Red Digital Cinema Epic W Gemini 7.1 Operation Guide

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EPIC-W GEMINI

OPERATION GUIDE

V7.1

RED.COM

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EPIC-W GEMINI OPERATION GUIDE

Table of Contents 2

Disclaimer 4 Copyright Notice 4 Trademark Disclaimer 4 Translation Disclaimer 4 Compliance Statements 4 Safety Instructions 6 Battery Storage and Handling 7 Shipping Disclaimer 8

CHAPTER 1: Product Introduction 9

Read Before You Shoot 9 R3D File Format and REDCODE 10 Shoot For Video and Stills 10 Post Production 11 Post Production with REDCINE-X PRO 11 HDRX and MAGIC MOTION 12 Additional Resources 12

CHAPTER 2: Camera System Components 13

Additional Resources 13 BRAIN 13 RED MINI-MAG System 18 Expanders 19 DSMC2 Power Modules 25 RED Batteries and Chargers 29 Displays and Electronic Viewfinders 30 LCD/EVF Adaptors 35 Camera Control Modules 36 Lens Mounts 41 Interchangeable OLPFs 42 Rails, Mounts, Tactical Gear, and Cables 43

CHAPTER 3: Basic Operations 44

Power Operations 44 Configure Your Camera 47 Interchangeable OLPF System 53 Use a Tripod or Monopod 54 Video Monitor Outputs 55 Record 56

CHAPTER 4: Basic Menus and Controls 58

GUI Menu Introduction 58 Upper Status Row (Basic Menu) 59

Live Action Area 63 Lower Status Row 64 Navigation Controls 71

CHAPTER 5: Advanced Menus 80

Access the Advanced Menus 80 Image Menu 80 Monitoring Menu 89 Overlays Menu 95 Power Menu 104 Playback 107 Media Menu 112 Presets Menu 113 Settings Menu 116

CHAPTER 6: Sensor Calibration 158

When to Calibrate Sensor 158 Calibrate Sensor: Manual Calibration 159 Calibrate Sensor: Auto Calibration 161 Calibration Map Naming Conventions 163 Calibration Management 164 Calibration Map Actions 164 Export and Import Calibration Maps 164

CHAPTER 7: Audio System 165

Audio Overview 165 Set Up Audio 165 Control 166 Mix 169 Audio Output Options 169 Audio Meter (VU Meter) 169 Audio During Playback 170 Record Audio in Varispeed Mode 171

CHAPTER 8: Timecode, Genlock, MultiCamera Setup 173

Timecode 173 Genlock 176 Master/Slave Operation 178 Set Up Stereo/3D Configuration 183 Camera Array 184 Motion Control (MoCo) 185 Compatible Timecode Devices 187 Compatible Genlock Devices 187

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CHAPTER 9: Upgrade Camera Firmware 188

Verify Current Camera Firmware 188 Upgrade Camera Firmware 188

CHAPTER 10: Camera System Maintenance 190

BRAIN and Accessory Exterior Surfaces 190 Clean EVF Screen 191 Clean LCD Screens 191 Water Damage 192 Adjust Back Focus 193

CHAPTER 11: Troubleshoot Your Camera 194

Perform a Stress Test 194 General Troubleshooting 194 Error Messages 201 Media Bay and RED MINI-MAG Issues 206 Back Focus Lock (Lock Sensor) 207

APPENDIX A: Technical Specifications 209

EPIC-W 5K S35 Technical Specifications 209

APPENDIX B: Mechanical Drawings 212

EPIC-W 5K S35 BRAIN 212

APPENDIX C: Input/Output Connectors 217

DSMC2 Base Expander 218 DSMC2 V-Lock I/O Expander 219 DSMC2 REDVOLT Expander 220 DSMC2 Jetpack Expander 221 DSMC2 Jetpack-SDI Expander 222 DSMC2 Production Module (V-Lock) 223 DSMC2 Tactical Top Plate 224 DSMC2 Production Top Plate 224 Record/Monitor Out Ports 225 Communication Ports 228 Audio Ports 239 Power Ports 241

APPENDIX D: Lens Mounts and Lenses 246

Lens Mounts 246 Lenses 250

APPENDIX E: Default Key Functions 262

Default Keys 262

APPENDIX F: Menu Map 265

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DISCLAIMER

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

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

This document was generated on 5/2/2019. To see earlier versions of this document, submit a Support ticket at https://support.red.com.

For comments or questions about content in this document, send a detailed email to OpsGuides@red.com.

COPYRIGHT NOTICE

code, and product names used in association with the accompanying product are the copyrights, trademarks, or other intellectual property owned and controlled exclusively by RED.COM, LLC. For a comprehensive list, see www.red.com/trademarks.

TRADEMARK DISCLAIMER

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

TRANSLATION DISCLAIMER

This document was originally prepared in English, and any translations are provided for convenience only. While reasonable efforts were made to provide accurate translations, RED will not be held responsible for any errors, omissions, or ambiguities.

COMPLIANCE STATEMENTS

INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS

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

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

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) STATEMENTS

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

equipment generates, uses and can radiate radio 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:

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

that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for

help.

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

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

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

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GITEKI CERT IFICATION

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 20 cm between the radiator and your body.

This equipment contains specified radio equipment that has been certified to the Technical Regulation Conformity Certification under the Radio Law.

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

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

AUSTRALIA AND NEW ZEALAND STATEMENTS

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

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

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

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

JAPAN STATEMENTS

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

EUROPEAN UNION COMPLIANCE STATEMENTS

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

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

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

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

WASTE ELECTRICAL AND ELECTRONIC EQUIPMENT (WEEE)

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.

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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.

USAGE RESTRICTIONS FOR PRODUCTS T HAT INCORPORATE RED COMMAND PROTOCOL

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

FRANCE

Usage Restrictions - Geographic Area Where Restriction Applies : France

For mainland France

2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use

2.400 - 2.454 GHz (Channels 1-10) authorized for outdoor use

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

Pour la France métropolitaine

2.400 - 2.4835 GHz (Canaux 1 à 16) autorisé en usage intérieur

2.400 - 2.454 GHz (Canaux 1 à 10) autorisé en usage extérieur

NORWAY

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

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

RESPONSIBLE PARTY

RED Digital Cinema 34 Parker Irvine, CA 92618 USA

SAFETY INSTRUCTIONS

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 shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with high moisture without appropriate protection, and immediately remove power source if camera or accessories are exposed to moisture.

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

DO NOT expose the camera to laser beams, as laser beams may damage the sensor.

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

ELECTROMAGNETIC INTERFERENCE: The use of devices using radio or other communication waves may result in the malfunction or interference with the unit and/or with audio and video signals.

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

Maintain sufficient ventilation—DO NOT block any ventilation openings or obstruct cooling fan airflow.

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

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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:

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

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

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

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

Protect all power cords from being pinched, walked on or driven over by a vehicle. Replace any power cords suspected of sustaining damage due to crushing or other forms physical damage.

BATTERY STORAGE AND HANDLING

WARNING: DO NOT expose the battery to

excessive heat.

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

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

INDOOR USE ONLY: This device is designed for use indoors only.

WARNING: Failure to read, understand, and follow these instructions may result in overheating, chemical leakage, smoke emission, fire, or other potentially harmful results.

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

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

Lithium-ion batteries may be subject to special handling requirements pursuant to federal and local laws. 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.

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

Lithium-Ion batteries, like the REDVOLT®, REDVOLT-V, REDVOLT XL, and RED BRICK®, self-discharge over time. When storing for long periods of time, store batteries separately from the camera or charger and remember to charge batteries to a capacity level of 40% to 60%. If batteries will be stored for long periods of time, RED recommends that you check the charge level at least once every six (6) months, and recharge batteries to a capacity level of 40% to 60%.

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

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If the battery gives off an odor, generates heat, becomes

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

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

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

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

DO NOT store batteries in the camera, in a camera module, or in a charger for extended periods of time.

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

internal temperature beyond the recommended limits and cause permanent damage to the battery.

DO NOT connect the positive (+) and negative (–) terminals to a metal object such as a wire.

DO NOT transport or store the battery together with metal objects such as jewelry, hairpins, etc. as they may generate heat if they come into contact with the battery.

DO NOT discard the battery into fire or heat. DO NOT store, use, or recharge the battery near a heat source

such as a fire or a heater. DO NOT allow the battery to get wet. DO NOT pierce the battery with pointed or other sharp objects. DO NOT step on, throw, or strike the battery with a hammer. DO NOT use a battery that appears to be deformed or damaged. DO NOT directly solder the battery. DO NOT put the battery into a microwave oven or a pressurized

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

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

present. DO NOT exceed the recharging temperature range of 0˚C to 40˚C

(32˚F to 104˚F). RED recommends that you only use RED chargers to recharge

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

immediately.

discolored or deformed, or in any way appears abnormal during use, recharging or storage, immediately remove it from the equipment or battery charger and discontinue use.

If electrolyte begins leaking from the battery and comes into contact with your skin or clothing, immediately wash it away with running water. Failure to do this may result in skin inflammation.

If the battery leaks and the electrolyte reaches the eyes, do not rub them. Instead, rinse the eyes with clean running water and immediately seek medical attention. Failure to do this may result in eye injury.

If you find discoloration, a bad odor due to leakage, overheating and/or other irregularities when using the battery for the first time, submit a Support ticket at https://support.red.com.

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

SHIPPING DISCLAIMER

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

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

Items).

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CHAPTER 1:

PRODUCT INTRODUCTION

The RED EPIC-W® 5K S35 features the GEMINI® 5K S35 sensor, RED’s highest-sensitivity sensor to date. The EPICW 5K S35 is a powerful, dual sensitivity camera that offers the ability to shoot in either Low Light or Standard modes. The EPIC-W 5K S35 offers cleaner, less-noisy images in low-light conditions as well as improved performance in shadows.

Capable of shooting motion and stills at 5K 2.4:1 at up to 120 frames per second (fps), or 5K Full Format at 96 fps, the EPIC-W 5K S35 delivers high frame rates at an S35 format.

As a member of the DSMC2® camera lineup, the EPIC-W 5K S35 benefits from the advanced modularity of the RED ecosystem. The camera features cable-free peripherals, integrated mounting plate, wireless control, and compatibility with a growing number of DSMC2 modules and accessories. EPIC-W 5K S35 also supports interchangeable OLPFs and lens mounts—empowering you to make the most of all of your S35 compatible PL, Nikon, Canon, and Leica lenses.

This guide is for EPIC-W 5K S35 only. This section introduces the imaging capabilities and advanced features of the EPIC-W 5K S35 system. For information about other cameras, go to RED Downloads at www.red.com/downloads.

The EPIC-W 5K S35 system includes the following cameras:

SENSOR TYPE CAMERA

GEMINI 5K S35 EPIC-W 5K S35

NOTE: The camera itself does not have a DC IN power port. A port expander or power module is required to power the camera. To construct a working configuration for any camera, RED recommends an expander, battery, lens mount, display, and media.

READ BEFORE YOU SHOOT

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

DSMC Power Operation Guide DSMC Media Operation Guide

To download RED operation guides, go to RED Downloads at www.red.com/downloads.

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R3D FILE FORMAT AND REDCODE

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

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

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

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

path color processing presets. This information is stored as reference metadata, so that these color processing choices can be the default values used in post production. For more information, go to "Looks" on page114.

SHOOT FOR VIDEO AND STILLS

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

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

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POST PRODUCTION

NOTE: Third-party applications may have limited compatibility with R3D files. Third-party developers must use the

most recent R3D SDK to offer compatibility with the latest RED firmware. Many non-linear editing systems (NLEs) can open and edit RED footage. Each NLE version may have specific

compatibility requirements, such as camera firmware version or camera type. Before shooting, check all compatibility requirements.

The following programs can be used to open and/or edit R3D files:

REDCINE-X PRO: RED's proprietary NLE. Download REDCINE-X PRO from www.red.com/downloads. Adobe Photoshop: Can open .R3D files. Requires you to download the RED Adobe Photoshop Installer from

www.red.com/downloads.

Adobe Premiere Pro: For more information on compatibility, go to the RED Support site at

https://support.red.com.

Avid Media Composer

DaVinci Resolve

Edius Pro Final Cut Pro 7: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads. Final Cut Pro X: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads.

Vegas Pro

POST PRODUCTION WITH REDCINE-X PRO

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

RED TETHER, included in REDCINE-X PRO, allows you to record footage from your camera directly to a computer or an external drive. Using tethering bypasses the need to record to an SSD and offload to a computer later, saving you time. The latest version of REDCINE-X PRO and the REDCINE-X PRO Operation Guide are available for download at

RED Downloads at www.red.com/downloads.

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

REDVOLT Expander, and DSMC2 Production Module. For more information, go to "Input/Output Connectors" on

page217.

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HDRX AND MAGIC MOTION

HDRX

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

MAGIC MOTION

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

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

ADDITIONAL RESOURCES

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

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

cinematography. RED Downloads: Go to RED Downloads to download the latest firmware, operation guides, and post-production

software. DSMC Toolkit: Go to RED Downloads to find the DSMC Toolkit, which offers many helpful tools and resources to

customize and improve your camera workflow.

