Used RED Digital Cinema DSMC2 BRAIN 15.4MP Camera with GEMINI 5K S35 Sensor PL Mount (228 Hours)

DSMC2 BRAIN
The camera BRAIN is the primary building block of the RED system, housing the image sensor and advanced computing components. A DSMC2 BRAIN is capable of data write speeds of 300 MB/s, can simultaneously record in REDCODE RAW and Apple ProRes or Avid DNxHR/HD and is offered with three sensor options - delivering incredible dynamic range and up to 8K resolution. With features like cable-free peripherals, integrated media bay, wireless control, DSMC2 is the most powerful and intuitive camera to date. It is also compatible with a growing arsenal of modules and accessories - from RED and other Third-Party manufacturers. Tack on interchangeable OLPFs and lens mounts and DSMC2 gives you the ultimate control over your footage.

GEMINI 5K S35
Dual Sensitivity Modes: Standard Mode for well-lit conditions and Low Light Mode for darker environments.

• 15.4 Megapixel Dual Sensitivity CMOS Sensor
• 30.72 x 18mm (Diagonal: 35.61mm)
• 96 fps at 5K Full Format (5120 x 2700)
• 75 fps at 5K Full Height 1.7:1 (5120 x 3000)

Superior Image Quality
DSMC2 combines advanced color science with incredible dynamic range. The result is cinema image quality that breathes life into your footage. Showcase the depths of shadows as well as highlight roll-off to capture otherwise imperceptible details.

Resolution Matters
All RED cameras deliver stunning resolution and image quality - creating clean and organic images that bring your footage to life.

GEMINI Offers Flexibility In Any Situation
In Low Light mode, GEMINI is RED's highest sensitivity sensor to date, with significantly increased performance in low-light situations and improved performance in shadows due to the new design.

Your Workflow. Simplified
Shooting RAW has never been this easy. RED's proprietary REDCODE RAW file format, also referred to simply as R3D, gives you maximum flexibility during post. DSMC2 offers greater creative freedom via its ability to simultaneously record in both R3D and Apple ProRes or Avid DNxHR/HD.

Introduction
The DSMC2 GEMINI features the GEMINI 5K S35 sensor, RED's highest-sensitivity sensor to date. The DSMC2 GEMINI is a powerful, dual sensitivity camera that offers the ability to shoot in either Low Light or Standard modes. The DSMC2 GEMINI 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), 5K Full Format at up to 96 fps or 5K Full Height 1.7:1 at up to 75 fps, the DSMC2 GEMINI delivers high frame rates at an S35 format.

As a member of the DSMC2 camera lineup, the DSMC2 GEMINI 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. The DSMC2 GEMINI 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.

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.

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.

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.

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.

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

• REDCINE-X PRO: RED's proprietary NLE
• Adobe Photoshop: Can open .R3D files
• Adobe Premiere Pro
• Avid Media Composer
• DaVinci Resolve
• Edius Pro
• Final Cut Pro 7
• Final Cut Pro X
• Vegas Pro

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.

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.

Note

1. RED TETHER is included in REDCINE-X PRO build 35 or later
2. RED TETHER requires a GIG-E port, which is available on the DSMC2 REDVOLT Expander

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 (X-track) with an exposure value that reflects the additional stops of highlight protection. These tracks are "motion-conjoined" 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 180deg. (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.