

SENSOR FRAME RATE

The default sensor frame rate is 23.98 FPS, or the selected project time base when it is a value other than

23.98 FPS or 24 FPS.

PROJECT TIME BASE

Defines the rate at which the footage will be played back. When changing the project time base, the sensor frame rate will default to the project time base, but may be over-ridden using the sensor frame rate controls.

The time base setting is displayed in the lower left corner of Viewfinder output(s). Multiple projects with differing time bases may be stored on an SSD. The following project time bases are currently 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

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VARISPEED

When a sensor 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.

EPIC DRAGON FRAME RATES

The table below describes the maximum frame rate for each resolution of the EPIC DRAGON camera. The minimum frame rate is always 1 FPS. The table below omits rows for the anamorphic formats, since the maximum frame rate for each anamorphic

format and the corresponding non-anamorphic format is the same. NOTE: All frame rates in the table below are based on a 23.98 time base, 8:1 compression, and with Lookaround

disabled.

FORMAT MAX FRAME RATE (FPS) FORMAT MAX FRAME RATE (FPS)

6K FF 82.81 3.5K 2:1 141.63 6K 2:1 84.51 3.5K WS 166.77

6K WS 100.21 3.5K HD 130.92 6K HD 83.12 3.5K 3:2 114.12 6K 4:1 166.77 3.5K 4:3 101.76 6K 8:1 324.89 3.5K 5:4 95.55

5.5K FF 87.66 3.5K 4:1 273.55

5.5K 2:1 91.69 3.5K 8:1 399.60

5.5K WS 108.29 3K FF 159.1

5.5K HD 85.16 3K 2:1 167.62

5.5K 4:1 180 3K WS 197.86

5.5K 8:1 347.17 3K HD 159.1 5K FF 95.69 3K 3:2 134.68 5K 2:1 100.83 3K 4:3 119.94 5K WS 119.08 3K 5:4 112.56 5K HD 95.69 3K 4:1 328.13 5K 4:1 197.86 3K 8:1 399.60 5K 8:1 381.39 2.5K FF 192.09

4.5K FF 107.06 2.5K 2:1 200.88

4.5K 2:1 111.98 2.5K WS 237.08

4.5K WS 132.24 2.5K HD 194.36

4.5K HD 108.29 2.5K 3:2 161.45

4.5K 3:2 89.94 2.5K 4:3 143.8

4.5K 4:1 219.66 2.5K 5:4 134.95

4.5K 8:1 399.60 2.5K 4:1 392.77 4K FF 119.51 2.5K 8:1 399.60 4K 2:1 124.01 2K FF 237.94

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FORMAT MAX FRAME RATE (FPS) FORMAT MAX FRAME RATE (FPS)

4K WS 148.68 2K 2:1 239.67 4K HD 119.51 2K WS 295.68 4K 3:2 101.14 2K HD 237.94 4K 4:3 90.06 2K 3:2 201.50 4K 5:4 84.51 2K 4:3 179.51 4K 4:1 239.67 2K 5:4 168.47 4K 8:1 399.60 2K 4:1 399.60

3.5K FF 135.51 2K 8:1 399.60

SCARLET-X DRAGON FRAME RATES

The table below describes the maximum frame rate for each resolution of the SCARLET-X DRAGON camera. The minimum frame rate is always 1 FPS. NOTE: All frame rates in the table below are based on a 23.98 time base, 8:1 compression, and with Lookaround

disabled.

FORMAT MAX FRAME RATE (FPS)

6K FF 12.08 (in Burst mode) 5K FF 24.22 5K 2:1 25.52 5K 2.4:1 30.17 5K 16:9 25.81 4K FF 38.42 4K 2:1 38.69 4K 2.4:1 47.94 4K 16:9 40.96 3K FF 67.29 3K 2:1 70.91 3K 2.4:1 83.80 3K 16:9 71.70 2K FF 121.83 2K 2:1 128.50 2K 2.4:1 150 2K 16:9 121.83

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EPIC MYSTERIUM-X AND SCARLET MYSTERIUM-X FRAME RATES

The table below describes the maximum frame rate for each resolution of the EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X cameras.

The minimum frame rate is always 1 FPS. The table below omits rows for the anamorphic formats, since the maximum frame rate for each anamorphic

format and the corresponding non-anamorphic format is the same. NOTE: All frame rates in the table below are based on a 23.98 time base, 8:1 compression, and with Lookaround

disabled.

FORMAT MAX FRAME RATE (FPS)

EPIC MYSTERIUM-X

5K FF 95.83 12 5K 2:1 100.83 12 5K WS 120.83 12 5K HD 95.83 12 5K 1.22:1 95.83 12 4K FF 120.83 30 4K WS 152.47 36 4K HD 120.83 30 3K FF 159.88 48 3K WS 200.88 60 3K HD 159.88 48 2K FF 239.67 60 2K WS 301.79 75 2K HD 239.67 60 1K HD 356.58 90

MAX FRAME RATE (FPS) SCARLET MYSTERIUM-X

1K WS 400 120

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EXPOSURE

Select the exposure of each frame captured by the sensor. Shutter speed presets are provided for all common speeds (and shutter angles) for 24/25 FPS and 50/60 FPS project frame rates.

Decreasing shutter speed increases the amount of time during which light falls on the sensor, increasing exposure and motion blur on any objects moving within the frame. Increasing shutter speed shortens the amount of time during which light falls on the sensor, decreasing exposure and motion blur on objects moving within the frame.

From the Exposure menu, you can set the exposure value as a shutter speed (1/xx sec) or a shutter angle (xx degrees). For more information on how to change whether shutter or shutter angle displays, go to “Display

Modes” on page 51.

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.

NOTE: If the camera ramps to a frame rate that it cannot maintain with the exposure setting, the camera changes the exposure to the longest exposure possible for the frame rate. To maintain consistent exposure throughout the recording, select an exposure that is valid at all ramp target frame rates. For more information on speed ramp mode, go to “Speed Ramp Mode” on page 69.

EXPOSURE (SHUTTER SPEED)

Enter the exposure value as a shutter speed (1/xx sec). With the exception of EPIC DRAGON, the slowest available speed is 1/frame rate, so for 24 FPS, the slowest

speed is 1/24 sec. In EPIC DRAGON, the slowest available speed is 1/8 sec, regardless of the sensor frame rate.

The fastest available speed is 1/131,579 sec (7.6 microseconds). Default is 1/48 sec.

INTEGRATION TIME

Enter the exposure value as a shutter integration time (xx milliseconds). The range of available integration times depends on the sensor frame rate. In EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X, the slowest available speed is 1000 ms (Exposure: 1/1

sec). In EPIC DRAGON, the slowest available speed is 125.109 ms (Exposure: 1/8 sec). Default is 20.833 ms.

ANGLE

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

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EXPOSURE CONVERSIONS

As you adjust any of these three parameters, the camera automatically calculates the equivalent value in the other units, but as a quick reference here are some common speeds and angles.

CONVERT SHUTTER SPEED TO SHUTTER ANGLE (FOR 24 FPS)

 Equivalent Degrees = (Shutter Speed x Frame Rate x 360)

 For example: (1/48 x 24 x 360) = (8640/48) = 180

SHUTTER DEGREES SHUTTER DEGREES

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 ANGLE TO SHUTTER SPEED (FOR 24 FPS)

 Equivalent Shutter = 1/(Frame Rate x 360/Angle)

 For example: 1/(24 x 360/180) = 1/(8640/180) = 1/48

DEGREES SHUTTER DEGREES SHUTTER

270 1/32 72 1/120 180 1/48 45 1/192

172.8 1/50 22.5 1/348 144 1/60 11 1/696 90 1/96 8.6 1/1000

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TIME CODE

Select a Time Code Display mode:

 TOD: TOD stands for Time of Day, and indicates that the time code runs continually.

 Edge: The time code starts and stops coincident with recording. Select the Time Code Source to be used. Available options are User Provided, External: BRAIN, and External:

Rear Module.

