RED WEAPON Series, SCARLET-W Series Operation Manual

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RED DSMC OPERATION GUIDE:

WEAPON/SCARLET-W

WEAPON (CF) | WEAPON (MG) | SCARLET-W

RED DRAGON | MONOCHROME | V6.1

RED.COM

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RED DSMC OPERATION GUIDE: WEAPON/SCARLET-W

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

Chapter 1: Camera Introduction 8

Read Before You Shoot 8 R3D File Format and REDCODE 9 Shoot For Video and Stills 9 Post Production with REDCINE-X PRO 10 HDRx and MAGIC MOTION 10 Additional Resources 11

Chapter 2: Camera System Components 12

Additional Resources 12 BRAIN 13 RED MINI-MAG System 18 Expanders 19 Power Modules 23 RED Batteries and Chargers 23 Displays and Electronic Viewfinders 24 LEMO Adaptors 28 Camera Control Modules 29 Lens Mounts 31 Interchangeable OLPFs 31 Rails, Mounts, Tactical Gear, and Cables 31

Chapter 3: Basic Operations 32

Power Operations 32 Configure Your Camera 34 Interchangeable OLPF System 38 Use a Tripod or Monopod 41 Video Monitor Outputs 41 Record 42

Chapter 4: Basic Menus and Controls 44

GUI Menu Introduction 44 Upper Status Row (Basic Menu) 45 Live Action Area 49 Lower Status Row 50 Navigation Controls 55

Chapter 5: Advanced Menus 60

Advanced Menus 60 Settings Menu 61 Media Menu 117 Playback Menu 118 Power Menu 122 HDRX Menu 123 Focus Menu 124 Exposure Assist 130 Presets Menu 132

Chapter 6: Record and Monitor Audio 135

Overview 135 Set Up Audio 135 Control 135

Mix 138 Audio Output Options 138 Audio Meter (VU Meter) 138 Audio During Playback 139

Chapter 7: Timecode, Genlock, Multi-Camera Setup 140

Timecode 140 Genlock 143 Set Up Motion Control (MoCo) 145 Compatible Devices 147

Chapter 8: Upgrade Camera Firmware 148

Verify Current Camera Firmware 148 Upgrade Camera Firmware 148

Chapter 9: Camera System Maintenance 150

BRAIN and Accessory Exterior Surfaces 150 Clean EVF Screen 151 Clean LCD Screens 151 Water Damage 152 Adjust Back Focus 152

Chapter 10: Troubleshoot Your Camera 153

Perform a Stress Test 153 General Troubleshooting 153

Appendix A: Technical Specifications 162

WEAPON 6K (Carbon Fiber) 162 WEAPON 6K (Magnesium) 164 SCARLET-W 5K 165 WEAPON/SCARLET-W BRAIN Dimensions 167

Appendix B: Input/Output Connectors 173

DSMC2 Base Expander 174 DSMC2 Base I/O V-Lock Expander 175 DSMC2 REDVOLT Expander 176 DSMC2 Jetpack Expander 177 Record/Monitor Out Ports 178 Communication Ports 180 Audio Ports 183 Power Ports 184

Appendix C: Lens Mounts and Lenses 186

Lens Mounts 186 Lenses 189

Appendix D: Default Key Functions 196 Appendix E: Menu Map 198

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DISCLAIMER

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

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

For comments or questions about content in this document, please send a detailed email to 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 with or sponsored by, and has no express rights in third-party trademarks. Adobe and Adobe Premiere Pro are registered trademarks of Adobe Systems Incorporated. AJA is a registered trademark of AJA Video Systems, Inc. Cooke and S4/i are registered trademarks of Cooke Optics Limited. DaVinci is a registered trademark of Blackmagic Design in the U.S. and other countries. Distagon, Makro-Planar, and Otus are registered trademarks of Carl Zeiss AG. Fujinon is a registered trademark of FUJIFILM CORPORATION. HDMI is a registered trademark of HDMI Licensing LLC in the United States and other countries. Leica is a registered trademark of Leica Microsystems. Loctite is a registered trademark of Henkel AG & Company KGaA. Nikkor and Nikon are registered trademarks of Nikon Corporation. Canon is a registered trademark of Canon, U.S.A. Apple, Macintosh, Final Cut Pro, and QuickTime are registered trademarks of Apple Inc. in the U.S. and other countries. Windex is a registered trademark of S. C. Johnson & Son, Inc. Windows is a registered trademark of Microsoft Corporation. LEMO is a registered trademark of LEMO USA. Sony is a registered trademark of Sony Corporation. TORX is a registered trademark of Acument Intellectual Properties, LLC in the United States or other countries. IOS is a registered trademark of Cisco in the U.S. and other countries. AVID is a registered trademark of Avid Technology, Inc. DaVinci Resolve is a registered trademark of Blackmagic Design in the U.S. and other countries. EDIUS Pro is a registered trademark of Grass Valley. Vegas Pro is a registered trademark of Sony Creative Software.

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RED DSMC OPERATION GUIDE: WEAPON/SCARLET-W

COMPLIANCE STATEMENTS

INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS

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

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

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

FEDERAL COMMUNICATIONS COMMISSION (FCC) STATEMENTS

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

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

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

that to which the receiver is connected.

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

help.

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

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

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

CAUTION: Exposure to Radio Frequency Radiation.

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

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

AUSTRALIA AND NEW ZEALAND STATEMENTS

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

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

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

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

JAPAN STATEMENTS

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

EUROPEAN UNION COMPLIANCE STATEMENTS

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

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

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

ment.

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

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

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INFORMATION

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

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

WASTE ELECTRICAL AND ELECTRONIC EQUIPMENT (WEEE)

The Waste Electrical and Electronic Equip-

ment (WEEE) mark applies only to countries

within the European Union (EU) and Norway.

This symbol on the product and accompany-

ing documents means that used electrical

and electronic products should not be mixed

with general household waste. For proper

treatment, recovery and recycling, please

take this product to designated collection

points where it will be accepted free of

charge. Alternatively, in some countries you

may be able to return your products to your

local retailer upon purchase of an equivalent new product.

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

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

NORWAY

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

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

RESPONSIBLE PARTY

RED Digital Cinema 34 Parker Irvine, CA 92618 USA

USAGE RESTRICTIONS FOR PRODUCTS THAT INCORPORATE REDLINK

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

FRANCE

Usage Restrictions - Geographic Area Where Restriction Applies : France

For mainland France

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

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

Pour la France métropolitaine

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

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RED DSMC OPERATION GUIDE: WEAPON/SCARLET-W

SAFETY INSTRUCTIONS

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

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

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

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

may damage the sensor.

 DO NOT expose your camera to excessive vibration or impact

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

 ELECTROMAGNETIC INTERFERENCE: The use of devices us-

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

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

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

 Maintain sufficient ventilation—DO NOT block any ventilation

openings or obstruct cooling fan airflow.

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

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

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

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

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

 Modules, expanders, and lens mounts are NOT HOT SWAP-

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

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

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

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

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

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

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

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

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

WARNING: DO NOT expose the battery to excessive heat.

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

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

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

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BATTERY STORAGE AND HANDLING

WARNING: Failure to read, understand, and fol-

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

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

Lithium-Ion batteries, like the REDVOLT

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

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

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

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

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

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

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

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

periods of time.

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

in a charger for extended periods of time.

 DO NOT use batteries for purposes other than their intended

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

ternal temperature beyond the recommended limits and cause

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

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

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

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

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

, REDVOLT XL, and RED

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

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

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

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

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

40˚C (32˚F to 104˚F).

 RED recommends that you only use RED chargers to recharge

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

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

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

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

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

contact with your skin or clothing, immediately wash it away

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

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

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

and immediately seek medical attention. Failure to do this may

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

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

first time, contact your Bomb Squad representative immedi-

ately.

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

SHIPPING DISCLAIMER

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

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

Goods.

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CAMERA

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

This guide is for WEAPON/SCARLET-W only. This section introduces the imaging capabilities and advanced features of the WEAPON/SCARLET-W system. For information about EPIC/SCARLET cameras, see the DSMC

Operation Guide: EPIC/SCARLET, available at www.red.com/downloads.

The WEAPON/SCARLET-W system includes the following cameras (organized by sensor type):

INTRODUCTION

WEAPON System

SENSOR TYPE CAMERA

RED DRAGON

RED DRAGON 6K WEAPON 6K (Carbon Fiber)

RED DRAGON 8K WEAPON 8K (Carbon Fiber) NOTE: This guide uses the term “WEAPON (Carbon Fiber)” to refer to both “WEAPON Forged CF” and

“WEAPON Woven CF”.

5K SCARLET-W 5K

SCARLET-W 5K Monochrome

WEAPON 6K (Magnesium)

READ BEFORE YOU SHOOT

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

 DSMC Power Operation Guide  DSMC Media Operation Guide

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

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R3D FILE FORMAT AND REDCODE

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

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

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

For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads. NOTE: REDCINE-X PRO

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

page 137.

can create and export .RMD “Look” files which may then be imported as camera

SHOOT FOR VIDEO AND STILLS

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

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

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POST PRODUCTION WITH REDCINE-X PRO

REDCINE-X PRO

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

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

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

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

NOTE: RED TETHER is included in REDCINE-X PRO build 35 or later. NOTE: RED TETHER requires a GIG-E port, which is available on the DSMC2™ REDVOLT Expander. For more

information, go to “Input/Output Connectors” on page 198.

HDRX AND MAGIC MOTION

HDRX

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

MAGIC MOTION

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

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

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ADDITIONAL RESOURCES

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

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

cinematography.

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

and post production software.

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

resources to customize and improve your camera workflow.

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

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RED DSMC OPERATION GUIDE: WEAPON/SCARLET-W

CAMERA SYSTEM

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

 “BRAIN” on page 13  “RED MINI-MAG System” on page 18  “Expanders” on page 19  “RED Batteries and Chargers” on page 23  “Displays and Electronic Viewfinders” on page 24  “LEMO Adaptors” on page 28  “Camera Control Modules” on page 29  “Lens Mounts” on page 31  “Interchangeable OLPFs” on page 31  “Rails, Mounts, Tactical Gear, and Cables” on page 31

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

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

COMPONENTS

WEAPON (Woven CF) Package

ADDITIONAL RESOURCES

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

 DSMC Power Operation Guide  DSMC Media Operation Guide

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BRAIN

WEAPON (Carbon Fiber)

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

The only ports on the BRAIN are the DSMC2™ Top Handle port and EVF/LCD ports. A port expander or power module is required to power the camera. All other input/ouput (I/O) ports are available only via expanders and other modules. This modular approach allows you to customize your camera and make use of the ports that are most applicable to your needs.

The RED® Tactical Hand Controller (T.H.C.) cannot pair directly to the camera. To use the T.H.C. with the camera, the T.H.C. needs to be connected to the W.M.D. (either wired or wirelessly). For more information about the T.H.C., see the RED 3-Axis System Operation Guide at www.red.com/downloads.

BRAIN CONTROL: PWR/REC KEY

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

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BRAIN LEDS

This section describes the LED functions for the camera. NOTE: When the camera is powered only by battery and not AC power, the Power Status LED (PWR) on the

expander or module does not turn on. You can press the button on the battery to check the battery charge level.

LED COLOR/FLASHING DESCRIPTION

Power Status LED (PWR)

Record Status LED (REC)

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

Off No power present; camera off Green Power present; camera on Amber flashing Power present; 5–10 min of battery time available Amber Power present; camera booting Red flashing Power present; < 5 min of battery time available Off No media present Green Ready to record Amber Finalizing Red flashing (slow) Media mounted with > 5% and ≤ 10% of media space

available Red flashing (fast) Media mounted with ≤ 5% of media space available Red Recording Both green flashing Firmware update in progress Both red flashing Firmware update error

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BRAIN CONNECTORS, FOCUS HOOK, AND BACK FOCUS

WEAPON BRAIN Ports and Features

This section describes the ports and features on the BRAIN.

NOTE: For more information on how to install the focus hook, go to “Install the Focus Hook” on page 40.

