955-0020 - v6.3 Rev-AA RED PS, EPIC SCARLET Operation Guide

EPIC/SCARLET
OPERATION GUIDE
EPIC | SCARLET
RED DRAGON | MYSTERIUM-X | MONOCHROME | V6.3
RED.COM
EPIC/SCARLET OPERATION GUIDE
TABLE OF CONTENTS
Table of Contents 2 CHAPTER 4: Basic Menus and Controls 53
Disclaimer 4 GUI Menu Introduction 53
Copyright Notice 4 Upper Status Row (Basic Menu) 54
Trademark Disclaimer 4 Live Action Area 58
Translation Disclaimer 4 Lower Status Row 59
Compliance Statements 4 Navigation Controls 65
Safety Instructions 6 CHAPTER 5: Advanced Menus 75
Battery Storage and Handling 8 Advanced Menus Overview 75
Shipping Disclaimer 9 Access the Advanced Menus 75
CHAPTER 1: Product Introduction 10 Settings Menu 76
Read Before You Shoot 11 Media Menu 123
R3D File Format and REDCODE 11 Playback 124
Shoot For Video and Stills 11 Power Menu 128
Post Production 12 HDRX Menu 129
Post Production with REDCINE-X PRO 12 Focus Menu 131
HDRX and MAGIC MOTION 12 Exposure Assist Menu 136
Additional Resources 13 Presets Menu 138
CHAPTER 2: Camera System Components 14 CHAPTER 6: Sensor Calibration 141
Additional Resources 14 Check Noise Profile 141
BRAIN 14 When to Calibrate Sensor 141
Media Modules 16 Calibration Capture (Sensor Calibration) 142
REDMAG and RED MINI-MAG Systems 18 Calibration Map Naming Conventions 143
Adaptor Modules 20 Calibration Management 143
Power Modules 22 Calibration Map Actions 143
RED Batteries and Chargers 23 Export and Import Calibration Maps 144
Other Modules 24 CHAPTER 7: Audio System 145
Displays and Electronic Viewfinders 26 Audio Overview 145
LEMO Adaptors 31 Audio Data Path 145
Camera Control Modules 32 Set Up Audio 146
Lens Mounts 35 Audio Input (Source) Options 146
Interchangeable OLPFs 36 Audio Output Options 148
Rails, Mounts, Tactical Gear, and Cables 36 Control Headphone Volume (BRAIN) 149
CHAPTER 3: Basic Operations 37 Audio Meter (VU Meter) 151
Power Operations 37 Audio During Playback 152
Configure Your Camera 40 CHAPTER 8: REDMOTE System 153
Interchangeable OLPF System 46 REDMOTE Overview 153
Verify Installed OLPF 50 REDMOTE Controls, Connectors, and LEDs 154
Use a Tripod or Monopod 50 REDMOTE Basics 156
Video Monitor Outputs 51 REDMOTE LCD Display Menu 160
Record 51 Upgrade REDMOTE Firmware 161
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CHAPTER 9: Timecode, Genlock, Multi- APPENDIX D: Lens Mounts and Lenses 227
Camera Setup 165
Lens Mounts 227
Timecode 165
Lenses 230
Genlock 167
APPENDIX E: Default Key Functions 241
Master/Slave Operation 170
Default Keys 241
Set Up Stereo/3D Configuration 174
Preset Default Key Functions 245
Camera Array 176
APPENDIX F: Menu Map 246
Set Up Motion Control (MoCo) 178
Compatible Timecode Devices 179
Compatible Genlock Devices 180
CHAPTER 10: Upgrade Camera Firmware 181
Verify Current Camera Firmware 181
Upgrade Camera Firmware 181
CHAPTER 11: Camera System
Maintenance 183
BRAIN and Accessory Exterior Surfaces 183
Clean the Camera Sensor or OLPF 184
Clean EVF Screen 184
Clean LCD Screens 185
Water Damage 186
Adjust Back Focus 186
CHAPTER 12: Troubleshoot Your Camera 187
Perform a Stress Test 187
General Troubleshooting 188
Error Messages 195
APPENDIX A: Technical Specifications 198
EPIC DRAGON Technical Specifications 198
SCARLET DRAGON Technical Specifications200
EPIC MYSTERIUM-X Technical
Specifications 202
SCARLET MYSTERIUM-X Technical
Specifications 204
APPENDIX B: Mechanical Drawings 206
EPIC BRAIN 206
SCARLET BRAIN 212
APPENDIX C: Input/Output Connectors 217
DSMC BRAIN 218
Record/Monitor Out Ports 219
Communication Ports 221
Audio Ports 225
Power Ports 226
SSD Module Connectors 226

DISCLAIMER TRANSLATION DISCLAIMER

RED ® has made every effort to provide clear and accurate This document was originally prepared in English, and any translations
information in this document, which is provided solely for the user’s are provided for convenience only. While reasonable efforts were
information. While thought to be accurate, the information in this made to provide accurate translations, RED will not be held
document is provided strictly “as is” and RED will not be held responsible for any errors, omissions, or ambiguities.
responsible for issues arising from typographical errors or user’s
interpretation of the language used herein that is different from that COMPLIANCE STATEMENTS
intended by RED. All safety and general information is subject to INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS
change as a result of changes in local, federal or other applicable
laws. This device complies with Industry Canada license- exempt RSS
standards RSS 139 and RSS 210. Operation is subject to the following
RED reserves the right to revise this document and make changes two conditions: (1) this device may not cause interference, and (2) this
from time to time in the content hereof without obligation to notify any device must accept any interference, including interference that may
person of such revisions or changes. In no event shall RED, its cause undesired operation of the device.
employees or authorized agents be liable to you for any damages or
losses, direct or indirect, arising from the use of any technical or This Class B digital apparatus complies with Canadian ICES-003.
operational information contained in this document. Le présent appareil est conforme aux CNR d’Industrie Canada
This document was generated on 6/7/2018. To see earlier versions of applicables aux appareils radio exempts de licence. L’exploitation est
this document, submit a Technical Support request at autorisée aux deux conditions suivantes : (1) l’appareil ne doit pas
https://support.red.com. produire de brouillage, et (2) l’utilisateur de l’appareil doit accepter
tout brouillage radioélectrique subi, même si le brouillage est
For comments or questions about content in this document, please susceptible d’en compromettre le fonctionnement.Cet appareil
send a detailed email to OpsGuides@red.com. numérique de la classe B est conforme à la norme NMB- 003 du
Canada.
COPYRIGHT NOTICE
COPYRIGHT© 2018 RED.COM, LLC. FEDERAL COMMUNICATIONS COMMISSION (FCC)
STATEMENTS
All trademarks, trade names, logos, icons, images, written material,
code, and product names used in association with the accompanying This equipment has been tested and found to
product are the copyrights, trademarks, or other intellectual property comply with the limits for a Class B digital
owned and controlled exclusively by RED.COM, LLC. For a device, pursuant to part 15 of the FCC Rules.
comprehensive list, please see www.red.com/trademarks. These limits are designed to provide
reasonable protection against harmful
TRADEMARK DISCLAIMER interference in a residential installation. This
All other company, brand, and product names are trademarks or equipment generates, uses and can radiate
registered trademarks of their respective holders. RED has no radio frequency energy and, if not installed and used in accordance
affiliation to, is not associated with or sponsored by, and has no with the instructions, may cause harmful interference to radio
express rights in third-party trademarks. Adobe and Adobe Premiere communications. However, there is no guarantee that interference will
Pro are registered trademarks of Adobe Systems Incorporated. AJA not occur in a particular installation. If this equipment does cause
is a registered trademark of AJA Video Systems, Inc. Cooke and S4/i harmful interference to radio or television reception, which can be
are registered trademarks of Cooke Optics Limited. DaVinci is a determined by turning the equipment off and on, the user is
registered trademark of Blackmagic Design in the U.S. and other encouraged to try to correct the interference by one or more of the
countries. Distagon, Makro- Planar, and Otus are registered following measures:
trademarks of Carl Zeiss AG. Fujinon is a registered trademark of Reorient or relocate the receiving antenna.
FUJIFILM CORPORATION. HDMI is a registered trademark of HDMI Increase the separation between the equipment and receiver.
Licensing LLC in the United States and other countries. Leica is a
Connect the equipment into an outlet on a circuit different from
registered trademark of Leica Microsystems. Loctite is a registered
that to which the receiver is connected.
trademark of Henkel AG & Company KGaA. Nikkor and Nikon are
registered trademarks of Nikon Corporation. Canon is a registered Consult the dealer or an experienced radio/TV technician for
trademark of Canon, U.S.A. Apple, Macintosh, Final Cut Pro, and help.
QuickTime are registered trademarks of Apple Inc. in the U.S. and
other countries. Windex is a registered trademark of S. C. Johnson & In order to maintain compliance with FCC regulations, shielded cables
Son, Inc. Windows is a registered trademark of Microsoft Corporation. must be used with this equipment. Operation with non- approved
LEMO is a registered trademark of LEMO USA. Sony is a registered equipment or unshielded cables is likely to result in interference to
trademark of Sony Corporation. TORX is a registered trademark of radio and TV reception. The user is cautioned that changes and
Acument Intellectual Properties, LLC in the United States or other modifications made to the equipment without the approval of
countries. IOS is a registered trademark of Cisco in the U.S. and manufacturer could void the users authority to operate this equipment.
other countries. Avid is a registered trademark of Avid Technology, NOTE: This device complies with Part 15 of the FCC Rules.
Inc. DaVinci Resolve is a registered trademark of Blackmagic Design
Operations subjected to the following two conditions (1) this device
in the U.S. and other countries. EDIUS Pro is a registered trademark
may not cause harmful interference, and (2) this device must accept
of Grass Valley. Vegas Pro is a registered trademark of Sony Creative
any interference received, including that may cause undesirable
Software. IDX is a registered trademark of IDX Company, Ltd.
interference.