TIME CODE SOURCE MODE DESCRIPTION

User Provided (Internal) Use Real Time Clock

(RTC)

Set Manually You can define a custom value as the time code coun-

External: BRAIN Varies by device Uses the time code from an external device connected

External: Rear Module Varies by device Uses the time code from an external device connected

Uses the camera’s Real Time Clock as the time code counter source. You can also specify the user bits of the time code.

ter seed. The three numerical boxes below allow you to set hours, minutes and seconds (in that order). You can also specify the user bits of the time code.

to the time code connector on the camera BRAIN.

to the time code connector on a rear module, such as the RED PRO I/O MODULE.

TIME CODE AND HANC DATA

The time code displayed becomes the primary time code HANC data while the other time code is sent as secondary.

SLATE

Use the Slate sub-menu to add metadata to your clips. After configuring the following fields, the information will populate in the Media screen when you format media:

 Cam ID

 Cam Pos

AUTO-INCREMENTING TAKE

If there is a value entered in the Take box on the Scene tab, the camera will automatically increment the take number every time the camera starts and stops recording.

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

AUTO SLATE

If you enter frame values for Head Slate and Tail Slate on the Auto Slate tab, these values will only show in-cam- era. The Head Slate and Tail Slate metadata values are currently disabled in REDCINE-X PRO.

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FORMAT

Use the Format screen to select the project’s resolution, aspect ratio, anamorphic setting, and lookaround setting.

After selecting format settings, select Set Format.

EPIC DRAGON FORMATS

The table below describes the formats that are available for EPIC DRAGON cameras. 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 about anamorphic settings, go to “Anamorphic” on page 67.

RESOLUTION DESCRIPTION DIMENSIONS (PIXELS)

WIDTH HEIGHT

6K FF 6K RAW Full Frame 6144 3160 6K 2:1 6K RAW 2:1 6144 3072 6K WS 6K RAW Wide Screen 6144 2592 6K HD 6K RAW HD 5568 3132 6K 4:1 6K RAW 4:1 6144 1536 6K 8:1 6K RAW 8:1 6144 768

5.5K FF 5.5K RAW 5632 2948

5.5K 2:1 5.5K RAW 2:1 5632 2816

5.5K WS 5.5K RAW Wide Screen 5632 2376

5.5K HD 5.5K RAW HD 5376 3024

5.5K 4:1 5.5K RAW 4:1 5632 1408

5.5K 8:1 5.5K RAW 8:1 5632 704 5K FF 5K RAW Full Frame 5120 2700 5K 2:1 5K RAW 2:1 5120 2560 5K WS 5K RAW Wide Screen—2.4:1 5120 2160 5K HD 5K RAW HD 4800 2700 5K 4:1 5K RAW 4:1 5120 1280 5K 8:1 5K RAW 8:1 5120 640

4.5K FF 4.5K RAW 4608 2412

4.5K 2:1 4.5K RAW 2:1 4608 2304

4.5K WS 4.5K RAW Wide Screen 4608 1944

4.5K HD 4.5K RAW HD 4224 2376

4.5K 3:2 4.5K RAW 3:2 4320 2880

4.5K 4:1 4.5K RAW 4:1 4608 1152

4.5K 8:1 4.5K RAW 8:1 4608 576 4K FF 4K RAW Full Frame 4096 2160

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RESOLUTION DESCRIPTION DIMENSIONS (PIXELS)

WIDTH HEIGHT

4K 2:1 4K RAW 2:1 4096 2048 4K WS 4K RAW Wide Screen—2.4:1 4096 1728 4K HD 4K RAW HD 3840 2160 4K 3:2 4K RAW 3:2 3840 2560 4K 4:3 4K RAW 4:3 3840 2880 4K 5:4 4K RAW 5:4 3840 3072 4K 4:1 4K RAW 4:1 4096 1024 4K 8:1 4K RAW 8:1 4096 512

3.5K FF 3.5K RAW Full Frame 3584 1876

3.5K 2:1 3.5K RAW 2:1 3584 1792

3.5K WS 3.5K RAW Wide Screen—2.4:1 3584 1512

3.5K HD 3.5K RAW HD 3456 1944

3.5K 3:2 3.5K RAW 3:2 3360 2240

3.5K 4:3 3.5K RAW 4:3 3360 2520

3.5K 5:4 3.5K RAW 5:4 3360 2688

3.5K 4:1 3.5K RAW 4:1 3584 896

3.5K 8:1 3.5K RAW 8:1 3584 448 3K FF 3K RAW Full Frame 3072 1620 3K 2:1 3K RAW 2:1 3072 1536 3K WS 3K Wide Screen—2.4:1 3072 1296 3K HD 3K RAW HD 2880 1620 3K 3:2 3K RAW 3:2 2880 1920 3K 4:3 3K RAW 4:3 2880 2160 3K 5:4 3K RAW 5:4 2880 2304 3K 4:1 3K RAW 4:1 3072 768 3K 8:1 3K RAW 8:1 3072 384

2.5K FF 2.5K RAW Full Frame 2560 1340

2.5K 2:1 2.5K RAW 2:1 2560 1280

2.5K WS 2.5K Wide Screen—2.4:1 2560 1080

2.5K HD 2.5K RAW HD 2304 1296

2.5K 3:2 2.5K RAW 3:2 2400 1600

2.5K 4:3 2.5K RAW 4:3 2400 1800

2.5K 5:4 2.5K RAW 5:4 2400 1920

2.5K 4:1 2.5K RAW 4:1 2560 640

2.5K 8:1 2.5K RAW 8:1 2560 320 2K FF 2K RAW Full Frame 2048 1080

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RESOLUTION DESCRIPTION DIMENSIONS (PIXELS)

WIDTH HEIGHT

2K 2:1 2K RAW 2:1 2048 1024 2K WS 2K RAW Wide Screen—2.4:1 2048 864 2K HD 2K RAW HD 1920 1080 2K 3:2 2K RAW 3:2 1920 1280 2K 4:3 2K RAW 4:3 1920 1440 2K 5:4 2K RAW 5:4 1920 1536 2K 4:1 2K RAW 4:1 2048 512 2K 8:1 2K RAW 8:1 2048 256

SCARLET-X DRAGON FORMATS

The table below describes the formats that are available for SCARLET-X DRAGON cameras.

RESOLUTION DESCRIPTION DIMENSIONS (PIXELS)

WIDTH HEIGHT

6K 6K RAW Full Frame 6144 3160 5K 5K RAW Full Frame 5120 2700 5K 2:1 5K RAW 2:1 5120 2560 5K 2.4:1 5K RAW Wide Screen—2.4:1 5120 2160 5K 16:9 5K RAW HD 4800 2700 4K 4K RAW Full Frame 4096 2160 4K 2:1 4K RAW 2:1 4096 2048 4K 2.4:1 4K RAW Wide Screen—2.4:1 4096 1728 4K 16:9 4K RAW HD 3840 2160 3K 3K RAW Full Frame 3072 1620 3K 2:1 3K RAW 2:1 3072 1536 3K 2.4:1 3K RAW Wide Screen—2.4:1 3072 1296 3K 16:9 3K RAW HD 2880 1620 2K 2K RAW Full Frame 2048 1080 2K 2:1 2K RAW 2:1 2048 1024 2K 2.4:1 2K RAW Wide Screen—2.4:1 2048 864 2K 16:9 2K RAW HD 1920 1080

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EPIC AND SCARLET MYSTERIUM-X FORMATS

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

Default for EPIC MYSTERIUM-X is 5K 2:1. Default for SCARLET MYSTERIUM-X 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 about anamorphic settings, go to “Anamorphic” on page 67.

RESOLUTION DESCRIPTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

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

RESOLUTION

Select your Resolution.

 For a list of available resolutions for your EPIC DRAGON, go to “EPIC DRAGON Formats” on page 63.

 For a list of available resolutions for your SCARLET-X DRAGON, go to “SCARLET-X DRAGON Formats” on

page 65.

 For a list of available resolutions for your EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X, go to “EPIC and

SCARLET MYSTERIUM-X Formats” on page 66.

ASPECT RATIO

Select your Aspect Ratio. The available aspect ratios are determined by your selected resolution.