# PORT/ITEM DESCRIPTION

1 Primary EVF/LCD Port 2 Top Handle Port

3 Secondary EVF/LCD Port

4 Focus Hook Mounting Point

5 Focus Hook Storage Location 6 Back Focus Adjustment Screw Adjust back focus

1. The DSMC2 LEMO Adaptor A allows you to mount other RED® displays.

2. Shown with the DSMC

3. Shown with the DSMC2 LEMO Adaptor A attached.

4. Install only the focus hook or set screw to this mounting point. Damage to the media bay or other components of the camera system caused by installing other devices is not covered under warranty.

Top Handle attached.

1,3

Mount a DSMC2 RED Touch LCD Mount the DSMC2 Top Handle or DSMC2 Outrigger Handle. This

is the only mounting option for the DSMC2 Top Handle or DSMC2 Outrigger Handle (it cannot be attached backward).

Mount a DSMC2 RED Touch LCD. The secondary LCD/EVF port and an HDMI® port cannot be used at the same time. For more information, go to “LCD/EVF 2 / HDMI Select” on page 69.

Mount the focus hook. Comes with a set screw installed to protect the threaded insert when the focus hook is not in use.

Store the focus hook or set screw

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MEDIA BAY CONTROLS

1 2

WEAPON Media Bay Controls

This section describes the control functions for the media bay.

# CONTROL DESCRIPTION

1 User Key 1 Programmable key

User Key 1 + 2 Press: Eject Media

2 REC button Programmable key

Full Press: Record Toggle Half Press: AF Start

3 User Key 2 Programmable key

User Key 1 + 2 Press: Eject Media

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

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MEDIA BAY LEDS

WEAPON Media Bay LEDs

This section describes the LED functions for the media bay.

# LED COLOR/FLASHING DESCRIPTION

1 Media Status LED

(Back of media bay)

2 Record Status LED

1. For more information on how to enable/disable this LED, go to “Indicator” on page 103. If media is not mounted, this LED is off.

Off No media mounted Green Preview; media mounted with > 10% of

media space available Amber Record finalizing or playback mode Amber flashing (slow) Formatting media Red flashing (slow) Media mounted with > 5% and ≤ 10%

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

space available Red Recording; media mounted with > 10%

of media space available Off Not recording, or media not mounted Red Recording

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RED MINI-MAG SYSTEM

RED MINI-MAG (120GB)

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

RED offers the following RED MINI-MAG SSDs:

ITEM PART NUMBER REQUIRED FIRMWARE

RED MINI-MAG (120GB) 750-0075 v6.1.35 or later RED MINI-MAG (240GB) 725-0082 v5.1.47 or later RED MINI-MAG (512GB) 725-0078 v5.1.34 or later

RED MINI-MAG (1TB)

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

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

725-0081 v5.3.34 or later

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EXPANDERS

NOTE: Only one (1) expander module can be used at a time.

RED offers the following DSMC

ITEM PART NUMBER

DSMC DSMC DSMC DSMC

Base Expander 720-0033

REDVOLT Expander 720-0040

Jetpack Expander 720-0039

Base I/O V-Lock Expander 720-0045

DSMC2 BASE EXPANDER

expanders:

DSMC2 Base Expander

The DSMC2 Base Expander is an ideal connector module for general input/output (I/O) needs. Manufactured from lightweight and durable magnesium, this low-profile module mounts directly to the BRAIN and offers interface connections for power (DC IN), HDMI, 3G-SDI (HD-SDI), CTRL and SYNC ports (for Timecode and Genlock), as well as a 3.5mm microphone input and a 3.5mm line-level headphone out.

The DSMC2 Base Expander also offers rear-mounting support for DSMC2-compatible battery and power modules, such as the DSMC2 REDVOLT® XL Module. The low profile DSMC2 Base Expander offers a variety of connectors and is ideal for run-and-gun and independent shooters.

NOTE: Only one (1) expander module can be used at a time.

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DSMC2 REDVOLT EXPANDER

DSMC2 REDVOLT Expander

Designed for advanced configurations, the DSMC2 REDVOLT® Expander mounts directly to the camera and offers an expansive array of I/O connectors and functionality available for the camera system. The DSMC2 REDVOLT Expander features ports for power in (DC IN), Genlock (BNC), Timecode (LEMO), GIG-E, and more. HDMI and two 3G-SDI (HD-SDI) outputs offer versatility for your video output needs, while an integrated USB power output is available to support wireless HDMI transmitters.

The DSMC2 REDVOLT Expander offers a modular audio system that you can remove and replace with upcoming audio modules. The default audio module offers two (2) female XLR audio connections. Each XLR input features a 3-position selector switch to designate the incoming audio signal type: Balanced Line Level, Balanced Mic Level, and Balanced Mic with +48V phantom power. Additionally, a 3.5mm line-level headphone jack lets you sample audio during takes and in playback mode.

The DSMC camera accessories and more:

 A rear-facing 4-Pin 0B LEMO AUX PWR output supports Start/Stop Trigger IN, Tally OUT, and provides

power out up to 1.5 Amps.  A front-facing 2-Pin 0B LEMO AUX PWR port provides 3.0A maximum.  A front-facing 7-Pin 0B LEMO SERIAL provides 1.5A maximum. The SERIAL port is ideal for connecting to

motor drivers.  A rear-facing Timecode port offers 5V at 1.5 mA for powering external timecode devices.  A rear-facing USB port offers 5V at 1.5A for powering HDMI transmitters or small mobile devices.  The two XLR audio ports in the default audio module each offer +48V phantom power.

For hot-swap support when it matters most, the DSMC battery. Additional DSMC2-compatible battery and power modules can be mounted for your changing power needs.

The DSMC when power is provided via the DC IN connector on the expander. This feature allows you to use a connected DC input supply to turn the camera on and off when the camera is mounted in remote or difficult to maneuver locations. This expander is the ideal solution for a variety of production environments, maximizing camera interface and functionality for the most demanding shoots.

NOTE: Only one (1) expander module can be used at a time.

REDVOLT Expander also provides multiple auxiliary power outputs, enabling the use of peripheral

REDVOLT Expander also supports a single REDVOLT

REDVOLT Expander also features a selector switch that enables the camera to automatically boot

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DSMC2 JETPACK EXPANDER

DSMC2 Jetpack Expander

The DSMC2 Jetpack Expander is specifically designed for aerial, gimbal, handheld, and other lightweight/ remote configurations. This expander features standard connectors for power (DC-IN), CTRL, and SYNC for all of your Timecode and Genlock needs. In addition, the DSMC2 Jetpack Expander offers custom-tailored support and connectors for HDMI and USB power out—perfect for housings and low-profile setups.

The DSMC2 Jetpack Expander also features a selector switch that enables the camera to automatically boot when power is provided via the DC IN connector on the expander. This feature allows you to use a connected DC input supply to turn the camera on and off when the camera is mounted in remote or difficult to maneuver locations.

NOTE: Only one (1) expander module can be used at a time.

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DSMC2 BASE I/O V-LOCK EXPANDER

DSMC2 Base I/O V-Lock Expander

The DSMC2™ Base I/O V-Lock Expander offers a variety of Input/Output connections, as well as an industry standard V-Lock mount to power your WEAPON, SCARLET-W, or RED RAVEN™ camera using RED BRICK batteries.

The DSMC2 Base I/O V-Lock Expander also features a selector switch that enables the BRAIN to automatically boot when power is provided via the DC IN connector on the expander. This feature allows you to use a connected DC input supply to turn the BRAIN on and off when the camera is mounted in remote or difficult to maneuver locations.

This expander is an ideal solution for a wide variety of production environments—from low-profile run-and-gun situations to studio shoots that require mobility.

NOTE: The DSMC2 Top Handle may not be fully compatible with the DSMC2 Base I/O V-Lock Expander, as the top handle will interfere with the battery when one is attached to the expander module.

NOTE: Only one (1) expander module can be used at a time.

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POWER MODULES

RED offers the following DSMC2 power modules:

ITEM PART NUMBER

DSMC

DSMC2 REDVOLT XL MODULE

REDVOLT XL Module 740-0034

DSMC2 REDVOLT XL Module

The DSMC2 REDVOLT XL Module mounts seamlessly to the back of the camera—and select other I/O expanders— to provide support for long-lasting and rechargeable REDVOLT XL batteries. The DSMC2 REDVOLT XL Module features a smaller, more ergonomic design with one (1) dual-action release button for removing an attached battery.

The DSMC2 REDVOLT XL Module offers a DC IN power port that can be used to power the camera system when the module is attached to the camera. An included protective baseplate enables the DSMC2 REDVOLT XL Module to serve as a portable and stand-alone REDVOLT XL battery charger. Plug in the DSMC AC Power Adaptor to the 6-pin 1B LEMO DC IN connector on the module and connect a REDVOLT XL battery. While the module is mounted to the camera, it will only charge an attached REDVOLT XL battery if the camera is powered off.

Two (2) rear facing auxiliary ports provide power for external camera accessories, while remaining out of the way while shooting.

RED BATTERIES AND CHARGERS

RED offers the following batteries and chargers:

ITEM PART NUMBER

REDVOLT XL 740-0021 REDVOLT Charger (Quad) 740-0015

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

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DISPLAYS AND ELECTRONIC VIEWFINDERS

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

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

ITEM RESOLUTION PART NUMBER

DSMC DSMC RED Touch 5.0" LCD RED Touch 7.0" LCD RED Touch 9.0" LCD RED PRO LCD 7" DSMC BOMB EVF BOMB EVF (OLED)

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

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

RED Touch 7.0" LCD

RED Touch 4.7" LCD

RED EVF (OLED)

(LCOS)

For a full list of LCD and EVF user keys and default actions, go to “Default Key Functions” on page 216.

1920 x 1136 730-0018 1280 x 720 730-0019 800 x 400 730-0008 1920 x 1136 730-0007 1280 x 768 730-0011 1024 x 600 730-0009

1920 x 1080 730-0021 1280 x 784 730-0004 1280 x 1024 730-0010

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RED LCDS

DSMC2 RED Touch 7.0" LCD

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

LCD PRECAUTIONS

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

components of the camera system caused by using the display as a handle are not covered under warranty. WARNING: DO NOT use the threaded holes in the RED Touch LCD base to mount the display to the camera.

Damage to a RED display or other components of the camera system caused by using these threaded holes is not covered under warranty.

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

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

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

warranty. IMPORTANT: The DSMC

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

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

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BOMB EVFS

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

ITEM CONTRAST RATIO DIOPTER RANGE

BOMB EVF (LCOS) BOMB EVF (OLED)

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

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

BOMB EVF FEATURES

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

5 2

# FEATURE DESCRIPTION

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

RED EVF; Pinout not published

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

go to “Indicator” on page 103

3 Key 1 Programmable key

Magnify: Toggle

4 Key 2 Programmable key

Exposure Check: Toggle

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

EVF detects a low ambient temperature

BOMB EVF (OLED)

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DSMC2 RED EVF

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

Engineered with OBSOLESCENCE OBSOLETE WEAPON, SCARLET-W, EPIC, or SCARLET cameras. RED offers multiple mounting solutions for each camera type.

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

DSMC2 RED EVF FEATURES

in mind, the DSMC2 RED EVF (OLED) is perfect for use with

3 4

# FEATURE DESCRIPTION

1 DSMC 2 EVF connector

3 Key 1 Programmable key

RED EVF Mount The DSMC2 RED EVF Mount

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

Magnify: Toggle

DSMC2 RED EVF

4 Key 2 Programmable key

Exposure Check: Toggle

5 Mounting point Mounting point for the DSMC

6 DSMC

Modular Optical Block

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

RED EVF

Fully coated with a > 32° field of view

RED EVF Mounting Plate (Top)

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LEMO ADAPTORS

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

on page 24.

ITEM PART NUMBER

DSMC DSMC

LEMO ADAPTOR A

LEMO Adaptor A 720-0037

LEMO Adaptor B 720-0038

DSMC2 LEMO Adaptor A

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

When used along with the DSMC LCD away from the camera—to a NOGA arm or other stable mounting point.

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

LEMO Adaptor B, this adaptor enables you to mount a DSMC2 RED Touch

LEMO ADAPTOR B

DSMC2 LEMO Adaptor B

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

When used along with the DSMC LCD away from the camera—to a NOGA arm or other stable mounting point.

