RED DIGITAL CINEMA DSMC2 BRAIN with GEMINI 5K S35 Sensor (2018 Unified DSMC2 Lineup)

BH #REDSMC2G5K • MFR #710-0305
RED DIGITAL CINEMA
RED DIGITAL CINEMA DSMC2 BRAIN with GEMINI 5K S35 Sensor (2018 Unified DSMC2 Lineup)
Key Features
  • 5K Super35 CMOS Sensor
  • 5120 x 3000 Recording up to 75 fps
  • REDCODE RAW, ProRes, and DNx Recording
  • High-Speed Recording up to 300 fps in 2K
Bundling high-performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with GEMINI 5K S35 Sensor is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, to tell your story in almost any way possible. Since the DSMC2 form factor is standard, accessories from RED and other manufacturers can be easily attached to accessorize your camera. Even though the GEMINI sensor has fewer photosites than its HELIUM and MONSTRO brethren, it has a cool trick up its sleeve. Using advanced circuitry designed for the aerospace industry, the GEMINI can switch native sensitivities. Practically speaking, it can operate in both normal and dimly lit scenarios without prematurely blown highlights or excessive noise, respectively. Nearly limitless lens options are available for the DSMC2 system. While this camera requires a separately available lens mount, DSMC lens mounts themselves are offered in different varieties for compatibility with a wide array of lens systems.
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$19,500.00
$813/mo. suggested payments
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RED DIGITAL CINEMA DSMC2 BRAIN Overview

  • 1Description
  • 25K GEMINI S35 Sensor
  • 3REDCODE RAW
  • 4Apple ProRes and Avid DNx Formats
  • 5DSMC2 Form Factor
  • 6Color Management
  • 7REDCODE Options

Bundling high-performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with GEMINI 5K S35 Sensor is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, to tell your story in almost any way possible. Since the DSMC2 form factor is standard, accessories from RED and other manufacturers can be easily attached to accessorize your camera. Even though the GEMINI sensor has fewer photosites than its HELIUM and MONSTRO brethren, it has a cool trick up its sleeve. Using advanced circuitry designed for the aerospace industry, the GEMINI can switch native sensitivities. Practically speaking, it can operate in both normal and dimly lit scenarios without prematurely blown highlights or excessive noise, respectively. Nearly limitless lens options are available for the DSMC2 system. While this camera requires a separately available lens mount, DSMC lens mounts themselves are offered in different varieties for compatibility with a wide array of lens systems.

REDCODE RAW is the format of choice for DSMC2 cameras. RED's versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding, though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media. Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. The DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop. Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.

5K GEMINI S35 Sensor

The GEMINI 5K Super35 sensor features dual sensitivity modes. Use Standard mode for conventional shooting scenarios. Switch to Low Light mode for increased sensitivity, but without the increased noise floor commonly found through signal manipulation.

REDCODE RAW

The cornerstone of RED's workflow is the robust REDCODE RAW file format. Using wavelet compression with ratios ranging from 2:1 to 22:1, REDCODE RAW offers the versatility of raw files without the overwhelming storage requirements of uncompressed image data. Since REDCODE RAW has been around since the days of the RED ONE cinema camera, many common NLE software programs including Adobe Premiere Pro, Blackmagic Design DaVinci Resolve, Apple Final Cut Pro, and Avid Media Composer can import and edit REDCODE RAW footage without transcoding, saving production time in the edit suite. Capture rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher options.

Note: Not all compression ratios are available at all resolutions and frame rates

Apple ProRes and Avid DNx Formats

For projects requiring proxy files or quicker turnaround times than raw files permit, Apple ProRes or Avid DNx formats can be recorded at 4K and 2K resolutions directly to the onboard MINI-MAG media. Since these debayered video files can be recorded alongside the raw files, no extra time is required for transcoding the proxies. Bring the debayered files straight into your NLE and begin editing.

DSMC2 Form Factor

Like the preceding DSMC cameras, RED designed the DSMC2 camera line to be modular to fit a wide range of production workflows. Smaller and lighter than the original DSMC design, when stripped down to the BRAIN itself, you have a high-resolution gimbal workhorse. Likewise, add DSMC2 modules to the rear to gain professional I/O connections and battery power. Many other parts of the DSMC2 design are meant to be interchangeable. Swap out the lens mounts to open up new libraries of lenses. Exchange the included standard OLPF (Optical Low-Pass Filter) for alternative image renderings at the sensor level. Mount an EVF without cables that can get snagged, or use a separately available adapter to attach RED LCDs via LEMO cable. Since the DSMC2 form factor is standardized, any accessories that you have for this DSMC2 body will work with any other DSMC2 body, should you upgrade or acquire an additional body in the future.