RED Support: Check the RED SUPPORT site for FAQs, or to file a support ticket. In-Camera Help: Select the Help button on an in-camera screen to open up the help for that screen. REDUSER: Discuss all things RED on the REDUSER third-party forum.

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CHAPTER 2:

CAMERA SYSTEM COMPONENTS

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

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

ADDITIONAL RESOURCES

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

DSMC Power Operation Guide DSMC Media Operation Guide

BRAIN

Figure: EPIC-W 5K S35

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

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

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

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BRAIN CONTROL: PWR/REC KEY

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

BRAIN LEDS

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

or module does not turn on. To check the battery charge level, press the button on the battery.

LED COLOR/FLASHING DESCRIPTION

Power Status LED (PWR) Off Camera off

Green Camera on

Amber flashing Camera on; 5 to 10 min of battery time available

Amber Camera booting

Red flashing Camera on; < 5 min of battery time available

Red Camera shutting down

Record Status LED (REC) Off No media present

Green Ready to record

Amber Finalizing

Red flashing (slow) Media mounted; > 5% and ≤ 10% of media available

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

Red Recording

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

Both green flashing Firmware update in progress

Both red flashing Firmware update error

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BRAIN CONNECTORS, FOCUS HOOK, AND BACK FOCUS

Figure: EPIC-W 5K S35 Ports and Features

# PORT/ITEM DESCRIPTION

1 Primary EVF/LCD Port

2 Top Handle Port Mount the DSMC2 Top Handle or DSMC2 Outrigger Handle. This is the only

3 Secondary EVF/LCD Port

4 Focus Hook Mounting Point

5 Focus Hook Screw Storage

Location

6 Mic 1 Left audio channels: Ch1 and Ch3. Go to "Audio System" on page165

7 Mic 2 Right audio channels: Ch2 and Ch4. Go to "Audio System" on page165

8 Back Focus Adjustment Screw Adjust back focus

1. The DSMC2 LCD/EVF Adaptor A allows you to mount other RED® displays. 2. Install only the focus hook screw to this mounting point. Damage to the media bay or other components of the camera system caused by

installing other devices is not covered under warranty.

3. Cameras manufactured before December 2017 include a set screw installed in this location. This screw can be stored in either the Focus Hook

Mounting Point, or the Focus Hook Storage location.

Mount a DSMC2 RED Touch LCD

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

Mount a DSMC2 RED Touch LCD. The secondary LCD/EVF port and an HDMI/MON-1 port cannot be used at the same time. Go to "Monitor

Preferences" on page89

2, 3

Mount the focus hook

Store the focus hook screw

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MEDIA BAY CONTROLS

Figure: EPIC-W 5K S35 Media Bay Controls

# CONTROL DESCRIPTION

1 User Key 1 Programmable key

User Key 1 + 2 Press: Eject Media

2 REC Button Programmable key

Full Press: Record Toggle Half Press: AF Start

3 User Key 2 Programmable key

User Key 1 + 2 Press: Eject Media

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

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MEDIA BAY LEDS

Figure: EPIC-W 5K S35 Media Bay LEDs

This section describes the LED functions for the media bay.

# LED COLOR/FLASHING DESCRIPTION

1 Media Status LED (Back of media

bay)

2 Record Status LED

1. For more information on how to enable/disable this LED, go to "Indicator" on page134. If media is not mounted, this LED is off.

Off No media mounted

Green Preview; media mounted; > 10% of media space

available

Amber Record finalizing or playback mode

Amber flashing (slow)

Red flashing (slow) Media mounted; > 5% and ≤ 10% of media available

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

Red Recording; media mounted; > 10% of media available

Off Not recording, or media not mounted

Red Recording

Formatting media

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RED MINI-MAG SYSTEM

Figure: RED MINI-MAG (120GB)

NOTE: For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads. RED MINI-MAG® SSDs deliver fast and reliable recording options for your camera. A RED STATION® enables you to

connect media to your computer for offloading and editing. RED offers the following RED MINI-MAG SSDs:

ITEM PART NUMBER

RED MINI-MAG (120GB) 750-0075

RED MINI-MAG (240GB) 750-0082

RED MINI-MAG (480GB) 750-0090

RED MINI-MAG (512GB) V4

RED MINI-MAG (512GB) V5

RED MINI-MAG (512GB) V6

RED MINI-MAG (960GB) 750-0087

RED MINI-MAG (1TB)

1. To see the Model number, go to Menu > Media > Device. 2. The RED MINI-MAG 1TB can take up to 20 seconds to mount to a computer or a camera.

750-0078

750-0081

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EXPANDERS

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

RED offers the following DSMC2 expanders:

ITEM PART NUMBER

DSMC2 Base Expander 720-0033

DSMC2 REDVOLT Expander 720-0040

DSMC2 Jetpack Expander 720-0039

DSMC2 Jetpack-SDI Expander 720-0048

DSMC2 V-Lock I/O Expander 720-0045

DSMC2 BASE EXPANDER

Figure: DSMC2 Base Expander

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

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

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

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DSMC2 REDVOLT EXPANDER

Figure: DSMC2 REDVOLT Expander

Designed for advanced configurations, the DSMC2 REDVOLT Expander mounts directly to the camera and offers an expansive array of I/O connectors and functionality available for the camera system. The DSMC2 REDVOLT Expander features ports for power in (DC IN), Genlock (BNC), 5-Pin 0B Timecode port, GIG-E, and more. HDMI and two 3G-SDI (HD-SDI) outputs offer versatility for your video output needs, while an integrated USB power output is available to support wireless HDMI transmitters.

The DSMC2 REDVOLT Expander offers a removable audio module with two (2) standard XLR connections for most professional audio needs. Each XLR input features a 3-position selector switch to designate the incoming audio signal type: Balanced Line Level, Balanced Mic Level, and Balanced Mic with +48V phantom power. Additionally, a 3.5mm line-level headphone jack lets you sample audio during takes and in playback mode.

The DSMC2 REDVOLT Expander also provides multiple auxiliary power outputs, enabling the use of peripheral camera accessories and more:

A rear-facing 4-Pin 0B AUX PWR port supports Start/Stop Trigger IN, Tally OUT, and provides power out up to 1.5 Amps.

A front-facing2-Pin 0B AUX PWR port provides 3.0A maximum. A front-facing 7-Pin 0B SERIAL port provides 1.5A maximum. The SERIAL port is ideal for connecting to motor

drivers. A rear-facing Timecode port offers 5V at 200 mA for powering external timecode devices. A rear-facing USB port offers 5V at 1.5A for powering HDMI transmitters or small mobile devices. The two (2) 3-Pin XLR audio ports in the audio module each offer +48V phantom power.

For hot-swap support when it matters most, the DSMC2 REDVOLT Expander also supports a single REDVOLT battery. Additional DSMC2-compatible battery and power modules can be mounted for your changing power needs.

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The DSMC2 REDVOLT Expander also features a selector switch that enables the camera to automatically boot when power is provided via the DC IN connector on the expander. This feature allows you to use a connected DC input supply to turn the camera on and off when the camera is mounted in remote or difficult to maneuver locations. This expander is the ideal solution for a variety of production environments, maximizing camera interface and functionality for the most demanding shoots.

CAUTION: The mounting points on top of the DSMC2 REDVOLT Expander are designed for lightweight accessories only. DO NOT use accessories attached to the expander to pick up or move the camera.

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

DSMC2 JETPACK EXPANDER

Figure: DSMC2 Jetpack Expander

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

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

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

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DSMC2 JETPACK-SDI EXPANDER

Figure: DSMC2 Jetpack-SDI Expander

The DSMC2 Jetpack-SDI Expander is designed for aerial, gimbal, handheld, and other lightweight/remote applications that require 3G-SDI output. Featuring connections for power (DC IN), SDI (3G-SDI), Gigabit Ethernet (GIG-E), AUX power, SYNC, and CTRL, the DSMC2 Jetpack-SDI Expander provides a low-profile expander solution. The 3G-SDI connection provides support for providing a signal to a remote monitoring solution, while the Gigabit Ethernet connection offers increased bandwidth for streaming high-quality footage.The DSMC2 Jetpack-SDI Expander is ideal for housings and low-profile configurations that require 3G-SDI outputs or computer tethering.

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

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

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DSMC2 V-LOCK I/O EXPANDER

Figure: DSMC2 V-Lock I/O Expander

The DSMC2 V-Lock I/O Expander offers a variety of Input/Output connections, as well as an industry standard V-Lock mount to power your DSMC2 camera using RED BRICK and REDVOLT-V batteries.

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

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

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

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

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THIRD-PARTY BATTERY COMPATIBILITY

To be compatible with the DSMC2 V-Lock I/O Expander, third-party batteries must meet these requirements:

Maximum width: approximately 100.6 mm Minimum radius of the side edge of the V-mount (rear mounting surface): approximately 9.70 mm

The following third-party batteries have been fit-tested by RED and are mechanically compatible with the DSMC2 VLock I/O Expander (additional batteries may be compatible, but have not been tested):

Blueshape® (All BV series) IDX® (E-HL10DS and E-HL9) Sony® (BP-FL75) Switronix (Hypercore series and XP-L90S)

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

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DSMC2 POWER MODULES

ITEM PART NUMBER

DSMC2 REDVOLT XL Module 740-0034

DSMC2 V-Lock Battery Module 720-0052

DSMC2 Gold Mount Battery Module

DSMC2 Production Module (V-Lock) 720-0054

1. The DSMC2 Gold Mount Battery Module supports Gold Mount batteries only.

NOTE: If a power module is attached to the DSMC2 REDVOLT Expander, the power out connectors on the module are enabled only if power is connected to the module (via DC IN or a battery).

720-0053

DSMC2 REDVOLT XL MODULE

Figure: DSMC2 REDVOLT XL Module

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

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

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

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DSMC2 V-LOCK BATTERY MODULE

Figure: DSMC2 V-Lock Battery Module

The DSMC2 V-Lock Battery Module is a low profile cable-free module that enables you to power your DSMC2 BRAIN and camera accessories using RED BRICK, REDVOLT-V, or other standard V-Lock batteries. The V-Lock mount and protected release button ensure ongoing power even during mobile shoots.

This DSMC2 battery module offers a P- Tap connector on top and an auxiliary port on the side for powering peripherals and accessories. Together the P-Tap and auxiliary connectors support a maximum combined current of

3.8 Amps. This module also offers a DC IN power port that can be used to power the camera system when the module is

attached to the BRAIN. When DC IN power is supplied to the module, and the camera is turned off, this module can also trickle charge the attached V-Lock battery.

Manufactured from robust aluminum alloy, this DSMC2 battery module offers a blend of utility and power support in a lightweight and space-saving form factor. The DSMC2 V-Lock Battery Module is an ideal power solution for use with most DSMC2 expanders. Alternatively, connect the DSMC2 V-Lock Battery Module directly to your DSMC2 BRAIN for a low-profile, battery-only power configuration.

NOTE: This design of the DSMC2 V-Lock Battery Module (720-0052) replaces the earlier version of the module (720-

0049), which did not have the AUX OUT and DC IN ports. All other functionality is the same.

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DSMC2 GOLD MOUNT BATTERY MODULE

Figure: DSMC2 Gold Mount Battery Module

The DSMC2 Gold Mount Battery Module is a low profile cable-free module that enables you to power your DSMC2 BRAIN and camera accessories using standard Gold Mount batteries. The Gold Mount and protected release button ensure ongoing power even during mobile shoots.

3.8 Amps. This module also offers a DC IN power port that can be used to power the camera system when the module is

attached to the BRAIN. When DC IN power is supplied to the module, and the camera is turned off, this module can also trickle charge a wide variety of attached Gold Mount batteries.

Manufactured from robust aluminum alloy, this DSMC2 battery module offers a blend of utility and power support in a lightweight and space-saving form factor. The DSMC2 Gold Mount Battery Module is an ideal power solution for use with most DSMC2 expanders. Alternatively, connect the DSMC2 Gold Mount Battery Module directly to your DSMC2 BRAIN for a low-profile, battery-only power configuration.

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DSMC2 PRODUCTION MODULE (V-LOCK)

Figure: DSMC2 Production Module (V-Lock)

Designed for professional shooting configurations, the DSMC2 Production Module (V-Lock) mounts directly to the BRAIN and offers a comprehensive array of video, power, communication, and pro audio connections. Constructed from lightweight and durable aluminum alloy, this module incorporates an industry standard V-Lock mount to power your DSMC2 camera when using RED BRICK, REDVOLT-V, or other v-lock batteries.

The DSMC2 Production Module includes three (3) BNC video connectors for maximum monitoring flexibility on-set. Two (2) connectors output a cloned 3G-SDI signal, and one (1) connector serves as an independent monitoring output.

To support production demands for on-board monitors, wireless video transmitters, wireless lens control, and focus assist systems, the module includes multiple auxiliary power outputs:

Two (2) front-facing 3-Pin Fischer R/S ports support Remote Start/Stop functionality, and provide 24V power out up to a combined 2.5 Amps.