LEMO Adaptor A, this adaptor enables you to mount a DSMC2 RED Touch

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CAMERA CONTROL MODULES

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

RED offers the following remotes and controls:

ITEM PART NUMBER

DSMC DSMC DSMC DSMC DSMC

1. Each DSMC2 Sidekick is compatible with WEAPON (Carbon Fiber), WEAPON (Magnesium), and SCARLET-W.

Sidekick (Forged CF)

Sidekick (Woven CF)

Sidekick (Magnesium)

Top Handle 720-0035

Outrigger Handle 720-0044

DSMC2 SIDEKICK

720-0041 720-0036 720-0032

DSMC2 Sidekick (Woven CF)

The DSMC2 Sidekick is a lightweight interface solution that offers intuitive integrated control over critical camera parameters. Engineered exclusively for WEAPON/SCARLET-W, this low profile interface provides full access to basic and advanced menus via a 1.7" OLED display. The rotary dial, D-Pad, function buttons, and configurable preset buttons provide an improved method of controlling your camera.

The DSMC2 Sidekick provides full menu control without compromising the tactical advantages of your camera’s small form-factor and weight.

NOTE: The DSMC2 Sidekick goes into Sleep mode after 10 minutes of inactivity.

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DSMC2 TOP HANDLE

DSMC2 Top Handle

Ergonomic and intuitive, the DSMC2 Top Handle was engineered entirely around the most important action for any shooter—the record button. This intelligent top handle puts a new Record Start/Stop button at your fingertips, using built-in integrated circuitry.

The DSMC2 Top Handle mounts directly to the 1/4-20 mounting points on the top of the camera. With a rubberized grip and new trigger design—the DSMC2 Top Handle offers the ideal handle and shooting method for your camera.

DSMC2 OUTRIGGER HANDLE

DSMC2 Outrigger Handle

The DSMC2 Outrigger Handle offers a low profile side handle—designed with an ergonomic molded grip and integrated Record Start/Stop button. Mounted to the Top Handle Port on your WEAPON/SCARLET-W, the DSMC2 Outrigger Handle provides comfort and stability, as well as additional 1/4-20 mounting points for your peripheral camera components. The built-in Record button puts Start/Stop functionality right at your fingertips—so you are always ready to capture the perfect shot.

The DSMC2 Outrigger Handle is ideal for shooters who use one hand on the handle, for grip and record button access, and the other for lens adjustments or support.

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LENS MOUNTS

DSMC Mg PL Mount 2.0

RED offers the following lens mounts:

ITEM PART NUMBER

DSMC Mg PL Mount 2.0 725-0024 DSMC Ti PL Mount 725-0022 DSMC Al Canon Mount 725-0026 DSMC Ti Canon Mount 725-0005 DSMC Al Nikon Mount 725-0006 DSMC Ti Nikon Mount 725-0007 DSMC Al Leica-M Mount 725-0008 DSMC MOTION MOUNT Ti PL DSMC MOTION MOUNT Ti Canon

725-0012 725-0014

INTERCHANGEABLE OLPFS

This section describes the interchangeable optical low pass filter (OLPF) system and modular OLPFs. The WEAPON/SCARLET-W camera system includes intelligent, modular OLPFs. The camera automatically

recognizes the OLPF type installed, eliminating the need to configure OLPF settings in the camera menu. RED offers the following modular DSMC2 interchangeable OLPFs:

ITEM PART NUMBER REQUIRED FIRMWARE

DSMC DSMC DSMC DSMC

Standard OLPF 790-0513 v6.1.18 or later

Skin Tone-Highlight OLPF 790-0511 v6.1.18 or later

Low Light Optimized OLPF 790-0512 v6.1.6 or later

H2O OLPF 790-0547 v6.1.44 or later; or v6.2.9 or later

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

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

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BASIC

OPERATIONS

POWER OPERATIONS

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

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

WARNING: RED does not recommend using third-party batteries, power cables, or power modules with the camera system. Third-party power options may be unstable, and may cause damage. Damage to the camera system or third-party devices caused by using third-party power options is not covered under warranty. The camera may be unable to determine and display the voltage or remaining battery capacity of third-party power options.

POWER PRIORITY

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

1. DC power supply (DC IN connector) on any connected device

2. Attached (lower state of charge first)

3. REDVOLT XL battery in the DSMC2™ REDVOLT XL Module

4. REDVOLT battery in the DSMC2 REDVOLT Expander

POWER CONSUMPTION

The camera draws approximately 3.3 A (50 W) when configured with the DSMC2 Base Expander, DSMC2 RED® Touch 7.0" LCD, and RED MINI-MAG 512GB.

Under typical conditions batteries provide the following operating time:

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

POWER STATUS

The power status of the current primary power source displays in the Lower Status Row of the graphical user interface (GUI). Navigate to the Power In menu at Menu > Power > Power In for the status of all connected power sources. For more information, go to “Power Menu” on page 127.

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APPROVED EXTERNAL DC POWER

The camera accepts input voltages of 11.5 V to 17 V DC, and can draw a maximum current of 9 A. The camera can be powered continuously by connecting one (1) of the following to an attached module or expander:

 DSMC AC Power Adaptor  XLR DC power source: Requires an XLR Power Cable.

TURN ON THE CAMERA

1. Attach a power source to the camera. The Power Status LED illuminates red, indicating that an appropriate power source is connected.

2. Press and release the PWR/REC key on the right side of the camera. The Power Status LED turns off, and within five (5) seconds illuminates yellow as the camera turns on. The Power Status LED then illuminates green to confirm that the camera is turned on and ready to use.

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

TURN OFF THE CAMERA

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

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

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

AUTO BOOT ON POWER

The DSMC2 Jetpack Expander, DSMC2 REDVOLT Expander, and the DSMC2 Base I/O V-Lock Expander feature a selector switch that enables the camera to automatically boot when power is provided via the DC IN connector on the expander. The Auto Boot on Power switch (identified by a white star) is located on top of the expander.

Auto Boot on Power Switch

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ENABLE AUTO BOOT ON POWER

1. Toggle the Auto Boot on Power switch to On (identified by a white star).

2. Connect a power source to the DC IN connector. The camera turns on automatically.

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

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

NOTE: Simply disconnecting the power source may result in data loss.

DISABLE AUTO BOOT ON POWER

1. Toggle the Auto Boot on Power switch to Off (identified by a black star). The camera will not turn on automatically.

CONFIGURE YOUR CAMERA

This section describes common options for configuring your camera system.

INSTALL THE DSMC2 SIDEKICK

This section applies to the following items:

 DSMC2 Sidekick (Forged CF)  DSMC2 Sidekick (Woven CF)  DSMC2 Sidekick (Magnesium)

NOTE: Each DSMC WARNING: Before installing or removing the DSMC REQUIRED TOOL: T10 TORX® driver

1. Turn off the camera.

2. Use a T10 TORX driver to remove the four (4) screws on the BRAIN® side plate (if the side plate is installed).

3. Remove the BRAIN side plate (if the side plate is installed).

4. Place the DSMC2 Sidekick in the slot where the lip of the BRAIN side plate was installed.

5. Press the DSMC2 Sidekick down flush along the side of camera.

6. Tighten the four (4) captive screws in a cross pattern (“X” pattern) using a T10 TORX driver. DO NOT FULLY TIGHTEN.

7. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T10 TORX driver. WARNING: DO NOT OVERTIGHTEN.

Sidekick is compatible with any WEAPON or SCARLET-W camera.

Sidekick, you MUST turn off the camera.

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REMOVE THE DSMC2 SIDEKICK

This section applies to the following items:

 DSMC  DSMC2 Sidekick (Woven CF)  DSMC2 Sidekick (Magnesium)

NOTE: Each DSMC2 Sidekick is compatible with any WEAPON or SCARLET-W camera. WARNING: Before installing or removing the DSMC REQUIRED TOOL: T10 TORX driver

1. Turn off the camera.

2. Use a T10 TORX driver to loosen the four (4) captive screws attaching the DSMC2 Sidekick to the camera.

3. Remove the DSMC2 Sidekick from the camera.

INSTALL A DSMC2 EXPANDER

This section applies to the following items:

 DSMC2 Base Expander  DSMC2 Base I/O V-Lock Expander  DSMC2 REDVOLT Expander  DSMC2 Jetpack Expander

WARNING: Before installing or removing a DSMC2 expander, you MUST turn off the camera. REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Position the expander on the rear of the camera, aligning the connector on the front of the expander with the connector on the rear of the camera.

3. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2) turns each using a T20 TORX driver. DO NOT FULLY TIGHTEN.

4. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T20 TORX driver. WARNING: DO NOT OVERTIGHTEN.

Sidekick (Forged CF)

Sidekick, you MUST turn off the camera.

REMOVE A DSMC2 EXPANDER

This section applies to the following items:

 DSMC2 Base Expander  DSMC2 Base I/O V-Lock Expander  DSMC2 REDVOLT Expander  DSMC2 Jetpack Expander

WARNING: Before installing or removing a DSMC2 expander, you MUST turn off the camera. REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

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

3. Remove the expander from the camera.

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INSTALL THE DSMC2 REDVOLT XL MODULE

The DSMC2 REDVOLT XL Module mounts to the rear of the following items:

 WEAPON BRAIN  SCARLET-W BRAIN  DSMC  DSMC2 REDVOLT Expander

WARNING: Before installing or removing the DSMC REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

2. Position the module on the rear of the camera or expander, aligning the connector on the front of the module with the connector on the rear of the camera or expander.

3. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2) turns each using a T20 TORX driver. DO NOT FULLY TIGHTEN.

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

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 REDVOLT XL MODULE

WARNING: Before installing or removing the DSMC2 REDVOLT XL Module, you MUST turn off the camera. REQUIRED TOOL: T20 TORX driver

1. Turn off the camera.

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

3. Remove the module from the camera or expander.

Base Expander

REDVOLT XL Module, you MUST turn off the camera.

INSTALL THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing the DSMC2 Top Handle or DSMC2 Outrigger Handle, you MUST turn off

the camera. REQUIRED TOOL: 3/16" hex key

1. Turn off the camera.

2. Position the DSMC2 Top Handle or DSMC2 Outrigger Handle on top of the camera, aligning the connector on the bottom of the handle with the connector on top of the camera.

3. Tighten the two (2) captive screws approximately two (2) turns each using a 3/16" hex key. DO NOT FULLY TIGHTEN.

4. Fully tighten the two (2) screws using a 3/16" hex key.

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing the DSMC2 Top Handle, you MUST turn off the camera. REQUIRED TOOL: 3/16" hex key

1. Turn off the camera.

2. Loosen the two (2) captive screws using a 3/16" hex key.

3. Remove the DSMC2 Top Handle or DSMC2 Outrigger Handle from the camera.

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INSTALL THE FOCUS HOOK

For more information on the focus hook storage location and mounting point, go to “BRAIN Connectors, Focus

Hook, and Back Focus” on page 18.

REQUIRED TOOLS: 1.5 mm hex key, slotted screwdriver

1. Remove the M3x0.5 x 3 mm set screw from the focus hook mounting point on the media bay using a

1.5 mm hex key.

Remove the Set Screw

NOTE: Store the screw in a safe location, or install it in the focus hook storage location after you remove the focus hook in Step 2.

2. Remove the focus hook from the focus hook storage location on the media bay using a slotted screwdriver.

Remove the Focus Hook

3. Tighten the focus hook into the focus hook mounting point on the media bay using a slotted screwdriver. WARNING: DO NOT OVERTIGHTEN.

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INTERCHANGEABLE OLPF SYSTEM

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

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

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

WARNING: DO NOT allow any dirt or debris to enter the optical cavity. WARNING: Use only DSMC2 OLPFs. DO NOT use DSMC OLPFs. For any questions about OLPF compatibility,

please contact your Bomb Squad representative.

SWAP AN INTERCHANGEABLE OLPF

REQUIRED TOOLS: T20 TORX driver

1. Turn off the camera.

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

3. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver.

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

4. Remove the lens mount.

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

6. Use a T20 TORX driver to turn the OLPF lock on the camera counter-clockwise by a third turn to the Unlock position. DO NOT turn the indicator mark past the Unlock icon.

NOTE: DO NOT OVERTIGHTEN.

Turn the Lock Counter-Clockwise

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

Remove the OLPF Module

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

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

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

Install the New OLPF Module

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

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11. Use a T20 TORX driver to turn the OLPF lock on the camera clockwise by a third turn to the Lock position. DO NOT turn the indicator mark past the Lock icon.

