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Epic 3.3
Operation Guide
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Red Digital Cinema Epic 3.3 Operation Guide

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TABLE OF CONTENTS

DISCLAIMER ................................. 3
COMPLIANCE ............................... 4
Industrial Canada Emission
Federal Communications Commission (FCC)
Statement .................................. 4
Australia and New Zealand
European Union Compliance
Statements ................................ 6
BEFORE YOU START ................... 8
Important Safety
Instructions ................................ 8
THEORY OF OPERATION ............11
MYSTERIUM X® Sensor ...........11
Microphone Level Analog
HD-SDI .................................15
HDMI ....................................15
RED LCD / Bomb EVF® ............15
REDMOTE® ...............................16
Metadata ..............................17
Clip Naming
Conventions .........................18
SMPTE Timecode ................19
Power Consumption ............19
CAMERA OPERATIONAL
CONTROLS ..................................19
Top .......................................23
Front .....................................24
Rear ......................................25
Installation / Removal ...........27
Pro I/O Module .....................29
Rear SSD Module.................30
Quad Battery Module ...........30
Dual Battery Module ............31
Module Installation /
Removal ............................... 32
BOMB EVF and Bomb
EVF (OLED) .......................... 38
Touchscreen LCD ................ 39
BASIC OPERATION ..................... 40
Side Handle ......................... 40
Quad Battery Module .......... 41
REDVOLT and REDVOLT
XL ........................................ 41
BACKPACK
QUICKPLATE ....................... 42
AC POWER ADAPTOR -
(DSMC) ................................ 43
External DC Power .............. 44
Power UP ............................. 45
Power Down ........................ 46
Graphical User Interface
RED LCD/Touchscreen
LCD, BOMB EVF,
External Monitors ................. 47
Side Handle ......................... 54
REDMOTE ........................... 54
Touchscreen Shortcuts ....... 57
Accessing Soft Keys ............ 58
Power Down ........................ 59
Lock / Unlock
Touchscreen Opreration ...... 60
FIRST TIME USE – SETTING
UP YOUR RED EPIC .................... 61
Battery ................................. 61
Quad Battery Module .......... 62
RED Brick ............................ 63
DC Power ............................ 63
Connect and Format
Media ................................... 63
Perform a Black Shading
Calibration ........................... 64
Adjust Project Settings ........ 65
Record Indicator .................. 67
MENU CONTROLS ...................... 69
Basic Setting
Adjustments ........................ 69
Advanced Setting Menus .... 70
MAIN MENU ................................ 71
Varispeed ............................ 71
Basic Settings ..................... 72
Advanced Settings .............. 72
Basic Settings ..................... 75
Advanced Settings .............. 76
Basic Settings ..................... 78
Advanced Settings .............. 79
REDcode Options for
Various Frame Rates ........... 82
SECONDARY MENUS ................. 83
HDR ON / OFF .................... 83
Stops ................................... 83
Mode ................................... 84
DSMC Canon Mount
Electronically Supported
Lenses ................................. 87
DSMC Leica-M Mount
Lenses ................................. 87
Zones .................................. 88
RED DSMC Ti PL Mount
+ Lens ................................. 91
DSMC Canon Mount +
Lens ..................................... 92
Camera Presets ................... 93
LOOKs Presets .................... 97
Auto Presets ........................ 97
Select Media ....................... 98
Format Media ...................... 98
Eject Media ......................... 99
Utilities............................... 100
Display............................... 101
Look .................................. 115
Project ............................... 119
System Status ................... 121
Audio/Video ....................... 122
Setup ................................. 128
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Maintenance.......................139
Playback ............................147
Power Status ......................157
Shutdown ...........................158
APPENDIX A: UPGRADING
CAMERA FIRMWARE ................159
Verify Current Camera
Restore Default Factory
Settings ...................................159
APPENDIX B: MANAGING
DIGITAL MEDIA ..........................160
Media Capacity Remaining
Status .....................................162
Eject Media from Camera
Using REDMOTE /
Touchscreen LCD ..............163
Using Side Handle .............164
Using Side SSD ..................164
Macintosh OS X .................165
Windows ............................165
APPENDIX C: INPUT /
OUTPUT CONNECTORS ...........166
MIC-1, MIC-2
(Microphone Audio) ............167
HD-SDI ...............................169
Headphone.........................170
SYNC (Video Sync) ............170
CTRL (RS232 Control) ........173
GIG-E (Ethernet) .................174
DC IN (Power Input) ...........175
HDMI Out ...........................176
APPENDIX D: Audio
Subsystem Information .............179
Balanced Microphone........ 180
Unbalanced Microphone ... 180 Balanced Microphone with 48V Phantom Power .. 180
Line in 0 dBu ...................... 180
Line In 0 VU ....................... 180
Limiter ................................ 181
HD-SDI/HDMI Embedded
audio ...................................... 183
APPENDIX E: DEFAULT
KEY FUNCTIONS ....................... 186
APPENDIX F: REDMOTE
OPERATION ............................... 188
Control, Connectors and
Display.................................... 188
Controls ............................. 188
Docking and Undocking .... 191
Power Up / Down .............. 192
Recording .......................... 194
Accessing Camera
Controls / Settings ............. 194
ADVANCED
OPERATION: REDMOTE
Menus ................................ 196
Internal Battery .................. 204
Upgrading REDMOTE
Firmware ............................ 206
APPENDIX G: 3D SETUP /
OPERATION ............................... 219
Master Camera .................. 219
Slave Camera .................... 220
Reel No. / Slate (Camera
ID) / Camera Position ......... 220
Changing Settings ............. 222
Recording .......................... 222
Power Down ...................... 222
APPENDIX H: EXPOSURE – USING FALSE COLOR AND
ISO.............................................. 223
APPENDIX I: POST-
PRODUCTION ........................... 233
REDCINE-X® PRO ............. 234
APPENDIX J:
MAINTENANCE ......................... 235
Camera And Accessory
Exterior Surfaces ............... 235
Brain .................................. 235
LCD Screen (Touchscreen / Non-
Touchscreen) ..................... 235
EVF .................................... 236
REDMOTE Screen ............. 236
Lenses ............................... 236
Side Handle LCD ............... 236
APPENDIX K:
TROUBLESHOOTING ............... 240
Recording Halted: Record
Preset Could Not Be
Camera Cannot Be Paired
Cannot See Menus on LCD
APPENDIX L: TECHNICAL
SPECIFICATIONS ...................... 241
APPENDIX M: RESOLUTION
CHART ....................................... 246
APPENDIX N: MENU MAPS ...... 247
RED EPIC® Operation Guide
EPIC-M / EPIC-X
Version 3.3, Rev-B
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COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B
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DISCLAIMER

RED® has made every effort to provide clear and accurate information in this Operation Guide, 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 Operation Guide 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 specifically about the Operations Guide content, please send a detailed message to OpsGuides@red.com.

COPYRIGHT NOTICE

COPYRIGHT © 2012 RED Digital Cinema
All trademarks, trade names, logos, icons, images, written material, 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 Digital Cinema.

TRADEMARK DISCLAIMER

All other company, brand and product names are trademarks or registered trademarks of their respective holders. RED has no affiliation to, is not associated or sponsored with, and has no express rights in third­party trademarks. MAC trademark of Intel Corporation. Windows trademarks of Microsoft Corporation. AVID trademark of The Foundry Visionmongers Ltd. Torx
®
EOS
are registered trademarks of Canon Kabushiki Kaisha Corporation.
®
and QuickTime® are registered trademarks of Apple, Inc. Intel® is the registered
®
, Microsoft Windows® and Windows Vista® are the registered
®
is a registered trademark of Avid Technology, Inc. NUKE is a
®
is a registered trademark of Textron, Inc. Canon® and
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COMPLIANCE

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 applicables 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) STATEMENT

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 frequency 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:
1. Reorient or relocate the receiving antenna.
2. Increase the separation between the equipment and receiver.
3. Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
4. 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
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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.
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 20cm between the radiator and your body.
Caution: Regulations of the FCC and FAA prohibit airborne operation of radio-frequency wireless devices because there signals could interfere with critical aircraft instruments.
Caution: If the device is changes or modified without permission from RED, the user may void his or her authority to operate the equipment.

AUSTRALIA AND NEW ZEALAND STATEMENT

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.
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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 equipment.
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
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 below:
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France

Usage Restrictions - Geographic Area Where Restriction Applies : France For mainland France
• 2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use
• 2.400 -2.454 GHz (Channels 1-10) authorized for outdoor use
Restrictions d'utilisation - Zone géographique où les restrictions s'appliquent : France Pour la France métropolitaine
• 2.400 - 2.4835 GHz (Canaux 1 à 16) autorisé en usage intérieur
• 2.400 -2.454 GHz (canaux 1 à 10) autorisé en usage extérieur

Norway

This subsection does not apply for the geographical area within a radius of 20 km from the centre of Ny­Ålesund
Dette gjelder ikke for det geografiske området innenfor en radius av 20 km fra sentrum av Ny-Ålesund
The Waste Electrical and Electronic Equipment (WEEE) mark applies only to countries within the European Union (EU) and Norway. This symbol on the product and accompanying documents means that used electrical and electronic products should not be mixed with general household waste. For proper treatment, recovery and recycling, please take this product to designated collection points where it will be accepted free of charge. Alternatively, in some countries you may be able to return your products to your 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.
Responsible party:
®
Red Digital Cinema 34 Parker Irvine, CA 92618 USA
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BEFORE YOU START

Congratulations on your purchase of a RED DSMC® Digital Still and Motion Camera. Please read the attached safety instructions, and only then unpack the camera body and any accessories.
If there is any physical damage or missing components for either your camera body or any accessories, please file a support ticket at www.RED.com/support.
RED EPIC Digital Still and Motion Camera

IMPORTANT SAFETY INSTRUCTIONS

READ BEFORE USING YOUR CAMERA
A. Heed all cautions and warnings in these instructions. B. Read these instructions before operating the camera and accessories. C. Follow these instructions while operating the camera and accessories. D. Keep these instructions with the camera and accessories at all times. E. DO NOT attempt to modify, dismantle or open your camera, lens or other accessory as doing so may
expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED authorized service facility, will void the Limited Warranty. Users are not permitted to make design changes or otherwise modify the operation of the camera, lenses or other accessories, without the express written approval of RED DIGITAL CINEMA.
F. Only use attachments/accessories specified by RED. G. Install camera and accessories in accordance with the manufacturer’s instructions. H. Avoid imaging of laser beams as they may cause damage to the sensor. I. DO NOT use the camera or accessories near water. Avoid exposing your camera to moisture. The unit
is not waterproof, so contact with water could cause permanent damage to the unit as well as electric
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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 or accessories to rain or moisture.
J. 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.
K. ELECTROMAGNETIC INTERFERENCE: The use of devices using radio or other communication
waves may result in the malfunction or interference with the unit and/or with audio and video signals.
L. Clean only using a dry cloth. When cleaning your camera, remember 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.
M. Maintain sufficient ventilation - DO NOT block any ventilation openings or obstruct cooling fan airflow.
CAUTION: Proper camera ventilation requires a minimum 1/2” (1,25cm) clearance between the camera ventilation openings and external surfaces. Verify that objects that can block the fan intake and exhaust ports do not impede airflow. Failure to permit adequate airflow may result in overheating of the camera, degraded operation and in extreme situations, damage to the camera.
N. DO NOT operate or store near any heat sources such as radiators, 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:
a. Operating range: 0°C to +40°C (32°F to 104°F) o 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 www.RED.com/support.
O. The Side Handle, Side SSD Module, Rear Modules and Lens Mount are NOT HOT SWAPPABLE –
meaning you cannot remove or install them while the camera is powered on. Before installing or removing any of these accessories, you MUST power down the camera. Failure to do so may result in damage to the accessory and / or camera brain that will not be covered under warranty.
P. Do not bypass the third prong of the grounding-type plug on the power cord of the AC Power
Adapter. A grounding-type plug has two blades and a third “grounding” prong. The third prong is provided for your safety. A grounding-type plug shall be connected to an outlet with a protective earthen connection. If the grounding-type plug does not fit into your outlet, do not attempt to modify the plug or outlet, consult a qualified electrician.
Q. 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.
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CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To disconnect all power from the AC Power Adapter, unplug the power cord plug from the wall outlet. During use, the power cord plug should remain easily accessible at all times.
R. Lithium Ion batteries may be subject to special handling requirements pursuant to federal and local
laws. Please refer to specific shipping instructions included with your battery regarding proper transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries must be in accordance with local environmental regulations. For example, California law requires that all rechargeable batteries must be recycled by an authorized recycle center. Storing batteries fully charged or in high temperature, conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.
WARNING: Do not expose the battery to excessive heat.
WARNING: Danger of explosion if an incorrect battery is charged with the RED Charger or is used to power the camera and accessories. Replace only with the same or equivalent type battery.
CAUTION: Refer all service and repair to qualified RED service personnel. To reduce the risk of electric shock, and damage to the camera or accessories, DO NOT attempt to perform any servicing other than any procedures that are recommended in the operating instructions.
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THEORY OF OPERATION