A front-facing2-Pin 0B AUX PWR port provides power out up to 3.0 Amps. A 2-Pin P-Tap connector on the top provides power out up to 3.0 Amps. A rear-facing USB 2.0 port with support for fast charging offers 5V at 1.5 Amps for powering small mobile devices.

Two (2) standard XLR connections are included for most professional audio needs. Each XLR input features a 3position selector switch to designate the incoming audio signal type: Balanced Line Level, Balanced Mic Level, and Balanced Mic with +48V phantom power. Additionally, a 3.5mm line-level headphone jack allows users to monitor audio during takes and in playback mode.

The module features ports for power in (DC IN), Genlock (BNC), 5-Pin 0B Timecode port, GIG-E, and CTRL. The module also features a selector switch that enables the BRAIN to automatically boot when power is provided via

the DC IN connector on the module. This feature allows operators to use a connected DC input supply to turn the BRAIN on and off when the camera is mounted in remote or difficult to maneuver locations.

NOTE: The battery plate on the DSMC2 Production Module is always enabled, regardless of the Auto Boot on Power switch position.

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

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RED BATTERIES AND CHARGERS

Figure: REDVOLT XL (left) and REDVOLT (right)

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

RED offers the following batteries and chargers:

ITEM PART NUMBER

REDVOLT 740-0020

REDVOLT-V 740-0043

REDVOLT XL 740-0021

RED BRICK 740-0002

REDVOLT Travel Charger 790-0134

REDVOLT Charger (Quad) 740-0015

RED CHARGER 740-0006

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

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DISPLAYS AND ELECTRONIC VIEWFINDERS

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

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

ITEM RESOLUTION TILT

DSMC2 RED Touch 7.0" LCD (Woven CF) 1920 x 1136 Total: 180°

Forward: 90° Backward: 90°

DSMC2 RED Touch 7.0" LCD (Aluminum) 1920 x 1136 Total: 180°

Forward: 90° Backward: 90°

DSMC2 RED Touch 4.7" LCD 1280 x 720 Total: 240°

Forward: 90° Backward: 150°

RED Touch 5.0" LCD

800 x 400 Total: 270°

Forward: 180° Backward: 90°

RED Touch 7.0" LCD

2, 3

1920 x 1136 Total: 180°

Forward: 90° Backward: 90°

RED Touch 9.0" LCD

1280 x 768 Total: 270°

Forward: 180° Backward: 90°

SWIVEL

Total: 360°

PART NUMBER

730-0018 CW: 180° CCW: 180°

Total: 360°

730-0024 CW: 180° CCW: 180°

No swivel 730-0019

Total: 360°

730-0008 CW: 180° CCW: 180°

Total: 360°

730-0007 CW: 180° CCW: 180°

Total: 360°

730-0011 CW: 180° CCW: 180°

RED Pro LCD 7"

RED Pro Touch 7.0" LCD

DSMC2 Touch 7.0" Ultra-Brite LCD

DSMC2 RED EVF (OLED)

BOMB EVF® (LCOS)

BOMB EVF (OLED)

1. Approximate measurements. 2. Using this display with a DSMC2 camera requires a DSMC2 LCD/EVF Adaptor A, DSMC2 Tactical Top Plate, or DSMC2 Production Top Plate. 3. The RED Touch 7.0" LCD requires that your camera is on firmware v5.2.38 or later. 4. The DSMC2 Touch 7.0" Ultra-Brite LCD requires that your camera is on firmware v7.2 or later.

2, 4

1024 x 600 No tilt No swivel 730-0009

1920 × 1136 No tilt No swivel 730-0025

1920 x 1200 No tilt No swivel 730-0026

1920 x 1080 N/A N/A 730-0021

1280 x 784 N/A N/A 730-0004

1280 x 1024 N/A N/A 730-0010

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RED LCDS

Figure: DSMC2 RED Touch 7.0" LCD

RED displays provide important camera parameters on the graphical user interface (GUI) and offer a variety of monitor viewing options. RED touchscreen displays enable you to use gestures to navigate menus and adjust camera parameters. RED displays feature 8-bit RGB, 4:4:4 progressive scan, providing up to 16.7 million colors and up to 70% NTSC color gamut (83% coverage for the DSMC2 Touch 7.0" Ultra-Brite LCD).

LCD PRECAUTIONS

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

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

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

WARNING: DO NOT try to turn an LCD past its tilt or swivel range. Damage to a RED display or other camera components caused by excessive force is not covered under warranty. For more information on the tilt and swivel range for each display, go to "Displays and Electronic Viewfinders" on the previous page.

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BOMB EVFS

Figure: BOMB EVF (OLED)

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

ITEM CONTRAST RATIO DIOPTER RANGE

BOMB EVF (LCOS)

BOMB EVF (OLED)

1. Using these displays with a DSMC2 camera requires a DSMC2 LCD/EVF Adaptor A.

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

1000:1 typical 2.0 to –5.0.1

>10,000:1 typical 2.0 to –5.0.1

BOMB EVF FEATURES

# FEATURE DESCRIPTION

1 EVF

Connector

2 EVF Tally

LED

3 Key 1 Programmable key

4 Key 2 Programmable key

Custom digital video and power interconnection between the camera and RED EVF; Pinout not published

When enabled, the LED illuminates red when recording; For more information, go to "Indicator" on

page134

Magnify: Toggle

Exposure Check: Toggle

5 Eyepiece

Heater

The integrated eyepiece heater automatically heats the eyepiece when the EVF detects a low ambient temperature

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DSMC2 RED EVF

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

RED offers multiple mounting solutions for each camera type. WARNING: DO NOT point the DSMC2 RED EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct

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

NOTE: DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to allow rotation even when the tension ring is fully engaged.

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DSMC2 RED EVF FEATURES

Figure: DSMC2 RED EVF

# FEATURE DESCRIPTION

1 DSMC2 RED EVF

Mount

2 EVF Connector

3 Key 1 Programmable key

4 Key 2 Programmable key

5 Mounting Point Mounting point for the DSMC2 RED EVF Mounting Plate

6 DSMC2 RED EVF

Modular Optical Block

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

The DSMC2 RED EVF Mount. DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to

allow rotation even when the tension ring is fully engaged.

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

Magnify: Toggle

Exposure Check: Toggle

Fully coated with a > 32° field of view

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LCD/EVF ADAPTORS

This section describes the DSMC2 LCD/EVF Adaptor A and the DSMC2 LCD/EVF Adaptor B. These adaptors enable you to use EPIC/SCARLET displays with your DSMC2 camera and use DSMC2 displays with your EPIC/SCARLET camera. For more information on available displays, go to "Displays and Electronic Viewfinders" on page30.

ITEM PART NUMBER

DSMC2 LCD/EVF Adaptor A 720-0037

DSMC2 LCD/EVF Adaptor B 720-0038

DSMC2 LCD/EVF ADAPTOR A

Figure: DSMC2 LCD/EVF Adaptor A

The DSMC2 LCD/EVF Adaptor A makes your existing RED Touch, RED PRO, and RED PRO Touch displays, as well as RED EVFs, fully compatible with the DSMC2 camera system. The DSMC2 LCD/EVF Adaptor A converts the pogo connection on the DSMC2 camera to a 16-Pin 1B LCD/EVF port. The DSMC2 LCD/EVF Adaptor A is designed to attach to the primary (top), or the secondary (side) EVF/LCD port on the DSMC2 camera.

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

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

DSMC2 LCD/EVF ADAPTOR B

Figure: DSMC2 LCD/EVF Adaptor B

The DSMC2 LCD/EVF Adaptor B enables you to use a DSMC2 RED Touch LCD with your existing EPIC or SCARLET camera. The DSMC2 LCD/EVF Adaptor B converts the display signal from a pogo connection to a 16-Pin 1B LCD/EVF port. The DSMC2 LCD/EVF Adaptor B is designed to mount to your EPIC or SCARLET camera using standard 1/4-20 mounting holes.

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

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CAMERA CONTROL MODULES

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

ITEM PART NUMBER

DSMC2 SIDEKICK™ (Forged CF) 720-0041

DSMC2 SIDEKICK (Woven CF) 720-0036

DSMC2 SIDEKICK (Magnesium) 720-0032

DSMC2 Side Handle 720-0050

DSMC2 Top Handle 720-0035

DSMC2 Outrigger Handle 720-0044

DSMC2 Tactical Top Plate 790-0624

DSMC2 Production Top Plate 790-0669

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DSMC2 SIDEKICK

Figure: DSMC2 SIDEKICK (Woven CF)

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

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

NOTE: The DSMC2 SIDEKICK goes into Sleep mode after 10 minutes of inactivity. NOTE: Each DSMC2 SIDEKICK is compatible with all DSMC2 cameras.

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DSMC2 SIDE HANDLE

Figure: DSMC2 Side Handle

Designed for shooters who prefer a compact handheld configuration, the DSMC2 Side Handle offers the most ergonomic handle option—attaching directly to the side of the camera BRAIN.

The DSMC2 Side Handle features a molded rubber grip and puts primary camera controls right at your fingertips. The Focus Control Wheel (front) offers direct control over lens focus, while the Iris Control Wheel (side) supports iris functions. The rotary wheel and D-Pad provide advanced control over menu options directly from the handle. Four (4) customizable camera parameter buttons provide quick access to controls such as exposure, white balance, magnification toggle, and autofocus. Additionally, a stepped encoder offers additional operation customization and lets you incrementally increase or decrease the selected camera parameters.

An intelligent DSMC2 handle wouldn’t be complete without a record button—allowing you to toggle record on/off directly from the handle. On top of an integrated RECORD button, the DSMC2 Side Handle features a MARK FRAME button, empowering you to tag frames while shooting and revisit them later in post production.

NOTE: The DSMC2 Side Handle cannot be used simultaneously with the DSMC2 Outrigger Handle or DSMC2 SIDEKICK.

NOTE: The DSMC2 Side Handle (with original grip) supports a maximum weight of 30 lbs when attached directly to the BRAIN. Damage to the DSMC2 Side Handle or other components of the camera system caused by using a DSMC2 Side Handle to lift a camera system that exceeds 30 lbs is not covered under warranty.

NOTE: You may replace the original grip of the DSMC2 Side Handle with a third-party grip. However, RED does not test third-party grips, and cannot confirm if the third-party device will have the same functionality, quality, or strength as the original grip included by RED in the DSMC2 Side Handle. Damage to the DSMC2 Side Handle or other components of the camera system caused by using third-party accessories is not covered under warranty.

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DSMC2 TOP HANDLE

Figure: DSMC2 Top Handle

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

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

DSMC2 OUTRIGGER HANDLE

Figure: DSMC2 Outrigger Handle

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

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

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DSMC2 TACTICAL TOP PLATE

Figure: DSMC2 Tactical Top Plate

Machined from robust 7075 Aluminum, the DSMC2 Tactical Top Plate mounts to the top of your DSMC2 BRAIN to provide 1/4-20 and 3/8-16 mounting points for RED and third-party accessories. This plate is specifically designed to provide reliable and seamless functionality with existing DSMC2 battery modules, expanders, and accessories.

The DSMC2 Tactical Top Plate provides multiple ways to trigger record start/stop. First, the plate offers a 3-pin POGO connector that allows you to mount a RED “smart” handle, extending the DSMC2 BRAIN’s intelligent handle interface. Second, the plate also offers an unpowered 3-pin Fischer port, boasting the flexibility to interface with compatible third-party start/stop triggers.

Additionally, the DSMC2 Tactical Top Plate extends the DSMC2 BRAIN's top LCD/EVF interface through a 16-Pin 1B LCD/EVF connector. This additional connector allows you to remote mount a RED 16-Pin 1B-based display without the use of a LCD/EVF Adaptor A.

DSMC2 PRODUCTION TOP PLATE

Figure: DSMC2 Production Top Plate

Designed to pair with the DSMC2 REDVOLT Expander and DSMC2 Production Module, the DSMC2 Production Top Plate provides additional 1/4-20 and 3/8-16 mounting points for RED and third-party accessories. The DSMC2 Production Top Plate offers the same I/O as the DSMC2 Tactical Top Plate: a 3-pin POGO connector to mount a RED "smart" handle; an unpowered 3-pin Fischer port for start/stop; and a 16-Pin 1B LCD/EVF connector. The plate is compatible with other RED expanders and modules but may cover the P-Tap connector and Auto Boot on Power switch, or interfere with the use of rear-mounted batteries.

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LENS MOUNTS

RED offers the following lens mounts:

ITEM PART NUMBER

DSMC S35 Mg PL Mount 2.0 725-0024

DSMC S35 Ti PL Mount (Captive) 725-0022

DSMC S35 Al Canon Mount (Captive) 725-0026

DSMC S35 Ti Canon Mount (Captive) 725-0032

DSMC S35 Al Nikon Mount 725-0006

DSMC S35 Ti Nikon Mount 725-0007

DSMC Al Leica M Mount (Captive) 725-0029

DSMC RED MOTION MOUNT S35 Ti PL 725-0012

DSMC RED MOTION MOUNT S35 Ti Canon (Captive) 725-0038

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INTERCHANGEABLE OLPFS

The camera system includes intelligent, interchangeable optical low pass filters (OLPFs). The camera automatically recognizes the OLPF type installed, eliminating the need to configure OLPF settings in the camera menu.