EUROPEAN UNION COMPLIANCE STATEMENTS
CAUTION: Exposure to Radio Frequency RED declares that the radio

Radiation. equipment described in this
document comply with the
R&TTE Directive (1999/5/EC)
issued by the Commission of
The device shall be used in such a manner that the potential for the European Community.
human contact is minimized.
Compliance with this directive implies conformity to the following
This equipment complies with FCC radiation exposure limits set forth European Norms (in brackets are the equivalent international
for an uncontrolled environment. This equipment should be installed standards).
and operated with a minimum distance of 20 cm between the radiator
EN 60065 (IEC 60065) – Product Safety
and your body.
ETSI EN 300 328 Technical requirement for radio equipment
CAUTION: Regulations of the FCC and FAA ETSI EN 301 489 General EMC requirements for radio
prohibit airborne operation of radio- frequency equipment.
wireless devices because there signals could
interfere with critical aircraft instruments. INFORMATION
Products with the CE marking comply with the EMC Directive
(2004/108/EC) and the Low Voltage Directive (2006/95/EC) issued by
the Commission of the European Community. Compliance with these
CAUTION: If the device is changed or modified
directives implies conformity to the following European Product Family
without permission from RED , the user may void
Standards.
his or her authority to operate the equipment.
EN 55022 (CISPR 22) – Electromagnetic Interference
EN 55024-1 (CISPR 24) – Electromagnetic Immunity
AUSTRALIA AND NEW ZEALAND STATEMENTS EN 61000-3-2 (IEC610000-3-2) – Power Line Harmonics
RED declares that the radio equipment described in this document EN 61000-3-3 (IEC610000) – Power Line Flicker
comply with the following international standards. EN 60065 (IEC60065) – Product Safety
IEC 60065 – Product Safety
WASTE ELECTRICAL AND ELECTRONIC EQUIPMENT (WEEE)
ETSI EN 300 328 – Technical requirement for radio equipment
The Waste Electrical and Electronic
Equipment (WEEE) mark applies only to
RED declares digital devices described in this document comply with
countries within the European Union (EU)
the following Australian and New Zealand standards.
and Norway. This symbol on the product and
AS/NZS CISPR 22 – Electromagnetic Interference accompanying documents means that used
AS/NZS 61000.3.2 – Power Line Harmonics electrical and electronic products should not
AS/NZS 61000.3.3 – Power Line Flicker be mixed with general household waste. For
proper treatment, recovery and recycling,
JAPAN STATEMENTS please take this product to designated
collection points where it will be accepted
This is a Class B product based on the free of charge. Alternatively, in some
standard of the Voluntary Control Council countries you may be able to return your
for Interference (VCCI) for information products to your local retailer upon purchase of an equivalent new
technology equipment. If this equipment is product.
used near a radio or television receiver in a
Disposing of this product correctly will help save valuable resources
domestic environment, it may cause radio
and prevent any potential negative effects on human health and the
interference. Install and use the equipment
environment, which could otherwise arise from inappropriate waste
according to the instruction manual.
handling. Please contact your local authority for further details of your
nearest designated collection point. Penalties may be applicable for
incorrect disposal of this waste, in accordance with you national
legislation.
For business users in the European Union, if you wish to discard
electrical and electronic equipment, please contact your dealer or
supplier for further information.

USAGE RESTRICTIONS FOR PRODUCTS THAT INCORPORATE SAFETY INSTRUCTIONS
RED COMMAND PROTOCOL
DO NOT use the camera or accessories near water. Avoid
exposing your camera to moisture. The unit is not waterproof, so
Products that fall into this category are denoted contact with water could cause permanent damage to the unit as
by inclusion of the Class 2 identifier symbol well as electric shock and serious injury to the user. DO NOT use
(exclamation mark in a circle) accompanying the camera in the rain or under other conditions with high
the CE Mark on the products regulatory label, moisture without appropriate protection, and immediately remove
example to the left. power source if camera or accessories are exposed to moisture.
FRANCE
WARNING: To reduce the risk of fire or electric
Usage Restrictions - Geographic Area Where Restriction Applies :
shock, do not expose the camera to rain or
France
moisture.
For mainland France
2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use
2.400 - 2.454 GHz (Channels 1-10) authorized for outdoor use DO NOT expose the camera to laser beams, as laser beams may
damage the sensor.
Restrictions d’utilisation - Zone géographique où les restrictions DO NOT expose your camera to excessive vibration or impact
s’appliquent : France (shock). Be careful not to drop your camera. Internal mechanisms
may be damaged by severe shock. Mechanical alignment of
Pour la France métropolitaine optical elements may be affected by excessive vibration.
2.400 - 2.4835 GHz (Canaux 1 à 16) autorisé en usage intérieur ELECTROMAGNETIC INTERFERENCE: The use of devices using
2.400 - 2.454 GHz (Canaux 1 à 10) autorisé en usage extérieur radio or other communication waves may result in the malfunction
or interference with the unit and/or with audio and video signals.
NORWAY
Clean only using a dry cloth. When cleaning your camera,
This subsection does not apply for the geographical area within a remember that it is not waterproof and moisture can damage
radius of 20 km from the centre of Ny-Ålesund electronic circuitry. DO NOT rinse or immerse any element of the
Dette gjelder ikke for det geografiske området innenfor en radius av camera, lens or other accessory, keep them dry at all times. DO
20 km fra sentrum av Ny-Ålesund NOT use soaps, detergents, ammonia, alkaline cleaners, and
abrasive cleaning compounds or solvents. These substances may
RESPONSIBLE PARTY damage lens coatings and electronic circuitry.
RED Digital Cinema Maintain sufficient ventilation—DO NOT block any ventilation
34 Parker openings or obstruct cooling fan airflow.
Irvine, CA 92618
CAUTION: Proper camera ventilation requires a
USA minimum 0.5" (1.25 cm) clearance between the
camera ventilation openings and external
surfaces. Verify that objects that can block the fan
intake and exhaust ports do not impede airflow.
Failure to permit adequate airflow may result in
overheating of the camera, degraded operation
and in extreme situations, damage to the camera.

DO NOT operate or store near any heat sources such as
radiators, heat registers, stoves, or any other apparatus that
produce heat. Store in a protected, level and ventilated place. WARNING: DO NOT expose the battery to
Avoid exposure to temperature extremes, damp, severe vibration, excessive heat.
strong magnetic fields, direct sunlight or local heat sources during
storage. Remove any batteries from the camera before storage.
Recommended storage and usage temperatures for your camera,
lenses and other accessories are: WARNING: Danger of explosion if an incorrect
Operating range: 0°C to 40°C (32°F to 104°F) battery is charged with the RED Charger or is
used to power the camera and accessories.
Storage range: –20°C to 50°C (–4°F to 122°F)
Replace only with the same or equivalent type
If there are any performance issues with your camera or battery.
accessories when operating within this temperature range, please
file a support ticket on https://support.red.com. CAUTION: Refer all service and repair to qualified
Modules and lens mounts are NOT HOT SWAPPABLE, meaning RED service personnel. To reduce the risk of
you cannot remove or install these items while the camera is electric shock, and damage to the camera or
turned on. Before installing or removing these items, you MUST accessories, DO NOT attempt to perform any
turn off the camera. Failure to do so may result in damage to the servicing other than any procedures that are
item or camera that is not covered under warranty. recommended in the operating instructions.
DO NOT bypass the third prong of the grounding-type plug on the
power cord of the DSMC AC Power Adaptor. A grounding-type
plug has two blades and a third “grounding” prong. The third
prong is provided for your safety. A grounding-type plug shall be INDOOR USE ONLY: Products marked with this
connected to an outlet with a protective earthen connection. If the symbol are designed for use indoors only.
grounding-type plug does not fit into your outlet, do not attempt to
modify the plug or outlet, consult a qualified electrician.
Protect all power cords from being pinched, walked on or driven
over by a vehicle. Replace any power cords suspected of
sustaining damage due to crushing or other forms physical
damage.
Products marked with this symbol are class 2

devices. These devices are not provided with a
grounding type plug.
CAUTION: The power cord plug for the DSMC

AC Power Adaptor is used as the power
disconnect. To disconnect all power from the
DSMC AC Power Adaptor, unplug the power cord
plug from the wall outlet. During use, the power
cord plug should remain easily accessible at all
times.
Lithium-ion batteries may be subject to special handling

requirements pursuant to federal and local laws. Please refer to
specific shipping instructions included with your battery regarding
proper transport of your battery. Do not handle your battery if it is
damaged or leaking. Disposal of batteries must be in accordance
with local environmental regulations. For example, California law
requires that all rechargeable batteries must be recycled by an
authorized recycle center. Storing batteries fully charged or in
high temperature conditions may permanently reduce the life of
the battery. Available battery capacity may also be temporarily
lessened after storage in low temperature conditions.