The RED family of Digital Still and Motion Cameras (DSMC) provide high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm / APS-H. The RED DSMC camera is supplied as standard with a PL mount, and may be configured with mounts and 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm offset studio and 15mm lightweight rods are also available.
In addition to compatibility with the majority of existing PL mount cinematography lenses; a select range of Super 35mm PL mount prime and zoom lenses are available from RED.
Other lens mounts, including the DSMC Canon mount are available, permitting the use of Canon EF and EF-S photographic lenses. The Canon mount can report lens iris, focus and zoom data when mated to an appropriate lens. In addition, iris and manual or auto-focus settings may be controlled from the camera.
Lens mounts may be exchanged in the field, however it is highly recommended that this be performed in a dust-free environment, as the optical path will be exposed to the elements during this process.
A B4 mount to PL mount adaptor is also available to permit use of 2/3” HD broadcast lenses on the RED DSMC camera. The optical coverage it provides is approximately equivalent to 16mm, hence the maximum recording resolution operating with a B4 mount 2/3” lens is 2K (2048 x 1152 pixels) progressive scan.

MYSTERIUM X® SENSOR

The MYSTERIUM X sensor has been specifically designed for use with the RED DSMC camera, and provides variable frame rate imaging at up to 120fps at 5K resolution, and up to 240 fps at 2K resolution.
Native color balance for the MYSTERIUM X sensor is 5,000 KELVIN, but it may be electronically compensated for any color temperature in the range 1,700 to 10,000 KELVIN. White balance preset values include Tungsten (3200K) and Daylight (5600K) light sources. The camera may also calculate a color neutralizing White Balance value on demand by imaging on a standard white or 18% grey card.
The MYSTERIUM X sensor includes high precision analog to digital conversion, capable of delivering up to 13.5 stops of dynamic range with daylight light sources over a camera sensitivity rating of 320-800 ISO. In HDR mode, dynamic range can be extended to approximately 18 stops.

IMAGE PROCESSING

The digital image received from the sensor is formatted as a pixel defect corrected (but in all other aspects unprocessed) 12-bit, 14-bit or 16-bit per pixel RAW data frame. When operating in STILLS mode, each image received from the sensor is treated as a unique FRAME; however when operating in MOVIE mode, successive images received from the sensor are collected together into a CLIP. In all other regards, a frame of information gathered in STILLS mode or MOVIE mode is identical.
Each RAW frame or sequence of RAW frames in a clip is compressed using proprietary wavelet based REDCODE
®
RAW compression, then stored to a digital media Magazine such as REDMAG™ 1.8” SSD.
When recorded, the RAW data is independent of any RGB domain color processing such as ISO, White Balance or other RGB color space adjustments made by the camera operator. These parameters are saved with the RAW data as reference METADATA; i.e. color is not burned into the recorded RAW data.
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This recording technique permits RGB color processing choices to be deferred to post-production or to be adjusted in the field to help a director visualize alternative color treatments, without affecting the recorded RAW data’s image quality or dynamic range.
The camera’s monitoring path converts RAW sensor data to a white balanced 12-bit depth 2048 x 1080 pixel RGB 4:4:4 video signal. This signal may be modified using ISO, White Balance or other RGB color space adjustments as desired by the operator, and is then scaled and gamma corrected to provide VIEWFINDER, HD-SDI and HDMI monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.
Frame guides and other camera data may be added as desired by the user to one or more of the outputs.
®
NOTE: The supplied REDCINE-X look” files which may then be imported as camera monitor path color processing PRESETs. This information is stored as reference metadata, so that this color processing choice can be the default value used in Post-production. Refer to SECONDARY MENUS > PRESETS for details how to import and apply .RMD file metadata.
PRO application software can create and export .RMD “color

HDRX™

HDRx is an option for extending dynamic range up to 6 stops over the base Dynamic Range offered by the camera. When enabled HDRx simultaneously shoots two images of identical resolution and frame rate
- a normally exposed primary track (A-track), and an underexposed secondary track (X-track) whose exposure value reflects the additional stops of highlight protection desired.
i.e. if you select an HDR value of +2 and your primary track exposure is 1/48th sec, the secondary track exposure will be 2 stops under, or 1/192 sec. The ISO and Aperture remain the same for both exposures.
During acquisition and recording, the two tracks are "motion-conjoined", meaning there is no gap in time between the two exposures. This is very important to note because if they were traditional alternating exposures, there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both tracks (A & X) are stored in a single .R3D
Since there are two exposures in HDRx mode, the camera is recording double the amount of frames each second. For example, when shooting at 24fps, the camera is recording two 24fps tracks, which is the data rate equivalent of 48fps; however after combining the A and X tracks in post-production you will see only one 24fps blended image sequence.
HDRx provides multiple options for exploitation in post-production.
• Blend the two tracks in post tools like REDCINE-X, Storm or any other application that supports the
SDK to create Magic Motion™. This blending of the two tracks comes with a slider so you can decide just how much of each track you want to use. A preview window shows you the combined result of your selection, or you can view each track individually.
• Combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the
motion of a traditional camera with full motion blur. This is a tool created by The Foundry that uses a new motion estimation algorithm designed specifically for HDRx. The shorter exposure (sharper image) is blended to match the motion blur of the normal exposure. Again, a preview window shows the combined result of your selection, or you can view each track individually.
®
file.
• Use the X-track data for motion tracking, then combine the X-track with the A-track, or just motion
stabilize the A-track using the motion analysis data extracted from the X-track.
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• Exporting to EXR file format will give you a multi-view EXR with both exposures (like a stereo EXR).
NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of dynamic range just as if you had not enabled HDRx. For this reason, we encourage the A-track exposure to be "normal" as it provides the most options. If you are tempted to shoot "over-under", you are then fully committed to using HDRx and your post-production options are reduced.
NOTE: When recording in HDRx mode the camera records twice as many frames per second so the maximum frame rate or minimum REDCODE ratio, and the maximum record time on your media will be cut in half.

MAGIC MOTION™

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

AUDIO RECORDING

The RED DSMC camera can record up to two discreet channels of microphone level uncompressed 24­bit, 48 KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO I/O Module), that are synchronized with video and timecode to a REDMAG 1.8” SSD digital media Magazine.
Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the desired audio reference / recording level and maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the Graphical User Interface. Meter range is –36dBu to +20dBu (-56dBFS to 0dBFS) with audio input type, reference level and audio input clipping indicators.
Audio monitor output options include a 2-channel headphone output on the camera Brain and 2-channel line level analog outputs from the optional PRO I/O Module, plus 2-channel and 4-channel 24-bit 48KHz uncompressed digital audio embedded in the HD-SDI and HDMI outputs.

MICROPHONE LEVEL ANALOG INPUTS

The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain setting of the camera’s pre-amplifier. Available pre-amplifier range is +15dB to +57dB, with a default value of +17dB. The camera operator should choose a Gain value that aligns the input signal to the 0dBu reference line drawn on the camera’s Audio Level Meter (or the 0VU reference line if operating at that level).
This setting provides up to 30dB of input signal headroom above reference 0dBu level before clipping (up to 26dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
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LINE LEVEL ANALOG INPUTS

The recording level of a Line input is affected only by the signal provided by the field production sound mixer or other external line level source. The sound mixer operator should choose a mixer output level that aligns a reference tone signal to the 0dBu (-20dBFS) reference mark drawn on the camera’s Audio Level Meter, or if using 0VU as reference level, a mixer output level that aligns a reference tone signal to the 0VU (-16dBFS) reference mark.
This setting provides up to 24dB of input signal headroom above reference 0dBu level before clipping (up to 20dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.

VIDEO MONITORING OUTPUTS

In its default configuration, the RED DSMC camera can simultaneously support one VIEWFINDER output (suitable for use by a BOMB EVF (suitable for use by HDMI or HD-SDI monitors). The various monitor outputs can support a set of overlay graphics including camera GUI, timecode, clip name and framing guides; the specific overlay graphics for each type of output is user configurable.
The default VIEWFINDER output is the EVF / LCD connector located on the front face of the Side SSD Module. If neither of these is connected, the VIEWFINDER output can be transferred to either the HDMI output or the HD-SDI output of the camera Brain.
®
, or RED LCD) plus one PROGRAM output and one PREVIEW output
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HD-SDI

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

HDMI

A 720p or 1080p progressive scan output suitable for monitoring via a PC monitor or most HDTV displays.
Example of HDMI Monitor Output in MENUS mode.

RED LCD / BOMB EVF®

The optional RED LCD and BOMB EVF are specialized video monitors that provide the user with a variety of tools to assist framing, focus and exposure, including:
- Surround View™, which is an additional look around area, visible outside of the recorded image.
- Frame Guides, showing common film presentation and television aspects such as 2.40:1 and 16:9.
- Focus, aided by high display resolution, 1:1 Focus Check function and False Color overlay.
- Exposure, aided by dual Zebras, False Color overlay, RAW “Traffic Lights” and RGB histogram.
- System information including current frame rate, ISO rating, shutter speed, color temperature, record
resolution, record quality, clip name, timecode value and the remaining battery and media capacity.
For applications where use of an attached RED EVF or RED LCD is not desired – for example when working on a crane – the VIEWFINDER / MENU output can be transferred to the HD-SDI or HDMI outputs, supporting remote camera monitoring up to 200 ft away.
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REDMOTE®

REDMOTE is a camera control unit for RED’s family of DSMC cameras that attaches to the rear of the camera Brain or rearmost expansion module. REDMOTE may also be detached from the camera or rearmost module and provide wireless remote control of the camera over proprietary REDlink™ protocol.
Whether attached or operating via wireless, REDMOTE supports all controls necessary to operate the camera, including Record Start / Stop, Shutter Speed, White Balance, ISO and programmable User Keys. A color LCD displays critical camera parameters, including media and battery capacity, timecode and clip name, lens data and exposure information.
REDMOTE LCD display
REDMOTE includes a rechargeable Li-Ion battery, which automatically re-charges when attached to the camera or rearmost module. It may also be re-charged by connecting to a USB 2.0 based power source such as a laptop PC or cell phone charger. Under typical operating conditions, REDMOTE should operate for up to 8 hours without requiring a re-charge and support a wireless communication range of approximately 50 ft.