 For a list of available aspect ratios for your EPIC DRAGON, go to “EPIC DRAGON Formats” on page 63.

 For a list of available aspect ratios for your SCARLET-X DRAGON, go to “SCARLET-X DRAGON Formats”

on page 65.

 For a list of available resolutions for your EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X, go to “EPIC and

SCARLET MYSTERIUM-X Formats” on page 66.

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ANAMORPHIC

Select your Anamorphic setting, if applicable. EPIC DRAGON supports anamorphic 1.3x and 2x with each format. EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X cameras support the following anamorphic settings:

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

DE-SQUEEZED RESOLUTION AND DE-SQUEEZED ASPECT RATIO

When you select an anamorphic format, both the actual format and the de-squeezed format display at the bottom of the Format screen.

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

When you de-squeeze the footage in post-production, the resulting footage has the resolution and aspect ratio listed as the second format at the bottom of the Format screen.

Since the camera does not crop the image, you will have additional horizontal area to frame your image. You can then crop or scale your 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 > Anamor-

phic. 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 for your camera:

 EPIC DRAGON: Every format with a 5:4 or 4:3 aspect ratio and a 1.3x or 2x anamorphic setting.

 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 are going to enter the recording area.

You can assign a Shading overlay to the Lookaround area (the area outside of the recording area) in the Guides: General screen. For more information about Shading settings, go to “General Tab” on page 54.

Lookaround limits the available frame rates. Also, higher resolutions (such as 5K Full Frame in EPIC MYSTERIUM-X and 6K Full Frame in EPIC DRAGON) show the full sensor area or full sensor height on the video display, so Lookaround is either very limited or not possible in these formats.

AUDIO

The AUDIO menu lets you configure the audio subsystem. For more information about the DSMC audio system, go to “Audio Subsystem” on page 106.

RECORDING

This menu lets you select and configure different recording modes. Available tabs are Mode, Frame Processing, and Pre-Record.

NOTE: The Frame Processing menu is not accessible on any EPIC DRAGON or SCARLET-X DRAGON.

RECORDING MODE

You can select the following recording modes: Continuous Record, Internal Timelapse Timer, External Frame Trigger, Speed Ramp Mode, and External Record Only.

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CONTINUOUS RECORD

This is the “normal” recording mode. The camera continuously records frames at the current sensor frame rate. You can limit each recording to a specific amount of frames using the Limit Recording to setting.

INTERNAL TIMELAPSE TIMER

In this mode, the camera periodically records the specified number of frames at a specified interval. The current sensor frame rate determines the timing of the frames per pulse.

You can limit each recording to a specific amount of frames using the Limit Recording to setting. You can also use the Timer/Trigger Settings to set a specific amount of frames to be captured during an in-

terval of 1–3,599 seconds. When using the Timer/Trigger Settings, the trigger is the REC key or any key that is programmed to start recording. The Interval setting specifies the frequency at which the frame or group of frames is captured.

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 you’ve recorded 1000 frames (which takes 4,670.00 seconds), the recording process stops.

While recording in this mode, you can see how many frames you’ve recorded out of the total amount of frames on the overlay.

EXTERNAL FRAME TRIGGER

In this mode, the camera records the specified number of frames for each external trigger. This mode limits the REDCODE based on sustainable record rates.

of the trigger. When using the Timer/Trigger Settings, the action Record: External Frame Trigger is used for the external trigger and may be mapped to any user key or camera input.

While recording in this mode, you can see how many frames you’ve recorded out of the total amount of frames on the overlay.

NOTE: There may be a delay between receiving the external trigger and capturing the next frame(s). This delay may be as long 1 frame period at the current sensor frame rate. To achieve completely synchronized frames to an external trigger you must set Sensor Sync Mode to MoCo. For more information about setting the Sensor Sync Mode, go to “GPIO/SYNC” on page 73.

SPEED RAMP MODE

NOTE: The Ramp Settings are not accessible on any EPIC DRAGON or SCARLET-X DRAGON.

This mode lets you program the current sensor frame rate to transition to a target sensor frame rate during recording.

1. Select Speed Ramp Mode from the Recording Mode drop-down menu.

2. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

3. Select a ramp target:

‒ Ramp A/B/C/D: Each ramp target is tied to a specific Target/Duration combination. ‒ Ramp Reset: Allows you to ramp to the starting frame rate with the specified Duration.

4. Set the Target frame rate.

5. Set the Duration. This is how long it takes the camera to transition from your current frame rate to the target

frame rate.

6. Go to Settings > Setup > Keys and program one of the following keys to start the speed ramp:

‒ Record: Start Speed Ramp A/B/C/D ‒ Record: Start Speed Ramp Reset

7. Start recording.

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8. When you are ready to start the speed ramp, press the key that you’ve mapped to start the speed ramp.

The frame rate transitions to your target frame rate during the duration you set up. After you reach your target frame rate, the camera continues to record at that frame rate until you stop recording.

EXTERNAL RECORD ONLY

This mode allows for external recording only. That is, the recording is NOT saved to the camera’s SSD, and external recording is blocked if an SSD is mounted to the camera. An external recorder is required and can be triggered automatically via HD-SDI (if supported by the recorder).

BEEP SPEAKER

 Off: The camera does not make a sound when recording starts/stops. This is the default.

 Record/Stop: The camera beeps when recording starts/stops.

FRAME PROCESSING

NOTE: The Frame Processing screen is not accessible on any EPIC DRAGON or SCARLET-X DRAGON. NOTE: Frame processing is not supported in Speed Ramp Mode. For more information about ramping, go to

“Speed Ramp Mode” on page 69.

Frame processing allows for the combination of multiple captured frames into one recorded frame. The combination occurs before the resultant 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 degrees) there will be 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 will change between preview and record. You may have to experiment with your exposure and frame processing settings before you achieve the effect you want.

NO FRAME PROCESSING

Normal frame processing mode. The Frames to Process selection does not affect your recording.

FRAME SUMMING

Combines the specified number of frames into one frame, and adds together the exposure time for each of the original frames. The resultant 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 your Frames to Process value, and set your exposure to 1/48 sec, your 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

Combines the specified number of frames into one frame, and averages the exposure time for each of the original frames. The resultant frame has an effective integration time that is equal to the current integration time.

For example, if you select 16 as your Frames to Process value, and set your exposure to 1/48 sec, your 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.

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PRE-RECORD

When enabled, the Pre-Record setting continuously captures a cache of footage before you start recording. You can select to have 4–30 seconds (incremented at two second intervals) of pre-record time added to your actual footage.

When Pre-Record is enabled, you won’t 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 will always be activated when you

initiate recording:

A. Press the Record button to activate Pre-Record. B. Press the Record button a second time to start recording.

C. Press the Record button a third time to stop recording.  Trigger Pre-Record Now: When selected, the Pre-Record screen closes and Pre-Record mode starts.  If you want to use Pre-Record only for specific situations, map Pre-Record to a key (Settings > Setup > Keys

> Record: Start Pre-Record). For more information about mapping keys, go to “Keys” on page 71.

SETUP

This menu permits a variety of system setup tasks to be accomplished. Options available are Keys, Date/Time, Communication, REDmote, GPIO/Sync, Fan Control, and Lens.

KEYS

Map keys to often-used actions to easily control the camera. For a full list of all of the default key mappings, go to “Default Key Functions” on page 134.

KEY MAPPING

To map or remap a user key:

1. Press the user key on the camera 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 you press a key and then release it.

OPTIONS

 MENU Key Returns to Settings Menu: Pressing the Menu key on the DSMC SIDE HANDLE or REDMOTE moves

you up one level in the menu tree.

 Lock DSMC SIDE HANDLE Keys: None of the DSMC SIDE HANDLE keys perform any actions when pressed,

unless you set up the exceptions below:

‒ Record Key Remains Active When Locked: If the DSMC SIDE HANDLE keys are locked, the Record key

continues to function when pressed.

‒ Navigation Keys Remain Active When Locked: If the DSMC SIDE HANDLE keys are locked, the navigation

keys continue to function. Navigation keys include: Up, Down, Left, Right, Enter, Menu, Wheel CCW, and Wheel CW.