BATTERY STORAGE AND HANDLING DO NOT transport or store the battery together with metal objects
such as jewelry, hairpins, etc. as they may generate heat if they
WARNING: Failure to read, understand, and come into contact with the battery.
follow these instructions may result in overheating, DO NOT discard the battery into fire or heat.
chemical leakage, smoke emission, fire, or other DO NOT store, use, or recharge the battery near a heat source
potentially harmful results. such as a fire or a heater.
DO NOT allow the battery to get wet.
Always follow proper battery handling and storage practices. DO NOT pierce the battery with pointed or other sharp objects.
Improper handling and/or failure to abide by proper storage DO NOT step on, throw, or strike the battery with a hammer.
instructions may cause permanent damage to batteries, or
DO NOT use a battery that appears to be deformed or damaged.
degrade battery charge holding capacity. Improper handling
practices or failure to comply with instructions may also put you at DO NOT directly solder the battery.
risk. DO NOT put the battery into a microwave oven or a pressurized
REDVOLT®,
Lithium-Ion batteries, like the REDVOLT-V, container.
REDVOLT XL, and RED BRICK®, self-discharge over time. When DO NOT use or subject the battery to intense sunlight or hot
storing for long periods of time, store batteries separately from the temperatures such as in a car in hot weather.
camera or charger and remember to charge batteries to a DO NOT use it in a location where static electricity may be
capacity level of 40% to 60%. If batteries will be stored for long present.
periods of time, RED recommends that you check the charge DO NOT exceed the recharging temperature range of 0˚C to 40˚C
level at least once every six (6) months, and recharge batteries to (32˚F to 104˚F).
a capacity level of 40% to 60%.
RED recommends that you only use RED chargers to recharge
When not in use, remove the battery from the camera or charger RED batteries.
and store the battery in a cool, dry place. Avoid extreme hot
Store the battery in a location where children cannot reach it.
temperatures (such as inside a hot car), corrosive gas, and direct
sunlight. The optimal storage temperature for batteries is between If the battery leaks or gives off a bad odor, discontinue use
–20°C to 20°C (–4°F to 68°F). immediately.
If the battery gives off an odor, generates heat, becomes
discolored or deformed, or in any way appears abnormal during
WARNING: Batteries stored in a discharged state use, recharging or storage, immediately remove it from the
for long periods of time may self-discharge and equipment or battery charger and discontinue use.
lose the ability to hold a charge. If electrolyte begins leaking from the battery and comes into
contact with your skin or clothing, immediately wash it away with
running water. Failure to do this may result in skin inflammation.
If the battery leaks and the electrolyte reaches the eyes, do not
WARNING: If recharging operation fails to rub them. Instead, rinse the eyes with clean running water and
complete even when a specified recharging time immediately seek medical attention. Failure to do this may result in
has elapsed, immediately stop further recharging. eye injury.
If you find discoloration, a bad odor due to leakage, overheating
and/or other irregularities when using the battery for the first time,
DO NOT store batteries in a fully charged state for extended DO contact your Bomb Squad representative immediately.
NOT store batteries in a fully charged state for extended periods
of time.
DO NOT store batteries in a fully discharged state for extended NOTE: For more information regarding RED
periods of time. battery charging and instructions for care, please
DO NOT store batteries in the camera, in a camera module, or in refer to our Terms and Conditions.
a charger for extended periods of time.
DO NOT use batteries for purposes other than their intended use.
DO NOT store batteries in extreme hot or cold temperatures.
DO NOT store batteries in direct sunlight.
DO NOT use third-party chargers with your RED batteries.
DO NOT disassemble or modify the battery.
DO NOT overcharge batteries. Overcharging may increase
internal temperature beyond the recommended limits and cause
permanent damage to the battery.
DO NOT connect the positive (+) and negative (–) terminals to a
metal object such as a wire.

SHIPPING DISCLAIMER
Shipment of Lithium Ion cells and batteries is subject to national and
international shipping requirements. A Class 9 Certified shipper is
required to transport these products within the United States.
REDVOLT, REDVOLT-V, REDVOLT XL, and RED BRICK batteries are
considered Dangerous Goods. Other products such as REDVOLT AA
and RED Li 7.2V batteries may also be classified as Dangerous Goods
when purchased in bulk. Applicable laws prohibit the shipping of
batteries that are physically damaged. We urge you to look into the
formal rules and regulations of shipping Class 9 Dangerous Goods
prior to preparing your shipment. For more information on these
regulations, please visit www.iata.org and www.dot.gov.
For more information, see our FAQs for Dangerous Goods (Regulated
Items).

CHAPTER 1:
PRODUCT INTRODUCTION
Figure: EPIC Camera and Accessories
The EPIC and SCARLET® cameras are part of the RED® Digital Still and Motion Camera (DSMC®) system. The DSMC
family includes EPIC, SCARLET, WEAPON ® , RED EPIC-W ® , SCARLET-W ® , and RED RAVEN ® cameras. With an
ultra-high megapixel count, high frame rate, significant processing power, high dynamic range, and the advantages of
a raw file format, each camera offers the ability to simultaneously capture video and stills.
This guide is for EPIC and SCARLET only. This section introduces the imaging capabilities and advanced features of
the EPIC and SCARLET system. For information about other cameras, go to RED Downloads at
www.red.com/downloads.
The EPIC and SCARLET system includes the following cameras (organized by sensor type):
SENSOR TYPE CAMERA
RED DRAGON EPIC-M RED DRAGON (Carbon Fiber)

EPIC-M RED DRAGON
EPIC-X RED DRAGON
SCARLET DRAGON®
MYSTERIUM-X EPIC-M MYSTERIUM-X

EPIC-X MYSTERIUM-X
SCARLET-X® MYSTERIUM-X
Monochrome EPIC-M Monochrome

EPIC-X Monochrome
RED DRAGON Monochrome EPIC-M RED DRAGON Monochrome
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READ BEFORE YOU SHOOT

Read this operation guide carefully and in its entirety before assembling or operating your camera or other RED
accessories. In addition to this document, RED offers the following operation guides for the camera system:
DSMC Power Operation Guide
DSMC Media Operation Guide
To download RED operation guides, go to RED Downloads at www.red.com/downloads.
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® or
REDMAG™ 1.8" SSD.
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.
For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.
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. For more information, go to "Looks" on page 139.
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
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.
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. Before shooting, check all compatibility
requirements.
The following programs can be used to open and/or edit R3D files:
REDCINE-X PRO: RED's proprietary NLE. Download REDCINE-X PRO from www.red.com/downloads.
Adobe Photoshop: Can open .R3D files. Requires you to download the RED Adobe Photoshop Installer from
Adobe Premiere Pro: For more information on compatibility, go to the RED Support site at
https://support.red.com.
Avid Media Composer
DaVinci Resolve
Edius Pro
Final Cut Pro 7: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads.
Final Cut Pro X: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads.
Vegas Pro
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.
HDRX AND MAGIC MOTION

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 180° (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.

ADDITIONAL RESOURCES
The following resources offer additional information about RED, the DSMC system, and the RED community:
RED.com: Check the official RED website for the latest information about RED products.
RED Learn Articles: RED offers in-depth technical articles about RED cameras, post-production, and digital
cinematography.
RED Downloads: Go to RED Downloads to download the latest firmware, operation guides, and post-production
software.
DSMC Toolkit: Go to RED Downloads to find the DSMC Toolkit, which offers many helpful tools and resources to
customize and improve your camera workflow.
RED Support: Check the RED SUPPORT site for FAQs, or to file a support ticket.
Bomb Squad Support: For more information, contact your Bomb Squad representative.
In-Camera Help: Select the Help button on an in-camera screen to open up the help for that screen.
REDUSER: Discuss all things RED on the REDUSER third-party forum.

CHAPTER 2:
CAMERA SYSTEM COMPONENTS
NOTE: Modules and lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these items
while the camera is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do
so may result in damage to the item or camera that is not covered under warranty.
NOTE: Availability of components listed in this chapter is subject to change at any time.
ADDITIONAL RESOURCES
For more information on power and media, see the following guides, available at www.red.com/downloads:
DSMC Power Operation Guide
DSMC Media Operation Guide
BRAIN
Figure: EPIC-X RED DRAGON BRAIN
The DSMC BRAIN ® is the image processing center of the camera system and supports power, media, and other
modules.

BRAIN CONTROL: PWR/REC KEY

Fully press and hold the PWR/REC key for two (2) seconds to turn on/off.
When the camera is on, fully press and then release the PWR/REC key to toggle record start/stop.
BRAIN LEDS
This section describes the LED functions for the camera.
LED COLOR/FLASHING DESCRIPTION
Power Status LED (PWR) Off No power present
Green Power present; camera on
Amber flashing Power present; 5 to 10 min of battery time

available
Amber Power present; camera booting
Red flashing Power present; ≤ 5 min of battery time available
Red Power present; camera off
Record Status LED (REC) Off No media present
Green Ready to record
Amber Finalizing
Red flashing (slow) Media mounted with > 5% and ≤ 10% of media
space available
Red flashing (fast) Media mounted with 5% of media space

available
Red Recording
Power Status LED (PWR) and Record Both green flashing Firmware update in progress
Status LED (REC)
Both red flashing Firmware update error
MEDIA BAY CONTROLS

CONTROL DESCRIPTION
User Key 1 Programmable key

User Key 1 + 2 Press: Eject Media
REC Button Programmable key

Full Press: Record Toggle
Half Press: AF Start


MEDIA MODULES
This section describes the media modules. RED® offers the following media modules:
ITEM PART NUMBER
DSMC 1.8" SSD Side Module 720-0013
DSMC 1.8" SSD Side Module (DRAGON)1 N/A
Carbon Fiber DSMC 1.8" SSD Side Module (DRAGON)2 N/A
RED MINI-MAG® Side SSD Module 720-0021
Carbon Fiber RED MINI-MAG Side SSD Module2 N/A
Rear SSD Module 720-0009
1. The DSMC 1.8" SSD Side Module (DRAGON) is only available with the purchase of a RED DRAGON sensor-based BRAIN.
2. Carbon fiber side SSD modules are only available with the purchase of a carbon fiber BRAIN.
SIDE SSD MODULES
Figure: DSMC Side SSD Module
Media modules attach to the camera to enable the use of RED MINI-MAG or REDMAG™ 1.8" SSD media. Both side
SSD module systems have the same EVF/LCD LEMO® connector, user keys, and REC button.
SIDE SSD MODULE CONNECTOR

CONNECTOR CONNECTOR TYPE CONNECTOR FUNCTION
EVF/LCD N/A Power and external monitoring support for an electronic viewfinder or display

SIDE SSD MODULE CONTROLS

CONTROL DESCRIPTION

REC Button Programmable key

Full Press: Record Toggle
Half Press: AF Start

SIDE SSD LED

LED COLOR/FLASHING DESCRIPTION
Record Status LED1 Off Not recording, or media not mounted
Red Recording
1. For more information on how to enable/disable this LED, go to "Indicator" on page 110.
REAR SSD MODULE
Figure: Rear SSD Module
The Rear SSD Module secures to the back of a Module Adaptor or a +1 Adaptor Module to serve as a rear location
for recording to a REDMAG 1.8" SSD.

