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RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K S35 Sensor (2018 Unified DSMC2 Lineup)

BH #REDSMC2H8K • MFR #710-0304
RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K S35 Sensor (2018 Unified DSMC2 Lineup)
Key Features
  • 8K Super 35mm CMOS Sensor
  • 8192 x 4320 Recording up to 60 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 HELIUM 8K 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. While other RED cameras use sensors larger than Super 35, the HELIUM is unique in that it allows for high-resolution 8K recording while using classic cinema lenses designed for the Super 35 film format. While 8K exhibition is not mainstream, the extra recorded resolution is helpful for VFX artists and future-proofing your productions for a time when 8K is standardized. 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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RED DIGITAL CINEMA DSMC2 BRAIN Overview

  • 1Description
  • 28K HELIUM S35 Sensor
  • 3REDCODE RAW
  • 4Apple ProRes and Avid DNx Formats
  • 5REDCODE Options
  • 6DSMC2 Form Factor
  • 7Color Management
By B&H Photo's

Bundling high-performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K 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. While other RED cameras use sensors larger than Super 35, the HELIUM is unique in that it allows for high-resolution 8K recording while using classic cinema lenses designed for the Super 35 film format. While 8K exhibition is not mainstream, the extra recorded resolution is helpful for VFX artists and future-proofing your productions for a time when 8K is standardized. 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.

8K HELIUM S35 Sensor
At 35.4 megapixels, the HELIUM 8K Monochrome sensor can resolve the finest details in a captured image and render smooth lines and shapes without the aliasing or "stair-stepping" artifacts found in lower-resolution footage. If you need higher frame rates, lower resolutions and wider aspect ratios can yield up to 300 fps. RED measured the HELIUM sensor as having 16.5 stops of dynamic range, able to represent both deep shadows and hot highlights within the same frame.
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 de-bayered video files can be recorded alongside the raw files, no extra time is required for transcoding the proxies. Bring the de-bayered files straight into your NLE and begin editing.
REDCODE Options
  • 5:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps
  • 12:1 REDCODE for 8K Full Format (8192 x 4320) at 60 fps
  • 2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
  • 3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
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
UPC: 085667200734

RED DIGITAL CINEMA DSMC2 BRAIN Specs

Imaging
Lens MountNone
Sensor ResolutionEffective: 35.4 Megapixel (8192 x 4320)
Sensor Type29.9 x 15.77 mm (Super35) CMOS
Image StabilizationNone
Built-In ND FilterNone
Internal Filter HolderYes
Capture TypeStills & Video
Exposure Control
Shutter TypeElectronic Rolling Shutter
Advertised Dynamic Range16.5 Stops
Video Capture
Internal Recording ModesProRes 4444XQ
2048 x 1080 up to 119.88 fps
ProRes 4444
2048 x 1080 up to 119.88 fps
ProRes 422 HQ
4096 x 2160 up to 29.97 fps
2048 x 1080 up to 119.88 fps
ProRes 422
4096 x 2160 up to 29.97 fps
2048 x 1080 up to 119.88 fps
ProRes 422LT
4098 x 2160 up to 29.97 fps
2048 x 1080 up to 119.88 fps
REDCODE RAW
8192 x 4320 up to 59.94 fps [300 Mb/s]
8192 x 3456 up to 75 fps
7168 x 3780 up to 59.94 fps [300 Mb/s]
7168 x 3024 up to 75 fps
6144 x 3240 up to 75 fps [300 Mb/s]
6144 x 2592 up to 100 fps
5120 x 2700 up to 96 fps [300 Mb/s]
5120 x 2160 up to 119.88 fps
4096 x 2160 up to 119.88 fps [300 Mb/s]
4096 x 1728 up to 150 fps
3072 x 1620 up to 150 fps [300 Mb/s]
3072 x 1296 up to 200 fps
2048 x 1080 up to 239.76 fps [300 Mb/s]
2048 x 864 up to 300 fps
Sensor Crop ModesSuper35 / APS-C
Sensor Crop While Recording8K (8192 x 4320) in 2:1 / 2.4:1 / 3:2 / 4:1 / 6:5 / 8:1 / 8:9 / 14:9 / 16:9
8K (8192 x 4320) in 1.25:1 / 1.3:1 / 2:1 When Recording in Anamorphic
7K (7168 x 3780) in 2:1 / 2.4:1 / 4:1 / 6:5 / 8:1 / 8:9 / 16:9
7K (7168 x 3780) in 1.3:1 / 2:1 When Recording in Anamorphic
6K (6144 x 3420) in 2:1 / 2.4:1 / 3:2 / 4:1 / 4:3 / 6:5 / 8:1 / 8:9 / 16:9
6K (6144 x 3420) in 1.25:1 / 1.3:1 / 2:1 When Recording in Anamorphic
5K (5120 x 2700) in 2:1 / 2.4:1 / 4:1 / 6:5 / 8:1 / 8:9 / 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 / 8:9 / 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 / 4:3 / 5:4 / 6:5 / 8:1 / 16:9
2K (2048 x 1080) in 1.3:1 / 2:1 When Recording in Anamorphic
Fast-/Slow-Motion SupportYes
Broadcast OutputNTSC
Built-In Microphone TypeStereo
IP StreamingNone
Still Image Capture
Aspect Ratio4:3, 16:9
Image File FormatJPEG
Interface
Media/Memory Card SlotSingle Slot: RED MINI-MAG
Video I/ONone
Audio I/ONone
Power I/ONone
WirelessNone
Global Positioning (GPS, GLONASS, etc.)None
Viewfinder
TypeOptional, Not Included
Focus
Focus TypeAuto and Manual Focus
Focus ModeAutomatic, Continuous-Servo AF, Manual Focus, Single-Servo AF, Touch AF & Shutter
Environmental
Operating Temperature32 to 104°F / 0 to 40°C
Storage Temperature-4 to 122°F / -20 to 50°C
Operating Humidity0 to 85%
General
Tripod Mounting Thread1/4"-20 Female
3/8"-16 Female
Accessory Mount17 x 1/4"-20 Female
Netflix ApprovedYes
Material of ConstructionAluminum
Dimensions (W x H x D)5.66 x 4.9 x 3.7" / 143.85 x 125.5 x 95 mm
Weight3.4 lb / 1.54 kg
Packaging Info
Package Weight7.5 lb
Box Dimensions (LxWxH)22.75 x 14.25 x 9.25"

RED DIGITAL CINEMA DSMC2 BRAIN Reviews

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