 Show Key Action Notifications: A notification displays on the bottom of the display when you perform an ac-

tion mapped to a key.

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SOFT KEYS

The following sets of soft keys are available on the touch LCD:

 A, B, C, D (left side of the touch LCD)  1, 2, 3, 4 (right side of the touch LCD)

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 LCD 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 dis-

play.

ADVANCED

You can use this 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 don’t have a touch LCD attached, it may be possible to lock out control. Take extreme care when remapping any of the navigation keys.

DATE/TIME

You can use this screen to reset the internal clock of the camera. The time and date are used as timestamps on the .R3D files when recording to an SSD.

The camera uses the 24-hour clock convention (military time). For example, 2:35 p.m. should be entered as 14:35:00.

The date and time are saved when you close the Date/Time screen.

COMMUNICATION

The Communication screen allows you to set a unique identification for your camera (or a group of cameras) when operating in a command and control communications network.

You can use the serial port or a direct Ethernet interconnect to connect two cameras, or one camera and one external device. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate with each other.

The communication structure allows for a lot of flexibility. For example, on a multi-rig 3D shoot, you can either 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).

With the exception of the None setting, all command filtering happens on the receiver side of the communication link.

 Name: Enter a unique camera name to use in network communications. The field is limited to eight (8) char-

acters.

 Group: Enter a group name if you want to identify the camera as a member of a group of devices. For ex-

ample, a group “3DRIG_A” could include two cameras: “CAM_A_L” and “CAM_A_R”. Group names (like camera names) can be used to uniquely address commands to a specific group of networked cameras. 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 cannot send commands to any devices on the network. The camera can only receive

messages.

‒ Custom: The camera can send commands to a specific camera/device (enter the name of the camera/

device in the Custom text box) or a specific group (enter the name of the group in the Custom text box). The camera or group name must match the name entered in the Name or Group field of the target device(s).

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SERIAL PROTOCOL

The camera can communicate to external devices via the RS232 Serial Port and/or the Gigabit Ethernet Port. Select one of the following protocols from the Serial Protocol drop-down menu:

 None (default)  Element Technica  3ality SPC 7100  3ality SPC 7000  RED Control Protocol  RCP 3D Metadata

NETWORK

Use the settings on the Network tab to configure the Gigabit Ethernet port. Each camera or device requires a unique IP address. For simple 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.

 DHCP: Enables DHCP. If a DHCP-server is available in the communications network, the camera will obtain

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: Changes to settings on this camera will be sent out via the network as UDP pack-

ets as a SET command, which will then set the property on other cameras. SET commands sent to this camera will not be propagated.

 Enable External Control: This camera can be controlled via TCP/IP from an external device.

NOTE: If you see the message “For reliable external control over Ethernet your camera’s hardware may need to be upgraded. Please contact your Bomb Squad representative”, you will not be able to control the camera externally. If you see this message, please contact your Bomb Squad representative to have your hardware upgraded.

REDMOTE

A REDMOTE that is docked to the DSMC is automatically paired with the DSMC. The MAC address of a locally attached REDMOTE is displayed in brackets.

To pair the DSMC with REDMOTEs wirelessly, select Scan for REDMOTES. The DSMC scans for any REDMOTEs that are turned on with REDlink wireless enabled. The available wireless REDMOTEs appear in the left panel. Use the Pair and Unpair buttons to select and pair/unpair REDMOTEs.

 REDlink Enable: When selected, the DSMC produces a wireless signal. Be sure to disable wireless in any

setting in which the wireless signal could interfere with other devices, such as in a helicopter.

 REDlink Channel: Select the communication channel for the REDlink wireless connection in the event of in-

terference from other wireless devices.

GPIO/SYNC

SYNC

 Sensor Sync Mode: Allows the shutter timing (scan start) to be synced to an external signal.

‒ Off: Sensor free runs at the current sensor frame rate. This is the default option. ‒ Genlock: Sensor synchronizes with the incoming compatible genlock signal. Genlock syncing of the

monitors is separate from syncing of the sensor, and other methods of sensor sync can be selected while genlocking the monitors. HD-SDI monitor genlock syncing occurs automatically when a genlock signal that is compatible with the selected monitor frequency is present.

‒ MoCo: Each rising edge on the sync input triggers a frame to be captured. To use MoCo (Motion Con-

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trol), go to the BRAIN GPIO tab and set the Camera Input option to Sync In. NOTE: When using MoCo, you must set the frame rate to be at least two times (2x) the fastest trigger

rate used. A high frame rate usually increases the compression, but when you’re using MoCo, REDCODE is calculated based on FPS/2. Therefore, if you are in MoCo mode, and you set the frame rate to

100.83 FPS, the maximum REDCODE is calculated based on a frame rate of 50.415 FPS.

 Genlock Source: Select which genlock input should be used:

‒ BRAIN (default) ‒ Rear Module

BRAIN GPIO

 Camera Input: Select one of the following options to configure the input for devices connected to the SYNC

connector on the BRAIN:

‒ Sync In: The camera input is used as a sync-in signal for MoCo. ‒ General Purpose In: Use the BRAIN GPI In High/Low drop-down menus to map inputs to actions.

 Camera Output: Select one of the following options to configure the output for devices connected to the

CTRL connector on the BRAIN:

‒ Sync Out: Provides an output sync signal to act as a shutter start tally. ‒ Recording Indicator Out: Provides a signal when recording is in process.

NOTE: For more information about connectors, go to “Input/Output Connectors” on page 121.

GEN AND SYNC STATUS ICONS

The Lower Status Row of the camera display has GEN and SYNC icons, which change color based on the current genlock and sync statuses. For information about what each color indicates, go to “Icon Behavior” on

page 40.

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PRO I/O GPIO AND PRO I/O SW

Use the PRO I/O GPI and PRO I/O SW screens to assign General Purpose Inputs and Outputs (GPIO) on the PRO I/O MODULE. You can map I/O actions to the GPIO and AUX connectors on the PRO I/O MODULE.

When mapping actions, High and Low refer to the voltage; High is the rising edge (transition from low voltage to high voltage) and Low is the falling edge (transition from high voltage to low voltage). In practice, Low/High correlates to the press/release of a trigger or the on/off position of a switch.

For example, if you connect a start/stop trigger to the GPIO connector on the PRO I/O MODULE and keep the default GPIO A High and Low settings (Key Disabled and Record: Toggle, respectively), then pressing the trigger starts/stops recording.

GPIO CONNECTOR

This table describes the I/O options for the GPIO connector on the PRO I/O MODULE:

I/O OPTION DEFAULT ACTION PIN

GPI A High Key Disabled 2 GPI A Low Record: Toggle 2

AUX CONNECTOR

This table describes the I/O options for the AUX connector on the PRO I/O MODULE:

I/O OPTION DEFAULT ACTION PIN

GPI B High Key Disabled 6 GPI B Low Record: Toggle 6 SW 1 High Key Disabled 7 SW 1 Low Go to: Playback 7 SW 2 High Key Disabled 5 SW 2 Low Record: Toggle 5

NOTE: For more information about the PRO I/O MODULE, see the PRO I/O Operation Guide available at www.

red.com/downloads.

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FAN AND TEMPERATURE MANAGEMENT

Each RED DSMC is controlled by complex thermal algorithms to ensure that both the sensor and camera operate at a safe temperature. Each fan control mode affects the sensor temperature, sensor warm-up time, fan speed, and resulting fan noise.

When selecting a fan mode, RED recommends that you take into consideration how each fan mode behaves, and then select a fan mode that fits the needs of your project.

Regardless of your sensor type and target temperature, you will get the best image quality by performing a black shading calibration at the temperature you want to use for your shoot.

FAN CONTROL MODES

Select a fan control mode for your bottom fan. If a top fan is installed, it will activate at a constant speed when necessary.

NOTE: If you select a new fan setting, run the DSMC until the core temperature stabilizes, and then perform a black shading calibration.

NOTE: If you’re using a top fan, the top fan may not run immediately after turning on the DSMC, as the top fan runs when the DSMC requires additional cooling power.