NOTE: DO NOT OVERTIGHTEN. NOTE: If the lock does not turn easily, gently press down on the OLPF module while turning the lock.

Turn the Lock Clockwise

12. Replace the lens mount.

13. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT FULLY TIGHTEN.

NOTE: The DSMC Mg PL Mount 2.0 has captive screws that are not removable from the mount.

14. Fully tighten the four (4) lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT exceed 350 in-oz, or damage may occur.

NOTE: DO NOT OVERTIGHTEN.

Remove the OLPF module

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USE A TRIPOD OR MONOPOD

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

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

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

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

ITEM PART NUMBER

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

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

VIDEO MONITOR OUTPUTS

NOTE: HD-SDI and HDMI® ports are only available on select DSMC2 expanders. For more information, go to

“Input/Output Connectors” on page 198.

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

The camera offers the following monitor outputs:

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

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

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

HDTVs.

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VIDEO MONITOR CATEGORIES

NOTE: HD-SDI and HDMI ports are only available on select DSMC2 expanders. For more information, go to

“Input/Output Connectors” on page 198.

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

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

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

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

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

page 71.

RECORD

Perform one of the following actions to begin recording:

 Press PWR/REC on the camera.  Press REC on the media bay.  Press START/STOP on the DSMC2 Top Handle or DSMC2 Outrigger Handle.  Double-Tap Right 25% to Record on an attached touchscreen display (when enabled).

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

RECORD VIA HD-SDI OR HDMI

NOTE: HD-SDI and HDMI ports are only available on select DSMC2 expanders. For more information, go to

“Input/Output Connectors” on page 198.

NOTE: The secondary LCD/EVF port (on the side of the camera) and the HDMI port cannot be used at the same time. For more information, go to “LCD/EVF 2 / HDMI Select” on page 69.

This section describes how to record via HD-SDI or HDMI through simultaneous record (recording to an SSD and an external recorder at the same time) or external record only.

SIMULTANEOUS RECORD

NOTE: HD-SDI and HDMI ports are only available on select DSMC2 expanders. For more information, go to

“Input/Output Connectors” on page 198.

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

1. Attach a DSMC2 expander that has an HD-SDI or HDMI port.

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

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

4. Begin recording.

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EXTERNAL RECORD

NOTE: HD-SDI and HDMI ports are only available on select DSMC2 expanders. For more information, go to

“Input/Output Connectors” on page 198.

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

1. Attach a DSMC

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

3. Ensure the SSD is ejected.

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

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

6. Begin recording.

expander that has an HD-SDI or HDMI port.

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BASIC MENUS

This chapter describes the Basic Menus and controls, including:

 “Upper Status Row (Basic Menu)” on page 45  “Live Action Area” on page 49  “Lower Status Row” on page 50  “Navigation Controls” on page 55

AND CONTROLS

GUI MENU INTRODUCTION

GUI Control Menu

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

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

# ITEM DESCRIPTION

1 Upper Status Row

(Basic Menu)

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

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

Easy access to primary camera capture parameters. Go to “Upper Status Row (Basic Menu)” on page 45.

Go to “Live Action Area” on page 49.

and audio meter. Go to “Lower Status Row” on page 50.

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UPPER STATUS ROW (BASIC MENU)

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

1 52 8763 4

Upper Status Row

The Upper Status Row includes the following GUI elements:

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

1 Frame Rate (FPS) Recording frame rate “Frame Rate” on page 82 2 ISO Camera sensitivity “ISO” on page 79 3 Aperture Lens aperture (F stop) information “Aperture” on page 48 4 Exposure (Shutter) Integration time or shutter angle “Exposure” on page 87 5 Color Temperature White balance “Color Temperature” on page 82 6 Resolution Record resolution “Format” on page 88 7 REDCODE 8 Menu Access advanced settings “Advanced Menus” on page 67 9 Cursor Indicates currently selected Upper

REDCODE compression setting “REDCODE” on page 48

N/A

Status Row element

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ACCESS ADVANCED MENUS

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

For example, select Advanced... in the Frame Rate menu to open Menu > Settings > Project > Frame Rate. For more information about Advanced Menus, go to “Advanced Menus” on page 67.

Select “Advanced...” Button

“Advanced...” Menu

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FEATURE: EDIT LIST

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

Select “Edit List...” Button

“Edit List...” Menu

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APERTURE

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

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

(brightness).

RED DSMC PL MOUNT INSTALLED

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

DSMC NIKON MOUNT AND CANON MOUNT INSTALLED

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

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

“Autofocus Modes” on page 130.

REDCODE

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

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

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

increases the quality of the footage, while a higher compression (for example: 22:1) lowers the quality. For more information, go to “R3D File Format and REDCODE” on page 10. REDCODE range is 2:1 to 22:1. Default is 8:1. For maximum available REDCODE values, see the DSMC Media Operation Guide at www.red.com/downloads.

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LIVE ACTION AREA

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

The Live Action Area includes the following GUI elements:

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

1 Lens Information Lens information when using supported

2 AF Status Currently selected auto focus mode “Focus Menu” on page 128 3 Center Crosshair and

Spot Focus Guide

Canon, Nikon, or Cooke lenses

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

Picture Center, Grid Overlay

Live Action Area

“Lens Information” on page 49

“General Tab” on page 78

4 Frame Guides Record or sensor projection area “Guides” on page 77 5 Clip Filename Filename of the clip being recorded, or

filename of the next clip to be recorded

6 Timecode Value Current timecode value “Timecode” on page 88

DSMC Media Operation Guide

LENS INFORMATION

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

PL LENSES

Displays the focal length and focal distance when a DSMC PL mount is installed and a lens with the Cooke S4/i system (or equivalent) is attached. For more information, go to “Lens Tab” on page 77.

CANON AND NIKON LENSES

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

The focal length and focal distance values and range vary depending on the attached lens. When the focal length of the lens changes, the current values displays. For more information, go to “Lens Tab” on page 77.

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LOWER STATUS ROW

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

1 3 5 62 4

Lower Status Row: Motion

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

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

1 Camera Mode Swipe up to toggle Motion/Stills/Playback modes “Camera Mode” on page 51 2 Histogram Histogram; tap to access the Tools menu “Histogram” on page 52 3 System Status

Indicators

Tap to access the System Status menu “System Status” on page 120 Temperature: Camera sensor and core

temperature, respectively Cal: T/E “CAL: T/E Indicator” on page 52 HDRX: Displays when HDRx mode is on “HDRX Menu” on page 128 False Color Mode: Displays modes “False Color Modes” on page 68 Magnify: Tallies 1:1 if magnify is selected “Magnify” on page 70 Timecode “Timecode” on page 156 Genlock “GEN Indicator” on page 53 Sync “SYNC Indicator” on page 53 LAN “LAN Indicator” on page 53 RIG: Indicates 3D rig metadata is present N/A WIFI: Indicates WiFi connection “WiFi Indicator” on page 53

“Sensor Calibration” on page 110

4 Media Status Media location and remaining media capacity,

displays when recording R3D and/or Apple ProRes; tap to access the Media Menu

5 Power Status DC voltage in or % of remaining battery capacity;

tap to access the Power menu

6 Audio Meter Audio input selection and levels;

tap to access the Audio menu

“Media Menu” on page 123

“Power Status” on page 54

“Audio Meter Levels” on page 145

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CAMERA MODE

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

NOTE: Setting adjustments made in Stills mode do not affect the settings in Motion mode, and vice versa. You can select the following camera modes:

 “Motion Mode” on page 51  “Stills Mode” on page 51  “Playback Menu” on page 123

MOTION MODE

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

 Motion recording modes:

‒ “Continuous Record” on page 97 ‒ “Internal Timelapse Timer” on page 97 ‒ “Frame Trigger” on page 97 ‒ “Speed Ramp Mode” on page 99 ‒ “REDCODE Burst” on page 99

 Swipe-Up Shortcuts

‒ Camera Mode ‒ Tools ‒ Media ‒ Power

NOTE: For more information, go to “Swipe-Up Menu” on page 56.

 Default Motion Preset (RED)

STILLS MODE

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

 Stills recording modes:

‒ “Multi-Shot” on page 100 ‒ “Motion + Stills” on page 101

 Swipe-Up Shortcuts:

‒ Auto Exposure ‒ Auto Focus ‒ Record Mode

NOTE: For more information, go to “Swipe-Up Menu” on page 56.

 Default Stills Preset (RED)

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HISTOGRAM

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

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

page 68.

# ITEM DESCRIPTION

1 RAW Level Bar (left)

2 RAW Level Bar (right)

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

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

1. The RAW Level Bars display the amount of pixels in the image that are noisy or clipped in relation to the total number of pixels in the

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

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

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

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

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

Histogram (Exposure)

SYSTEM STATUS INDICATORS

This section describes the colors and behavior of the System Status indicators in the Lower Status Row. Tap the System Status indicators in the Lower Status Row to access the System Status menu. For more information, go to “System Status” on page 120.

CAL: T/E INDICATOR

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

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

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

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TC INDICATOR

The TC indicator shows the current timecode status.

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

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 156.

GEN INDICATOR

The GEN indicator shows the current genlock status.

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

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

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

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 156.

SYNC INDICATOR

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

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

genlock or sensor sync is lost while recording.

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

For more information, go to “Timecode, Genlock, Multi-Camera Setup” on page 156.

LAN INDICATOR

NOTE: The GIG-E port is only available on the DSMC2 REDVOLT Expander. For more information, go to “Input/

Output Connectors” on page 198.

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

 Grey: External control of the camera is not enabled.  Green: Ethernet is enabled.

WIFI INDICATOR

The WiFi indicator shows the WiFi status.

 Grey: WiFi is disabled.  Yellow: WiFi is not connected.  Green: WiFi is enabled.

For more information, go to “WiFi” on page 106.

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POWER STATUS

The Power Status element displays the current supply voltage or remaining battery capacity. Tap the Power Status element to access the Power menu. For more information, go to “Power Menu” on page 127.

DC IN SUPPLY VOLTAGE

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

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

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

BATTERY TIME REMAINING

When using a REDVOLT XL battery, the power status displays the location of the power source and the remaining battery capacity.

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

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

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NAVIGATION CONTROLS

This section describes basic controls for navigating the camera menus.

TOUCHSCREEN NAVIGATION

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

RED Touch 7.0" LCD

# RED TOUCH BUTTON DESCRIPTION

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

NOTE: RED Touch display keys are programmable. For more information, go to “Key Mapping” on page 103. Navigate the menus using a touchscreen by using the following gestures:

 Tap: Tap has many functions:

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

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

“Swipe-Up Menu” on page 56.

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

gesture is disabled.

For more information, go to “Gestures” on page 75.

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SWIPE-UP MENU

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

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

Swipe Up to Select a Camera Mode

1 42 3 5 6 7

Stills Mode

# SWIPE-UP SHORTCUT DESCRIPTION

1 Camera Mode

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

1. For more information about Stills mode and Motion mode, go to “Camera Mode” on page 51.

2. Shortcuts only available in Stills Mode.

Select Playback, Motion, or Stills

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

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NAVIGATION GROUP

The Navigation Group is the primary control interface on the DSMC2™ Sidekick.

# NAVIGATION GROUP ELEMENT DESCRIPTION

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

Navigate the menus using a DSMC

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

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

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

For more information, go to “Default Key Functions” on page 216.

Sidekick using the following controls:

Navigation Group

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DSMC2 SIDEKICK

This section describes the controls and display of the DSMC2 Sidekick.

DSMC2 Sidekick

# CONTROL/ITEM DESCRIPTION

1 Navigation Group Navigate menus and menu items; Go to “Navigation Group” on page 57 2 MODE Button Toggle between Remote and Local Modes 3 MEDU Button Access menus or exit currently selected menu 4 User Keys (A–D)

1. Press User Keys A + D simultaneously to lock/unlock DSMC2 Sidekick buttons to prevent inadvertent menu changes.

NOTE: DSMC2 Sidekick keys are programmable. For more information, go to “Key Mapping” on page 103.

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

OPERATION MODES

The DSMC2 Sidekick display reflects the currently selected mode. Use the Scroll Wheel and Directional Keys to navigate menus. Press MENU to access the Advanced Menu.

Press MODE to toggle between the following modes:

 Remote Mode: Navigate with DSMC2 Sidekick controls, using an attached LCD, EVF, or other monitor as a

reference. The DSMC2 Sidekick displays the primary control screen.