DIGITAL MAGAZINE (MEDIA)

REDCODE RAW compressed MOTION clips and STILL images; time code, multi-channel audio and metadata may be recorded to a REDMAG 1.8” SSD magazine of 64GB, 128GB, 256GB, or 512GB capacity.
Each clip is recorded with a unique name in a clip folder with the extension .RDC. This folder contains all appropriate information describing the clip, including one or more REDCODE RAW .R3D files and all color grading metadata and other system level metadata such as lens and location information. Refer to CLIP NAMING CONVENTIONS.
The individual clip folders are placed into a magazine folder (i.e. root directory) on the digital media. This magazine folder has the extension .RDM. As this folder contains all the recorded clips; copying all clips recorded on the SSD to other media may be performed by a drag and drop operation on the .RDM folder.
Note: When using a RED STATION in conjunction with a 512GB REDMAG, an AC Power Adaptor will be required for offload. The RED STATION may not function properly when powered by a USB or Firewire cable.
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Typical Magazine Folder and clip structure
For additional information about digital magazines, refer to APPENDIX B: MANAGING DIGITAL MEDIA.

METADATA

RED’s family of DSMC cameras record the Metadata, which is data for each frame of the recording:
• Clip Name
• Time Code
• Date and GMT
• Lens and shutter speed /
angle parameters
• Audio configuration
• Firmware version #
• media serial #
• LTC user bits (3 32-bit
word reg-dump from ISP)
• s4i static data
• s4i dynamic data
• GMT time/data
• RGB curves
• shadow control
• Luma curve
• Lens name, brand, ID,
near focus, far focus
• Camera Network Name
• Production Name
• Director Name
• DP Name
• Copyright
• Unit
• Camera Name
• Location
• Scene
• Take
• Accelerometer Data
• Gyro Data
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CLIP NAMING CONVENTIONS

When you press RECORD, the camera automatically creates a unique name for the CLIP being recorded to the REDMAG 1.8” SSD media. The format of this name is:
Camera Letter + Reel Number + Month + Day e.g. A001_C002_0502**.RDC Where: A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 02, and the digits * * are two
random characters generated by the camera to prevent any possibility of duplicate names being created.
So a three Clip sequence of Clip Folders within a Magazine Folder on Camera A would look like this: A001_C001_0502**.RDC
A001_C002_0502**.RDC
A001_C003_0502**.RDC
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MULTI CAMERA SHOOTS
The scheme provides flexibility to uniquely identify Clips from different cameras on a multi-camera shoot. For example three cameras, slated as camera A, camera B, and camera C respectively, can generate
these easily recognizable clips on their respective digital media Magazines. A001_C001_0502**.RDC B001_C001_0502**.RDC C001_C001_0502**.RDC
3D (STEREO) CAMERA SHOOTS
The scheme also allows unique identification of Clips from left and right eye cameras on a stereo shoot. For example two cameras, both slated as Camera S, can generate these easily recognizable clips on their
respective digital media Magazines. S001_L001_0502**.RDC S001_R001_0502**.RDC For more information refer to APPENDIX F: 3D SETUP / OPERATION > CLIP NAMING CONVENTIONS.

SMPTE TIMECODE

Time Code (TC) is a SMPTE timecode track that synchronizes to the camera’s high precision internal clock, or if operated in Jam Sync mode, references to an externally supplied SMPTE master timecode signal. TC is a sequential code that is continuous from frame to frame, but is discontinuous from clip to clip.
Edge Code (EC) is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame recorded to the digital media. It is a sequential code that is continuous from frame to frame and also continuous from clip to clip. EC is equivalent to RUN RECORD commonly found on broadcast cameras.
Irrespective of the timecode mode selected, once recording starts the camera’s timecode counter will update at the same instantaneous frame rate as the recording. This ensures that a valid SMPTE timecode value is created for every frame in the clip, eliminating any timecode count jumps that could affect playback or editing.
If operating in Jam Sync mode referenced to an external timecode source, the clip’s master time reference point is the first frame of the recorded clip.

POWER CONSUMPTION

The camera draws approximately 60 watts when recording in 5K resolution, 24fps MOVIE mode. The camera is cooled by convection from the camera body assisted by a fan contained in a sealed air duct.
®
Under typical operating conditions, a REDVOLT minutes and a REDVOLT
®
XL battery will run the camera and accessories for about 90 minutes.
battery will run the camera and accessories for about 30

CAMERA OPERATIONAL CONTROLS

This section describes the available operational controls on the RED DSMC camera Brain, Side SSD Module, Side Handle and REDMOTE accessories.
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BRAIN

A
B A C
• Power / Record Button: Powers camera Up / Down and initiates Record Stop / Start
• Power Status LED: Indicates Power status:
o LED Red = Power Present, Camera OFF o LED Yellow = Power present, Camera Booting o LED Green = Power present, Camera ON o LED Green Blinking = Power present. Running on Battery o LED Yellow Blinking = Power present. 5-10 minutes of Battery time left o LED Red Blinking = Power present. Less than 5 minutes of Battery time left
• Record Status LED: Indicates record status:
A
B
C
Power / Record Button / Status LEDs
Power Status LED
Power / Record Button
Record Status LED
o LED Off = No Media present. o LED Green = Ready to Record
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B
C
A
D
FRONT
REAR
E
o LED Red Constant = Recording o LED Red Slow Blink = Recording, 25% Media Left o LED Red Fast Blink = Recording, 5% Media Left o LED Yellow = Finalizing
• Both LEDs: Indicates camera status:
o Both LEDs Green Blink = firmware update in Progress

SIDE SSD MODULE

A
B
C
D
E
Side SSD Module Controls
SSD Slot
User Key 1
User Key 2
Focus / Record Button
Media Indicator
• SSD Slot: Slot for REDMAG 1.8” SSD digital media Magazine.
• User Key 1: Initiates user defined camera function. Undefined by Default.
• User Key 2: Initiates user defined camera function. Undefined by Default.
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• User Key 1 + User Key 2 : Press both keys to Eject (unmount) REDMAG 1.8” SSD Magazine.
• Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record.
• Media Indicator LED: Indicates status of media:
o LED Off = No Media o LED Green = Ready to Record o LED Red Constant = Recording o LED Red Slow Blink = Recording, 25% Media Left o LED Red Fast Blink = Recording, 5% Media Left o LED Yellow = Finalizing o LED Yellow Blinking = Media Access (Format etc...)
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A B C D E
F

SIDE HANDLE

TOP
A
B
C
Battery Release
Focus / Record Button
Adjustment Ring
RED Side Handle Controls - Top
D
E
F
LCD Menu Keys
LCD Display
LCD Backlight Button
• Battery Door Release Button: Releases Side Handle battery door to permit battery exchange.
• Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record.
• Adjustment Ring: Selects and adjusts camera parameter values. Similar to the scroll wheel on the
navigation group.
• LCD Menu Keys: The specific functions for each key are defined by the LCD screen. Defaults are:
1 – ISO 2 – F-Stop 3 – Shutter Speed 4 – White Balance
• LCD Display: Displays key camera parameter values.
• LCD Backlight Button: Enables LCD backlight.
Note: Side Handle controls can be locked/unlocked by holding the 1 and 4 buttons simultaneously.
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FRONT

A
A Stills / Movie Slider
Side Handle Controls - Front
• Stills / Movie Slider: Selects between STILLS and MOVIE modes of operation.
NOTE: This switch is not active at this time. Default camera operation is MOVIE
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A B C D E
F

REAR

RED Side Handle Controls - Rear
A
B
C
MENU Button
Rocker Switch
Navigation Group
D
E
F
User Keys A-D
System Keys 1- 3
Thumbwheel Lock
• Menu Button: Press to access / camera setup menus.
• Rocker Switch: Increases or decreases selected value based on parameter selected in USER KEYs.
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C
B
A
• Navigation Group: Allows navigation through camera menus, selection of camera parameter for
adjustment, and adjustment of selected camera parameter.
Side Handle Navigation Group
A
Scroll Wheel
B
Direction Keys
C
Enter Button
o Scroll Wheel: Selects and adjusts camera parameter value. o Direction Keys: Navigates camera menus and may select parameter for adjustment. o Enter Button: Confirms selected parameter value adjustment.
• User Keys: User Function Keys A-D. The specific function of these keys may be programmed by the
user. Default settings for User Function Keys A-D are as follow:
- User Key A – Toggles Focus Assist indicator
- User Key B – Performs White Balance calculation.
- User Key C – Toggles False Color > 1:1 Magnify
- User Key D – Toggles False Color > Exposure Check
• System Keys: Function is defined by System Firmware.
- Upper: Toggles False Color > Exposure Check
- Center: Not currently defined
- Lower: Ejects (unmounts) the currently selected Media
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Remove screw and rotate side
plate upwards to remove.
Insert lip into top of
camera brain.
Press side handle flush
against camera brain.
Rotate thumbscrew
upwards until tight.

INSTALLATION / REMOVAL

WARNING: THE SIDE HANDLE IS NOT HOT SWAPPABLE - MEANING YOU CANNOT REMOVE OR INSTALL WHILE THE CAMERA IS POWERED ON. BEFORE INSTALLING OR REMOVING THE SIDE HANDLE, YOU MUST POWER DOWN THE CAMERA. FAILURE TO DO SO MAY RESULT IN DAMAGE TO THE SIDE HANDLE AND / OR CAMERA BRAIN THAT IS NOT COVERED BY WARRANTY.
To install the side handle:
1. Power down the camera if necessary.
2. Remove the brain side plate (if installed) by removing the single screw located at the bottom.
3. Rotate upwards to disengage lip at top of side plate from camera brain.
4. Insert the lip at the top of the side handle into the area where the lip from the side plate was installed.
5. Rotate side handle down flush along side of camera brain.
6. Rotate thumbscrew upwards until tight. Ensure side handle is secure to camera brain. You may have
to apply steady pressure to get the screw started.
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To remove the side handle:
Rotate thumbscrew
downwards until loose.
Rotate side handle
upwards to remove.
Disengage lip from top
of camera brain.
1. Power down the camera if necessary.
2. Rotate the thumbscrew downwards until detached from camera body.
3. Rotate upwards and pull down to disengage lip at top of side handle from camera brain.
4. Remove side handle from camera.
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DSMC MODULES

PRO I/O MODULE

The PRO I/O MODULE provides a central hub for professional audio and video input/output connections that compliment Brain input/output connections.
• Dual Auxiliary Power outputs support low power peripheral devices such script light and range finder
• AES / EBU digital audio port allows direct ingest of 4 channel 24-bit 48KHz audio from external mixers
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Battery Eject

REAR SSD MODULE

The Rear SSD Module secures onto the back of the DSMC brain to serve as a rear location for recording onto 1.8" REDMAG SSD media.