Color Management

Supports 33x33x33, 32x32x32, 26x26x26, and 17x17x17 3D LUTs
Variable number of 3D LUT outputs with DSMC2 expander module
User-programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing

REDCODE Options

  • 3:1 REDCODE at 5K Full Height (5120 x 3000) and 24 fps
  • 6:1 REDCODE at 5K Full Height (5120 x 3000) and 60 fps
  • 2:1 REDCODE at 5K Full Format (5120 x 2700) and 24 fps
  • 8:1 REDCODE at 5K Full Format (5120 x 2700) and 96 fps
  • 2:1 REDCODE at 4K Full Format (4096 x 2160) and 24 fps
  • 6:1 REDCODE at 4K Full Format (4096 x 2160) and 120 fps
UPC: 856672007331

RED DIGITAL CINEMA DSMC2 BRAIN Specs

Internal Recording
Raw RecordingREDCODE RAW:
5120 x 3000 at 75 fps (300 MB/s) 
5120 x 2700 at 96 fps (300 MB/s) 
4096 x 2160 at 120 fps (300 MB/s) 
3072 x 1620 at 150 fps (300 Mb/s) 
2048 x 1080 at 240 fps (300 MB/s) 
Recording ModesProRes 4444XQ:
2048 x 1080p up to 120 fps 
ProRes 4444:
2048 x 1080p up to 120 fps 
ProRes 422HQ:
4096 x 2160p up to 29.97 fps 
2048 x 1080p up to 120 fps 
ProRes 422:
4096 x 2160p up to 29.97 fps 
2048 x 1080p up to 120 fps 
ProRes 422LT:
4098 x 2160p up to 29.97 fps 
2048 x 1080p up to 120 fps 
Variable Frame RatesUp to 240 fps
Still Image SupportJPEG
Media/Memory Card SlotSingle Slot: RED MINI-MAG
Video ConnectorsNone
Audio ConnectorsNone
Built-In Microphone TypeStereo
EVF
EVFOptional, Not Included
Power
Power ConnectorsNone
Environmental
Operating Temperature32 to 104°F / 0 to 40°C
Storage Temperature-4 to 122°F / -20 to 50°C
Operating Humidity0 to 85%
Accessory Mount17 x 1/4"-20 Female
Tripod Mounting Thread1/4"-20 Female
3/8"-16 Female
Material of ConstructionAluminum
Dimensions5.66 x 4.94 x 3.74" / 143.85 x 125.5 x 95 mm
Weight3.4 lb / 1.54 kg
Physical
Lens CommunicationYes
Sensor ResolutionEffective: 15.36 Megapixel (5120 x 3000)
Sensor Type30.72 x 18 mm (Super35) CMOS
Sensor Windowing5K (5120 x 3000) in 1.7:1
5K (3600 x 3000) in 6:5
5K (3600 x 3000) in 1.3:1 / 2:1 When Recording in Anamorphic
5K (5120 x 2700) in 2:1 / 2.4:1 / 4:1 / 8:1 / 16:9
5K (5120 x 2700) in 1.3:1 / 2:1 When Recording in Anamorphic
4K (4096 x 2160) in 2:1 / 2.4:1 / 3:2 / 4:1 / 4:3 / 5:4 / 6:5 / 8:1 / 16:9
4K (4096 x 2160) in 1.3:1 / 2:1 When Recording in Anamorphic
3K (3072 x 1620) in 2:1 / 2.4:1 / 3:2 / 4:1 / 4:3 / 5:4 / 6:5 / 8:1 / 16:9
3K (3072 x 1620) in 1.3:1 / 2:1 When Recording in Anamorphic
2K (2048 x 1080) in 2:1 / 2.4:1 / 3:2 / 4:1 / 4:3 / 5:4 / 6:5 / 8:1 / 16:9
2K (2048 x 1080) in 1.3:1 / 2:1 When Recording in Anamorphic
Built-In ND FilterNone
Shutter TypeRolling Shutter
Advertised Dynamic Range16.5 Stops
Packaging Info
Package Weight7.5 lb
Box Dimensions (LxWxH)17 x 15 x 11"
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