 Local Mode: Navigate using the DSMC2 Sidekick controls and display. User Keys A-D are inactive.

KEY LOCK/UNLOCK

Lock the keys on the DSMC2 Sidekick to prevent inadvertent button presses and menu changes.

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

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DSMC2 SIDEKICK DISPLAY

The DSMC2 Sidekick OLED display provides basic camera parameters during operation.

2 3

5 6 7

The DSMC2 Sidekick displays the following camera parameters:

# ITEM DESCRIPTION

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

attached 3 White Balance Color temperature 4 REDCODE REDCODE compression setting

DSMC2 Sidekick OLED (Local Mode)

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

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

725-0003

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ADVANCED

MENUS

ADVANCED MENUS

Advanced Menu

The Advanced Menus include:

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

Settings Camera settings including: Display, Look, Project,

Audio, Recording, Setup, and Maintenance Media SSD operations including: format, eject, and more “Media Menu” on page 117 Playback View clips recorded to the attached SSD “Playback Menu” on page 118 Power Power sources, settings, status, and shutdown “Power Menu” on page 122 HDRX HDRx mode and settings “HDRX Menu” on page 123 Focus Focus modes, features, settings, and rack focus “Focus Menu” on page 124 Exposure Assist Automatic exposure settings and controls “Exposure Assist” on page 130 Presets Adjust Looks, key mappings, I/O, and more “Presets Menu” on page 132

“Settings Menu” on page 61

ACCESS THE ADVANCED MENUS

 Tap the Menu button on the DSMC2™ Sidekick.  Tap the Menu icon on the touchscreen.  Select the Advanced... button in any menu from the Upper Status Row.

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SETTINGS MENU

Settings Menu

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

DISPLAY

The Display menu includes: Tools, Zebra, Monitor Control, Modes, Guides, and Test Signal.

TOOLS

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

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

FALSE COLOR MODES

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

more information, go to “Motor Control” on page 108. NOTE: False color modes affect video recorded through HDMI® or HD-SDI to an external recorder if the Tools

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

NOTE: Since the 3D LUT modifes the data displayed for the exposure tools, you cannot use the exposure tools with a 3D LUT.

OFF

Disables all false color modes.

EXPOSURE

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

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

The Exposure meter colors indicate the following information:

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

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

VIDEO

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

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

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

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

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

FOCUS

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

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

indicator displays in the Lower Status Row.

EDGE

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

Status Row.

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

GIO SCOPE

Displays a color overlay on top of a desaturated image, identifying the 16 stops of light within the full dynamic range of the RED DRAGON® sensor.

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

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

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

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

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DISPLAY MODES

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

MAGNIFY

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

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

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

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

RAW

Displays images unaffected by the RGB settings (settings in the Look menu). When enabled, the word RAW displays in the Histogram in the Lower Status Row.

The RAW image parameters are:

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

NOTE: When enabled, RAW affects video recorded via HDMI or HD-SDI to an external recorder. Otherwise, RAW image parameters DO NOT affect image metadata; the parameters only affect the monitor output.

HORIZON

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

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

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

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

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

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

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

5. Select the desired text size.

6. Select Add.

7. Select Save.

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

down menu.

NOTE: The internal gyroscope and accelerometer must be calibrated for the Horizon overlay to function properly. For more information, go to “Gyroscope and Accelerometer Calibration” on page 112.

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ZEBRA

Use Zebra mode to enable and adjust the upper and lower values for two (2) independent zebra indicators. Use Zebra 1 for highlight exposure, and use Zebra 2 for mid-tones or shadows. Zebras are visible in Magnify mode and are disabled by default.As with other IRE-based modes, zebra mode is applicable to the current ISO and Look settings, and not the RAW image.

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

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

ENABLE ZEBRA INDICATORS

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

2. Select a Zebra check box.

3. Select the low and high IRE values. Each value range is 1 to 100 IRE.

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

fault is 98 to 100 IRE.

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

range is 41 to 48 IRE.

MONITOR CONTROL

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

MONITOR

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

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

MODE

Determines the elements displayed on the monitor:

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

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

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

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

OVERLAY

Select which overlay shows on top of the video. RED® provides preset overlays, which have “(RED)” in the overlay name. Create custom overlays in the Overlay tab. For more information, go to “Overlays” on page 66.

RESOLUTION

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

(HD-SDI) Out” on page 199 and “HDMI Out” on page 200.

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FREQUENCY

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

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

(HD-SDI) Out” on page 199 and “HDMI Out” on page 200.

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

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

TOOLS

Enables the false color modes on the monitor. For more information, go to “Tools” on page 61.

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

page 65.

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

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

page 65.

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

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

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

FRAMED OVERLAY

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

AUTO HIDE MENUS

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

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

 Press the Menu button on the DSMC2 Sidekick.  Tap the touchscreen.

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

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OVERLAYS

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

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

Control > Monitor tab.

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

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

OVERLAY ACTIONS

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

EXPORT AND IMPORT OVERLAYS

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

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

CREATE AND EDIT OVERLAYS

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

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

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

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

‒ Frame Guide ‒ Action Guide ‒ Title Guide

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

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

Selecting one (1) 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 adding a Custom Label (LBL), enter the Custom Text for that item.

9. Select Add to return to the previous screen.

10. Add all of the items to the overlay.

11. Select Create or Save.

The new overlay displays in the Camera list.

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

PRIORITY

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

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

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

EXAMPLE

By default, the monitor priority is:

1. LCD

2. EVF

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

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

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BRIGHTNESS

Control the brightness of each LCD and EVF. Move to the right for a brighter display; move to the left for a dimmer display.

ADVANCED

Provides access to additional monitor settings.

GESTURES

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

“Magnify” on page 63.

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

when compatible lenses are used. For a list of compatible lenses, go to “Lens Mounts and Lenses” on page 206.

OTHER

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

instructions.

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

GENLOCK OFFSET NOTE: HD-SDI ports are only available on select DSMC2 expanders. For more information, go to “Input/Output

Connectors” on page 198.

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

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

LCD/EVF 2 / HDMI SELECT NOTE: HDMI ports are only available on select DSMC2 expanders. For more information, go to “Input/Output

Connectors” on page 198.

Select to enable either the secondary LCD/EVF port on the camera or the HDMI port on an expander. The secondary LCD/EVF port and the HDMI port cannot be used at the same time.

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MODES

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

 Camera  Lens

CAMERA TAB

Display Mode: Camera

EXPOSURE

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

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

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

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

POWER

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

VU METER

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

HISTOGRAM

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

MEDIA

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

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LENS TAB

Display Mode: Lens

APERTURE

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

FOCUS DISTANCE

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

MOTION MOUNT ND AND MOTION MOUNT ISO PULL

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

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

RACK SHOW DISTANCE

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

more information, go to “Set Up Rack Focus” on page 128.

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

GUIDES

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

MODE

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

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

SCALE

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

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WIDTH/HEIGHT

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

OFFSET X/Y

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

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

APPEARANCE

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

RELATIVE TO FRAME GUIDE

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

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

GENERAL TAB

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

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

TEST SIGNAL

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

 Chip Chart  SMPTE Bars  Luma

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

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

LOOK

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

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

COLOR

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

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GAIN

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

ISO/FLUT

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

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

cameras

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

ISO

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

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

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

FLUT

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

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

SHADOW

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

SHARPNESS

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

CURVES

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

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VIDEO

Use the Video menus to adjust the color space and gamma space for each monitor output. You can also use these menus to apply an ACES look and a 3D LUT. All settings in the Video menus affect metadata only, and can be changed in REDCINE-X PRO®.

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

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

VIDEO SOURCE

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

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

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

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

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

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

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

4. If you need to apply a 3D LUT, load the 3D LUT into the camera. For more information, go to “LUTs” on

page 74.

5. If you need to rotate the image or apply a 3D LUT, go to “Look Config (Look Configuration)” on page 75.

6. Set up the Monitor Configuration. For more information, go to “Monitor Config (Monitor Configuration)” on

page 76.

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LUTS

You can output a 3D lookup table (LUT) via each monitor output. Any 3D LUT applied to an output is saved to the SSD.

NOTE: Since the 3D LUT modifes the data displayed for the exposure tools, you cannot use the exposure tools with a 3D LUT.

To apply a 3D LUT, go to “Look Config (Look Configuration)” on page 75.

COMPATIBLE 3D LUT FORMATS

The camera is compatible with the following 3D LUTs:

 DaVinci Resolve  IRIDAS/Adobe® 3D Cube LUT (.cube)  Nucoda CMS 3D LUT (.cms)

NOTE: Each camera supports a different set of 3D LUT formats. For information about which formats your camera supports, go to “Technical Specifications” on page 183.

MANAGE 3D LUTS

To manage 3D LUTs, go to Menu > Settings > Display > Monitor Control. 3D LUTs can be stored on the camera or transferred to SSD, so that you can build a library of 3D LUTs, or

quickly copy 3D LUTs from one camera to another via SSD.

 In Camera: 3D LUTs that are saved internally on the camera.  On Media \luts: 3D LUTs that are on the SSD.

3D Cube LUT (.cube)

EXPORT AND IMPORT 3D LUTS

To export and import 3D LUTs, go to Menu > Settings > Display > Monitor Control. 3D LUTs can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting 3D LUTs from camera to an SSD, the 3D LUTs are saved to a folder on the SSD called “luts”. When importing 3D LUTs from an SSD to camera, the 3D LUTs must be stored on the SSD in a folder called “luts”.

 : Export selected 3D LUT from camera to SSD.  All : Export all 3D LUTs from camera to SSD.

 : Import selected 3D LUT from SSD to camera.  All: Import all 3D LUTs from SSD to camera.

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LOOK CONFIG (LOOK CONFIGURATION)

Use the Look Config menu to set up Look A and Look B. In the Look Config menu, you can rotate the image or apply a 3D LUT.

To apply Looks to monitors, go to “Monitor Config (Monitor Configuration)” on page 76.

FLIP/MIRROR

LUT

Assign a 3D LUT to Look B. LUTs are loaded to the camera in the LUTs menu. For more information, go to

“LUTs” on page 74.

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MONITOR CONFIG (MONITOR CONFIGURATION)

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

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

2. Select a look from the Look drop-down menu. Looks are set up in the Look Config menu. For more

information, go to “Look Config (Look Configuration)” on page 75.

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

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

The Video Path displays the video source and graded gamma space applied to the monitor. NOTE: The Curve drop-down menu is available if the Video Source is set to RLF or ACES. For more

information, go to “Video Source” on page 73.

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. The value does not change if you adjust the color temperature manually. Selecting a preset resets Tint to 0.000.

PRESETS

Each preset has 0.000 Tint. Available preset options are:

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

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AUTO WHITE BALANCE

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

To use auto white balance, follow the instructions below:

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

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

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

3. Select Auto White Balance.

LGG (LIFT, GAMMA, GAIN)

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

PROJECT

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

FRAME RATE

RECORDING FRAME RATE

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

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

PROJECT TIME BASE

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

The following project time bases are available:

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

VARISPEED

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

Audio is not recorded in Varispeed mode.

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WEAPON (CARBON FIBER) FRAME RATES

The table below describes the maximum frame rate for each resolution of the WEAPON (Carbon Fiber). 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: Frame rates below are based on a 23.98 time base, 8:1 compression, and Lookaround disabled.