QUAD BATTERY MODULE

• The QUAD MATTERY MODULE holds up to 4 REDVOLTs or 2 REDVOLT-XLs
• Batteries may be hot swapped
Button
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Quad Battery Module – Shown with REDVOLT batteries Installed
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DUAL BATTERY MODULE

• The DUAL BATTERY MODULE holds up to 2 REDVOLTs
• Batteries may be hot swapped
Dual Battery Module – Shown with REDVOLT batteries Installed
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MODULE INSTALLATION / REMOVAL

To install a DSCM Module to the camera, an Adaptor Plate must be purchased separately. The following procedure details installation of the Adaptor Plate and DSMC Module.
Install the Adapter Plate
5. Power down the camera.
6. Remove the REDMOTE.
7. Place the adapter plate over the v-mount on the rear of the camera brain.
8. Using a T-20 Torx, lightly tighten the four screws. Do not over tighten.
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1 2 3
4
9. Tighten the screws again in a cross pattern until tight.
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Insert Lip At Top of Adaptor Plate
Rotate Module Down Until
Flush with Adaptor
ATTACHING THE DSMC MODULE
WARNING: DSMC Modules are NOT hot swappable - meaning you cannot remove or install while the camera is powered on. Before installing or removing a Module, you MUST power down the camera. Failure to do so may result in damage to the Module and / or camera brain that is not covered by warranty.
Quad Battery Module shown.
1. Insert the lip at the top of the module into the recess at the top of the adaptor plate.
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Rotate Lock Clockwise
Until Red Dot Lines Up
with Lock Icon
Press Module Flush
with Adaptor
2. Rotate module down flush with the rear of the adaptor plate.
3. While applying steady pressure to hold the module against the adaptor plate, use a T-20 Torx
screwdriver to rotate the lock on the adapter plate clockwise to secure the module.
Installation is now complete.
To remove the DSMC Module and Adaptor Plate:
1. Power down the camera.
2. Use a T-20 Torx screwdriver to rotate the lock on the adapter plate to the Unlock position.
3. Rotate the module upwards and down to disengage lip at top of battery from adaptor plate.
4. Remove module from adapter plate.
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C
D A B
E
G F H
J
I N M K L
5. Use a T-20 to loosen the screws attaching the adaptor plate the camera brain.
6. Remove the adaptor plate from the camera brain.

REDMOTE

This section describes the physical controls on the REDMOTE. For complete details on REDMOTE control, refer to APPENDIX E: REDMOTE OPERATION.
IMPORTANT: For your REDMOTE to operate with this camera build version, ensure your REDMOTE has been upgraded to the latest firmware. Refer to APPENDIX E: REDMOTE OPERATION > MAINTENANCE > UPGRADING REDMOTE FIRMWARE.
REDMOTE Controls
Still/Motion Slider
A
Release Button (L)
B
C
D
E
Record LED
Power LED
Rocker Switch
F
G
H
I
J
User Keys A-D
MENU Button
Soft Menu Keys 1-3
Navigation Group
Focus / Record Button
Soft Menu Keys 4-8
K
Power/Lock Slider
L
Release Button (L)
M
N
USB Connector
• Stills / Motion Slider: Allows selection of STILLS or MOVIE operational modes.
• Rocker Switch: Provides continuous adjustment of parameter specified in USER KEYS menu.
• User Keys: Press to initiate camera functions as defined in USER KEY menu.
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C
B
A
Default settings for User Function Keys A-D are as follow:
- User Key A – Toggles Focus Assist Indicator
- User Key B – Toggles False Color > RAW Check
- User Key C – Toggles False Color > 1:1 Magnify.
- User Key D – Toggles False Color > Exposure Check
• Menu Button: Press to access / camera setup menus.
• Soft Menus Keys 1-3: Below the LCD are three (3) Soft Menu buttons 1-3 (H) whose functions are
defined on the LCD screen. For complete information refer to APPENDIX E: REDMOTE OPERATION > OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 1-3.
• Navigation Group: Allows navigation through camera menus, selection of camera parameter and
adjustment of selected camera parameter.
REDMOTE Navigation Group
A
Scroll Wheel
B
Direction Keys
C
Enter Button
- Scroll Wheel: Selects and adjusts selected camera parameter value.
- Direction Keys: Navigates camera menus and may select parameter for adjustment.
- Enter Button: Confirms selected parameter value adjustment.
• Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record.
• Soft Menus Keys 4-8: To the right of the LCD are five Soft Menu buttons 4-8. These are pages
displaying camera settings. For complete information refer to APPENDIX E: REDMOTE OPERATION > OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 4-8.
• Power / Lock Slider: Slide and hold down for two seconds to power up / down REDMOTE and or
camera. Slide up to lock keys.
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Focus Ring
Brightness Controls
Talley Light
Focus Ring
Brightness Controls
Talley Light

DISPLAYS

BOMB EVF AND BOMB EVF (OLED)

BOMB EVF is a high-definition, lightweight viewfinder that aligns quality performance with compact form
factor.
• Resolution: 1280 (wide) x 784 (high) full-color
• Contrast Ratio: 1000:1 typical
• Available diopter range: +2.0 to -5.0.l
RED BOMB EVF (OLED) brings advanced OLED technology into the field, providing truer blacks and more color accurate images
• Resolution: 1280 (wide) x 1024 (high) full-color
• Contrast Ratio: >10,00:1 typical
• Available diopter range: +2.0 to -5.0.l l
NOTE: The specific function of EVF user keys (B/C) may be programmed by the user.
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User Key 1
User Key 2
Backlight Adjust
Two ¼-20 threaded holes are
mount the LCD to the camera.

TOUCHSCREEN LCD

RED offers two touchscreen LCDs, a five-inch model with 800 X 400 resolution and a nine-inch with 1280 X 784. Both feature 4:4:4 progressive scan. The touchscreen LCD allows navigation of camera menus and selection and adjustment of camera parameters by directly touching icons on the screen. Gestures supported include:
• Tap: Tap on an icon to bring up a quick adjustment display.
• Hold: Touch and hold on an icon to bring up an advanced interface display.
• Slide: Touch and slide on an icon to increment a value.
• Pinch: Touch with two fingers, then open or close to magnify or normalize the video image.
1:1 Magnify
Exposure Check
RED 5” Touchscreen LCD Shown
NOTE: Default functions shown. All keys may be programmed by the user.
CAUTION: When do not use the threaded holes when mounting the display to a RED camera brain. Doing so may damage the camera or the display.
provided for mounting additional accessories. Do not use them to
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BASIC OPERATION

This section describes basic operation, starting from power up, Viewfinder layout and Menu navigation.
WARNING: THE SIDE HANDLE, SIDE SSD MODULE, REAR MODULES AND LENS MOUNT ARE NOT HOT SWAPPABLE – MEANING YOU CANNOT REMOVE OR INSTALL THEM WHILE THE CAMERA IS POWERED ON. BEFORE INSTALLING OR REMOVING ANY OF THESE ACCESSORIES, YOU MUST POWER DOWN THE CAMERA. FAILURE TO DO SO MAY RESULT IN DAMAGE TO THE ACCESSORY AND / OR CAMERA BRAIN THAT WILL NOT BE COVERED UNDER WARRANTY.
Power draw is prioritized as follows when multiple power sources are available to the camera.
1. DC (Voltage) or Brick (%)
2. Battery Module batteries
3. Side Handle battery

POWER SOURCES

SIDE HANDLE

The optional Side Handle accepts one REDVOLT.
Side Handle Battery Compartment
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QUAD BATTERY MODULE

The optional QUAD BATTERY MODULE accepts up to four REDVOLT or up to two REDVOLT XL batteries, which can power the camera and typical accessories.
Quad Battery Module

REDVOLT AND REDVOLT XL

REDVOLT and REDVOLT XL
Note: When multiple batteries are installed in the Quad Battery Module, the power management circuit will select the lowest charged battery to supply power to the camera. On depletion, a battery may be ejected from the Quad Battery Module for re-charging, and a new charged battery may be inserted in its place. i.e. batteries may be hot swapped, there is no need for the operator to power down the camera to replace a REDVOLT battery when using the Quad Battery Module.
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BACKPACK QUICKPLATE

The optional BACKPACK QUICKPLATE attaches directly to the back of the DSMC BACKPACK to provide a compact REDBRICK configuration for EPIC or SCARLET-X.
Note: DSMC BACKPACK is required for use of the BACKPACK QUICKPLATE
BACKPACK QUICKPLATE
REDBRICK
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AC POWER ADAPTOR - (DSMC)

AC POWER ADAPTOR - (DSMC)
When powering from the Module it is called in the lower UI as Rear Module (RM Bx) Bay number on lower UI, and identified as Rear 1-4 in the POWER status menu.
In use, an LED on the Quad Battery Module will flash to show the battery currently powering the camera. Current battery LED indicates status as follow:
• LED Off = No Battery
• LED Constant Green = Battery Not used but Charged
• LED Green Blinking = Battery Used (100% - 11%)
• LED Yellow Blinking = Battery has 10 minutes of run time remaining
• LED Red Blinking = Battery has 5 minutes of run time remaining
• LED Constant Red = Battery Discharged
Remaining batteries will have a steady LED on module. When current battery reaches 4% charge, the battery module will automatically switch over another
battery, by default the LOWEST charge capacity battery of the remaining batteries installed in the Module.
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Battery location and status are displayed in the lower UI. In this case RM B1 (Rear Module, Bay 1). Battery location and status are also displayed on REDMOTE. In this case RM B3 (Rear Module, Bay 3).
The POWER menu also shows all installed batteries and their state of charge.

EXTERNAL DC POWER

RED DSMC Cameras accept input voltages between 11.5V - 17V D.C and can draw a maximum current of 12 Amps.
• An appropriate 150W supply with DC output rated at 15V 10A such as AC Power Adapter P/N 740-
0019 available from RED DIGITAL CINEMA.
• RED Charger. For RED Charger you must use 2B-to-1B Power Adapter Cable P/N 790-0138.
• RED BRICK
Clip, or RED Cradle via 2B-to-1B Power Adapter Cable P/N 790-0138.
• 4-pin XLR DC power sources may be used with the camera via adaptor cable P/N 790-0164.
®
140Wh batteries may be used with Backpack Quickplate, RED Quickplate, Battery Belt
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A
B A C

POWER UP

Locate the camera’s Power / Record button on the right face of the Brain.
NOTE: This button also serves as a Record Start / Stop button once the camera is powered up.
A
B
C
Power / Record Button / Status LEDs
When an appropriate power source is connected to the Brain, the Power Status LED will illuminate Red. If it is illuminated, depress and then release the Power / Record button. The Power Status LED will initially go out and within 5 seconds illuminate Orange to confirm the camera is powering up, then it will illuminate Green, confirming the camera is powered up and ready to use.
If a formatted REDMAG 1.8” SSD is attached to the Brain, once powered up the Media Status LED will illuminate Green. If this LED is not illuminated, verify a formatted REDMAG 1.8” SSD is inserted into the Side SSD Module and / or format the SSD if it has not previously been formatted on the camera.
NOTE: Once powered up, if the Power Status LED illuminates Red, it indicates low remaining battery capacity and a battery exchange or switch over to external DC power is recommended.
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Power Status LED
Power / Record Button
Media Status LED
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POWER DOWN

The camera can be powered down in two ways:
1. Using REDMOTE or Side Handle Menu controls, or via Touch Screen LCD icons. Refer to
SECONDARY MENUS > POWER.
2. Depress and continue to hold the Power / Record button in its fully depressed position until the
INITIATING CAMERA SHUTDOWN shows on the display.
After Power Down, the Power Status LED will illuminate Red, if an appropriate power source is available.
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TIMECODE
ISO RATING
WHITE BALANCE
SHUTTER SPEED
RESOLUTION /
FRAME RATE
MEDIA
AUDIO METER
HISTOGRAM
RAW CLIP
METER
POWER SOURCE / STATUS
NEXT CLIP FILENAME
FRAME GUIDE
PICTURE CENTER / SPOT FOCUS
TITLE GUIDE
ACTION GUIDE
RAW NOISE
LEVEL BAR
RAW CLIP
LEVEL BAR
RESOLUTION
FALSE COLOR MODE
HDRx MODE
QUALITY
TEMPERATURE
DROP
SHUTTER SYNC
GENLOCK
MAGNIFY
TC
REDMOTE
LAN
RIG STATUS
FAN
F STOP
OVERLAY GRID
LENS INFO