REDMAG AND RED MINI-MAG SYSTEMS
Figure: RED MINI-MAG (120GB)
NOTE: For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.
REDMAG 1.8" SSDs and RED MINI-MAG® SSDs deliver fast and reliable recording options for your camera. A RED
STATION® enables you to connect media to your computer for offloading and editing.
RED MINI-MAG SSDS

RED offers the following RED MINI-MAG SSDs:
ITEM PART NUMBER REQUIRED FIRMWARE
RED MINI-MAG (120GB) 750-0075 For v5: v5.3.47 or later

For v6: v6.0.40 or later
RED MINI-MAG (240GB) 750-0082 v5.1.47 or later
RED MINI-MAG (512GB) V41 750-0078 v5.1.34 or later
RED MINI-MAG (512GB) V51 750-0078 For v6.2: v6.2.60 or later

For v6.3: v6.3.17 or later
RED MINI-MAG (512GB) V61 750-0078 For v6.2: v6.2.63 or later

For v6.3: v6.3.27 or later
RED MINI-MAG (1TB)2 750-0081 v5.3.34 or later
1. To see the Model number, go to Menu > Media > Device.
2. The RED MINI-MAG 1TB can take up to 20 seconds to mount to a computer or a camera.

REDMAG 1.8" SSDS

RED offers the following REDMAG 1.8" SSDs and compatible RED STATIONS:
ITEM PART NUMBER
REDMAG 1.8" SSD (48GB) 750-0044
REDMAG 1.8" SSD (64GB) 750-0025
REDMAG 1.8" SSD (128GB)1 750-0021
REDMAG 1.8" SSD (240GB)2 750-0061
REDMAG 1.8" SSD (256GB)1 750-0026
REDMAG 1.8" SSD (512GB)1 750-0037
RED STATION REDMAG 1.8" 750-0006
RED STATION REDMAG 1.8" (MINI)–ESATA 750-0035
RED STATION REDMAG 1.8" (MINI)–USB 3.0 750-0036
RED STATION REDMAG 2.5" 750-0007
1. These REDMAG 1.8" SSDs are no longer available for purchase at red.com, but are still supported by RED.
2. The REDMAG 1.8" SSD (240GB) requires that your camera is on firmware v5.1.44 or later.

ADAPTOR MODULES
Figure: Module Adaptor (left) and +1 Adaptor Module (Right)
Adaptor modules enable you to connect other modules to the camera for expandable functionality. The +1 Adaptor
Module provides an auxiliary power port for accessories and an additional EVF/LCD port for additional monitor
viewing and output.
Both adaptor modules also offer additional 1/4-20 mounting points on top for configuration support. Most modules
require a Module Adaptor or +1 Adaptor Module to attach to your camera.
For more information, go to "Configure Your Camera" on page 40.
WARNING: The Module Adaptor is NOT compatible with the +1 Adaptor Module.
WARNING: The +1 Adaptor Module IS NOT compatible with the Module Adaptor.
WARNING: DO NOT use the EVF/LCD port if a Pro I/O Module is connected to the camera.
RED offers the following adaptor modules:
ITEM PART NUMBER
Module Adaptor 720-0008
+1 Adaptor Module1 720-0018
1. The +1 Adaptor Module requires that your camera is on firmware v4.08 or later.

+1 ADAPTOR MODULE CONNECTIONS
Figure: +1 Adaptor Module
# CONNECTOR CONNECTOR CONNECTOR FUNCTION

TYPE
1 Mounting 1/4-20 Supports bolt-on auxiliary equipment

mounting
2 EVF/LCD N/A Custom digital video and power interconnection between the camera and RED
EVF or RED LCD; Pinout not published
3 Auxiliary 4-pin 0B Supplies unregulated (+) 11.5 to 17 V battery pass-through; Connect to 2-pin
power out LEMO LEMO accessories with the RED 4-Pin to 2-Pin Adaptor Cable; Max sustained
(PWR) current is 2 A
4 REDMOTE® 8-point POGO Power and support for the REDMOTE

dock connector
connector
5 Dock SEARAY Supports power and communication with modules

connector connector
WARNING: DO NOT use the EVF/LCD port on the +1 Adaptor Module if a Pro I/O Module is connected to the camera.
The Pro I/O Module overrides the EVF/LCD and AUX power out ports when connected.
NOTE: The default auxiliary power output setting is on. To toggle the power setting on/off, go to Menu > Power >
Power Out > +1 PWR. The last power output setting is saved until a firmware upgrade or a factory reset.

+1 ADAPTOR MODULE ACCESSORIES

For more information, as well as a full list of EVF/LCD cables and other accessory cables, go to the RED Store at
www.red.com.
ACCESSORY CONNECTOR TYPE CONNECTOR FUNCTION PART

NUMBER
4-Pin To 2-Pin 4-pin 0B to 2-pin 0B Power support for 2-pin based accessories 790-0334
Adaptor Cable1 LEMO
Micro HDMI-to-HDMI Micro HDMI to HDMI video connection from the camera to support N/A
Adaptor2 Standard HDMI auxiliary EVF/LCD attachment
1. The 4-Pin to 2-Pin Adaptor Cable converts 4-pin power into a 2-pin female LEMO connection, enabling support for 2-pin based accessories
from the +1 Adaptor Module or Pro I/O Module.
2. The Micro HDMI-to-HDMI Adaptor is field-replaceable.
POWER MODULES
Power modules attach to a Module Adaptor or +1 Adaptor Module to provide the camera with flexible power options
for REDVOLT ® , REDVOLT-V, REDVOLT XL, and RED BRICK ® batteries. When used in combination with a DSMC AC
Power Adaptor or DSMC Side Handle, you can hot-swap batteries without interrupting recording.
RED offers the following power modules:
ITEM PART NUMBER
Pro Battery Module (Dual) 720-0005
Pro Battery Module (Quad) 720-0006
REDVOLT XL Module1 740-0031
Quickplate Module 790-0343
Backpack Quickplate (Short) 790-0342
RED Quickplate 790-0008
1. The REDVOLT XL Module requires that your camera is on firmware v5.1.29 or later.
For more information, see the DSMC Power Operation Guide, available at www.red.com/downloads.

RED BATTERIES AND CHARGERS
Figure: REDVOLT XL (left) and REDVOLT (right)
The REDVOLT, REDVOLT-V, REDVOLT XL, and RED BRICK are lightweight, rechargeable lithium-ion battery cells that
provide sustained power to the camera. These batteries provide long-term mobile power and attach to the camera via
a power module or other RED accessory. RED chargers replenish lost capacity for REDVOLT, REDVOLT-V, REDVOLT
XL, and RED BRICK batteries.
RED offers the following batteries and chargers:
ITEM PART NUMBER
REDVOLT 740-0020
REDVOLT-V 740-0043
REDVOLT XL 740-0021
RED BRICK 740-0002
REDVOLT Travel Charger 790-0134
REDVOLT Charger (Quad) 740-0015
RED CHARGER 740-0006

OTHER MODULES
This section describes other modules. RED offers the following miscellaneous modules:
ITEM PART NUMBER
Pro I/O Module 720-0004
REDCAST Module1 720-0025
1. The REDCAST Module requires that your camera is on firmware v5.2.28 or later.
PRO I/O MODULE
Figure: Pro I/O Module
The Pro I/O Module brings together the essential input and output (I/O) connections in one (1) module, providing a
central hub for professional audio and video components. The Pro I/O Module offers the following features:
Centralized ports that make it easy to manage connections and cables.
LCD/EVF port that allows you to connect an additional RED LCD or EVF.
Customizable triggers that interface with third-party GPIO and RS232 control devices using Pro I/O cables.
Mounting points for an additional module or a REDMOTE.
Internal cooling system that maintains an appropriate operating temperature.
For more information, see the Pro I/O Module Operation Guide, available at www.red.com/downloads.

REDCAST MODULE
Figure: REDCAST Module
The REDCAST ® Module allows for live 4K streaming, enabling you to capture and view action in real- time.
Compatible with both EPIC DRAGON and SCARLET DRAGON cameras, the REDCAST Module uses four (4) 3G-SDI
output connections to broadcast 4K video at up to 60 frames per second. Five (5) 1/4-20 mounting holes are built into
the top of the module, allowing for various mechanical peripherals to be attached.
For more information, see the REDCAST Module Operation Guide, available at www.red.com/downloads.

DISPLAYS AND ELECTRONIC VIEWFINDERS

RED offers the following displays and electronic viewfinders (EVFs):
NOTE: RED offers multiple mounting solutions for each camera type.
ITEM RESOLUTION TILT1 SWIVEL1 PART NUMBER
DSMC2 RED Touch 7.0" LCD (Woven CF)2 1920 x 1136 Total: 180° Total: 360° 730-0018
Forward: 90° CW: 180°
Backward: 90° CCW: 180°
DSMC2 RED Touch 7.0" LCD (Aluminum)2 1920 x 1136 Total: 180° Total: 360° 730-0024
DSMC2 RED Touch 4.7" LCD2 1280 x 720 Total: 240° No swivel 730-0019
Forward: 90°
Backward: 150°
RED Touch 5.0" LCD3 800 x 400 Total: 270° Total: 360° 730-0008
RED Touch 7.0" LCD3, 4 1920 x 1136 Total: 180° Total: 360° 730-0007
RED Touch 9.0" LCD3 1280 x 768 Total: 270° Total: 360° 730-0011
RED Pro LCD 7"3 1024 x 600 No tilt No swivel 730-0009
RED Pro Touch 7.0" LCD3 1920 × 1136 No tilt No swivel 730-0025
DSMC2 RED EVF (OLED)3 1920 x 1080 N/A N/A 730-0021
BOMB EVF® (LCOS)3 1280 x 784 N/A N/A 730-0004
BOMB EVF (OLED)3 1280 x 1024 N/A N/A 730-0010
1. Approximate measurements.