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

6K FF 73.31 3.5K FF 138.94 6K 2:1 75.40 3.5K 2:1 145.39

6K 2.41:1 (WS) 89.19 3.5K 2.41:1 (WS) 172.00 6K 16:9 (HD) 81.44 3.5K 16:9 (HD) 134.13 6K 3:2 82.81 3.5K 3:2 116.54 6K 6:5 82.81 3.5K 4:3 103.69 6K 4:1 150.42 3.5K 5:4 97.25 6K 8:1 299.28 3.5K 4:1 287.92

5.5K FF 84.26 3.5K 8:1 400.00

5.5K 2:1 88.15 3K FF 160.27

5.5K 2.41:1 (WS) 104.20 3K 2:1 168.91

5.5K 16:9 (HD) 85.50 3K 2.41:1 (WS) 200.27

5.5K 4:1 173.87 3K 16:9 (HD) 160.27

5.5K 8:1 338.39 3K 3:2 135.51 5K FF 96.39 3K 4:3 120.60 5K 2:1 101.45 3K 5:4 113.14 5K 2.41:1 (WS) 120.38 3K 6:5 160.27 5K 16:9 (HD) 96.39 3K 4:1 333.11 5K 6:5 96.39 3K 8:1 400.00 5K 4:1 200.88 2.5K FF 192.09 5K 8:1 392.77 2.5K 2:1 200.88

4.5K FF 108.30 2.5K 2.41:1 (WS) 237.08

4.5K 2:1 113.33 2.5K 16:9 (HD) 194.36

4.5K 2.41:1 (WS) 134.13 2.5K 3:2 161.45

4.5K 16:9 (HD) 109.92 2.5K 4:3 143.80

4.5K 3:2 90.81 2.5K 5:4 134.95

4.5K 4:1 224.92 2.5K 4:1 392.77

4.5K 8:1 400.00 2.5K 8:1 400.00 4K FF 120.83 2K FF 240.55 4K 2:1 127.38 2K 2:1 252.55 4K 2.41:1 (WS) 150.72 2K 2.41:1 (WS) 301.10

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

4K 16:9 (HD) 120.83 2K 16:9 (HD) 240.55 4K 3:2 102.08 2K 3:2 202.74 4K 4:3 90.81 2K 4:3 180.49 4K 5:4 85.16 2K 5:4 169.34 4K 6:5 120.83 2K 6:5 239.67 4K 4:1 252.55 2K 4:1 400.00 4K 8:1 400.00 2K 8:1 400.00

WEAPON (MAGNESIUM) FRAME RATES

The table below describes the maximum frame rate for each resolution of the WEAPON (Magnesium). 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: Frame rates below are based on a 23.98 time base, 8:1 compression, and Lookaround disabled.

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

6K FF 54.98 3.5K FF 138.94 6K 2:1 56.55 3.5K 2:1 145.39

6K 2.41:1 (WS) 66.89 3.5K 2.41:1 (WS) 172.00 6K 16:9 (HD) 61.08 3.5K 16:9 (HD) 134.13 6K 3:2 70.81 3.5K 3:2 116.54 6K 6:5 82.81 3.5K 4:3 103.69 6K 4:1 112.81 3.5K 5:4 97.25 6K 8:1 224.46 3.5K 4:1 287.92

5.5K FF 63.19 3.5K 8:1 400.00

5.5K 2:1 66.11 3K FF 160.27

5.5K 2.41:1 (WS) 78.15 3K 2:1 168.91

5.5K 16:9 (HD) 64.52 3K 2.41:1 (WS) 200.27

5.5K 4:1 130.40 3K 16:9 (HD) 160.27

5.5K 8:1 253.79 3K 3:2 135.51 5K FF 76.85 3K 4:3 120.60 5K 2:1 81.01 3K 5:4 113.14 5K 2.41:1 (WS) 96.06 3K 6:5 160.27 5K 16:9 (HD) 81.93 3K 4:1 333.11

5K 6:5 96.39 3K 8:1 400.00 5K 4:1 160.78 2.5K FF 192.09 5K 8:1 316.69 2.5K 2:1 200.88

4.5K FF 96.05 2.5K 2.41:1 (WS) 237.08

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

4.5K 2:1 100.54 2.5K 16:9 (HD) 194.36

4.5K 2.41:1 (WS) 119.08 2.5K 3:2 161.45

4.5K 16:9 (HD) 106.30 2.5K 4:3 143.80

4.5K 3:2 85.81 2.5K 5:4 134.95

4.5K 4:1 200.38 2.5K 4:1 392.77

4.5K 8:1 398.02 2.5K 8:1 400.00 4K FF 120.51 2K FF 240.55 4K 2:1 127.38 2K 2:1 252.55 4K 2.41:1 (WS) 150.50 2K 2.41:1 (WS) 301.10 4K 16:9 (HD) 120.83 2K 16:9 (HD) 240.55 4K 3:2 102.08 2K 3:2 202.74 4K 4:3 90.81 2K 4:3 180.49 4K 5:4 85.16 2K 5:4 169.34 4K 6:5 120.83 2K 6:5 239.67 4K 4:1 252.55 2K 4:1 400.00 4K 8:1 400.00 2K 8:1 400.00

SCARLET-W FRAME RATES

The table below describes the maximum frame rate for each resolution of the following cameras:

 SCARLET-W

 SCARLET-W Monochrome 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: Frame rates below are based on a 23.98 time base, 8:1 compression, and Lookaround disabled.

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

5K FF 47.81 3.5K 4:1 205.30 5K 2:1 50.41 3.5K 8:1 275.10 5K 2.41:1 (WS) 59.77 3K FF 131.80 5K 16:9 (HD) 50.85 3K 2:1 138.95 5K 6:5 50.85 3K 2.41:1 (WS) 164.95 5K 4:1 100.04 3K 16:9 (HD) 140.44 5K 8:1 183.40 3K 3:2 118.63

4.5K FF 59.76 3K 4:3 105.52

4.5K 2:1 62.56 3K 5:4 98.96

4.5K 2.41:1 (WS) 74.09 3K 6:5 160.27

4.5K 16:9 (HD) 66.14 3K 4:1 275.76

4.5K 3:2 50.85 3K 8:1 299.80

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

4.5K 4:1 124.68 2.5K FF 189.79

4.5K 8:1 220.50 2.5K 2:1 198.55 4K FF 74.99 2.5K 2.41:1 (WS) 234.65 4K 2:1 79.38 2.5K 16:9 (HD) 194.36 4K 2.41:1 (WS) 93.65 2.5K 3:2 161.45 4K 16:9 (HD) 79.94 2.5K 4:3 143.80 4K 3:2 53.63 2.5K 5:4 134.95 4K 4:3 50.85 2.5K 4:1 391.08 4K 5:4 50.85 2.5K 8:1 346.30 4K 6:5 117.97 2K FF 240.55 4K 4:1 158.76 2K 2:1 252.55 4K 8:1 244.00 2K 2.41:1 (WS) 301.10

3.5K FF 98.51 2K 16:9 (HD) 240.55

3.5K 2:1 103.10 2K 3:2 202.74

3.5K 2.41:1 (WS) 122.10 2K 4:3 180.49

3.5K 16:9 (HD) 98.57 2K 5:4 169.34

3.5K 3:2 88.01 2K 6:5 239.67

3.5K 4:3 54.48 2K 4:1 400.00

3.5K 5:4 51.08 2K 8:1 400.00

EXPOSURE

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

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

The Upper Status Row displays the exposure as either shutter speed or shutter angle. For more information, go to “Exposure” on page 61.

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

NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera ramps to a frame rate that is incompatible with the current exposure, the exposure changes to the longest exposure possible for the frame rate. For more information, go to “Speed Ramp Mode” on page 92.

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

INTEGRATION TIME

Enter the exposure value as a shutter speed (1/xx sec). Slowest speed is 1/recording frame rate. For 24 FPS, the slowest speed is 1/24 sec. The fastest speed is

1/131,579 sec. Default is 1/48 sec.

SHUTTER ANGLE

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

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EXPOSURE CONVERSIONS

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

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

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

CONVERT SHUTTER SPEED TO SHUTTER ANGLE

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

CONVERT SHUTTER ANGLE TO SHUTTER SPEED

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

TIMECODE

NOTE: Using timecode requires ports that are only available on select DSMC2 expanders. For more information,

go to “Input/Output Connectors” on page 198. For more information about timecode, go to “Timecode, Genlock, Multi-Camera Setup” on page 156.

TIMECODE SOURCE MODE DESCRIPTION

User Provided (Internal) Use Real Time Clock

(RTC)

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

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

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

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

the timecode connector on the expander.

SLATE

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

 Cam ID

 Cam Pos

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

AUTO-INCREMENT TAKE

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

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

2. Enter a value in the Take box.

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AUTO SLATE

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

FORMAT

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

After selecting format settings, select Set Format.

WEAPON FORMATS

The table below describes the formats for each of the following cameras:

 WEAPON (Carbon Fiber)

 WEAPON (Magnesium) The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format

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

page 88.

The camera offers a 6:5 aspect ratio for each resolution. Using a 6:5 aspect ratio at 2x anamorphic gives you a 2:40:1 aspect ratio.

RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

6K FF 6144 3160 30.72 15.80 34.55 6K 2:1 6144 3072 30.72 15.36 34.35 6K 2.41:1 (WS) 6144 2592 30.72 12.96 33.34 6K 16:9 (HD) 5568 3132 27.84 15.66 31.94 6K 3:2 4752 3160 23.76 15.80 28.53 6K 6:5 3792 3160 18.96 15.80 24.68 6K 4:1 6144 1536 30.72 7.68 31.67 6K 8:1 6144 768 30.72 3.84 30.96

5.5K FF 5632 2948 28.16 14.74 31.78

5.5K 2:1 5632 2816 28.16 14.08 31.48

5.5K 2.41:1 (WS) 5632 2376 28.16 11.88 30.56

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

5.5K 4:1 5632 1408 28.16 7.04 29.03

5.5K 8:1 5632 704 28.16 3.52 28.38 5K FF 5120 2700 25.60 13.50 28.94 5K 2:1 5120 2560 25.60 12.80 28.62 5K 2.41:1 (WS) 5120 2160 25.60 10.80 27.78 5K 16:9 (HD) 4800 2700 24.00 13.50 27.54 5K 6:5 3240 2700 16.20 13.50 21.09 5K 4:1 5120 1280 25.60 6.40 26.39 5K 8:1 5120 640 25.60 3.20 25.80

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

4.5K FF 4608 2412 23.04 12.06 26.01

4.5K 2:1 4608 2304 23.04 11.52 25.76

4.5K 2.41:1 (WS) 4608 1944 23.04 9.72 25.01

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

4.5K 3:2 4320 2880 21.60 14.40 25.96

4.5K 4:1 4608 1152 23.04 5.76 23.75

4.5K 8:1 4608 576 23.04 2.88 23.22 4K FF 4096 2160 20.48 10.80 23.15 4K 2:1 4096 2048 20.48 10.24 22.90 4K 2.41:1 (WS) 4096 1728 20.48 8.64 22.23 4K 16:9 (HD) 3840 2160 19.20 10.80 22.03 4K 6:5 2592 2160 12.96 10.80 16.87 4K 3:2 3840 2560 19.20 12.80 23.08 4K 4:3 3840 2880 19.20 14.40 24.00 4K 5:4 3840 3072 19.20 15.36 24.59 4K 4:1 4096 1024 20.48 5.12 21.11 4K 8:1 4096 512 20.48 2.56 20.64

3.5K FF 3584 1876 17.92 9.38 20.23

3.5K 2:1 3584 1792 17.92 8.96 20.04

3.5K 2.41:1 (WS) 3584 1512 17.92 7.56 19.45

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

3.5K 3:2 3360 2240 16.80 11.20 20.19

3.5K 4:3 3360 2520 16.80 12.60 21.00

3.5K 5:4 3360 2688 16.80 13.44 21.51

3.5K 4:1 3584 896 17.92 4.48 18.47

3.5K 8:1 3584 448 17.92 2.24 18.06 3K FF 3072 1620 15.36 8.10 17.36 3K 2:1 3072 1536 15.36 7.68 17.17 3K 2.41:1 (WS) 3072 1296 15.36 6.48 16.67 3K 16:9 (HD) 2880 1620 14.40 8.10 16.52 3K 6:5 1944 1620 9.72 8.10 12.65 3K 3:2 2880 1920 14.40 9.60 17.31 3K 4:3 2880 2160 14.40 10.80 18.00 3K 5:4 2880 2304 14.40 11.52 18.44 3K 4:1 3072 768 15.36 3.84 15.83 3K 8:1 3072 384 15.36 1.92 15.48

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

2.5K FF 2560 1340 12.80 6.70 14.45

2.5K 2:1 2560 1280 12.80 6.40 14.31

2.5K 2.41:1 (WS) 2560 1080 12.80 5.40 13.89

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

2.5K 3:2 2400 1600 12.00 8.00 14.42

2.5K 4:3 2400 1800 12.00 9.00 15.00

2.5K 5:4 2400 1920 12.00 9.60 15.37

2.5K 4:1 2560 640 12.80 3.20 13.19

2.5K 8:1 2560 320 12.80 1.60 12.90 2K FF 2048 1080 10.24 5.40 11.58 2K 2:1 2048 1024 10.24 5.12 11.45 2K 2.41:1 (WS) 2048 864 10.24 4.32 11.11 2K 16:9 (HD) 1920 1080 9.60 5.40 11.01 2K 3:2 1920 1280 9.60 6.40 11.54 2K 4:3 1920 1440 9.60 7.20 12.00 2K 5:4 1920 1536 9.60 7.68 12.29 2K 6:5 1296 1080 6.48 5.40 8.44 2K 4:1 2048 512 10.24 2.56 10.56 2K 8:1 2048 256 10.24 1.28 10.32

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SCARLET-W FORMATS

The table below describes the formats for each of the following cameras:

 SCARLET-W

 SCARLET-W MONOCHROME The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format

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

page 88.