NOTE: Manual and Auto modes require that you actively manage the sensor temperature, because these modes focus on controlling fan speed and do not target a narrow sensor temperature range. The T/E status icons can be used as guides for proper temperature calibration.

ADAPTIVE

Select a target temperature and the bottom fan self-adjusts to maintain the selected temperature. The default target temperature is 65°C. This is the default mode for EPIC DRAGON and SCARLET-X DRAGON.

After the camera reaches the target temperature, and if the ambient temperature remains constant, Adaptive mode results in a consistent fan speed and fan noise over time.

Targeting a higher temperature raises the sensor temperature, lengthens the sensor warm-up time, and lowers the fan speed. Targeting a lower temperature lowers the sensor temperature, shortens the sensor warm-up time, and increases the fan speed.

 EPIC DRAGON and SCARLET-X DRAGON: Target temperature range is 55°C to 70°C. A target temperature of

65°C works best across most environmental conditions.

 EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: Target temperature range is 45°C to 70°C. Target tempera-

tures above 50°C will give noticeable fan noise improvements when compared to Auto mode.

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ADAPTIVE PREVIEW QUIET RECORD

Select a maximum bottom fan record speed, and the standby mode fan speed self-adjusts accordingly so that enough cooling is provided overall. This mode maintains a lower fan noise level than Auto mode during recording.

The default Maximum Record Speed is 50%. The Maximum Record Speed range is 25–100%. A slower speed setting results in a faster standby mode fan speed, and vice versa.

NOTE: The maximum speeds are intended as target speeds only; actual fan speeds may at times be higher than specified to satisfy any unmet cooling requirements due to long recording times or high ambient temperatures.

AUTO

This is the default mode for EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X cameras. Select a maximum bottom fan record speed, and the standby mode fan speed self-adjusts accordingly so that

enough cooling is provided overall. The default Maximum Record Speed is 50%. The Maximum Record Speed range is 25–100%. A slower speed

setting results in a faster standby mode fan speed, and vice versa. NOTE: The maximum speeds are intended as target speeds only; actual fan speeds may at times be higher than

specified to satisfy any unmet cooling requirements due to long recording times or high ambient temperatures.

QUIET

The bottom fan self-adjusts to maintain the lowest possible noise level in record and standby mode while still cooling the DSMC. Using Quiet results in a higher sensor temperature when compared to Auto mode.

NOTE: In v5.1.14, this fan mode was called “Quiet Preview and Record”.

MANUAL

Select a speed for the bottom fan in both record and standby modes. The bottom fan self-adjusts to maintain the selected speeds. The default Maximum Record Speed is 50% and the default Maximum Standby Speed is 75%. The range for both Maximum Record Speed and Maximum Standby Speed is 25–100%.

POST RECORD DELAY

Select the amount of time that it takes for the bottom fan to switch from record to standby mode. Default is None.

LENS

LENS TAB

The options you see on the Lens tab change based on the lens mount that’s currently attached.

PL MOUNT

 Auto-Detect PL Lenses: By default, this feature is enabled.  Detect Lens

CANON AND NIKON LENS SETTINGS

The settings below display when a DSMC Nikon Mount, DSMC Canon Mount, or DSMC Canon MOTION MOUNT is installed with a supported lens.

 Aperture: Enter the F-stop value. The range and default depend on the attached lens.  Focus: Enter the focal distance. The default value is the value read from the lens. The range depends on

the attached lens.

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MOTION MOUNT TAB

NOTE: The Motion Mount menu is only accessible when a DSMC® RED MOTION MOUNTTM is installed. For more

information about using the MOTION MOUNT, see the DSMC MOTION MOUNT Operation Guide, available at

www.red.com/downloads.

1. Navigate to Settings > Setup > Lens > Motion Mount.

2. Select one of the following Motion Mount settings from the Shutter Type drop-down menu: ‒ ND Only: The MOTION MOUNT functions only as an ND filter. ‒ Soft: The MOTION MOUNT soft shutter takes over shuttering duties, and the MOTION MOUNT contin-

ues to function as an ND filter.

‒ Square: The MOTION MOUNT square shutter takes over shuttering duties, and the MOTION MOUNT

continues to function as an ND filter.

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MAINTENANCE

The Maintenance menu allows the user to check system status and information, save the camera diagnostic LOG to the attached SSD, perform a software update, calibrate the sensor, perform a camera self test, and reset system settings to factory defaults.

SAVE LOG

When you contact RED for support, you may be asked to send a LOG file from your camera along with your support ticket. The LOG file is a diagnostic tool that can assist RED with camera troubleshooting. For more information about RED support, or to create a support ticket, go to https://support.red.com.

To save a LOG file, follow the instructions below:

1. Go to Settings > Maintenance.

2. Select Save Log.

The LOG file is saved as a *.txt file in the SSD root directory.

UPGRADE

You can check for upgrades for the following items:

 Camera: For more information on the camera firmware upgrade procedure, go to “Upgrade DSMC Firmware”

on page 104.

 REDMOTE: For more information on the REDMOTE upgrade procedure, go to “Upgrade REDMOTE Firmware”

on page 117.

 MEDIA: For more information on the media upgrade procedure,see the DSMC Media Operation Guide, avail-

able at www.red.com/downloads.

CALIBRATE

You can perform a sensor calibration, a motion calibration, and a lens calibration.

SENSOR CALIBRATION

Sensor calibration, also known as black shading, is a process during which the camera optimizes image quality by ensuring that pixel sensitivity remains consistent throughout an image. Black shading generates a calibration map based on system and environment settings.

After calibration, the sensor should show a uniform noise profile over the whole area without any falloffs on any side.

Calibration is required:

 After an extreme change in temperature (+/- 30°F or +/-15°C) from the currently selected calibration map.  After an extreme change in exposure time (+/- 1/2 sec) from the currently selected calibration map.  For EPIC DRAGON or SCARLET-X DRAGON: After each firmware upgrade.  For EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X: After a firmware upgrade if instructed to do so in the

firmware release notes.

To check at which temperature/exposure time the currently selected calibration was taken, go to Settings > Maintenance > System Status > Calibration.

For more information about black shading, check out the Black Shading Calibration article available at www.

red.com/learn/red-101/black-shading-calibration.

NOTE: Calibration maps will still be available after performing a system restore; however the factory calibration map will be reselected.

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CALIBRATION CAPTURE (BLACK SHADING)

Not including preparation time, the calibration procedure takes several minutes. To perform black shading calibration, follow the instructions below:

1. Ensure that the camera reaches the temperature that you want to use for your shoot.

2. Set the exposure to the exposure you want to use for your shoot.

3. Before you calibrate, ensure that the sensor is as dark as possible. ‒ Preferably, take off the lens, and install the lens mount cap provided by RED. ‒ If you cannot take off the lens, put a lens cap on the lens. (Not all lens-caps completely block IR. Lens

caps are made to protect the lens, not necessarily to block light.) ‒ If possible, use a dark room. ‒ Just closing the iris is NOT sufficient.

4. Ensure a properly formatted SSD is attached to the camera. Even if you are not saving the calibration map to an SSD, an SSD is required to store the raw images during

calibration. For more information on formatting media, see the RED DSMC Media Operation Guide available at www.red.com/downloads.

5. Go to Menu > Settings > Maintenance > Calibrate > Sensor.

6. Select one of the following:

‒ Save As user HS: The calibration map created by black shading will overwrite the user HS calibration

map. User HS is the name for the current in-camera user-created calibration map.

‒ Save To Media: The calibration map created by black shading will be saved to an SSD. ‒ Leave both Save check boxes deselected: The calibration will only be applied until the camera is pow-

ered off, and will not be saved.

7. Select one of the following black shading options:

‒ Black Shading (Default): This option uses fixed settings which are the same settings that are used for the

factory calibration (1/48 sec exposure).

‒ Black Shading (Current FPS/Exposure): This option generates a calibration map with the currently set

frame rate and exposure. This can be used to generate a calibration for long exposures.

8. After selecting a black shading option, a dialog box displays, reminding you to cover the sensor and insert

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an SSD. Select OK to continue.