RED offers the following modular DSMC2 S35 interchangeable OLPFs:

ITEM PART NUMBER

DSMC2 S35 Standard OLPF 790-0513

DSMC2 S35 Skin Tone-Highlight OLPF 790-0511

DSMC2 S35 Low Light Optimized OLPF 790-0512

DSMC2 S35 H2O OLPF 790-0547

DSMC2 S35 OLPF REVISIONS AND COMPATIBILITY

DSMC2 S35 OPLFs shipped through October 2016 have curved glare stops at the top and bottom of the OLPF. DSMC2 S35 OLPFs shipped after October 2016 have straight glare stops. The images below show the difference between the original (curved glare stops) and modified (straight glare stops) DSMC2 S35 OLPFs:

Figure: Original DSMC2 S35 OLPF, Curved Glare Stops (Left); and Modified DSMC2 S35 OLPF, Straight Glare Stops (Right)

The modified DSMC2 S35 OLPFs (straight glare stops) are incompatible with the following lenses due to their protruding rear elements:

Leica Super-Elmar-M 18mm f/3.8 ASPH Leica Super-Elmar-M 21mm f/3.4 ASPH

Other lenses that have very long protruding rear elements and require the Leica M Mount may not be fully compatible with the modified DSMC2 S35 OLPFs (straight glare stops).

If your setup requires the lenses listed above, use the earlier revision of the DSMC2 S35 OLPF (the revision with the curved glare stops). If you do not have the earlier revision of the DSMC2 S35 OLPF and need it, submit a Support ticket at https://support.red.com.

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RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

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

CAUTION: Attach accessories, plates, and rails directly to the mounting points on the BRAIN. While the DSMC2 REDVOLT Expander has mounting points for lightweight accessories, other expanders and modules are not designed to support additional weight.

MAXIMUM SUPPORTED WEIGHTS

The table below lists the maximum weight each handle can support in specific configurations. Damage to handles or other components of the camera system caused by using a handle to lift more than the specified weight is not covered under warranty.

ITEM PART

NUMBER

DSMC2 Universal Handle

DSMC2 Production Top Handle

 

790-0523 Attached directly to the camera body 30 lbs

790-0657 One riser attached to a plate; handle

CONFIGURATION MAXIMUM SUPPORTED

WEIGHT

40 lbs

extension attached

Two risers attached to a plate; handle extension attached

80 lbs

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CHAPTER 3:

BASIC OPERATIONS

POWER OPERATIONS

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

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

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

POWER PRIORITY

When multiple power sources are connected to the camera, power consumption is prioritized in this sequence: 1. Any power supply connected to the DC IN port on the expander 2. Any power supply connected to the DC IN port on a rear battery module 3. Rear battery 4. REDVOLT battery in the DSMC2® REDVOLT Expander

POWER CONSUMPTION

The camera draws approximately 3.3 A (50 W) when configured with the DSMC2 Base Expander, DSMC2 RED Touch

7.0" LCD, and RED MINI-MAG® 512GB.

Under typical conditions batteries provide the following operating time:

REDVOLT: Powers the camera and accessories for approximately 30 minutes. REDVOLT-V: Powers the camera and accessories for approximately 35 minutes. REDVOLT XL: Powers the camera and accessories for approximately 90 minutes. RED BRICK: Powers the camera and accessories for approximately 120 minutes.

POWER STATUS

The power status of the current primary power source displays in the Lower Status Row of the graphical user interface

(GUI). Navigate to the Power In menu at Menu > Power > Power In for the status of all connected power sources.

For more information, go to "Power Menu" on page104.

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APPROVED EXTERNAL DC POWER

The DSMC2 cameras accept input voltages of 11.5 V DC to 17 V DC, and can draw a maximum current of 9A. The camera can be powered continuously by connecting one (1) of the following to an attached module or expander:

DSMC AC Power Adaptor RED BRICK Charger: Offers two (2) ways to connect to your camera:

Use a RED ONE DC Power Cable (P/N 790-0060) and a 2B-to-1B Power Adaptor Cable (P/N 790-0138). Use a RED 2B-to-1B Power Cable (P/N 790-0556, 790-0654).

RED BRICK: Requires a DSMC2 V-Lock I/O Expander, Battery Belt Clip (DSMC), or DSMC2 V-Lock Battery Module. Also supported by a RED Quickplate or RED Cradle using a 2B-to-1B Power Adaptor Cable.

REDVOLT-V: Requires a DSMC2 V-Lock I/O Expander, Battery Belt Clip (DSMC), or DSMC2 V-Lock Battery Module. Also supported by a RED Quickplate or RED Cradle using a 2B-to-1B Power Adaptor Cable.

XLR DC power source: Requires an XLR Power Cable.

WARNING: While third-party batteries may be mechanically compatible with the camera system, the manufacturer is

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

TURN ON THE CAMERA

NOTE: If you have just turned off the camera, wait at least three (3) seconds before turning the camera back on.

1. Attach a power source to the camera. 2. Press and release the PWR/REC key on the right side of the camera.

The Power Status LED illuminates amber as the camera turns on. The Power Status LED illuminates green to confirm that the camera is turned on and ready to use.

TURN OFF THE CAMERA

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

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

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

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AUTO BOOT ON POWER

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

When Auto Boot on Power is enabled, the camera disables all power sources that are not the DC IN connector on the expander or module, including batteries and the DC IN connectors on any other modules.

NOTE: The battery plate on the DSMC2 Production Module is always enabled, regardless of the Auto Boot on Power switch position.

Figure: Auto Boot on Power Switch

ENABLE AUTO BOOT ON POWER

1. Toggle the Auto Boot on Power switch to On (identified by a line or a white star). 2. Connect a power source to the DC IN connector.

The camera turns on automatically.

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

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

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

DISABLE AUTO BOOT ON POWER

1. Toggle the Auto Boot on Power switch to Off (identified by a circle or a black star).

The camera will not turn on automatically.

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CONFIGURE YOUR CAMERA

This section describes common options for configuring your camera system.

DSMC2 SIDEKICK: INSTALL/REMOVE

INSTALL THE DSMC2 SIDEKICK

This section applies to the following items:

DSMC2™ SIDEKICK (Forged CF) DSMC2 SIDEKICK (Woven CF) DSMC2 SIDEKICK (Magnesium)

NOTE: Each DSMC2 SIDEKICK is compatible with all DSMC2 cameras. WARNING: Before installing or removing this item, you MUST turn off the camera. REQUIRED TOOL(S): T10 TORX® driver

1. Turn off the camera. 2. Use a T10 TORX driver to remove the four (4) screws on the BRAIN® side plate (if the side plate is installed). 3. Remove the BRAIN side plate (if the side plate is installed). 4. Place the DSMC2 SIDEKICK in the slot where the lip of the BRAIN side plate was installed. 5. Press the DSMC2 SIDEKICK down flush along the side of camera. 6. Tighten the four (4) captive screws in a cross pattern (“X” pattern) using a T10 TORX driver. DO NOT FULLY

TIGHTEN.

7. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T10 TORX driver.

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 SIDEKICK

This section applies to the following items:

DSMC2 SIDEKICK (Forged CF) DSMC2 SIDEKICK (Woven CF) DSMC2 SIDEKICK (Magnesium)

NOTE: Each DSMC2 SIDEKICK is compatible with all DSMC2 cameras. WARNING: Before installing or removing this item, you MUST turn off the camera. REQUIRED TOOL(S): T10 TORX® driver

1. Turn off the camera. 2. Use a T10 TORX driver to loosen the four (4) captive screws attaching the DSMC2 SIDEKICK to the camera. 3. Remove the DSMC2 SIDEKICK from the camera.

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INSTALL THE DSMC2 SIDE HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera. REQUIRED TOOL(S): T10 TORX driver (if a SIDEKICK Cover or DSMC2 SIDEKICK is installed), M2.5 hex key

1. Turn off the camera. 2. If a SIDEKICK Cover or DSMC2 SIDEKICK is installed, remove the device:

A. Use a T10 TORX driver to remove the four (4) screws on the SIDEKICK Cover or DSMC2 SIDEKICK.

B. Remove the SIDEKICK Cover or DSMC2 SIDEKICK. 3. Place the DSMC2 Side Handle in the slot where the lip of the SIDEKICK Cover was installed. 4. Press the DSMC2 Side Handle down flush along the side of camera. 5. Tighten the three (3) captive screws and the thumbscrew (in the lower left corner) using an M2.5 hex key. DO NOT

FULLY TIGHTEN. NOTE: If you are unable to reach the thumbscrew with a hex key, hand-tighten the thumbscrew.

6. Fully tighten the three (3) screws and the thumbscrew using an M2.5 hex key.

WARNING: DO NOT OVERTIGHTEN. NOTE: If you are unable to reach the thumbscrew with a hex key, hand-tighten the thumbscrew.

REMOVE THE DSMC2 SIDE HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera. REQUIRED TOOL(S): M2.5 hex key

1. Turn off the camera. 2. Use an M2.5 hex key to loosen the three (3) captive screws and the thumbscrew (in the lower left corner).

NOTE: If you are unable to reach the thumbscrew with a hex key, loosen the thumbscrew by hand.

3. Remove the DSMC2 Side Handle from the camera.

INSTALL THE DSMC2 SIDE HANDLE GRIP

NOTE: You may replace the original grip of the DSMC2 Side Handle with a third-party grip. However, RED does not

test third-party grips, and cannot confirm if the third-party device will have the same functionality, quality, or strength as the original grip included by RED in the DSMC2 Side Handle. Damage to the DSMC2 Side Handle or other components of the camera system caused by using third-party accessories is not covered under warranty.

REQUIRED TOOL(S): 5 mm hex key 1. Place the original RED grip at the bottom of the DSMC2 Side Handle. 2. Use a 5 mm hex key to install the orignal M6 x 90 mm screw in the bottom of the grip.

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DSMC2 EXPANDER: INSTALL/REMOVE

INSTALL A DSMC2 EXPANDER

This section applies to the following items:

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

WARNING: Before installing or removing this item, you MUST turn off the camera.

WARNING: When installing and removing a DSMC2 REDVOLT Expander, ensure that a REDVOLT battery is NOT

installed in the expander. Damage to the REDVOLT or camera system caused by failing to remove the REDVOLT

during installation/removal is not covered under warranty.

REQUIRED TOOL(S): T20 TORX driver 1. Turn off the camera. 2. Position the expander on the rear of the camera, aligning the connector on the front of the expander with the

connector on the rear of the camera.

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

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

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

WARNING: DO NOT OVERTIGHTEN.

REMOVE A DSMC2 EXPANDER

This section applies to the following items:

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

WARNING: Before installing or removing this item, you MUST turn off the camera.

WARNING: When installing and removing a DSMC2 REDVOLT Expander, ensure that a REDVOLT battery is NOT

installed in the expander. Damage to the REDVOLT or camera system caused by failing to remove the REDVOLT

during installation/removal is not covered under warranty.

REQUIRED TOOL(S): T20 TORX driver 1. Turn off the camera. 2. Loosen the four (4) captive screws in a cross pattern (“X” pattern) using a T20 TORX driver. 3. Remove the expander from the camera.

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DSMC2 POWER MODULES: INSTALL/REMOVE

DSMC2 power module options include:

DSMC2 REDVOLT XL Module DSMC2 V-Lock Battery Module DSMC2 Gold Mount Battery Module DSMC2 Production Module

INSTALL THE DSMC2 POWER MODULE

The DSMC2 power modules mount to the rear of the following items:

BRAIN DSMC2 Base Expander DSMC2 REDVOLT Expander

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): T20 TORX driver

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

the connector on the rear of the camera or expander.

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

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

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

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 POWER MODULE

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): T20 TORX driver

1. Turn off the camera. 2. Loosen the four (4) captive screws in a cross pattern (“X” pattern) using a T20 TORX driver. 3. Remove the module from the camera or expander.

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DSMC2 TOP HANDLE AND DSMC2 OUTRIGGER HANDLE:

INSTALL/REMOVE

INSTALL THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): 3/16" hex key

1. Turn off the camera. 2. Position the DSMC2 Top Handle or DSMC2 Outrigger Handle on top of the camera, aligning the connector on the

bottom of the handle with the connector on top of the camera.

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

TIGHTEN.

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

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): 3/16" hex key

1. Turn off the camera. 2. Loosen the two (2) captive screws using a 3/16" hex key. 3. Remove the DSMC2 Top Handle or DSMC2 Outrigger Handle from the camera.

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INSTALL THE FOCUS HOOK SCREW

The camera comes with a screw stored in the bottom of the media bay, called the focus hook screw. You can install

this screw in the Focus Hook Mounting point (along the sensor plane), and then pull focus from that location. You can

either attach measuring tape directly to the screw, or you can install a hook to the screw, and attach the measuring

tape to the hook.