The camera offers a 6:5 aspect ratio for each resolution. Using a 6:5 aspect ratio at 2x anamorphic gives you a 2:40:1 aspect ratio.

RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

5K FF 5120 2700 25.60 13.50 28.94 5K 2:1 5120 2560 25.60 12.80 28.62 5K 2.41:1 (WS) 5120 2160 25.60 10.80 27.78 5K 16:9 (HD) 4800 2700 24.00 13.50 27.54 5K 6:5 3240 2700 16.20 13.50 21.09 5K 4:1 5120 1280 25.60 6.40 26.39 5K 8:1 5120 640 25.60 3.20 25.80

4.5K FF 4608 2412 23.04 12.06 26.01

4.5K 2:1 4608 2304 23.04 11.52 25.76

4.5K 2.41:1 (WS) 4608 1944 23.04 9.72 25.01

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

4.5K 3:2 4320 2880 21.60 14.40 25.96

4.5K 4:1 4608 1152 23.04 5.76 23.75

3.5K FF 3584 1876 17.92 9.38 20.23

3.5K 2:1 3584 1792 17.92 8.96 20.04

3.5K 2.41:1 (WS) 3584 1512 17.92 7.56 19.45

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

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RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

3.5K 3:2 3360 2240 16.80 11.20 20.19

3.5K 4:3 3360 2520 16.80 12.60 21.00

3.5K 5:4 3360 2688 16.80 13.44 21.51

3.5K 4:1 3584 896 17.92 4.48 18.47

2.5K FF 2560 1340 12.80 6.70 14.45

2.5K 2:1 2560 1280 12.80 6.40 14.31

2.5K 2.41:1 (WS) 2560 1080 12.80 5.40 13.89

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

2.5K 3:2 2400 1600 12.00 8.00 14.42

2.5K 4:3 2400 1800 12.00 9.00 15.00

2.5K 5:4 2400 1920 12.00 9.60 15.37

2.5K 4:1 2560 640 12.80 3.20 13.19

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ANAMORPHIC

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

WEAPON and SCARLET-W support anamorphic 1.3x and 2x with each format.

DE-SQUEEZED RESOLUTION AND DE-SQUEEZED ASPECT RATIO

When you enable anamorphic, both the actual format and the de-squeezed format display at the bottom of the Format menu.

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

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

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

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SHORT-CUT TO INDUSTRY-STANDARD ANAMORPHIC FORMATS

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

The Anamorphic tab lists the anamorphic formats for every format with a 6:5, 5:4, or 4:3 aspect ratio. NOTE: The Anamorphic tab only lists industry-standard anamorphic formats. To access all of the anamorphic

and non-anamorphic formats, go to Menu > Settings > Project > Format > Format.

LOOKAROUND

When Lookaround is enabled, the Frame Guide and recording area are scaled down on the display so that you can see what images will enter the recording area.

To assign a Shading overlay to the Lookaround area (the area outside of the recording area), go to “General

Tab” on page 71.

Lookaround limits the available frame rates. At high resolutions, the recording area on the display shows the full sensor area or full sensor height, so there is no extra room for Lookaround.

SENSOR (FLIP/MIRROR SCAN DIRECTION)

The Flip/Mirror Scan Direction feature rotates the image 180°, both on the monitor and in the recorded R3D file. Normally, the sensor scans the image from the top to the bottom. When the Flip/Mirror Scan Direction feature is enabled, the sensor scan direction reverses, and the sensor scans the image from the bottom to the top.

The Flip/Mirror Scan Direction feature is intended for multi-camera arrays when all sensors are synchronized, and at least one (1) camera is mounted upside-down. Using this feature is helpful for matching the line scan direction for the cameras in the array.

To enable the Flip/Mirror Scan Direction feature, follow the instructions below:

1. Go to Menu > Settings > Project > Sensor.

2. Select the Flip/Mirror Scan Direction check box.

The camera rotates the image 180° on the monitor and in the recorded R3D file.

AUDIO

The Audio menu lets you configure the audio subsystem. For more information, go to “Record and Monitor

Audio” on page 139.

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RECORDING

The Recording menu includes: Mode, Codec, Frame Processing, Pre-Record, and Indicator.

MODE

You can select the following recording modes: Continuous Record, Internal Timelapse Timer, Frame Trigger, REDCODE Burst, Speed Ramp Mode, Multi-Shot, and Motion + Stills.

NOTE: Audio is recorded only in Continuous Record and Motion + Stills modes.

STORAGE

You can select the following storage locations:

 Local: Stores footage directly to an SSD

 Network: Stores footage to a network

NOTE: HDRx is disabled in Network Storage mode.

 External: Stores footage to an external device

NOTE: In External storage, you can only select Continuous Record and Motion + Stills recording modes.

CONTINUOUS RECORD

NOTE: This mode is not available in Stills mode.

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

INTERNAL TIMELAPSE TIMER

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Internal Timelapse Timer mode.

In Internal Timelapse Timer mode, the camera records a specified number of frames at a specified interval. The current recording frame rate determines the timing of the frames per pulse.

For example, in Internal Timelapse Timer mode, you can choose to record a total amount of 1000 frames, and take 1 frame every 4.67 seconds. After recording 1000 frames (which takes 4,670.00 seconds), the recording process stops.

To use Internal Timelapse Timer mode, follow the instructions below:

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

2. Select Internal Timelapse Timer from the Mode drop-down menu.

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

4. Select the number of frames to be captured in the Record field.

5. Select the time interval from the Interval field (range is 1–3,599 sec). The Interval setting specifies the

frequency at which the frame or group of frames is captured.

6. Close the menu.

7. Start recording to start the interval.

The overlay displays the number of frames recorded out of the total amount of frames.

FRAME TRIGGER

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Frame Trigger mode.

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

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To use Frame Trigger mode, follow the instructions below:

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

2. Select Frame Trigger from the Mode drop-down menu.

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

4. Select a Pre Count and Post Count. For more information, go to “Pre Count and Post Count” on page 93.

5. Close the menu.

6. Start recording.

The overlay displays the number of frames recorded out of the total amount of frames.

NOTE: There may be a delay between receiving the external trigger and capturing the next frame(s). The delay may be as long one (1) frame period at the current recording frame rate. To completely synchronize frames to an external trigger, set Sensor Sync Mode to MoCo. For more information, go to “Sync” on page 106.

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SPEED RAMP MODE

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in Speed Ramp mode.

Speed Ramp mode lets you program the current recording frame rate to transition to different recording frame rates during recording.

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

2. Select Speed Ramp Mode from the Mode drop-down menu.

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

4. Select a ramp target:

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

5. Set the Target frame rate.

6. Set the Duration, which is how long it takes to transition from the current frame rate to the target frame rate.

7. Go to Menu > Settings > Setup > Keys and program a key to start the speed ramp:

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

8. Start recording.

9. To start speed ramp, press the key that you have mapped to start the speed ramp.

The frame rate transitions to the target frame rate during the duration you set up.

REDCODE BURST

NOTE: This mode is not available in Stills mode. NOTE: Audio is not recorded in REDCODE Burst mode.

In REDCODE Burst mode, the camera can record at a lower compression (REDCODE) for the specified amount of frames. When REDCODE Burst mode is enabled and recording starts, the camera captures a “burst” of frames at the lower REDCODE, and then continues to record at the next available REDCODE. To add more bursts to clips during recording, press any key mapped to “Record: Mark Frame”.

To use REDCODE Burst mode, follow the instructions below:

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

2. Select REDCODE Burst from the Mode drop-down menu.

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

4. Select a Pre Count and Post Count. For more information, go to “Pre Count and Post Count” on page 93

5. Close the menu.

6. Start recording.

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PRE COUNT AND POST COUNT

When Frame Trigger or Burst mode is enabled, select the number of frames for the Pre Count and Post Count:

 Pre Count: The camera captures the frame cache from the time preceding the marker.  Post Count: The camera captures the remaining frame cache after the marker.

The maximum frame counts are listed in the Available column, and are based on format and REDCODE.

MULTI-SHOT

NOTE: The camera does not sync timecode in Multi-Shot mode. NOTE: This mode is available in Motion mode, but is only recommended in Stills mode. NOTE: Audio is not recorded in Multi-Shot mode.

Multi-Shot mode removes restrictions on Recording Frame Rate and REDCODE, allowing you to shoot at a high resolution, high frame rate, and low compression. These restrictions are removed because the camera records first to the camera’s memory, and then offloads (while recording) to SSD after the camera’s buffer fills up. Since the camera records only as fast as the buffer can transfer data, frames are dropped from the clip.

Multi-Shot mode has two sub-modes:

 Basic Multi-Shot mode  Advanced Multi-Shot mode

BASIC MULTI-SHOT MODE

In Basic Multi-Shot mode, you can record a one-frame clip by pressing a Record key, or you can continuously record frames by holding a Record key. This mode is the easiest way to shoot stills, but there is some latency (about 700 milliseconds) when you press Record.

This mode only involves the Record key on the media bay. Pressing the PWR/REC key on the camera initiates Advanced Multi-Shot mode.

To use Basic Multi-Shot mode, perform one of the following:

 Press a Record key to record a one-frame clip.  Press and hold a Record key to start a new clip and continuously add frames to that clip. Release the Record

key to stop adding frames and end the clip.

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ADVANCED MULTI-SHOT MODE

In this mode, the camera is continuously recording, but is not saving frames. This eliminates the delay you get in Basic Multi-Shot mode. Since the camera is continuously recording, the camera requires the same amount of power it does during Continuous Record (as opposed to Preview mode). Unlike Basic mode, all frames are added to one (1) clip, instead of to separate clips.

To use Advanced Multi-Shot mode, follow the instructions below:

1. Press the PWR/REC key on the camera to start a new clip. This initial press adds one (1) frame to the clip.

2. Press the Record key on the media bay to add frames to the clip:

‒ Press a Record key once to add a few frames to the clip. (The number of frames varies, and depends

on the buffer.)

‒ Press and hold a Record key to continuously add frames; release the Record key to stop adding frames.

3. Press the PWR/REC key on the camera to end the clip.

NOTE: You cannot shut down the camera until you end the clip.

ENABLE MULTI-SHOT MODE

To enable Multi-Shot mode, follow the instructions below:

1. Set the camera to Stills mode.

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

3. Select Multi-Shot from the Mode drop-down menu.

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

5. Close the menu.

6. For more information on using the different sub-modes, go to:

‒ “Basic Multi-Shot Mode” on page 93 ‒ “Advanced Multi-Shot Mode” on page 94

MOTION + STILLS

NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.

Motion + Stills mode is identical to Continuous Record, except that when you initiate recording by pressing the PWR/REC key on the camera, all other Record keys mark frames for the duration of the clip. (If you initiate recording by pressing any other Record key, you can press any key mapped to “Record: Mark Frame” to mark stills.)

To use Motion + Stills mode, follow the instructions below:

1. Set the camera to Stills mode.

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

3. Select Motion + Stills from the Mode drop-down menu.

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

5. Close the menu.

6. Press the PWR/REC key on the camera to start recording.

7. Press the Record key on the media bay to mark a frame.

8. Press the PWR/REC key on the camera to stop recording.

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APPLE PRORES INFORMATION

By default, the camera records all videos and stills in the REDCODE RAW file format. You also have the option to record Apple ProRes files. This section provides general information about recording Apple ProRes files with the camera:

NOTE: Each camera offers different Apple ProRes codecs, and different frame rates for those codecs. For more information, go to “Technical Specifications” on page 183.