The system initializes and then makes two (2) passes through the following phases of the calibration:

‒ Capturing ‒ Analyzing ‒ Erasing ‒ Programming

9. When the Calibration Successful dialog displays, select OK to complete black shading calibration.

The new calibration map is automatically selected.

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CALIBRATION MAP NAMING CONVENTIONS

When you create a calibration map, the camera creates a unique name for the calibration map that uses the format described in the table below:

NAME DESCRIPTION EXAMPLE

Exposure (Shutter Speed)

Sensor Temperature

Year Year that the calibration map is created (yyyy)zzz 2014 Month Month that the calibration map is created (mm) 01 Day Day that the calibration map is created (dd) 28 Time Time according to the 24-hour clock in the camera (hhmmss) 122150

For example, a sequence of calibration maps may look like this:

 48_32C_20140128122150  72_34C_20140128122858  120_41C_20140128124306

NOTE: If you mount an SSD with calibration files to your computer, each calibration map displays as a sub-folder in a folder called Calibration. If you want to save a calibration map to your hard drive, you must copy the entire sub-folder (for example, 48_32C_20140128122150) to your drive.

CALIBRATION MANAGEMENT

Use the Calibration Management screen to apply, import, and export calibration maps.

 Calibration Map: The calibration maps that are saved internally on the camera:

‒ Factory: This is the calibration map generated during the manufacturing process, and is the default

map.

‒ User HS: The user-created calibration map.

 Media: The calibration maps that are on the SSD in the path shown (for example, S-SSD\calibration).

Current exposure (shutter speed); to set exposure, go to Menu > Setting > Projects > Expoure

Sensor temperature (Celsius); in the Lower Status Row, this is the number to the left of the forward slash (Temp: 34/35)

32C

CALIBRATION MAP ACTIONS

 Set: Set and apply the selected camera calibration map.  Delete: Delete the selected camera calibration map. You can’t delete the factory map.  Apply: Apply the selected calibration map from the SSD temporarily (without importing to the camera).

EXPORT AND IMPORT CALIBRATION MAPS

You can export and import calibration maps between the camera BRAIN and an SSD. By exporting calibration maps to an SSD, you can build a library of calibration maps that can be used in different settings.

 : Export selected calibration map from camera to SSD.  : Import selected calibration map from SSD to camera. This overwrites the user HS calibration map.

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MOTION SENSOR CALIBRATION

The DSMC displays data from the accelerometer to help orient the camera. After a firmware upgrade or Factory Restore, the motion sensors need to be re-calibrated.

To calibrate the motion sensors, follow the instructions below:

1. Go to Settings > Maintenance > Calibrate.

2. Select Motion.

3. Place the camera on a flat, levelled surface, and do not move the camera during calibration.

4. Select Calibrate Motion Sensors. The sensors calibrate.

LENS CALIBRATION

There are currently a quantity of electronic lenses that are compatible with the DSMC CANON MOUNT or DSMC NIKON MOUNT, but are not electronically supported by RED cameras. The Lens Calibration feature allows you to create custom lens configuration files for these electronic lenses so that you can use features such as rack focus and autofocus with your lenses.

While the custom configuration files will not be as precise as the files for the lenses that are fully electronically supported by RED cameras, the files will provide the F-stop range and focal lengths so that you can electronically control the lens with the camera.

NOTE: The camera may not be able to calibrate some electronic lenses. NOTE: The camera does not create calibration files for lenses that are already electronically supported. For a full

list of supported lenses, go to “Supported Lenses” on page 130.

CREATE LENS CALIBRATION FILES

The calibration process creates a calibration file for the current focal length of the electronic lens. Calibrate the lens at each of your camera’s focal lengths to create a full lens calibration file.

1. Attach a DSMC CANON MOUNT or DSMC NIKON MOUNT.

2. Attach an electronic lens.

3. Manually set the first focal length you want to calibrate.

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4. There are two ways to start the lens calibration process:

‒ When you attach a lens that the camera does not recognize as being fully electronically supported, the

“Unsupported Lens Found” dialog box displays and asks if you want to calibrate the lens. Select Create Custom Lens Config.

‒ Go to Settings > Maintenance > Calibrate > Lens and select Create....

The lens calibration process for the current focal length starts and a progress bar displays. Once the cali-

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bration process starts, DO NOT touch the lens, as doing so may cause the lens to calibrate incorrectly.

5. Click OK after the calibration file is created.

6. To calibrate the next focal length, follow the instructions below:

A. Go to Settings > Maintenance > Calibrate > Lens.

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B. Select the calibration file name in the Camera list and select Edit....

C. Manually set the next focal length. D. Select Add Cal @ xx..., where “xx” is the current focal length.

NOTE: If you calibrate a focal length that has already been calibrated, the new files overrides the previous file.

The lens calibration process for the current focal length starts and a progress bar displays. Once the calibration process starts, DO NOT touch the lens, as doing so may cause the lens to calibrate incorrectly.

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7. Repeat Step 6 for each focal length of the lens. The lens calibration file remains on the camera after system restores and firmware upgrades.

VIEW AND MODIFY LENS CALIBRATION INFORMATION

1. Go to Settings > Maintenance > Calibrate > Lens.

2. Select the calibration file name in the Camera list and select Edit....

The following information displays:

‒ Mount Type ‒ Focal Length ‒ F Stop Range: Overall F-stop range of lens. ‒ Lens Status ‒ Calibrated Focal Lengths

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3. You can perform any of the following actions:

‒ Add Cal @ xx...: Calibrate the current focal length; “xx” is the current focal length. ‒ Remove Cal: Remove the calibration for the selected focal length.

EXPORT AND IMPORT LENS CALIBRATION FILES

Lens calibration files can be stored on the camera or transferred to SSD, so that you can build a library of lens calibration files or quickly copy a lens calibration file from one camera to another via SSD.

When exporting lens calibration files from camera to SSD, the files are saved to a folder on the SSD called “lens_cal”.

DO NOT change the file name of the calibration file after you save it to an SSD.

 : Export selected calibration file from camera to SSD.  All : Export all calibration files from camera to SSD.

 : Import selected calibration file from SSD to camera.  All: Import all calibration files from SSD to camera.

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LENS CALIBRATION ACTIONS

 Edit...: View and edit the selected calibration file.  Delete...: Delete the selected calibration file.  Create...: Create a new calibration file. This option is disabled if you already have a calibration file for the

attached lens.

 Prompt for calibration of unsupported lenses: Select this check box to ensure that the “Unsupported Lens

Found” dialog box displays every time the camera detects an unsupported electronic lens at boot-up. Deselect this check box to disable the “Unsupported Lens Found” dialog box.

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SELF TEST

When selected, allows you to perform a self-test for the sensor and LCD Touchscreen.

ENABLE/DISABLE SENSOR TEST PATTERN

This feature is currently only used during the manufacturing process. When selected, enables/disables the sensor test pattern (White Screen). To turn on, select Enable Sensor Test

Pattern. To turn off, select Disable Sensor Test Pattern.

TOUCHSCREEN

When selected allows you to perform a touchscreen self-test. When the touchscreen self-test is on, you can verify all areas of the touchscreen respond to touch. Simply

touch each box using your finger. The touchscreen responds to the touch and the green box turns blue.

To exit the Touchscreen Self-Test:

1. Place your finger on the touchscreen and hold it there until the main screen appears.

2. Press the Enter or Menu button on the DSMC SIDE HANDLE or REDMOTE.

RESTORE SYSTEM

Restore System permits ALL camera configuration and setup data to be reset to factory default values. When selected, you will be asked to confirm if you want to delete all settings and restore the factory default

settings. After settings are restored, the camera automatically powers down. NOTE: User key settings will be reset as well as any other changes from the cameras default settings. The RED-

MOTE will also require pairing to communicate wirelessly with the camera.

REDISCOVER

Rediscovers all hardware and caches the data for future boot cycles. When selected, you will be asked to confirm if you want to reset all hardware discovery settings. After settings

are reset, “RESET HARDWARE DISCOVERY SUCCESSFUL, INITIALIZING RESTART…” displays. The camera automatically powers down and you will need to manually power it up.