To install the focus hook screw, follow the instructions below:

REQUIRED TOOL(S): Slotted screwdriver

NOTE: Cameras manufactured before December 2017 include a set screw installed in the Focus Hook Mounting Point.

If your camera has this screw, remove the screw with a 1.5 mm hex key before installing the focus hook screw. 1. Remove the focus hook screw from the Focus Hook Screw Storage Location on the media bay using a slotted

screwdriver.

2. Tighten the focus hook screw into the Focus Hook Mounting Point on the media bay using a slotted screwdriver.

WARNING: DO NOT OVERTIGHTEN.

Figure: Focus Hook Mounting Point

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INTERCHANGEABLE OLPF SYSTEM

WARNING: Read these instructions carefully and in their entirety before removing or installing an OLPF. Damage to

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

WARNING: Once an interchangeable OLPF is removed from the camera, the sensor is exposed. Improper handling of

the OLPF modules or camera during this procedure may compromise the installation or cause irreparable damage to

your camera or sensor.

WARNING: DO NOT allow any dirt or debris to enter the optical cavity.

WARNING: Use only DSMC2 S35 OLPFs. DO NOT other OLPFs.

SWAP AN INTERCHANGEABLE OLPF

REQUIRED TOOL(S): T20 TORX driver

1. Turn off the camera. 2. Remove any cables or accessories that may interfere with operations. 3. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20

TORX driver.

NOTE: Some lens mounts have captive screws that are not removable. NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.

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

much dust and debris as possible.

6. Use a T20 TORX driver to turn the OLPF lock on the camera counter-clockwise by a third turn to the Unlock

position. DO NOT turn the indicator mark past the Unlock icon.

WARNING: DO NOT OVERTIGHTEN. 7. Remove the OLPF module and place it in its protective case. 8. Use an LED light to ensure that the optical cavity is clean and free from dust or debris. 9. Ensure the new OLPF module is clean and free of debris.

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

the front of the camera.

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

11. Use a T20 TORX driver to turn the OLPF lock on the camera clockwise by a third turn to the Lock position. DO

NOT turn the indicator mark past the Lock icon.

WARNING: DO NOT OVERTIGHTEN.

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

12. Replace the lens mount. 13. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a

T20 TORX driver. DO NOT FULLY TIGHTEN.

NOTE: Some lens mounts have captive screws that are not removable.

14. Fully tighten the four (4) lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT

exceed 350 in-oz, or damage may occur.

WARNING: DO NOT OVERTIGHTEN.

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USE A TRIPOD OR MONOPOD

This section describes the camera mounting points and mounting equipment for use with a tripod or monopod. The camera is equipped with two (2) 3/8-16 mounting holes and one (1) 1/4-20 mounting hole on the bottom of the camera. These mounting points are designed for use with a variety of mounting plates and hardware, to support tripods and other support systems.

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

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

Item Part Number

Mounting Plate (DSMC) 790-0094

DSMC Quick Release Platform Pack 790-0183

Quick Release Platform Pack (Bolt-On) 790-0078

Quick Release Platform (Dovetail) 790-0079

Quick Release Platform (Mini) 790-0390

Dovetail Mounting Plate (Long) 790-0083

Dovetail Mounting Plate (Short) 790-0084

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

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VIDEO MONITOR OUTPUTS

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

go to "Input/Output Connectors" on page217. The monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel RGB 4:4:4 video

signal. The signal may be modified using ISO, White Balance, or other RGB color space adjustments. The signal is then scaled and gamma-corrected to provide monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.

The camera offers the following monitor outputs:

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

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

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

VIDEO MONITOR CATEGORIES

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

VIEWFINDER: The Upper Status Row, Live Action Area, and Lower Status Row display. Default output is the EVF/LCD connector located on top of the camera. If an EVF or LCD is not connected, you can transfer the VIEWFINDER output to either the HDMI or 3G-SDI (HD-SDI) output.

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

For more information about changing the video monitor category of your monitor, go to "Monitor Mode" on page90.

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RECORD

Perform one of the following actions to begin recording:

Press PWR/REC on the camera. Press REC on the media bay. Press START/STOP on the DSMC2 Top Handle or DSMC2 Outrigger Handle. Trigger start/stop with a compatible third-party trigger. Double-tap the right 25% on an attached touchscreen display (when enabled).

NOTE: To enable Double-Tap Right 25% to Record, go "Advanced" on page93.

RECORD VIA HD-SDI OR HDMI

NOTE: Audio is not embedded in the MON-1 signal.

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

SIMULTANEOUS RECORD

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

go to "Input/Output Connectors" on page217. NOTE: The secondary LCD/EVF port and an HDMI/MON-1 port cannot be used at the same time. Go to "Monitor

Preferences" on page89.

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

instructions below: 1. Attach a DSMC2 expander or module that has an HD-SDI or HDMI port. 2. Connect the camera to an external recorder with an HD-SDI or HDMI cable. 3. Ensure that a formatted SSD is inserted in the camera. 4. Set up the HD-SDI or HDMI output:

A. Go to Menu > Monitoring > Monitors and select a monitor. B. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).

C. Select the output resolution from the Resolution drop-down menu.

NOTE: The HDMI and HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out

Ports" on page225.

5. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to

"Tools" on page95.

6. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:

A. Go to Menu > Settings > Audio > Mix > Monitor Mix.

B. Adjust the input channels. 7. Go to Menu > Settings > Recording > Mode. 8. Select Local from the Storage drop-down menu. 9. Begin recording.

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EXTERNAL RECORD

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

go to "Input/Output Connectors" on page217. NOTE: The secondary LCD/EVF port and an HDMI/MON-1 port cannot be used at the same time. Go to "Monitor

Preferences" on page89.

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

instructions below: 1. Attach a DSMC2 expander or module that has an HD-SDI or HDMI port. 2. Connect the camera to an external recorder with an HD-SDI or HDMI cable. 3. Ensure the SSD is ejected. 4. Set up the HD-SDI or HDMI output:

A. Go to Menu > Monitoring > Monitors and select a monitor. B. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).

C. Select the output resolution from the Resolution drop-down menu.

NOTE: The HDMI and HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out

Ports" on page225.

5. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to

"Tools" on page95.

6. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:

A. Go to Menu > Settings > Audio > Mix > Monitor Mix.

B. Adjust the input channels. 7. Go to Menu > Settings > Recording > Mode. 8. Select External from the Storage drop-down menu. 9. Begin recording.

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CHAPTER 4:

BASIC MENUS AND CONTROLS

GUI MENU INTRODUCTION

This section describes the structure and layout of the graphical user interface (GUI) that overlays the video monitor signal. Advanced GUI menu controls enable convenient access to menus, overlays, and other critical camera information. Functionality varies based on monitor output type and firmware version. The GUI menu is separated into three (3) main sections:

Figure: GUI Control Menu

# ITEM DESCRIPTION

1 Upper Status Row

(Basic Menu)

2 Live Action Area Live camera recording view, overlays, guides, and more. Go to "Live Action Area" on

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

Easy access to primary camera capture parameters. Go to "Upper Status Row (Basic

Menu)" on the next page.

page63.

meter. Go to "Lower Status Row" on page64.

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UPPER STATUS ROW (BASIC MENU)

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

Figure: Upper Status Row

The Upper Status Row includes the following GUI elements:

# ITEM DESCRIPTION DETAILS

1 Frame Rate (fps) Recording frame rate "Frame Rate" on page116

2 ISO Camera sensitivity "ISO" on page85

3 Aperture Lens aperture (F stop) information "Aperture" on page61

4 Exposure (Shutter) Integration time or shutter angle "Exposure/Shutter" on page117

5 Color Temperature White balance and Tint "White Balance" on page83

6 Resolution Record resolution "Format" on page119

7 REDCODE

8 Menu Access advanced settings "Advanced Menus" on page80

9 Cursor Indicates currently selected Upper Status Row element N/A

REDCODE compression setting "REDCODE" on page62

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ACCESS ADVANCED MENUS

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

For example, select Advanced... in the Frame Rate menu to open Menu > Settings > Project > Frame Rate. For more information about Advanced Menus, go "Advanced Menus" on page80.

Figure: Select "Advanced..." Button

Figure: Advanced Menu

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FEATURE: EDIT LIST

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

Figure: Select "Edit List..." Button

APERTURE

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

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

RED DSMC PL MOUNT INSTALLED

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

DSMC NIKON MOUNT AND CANON MOUNT INSTALLED

The Aperture menu is visible when a DSMC Nikon® Mount, DSMC Canon® Mount, or DSMC RED® MOTION MOUNT S35 Ti Canon (Captive) is installed and a supported lens is attached. This enables you to adjust the aperture of the attached lens.

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

"Lens" on page151.

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REDCODE

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

unable to achieve the target compression ratio, the compression ratio displays in yellow, and the camera uses the next possible compression ratio.

The current compression ratio is automatically recalculated when changes are made to the project resolution, aspect ratio, anamorphic setting, frame rate, HDRX® mode, media, or the target REDCODE compression ratio.

The RECODE compression affects the overall quality of the footage. A lower compression (for example: 2:1) increases the quality of the footage, while a higher compression (for example: 22:1) lowers the quality.

REDCODE range is 2:1 to 22:1. Default is 8:1. For maximum available REDCODE values, see the DSMC Media Operation Guide at www.red.com/downloads.

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LIVE ACTION AREA

The Live Action Area contains the recorded image area, Look Around area, and various overlays. The color of each overlay can be customized to maximize the contrast between the guide(s) and scene being captured.

Figure: Live Action Area

The Live Action Area includes the following GUI elements:

# ITEM DESCRIPTION DETAILS

1 Lens Information Lens information when using supported Canon®,

Nikon®, or Cooke® lenses

2 AF Status Currently selected auto focus mode "Focus Menu" on

3 Center Crosshair and Spot

Focus Guide

4 Frame Guides Record or sensor projection area "Guides" on page101

5 Clip Filename Filename of the clip being recorded, or filename of the

6 Timecode Value Current timecode value "Timecode" on page173

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

Center, Grid Overlay

next clip to be recorded

"Lens Information" on the next page

page136

"Guides" on page101

N/A

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LENS INFORMATION

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

PL LENSES

Displays the focal length and focal distance when a DSMC PL mount is installed and a lens with the Cooke S4/i system (or equivalent) is attached. For more information, go to "Lens" on page151.

CANON AND NIKON LENSES

The camera displays the focal length and focal distance when a DSMC Canon Mount or a DSMC Nikon Mount is installed and an electronically supported lens is attached. When AF is set to Manual or Confirm mode, the focal distance displays as a pair of Near–Far distances. When in AF mode, an estimated focus distance displays. The focal length and focal distance values and range vary depending on the attached lens. When the focal length of the lens changes, the current values displays. For more information, go to "Lens" on page151.

LOWER STATUS ROW

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

Figure: Lower Status Row

# ITEM SUB-ITEM/DESCRIPTION DETAILS

1 Camera Mode Swipe up to toggle Motion/Stills/Playback modes "Camera Mode" on page66

2 Histogram Histogram; tap to open the Tools menu "Histogram" on page68

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# ITEM SUB-ITEM/DESCRIPTION DETAILS

3 Project Status

Indicators

4 Media Status Media location and remaining capacity; file type (R3D and/or

Tap to open the Project Status menu "Project Status" on page155

Camera sensor and core temperature "Sensor Calibration" on page158

Cal: T/E "CAL: T/E Indicator" on page69

HDRX®: Displays when HDRX mode is on "HDRX Menu" on page135

False Color Mode: Displays modes "False Color Modes" on page95

Magnify mode "Display Modes: Magnify" on

Timecode "TC Indicator" on page69

Genlock "GEN Indicator" on page69

Sync "SYNC Indicator" on page69

RM "RM (Remote) Indicator" on

LAN "LAN Indicator" on page70

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

WIFI: Indicates wireless connection "WiFi Indicator" on page70

third-party proxy); tap to open the Media Menu

page97

page69

"Media Menu" on page112

5 Power Status DC voltage or remaining battery capacity; tap to open the

Power menu

6 Audio Meter Audio input and volume; tap to open the Audio menu "Audio Meter (VU Meter)" on

"Power Status" on page70

page169

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CAMERA MODE

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

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

"Motion Mode" below "Stills Mode" on the next page "Playback " on page107

MOTION MODE

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

Motion recording modes:

"Continuous Record" on page123 "Internal Timelapse Timer" on page123 "Frame Trigger" on page124 "Speed Ramp Mode" on page124 "REDCODE Burst" on page125

Swipe-Up Shortcuts

Camera Mode False Color Status Media Power Audio

Default Motion Preset (RED)

NOTE: For more information, go to "Swipe-Up Menu" on page73.

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STILLS MODE

Stills mode optimizes your camera settings for capturing stills. Stills mode includes the following features:

Stills recording modes:

"Multi-Shot" on page126 "Motion + Stills" on page127

Swipe-Up Shortcuts:

False Color Status Media Power Auto Focus Auto Exposure Record Mode

Default Stills Preset (RED)

For more information, go to "Swipe-Up Menu" on page73.