GRAPHICAL USER INTERFACE AND NAVIGATION

RED LCD/TOUCHSCREEN LCD, BOMB EVF, EXTERNAL MONITORS

The following is a general description of the structure of the camera’s Graphical User Interface (GUI) which overlays the video monitor signal on the Viewfinder output(s) of the camera.
PROJECT FRAME RATE /
SPEED
GUI Display Elements
The display elements include:
• Audio Meter: Audio input selection and
levels
• Clip Level Bar: Relative number of RAW
pixels near clip
• Clip Meter: RGB sensor RAW clipping status
• Cursors: Reference cursors – Safe Action /
Safe Title, Picture Center, Grid Overlay
SOURCE / STATUS
• Drop: Indicates if any frames were dropped
during recording of the clip
• F Stop: Functional when optional mount and
lens are installed
• False Color Mode: Displays false color
overlay mode
• Fan Speed: Displays fan speed in %
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• Frame Guide: Record or Projection area
• Frame Rate: Current frame capture rate
• Genlock: Indicates presence of valid
Genlock signal / HD-SDI sync to genlock
• HDR Mode: Displays HDRx mode status
• Histogram: RGB Histogram.
• ISO Rating: Camera sensitivity
• LAN: Indicates communication via Ethernet
connection
• Lens Info: Lens information when using
specific Canon or Cooke lenses.
• Magnify: Tallies 1:1 if magnify is selected
• Media Status: Media location and remaining
media capacity in %
• Playback ICON : In the upper Left corner
on the touchscreen LCD - Accesses the Playback Function
• Power: Indicates D.C supply voltage or % of
remaining battery capacity Including current supply voltage
• Project Frame Rate: Current project TIME
BASE
• Quality: REDCODE setting
• Resolution Record Resolution
• RIG: Indicates 3D rig metadata is present
• RM: Indicates communication to REDMOTE
• Shutter Speed: Exposure Time (or Degrees)
• Shutter Sync: Indicates sensor shutter sync
status
• Menu ICON : In the upper Right corner
on the touchscreen LCD - Opens the Secondary Menus
• Next Clip Filename: Filename of the clip that
will be shot next
• Noise Level Bar: Relative number of RAW
pixels in noise
• TC: Indicates presence of valid SMPTE
timecode signal and Jam Sync status
• Temperature: Displays camera sensor and
core temperature in that order (xx/xxC)
• Timecode: Current timecode value
• White Balance: Color Temperature
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The GUI is broken down into the following three main sections: the Upper Status Row, the Live Action Area, and the Lower Status Row. On VIEWFINDER output(s), all three sections are visible, on PREVIEW outputs only the Live Action Area and associated graphic overlays are visible. On PROGRAM outputs, none of the graphic overlays are visible, i.e. a PROGRAM output is defined to be a CLEAN FEED output.
UPPER STATUS ROW
Provides immediate feedback on the most critical image composition parameter settings, including (from Left to Right):
• Playback Access (Touchscreen)
• Current frame capture rate
• ISO Rating
• Shutter Speed (or Shutter Angle)
Whichever parameter is underlined with a red bar may be immediately adjusted by pressing ENTER in the Navigation Group of the Side Handle or REDMOTE, then using the Scroll Wheel to change the value of that parameter. To confirm the parameter change press ENTER a second time.
NOTE: Shutter angle is displayed in Relative mode by default, as indicated by Yellow text.
If the red bar is not on the parameter you wish to change, first use the Scroll Wheel to position the red bar under that parameter, then press ENTER, adjust with the Scroll Wheel and press ENTER a second time to confirm the value change.
In the above GUI example, the Scroll Wheel has been used to move the red cursor to the Shutter Speed parameter; and the ENTER key has been pressed. This reveals the Parameter Adjust Widow. Adjust the value using the Scroll Wheel and then press ENTER to confirm the value change, then close the sub­menu.
• White Balance
• Record Resolution
• Record Quality
• Secondary Menus Access (Touchscreen)
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LIVE ACTION AREA
Contains the recorded image area plus Surround View™ look around area, plus overlays for Frame Guide, Safe Action / Safe Title and the current Clip Name and Timecode values. Each overlay may be color coded in one of 5 colors to maximize the contrast between the guide(s) and scene being captured.
LOWER STATUS ROW
The Lower Status Row provides feedback on key systems level camera values, including:
• Clip Settings
• Exposure (Histogram)
• Temperature, Power and Sync
• Media Status
• Power Status
• Audio Levels
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ICON BEHAVIOR
TC
• TC Gray - No analog time code is currently detected
• TC Red - Analog time code is being detected, but the use of it is not enabled
• TC Green - Analog time code is being used to jam the time of day time code. TC will revert to gray if
the signal is no longer detected
GEN
• GEN Gray - No genlock signal is currently detected
• GEN Red - During process of sync, or if genlock is lost while recording
• GEN Green - A genlock signal matching the current HD-SDI monitor rate has been locked to.
• GEN Yellow - When timing is cross-locking to compatible but not matching monitor rate. i.e. genlock
= 24.00, HD-SDI monitor rate = 25.00
NOTE: 3D operation should not be done if GEN is yellow. This is a warning condition that genlock source settings and camera settings are not aligned.
SYNC
• SYNC Gray - The sensor sync mode is not Genlock
• SYNC Red - The sensor sync mode is Genlock, but it is not locked to any genlock signal, or genlock
or sensor sync is lost while recording
• SYNC Green - A genlock signal compatible with the HD-SDI monitor rate has been locked to and the
sensor timing is also locked to it
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POWER STATUS
If powering camera through DC power, the current voltage will be displayed.
If using a REDBRICK or similar external battery to power the camera through DC IN, power status displays the current supply voltage available from the battery. Supply voltage decreases as battery is discharged, the displayed text is color coded as follows:
• Green = 12.0 V and up • Yellow = 11.9 – 11.8 V • Red = 11.7 – 11.6 V
NOTE: The camera will automatically power down if supply voltage drops to 11.5 Volts.
If using a REDVOLT battery in the Side Handle or Battery Module to power the camera, power status displays the location of the power source (example: SH: Side Handle; RM: Rear Module) and reports the remaining battery capacity and the displayed text is color coded as follows:
• Green: >10 minutes • Yellow: 5-10 minutes • Red: <5 minutes
If using a RED BRICK battery connected to DC IN, power status displays BRICK and reports the % of remaining battery capacity and the displayed text is color coded as follows:
• Green: >10 minutes • Yellow: 5-10 minutes • Red: <5 minutes
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RAW CLIP METER
The RAW Clip meter looks a traffic light style meter and indicates if either of the Red, Blue or Green channels of the RAW sensor data are clipping. This meter is unaffected by White Balance, ISO, VIEW or LOOK settings and therefore represents a true measurement of the exposure levels of the sensor at all times. The light goes on when approximately 2% of the pixels of the corresponding channel are clipping.
RAW NOISE LEVEL BAR
The RAW noise level bar indicates pixels in the image that are in noise. At full height approximately 25% of the pixels are underexposed and may display noise when pushed at higher ISO or FLUT values in post­production.
RAW CLIP LEVEL BAR
The RAW clip level bar indicates pixels in the image that are clipping. At full height approximately 25% of the pixels are overexposed and may not be recoverable by lowering ISO or FLUT values in post­production.
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SIDE HANDLE

As you navigate and adjust settings on the camera (main menu settings only), they will be reflected on the Side Handle LCD display.
The display elements include:
• Frame Rate: Image capture rate
• ISO Rating: Camera sensitivity
• Power: Camera power status (DC Shown)
• Quality: REDCODE setting

REDMOTE

• Resolution: Recording Resolution
• Shutter Speed: Exposure Time (or Degrees)
• White Balance: Color Temp
The display elements include:
• Audio Meter: Audio input selection and
levels
• Battery Indicator: Displays battery life or
charge status (shown) of REDMOTE
• Camera ID: Displays camera ID (DEFAULT
shown)
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• Clip Filename: Filename of the clip that will
be shot
• Clip Meter: RGB sensor RAW clipping status
• False Color Mode: Displays false color
overlay mode
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• Frame Rate: Current frame capture rate
• Genlock: Indicates presence of valid
Genlock signal / HD-SDI sync to genlock
• HDR Mode: Displays HDRx mode status
• Histogram: RGB Histogram
• ISO Rating: Camera sensitivity
• LAN: Indicates communication via Ethernet
connection
• Magnify: Tallies 1:1 if magnify is selected
• Media Status: Media location and remaining
media capacity in %
• Power: Indicates D.C supply voltage or % of
remaining battery capacity Including current supply voltage
• Project Frame Rate: Current project TIME
BASE
• Quality: REDCODE setting
• Quality: REDCODE setting
• Resolution Record Resolution
• Resolution Recording Resolution
• RIG: Indicates 3D rig metadata is present
• Shutter Speed: Exposure Time (or Degrees)
• Shutter Sync: Indicates sensor shutter sync
status
• TC: Indicates presence of valid SMPTE
timecode signal
• Timecode: Current timecode value
• White Balance: Color Temp
• Wireless Status: Displays signal strength
when connected wirelessly

NAVIGATING MENUS

The primary method to navigate Menus is via the Scroll Wheel on the REDMOTE or Side Handle. Rotate clockwise to move right, counter clockwise to move left. However, the Left and Right direction Navigation Keys (REDMOTE or Side Handle) or Adjustment Ring (Side Handle) may also be used for this purpose.
The Up and Down direction Navigation Keys provide additional navigation functions when pressed:
UP Selects Advanced Settings menu. DOWN Selects standard Settings menu.
As an example, position the Cursor under the Shutter Speed (24FPS) icon and press the UP Direction Key to access advanced adjustment values for Shutter Speed.
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USING TOUCHSCREEN LCD

If operating a Touchscreen LCD, camera menu navigation may be made through finger gestures.
• To adjust a parameter value, simply touch it, and then swipe the finger left / right to adjust its value.
• To access an advanced parameter settings display, press and hold down on the parameter icon.
• Touch anywhere outside the overlay windows to enter the value changes and to hide the sub-menus.
• To enter the Secondary Menus, touch the MENU icon.
• To return to the Main Menus, touch the MENU icon again.
• To access the Playback function, touch the arrow.
• To exit the Playback function, touch the circle.
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TOUCHSCREEN SHORTCUTS

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

ACCESSING SOFT KEYS

User-programmable Soft Keys A-D and 1-4 may be accessed by tapping the left or right regions of the touchscreen. Programming soft keys is expl ai ned lat er in the manual
with labels
without labels
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POWER DOWN

NOTE: Camera will automatically power down if supply voltage drops to 11.5 Volts.
POWER MENU
1. Select the MENU icon in the right corner of the Upper Status Bar to reveal the Secondary
Menus.
2. Select POWER.
3. Select SHUTDOWN.
4. The camera will immediately power down.
USING POWER STATUS DISPLAY
1. Select the POWER status located between the audio channels and media remaining indicator, to
reveal the same menu illustrated above.
2. Select SHUTDOWN.
3. The camera will immediately power down.
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LOCK / UNLOCK TOUCHSCREEN OPRERATION

LOCK
To lock out the touchscreen operation, touch and hold the MENU icon until the LOCK icon displays; indicating the touchscreen has been locked out. When locked, the main menu will be displayed.
UNLOCK
To unlock out the touchscreen and allow normal operation, touch and hold the LOCK icon until the MENU icon displays; indicating the touchscreen has been unlocked.
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A
B
C

FIRST TIME USE – SETTING UP YOUR RED EPIC

ATTACH POWER SOURCE

If a REDVOLT battery is installed in the Side Handle and DC power is connect through the DC IN connector, the DC IN power supply has priority and will power the camera instead of the battery.