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SYSTEM STATUS

The System Status menu displays key project and system information on the following tabs: Project Status, Module Status, Camera Info.

PROJECT STATUS

Displays the currently selected camera and project settings.

MODULE STATUS

Displays which modules are attached to the BRAIN.

 Not Detected: The module is either not attached, or is not detected by the BRAIN.  Attached: The module is attached and detected.

CAMERA INFO

Displays the following camera information:

 Model: Includes camera type (EPIC or SCARLET) and sensor type.  Version: Current firmware version.  P.I.N.: The personal identification number that is specific to your camera.  SVN revision: The current revision number of your firmware.  Hours of operation: The number of hours that your camera has been turned on.

MEDIA INFO

Displays the following media information:

 Media Status: Active media, module type.  Media Name: Storage capacity, SSD type, and version/revision of the SSD.  Serial Number: Serial number of the SSD.  Media Firmware Revision: Firmware version on the SSD.  Media Size: Total capacity on the SSD.  Media Space Available for Recording: Total capacity left on the SSD that can be recorded to.  Maximum Data Rate: The maximum data rate when writing files to the SSD.

NOTE: When an SSD is not attached, the Media Info tab displays the following: “No Active Media Found”.

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MEDIA MENU

The Media Menu is used to format an SSD prior to use on the camera as well as to eject (unmount) the SSD prior to removal from the camera.

For more information about using media, see the RED DSMC Media Operation Guide, available at www.red.

com/downloads.

UTILITIES

The Utilities sub-menu provides advanced options for performing a secure format of the media device, as well as updating your media firmware.

 Secure Format...:  Download Media Firmware:

PLAYBACK MENU

To view clips on the SSD that’s attached to the camera, go to Menu > Playback. In addition to playing clips, you can change the look of the clips by changing the settings that are available when in Playback mode.

PLAYBACK MENUS

In Playback mode, you can access a pared-down version of the usual menu system. Major differences between the Playback menu system and the usual menu system are described below:

MEDIA

List all available clips on the attached SSD. You can perform the following actions:

 : Move selected clip to the Play List.  All : Move all clips to the Play List.

 Apply Image Metadata: Image data such as color, gain, curves, etc. that were recorded with the image will

be displayed with the playback image. When deselected, the current playback Look settings will be used.

 Load: Closes the menu and brings up the selected clip in Playback mode.

RECORD (EXIT)

Select Record to exit Playback mode. You can also press any button that’s mapped to Record to exit Playback mode.

PLAYBACK STATUS BAR

Displays the progress of the clip during playback. When using the touchscreen, you can swipe your finger right and left to fast-forward and rewind the clip, respectively.

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LOWER CONTROLS

0From left to right, the screen displays the following: Playback/Record toggle, Histogram, Load Previous Clip, Frame-by-Frame Reverse, Rewind, Play/Pause toggle, Frame-by-Frame Forward, Load Next Clip, Play Options, Marker Options.

PLAYBACK/RECORD TOGGLE

Toggles between Record mode and Playback mode.

HISTOGRAM

Displays the clip histogram. The histogram changes based on any changes made to the Look settings. For more information about Looks, go to “Looks” on page 102.

When using the touchscreen, touching the histogram displays the Tools menu.

PLAYBACK SPEED

Allows you to select x1, x2, x4, x8, or x16 playback speed.

IN/OUT POINT MARKERS

Allows you to set In and Out Points during clip playback. This allows you to play only a certain portion of the clip. The In/Out Markers help when the clip is long and you want to focus on a particular segment. The In (red) and Out (green) points display in the Playback Status Bar.

FRAME-BY-FRAME REVERSE/FORWARD

Allows you to move through the clip frame-by-frame, going either forward or in reverse.

PLAY/PAUSE TOGGLE

Allows you to play and pause the clip.

PLAY ONCE/LOOP TOGGLE

Allows you to choose to play the clip one time or to loop the clip in the player.

PLAYBACK DIRECTION TOGGLE

Allows you to play the clip forward or backwards.

ADDITIONAL CLIP/CAMERA INFORMATION

Will indicate if clip was recorded in HDRx, the current camera power status, and audio input signals.

POWER MENU

The power menu displays the current power status of all attached power sources as well as allows you to shut down the camera.

NOTE: For more information about powering the DSMC, see the DSMC Power Operation Guide available at www.

red.com/downloads.

POWER IN

The power status is displayed for the BRAIN DC, DSMC SIDE HANDLE, Rear 1, Rear 2, Rear 3, and Rear 4. The screen displays the voltage of the source or the percentage of the power left, as well as the time left, if applicable.

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POWER OUT

The Power Out menu shows the status of the power out ports on the PRO I/O MODULE and the +1 ADAPTOR. The statuses are:

 N/A: The device is not present.  OK: The power out port is functional.  FAULT: There is a fault. Click RESET to clear the fault.

POWER SAVE

You can select the following power saving options (the default for each is Never):

 Low Power Preview: The camera uses a lower amount of power after the specified period of inactivity.  Sleep: All monitors turn off and keys will not perform mapped actions after the specified period of inactivity.

Touch the screen or press a key to exit Sleep mode.

 Auto Shutdown: The camera shuts down after the specified period of activity.

SHUTDOWN

Shutdown controls are interlocked to prevent accidental powering down of the camera. For details on the different ways to power down your RED DSMC, go to “Power Down” on page 37.

1. Go to Menu > Power.

2. Select Shutdown. The camera immediately powers down.

HDR MENU

NOTE: HDR mode cannot be modified when in Magnify 1:1 mode or when test signals are enabled. NOTE: You cannot use HDR mode when:

‒ A MOTION MOUNT is installed. ‒ A Sensor Sync Mode (Genlock or MoCo) is enabled. ‒ Speed Ramp mode is enabled.

‒ A Frame Processing mode (Frame Summing or Frame Averaging) is enabled. By default HDRx is disabled, and the HDR text in the Lower Status Group of the Viewfinder screen is gray. To enable HDRx, follow the instructions below:

1. Go to Menu > HDR.

2. Select HDRx.

The HDR text in the Lower Status Group of the Viewfinder screen turns white.

3. Select the number of Stops. The range is 1–6, and the default is 2. NOTE: For more information about HDRx, check out the High Dynamic Range Video with HDRx article available

at www.red.com/learn/red-101/hdrx-high-dynamic-range-video.

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FOCUS MENU

MODE TAB

The Focus Menu is used to enable and select Focus parameters, including Mode, Zone, Size, and Enhanced A/F.

MODE

Select one of the following from the Mode drop-down menu:

 Manual: When selected, all focus operations are manual.  Confirm: Enables the Center or Spot focus target. This mode provides additional focus assistance by us-

ing red, yellow, and green color changes to the focus spot window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm operation.

For best results with Focus Confirm, you should “rock” the focus ring: Focus through the point of optimum focusing and back again in decreasing amplitude, as when “zeroing-in” for precision manual focus.

AUTOFOCUS MODES (DSMC NIKON AND CANON MOUNTS)

When you have any of the following conditions, there are additional options in the Modes drop-down menu:

 DSMC Nikon Mount and a supported lens is attached. The lens focus switch is set to “A” or “M/A”.  DSMC Canon Mount and a supported lens is attached. The lens focus switch is set to “AF”.  DSMC Canon MOTION MOUNT and a supported lens is attached. The lens focus switch is set to “AF”.

When any of the conditions above are met, you have the additional following options in the Modes drop-down menu:

 Single: When you press the key mapped to AF: Start, the camera performs single-shot AF. Optimized for

rapid focus even under low-contrast conditions. Works with both Center and Spot zones.

 Continuous: When you press the key mapped to AF: Start, the camera attempts to keep objects in the target

in focus. Works best with good lighting and contrast. Works with both Center and Spot zones.

 Touch Track: Dynamically updates a positionable AF point using the touchscreen. Only works with Spot

zone. Keep Spot target on subject while moving across frame, as the lens continuously focuses on that target.

 Rack: Enables rack focus. Only works with Spot zone. For more information about configuring rack focus,

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go to “Rack Tab” on page 99.