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HISTOGRAM

NOTE: The sharpness setting affects the Histogram, RAW Level Bars, and RAW Clip Meter. For more information, go

to "Output Sharpness" on page93. This section describes the elements that comprise the Histogram section in the Lower Status Row. This section of the

GUI helps ensure that recorded footage is properly exposed. Tap the Histogram in the Lower Status Row to access the Tools menu. For more information, go to "Tools" on

page95.

Figure: Histogram (Exposure)

# ITEM DESCRIPTION

1 RAW Level

Bar (left)

2 RAW Level

Bar (right)

3 RGB

Histogram

4 RAW Clip

Meter

1. The RAW Level Bars represent 1/4 of the total pixels in the image, and illustrate the number of pixels that are noisy or clipped in relation to the

total number of pixels. For example, if the left RAW Level Bar is 1/8 of the total height, that means that approximately 1/32 of the total pixels in the total image are at an exposure level that is at risk of displaying noise when pushed to higher ISO or FLUT® values in post production.

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

(noise)

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

(clipping)

Provides a visual representation of exposure and sensor data levels for red, green, and blue channels; meter is affected by White Balance, ISO, and VIEW/LOOK settings

Also known as “traffic lights”. Provides a visual representation of exposure and sensor data levels for red, green, and blue channels; Circles (traffic lights) will light up when clipping occurs

PROJECT STATUS INDICATORS

This section describes the colors and behavior of the Project Status indicators in the Lower Status Row. Tap the Project Status indicators in the Lower Status Row to access the Project Status menu. For more information, go to

"Project Status" on page155.

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CAL: T/E INDICATOR

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

Green: Sensor temperature or exposure are properly calibrated for current settings. Yellow: Slight change in sensor temperature or exposure. Red: Significant change in sensor temperature or exposure.

The – and + indicate whether the sensor temperature or exposure has decreased or increased, respectively.

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

TC INDICATOR

The TC indicator shows the current timecode status.

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

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page173.

GEN INDICATOR

The GEN indicator shows the current genlock status.

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

and HD-SDI monitor rate is 25.00 fps.

NOTE: When the GEN indicator is yellow, DO NOT perform 3D operation. This warns that genlock source settings and camera settings are not aligned, so phasing of the sync between cameras is not guaranteed.

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page173.

SYNC INDICATOR

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

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

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

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page173.

RM (REMOTE) INDICATOR

The RM indicator displays if the camera is linked to a third-party remote application, such as foolcontrol.

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LAN INDICATOR

NOTE: The GIG-E port is only available on the DSMC2® REDVOLT Expander, DSMC2 Jetpack-SDI Expander, and

DSMC2 Production Module. For more information, go to "Input/Output Connectors" on page217. The LAN indicator shows the current status of an external LAN connection through the Gig-E port.

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

WIFI INDICATOR

The WiFi indicator shows the wireless connectivity status.

Grey: Wireless is disabled. Yellow: Wireless is not connected. Green: Wireless is enabled.

For more information, go to "Wireless Connection" on page144.

POWER STATUS

The Power Status element displays the current supply voltage or remaining battery capacity. Tap the Power Status element to access the Power menu. For more information, go to "Power Menu" on page104.

DC IN SUPPLY VOLTAGE

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

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

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

BATTERY TIME REMAINING

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

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

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

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NAVIGATION CONTROLS

This section describes basic controls for navigating the camera menus.

TOUCHSCREEN NAVIGATION

You can control certain settings and navigate the camera menu using buttons and gestures on the RED Touch displays.

RED TOUCH DISPLAY BUTTONS

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

Figure: DSMC2 RED Touch 7.0" LCD

# RED TOUCH BUTTON DESCRIPTION

1 User Key 1 Magnify: Toggle

2 Up Button Increase display brightness

3 Down Button Decrease display brightness

4 User Key 2 Toggle Exposure Mode on/off

NOTE: RED Touch display keys are programmable. For more information, go to "Key Mapping" on page141.

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RED TOUCH DISPLAY GESTURES

Navigate the menus using a touchscreen by using the following gestures:

Tap: Tap has many functions:

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

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

Menu" on the next page.

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

disabled.

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SWIPE-UP MENU

The Swipe-Up Menu is available in the Lower Status Row on RED Touch displays and provides Swipe-Up Shortcuts for Motion mode, Stills mode, and Playback. For example, select the Camera Mode icon in the Lower Status Bar, swipe up, and select a Camera Mode. For more information about Stills mode and Motion mode, go to "Camera

Mode" on page66.

Figure: Swipe Up Menu

# SWIPE-UP

SHORTCUT

1 Camera Mode Select Playback, Motion, or Stills Motion,Stills

2 False Color Select a false color mode; go to "False Color Modes" on page95 Motion,Stills

3 Status View detailed status information Motion,Stills

4 Media View as Percentage or Time Remaining, eject media, view clip thumbnails Motion,Stills

5 Power View as Percentage, Time Remaining, or Voltage Motion,Stills

6 Audio Select Audio settings Motion

7 Auto Focus Set Zone, Size, and Mode Stills

8 Auto Exposure Set Exp Comp, Speed, Metering, Priority, and Mode Stills

9 Record Mode Select Multi-Shot or Motion + Stills Stills

DESCRIPTION MODE

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NAVIGATION GROUP

Figure: Navigation Group (DSMC2 SIDEKICK™ Pictured)

The Navigation Group is the primary control interface on the DSMC2 SIDEKICK and DSMC2 Side Handle.

# NAVIGATION GROUP ELEMENT DESCRIPTION

1 Scroll Wheel Select and adjust the value of a selected setting

2 ENTER key Press ENTER to confirm a setting or access the selected menu

3 Directional Keys Navigate menus and menu items

Navigate the menus using the following controls:

Press ENTER to open the menu, then rotate the Scroll Wheel clockwise to move right, counterclockwise to move left to highlight the desired menu or parameter. Press ENTER to select.

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

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DSMC2 SIDEKICK

Figure: DSMC2 SIDEKICK

# CONTROL/ITEM DESCRIPTION

1 User Keys (A–D)

2 MENU Button Access menus or exit currently selected menu

3 Navigation Group Navigate menus and menu items; Go to "Navigation Group" on the previous page

4 MODE Button Toggle between Remote and Local Modes

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

NOTE: DSMC2 SIDEKICK keys are programmable. For more information, go to "Key Mapping" on page141.

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

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OPERATION MODES

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

Press MODE to toggle between the following modes:

Remote Mode: Navigate with DSMC2 SIDEKICK controls, using an attached LCD, EVF, or other monitor as a reference. The DSMC2 SIDEKICK displays the primary control screen.

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

KEY LOCK/UNLOCK

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

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

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DSMC2 SIDEKICK DISPLAY

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

Figure: DSMC2 SIDEKICK OLED (Local Mode)

The DSMC2 SIDEKICK displays the following camera parameters:

# ITEM DESCRIPTION

1 Frame Rate Current Recording Frame Rate

2 Lens Information Displays aperture if a supported Canon, Nikon, or Cooke lens is attached

3 White Balance Color temperature

4 REDCODE REDCODE compression setting

5 Media Status Displays media location and remaining media capacity

6 Timecode Current timecode value

7 Power Status DC supply voltage or % of remaining battery capacity

8 Resolution Recording resolution

9 Shutter Speed Integration time or shutter angle

10 ISO Camera sensor sensitivity

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DSMC2 SIDE HANDLE

Figure: DSMC2 Side Handle

# CONTROL/ITEM DESCRIPTION

1 Focus Control Wheel

2 Focus/Record Button Half-press for auto-focus; full press to Start/Stop Record

3 User Key 1 (Mark Frame Button) Mark a frame so that you can easily return to it in playback

4 Rotary Side (Iris Control Wheel)

5 User Keys (A–D) A: Cycle Auto-Focus Mode

6 Thumb Pad Resting area for thumb

7 MENU Button Access menus or exit currently selected menu

8 Navigation Group Navigate menus and menu items; Go to "Navigation Group" on page74

9 Grip Ergonomic molded rubber grip

1. The Focus Control Wheel is NOT programmable; it cannot be mapped to another function. However, it can be disabled. For more information,

go to "Options" on page141.

2. For granular iris control, you can map keys to Iris: Close (Fine Control) and Iris: Open (Fine Control). The Fine Controls open/close the iris in

increments of 0.1 F stops.

NOTE: Some DSMC2 Side Handle keys are programmable. For more information, go to "Default Key Functions" on

page262.

Clockwise (Away from camera): Increase focus distance Counter-Clockwise (Toward camera): Decrease focus distance

Clockwise (Up): Open Iris Counter-Clockwise (Down): Close Iris

B: Auto White Balance C: Toggle: Magnify D: Toggle Exposure Mode

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FOCUS CONTROL WHEEL

The Focus Control Wheel allows you to physically control the focus length directly from the DSMC2 Side Handle. The wheel features 270° rotation, and each physical location on the wheel maps directly to a specific focus length of the lens. The far left point (turning counter-clockwise) maps to the shortest focus distance of the lens, while the far right point (turning clockwise) maps to the farthest focus distance of the lens (or infinity).

When a DSMC2 Side Handle is attached, you can continue to adjust focus via the Lens menu Menu > Settings > Setup > Lens, if preferred.

To control focus via the Focus Control Wheel, follow the instructions below:

1. Install a DSMC Nikon Mount or DSMC Canon Mount with a supported lens. For more information on supported

lenses, go to "Lenses" on page250. 2. Set the lens to Auto. 3. Turn on the camera (if it is not already turned on). The lens initializes and the camera maps each point on the Focus

Control Wheel to a focal length of the lens. 4. Control the focal length by moving the Focus Control Wheel:

Clockwise (Away from camera): Increase focus distance Counter-Clockwise (Toward camera): Decrease focus distance

5. To re-initialize the lens (remap the Focus Control Wheel to the lens focal lengths), go to Menu > Settings > Setup

> Lens and select Lens Init.

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CHAPTER 5:

ADVANCED MENUS

ACCESS THE ADVANCED MENUS

To access the Advanced menus, perform one of the following:

Tap the Menu button on the DSMC2® SIDEKICK™. Tap the Menu icon on the touchscreen. Open any menu in the Upper Status Row, and then select the Advanced... button.

NOTE: Some menus are only available if certain hardware is present.

IMAGE MENU

Figure: Image Menu

The Image menu includes tools that control how the image appears, including Color Space and Gamma Curve.

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IMAGE PIPELINE

To set up the image pipeline, go to Menu > Image > Image Pipeline.

IMAGE PIPELINE MODE OPTIONS

The camera offers two (2) different ways to process your image. Each mode changes which sub-menus are available in the Image menu.

Legacy: In Legacy mode, the camera provides the same color options that firmware v6.3 did. Enables the Color, Gain, Curves, and LGG menus.

IPP2: Image Processing Pipeline 2 (IPP2) is the new image processing pipeline, which is available starting with firmware v6.4. In IPP2, the camera applies REDWideGamutRGB, which is a color space designed to encompass all colors a RED camera can generate without clipping. The camera then encodes the image using Log3G10, a gamma curve that prevents clipping. Using this color space and gamma curve allows you to grade and make color adjustments in post production, instead of in-camera. Selecting IPP2 enables the CDL menu, and hides the Color, Gain, Curves, and LGG menus (since those are used for grading).

LEGACY MODE

To use Legacy mode, follow the instructions below: 1. Go to Menu > Image > Image Pipeline > Options. 2. Select Legacy from the Mode drop-down menu. 3. Select OK.

Figure: Legacy Mode

4. Select a color space from the Color Space drop-down menu. 5. Select a gamma curve from the Gamma Curve drop-down menu. 6. If you want to apply a 3D LUT, go to "3D LUT" on page88.

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IPP2 MODE

To use IPP2 mode, follow the instructions below: 1. Go to Menu > Image > Image Pipeline > Options. 2. Select IPP2 from the Mode drop-down menu. With IPP2, the Color Space and Gamma Curve are always

REDWideGamutRGB and Log3G10, respectively.

3. Select OK.

Figure: IPP2 Mode

4. If you want to apply a 3D LUT, go to "3D LUT" on page88. 5. Select a color space from the Output Color Space drop-down menu. 6. Select a contrast setting from the Output Tone Map drop-down menu. 7. Select a highlight option from the Highlight Roll-Off drop-down menu.

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OUTPUT SUMMARY

The Output Summary menu is an information-only menu that displays what image information is applied to the R3D

files and proxy files. To view the output summary, go to Menu > Image > Image Pipeline > Output Summary.

Figure: Image Menu

R3D FILE METADATA

N/A : Displays if the camera is not set to record R3D files. To enable/disable recording to R3D, go to "Select

Record File Format" on page132.

3D LUT: The name of the 3D LUT applied to the file. If no LUT is applied, the screen displays [NONE]. Output Color Space: Applicable to IPP2 mode only. The name of the output color space selected on the Options

tab.