BATTERY

Connect a RED battery to the camera in one of the following ways:
SIDE HANDLE
Attach a Side Handle and insert a REDVOLT battery.
INSTALL
1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C).
4. Insert a REDVOLT battery until it is fully seated and retainer (C) clicks into place.
5. Close battery door.
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REMOVE
B
A
B
1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C) to release battery.
4. Remove battery from side handle.

QUAD BATTERY MODULE

Attach a Quad Battery Module and insert one or more REDVOLT batteries.
INSTALL
Insert battery into desired location and press until a click is heard and battery is seated.
REMOVE
1. Press the battery eject button (A) for desired battery.
2. When battery pops out, remove battery from battery module (B).
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RED BRICK

Attach to the camera using a V-Plate and 2B-to-1B Power Adapter Cable P/N 790-0138 to the DC IN connector.

DC POWER

Connect a DC power source to the camera in one of the following ways:
• Plug the RED AC Power Adapter into AC power, and the LEMO connector to the DC IN connector.
• Plug the RED CHARGER into AC power, and the LEMO connector to the DC IN connector via 2B-to-
1B Power Adapter Cable P/N 790-0138.
• Plug a 12V XLR based power source into the DC IN connector via adaptor cable P/N 790-0164.
NOTE: The maximum sustainable power load of the DSMC AC Power Adapter is 150W (15V@10A). The output of the adapter is over current protected, and will shut down if an excess load condition occurs. If the output trips for any reason, remove any external loads from the camera, such as lights, motors etc, turn off the Adapter and repeat the above procedure.

POWER UP

Locate the camera’s Power ON / OFF button on the right face of the Brain. If the Power Status LED is illuminated Red, depress and then release the Power / Record button. If not illuminated, check your battery charge status or external power source cable connection. Once powered up the Power Status LED will illuminate Green, confirming the camera is ready to use.

PREPARING TO RECORD

Before each days recording, the camera should be prepared as follows:
- Physically set-up camera as desired.
- Verify camera is using the latest firmware version at www.RED.com/support and if appropriate,
upgrade the camera firmware. Refer to APPENDIX A: UPGRADING CAMERA FIRMWARE.
- Insert a blank (or previously used but erasable) REDMAG 1.8” SSD and format it.
- Perform a BLACK SHADING CALIBRATION of the Sensor.
- Check your PROJECT SETTINGS (Time Base, Record Resolution, Record Quality, etc.).
- Frame, focus and record.

CONNECT AND FORMAT MEDIA

Identify a REDMAG 1.8” 64GB, 128GB or 256GB SSD that has not previously been recorded to, or is not a camera master and may therefore be erased and re-used. Aligned the RED logo of the SSD to the outside, and then push the SSD firmly, but without excessive force, into the slot in the Side SSD Module.
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NOTE: When fully inserted, the SSD media protrudes slightly from the SSD slot.
When SSD media is inserted into the camera, the camera will recognize if the media is unformatted:
- On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as
opposed to when no media is inserted, the GUI displays NONE with three dashes below “---“).
- On REDMOTE, NONE will be displayed twice (as opposed to when no media is inserted, the GUI
displays NONE with three dashes below “---“).
- On the Side Handle, NA will be displayed (same as if no media is present). To format the media select SECONDARY MENUS > MEDIA > FORMAT MEDIA.
When FORMAT is selected, a FORMAT dialog box will appear allowing you to add Camera Identity and 3D Position properties when formatting. When desired options are set, select FORMAT.
NOTE: If any clips will be erased on the attached media, you will be informed of the number.

PERFORM A BLACK SHADING CALIBRATION

Refer to SECONDARY MENUS > SETTINGS > MAINTENANCE > CALIBRATION for complete details for performing a Black Shading Calibration.
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ADJUST PROJECT SETTINGS

TIME BASE
The project TIME BASE defines the rate at which the footage will be played back. When changing the project frame-rate, the sensor frame-rate will default to the project rate, but may be over-ridden using the sensor frame-rate controls.
Multiple projects with differing time bases may be stored on a media cartridge (SSD.) To adjust the project TIME BASE, press the MENU button on the Side Handle or REDMOTE. Then use the
Scroll Wheel or Direction Keys to navigate to SETTINGS > PROJECT > TIME BASE and press ENTER. Adjust to the desired value using the Scroll Wheel and press ENTER once more to confirm.
If using a Touch Screen, select SECONDARY MENUS > SETTINGS > PROJECT > TIME BASE. Adjust by sliding your finger up / down or tapping on the desired value, and then press anywhere else on the touch screen to confirm.
The following TIME BASES are currently available:
• 23.98 fps
• 24.00 fps
• 25.00 fps
• 29.97 fps
• 47.96 fps
• 48.00 fps
• 50.00 fps
• 59.94 fps
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RECORD RESOLUTION
To adjust Record Resolution, navigate the Cursor to the RESOLUTION icon in the Upper Status Row and press the Navigation Group ENTER key. Adjust to the desired value using the Scroll Wheel and press ENTER a second time to confirm.
If using a Touch Screen, press the RESOLUTION ICON, adjust RESOLUTION by sliding your finger left / right, or tap on the desired resolution, and then press anywhere else on the touch screen to confirm.
The following Recording Resolutions are currently available:
• 5K
• 5K HD
• 5K 2:1
• 5K WS
• 5K ANA
RECORD QUALITY (REDCODE)
Allows adjustment of REDCODE settings.
Range is 3:1 to 18:1 Default is 8:1 Use the scroll ribbon to select a target REDCODE compression ratio. The camera will automatically select the closest REDCODE to the desired target.
• 4K
• 4K HD
• 3K
• 3K HD
• 2K
• 2K HD
• 2K WS
• 1K HD
• 1K WS
The display will always show the "current" compression ratio being used by the camera. If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the
camera is unable to achieve the target compression ratio, it will be displayed in yellow. The current compression ratio will automatically be re-calculated when changes are made to Resolution,
FPS, HDRX Mode, Media, or Target REDCODE.
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CAMERA ID (SLATE)
If operating on a multi-camera production, enter a different Camera ID for each camera; otherwise skip this step; the camera is ready to shoot.
The Camera ID is set when the media is formatted. Refer to ADVANCED MENU > MEDIA for details.

RECORDING

Ensure a formatted REDMAG 1.8” SSD is inserted in the camera’s Side SSD Module, then fully depress any one of the RECORD buttons located on the Brain, Side SSD Module, Side Handle or REDMOTE.
Fully depress again to stop recording. The camera will automatically create a unique and sequential file name for each clip recorded on the SSD based on the Camera’s I.D set in the MEDIA menu.
REDCODE RAW data recordings store the Color Temperature and Exposure (ISO) and any RGB color processing values you use in the monitor path as metadata. This metadata is used in REDCINE-X or other post-production software as initial white balance, exposure and color correction points however, you are free to change these values at any time when you process the RAW footage.
Time Code and Edge Code values used by the camera are Non Drop Frame (NDF); Drop Frame (DF) is not supported. Audio is captured uncompressed at 24-bit resolution, 48KHz sample rate per channel.
Digital media such as REDMAG 1.8” SSDs are very robust, but should be treated with equal care as exposed film or a videotape master. We recommend storing digital media that contains your footage in a secure location and backing up the data to a digital archival media, such as data tape or hard disk drive.

RECORD INDICATOR

When recording, the RED DSMC camera provides a variety of record indications (tallies):
- Timecode, normally displayed in white colored text, will be displayed in red colored text.
- A small Red dot will appear in the top right corner of the VIEWFINDER output(s).
- The REC LED on the right side of the camera Brain will illuminate Red.
- REDMOTE upper LED will illuminate Red, and the Timecode will turn Red.
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- If using a BOMB-EVF, the LED on the front will illuminate Red if Tally is enabled
- SMPTE-RP188 timecode VITC-2 HANC metadata record flag will be enabled on HD-SDI outputs.
- If enabled in the USER KEYS menu, the GPO trigger output in the CNTL connector will pulse.

PLAYBACK

Playback is available on the RED DSMC Camera by going to SECONDARY MENUS > SETTINGS > PLAYBACK or by touching the Playback arrow icon in the upper Left corner of the GUI.
The Playback function will display.
For complete details, go to SECONDARY MENUS > SETTINGS > PLAYBACK.
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MENU CONTROLS

Displayed in the Upper Display Group of the VIEWFINDER output(s), are FRAMERATE (FPS), EXPOSURE (ISO), _._ (F/Stop), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE). These parameters are adjustable directly through this screen. When using the touchscreen, directly to the right
of these parameters is the MENU icon which when pressed will take you to the secondary camera set up menus.

ADJUSTMENTS

BASIC SETTING ADJUSTMENTS

SIDE HANDLE / REDMOTE
• The MENU button can be used to ENTER the secondary menus, as well as CANCEL inside lists and
for navigating back up menus.
• Navigate to the desired setting using the NAVIGATION GROUP direction keys and press ENTER.
• Use the Scroll Wheel or Adjustment Ring to increase or decrease the parameter value.
• When the desired value has been selected, press ENTER to set.
BASIC ADJUSTMENTS USING SIDE HANDLE ONLY
Although not recommended, the Side Handle can be used stand alone to make basic adjustments to FPS, ISO, Shutter Speed, Resolution and REDCODE located on the Main Menu screen. Use the Navigation Group to make these adjustments while watching the cursor placement under the desired setting on the side handle LCD. When desired setting is selected, press the Enter button to access, then use the Scroll Wheel, Directional Pad or Adjustment Ring to make changes. When done, press the Enter button again to set the changed parameter. The MENU button can be used to ENTER the secondary menus, as well as CANCEL inside lists and for navigating back up menus.
TOUCHSCREEN
• The MENU ICON can be used to ENTER the secondary menus, as well as CANCEL inside lists and
for navigating back up menus.
• Touch the desired parameter for adjustment.
• Slide your finger across the screen to scroll through the available parameter values.
• When desired the parameter value has been selected, touch anywhere in the screen area to set.
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• To close an alpha numeric keypad when entering information directly, tap anywhere on the screen
outside the keypad.

ADVANCED SETTING MENUS

At this time, only FRAMERATE, F-STOP, SHUTTER SPEED and WHITE BALANCE on the MAIN MENU have advanced settings.
SIDE HANDLE / REDMOTE
1. Navigate to the desired setting using the NAVIGATION GROUP direction keys and then press the UP
directional key.
2. Use the direction keys to navigate to the desired parameter adjustment field and press ENTER to
confirm.
3. Use the Scroll Wheel to adjust the selected parameter value.
4. When desired selection is made, press the MENU button to set.
TOUCHSCREEN
5. Press and hold the desired parameter to gain access to advanced setting adjustments.
5. Press the field - a keypad type menu may appear to allow adjustments.
5. Press the desired parameter settings to adjust.
5. When desired selection is made, press anywhere in the screen area to set and exit the advanced
settings submenu.
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MAIN MENU

Available options under the MAIN MENU are FRAMERATE (FPS), ISO (SENSITIVITY), F STOP, 1/SEC (EXPOSURE), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE).
FPS
FPS is used to to select an image capture frame rate that differs from the Project’s TIME BASE frame rate.
Ranges are as follows:
FORMAT
5K 5K HD 5K 2:1
5K WS
5K ANA
4K 4K HD
FRAME RATE (FPS)
MIN MAX MIN MAX
1
1
1
1
1
1
1 121
96
96 101 121
96 121
FORMAT
3K
3K HD
2K 2K HD 2K WS 1K HD 1K WS
FRAME RATE (FPS)
1 160 1 160 1 240 1 240 1 303 1 359 1 400
Default is 24 fps (or the selected Project TIME BASE frame rate if not 23.98 or 24.00 fps).

