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
Note: Not all compression ratios are available at all resolutions and frame rates
Apple ProRes and Avid DNx Formats
DSMC2 Form Factor
Variable number of 3D LUT outputs with DSMC2 expander module
User-programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
- 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