INTERMEDIATE / PROXY FILE

N/A: Displays if the camera is not set to record Apple® ProRes files or Avid DNxHD/HR files. To enable/disable

recording to these files, go to "Select Record File Format" on page132. Color Space / Gamma Curve: Applicable to Legacy mode only. The color space and gamma curve applied to the

file. Baked-in Settings: Applicable to IPP2 mode only. The image settings that are irreversibly encoded (baked) into

the recorded file. To select these settings, go to "Select Record File Format" on page132.

Codec: The selected codec. To select a codec, go to "Select Record File Format" on page132.

WHITE BALANCE

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

TINT

Color temperature calculations assume a pure light source that may not be true in the specific scene the camera is

imaging. To compensate for any residual colorcast, the Tint parameter adjusts the RGB color balance with a

compensating magenta-green color component. Tint range is –100 to 100, with a default of 0.000.

The Tint value displays as a rounded number in the Upper Status Row.

NOTE: Selecting Auto White Balance calculates a new Tint value. The value does not change if you adjust the color

temperature manually. Selecting a preset resets the Tint to 0.000.

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PRESETS

Each preset has 0.000 Tint. Available preset options are:

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

AUTO WHITE BALANCE

Auto white balance analyzes the central 25% of the image visible in the monitor to calculate a color temperature that

will render a white object as white.

To use auto white balance, follow the instructions below: 1. Place a white or grey object under the ambient light. 2. Go to Menu > Image > White Balance. 3. Select Auto White Balance.

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ISO MENU

To select an ISO setting, go to Menu > Image > ISO.

SENSOR SENSITIVITY

Select a Sensor Sensitivity:

Standard: Use in normal shooting conditions in which you would expose near ISO 800. Provides the best highlight

retention. Low Light: Use in lower light conditions in which you would expose for ISO 2500 and higher. Provides the

cleanest shadow detail. When Low Light is selected, the LL symbol appears next to the ISO rating on both the ISO menu and in the Upper Status Row. For more information, go to "Upper Status Row (Basic Menu)" on page59.

When you switch between Standard and Low Light, the camera applies the correct sensor calibration for the sensor

sensitivity. For more information, go to "Sensor Calibration" on page158.

Figure: ISO Options for Standard (left) and Low Light (right)

ISO

NOTE: To see the full range of ISO ratings, select ISO in the Upper Status Row, select Edit List, and select Custom.

Select the camera ISO rating. The sensitivity value increments in 1/3 stops. When the ISO rating is adjusted, the

camera logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter

images in the monitor path, and vice versa.

RED recommends setting the ISO to the default, then adjusting the aperture, lighting, and ND filters to match. The ISO

can later be adjusted around one (1) stop for fine-tuning.

The camera shows a different default ISO range based on the Sensor Sensitivity option. You can expand this list by

opening ISO from the Upper Status Row and selecting Edit List. For more information, go to "Feature: Edit List" on

page61.

Standard: ISO 250 to 1,600. Default is ISO 800. Low Light: ISO 1,600 to 12,800. Default is ISO 3,200.

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FLUT

NOTE: This feature is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

Floating Point Lookup Table (FLUT) is an exposure control exclusive to RED. FLUT works like a traditional ISO

setting, but can be fine-tuned in post production to any level of exposure precision. FLUT automatically protects

highlights and shadows, even when changed substantially.

The FLUT setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop change in

midtone exposure level. Range is –8.0 to 8.0. Default is 0.0.

SHADOW

NOTE: This feature is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

Shadow adjusts the toe value of the FLUT (the tone near black). Increasing the Shadow value raises the video level of

near blacks. Lowering the Shadow value crushes the video level of near blacks. Range is –2.0 to 2.0. Default is 0.0.

EXPOSURE ADJUST

NOTE: This feature is only available in IPP2 mode. For more information, go to "Image Pipeline" on page81.

Exposure Adjust (called FLUT in firmware v6.3 and earlier) works like a traditional ISO setting, but can be fine-tuned in

post production to any level of exposure precision. Exposure Adjust automatically protects highlights and shadows,

even when changed substantially.

The Exposure Adjust setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop

change in midtone exposure level. Range is –8.0 to 8.0. Default is 0.0.

Figure: Exposure Adjust (Available in IPP2 Mode)

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ISO CALIBRATION

RED cameras with HELIUM®, MONSTRO®, and GEMINI® sensors have an ISO calibration that better matches a light

meter and improves overall exposure quality. RED cameras with HELIUM, MONSTRO, and GEMINI sensors therefore

depict a one stop brighter image compared to prior sensors (when set to an otherwise identical ISO, T-stop, and

shutter speed). ISO 400 now appears as bright as ISO 800 did before, for example.

To match exposure between cameras with HELIUM, MONSTRO, and GEMINI sensors and RED cameras that DO NOT

have those sensors, either reduce your camera’s ISO speed by 1 stop compared to the other camera, or deselect the

Menu > Image > ISO > Use updated ISO calibration check box.

As usual, RED recommends using ISO 800 as a starting point for exposure, then adjusting the T-stop and lighting or

ND filters to match.

CDL

NOTE: This menu is only available in IPP2 mode. For more information, go to "Image Pipeline" on page81.

American Society of Cinematographers Color Decision List (ASC CDL) controls are a standardized, camera-agnostic

way to adjust the look of your images. Color corrections made with a device can therefore be applied or modified by

other devices, even if such devices are from different manufacturers and use different standards.

Use the CDL menu to set up:

Slope Power Offset Saturation

MANAGE CDLS

Use the CDLs menu to apply and import/export CDLs.

CDLs can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting CDLs from

camera to an SSD, the CDLs are saved to a folder on the SSD called “cdls”. When importing CDLs from an SSD to

camera, the CDLs must be stored on the SSD in a folder called “cdls”.

Apply: Apply the selected CDL. Create: Create a new CDL using the current settings. Delete: Delete the selected CDL.

: Export selected CDL from camera to SSD. All: Export all CDLs from camera to SSD. : Import selected CDL from SSD to camera.

All: Import all CDLs from SSD to camera.

COLOR

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

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

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GAIN

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

Adjust the red channel, blue channel, and green channel individually. The range for each is 0.0 (none of the color) to

10.0, and the default for each is 1.0.

CURVES

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

Define the individual curves for the luma, red, green, and blue channels. You can only adjust one (1) curve at a time.

Select Reset Curve to reset a curve.

LGG (LIFT, GAMMA, GAIN)

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

Adjust the lift, gamma, and gain for the red channel, blue channel, and green channel individually.

3D LUT

Use the 3D LUT menu to apply and manage LUTs.

SELECT LUT

If you are recording to a 2K Apple ProRes or 2K Avid DNxHD/HR codec while the camera is in IPP2 mode, you can

chose to irreversibly encode (bake) the 3D LUT into the recorded file. For more information, go to "Select Record File

Format" on page132.

When you apply a 3D LUT to a monitor, the name of the 3D LUT displays in the lower left corner of the Live Action

area for that monitor. The Display Preset feature controls which Color Space / Gamma Curve pairing and/or 3D LUT is

applied to the monitor. For more information, go to "Display Preset" on page90.

NOTE: The 3D LUT indicator is part of the default "Standard (RED)" overlay, which you can override by selecting or

creating a different overlay. For more information, go to "Custom Overlays" on page102.

To apply a 3D LUT, follow the instructions below: 1. Go to Menu > Image > 3D LUT. 2. Select a LUT from the Creative 3D LUT drop-down menu. 3. Select OK.

EXPORT/IMPORT LUTS

To export and import 3D LUTs, go to Menu > Image > 3DLUT > Import/Export.

3D LUTs can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting 3D

LUTs from camera to an SSD, the 3D LUTs are saved to a folder on the SSD called “luts”. When importing 3D LUTs

from an SSD to camera, the 3D LUTs must be stored on the SSD in a folder called “luts”.

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

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MONITORING MENU

The Monitoring menu includes tools that control different monitor outputs, Look Around, and overlays.

MONITORS

To set up monitor preferences, go to Menu > Monitoring > Monitors and select the monitor whose preferences you

want to change. You can set up preferences for each of the following monitors:

LCD Top EVF Top LCD Left EVF Left HDMI® (only available when an HDMI port is connected to the system) HD-SDI (only available when an HD-SDI port is connected to the system) MON-1 (only available with the DSMC2 Production Module) SDI-1/2 (only available with the DSMC2 REDVOLT Expander and DSMC2 Production Module)

To see what monitor preferences are available, go to "Monitor Preferences" below.

MONITOR PREFERENCES

Set up the preferences for the selected monitor. Some options are only available with specific monitors.

NOTE: While some changes take effect immediately, others take effect when you close the menu.

LCD/EVF LEFT / HDMI SELECT

NOTE: This setting is available for the LCD Left, EVF Left, and HDMI.

NOTE: HDMI ports are only available on select DSMC2 expanders. For more information, go to to "Input/Output

Connectors" on page217.

Select to enable either the secondary LCD/EVF port on the camera or the HDMI port on an expander. The secondary

LCD/EVF port and the HDMI port cannot be used at the same time.

LCD/EVF LEFT / MON-1 SELECT

NOTE: This setting is available for LCD Left, EVF Left, and MON-1 when a DSMC2 Production Module is attached.

Select to enable either the secondary LCD/EVF port on the camera or the MON-1 port on the DSMC2 Production

Module. The secondary LCD/EVF port and the MON-1 port cannot be used at the same time.

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MONITOR MODE

Select an option for the Mode setting, which determines the elements displayed on the monitor:

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

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

NOTE: You can set a maximum of four (4) monitors to Overlay at a time. To assign additional monitors to Overlay,

mirror a monitor with the same resolution that is set to Overlay.

NOTE: When two (2) touchscreens are attached to the camera with the same resolution and one (1) is currently the

control surface, set the other to mirror it and give the effect of having two (2) control surfaces.

OVERLAY

Select which overlay shows on top of the video. RED® provides preset overlays, which have “(RED)” in the overlay

name. Create custom overlays in the Overlay tab. For more information, go to "Custom Overlays" on page102.

RESOLUTION

Select the output resolution for monitors (you cannot select a resolution for LCDs and EVFs, since the resolution is

determined automatically). For more information about available HD-SDI and HDMI resolutions, go to "Record/Monitor

Out Ports" on page225.

FREQUENCY

Determines the monitor frequency. Available frequencies depend on the selected monitor. The LCD resolution defaults

to 60.00 Hz, which is the optimal refresh rate for the RED LCDs.

For HD-SDI monitors, the frequency depends on the project time base. For more information, go "Record/Monitor Out

Ports" on page225.

HD-SDI Auto: Sets the frequency equal to the Project Time Base, except when the Project Time Base is 47.95/48 fps.

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

DISPLAY PRESET

Select the Color Space and Gamma Curve combination for the monitor. For more information, go to "Image Pipeline"

on page81.

TOOLS

Enables the false color modes on the monitor. For more information, go to "False Color Modes" on page95.

FLIP VIDEO

NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch

7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

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

footage.

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FRAMED OVERLAY

The video display is scaled down on the monitor so that the overlay items fit outside of the video area rather than over

it. This setting only affects the monitor, and does not affect captured footage.

AUTO HIDE MENUS

Hides the Upper Status Row and Lower Status Row. When this option is disabled, the video is scaled so that the

menus are not overlaid on the video. When this option is enabled, the video is not scaled. This option creates a

control surface on a monitor without scaling the video. This setting only affects the monitor, and does not affect

captured footage.

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

Press the Menu button. Tap the touchscreen.

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

FLIP/MIRROR

NOTE: This setting is ONLY available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch

7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

Mirror and flip (invert) the graphical user interface (GUI) and footage, effectively rotating the entire displayed image

180°. Use this setting when mounting a monitor or the entire camera rig upside down. This setting only affects the

monitor, and does not affect captured footage.

UI FLIP/MIRROR

NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch

7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

Flip the GUI vertically and mirror horizontally (not rotated). Use this setting when mounting a monitor upside down.

This setting only affects the monitor, and does not affect captured footage.

BRIGHTNESS

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

display.

SIDEKICK LCD BRIGHTNESS

To control the brightness of the DSMC2 SIDEKICK, go to Menu > Monitoring > Monitors > SIDEKICK. Move to the

right for a brighter display; move to the left for a dimmer display.

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PRIORITY

The camera can only have one (1) control monitor for interacting with camera settings. The Priority tab determines the

order in which a monitor becomes the control monitor. If you plan on removing or adding monitors during a shoot, set

up the priority list ahead of time.

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

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

EXAMPLE

By default, the monitor priority is: 1. LCD 2. EVF 3. HDMI

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

EVF when an HDMI monitor is attached, the HDMI monitor becomes the control monitor. If you then re-attach the LCD,

then the LCD is the control monitor again.

TEST SIGNAL

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

Chip Chart SMPTE Bars Luma

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

AUDIO TONE

To apply an audio tone, follow the instructions below: 1. Go to Menu > Monitoring > Test Signals. 2. Toggle Tone On/Off.

LOOK AROUND

To enable Look Around, go to Menu > Monitoring > Look Around.

When Look Around is enabled, the Frame Guide and recording area are scaled down on the display so that you can

see what images will enter the recording area.