2. Using this display with an EPIC or SCARLET camera requires a DSMC2 LEMO Adaptor B.
3. Using this display with a DSMC2 camera requires a DSMC2 LEMO Adaptor A or DSMC2 Tactical Top Plate.
4. The RED Touch 7.0" LCD requires that your camera is on firmware v5.2.38 or later.
For a full list of LCD and EVF user keys and default actions, go to "Default Key Functions" on page 241.

RED LCDS
Figure: RED Touch 7.0" LCD
RED displays provide important camera parameters on the graphical user interface (GUI) and offer a variety of monitor
viewing options. RED touchscreen displays enable you to use gestures to navigate menus and adjust camera
parameters. RED displays feature 8-bit RGB, 4:4:4 progressive scan, providing up to 16.7 million colors and up to
70% NTSC color gamut.
LCD PRECAUTIONS
WARNING: DO NOT use a RED display as a handle to lift or carry the camera. Damage to a RED display or other
components of the camera system caused by using the display as a handle are not covered under warranty.
WARNING: DO NOT use the threaded holes in the RED Touch LCD base to mount the display to the camera. Damage
to a RED display or other components of the camera system caused by using these threaded holes is not covered
under warranty.
WARNING: DO NOT try to turn an LCD past its tilt or swivel range. Damage to a RED display or other camera
components caused by excessive force is not covered under warranty. For more information on the tilt and swivel
range for each display, go to "Displays and Electronic Viewfinders" on the previous page.

BOMB EVFS
Figure: BOMB EVF (OLED)
The BOMB EVF (LCOS) and BOMB EVF (OLED) deliver specialized viewing solutions for the camera. The BOMB EVF
(LCOS) is a high-definition, lightweight, and low-profile viewfinder. The BOMB EVF (OLED) uses OLED technology,
providing deeper blacks and more color accurate images.
ITEM CONTRAST RATIO DIOPTER RANGE
BOMB EVF (LCOS)1 1000:1 typical 2.0 to –5.0.1
BOMB EVF (OLED)1 >10,000:1 typical 2.0 to –5.0.1
1. Using these displays with a DSMC2 camera requires a DSMC2 LEMO Adaptor A.
WARNING: DO NOT point the BOMB EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct sunlight
may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the BOMB EVF (OLED)
caused by continued exposure to direct sunlight is not covered under warranty.
BOMB EVF FEATURES

# FEATURE DESCRIPTION
1 EVF Custom digital video and power interconnection between the camera and RED EVF; Pinout not
Connector published
2 EVF Tally When enabled, the LED illuminates red when recording; For more information, go to "Indicator" on
LED page 110
3 Key 1 Programmable key

Magnify: Toggle

Exposure Check: Toggle
5 Eyepiece The integrated eyepiece heater automatically heats the eyepiece when the EVF detects a low
Heater ambient temperature

DSMC2 RED EVF

The DSMC2 RED EVF (OLED) is a high definition electronic viewfinder designed as the ideal single-viewer monitoring
solution. Featuring the latest OLED technology, this EVF provides an unmatched personal viewing experience with a
1080p OLED micro-display, and improved color accuracy with 30-bit RGB color represenation. View and monitor your
RED footage as it is intended with truer colors and deeper blacks in a larger field of view.
RED offers multiple mounting solutions for each camera type.
WARNING: DO NOT point the DSMC2 RED EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct
sunlight may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the DSMC2 RED
EVF (OLED) caused by continued exposure to direct sunlight is not covered under warranty.
NOTE: DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to allow rotation even
when the tension ring is fully engaged.

DSMC2 RED EVF FEATURES
Figure: DSMC2 RED EVF
# FEATURE DESCRIPTION
1 DSMC2 RED EVF The DSMC2 RED EVF Mount.

Mount DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to
allow rotation even when the tension ring is fully engaged.
2 EVF Connector1 Custom digital video and power interconnection between the EVF and other RED devices;
Pinout not published; compatible with standard RED EVF/LCD LEMO cables.

Magnify: Toggle

Exposure Check: Toggle
5 Mounting Point Mounting point for the DSMC2 RED EVF Mounting Plate
6 DSMC2 RED EVF Fully coated with a > 32° field of view
Modular Optical
Block
1. Not visible. Shown with the DSMC2 RED EVF Mount attached.

LEMO ADAPTORS
This section describes the DSMC2 LEMO Adaptor A and the DSMC2 LEMO Adaptor B. These adaptors enable you to
use EPIC/SCARLET displays with your DSMC2 camera and use DSMC2 displays with your EPIC/SCARLET camera.
For more information on available displays, go to "Displays and Electronic Viewfinders" on page 26.
ITEM PART NUMBER
DSMC2 LEMO Adaptor A 720-0037
DSMC2 LEMO Adaptor B 720-0038
LEMO ADAPTOR A
Figure: DSMC2 LEMO Adaptor A
The DSMC2 LEMO Adaptor A makes your existing RED Touch, RED PRO, and RED PRO Touch displays, as well as
RED EVFs, fully compatible with the DSMC2 camera system. The DSMC2 LEMO Adaptor A converts the pogo
connection on the DSMC2 camera to a legacy EVF/LCD LEMO port. The DSMC2 LEMO Adaptor A is designed to
attach to the primary (top), or the secondary (side) EVF/LCD port on the DSMC2 camera.
When used along with the DSMC2 LEMO Adaptor B, this adaptor enables you to mount a DSMC2 RED Touch LCD
away from the camera—to a NOGA arm or other stable mounting point.
The DSMC2 LEMO Adaptor A is compatible with the BOMB EVF, (LCOS) and (OLED) models, or later.
LEMO ADAPTOR B
Figure: DSMC2 LEMO Adaptor B
The DSMC2 LEMO Adaptor B enables you to use a DSMC2 RED Touch LCD with your existing EPIC or SCARLET
camera. The DSMC2 LEMO Adaptor B converts the display signal from a pogo connection to a legacy EVF/LCD
LEMO port. The DSMC2 LEMO Adaptor B is designed to mount to your EPIC or SCARLET camera using standard
1/4-20 mounting holes.
When used along with the DSMC2 LEMO Adaptor A, this adaptor enables you to mount a DSMC2 RED Touch LCD
away from the camera—to a NOGA arm or other stable mounting point.

CAMERA CONTROL MODULES

This section describes the camera control modules. These devices provide a wide array of programmable buttons,
controls, and other features to interact with the camera. RED offers the following controls:
ITEM PART NUMBER
DSMC Side Handle 720-0012
RED Switchblade-M1 720-0026
REDMOTE 770-0006
R.C.P.™ Bridge (R.C.P. Development Kit) 720-0028
1. The RED Switchblade-M requires that your camera is on firmware v5.2.28 or later. Full functionality requires firmware v5.3 or later.
2. The R.C.P. Bridge requires that your camera is on firmware v5.2.28 or later.
DSMC SIDE HANDLE
Figure: DSMC Side Handle
The DSMC Side Handle provides programmable menu controls and a battery compartment that holds one (1)
REDVOLT battery. The DSMC Side Handle LCD display shows camera parameter values and illuminates for operation
in dark environments. When a REDVOLT is installed in the DSMC Side Handle, batteries connected to other power
modules may be hot-swapped, providing uninterrupted operation.
For a full list of DSMC Side Handle user keys and default actions, go to "Default Key Functions" on page 241.

RED SWITCHBLADE-M
Figure: RED Switchblade-M
The RED Switchblade-M is a low-profile and lightweight interface solution that mounts to the side of the camera. With
a 1.7” OLED display and full navigation controls, the RED Switchblade-M grants full access to menus while optimizing
the size and weight of your camera configuration.
For a full list of RED Switchblade-M user keys and default actions, go to "Default Key Functions" on page 241.
NOTE: The RED Switchblade-M requires camera firmware v5.2.28 or later. Full functionality requires camera firmware
v5.3 or later.

REDMOTE
Figure: REDMOTE
The REDMOTE is a remote camera control unit that attaches to the rear of the camera or rearmost expansion module.
The REDMOTE may be detached from the camera or rearmost module and provides wireless remote control of the
camera over the proprietary RED Command Protocol (R.C.P).
For a full list of REDMOTE user keys and default actions, go to "Default Key Functions" on page 241.
For more information, go to "REDMOTE System" on page 153.
IMPORTANT: To operate properly, upgrade both REDMOTE and camera firmware to the most recent version.
R.C.P. BRIDGE
The R.C.P. Bridge is a wireless module that provides communication support for third-party app development. The
R.C.P. Bridge attaches to the rear of the camera or other compatible rear module. The R.C.P. Bridge is part of the
R.C.P. Development Kit and uses the RED Command Protocol (R.C.P.) to communicate information between the
camera and your application.
For more information, see the R.C.P. Bridge Operation Guide, available at www.red.com/downloads.
NOTE: The R.C.P. Bridge requires camera firmware v5.2.8 or later.

LENS MOUNTS
RED offers the following lens mounts:
Figure: DSMC S35 Mg PL Mount 2.0
ITEM PART NUMBER
DSMC S35 Mg PL Mount 2.01 725-0024
DSMC S35 Ti PL Mount (Captive) 725-0022
DSMC S35 Al Canon Mount (Captive) 725-0026
DSMC S35 Ti Canon Mount (Captive) 725-0032
DSMC S35 Al Nikon Mount 725-0006
DSMC S35 Ti Nikon Mount 725-0007
DSMC Al Leica M Mount (Captive) 725-0029
DSMC RED MOTION MOUNT S35 Ti PL2 725-0012
DSMC RED MOTION MOUNT S35 Ti Canon (Captive)2 725-0038
1. For EPIC and SCARLET cameras, the DSMC Fan 2.0 (Bottom) and the DSMC S35 Mg PL Mount 2.0 are not natively compatible with each
other, since the fan grill prevents the lens mount locking ring from rotating. To use these devices together, remove the lower tabs from the
locking ring using a T8 TORX ® driver.
2. The DSMC RED MOTION MOUNT requires that your camera is on firmware v5.1.14 or later.