 Selecting a Recording Frame Rate that is not supported by Apple ProRes has the following effects:

‒ 2K Apple ProRes over 120 FPS: The QuickTime file will be sub-sampled. ‒ 4K Apple ProRes over 60 FPS: Apple ProRes is disabled. ‒ 4K Apple ProRes + REDCODE RAW over 29.97 FPS: Apple ProRes is disabled.

 The camera cannot record Apple ProRes when Pre-Record is enabled.

 The camera can record Apple ProRes only when either of the following recording modes is enabled:

‒ Continuous Record ‒ Motion + Stills

 Recording 4K Apple ProRes is only available:

‒ On WEAPON 6K (Carbon Fiber) ‒ When recording to QuickTime only ‒ When recording to the following codecs

‒ Apple ProRes 422 ‒ Apple ProRes 422 HQ ‒ Apple ProRes 422 LT

 If HDRx

go to “HDRX Menu” on page 123.

 RED recommends performing a Secure Format before recording Apple ProRes. For more information, see

the DSMC Media Operation Guide, available at www.red.com/downloads.

 QuickTime files have the same metadata that is in the REDCODE RAW files. The metadata is per clip, and

not per frame. At this time, there is no tool for extracting that metadata from the QuickTime files.

 You can select any Resolution in the Format menu. When recording Apple ProRes, the camera scales that

format to the Resolution (2K or 4K) selected in the Codec menu. The field of view is maintained in the QuickTime file; the image is not cropped. For more information on setting the Format, go to “Format” on

page 83.

 If recording 4K Apple ProRes and the Resolution is less than 4K, the image is scaled to 2K.  For more information about Apple ProRes, including the data rates for each codec, see the Apple Support

site at https://support.apple.com/en-us/HT202410.

is enabled, only the selected monitor track is recorded to the QuickTime files. For more information,

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FILE STRUCTURE OF RECORDED APPLE PRORES FILES

When recording REDCODE RAW + QuickTime, this is the file structure of the recorded files on the RED MINI-MAG:

 .RDM Folder

‒ .RDC Folder

‒ .mov ‒ .R3D ‒ .rtn (RED Thumbnail file)

NOTE: The camera creates mulitple .mov files, similar to how the camera creates multiple R3D files.

File Structure: REDCODE RAW + QuickTime

When recording QuickTime only, this is the file structure of the recorded files on the RED MINI-MAG:

 .RDM Folder

‒ .RDC Folder

‒ .mov

NOTE: The camera creates mulitple .mov files, similar to how the camera creates multiple R3D files.

File Structure: QuickTime

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SELECT CODEC (REDCODE RAW AND APPLE PRORES)

To set up your file format and codec, follow the instructions below.

1. Go to Menu > Settings > Project > Format.

2. Go to Menu > Settings > Recording > Codec.

3. Select the file format(s) you want to record to from the File Format drop-down menu:

‒ REDCODE RAW ‒ QuickTime ‒ REDCODE RAW + QuickTime

The selected file format displays in the Lower Status Row.

4. REDCODE RAW: Select a target REDCODE compression ratio from the REDCODE menu. For more information,

go to “REDCODE” on page 53.

5. QuickTime: Select a resolution from the Resolution drop-down menu: ‒ 2K: Available for all Apple ProRes codecs. ‒ 4K: Available when recording to QuickTime only. Available on WEAPON 6K (Carbon Fiber) for the fol-

lowing Apple ProRes codecs:

‒ Apple ProRes 422 ‒ Apple ProRes 422 HQ ‒ Apple ProRes 422 LT

6. QuickTime: Select a codec from the Video Codec drop-down menu: ‒ Apple ProRes 4444 XQ (WEAPON only) ‒ Apple ProRes 4444 (WEAPON only) ‒ Apple ProRes 422 HQ ‒ Apple ProRes 422 ‒ Apple ProRes 422 LT

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FRAME PROCESSING

NOTE: Frame processing is not supported in Speed Ramp Mode. For more information, go to “Speed Ramp

Mode” on page 92.

Frame processing allows for the combination of multiple captured frames into one recorded frame. The combination occurs before the resulting frame is encoded. You can select the following frame processing settings: No Frame Processing, Frame Summing, Frame Averaging.

When in Frame Summing mode or Frame Averaging mode, the current integration time is applied to each frame. This means if the integration time is not the entire frame time (or 360°) there are gaps between the images used to create the combined frame. This may lead to unexpected motion artifacts.

The effect of frame processing is only visible during record. In Frame Summing mode, this means the exposure changes between preview and record. Experiment with the exposure and frame processing settings to achieve the effect you want.

NO FRAME PROCESSING

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

FRAME SUMMING

Frame Summing combines the specified number of frames into one frame, and adds together the exposure time for each of the original frames. The resulting frame has an effective integration time that is equal to the current integration time multiplied by the number of frames.

For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image has an effective integration time of 1/3 sec (16 x 1/48).

Frame summing results in a final image that is brighter and possibly blurrier than any of the original frames, so you can use frame summing to achieve the effect of long-exposure.

FRAME AVERAGING

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

For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image still has the exposure value of 1/48 sec, along with the effect of long-exposure.

You can use frame averaging to achieve the effect of long-exposure along with the benefits of reduced noise. However, frame averaging does affect motion blur characteristics.

PRE-RECORD

When enabled, the Pre-Record setting continuously captures a cache of footage before recording starts. Select to have 4–30 seconds (incremented at two second intervals) of pre-record time added to the actual footage. When Pre-Record is enabled, you will not miss the start of a shot by being a little slow on the trigger.

 Pre-Record Duration: Select the pre-record time.  Always trigger Pre-Record before recording: When selected, Pre-Record always starts when recording starts:

A. Press PWR/REC to activate Pre-Record. B. Press PWR/REC a second time to start recording. C. Press PWR/REC a third time to stop recording.

 Trigger Pre-Record Now: When selected, the Pre-Record menu closes and Pre-Record mode starts.

NOTE: Always perform a Secure Format before using Pre-Record. A Secure Format restores the SSD back to factory out-of-box settings, and optimizes the SSD for Pre-Record.

NOTE: To use Pre-Record only for specific situations, map Pre-Record to a key (Menu > Settings > Setup > Keys > Record: Start Pre-Record). For more information, go to “Keys” on page 99.

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INDICATOR

 Enable Sounds: Select this check box to enable sounds. Then select sounds for the following actions:

‒ Record Start ‒ Record Stop ‒ Mark Still Frame

 EVF Tally Light: Select this check box to enable the EVF Record Tally LED on the EVF to illuminate red when

recording.

 SSD Tally Light: Select this check box to enable the Record Tally LED on the media bay to illuminate red

when recording. For more information, go to “Media Bay LEDs” on page 22.

SETUP

The Setup menu includes: Keys, Date/Time, Communication, GPIO/Sync, Fan Control, Lens, and Motor Control.

KEYS

Map keys to often-used actions to easily control the camera. For a full list of the default key mappings, go to

“Default Key Functions” on page 216.

KEY MAPPING

To map or remap a user key:

1. Press the user key that you want to map.

2. Select an action from the Press (or CCW) drop-down menu that you want to map to the user key.

3. To un-map a key, select -Key Disabled- from the drop-down menu.

4. If you want, map a Release or (CW) action to the key.

A Release action occurs when a pressed key is released.

OPTIONS

 Lock Side Module keys: None of the module keys perform any actions when pressed, unless you set up the

exceptions below:

‒ Record key remains active when locked ‒ Navigation keys remain active when locked

 Show key action notifications: A notification displays on the bottom of the display when you perform an

action mapped to a key.

SOFT KEYS

The following sets of soft keys are available on the touchscreen:

 A, B, C, D: Left side of the touchscreen  1, 2, 3, 4: Right side of the touchscreen

To map or remap a soft key, select an action from the drop-down menu next to the key you want to map.

 Enable Soft Keys on touchscreen: Tap the left or right side of the touchscreen to show the soft keys.  Show key actions as labels: When the soft keys display, the number/letter of the key and the key action

display.

ADVANCED

Use the Advanced tab to map any key, even if the key is not currently accessible. WARNING: It is possible to remap the navigation keys using this tab. However, if you do not have a touchscreen

attached, it is possible to lock out control. Be careful when remapping navigation keys.

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DATE/TIME

Use the Date/Time menu to reset the internal clock of the camera. The time and date are timestamps on R3D files when recording to an SSD. The camera uses the 24-hour clock convention (military time). For example, enter 2:35 p.m. as 14:35:00.

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

COMMUNICATION

NOTE: CTRL and GIG-E ports are only available on select DSMC2 expanders. For more information, go to “Input/

Output Connectors” on page 198.

Use the Communication menu to allow one (1) or more cameras to communicate with each other or external devices.

You can use the serial port or a direct Ethernet cable to connect two (2) cameras, or one (1) camera and one (1) external device. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate with each other.

For example, on a multi-rig 3D shoot, you can send commands to an individual camera (Example: Set CAM_A_L to 1/48 exposure), to a group of cameras (Example: Set 3DRIG_A to 48 FPS), or to all cameras (Example: Start Recording on all cameras).

CAMERA NAME

Use the Camera menu to set up a unique identifier for your camera (or a group of cameras). All command filtering happens on the receiver side of the communication link. Use camera names and group names to address commands to a specific camera or group of networked cameras.

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

characters.

 Group ID: Enter a group name to identify the camera as a member of a group of devices. The field is limited

to eight (8) characters, and the default name is DEFAULT.

 Target: Specify which devices the camera can send commands to:

‒ All: The camera can send commands to all devices on the network. ‒ None: The camera can only receive commands. The camera cannot send commands. ‒ Custom: The camera can send commands to a specific camera/device (enter the name of the camera/

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

955-0116_V6.1, REV-U | 100

RED WEAPON Series, SCARLET-W Series 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

READ BEFORE YOU SHOOT

R3D FILE FORMAT AND REDCODE

SHOOT FOR VIDEO AND STILLS

POST PRODUCTION WITH REDCINE-X PRO

HDRX AND MAGIC MOTION

HDRX

MAGIC MOTION

ADDITIONAL RESOURCES

ADDITIONAL RESOURCES

BRAIN

BRAIN CONTROL: PWR/REC KEY

BRAIN LEDS

BRAIN CONNECTORS, FOCUS HOOK, AND BACK FOCUS

MEDIA BAY CONTROLS

MEDIA BAY LEDS

RED MINI-MAG SYSTEM

EXPANDERS

DSMC2 BASE EXPANDER

DSMC2 REDVOLT EXPANDER

DSMC2 JETPACK EXPANDER

DSMC2 BASE I/O V-LOCK EXPANDER

POWER MODULES

DSMC2 REDVOLT XL MODULE

RED BATTERIES AND CHARGERS

DISPLAYS AND ELECTRONIC VIEWFINDERS

RED LCDS

LCD PRECAUTIONS

BOMB EVFS

BOMB EVF FEATURES

DSMC2 RED EVF

DSMC2 RED EVF FEATURES

LEMO ADAPTORS

LEMO ADAPTOR A

LEMO ADAPTOR B

CAMERA CONTROL MODULES

DSMC2 SIDEKICK

DSMC2 TOP HANDLE

DSMC2 OUTRIGGER HANDLE

LENS MOUNTS

INTERCHANGEABLE OLPFS

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

POWER OPERATIONS

POWER PRIORITY

POWER CONSUMPTION

POWER STATUS

APPROVED EXTERNAL DC POWER

TURN ON THE CAMERA

TURN OFF THE CAMERA

AUTO BOOT ON POWER

ENABLE AUTO BOOT ON POWER

DISABLE AUTO BOOT ON POWER

CONFIGURE YOUR CAMERA

INSTALL THE DSMC2 SIDEKICK

REMOVE THE DSMC2 SIDEKICK

INSTALL A DSMC2 EXPANDER

REMOVE A DSMC2 EXPANDER

INSTALL THE DSMC2 REDVOLT XL MODULE

REMOVE THE DSMC2 REDVOLT XL MODULE

INSTALL THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

REMOVE THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

INSTALL THE FOCUS HOOK

INTERCHANGEABLE OLPF SYSTEM

SWAP AN INTERCHANGEABLE OLPF

USE A TRIPOD OR MONOPOD

VIDEO MONITOR OUTPUTS

VIDEO MONITOR CATEGORIES

RECORD

RECORD VIA HD-SDI OR HDMI