To assign a Shading overlay to the Look Around area (the area outside of the recording area), go to "Guides" on

page101.

Look Around limits the available frame rates. At high resolutions, the recording area on the display shows the full

sensor area or full sensor height, so there is no extra room for Look Around.

Look Around may affect the recorded file:

R3D: Only the area inside the frame is recorded; the Look Around area is NOT recorded. Apple ProRes: The full image is recorded, including the Look Around area. Avid DNxHD/HR: The full image is recorded, including the Look Around area.

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ADVANCED

Provides access to additional monitor settings.

VIDEO

SMALL DIALOGS ON 9" LCD

The dialogs on the RED Touch 9.0" LCD are smaller than the default dialogs.

ALLOW REDUCED JUDDER PREVIEW

Reduced Judder Preview allows the camera to preview images at a refresh rate that is twice the project time base. For

example, if the project time base is 23.98 FPS or 24.00 FPS, enabling Reduced Judder Preview causes the LCD or

EVF to have a refresh rate of 48 Hz (50 Hz).

You cannot use Reduced Judder Preview when:

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

NOTE: When you disable Reduced Judder Preview mode, the image on the EVF may be disrupted for up to three (3)

seconds.

GLOBAL FLIP/MIRROR

Applies Flip/Mirror to all monitors. For more information, go to "Flip/Mirror" on page91.

DISABLE LCD TEMPERATURE WARNINGS

Disables the “cooling advised” messages for the DSMC2 Touch 7.0" Ultra-Brite LCD. For more information, go to

"Cooling Advised Messages" on page205.

OUTPUT SHARPNESS

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

image.

NOTE: The sharpness setting affects the Histogram, RAW Level Bars, RAW Clip Meter, and false color modes. For

more information, go to "Histogram" on page68 and "False Color Modes" on page95.

NOTE: The camera applies the sharpness setting to recorded proxy files.

AUTO FOCUS PEAKING

When Auto Focus Peaking mode is enabled (either Focus or Edge), the camera automatically goes onto Focus

Peaking mode when you manually adjust the focus via the lens.

Off: The camera does not automatically go into Focus Peaking mode. Focus: The camera automatically goes into Focus Peaking mode when you manually adjust the focus via the lens.

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

Edge: The camera automatically goes into Focus Peaking mode when you manually adjust the focus via the lens. Shows the edges/outlines of objects that are in focus.

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TOUCH

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

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

Modes: Magnify" on page97.

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

lenses are used.

GENLOCK OFFSET

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

Connectors" on page217.

Offset the video of the HD-SDI out to align it with the genlock signal:

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

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OVERLAYS MENU

The Overlays menu includes settings that display on top of the monitor image.

TOOLS

The Tools menu provides access to false color and display modes.

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

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

FALSE COLOR MODES

False color modes include:

"False Color Modes: Off" below "False Color Modes: Exposure" on the next page "False Color Modes: Video" on the next page "False Color Modes: Focus" on the next page "False Color Modes: Edge" on the next page "False Color Modes: Peaking" on page97 "False Color Modes: Gio Scope" on page97

NOTE: Only monitors with the Tools check box selected in the Monitor Control menu show the false colors. For more

information, go to "Tools" on page90.

NOTE: The sharpness setting affects the false color modes. For more information, go to "Output Sharpness" on

page93.

NOTE: False color modes affect video recorded through HDMI® or HD-SDI to an external recorder if the Tools check

box is selected in the Monitor Control menu. When recording through HDMI or HD-SDI, use false color modes only to

help configure project settings, and then disable the mode before recording.

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

3D LUT.

DISPLAY MODES

Display modes include:

"Display Modes: Magnify" on page97 "Display Modes: Log View" on page98 "Display Modes: RAW" on page98 "Display Modes: Horizon" on page98 "Display Modes: Zebras" on page99

FALSE COLOR MODES: OFF

To disable all false color modes, go to Menu > Overlays > Tools > False Color and select Off from the False Color

drop-down menu.

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FALSE COLOR MODES: EXPOSURE

To enable, go to Menu > Overlays > Tools > False Color and select Exposure from the False Color drop-down

menu.

The Exposure tool displays a color overlay on top of a desaturated image that allows you to check for proper

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

The Exposure meter colors indicate the following information:

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

Purple (underexposure) and red (overexposure) are based on RAW data and show areas that are clipping or close to

clipping. The RGB settings DO NOT affect the Exposure indicators.

FALSE COLOR MODES: VIDEO

To enable, go to Menu > Overlays > Tools > False Color and select Video from the False Color drop-down menu.

The Video tool displays a color overlay that indicates the video level of the RGB monitor path (calibrated to the

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

Colors are based on the RGB levels of the video out signal (that is, the “cooked” look, and not RAW data). The RGB

settings affect the Video indicators.

The Video indicators represent the following IRE values (at all other values, the desaturated image represents the

luminance value of the ISO adjusted image):

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

FALSE COLOR MODES: FOCUS

To enable, go to Menu > Overlays > Tools > False Color and select Focus from the False Color drop-down menu.

The Focus tool emphasizes contrast and edges in the image without changing brightness or image content making it

easier to judge focus. Adjust zoom and focus to easily see which objects are coming into focus.

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

FALSE COLOR MODES: EDGE

To enable, go to Menu > Overlays > Tools > False Color and select Edge from the False Color drop-down menu.

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

Row.

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

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FALSE COLOR MODES: PEAKING

To enable, go to Menu > Overlays > Tools > False Color and select Peaking from the False Color drop-down

menu.

The Focus Peaking tool displays a red overlay on top of in-focus edges. Select a Peaking Level of 1 to 10 (weak to

strong). The RGB settings affect the indicators.

The Focus Peaking indicators are applied after the image is scaled to a monitor, so the indicators may look different

on different monitors.

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

FALSE COLOR MODES: GIO SCOPE

To enable, go to Menu > Overlays > Tools > False Color and select Gio Scope from the False Color drop-down

menu.

Displays a color overlay on top of a desaturated image, identifying 16 increments within the dynamic range of the

sensor.

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

data. The RGB settings (color temperature, ISO, LGG, etc.) DO NOT affect the indicators.

Each number indicates a different increment of dynamic range.

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

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

DISPLAY MODES: MAGNIFY

To enable, go to Menu > Overlays > Tools and select Magnify.

The Magnify tool displays the central region of the sensor in 1:1 pixel resolution on an attached monitor. When

enabled, the 1:1 text in the Lower Status Row turns green, and the AF Window and the magnified region display. The

AF Window determines the center point of the magnified region. If the lens or lens mount is not capable of autofocus

with the camera, use Confirm mode to turn on the AF Window. Sharpening is disabled when Magnify mode is

enabled. The camera automatically exits Magnify mode when recording begins.

The Magnify tool magnifies a 1920 x 1020 region, centered on a 1920 x 1080 display. If the resolution is lower than

1920 x 1020, the image border cannot be magnified. Use the following equations to determine the area of the image

border that will not be magnified:

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

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

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DISPLAY MODES: RAW

NOTE: RAW is only available in Legacy mode. For more information, go to "Image Pipeline" on page81.

To enable, go to Menu > Overlays > Tools and select RAW.

When enabled, the camera displays images unaffected by the RGB settings (color temperature, ISO, LGG, etc.). RAW

affects the video recorded via HDMI or HD-SDI to an external recorder. RAW image parameters DO NOT affect image

metadata; the parameters only affect the monitor output.

The RAW image parameters are:

Color Space: DRAGONcolor2 Gamma Space: REDgamma4 White Balance: 5600K ISO: 800 ISO Tint: 0 Tint

NOTE: In RAW mode, the following controls are disabled on all cameras: color temperature, tint, saturation, RGB

gains, ISO, contrast, brightness, shadow, FLUT®, exposure compensation, LGG controls, RGB curves, and luma

curve.

DISPLAY MODES: LOG VIEW

NOTE: Log View is only available in IPP2 mode. For more information, go to "Image Pipeline" on page81.

To enable, go to Menu > Overlays > Tools and select Log View.

When enabled, the camera displays images in REDWideGamutRGB and Log3G10 that are only affected by the ISO,

Exposure Adjust, Color Temperature, and Tint settings. This allows you to quickly see ungraded footage that remains

unaffected by creative decisions such as the choice of 3D LUT or CDL. Log View affects the video recorded via HDMI

or HD-SDI to an external recorder, but does not affect the R3D file itself.

DISPLAY MODES: HORIZON

To enable, go to Menu > Overlays > Tools and select Horizon.

Displays an overlay that provides a reference to the position of the horizon. The Horizon overlay consists of two (2)

short side-bars that are always horizontally centered on the monitor, and a single longer horizon-line that adjusts to the

horizon based on the orientation of the camera.

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

line is green if the roll is within +/– 1° of the calibrated zero position, otherwise it is red.

To add numerical values for the pitch and roll to the Horizon overlay, follow the instructions below: 1. Go to Menu > Overlays > Custom. 2. Select Create..., Clone..., or Edit..., respectively, for the desired overlay action. 3. Select a location on the interface to add the numerical data for the Horizon overlay. 4. Select Motion: Gyro Data (GYRO) from the Item drop-down menu. 5. Select the desired text size. 6. Select Add. 7. Select Save. 8. Apply the custom overlay to a monitor. For more information, go to "Monitor Preferences" on page89.

NOTE: The internal gyroscope and accelerometer must be calibrated for the Horizon overlay to function properly. For

more information, go to "Gyroscope and Accelerometer Calibration" on page153.

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DISPLAY MODES: ZEBRAS

Use Zebra mode to enable and adjust the upper and lower values for two (2) independent zebra indicators. Use Zebra

1 for highlight exposure, and use Zebra 2 for mid-tones or shadows. Zebras are visible in Magnify mode and are

disabled by default.

The camera offers two (2) zebra types:

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

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

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

ENABLE ZEBRA INDICATORS

1. Go to Menu > Overlays > Tools and select Zebras. 2. Select a Zebra:

Zebra 1:

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

is 98 to 100 IRE.

RAW: Areas of the image exposed within the range of stops are highlighted. Default is 15.80 to 16.00 stops.

Zebra 2:

Video: Areas of the image exposed within the IRE range are indicated by green diagonal lines at 45°. Default

is 41 to 48 IRE. RAW: Areas of the image exposed within the range of stops are highlighted. Default is 0.00 to 4.00 stops.

3. If you selected RAW, select how you want the RAW areas to look by setting up the Raw Style options (fill and

color).

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EPIC-W GEMINI OPERATION GUIDE

CAMERA AND LENS STATUS

To set up what camera and lens info displays as part of the overlay, go to Menu > Overlays > Status.

CAMERA STATUS OVERLAYS

EXPOSURE

Shutter Speed: Displays the exposure time in seconds (1/xx sec). When you change the frame rate in this mode,

the shutter speed stays the same, but the shutter angle changes. (Default) Shutter Angle: Displays the exposure as an angle (1° to 360°). When you change the frame rate in this mode, the

shutter angle stays the same, but the shutter speed changes.

POWER

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

VU METER

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

HISTOGRAM

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

MEDIA

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

LENS STATUS OVERLAYS

APERTURE INCREMENTS

1/4 Stop: Aperture increments in 1/4 stops. 1/3 Stop: Aperture increments in 1/3 stops. (Default)

FOCUS DISTANCE

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

MOTION MOUNT ND AND MOTION MOUNT ISO PULL

Only applicable when using a DSMC RED MOTION MOUNT® S35 lens mount. For more information, see the RED

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

Red Digital Cinema Epic W Gemini 7.1 Operation Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

TABLE OF CONTENTS

DISCLAIMER

COPYRIGHT NOTICE

TRADEMARK DISCLAIMER

TRANSLATION DISCLAIMER

COMPLIANCE STATEMENTS

SAFETY INSTRUCTIONS

BATTERY STORAGE AND HANDLING

SHIPPING DISCLAIMER

READ BEFORE YOU SHOOT

R3D FILE FORMAT AND REDCODE

SHOOT FOR VIDEO AND STILLS

POST PRODUCTION

POST PRODUCTION WITH REDCINE-X PRO

HDRX AND MAGIC MOTION

ADDITIONAL RESOURCES

ADDITIONAL RESOURCES

BRAIN

RED MINI-MAG SYSTEM

EXPANDERS

DSMC2 POWER MODULES

RED BATTERIES AND CHARGERS

DISPLAYS AND ELECTRONIC VIEWFINDERS

LCD/EVF ADAPTORS

CAMERA CONTROL MODULES

LENS MOUNTS

INTERCHANGEABLE OLPFS

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

POWER OPERATIONS

CONFIGURE YOUR CAMERA

INTERCHANGEABLE OLPF SYSTEM

USE A TRIPOD OR MONOPOD

VIDEO MONITOR OUTPUTS

RECORD

GUI MENU INTRODUCTION

UPPER STATUS ROW (BASIC MENU)

LIVE ACTION AREA

LOWER STATUS ROW

NAVIGATION CONTROLS

ACCESS THE ADVANCED MENUS

IMAGE MENU

MONITORING MENU

OVERLAYS MENU