INTERCHANGEABLE OLPFS
The camera system includes intelligent, interchangeable optical low pass filters (OLPFs). The camera automatically
recognizes the OLPF type installed, eliminating the need to configure OLPF settings in the camera menu.
Figure: DSMC Interchangeable OLPF System
NOTE: The DSMC interchangeable OLPF system is only compatible with the DRAGON sensor.
The DSMC interchangeable OLPF system is an upgrade to the optical low-pass filter (OLPF) in your EPIC DRAGON or
SCARLET DRAGON. The modular mounting system enables you to remove and replace OLPFs to achieve optimal
color reproduction in any lighting and environment.
RED offers the following modular DSMC interchangeable OLPFs for EPIC DRAGON and SCARLET DRAGON:
ITEM LABEL1 PART NUMBER REQUIRED FIRMWARE
DSMC Skin Tone-Highlight OLPF S 790-0461 v5.2.28 or later
DSMC Low Light Optimized OLPF L 790-0462 v5.2.28 or later
DSMC H2O OLPF H 790-0472 v5.3.29 or later
DSMC Standard OLPF D 790-0517 v6.0.37 or later
DSMC IR Pass OLPF (Color) I 790-0473 v5.3.33 or later
DSMC Monochrome OLPF2 M 790-0481 v5.2.9 or later
DSMC IR Pass OLPF (Monochrome)2 I 790-0474 v5.3.33 or later
1. Visible on the top inside part of the OLPF assembly.

2. Monochrome OLPFs are for use with the DRAGON Monochrome sensor ONLY.
RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

RED offers a wide variety of support gear, mounting platforms, cables, accessories, and other equipment. For more
information, visit the RED Store at www.red.com/store.

CHAPTER 3:
BASIC OPERATIONS
POWER OPERATIONS
This section describes the basic power operations of the camera system.
NOTE: Modules and lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these items
while the camera is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do
so may result in damage to the item or camera that is not covered under warranty.
WARNING: While third-party batteries may be mechanically compatible with the camera system, the manufacturer is
responsible for the performance and stability of third-party options, not RED®. Damage to the camera system or third-
party devices caused by using third-party power options is not covered under warranty. The camera may be unable to
determine and display the voltage or remaining battery capacity of third-party power options.

POWER INPUTS
Figure: SEARAY Connector (top) and DC IN Connector (bottom)
There are two (2) primary power inputs that provide power to the camera:
# POWER INPUT DESCRIPTION
1 SEARAY power Provides power to the camera from attached modules

connector
2 DC IN connector Provides power to the camera using a DSMC Power Adaptor or certain battery modules,
such as the Backpack Quickplate
NOTE: Additionally, one (1) REDVOLT battery may be used in conjunction with the DSMC Side Handle to provide
short term power and support hot-swapping of other power sources.
POWER PRIORITY
When multiple power sources are connected to the camera, power consumption is prioritized in this sequence:
1. DC IN (AC power adapter or external battery)
2. Rear battery module batteries (lowest state of charge first)
3. REDVOLT battery in an attached DSMC Side Handle

POWER CONSUMPTION
The camera draws approximately 60 W when recording in 5K resolution, at 24 fps.
Under typical conditions batteries provide the following operating time:
REDVOLT: Powers the camera and accessories for approximately 30 minutes.
REDVOLT-V: Powers the camera and accessories for approximately 35 minutes.
REDVOLT XL: Powers the camera and accessories for approximately 90 minutes.
RED BRICK: Powers the camera and accessories for approximately 120 minutes.
POWER STATUS
The power status of the current primary power source displays in the Lower Status Row of the graphical user interface
(GUI). Navigate to the Power In menu at Menu > Power > Power In for the status of all connected power sources.
For more information, go to "Power Menu" on page 128.
APPROVED EXTERNAL DC POWER

The camera accepts input voltages of 11.5 V to 17 V DC, and can draw a maximum current of 12 A. The camera can
be powered continuously by connecting one (1) of the following to the DC IN port on the camera:
DSMC AC Power Adaptor
RED BRICK Charger: Offers two (2) ways to connect to your camera:
Use a RED ONE DC Power Cable (P/N 790-0060) and 2B-to-1B Power Adaptor Cable (P/N 790-0138).
Use a RED 2B-to-1B LEMO Power Cable (P/N 790-0556).
RED BRICK: Requires a Backpack Quickplate or Battery Belt Clip (DSMC). Also supported by a RED Quickplate
or RED Cradle using a 2B-to-1B Power Adaptor Cable.
REDVOLT-V: Requires a Backpack Quickplate or Battery Belt Clip (DSMC). Also supported by a RED Quickplate
or RED Cradle using a 2B-to-1B Power Adaptor Cable.
XLR DC power source: Requires an XLR Power Cable.
TURN ON THE CAMERA

NOTE: If you have just turned off the camera, wait at least three (3) seconds before turning the camera back on.
1. Attach a power source to the camera.
The Power Status LED illuminates red, indicating that an appropriate power source is connected.
2. Press and release the PWR/REC key on the right side of the camera.
The Power Status LED illuminates amber as the camera turns on.
The Power Status LED illuminates green to confirm that the camera is turned on and ready to use.
TURN OFF THE CAMERA

Use one of the following methods to turn off the camera:
Go to Menu > Power and select Shutdown.
Press and hold PWR/REC until the Shutting Down... notification shows on the display.
NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.

CONFIGURE YOUR CAMERA

This section describes common options for configuring your camera system.
DSMC SIDE HANDLE: INSTALL/REMOVE

INSTALL THE DSMC SIDE HANDLE
WARNING: Before installing or removing this item, you MUST turn off the camera.
REQUIRED TOOL(S): T10 TORX® driver
1. Turn off the camera.
2. Use a T10 TORX driver to remove the single screw located at the bottom of the BRAIN side plate (if the side plate
is installed).
3. Rotate the BRAIN side plate upwards to disengage the lip at the top of the side plate from the camera, and
remove the BRAIN side plate.
4. Insert the lip on the DSMC Side Handle into the slot where the lip of the BRAIN side plate was installed.
5. Press the DSMC Side Handle down flush along the side of the camera.
6. Rotate the thumbscrew upward while applying steady pressure until tight.
REMOVE THE DSMC SIDE HANDLE

REQUIRED TOOL(S): T10 TORX driver
2. Rotate the thumbscrew downward until the DSMC Side Handle detaches from the camera body.
3. Disengage the tension lip on the DSMC Side Handle by pulling the bottom away from the camera.
4. Insert the tension lip on the BRAIN side plate into the recess on the side of the camera.
5. Install the appropriate screw at the bottom of the BRAIN side plate using a T10 TORX driver. DO NOT exceed 70
in-oz, or damage may occur.
EPIC side plate screw: M3x0.5 x 8 mm
SCARLET side plate screw: M3x0.5 x 5.5 mm
WARNING: DO NOT OVERTIGHTEN.

RED SWITCHBLADE-M: INSTALL/REMOVE

INSTALL THE RED SWITCHBLADE-M
2. Use a T10 TORX driver to remove the single screw located at the bottom of the BRAIN side plate (if the side plate
is installed).
3. Rotate the BRAIN side plate upwards to disengage the lip at the top of the side plate from the camera, and
remove the BRAIN side plate.
4. Insert the lip on the RED Switchblade-M into the slot where the lip of the BRAIN side plate was installed.
5. Press the Switchblade-M down flush along the side of the camera.
6. Tighten the thumbscrew until finger-tight, then engage the thumbscrew mechanism.
REMOVE THE RED SWITCHBLADE-M

2. Disengage the thumbscrew mechanism.
3. Loosen the thumbscrew until the Switchblade-M detaches from the camera.
4. Pull the bottom of the RED Switchblade-M away from the camera to disengage the tension lip.
5. Remove the RED Switchblade-M from the camera.
6. Insert the tension lip on the BRAIN side plate into the recess on the side of the camera.
7. Install the appropriate screw at the bottom of the BRAIN side plate using a T10 TORX driver. DO NOT exceed 70
in-oz, or damage may occur.
EPIC side plate screw: M3x0.5 x 8 mm
SCARLET side plate screw: M3x0.5 x 5.5 mm

MODULE ADAPTOR AND +1 ADAPTOR MODULE:

INSTALL/REMOVE
INSTALL THE MODULE ADAPTOR
You must install an adaptor module on the back of the camera before you install a module.
2. Remove the REDMOTE or R.C.P. Bridge, if attached.
3. Position the Module Adaptor over the V-mount on the rear of the camera.
Figure: Install +1 Adaptor Module
4. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2) turns
each using a T20 TORX driver. DO NOT FULLY TIGHTEN.
Figure: Insert HDMI Connector into the BRAIN

5. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T20 TORX driver.
Figure: Tighten Screws
REMOVE THE MODULE ADAPTOR

2. Use a T20 TORX driver to loosen the screws attaching the Module Adaptor to the camera.
3. Remove the Module Adaptor from the camera.
INSTALL THE +1 ADAPTOR MODULE

2. Remove the REDMOTE or R.C.P. Bridge, if attached.
3. Position the +1 Adaptor Module over the V-mount on the rear of the camera.
4. Insert the HDMI connector into the HDMI port on the camera.
5. Apply pressure and tighten the four (4) captive screws in a cross pattern (“X” pattern) approximately two (2) turns
each using a T20 TORX driver. DO NOT FULLY TIGHTEN.
6. Fully tighten the four (4) screws in a cross pattern (“X” pattern) using a T20 TORX driver.
REMOVE THE +1 ADAPTOR MODULE

2. Loosen the four (4) captive mounting screws in a cross pattern (“X” pattern) using a a T20 TORX driver.
3. Disconnect the HDMI connector from the camera.
4. Remove the +1 Adaptor Module from the camera.