VARISPEED

When a frame rate other than the current TIME BASE has been selected, the FPS text will turn Yellow and VARISPEED will be shown where the Audio Meter is normally displayed at the lower right of the display.
NOTE: Audio is not recorded in VARISPEED mode.
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BASIC SETTINGS

Provides quick selection of the most common VARISPEED frame rates.

ADVANCED SETTINGS

When selected a numerical keypad will appear allowing the desired VARISPEED Framerate to be entered in 1 fps increments. Maximum frame rate is a function of RECORD RESOLUTION and REDCODE settings. Granularity is 0.001 FPS.
A keypad is available for direct numeric entry of the VARISPEED FPS value. Touch the value bounded by the + and – labels to bring up, press outside the keypad to confirm the value.
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ISO (SENSITIVITY)

Adjusts the camera’s ISO rating. The sensitivity value is adjustable in 1/3rd stop increments. When the ISO rating is adjusted, the camera logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter images in the monitor path, and vice versa.
Range is ISO 250 – 12800 Default is ISO 800

F STOP

Aperture controls the depth of field of the subject imaged by the camera, and in combination with the shutter speed / angle setting controls the amount of light falling on the sensor. i.e. exposure. Increasing the F stop to a higher number reduces exposure as well as increases the depth of field, decreasing the F stop to a lower number increases the exposure and decreases the depth of field. You can chose either 1/3 or 1/4 stops.
RED DSMC Ti PL Mount Installed
When a lens equipped with Cooke’s S4/i system is attached to the DSMC Ti PL Mount, the camera will display the current aperture (F stop) of the attached lens.
DSMC Canon Mount Installed
This menu will appear when a DSMC Canon Mount is installed and a Canon EF or EF-S Lens or equivalent is attached (a Non-Canon EF or EF-S Lens may not function as smoothly or accurately). Adjusts the aperture (F stop) of the attached lens.
The attached lens for the example shown is a Canon EF 24-70mm.
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BASIC SETTINGS

Allows adjustment of the aperture (F stop) of the attached lens. The range will vary depending on the attached lens.

ADVANCED SETTINGS

When selected, the advanced settings menu allows fine control over the f-stop value under APERTURE and focal distance under FOCUS.
APERTURE (F STOP)
Provides the ability to enter the F stop value directly. Range depends on attached lens. Default depends on attached lens.
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FOCUS
Provides the ability to enter the focal distance directly. Range depends on attached lens. Default depends on attached lens.

EXPOSURE

BASIC SETTINGS

Adjusts the exposure of each frame captured by the MYSTERIUM X sensor. Shutter speed presets are provided for all common speeds (and shutter angles) for 24 / 25 fps and 50 / 60 fps project frame rates.
Decreasing Shutter Speed increases the amount of time over which light falls on the sensor, increasing exposure and motion blur on any objects moving within the frame. Increasing Shutter Speed shortens the amount of time over which light falls on the sensor, decreasing exposure and motion blur on objects moving within the frame.
th
Range is 1/24 fps it is 1/24
Default is 1/48
sec – 1/8000th sec - Slowest available speed is 1 second per frame / frame rate, so for 24
th
sec.
th
Sec.
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ADVANCED SETTINGS

When selected, the advanced settings menu allows fine control over the Exposure value, and permits entry in any of the three following common units – EXPOSURE (Shutter Speed), INTEGRATION TIME or ABSOLUTE ANGLE (Shutter Angle).
EXPOSURE (SPEED)
Provides the ability to enter the Exposure value as a Shutter Speed (1/xx sec).
th
Range is 2 – 1/8000 Default is 1/48
th
Sec - Slowest available speed is 1/frame rate, so for 24 fps it is 1/24th Sec.
Sec.
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INTEGRATION TIME
Provides the ability to enter the Exposure value as a Shutter Integration Time (xx milliseconds). Range is 0.125 to 41.708 mS (milliseconds) Default is 20.833 MS
ABSOLUTE ANGLE
Provides the ability to enter the Exposure value as a Shutter Angle (xx Degrees). Range is 1.000 to 360.000 Degrees Default is 180.0 Degrees
As you adjust any of these three parameters, the camera will automatically calculate the equivalent value in the other units, but as a quick reference here are some common Speeds and Angles.
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To Convert Shutter Speed to Angle Equivalent: Equivalent Degrees = (Shutter Speed x Frame Rate x 360) E.g. = (1/48 x 24 x 360) = (8640/48) = 180
SHUTTER DEGREES SHUTTER DEGREES
1/32 270 1/120 72 1/48 180 1/192 45 1/50 172.8 1/348 22.5 1/60 144 1/696 11 1/96 90 1/1000 8.6
Equivalent Shutter = 1 / (Frame Rate x 360 / Angle) E.g. = 1/ (24 x 360/180) = 1/ (8640/180) = 1/48
DEGREES SHUTTER DEGREES SHUTTER
270 1/32 72 1/120 180 1/48 45 1/192
172.8 1/50 22.5 1/348 144 1/60 11 1/696
90 1/96 8.6 1/1000

WHITE BALANCE

BASIC SETTINGS

Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN.
Range is 1,700 K to 10,000 K. Default is 5600K.
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ADVANCED SETTINGS

When selected, allows additional adjustment of the White Balance. Available options are PRESET, COLOR TEMP, TINT, and CALCULATE WHITE BALANCE. Press APPLY PRESET for settings to take effect.
PRESET
Available preset options are:
SHADE
Preset to 9,000K
CLOUDY
Preset to 7,500K
COLOR TEMP
Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN. Default is 5600K.
DAYLIGHT
Preset to 5,600K
FLASH
Preset to 5,500K
FLOURESCENT
Preset to 4,500K
TUNGSTEN
Preset to 3,200K
INCANDECENT
Preset to 2,800K
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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 can adjust the RGB color balance with a compensating Magenta - Green color component. Default is 0.000. When selected, a secondary keypad will appear allowing you to enter the desired Tint value directly.
NOTE: Selecting Calc White Balance calculates a new Tint value. This is maintained if the Color Temp is adjusted via the Color Temp parameter. If you select ANY presets, Tint will be reset to zero, which is the default value.
CALC WHITE BALANCE
The Calc White Balance function analyzes the central 25% of the image visible in the monitor to calculate a Color Temperature that will render a white object as white.
To use Calc White Balance function, place a White or Gray object under the ambient light, select the Calc White Balance function and then press the Calc White Balance function box. Calc White Balance is also assigned to a User Key on the REDMOTE and Side Handle as a factory default setting.

RESOLUTION

Allows adjustment of resolution.
Default is 5K 2:1
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REDCODE

Allows adjustment of REDCODE settings.
Range is 3:1 to 18:1 Default is 8:1 Use the scroll ribbon to select a target REDCODE compression ratio. The camera will automatically select the closest REDCODE to the desired target. The display will always show the "current" compression ratio being used by the camera. If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the
camera is unable to achieve the target compression ratio, it will be displayed in yellow.
The current compression ratio will automatically be re-calculated when changes are made to Resolution, FPS, HDRX Mode, Media, or Target REDCODE.
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REDCODE OPTIONS FOR VARIOUS FRAME RATES

Minimum frame rate is 1 sec per frame; maximum frame rate is a function of REDCODE setting, and record resolution:
FRAMERATE (FPS)
FORMAT
5K 5K
HD
5K
2:1
5K
WS
5K
ANA
4K 4K
HD
3K 3K
HD
2K 2K
HD
2K
WS
1K
HD
24
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
30 48 50 60 72 75 90 96 100 120 150 175 210 250 288 300
25
RC
RC
RC
RC
RC
RC
RC
RC
4:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1
4:1
RC
6:1
7:1
8:1
9:1
10:1
12:1
RC
11:1
RC
11:1
RC 9:1
RC 8:1
RC 8:1
RC 7:1
RC 5:1
RC 4:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
12:1
RC
12:1
RC
12:1
RC
10:1
RC 9:1
RC 8:1
RC 8:1
RC 5:1
RC 5:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC
RC
RC
RC
RC
4:1
6:1
6:1
8:1
RC
RC
RC
4:1
6:1
RC
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
5:1 RC
5:1 RC
4:1 RC
4:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1
6:1 RC
5:1 RC
5:1 RC
5:1 RC
4:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1
RC 8:1
RC 6:1
RC 6:1
RC 5:1
RC 5:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
9:1 RC
9:1 RC
8:1 RC
7:1 RC
6:1 RC
6:1 RC
4:1 RC
4:1 RC
3:1 RC
3:1 RC
3:1 RC
3:1
RC 9:1
RC 9:1
RC 8:1
RC 7:1
RC 7:1
RC 6:1
RC 4:1
RC 4:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
- - - - - - - -
- - - - - - - -
RC
12:1
RC
10:1
RC 9:1
RC 8:1
RC 5:1
RC 5:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
- - - - - - -
RC
12:1
- - - - - -
- - - - - - - -
RC
10:1
10:1
- - - - - -
RC
- - - - - -
RC 6:1
RC 6:1
RC 3:1
RC 3:1
RC 3:1
RC 3:1
RC
8:1
RC
7:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
- - - - -
- - - - -
RC
RC
4:1 RC
4:1 RC
3:1 RC
3:1
5:1 RC
5:1 RC
4:1 RC
3:1
- - -
- - -
RC 5:1
RC 3:1
RC
RC
6:1 RC
4:1
7:1 RC
4:1
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FORMAT

SECONDARY MENUS

Press the Menu button on the REDMOTE / Side Handle or touch the MENU icon on the LCD to access the Secondary Menus.
Available options in this menu screen are HDR, FOCUS, PRESETS, MEDIA, SETTINGS, and POWER. EXPOSURE is not implemented at this time.

HDR MENU

Available options are HDR OFF, HDRx and STOPS.
NOTE: HDR mode cannot be modified when in Magnify 1:1 mode.

HDR ON / OFF

By default, HDRx is OFF (HDR button is illuminated Blue). In the Lower Status Group of the Viewfinder screen, the HDR text is Gray, indicating HDRx is inactive.
To turn HDRx on, navigate to the HDRx button using the Navigation Group and press ENTER, or from the touchscreen directly touch the HDRx button. In the Lower Status Group of the Viewfinder screen, the HDR text will turn White, indicating HDRx is active.

STOPS

To adjust the STOPS parameter, select the Stops box and use the UP / DOWN arrows to adjust.
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Range is 1 to 6. Default is 2.

FOCUS MENU

The Focus Menu is used to enable and select Focus parameters including MODE and ZONES.