In Single, Continuous, and Touch Track modes, a single target displays on the screen that indicates where the image will be in focus. In Rack mode, multiple targets display on the screen to indicate the different areas between which the camera will rack focus.

Press the key mapped to AF Mode: Cycle (REDMOTE/DSMC SIDE HANDLE button A default) to cycle through the Focus Mode options in order.

Performance of autofocus may be reduced under the following conditions:

 Subject is dark or distant.  Inadequate contrast between the subject and background.  Scene has reflective highlights.  Subject is backlit.  Inadequate surface contrast/detail inside the window.

NOTE: Edge mode can be used for additional assistance in these conditions. For more information about Edge mode, go to “Edge” on page 47.

ZONES

Available options are Center and Spot (default). Both the Center and Spot targets change color to indicate the focus state of the objects in the targets.

TARGET COLOR DESCRIPTION

Blue Camera is focusing Red Objects are out of focus Yellow Objects are almost in focus Green Objects are in focus

CENTER

Provides a large target square for focus that is centered in the recording area.

SPOT

Provides a target for precise focus that you can move around the recording area.

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MOVE THE SPOT FOCUS TARGET

Perform either of the following to move the Spot target using the touchscreen LCD:

 Press and hold the touchscreen LCD on the location you want to relocate the Spot target.  Press and hold the touchscreen LCD where the Spot target currently is, and drag the Spot target.

To move the Spot target using the SIDE HANDLE or REDMOTE:

1. Go to the main screen.

2. Press the Down Arrow in the Navigation Group.

The Spot target line weight increases and the red cursor under Menu dims slightly.

3. Use the directional arrows to move the Spot target to the desired location.

4. Press the Enter button.

5. To exit, press the Menu button.

SIZE

Choose any of the sizes for the Spot target:

 Small  Medium  Large

ENHANCED A/F

Enhanced A/F has an autofocus algorithm that offers better performance and improved visual indicators when in Confirm mode.

ENABLE ENHANCED A/F

1. Go to Menu > Focus > Mode.

2. Select Confirm from the Mode drop-down menu.

3. Select an option from the Zone drop-down menu.

4. If you selected Spot from the Zone drop-down menu, select a size from the Size drop-down menu.

5. Select the Enhanced A/F check box.

6. Select the monitor that you want to dedicate to using the Enhanced A/F feature from the Monitor drop-down

menu:

‒ BRAIN HDMI

‒ BRAIN HD-SDI

The selected monitor will be in Clean mode (no overlay) with a set resolution of 720p and update frequency of 60 Hz. The target does not display on the selected monitor. You will not have control over this monitor until you disable the Enhanced A/F feature.

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7. Select the Confirm target style from the Confirm Style drop-down menu:

CONFIRM STYLE

None Square target;

Circle Yellow circle around a

Bar Bar target Target is yellow or green;

Pie Pie target Target is yellow or green;

8. Exit the Focus screen.

DESCRIPTION OBJECTS IN TARGET ARE IN

FOCUS...

Target is yellow or green Target is red operates just like the target square in Confirm mode

Target is yellow or green; square target

yellow circle is almost the same

size as the square

vertical bar on the right side is

filled up

line around the curve is filled up

OBJECTS IN TARGET ARE OUT OF FOCUS

Target is red; yellow circle gets bigger

Target is red; vertical bar on the left side is almost empty

Target is red; line around the curve is almost empty

The target displays on the touchscreen LCD, and the monitor that you selected for the Enhanced A/F fea-

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ture is in Clean mode.

RACK TAB

Use the Rack tab to configure up to four focus points and execute rack focus between them.

SET UP RACK FOCUS

1. Ensure that a DSMC Nikon Mount, DSMC Canon Mount, or DSMC Canon MOTION MOUNT is installed and that a supported lens is attached.

2. Go to Menu > Focus > Mode.

3. Select Rack from the Mode drop-down menu. Spot is automatically selected from the Zone drop-down menu, since rack focus only works with Spot zone.

4. Select a size from the Size drop-down menu.

5. Go to the Rack tab.

6. Use the Rack Speed slider to change the speed at which the lens moves. Move the slider to the left for a slower speed, and to the right for a faster speed.

7. Select the number of rack points you want from the Rack Points drop-down menu. You can select up to four

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points. A line for each rack point displays, indicated by the letters A, B, C, and D. The focus distance displays for

each rack point.

8. If needed, select Re-Autofocus to run the autofocus algorithm, which resets the focus distance to the focus distance calculated by the algorithm.

9. To set a rack point location, follow the instructions below:

A. Select the rack point that you want to set: A, B, C, or D. B. Select Close to return to the main screen. C. Press and hold the touchscreen LCD on the location where you want the rack point to be. D. You can also press and drag the rack point to another location. In order to prevent a rack point from

being accidentally moved when touching it to rack focus to that point, the rack point is less sensitive to touch than the other focus targets. If you need to fine-tune the location of your rack point, first drag the rack point farther than it needs to be and then drag it to where you want it to be.

When you move a rack point, the camera autofocuses.

NOTE: To view the focus distance for each rack point on the main screen, go to Menu > Settings > Display > Modes and enable Rack Target Distance mode. For more information about display modes, go to “Display

Modes” on page 51.

955-0020_V5.1, REV-H | 100

RED DSMC, EPIC-M, EPIC-M RED DRAGON, EPIC-X, SCARLET-X Operation Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

TABLE OF CONTENTS

DISCLAIMER

COPYRIGHT NOTICE

TRADEMARK DISCLAIMER

COMPLIANCE STATEMENTS

SAFETY INSTRUCTIONS

BATTERY STORAGE AND HANDLING

SHIPPING DISCLAIMER

DRAGON SENSOR

MYSTERIUM-X® SENSOR

IMAGE PROCESSING

HDRX

MAGIC MOTION

AUDIO RECORDING

MICROPHONE LEVEL ANALOG INPUTS

LINE LEVEL ANALOG INPUTS

VIDEO MONITORING OUTPUTS

BOMB EVF (LCOS) AND BOMB EVF (OLED)

RED TOUCH LCD

HD-SDI

HDMI

LENS MOUNTS

REDMOTE

SMPTE TIMECODE

ADDITIONAL RESOURCES

BRAIN

BRAIN LEDS

SIDE SSD MODULES

RED MINI-MAG SIDE SSD MODULE

SIDE SSD MODULE CONTROLS

SIDE SSD MODULE LEDS

DSMC SIDE HANDLE

INSTALL DSMC SIDE HANDLE

REMOVE DSMC SIDE HANDLE

DSMC MODULES

PRO I/O MODULE

REAR SSD MODULE

PRO BATTERY MODULE (DUAL)

PRO BATTERY MODULE (QUAD)

INSTALL MODULES

INSTALL MODULE ADAPTOR

INSTALL THE +1 ADAPTOR MODULE

ATTACH DSMC MODULE

REMOVE DSMC MODULE AND ADAPTOR PLATE

REMOVE THE +1 ADAPTOR MODULE

MODULE ADAPTOR

+1 ADAPTOR MODULE

+1 ADAPTOR MODULE CONNECTIONS

MULTIPLE CONTROL SURFACES

+1 ADAPTOR MODULE ACCESSORIES

REPLACE HOOD SCOOP

REDMOTE

DSMC DISPLAYS

BOMB EVF (LCOS) AND BOMB EVF (OLED)

BOMB EVF (LCOS)

BOMB EVF (OLED)

LCDS

TOUCHSCREEN LCD GESTURES

TOUCHSCREEN LCD PRECAUTIONS

POWER CONSUMPTION

POWER PRIORITY

POWER STATUS

POWER UP

POWER DOWN

VIEWFINDER OUTPUTS

UPPER STATUS ROW

LIVE ACTION AREA

LENS INFORMATION DISPLAY

RED DSMC TI PL MOUNT AND LENS

DSMC CANON MOUNT OR DSMC NIKON MOUNT AND LENS

LOWER STATUS ROW

ICON BEHAVIOR

CAL: T/E

SYNC

POWER STATUS

RAW CLIP METER