MODULES: ATTACH/REMOVE
ATTACH A MODULE
2. Insert the lip at the top of the module into the recess at the top of the adaptor module.
Figure: Insert Module Lip
3. Rotate the module down flush with the rear of the adaptor module.
Figure: Press Module Flush
4. Apply pressure and use a T20 TORX driver to turn the lock on the bottom of the adaptor module clockwise into the
Lock position.

REMOVE A MODULE
2. Use a T20 TORX driver to turn the lock on the adaptor module counter-clockwise to the Unlock position.
3. Rotate the module upwards and away from the adaptor module to disengage.
4. Remove the module.
REPLACE THE HOOD SCOOP

The hood scoop on some EPIC-X and EPIC-M models extends beyond the rear plane of the camera. RED offers
shorter hood scoops so that you can attach an LCD or other accessory to the mounting locations on the top of the +1
Adaptor Module.
Figure: Replace the Hood Scoop
To replace fan hood scoop, follow the instructions below:

2. Remove the four (4) M3x0.5 x 6 mm screws holding the hood scoop using a T8 TORX driver.
3. Remove the hood scoop.
4. Position the replacement hood scoop on the camera.
5. Align the hood scoop screw holes with the threaded holes.
6. Insert and tighten the four (4) M3x0.5 x 6 mm screws in a cross pattern (“X” pattern) using a T8 TORX driver. DO
NOT FULLY TIGHTEN.
7. Fully tighten the four (4) M3x0.5 x 6 mm cap screws evenly in a cross pattern (“X” pattern). DO NOT exceed 30 in-
oz, or damage may occur.

INTERCHANGEABLE OLPF SYSTEM

WARNING: Read these instructions carefully and in their entirety before removing or installing an OLPF. Damage to
the OLPF module, camera, or sensor due to improper handling or use is not covered under warranty.
WARNING: Once an interchangeable OLPF is removed from the camera, the sensor is exposed. Improper handling of
the OLPF modules or camera during this procedure may compromise the installation or cause irreparable damage to
your camera or sensor.
WARNING: DO NOT allow any dirt or debris to enter the optical cavity.
WARNING: This procedure is ONLY applicable to DRAGON sensor cameras that are compatible with the DSMC
Interchangeable OLPF system.
WARNING: Use only DSMC OLPFs. DO NOT use DSMC2 OLPFs.
SWAP AN INTERCHANGEABLE OLPF

REQUIRED TOOL(S): T20 TORX driver, T6 TORX driver
2. Remove any modules, cables, or other accessories that may interfere with operations.
3. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20
TORX driver.
NOTE: Some lens mounts have captive screws that are not removable.
NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.
4. Remove the lens mount.
Figure: Remove Lens Mount
5. Use a damp, lint-free cloth to gently wipe down the area around the lens mount and OLPF module. Remove as
much dust and debris as possible.

6. Remove the four (4) M2x0.4 x 4 mm OLPF module screws (P/N 600-0224) in a cross pattern (“X” pattern) using a T6
TORX driver.
Figure: Remove OLPF Module Screws
7. Remove the OLPF module and place it in its protective case.
Figure: Remove the OLPF Module
8. Use an LED light to ensure that the optical cavity is clean and free from dust or debris.
Figure: Ensure Optical Cavity Is Clean and Free of Debris

9. Ensure the new OLPF module is clean and free of debris.
10. Install the new OLPF module straight into the optical cavity, keeping the front face of the OLPF module parallel to
the front of the camera.
NOTE: Inserting the OLPF module at an angle may cause it to not seat properly.
11. Replace and loosely tighten the four (4) M2x0.4 x 4 mm OLPF module screws (P/N 600-0224) in a cross pattern
(“X” pattern) using a T6 TORX driver. DO NOT FULLY TIGHTEN.
Figure: Replace the OLPF Module and Screws
12. Fully tighten the four (4) OLPF module screws in a cross pattern (“X” pattern) using a T6 TORX driver. DO NOT
exceed 30 in-oz, or damage may occur.

13. Replace the lens mount.

14. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a
T20 TORX driver. DO NOT FULLY TIGHTEN.
15. Fully tighten the four (4) lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT
Figure: Replace Lens Mount
16. Turn on the camera.

17. Go to Menu > Settings > Maintenance > OLPF.
18. Select the installed OLPF from the Type drop-down menu.
IMPORTANT: Ensure that the correct OLPF type is selected from the drop-down menu. Failure to select the
correct OLPF type will affect color accuracy. For more information, go to "OLPF" on page 121.
Figure: OLPF Type Menu

VERIFY INSTALLED OLPF
Figure: OLPF Type Labels
You can see which DSMC interchangeable OLPF is installed even when a lens mount is attached. The OLPF type is
labeled in two (2) locations on each DSMC interchangeable OLPF.
# LOCATION ON ASSEMBLY LABEL VISIBLE WITH
1 Top inside Identifier symbol, such as (S) PL mounts
2 Front bottom OLPF type All mounts
USE A TRIPOD OR MONOPOD

This section describes the camera mounting points and mounting equipment for use with a tripod or monopod. The
camera is equipped with two (2) 3/8-16 mounting holes and one (1) 1/4-20 mounting hole on the bottom of the camera.
These mounting points are designed for use with a variety of mounting plates and hardware, to support tripods and
other support systems.
WARNING: Ensure that the tripod, monopod, or support system is designed and rated to handle the weight of your
camera configuration. RED is not responsible for any damage caused by using a tripod, monopod, mount, or support
system that does not provide sufficient support.
WARNING: DO NOT use excessive force to mount a support accessory, as this may damage the screw threading.
RED offers the following products for use with tripods and other support systems:
Item Part Number
Mounting Plate (DSMC) 790-0094
DSMC Modular Assault Plate Pack 790-0224
DSMC Quick Release Platform Pack 790-0183
Quick Release Platform Pack (Bolt-On) 790-0078
Quick Release Platform (Dovetail) 790-0079
Quick Release Platform (Mini) 790-0390
Dovetail Mounting Plate (Long) 790-0083
Dovetail Mounting Plate (Short) 790-0084
For more information, visit the RED store at www.red.com/store.

VIDEO MONITOR OUTPUTS

The monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel RGB 4:4:4 video
signal. The signal may be modified using ISO, White Balance, or other RGB color space adjustments. The signal is
then scaled and gamma-corrected to provide monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4
RGB.
The camera offers the following monitor outputs:
EVF/LCD: Supports a RED EVF or LCD display.
HD-SDI: Provides a 720p or 1080p output suitable for monitoring or recording to an external VTR or DDR device. It
may be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.
HDMI: Provides a 480p, 720p, or 1080p output suitable for monitoring via a Windows® monitor or most HDTVs.
VIDEO MONITOR CATEGORIES

Video monitor outputs are separated into three (3) categories:
VIEWFINDER: The Upper Status Row, Live Action Area, and Lower Status Row display. Default output is the
EVF/LCD connector located on the front face of the side SSD module. If an EVF or LCD is not connected, you can
transfer the VIEWFINDER output to either the HDMI or 3G-SDI (HD-SDI) output from the camera.
PROGRAM/Clean: None of the graphic overlays display.
PREVIEW: The Live Action Area and associated graphic overlays display.
For more information about changing the video monitor category of your monitor, go to "Monitor Mode" on page 80.
RECORD
Perform one of the following actions to begin recording:
Press PWR/REC on the camera.
Press REC on an attached side SSD module.
Press REC on an attached DSMC Side Handle.
Trigger start/stop with a compatible third-party trigger.
Double-tap the right 25% on an attached touchscreen display (when enabled).
NOTE: To enable Double-Tap Right 25% to Record, go "Advanced" on page 85.
RECORD VIA HD-SDI OR HDMI

This section describes how to record via HD-SDI or HDMI through simultaneous record (recording to an SSD and an
external recorder at the same time) or external record only. For more information on how to enable default menus for
an external recorder, go to "Cannot Use Touchscreen or DSMC Side Handle" on page 190.

SIMULTANEOUS RECORD
You can record simultaneously to an external recorder and a RED SSD. To record simultaneously, follow the
instructions below:
1. Connect the camera to an external recorder with an HD-SDI or HDMI cable.
2. Ensure that a formatted SSD is inserted in the camera.
3. Set up the HD-SDI or HDMI output:
A. Go to Menu > Settings > Display > Monitor Control > Monitor Setup.
B. Select HDMI or HDSDI from the drop-down menu at the top of the menu.
C. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).
D. Select the output resolution from the Resolution drop-down menu.
NOTE: The HDMI and HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out
Ports" on page 219.
4. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to
"Tools" on page 76.
5. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:
A. Go to Menu > Settings > Audio > Mix > Monitor Mix.
B. Adjust the input channels.
6. Go to Menu > Settings > Recording > Mode.
7. Select Local from the Storage drop-down menu.
8. Begin recording.
EXTERNAL RECORD
You can record to an external recorder without recording to an SSD. To record to an external device only, follow the
instructions below:
1. Connect the camera to an external recorder with an HD-SDI or HDMI cable.
2. Ensure the SSD is ejected.
3. Set up the HD-SDI or HDMI output:
A. Go to Menu > Settings > Display > Monitor Control > Monitor Setup.
B. Select HDMI or HDSDI from the drop-down menu at the top of the menu.
4. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).
5. Select the output resolution from the Resolution drop-down menu.
NOTE: The HDMI and HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out
Ports" on page 219.
6. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to
"Tools" on page 76.
7. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:
A. Go to Menu > Settings > Audio > Mix > Monitor Mix.
B. Adjust the input channels.
9. Select External from the Storage drop-down menu.
10. Begin recording.

