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RED DIGITAL CINEMA DSMC2 BRAIN with MONSTRO 8K VV Sensor

$54,500.00
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SKU:
710-0303
Weight:
4.00 LBS
 

Bundling high performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with MONSTRO 8K VV Sensor 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. The MONSTRO 8K full frame sensor boasts up to 17 stops of dynamic range, and can record the full image circle of full-frame 35mm lenses. You can also use Super 35mm lenses with a windowed capture area for high-frame rate recording. Sitting in front of the full-frame sensor is an interchangeable PL mount. This way you can use industry-standard cinema lenses right out of the box, or exchange the mount to use alternative photo and video lenses.

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.

8K MONSTRO VV Sensor
RED's MONSTRO 8K sensor can take advantage of full-frame 35mm lenses, and then some, with its 40.96 x 21.6mm surface area. Despite its size, the MONSTRO can be driven up to 60 fps at full resolution. Higher frame rates, up to 300 fps, can be made available by windowing the sensor to lower resolutions. RED measured the MONSTRO sensor as having 17 stops of dynamic range, able to represent both deep shadows and bright highlights in 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. 

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
Image Sensor
Image Sensor Size 40.96 x 21.6 mm (Vistavision)
Sensor Type CMOS
Sensor Resolution 8192 x 4320 (35.3 MP)
Color Filter Bayer
Shutter Type Rolling Shutter
ISO Not Specified by Manufacturer
Advertised Dynamic Range 17 Stops
Camera
Lens Mount PL Mount
Lens Communication Yes, Cooke /i
Built-In ND Filter None
Built-In Microphone Type Stereo
Recording Media 1 x RED MINI-MAG Card Slot
Internal Recording
Raw Recording REDCODE RAW:
8192 x 4320 at 60 fps 
7168 x 3780 at 60 fps 
6144 x 3240 at 75 fps 
5120 x 2700 at 96 fps 
4096 x 2160 at 120 fps 
3072 x 1620 at 150 fps 
2048 x 1080 at 240 fps 
Recording Modes ProRes 4444XQ: 
2048 x 1080 up to 120 fps 
ProRes 4444: 
2048 x 1080 up to 120 fps 
ProRes 422HQ: 
4096 x 2160 up to 29.97 fps 
2048 x 1080 up to 120 fps 
ProRes 422: 
4096 x 2160 up to 29.97 fps 
2048 x 1080 up to 120 fps 
ProRes 422LT: 
4098 x 2160 up to 29.97 fps 
2048 x 1080 up to 120 fps 
Audio Recording 4-Channel 24-Bit 48 kHz
Interfaces
Video Connectors None
Audio Connectors None
Power
Power Connectors None
Environmental
Operating Temperature 32 to 104°F / 0 to 40°C
Storage Temperature -4 to 122°F / -20 to 50°C
Operating Humidity 0 to 85%
General
Accessory Mount 17 x 1/4"-20 Female Threads
Tripod Mounting Thread 1/4"-20, 3/8"-16
Material of Construction Aluminum Alloy
Dimensions 5.66 x 4.94 x 3.74" / 143.85 x 125.5 x 95 mm
Weight 3.35 lb / 1.52 kg