MODE

MANUAL FOCUS
To adjust the MODE parameter, select the Menu box and use the UP / DOWN arrows to adjust. Available options are MANUAL and CONFIRM. Default is MANUAL.
MANUAL
When selected all focus operations are manual.
CONFIRM
Enables the Center or Spot focus square for use with manual focus. This mode provides additional focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision manual focus.
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AUTO FOCUS
NOTE: The following menus will ONLY appear if a DSMC Canon Mount is installed with a Canon or Sigma lens attached.
With a DSMC Canon Mount installed and a supported lens attached, available options become MANUAL, CONFIRM, SINGLE, CONTINUOUS, TOUCH TRACK, and RACK. Default is MANUAL.
All settings except MANUAL place a single square (Center) or a single rectangle (Spot) on the screen (depending on the ZONES selection) that indicate where the image is in focus.
Pressing the designated button for spot focus (REDMOTE / Side Handle button A default) will cycle you through each Focus Mode option in order as you press the button repeatedly.
Performance of Auto Focus may be reduced under the following conditions:
• The subject is dark or distant.
• There is inadequate contrast between the subject and background.
• The scene has reflective highlights.
• The subject is backlit.
• There is inadequate surface contrast/detail inside the window.
NOTE: Edge Mode can be used for additional assistance in these conditions. Refer to SETTINGS MENU > DISPLAY > TOOLS > EDGE.
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MANUAL
When selected all focus operations are manual.
CONFIRM
Enables the Center or Spot focus square for use with manual focus. This mode provides additional focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision manual focus.
SINGLE
A Focus / Record Button half-press performs single-shot AF. Optimized for rapid focus even under low­contrast conditions. Works with both Center and Spot Zones.
CONTINUOUS
Once engaged with half-press, will attempt to keep objects in AF window in focus. Works best with good lighting and contrast. Works with both Center and Spot Zones.
TOUCH TRACK
Dynamically updating positionable AF using touchscreen. Works with Spot Zone only. Keep AF Spot on subject while moving across frame, will continuously focus on spot.
RACK
For quickly selecting two focus points and executing rack focus between them. Focus points are selected using the Touchscreen. Shutter half-press executes rack movement. Works with Spot Zone only.
Rack mode remembers the last Center or Spot position and focus setting as the first rack point. A second rack point needs to be defined by moving the spot window to the desired second location. If the
spot window is not moved, a shutter half-press will only cause the lens to execute a single AF adjustment on the original Spot. On the other hand, when two rack points have already been defined, the rack point can be updated by moving the spot to a new location. This will replace the rack point that is not in focus at that moment.
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DSMC CANON MOUNT ELECTRONICALLY SUPPORTED LENSES

Canon EF 100-400mm f/4.5-5.6L IS
Canon EF 100mm f/2.0 USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 135mm f/2.0L
Canon EF 135mm f/2.8 Soft Focus
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 180mm f/3.5L Macro
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.8L II
Canon EF 20mm f/2.8 USM
Canon EF 24mm f/1.4L II
Canon EF 24-105mm f/4L IS
Canon EF 24-70mm f/2.8L
Canon EF 24mm f/2.8
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 28mm f/1.8 USM
Canon EF 28mm f/2.8
Canon EF 300mm f/2.8L IS
Canon EF 300mm f/4L IS
Canon EF 35mm f/1.4L
Canon EF 35mm f/2
Canon EF 400mm f/2.8L IS
Canon EF 400mm f/4.0 DO IS
Canon EF 400mm f/5.6L
Canon EF 500mm f/4L IS
Canon EF 50mm f/1.2L
Canon EF 50mm f/1.4 USM
Canon EF 50mm f/2.5 Compact Macro
Canon EF 600mm f/4L IS
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS II USM
Canon EF 70-200mm f/4L
tr
Canon EF 70-300mm f/4-5.6 IS USM Canon EF 70-300mm f/4.5-5.6 DO IS USM Canon EF 800mm f/5.6L IS Canon EF 85mm f/1.2L II Canon EF 85mm f/1.8 USM Canon EF-S 10-22mm f/3.5-4.5 USM Canon EF-S 17-55mm f/2.8 IS USM Canon EF-S 18-200mm f/3.5-5.6 IS Canon EF-S 60mm f/2.8 Macro USM
Sigma 10-20mm f/3.5 EX DC HSM Sigma 20mm f/1.8 EX DG ASP RF Sigma 24-70mm f/2.8 IF EX DG HSM Sigma 50mm f/1.4 EX DG HSM Sigma 70-200mm f/2.8 EX DG APO Macro HSM II Sigma 85mm f/1.4 EX DG HSM Sigma APO 50-150mm f/2.8 II EX DC APO HSM Zeiss Distagon T* 18mm f/3.5 Zeiss Distagon T* 21mm f/2.8 Zeiss Distagon T* 25mm f/2 Zeiss Distagon T* 28mm f/2 Zeiss Distagon T* 35mm f/2 Zeiss Planar 50mm f/1.4 ZE Zeiss Makro-Planar 50mm f/2 Zeiss Planar T* 85mm f/1.4 Zeiss Makro-Planar 100mm f/2 Zeiss Distagon T* 18mm f/3.5 Zeiss Distagon T* 21mm f/2.8 Zeiss Distagon T* 25mm f/2 Zeiss Distagon T* 28mm f/2 Zeiss Distagon T* 35mm f/2 Zeiss Planar 50mm f/1.4 ZE Zeiss Makro-Planar 50mm f/2 Zeiss Planar T* 85mm f/1.4 Zeiss Makro-Planar 100mm f/2
DSMC NIKON MOUNT ELECTRONICALLY SUPPORTED LENSES
AF-S Nikkor 24mm f/1.4 G ED
AF-S Nikkor 35mm f/1.4 G
AF-S Nikkor 50mm f/1.4 G
AF-S Micro-Nikkor 60mm f/2.8 G ED
AF-S Nikkor 85mm f/1.4 G AF-S Nikkor 14-24mm f/2.8 G ED AF-S Nikkor 24-70mm f/2.8 G ED AF-S Nikkor 70-200mm f/2.8 G II ED VR

DSMC LEICA-M MOUNT LENSES

The RED DSMC LEICA-M Mount is compatible with all Leica M-series lenses with focal lengths of 50mm
and greater EXCEPT the 50mm f2.0 Dual-Range Summicron. The 50mm Dual-Range Summicron has a
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protruding lug on the exterior of the lens body for mounting a supplementary finder, and this lug
interferes with the DSMC LEICA-M Mount’s lock ring.
Most Leica lenses with focal lengths of less than 50mm will encounter mechanical interference between
the rear lens cell and the camera’s front panel.
Note: Attempting to mount Leica lenses of focal lengths of less than 50mm could result in damage to
the lens and/or the camera.
• A new OLPF frame (included) is required to use the Leica-M mount
• Replacement OLPF frame is compatible with all DSMC lens mounts
• OLPF frame upgrade may be performed by customer or RED, free of charge

ZONES

Available options are CENTER and SPOT. Default is CENTER. This control allows selection of the boxes
used to indicate objects in/out of focus.
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CENTER
Provides a large, square target for focus. When objects located in the circle are in focus, the square will
be Yellow or Green. When objects located in the square are out of focus, the square will be Red.
SPOT
Provides a small, square target for precise focus (similar to Center focus, only smaller). When objects
located in the square are in focus, the square will be Yellow or Green. When objects located in the
square are out of focus, the square will be Red.
SPOT FOCUS INDICATOR
Moving
The spot focus square can be moved around the screen.
Touchscreen
Press the Touchscreen on the location you wish to relocate the Spot Focus window.
Side Handle / REDMOTE
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1. Navigate to the focus menu.
2. Press the down arrow on the Navigation Group.
3. The spot focus square line weight will increase and the Red cursor under FOCUS will dim slightly.
4. Use the directional arrows to move the Spot Focus square to the desired location.
5. Press the ENTER button.
6. To exit, Press the MENU button.
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Resizing
The spot focus square can be resized using the Navigational Wheel or the Touchscreen.
Touchscreen
Each Double-tap the Spot window will step through the three possible window sizes. After reaching the
largest size, the sequence will restart with the window at the smallest size.
Side Handle / REDMOTE
After following Steps 1, 2, and 3 in the instructions for Spot window repositioning (see above), simply
rotate the Scroll Wheel to cycle through the three possible window sizes. Press MENU to exit.

LENS INFORMATION DISPLAY

RED DSMC TI PL MOUNT + LENS

When a RED DSMC Ti PL Mount is installed and a Lens equipped with Cooke’s S4/i system (or
equivalent is attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external
monitors.
The focal length and focal distance values and range will vary depending on the attached lens. When the
focal length or focal distance of the lens is manipulated, the current values are displayed.
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DSMC CANON MOUNT + LENS

When a DSMC Canon Mount is installed, and a Canon EF or EF-S Lens or equivalent is attached, the
Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors. When AF is set to
Manual or Confirm mode, the focus distance displays as a pair of Near - Far distances. When it is in AF
mode, a single estimated Focus distance is displayed.
The focal length and focal distance values and range will vary depending on the attached lens. When the
focal length of the lens is manipulated, the current value is displayed under Focal Length. The Focal
Distance can be changed under MAIN MENU > -.- (F-STOP) > ADVANCED SETTINGS.
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PRESETS MENU

CAMERA PRESETS

Camera Presets are used to store and recall camera setup information such as LOOKs, key mappings,
I/O configuration, etc.
Your RED DSMC camera has a number of factory-installed presets.
APPLYING A PRESET
• Select
• Select the desired preset from the selection ribbon
• Press APPLY button
Custom presets may be created to store groups of camera settings. For example; White Balance and
ISO settings for a particular shooting location can be captured as a preset and easily recalled later.
Presets can also be saved on an SSD and applied to other RED DSMC cameras.
CREATING A PRESET
• Select
Presets
Presets
from the secondary menus
from the secondary menus
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• Select
• Press OK on keyboard to save the preset name
• Copy the desired settings from the left box of the interface to the right box using the
or
Create
select all
and enter a name for the new preset using the QWERTY keyboard
button
select one
(-->)
• Select and press
The preset has been created and is now stored on the camera.
Create
button (upper right corner of the screen)
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On Camera
On SSD
SHARING PRESETS
Presets may be shared between RED DSMC cameras using SSD media.
Camera to camera
Select
Presets
from the secondary menu:
Camera to multiple cameras
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COPY PRESETS FROM CAMERA TO SSD
• Use scroll ribbon to select desired preset in camera box
• Use --> button to add the preset to the SSD box
COPY PRESETS FROM SSD TO CAMERA
• Use scroll ribbon to select desired preset in SSD box
• Use <-- button to add the preset to the Camera box
• The following window will appear
• Select
• Select No to copy the preset to the camera without applying the settings
MANAGING PRESET FILES
• The APPLY, DELETE, and CREATE buttons are only affect the camera box. Presets on the SSD will
remain there until the media is reformatted.
Yes
to copy the preset to the camera and apply the setting
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LOOKS PRESETS

Look Presets allows you to save the specific color, image, white balance, and detail settings to be used
for other projects. As looks are created, they will be displayed alphabetically.
For detailed information on LOOKs, see the REDCINE-X Operation Guide, available on RED.com

AUTO PRESETS

The Auto Presets function allows you to specify pre-selected presets on Startup and for Preview and
Playback
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MEDIA MENU

The Media Menu is used to format media (SSD) prior to use on the camera as well as to Eject (unmount)
the media prior to removal from the camera. Available options when selected are SELECT MEDIA,
FORMAT MEDIA, EJECT MEDIA, and UTILITIES.
IMPORTANT: Media MUST be ejected from the camera before removal to prevent corruption
and/or loss of data on media.

SELECT MEDIA

Allows you to select the Media location to be used by the camera. Default is the Side SSD (S-SSD)
Module.

FORMAT MEDIA

When selected, a new dialog box will appear allowing you to add properties to the media highlighted in
the Current Media box when formatting. Available options are REEL NO, CAM ID, CAM POS, and
FORMAT to format the media with the values entered.
NOTE: If clips are present on the media, you will be informed of how many clips will be erased
when you format the media.
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COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B
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REEL NO.
When selected a keypad will appear allowing you to enter a value between 1 and 999.
CAMERA ID (SLATE)
Identifies the camera with a letter A through Z. Default is A.
CAMERA POS (POSITION)
Identifies the camera position as Right, Left or Center. Default is Center.
Edge Timecode Start
Users may manually enter an Edge Timecode value. (Seldom used)
FORMAT
When selected, formats the media and adds the selected properties.
• During formatting, the camera will display “Formatting” with a Green status bar. REDMOTE will also
display this message.
• When formatting is complete, camera will display “The magazine was successfully re-formatted. The
digital magazine is ready for immediate use. REDMOTE will also display this message.

EJECT MEDIA

When selected will Eject (unmount) the media highlighted in the Select Media box.
When ejected, camera will display “Media Ejected Successfully”. REDMOTE will also display this
message.
955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
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