CHAPTER 4:
BASIC MENUS AND CONTROLS
GUI MENU INTRODUCTION
This section describes the structure and layout of the graphical user interface (GUI) that overlays the video monitor
signal. Advanced GUI menu controls enable convenient access to menus, overlays, and other critical camera
information. Functionality varies based on monitor output type and firmware version. The GUI menu is separated into
three (3) main sections:
Figure: GUI Control Menu
# ITEM DESCRIPTION
1 Upper Status Row Easy access to primary camera capture parameters. Go to "Upper Status Row (Basic
(Basic Menu) Menu)" on the next page.
2 Live Action Area Live camera recording view, overlays, guides, and more. Go to "Live Action Area" on
page 58.
3 Lower Status Row Critical camera parameters, record/playback modes, media and power status, and audio
meter. Go to "Lower Status Row" on page 59.

UPPER STATUS ROW (BASIC MENU)

The Upper Status Row displays basic project parameters. The currently selected parameter in the Upper Status Row
is underlined with a red bar. The Upper Status Row is also known as the Basic Menu.
Figure: Upper Status Row
The Upper Status Row includes the following GUI elements:
# ITEM DESCRIPTION DETAILS
1 Frame Rate (fps) Recording frame rate "Frame Rate" on page 93
2 ISO Camera sensitivity "ISO" on page 89
3 Aperture Lens aperture (F stop) information "Aperture" on page 56
4 Exposure (Shutter) Integration time or shutter angle "Exposure/Shutter" on page 94
5 Color Temperature White balance and Tint "Color Temperature" on page 92
6 Resolution Record resolution "Format" on page 97
7 REDCODE® REDCODE compression setting "REDCODE" on page 57
8 Menu Access advanced settings "Advanced Menus" on page 75
9 Cursor Indicates currently selected Upper Status Row element N/A

ACCESS ADVANCED MENUS

For every Upper Status Row item, you can select the Advanced... button to access the related menu in the Advanced
Menus.
For example, select Advanced... in the Frame Rate menu to open Menu > Settings > Project > Frame Rate.
For more information about Advanced Menus, go "Advanced Menus" on page 75.
Figure: Select "Advanced..." Button
Figure: Advanced Menu

FEATURE: EDIT LIST

Select the Edit List... button in the Upper Status Row menus to change the values that display for each setting. For
example, if you open the Frame Rate menu and select Edit List..., the camera lets you add or remove values.
Figure: Select "Edit List..." Button
APERTURE
The aperture (also known as the T stop or F stop) parameter displays when a compatible mount and lens are installed.
The aperture controls the depth of field of the image and, in combination with the shutter speed/angle setting, controls
the amount of light that reaches the sensor (exposure).
Increasing the aperture to a higher number increases the depth of field, but reduces the exposure (brightness).
Decreasing the aperture to a lower number decreases the depth of field, but increases the exposure (brightness).
RED DSMC PL MOUNT INSTALLED

The current aperture of the attached lens displays when a DSMC ® PL mount is installed and a supported lens
equipped with Cooke® S4/i® system is attached.
DSMC NIKON MOUNT AND CANON MOUNT INSTALLED

The Aperture menu is visible when a DSMC Nikon® Mount, DSMC Canon® Mount, or DSMC RED® MOTION MOUNT
S35 Ti Canon (Captive) is installed and a supported lens is attached. This enables you to adjust the aperture of the
attached lens.
Select the Advanced... button to access the Menu > Settings > Setup > Lens screen. For more information, go to
"Lens" on page 116.

REDCODE
Select the target REDCODE compression ratio for your project.
If the camera is able to achieve the target compression ratio, the compression ratio displays in white. If the camera is
unable to achieve the target compression ratio, the compression ratio displays in yellow, and the camera uses the next
possible compression ratio.
The current compression ratio is automatically recalculated when changes are made to the project resolution, aspect
ratio, anamorphic setting, frame rate, HDRX® mode, media, or the target REDCODE compression ratio.
The RECODE compression affects the overall quality of the footage. A lower compression (for example: 2:1) increases
the quality of the footage, while a higher compression (for example: 22:1) lowers the quality.
For more information, go to "R3D File Format and REDCODE" on page 11.
MYSTERIUM-X: Range is 3:1 to 18:1. Default is 8:1.
RED DRAGON: Range is 2:1 to 22:1. Default is 8:1.

LIVE ACTION AREA

The Live Action Area contains the recorded image area, Lookaround area, and various overlays. The color of each
overlay can be customized to maximize the contrast between the guide(s) and scene being captured.
Figure: Live Action Area
The Live Action Area includes the following GUI elements:
# ITEM DESCRIPTION DETAILS
1 Lens Information Lens information when using supported Canon®, "Lens Information" on the
Nikon®, or Cooke® lenses next page
2 AF Status Currently selected auto focus mode "Focus Menu" on

page 131
3 Center Crosshair and Spot Crosshair: Center of selected guide "General Tab" on
Focus Guide Reference guides: Safe Action/Safe Title, Picture page 88
Center, Grid Overlay
4 Frame Guides Record or sensor projection area "Guides" on page 87
5 Clip Filename Filename of the clip being recorded, or filename of the N/A
next clip to be recorded
6 Timecode Value Current timecode value "Timecode" on page 165

LENS INFORMATION
This section describes the lens information displays when a supported lens is attached.
PL LENSES
Displays the focal length and focal distance when a DSMC PL mount is installed and a lens with the Cooke S4/i
system (or equivalent) is attached. For more information, go to "Lens" on page 116.
CANON AND NIKON LENSES

The camera displays the focal length and focal distance when a DSMC Canon Mount or a DSMC Nikon Mount is
installed and an electronically supported lens is attached. When AF is set to Manual or Confirm mode, the focal
distance displays as a pair of Near–Far distances. When in AF mode, an estimated focus distance displays. The focal
length and focal distance values and range vary depending on the attached lens. When the focal length of the lens
changes, the current values displays. For more information, go to "Lens" on page 116.
LOWER STATUS ROW

The Lower Status Row provides access to key system information and camera values.
Figure: Lower Status Row
# ITEM SUB-ITEM/DESCRIPTION DETAILS
1 Camera Mode Swipe up to toggle Motion/Stills/Playback modes "Camera Mode" on the next page
2 Histogram Histogram; tap to open the Tools menu "Histogram" on page 62

# ITEM SUB-ITEM/DESCRIPTION DETAILS
3 System Status Tap to open the System Status menu "System Status" on page 120
Indicators
Camera sensor and core temperature "Sensor Calibration" on page 141
Cal: T/E "CAL: T/E Indicator" on page 63
HDRX®: Displays when HDRX mode is on "HDRX Menu" on page 129
False Color Mode: Displays modes "False Color Modes" on page 76
Magnify mode "Magnify" on page 78
Timecode "TC Indicator" on page 63
Genlock "GEN Indicator" on page 63
Sync "SYNC Indicator" on page 63
RM "RM (Remote) Indicator" on page 63
LAN "LAN Indicator" on page 64
RIG: Indicates 3D rig metadata is present N/A
4 Media Status Media location and remaining capacity; tap to open the "Media Menu" on page 123
Media Menu
5 Power Status DC voltage or remaining battery capacity; tap to open the "Power Status" on page 64
Power menu
6 Audio Meter Audio input and volume; tap to open the Audio menu "Audio Meter (VU Meter)" on
page 151
CAMERA MODE
The Camera Mode allows you to seamlessly toggle between Motion mode, Stills mode, and Playback. To select a
camera mode, select the Camera Mode icon in the Lower Status Bar, swipe up, and select a camera mode.
NOTE: Setting adjustments made in Stills mode do not affect the settings in Motion mode, and vice versa.
NOTE: You can also switch between Stills and Motion mode by using the Motion/Stills switch on the DSMC Side
Handle and REDMOTE.
You can select the following camera modes:
"Motion Mode" on the next page
"Stills Mode" on the next page
"Playback " on page 124

MOTION MODE
Motion mode optimizes your camera settings for capturing motion. This mode defaults the camera to Continuous
Record. Motion mode includes the following features:
Motion recording modes:
"Continuous Record" on page 105
"Internal Timelapse Timer" on page 105
"Frame Trigger" on page 105
"Speed Ramp Mode" on page 106
"REDCODE Burst" on page 107
Swipe-Up Shortcuts
Camera Mode
Tools
Media
Power
Default Motion Preset (RED)
NOTE: For more information, go to "Swipe-Up Menu" on page 67 and "Default Key Functions" on page 241.
STILLS MODE
Stills mode optimizes your camera settings for capturing stills. Stills mode includes the following features:
Stills recording modes:
"Multi-Shot" on page 108
"Motion + Stills" on page 109
Swipe-Up Shortcuts:
Auto Exposure
Auto Focus
Record Mode
Default Stills Preset (RED)
For more information, go to "Swipe-Up Menu" on page 67 and "Default Key Functions" on page 241.

HISTOGRAM
NOTE: The sharpness setting affects the Histogram, RAW Level Bars, and RAW Clip Meter. For more information, go
to "Sharpness" on page 90.
This section describes the elements that comprise the Histogram section in the Lower Status Row. This section of the
GUI helps ensure that recorded footage is properly exposed.
Tap the Histogram in the Lower Status Row to access the Tools menu. For more information, go to "Tools" on
page 76.
Figure: Histogram (Exposure)
# ITEM DESCRIPTION
1 RAW Level Also known as a “goal post”. Displays the amount of pixels in the image that are underexposed
Bar (left)1 (noise)
2 RAW Level Also known as a “goal post”. Displays the amount of pixels in the image that are overexposed
Bar (right)1 (clipping)
3 RGB Provides a visual representation of exposure and sensor data levels for red, green, and blue
Histogram channels; meter is affected by White Balance, ISO, and VIEW/LOOK settings
4 RAW Clip Also known as “traffic lights”. Provides a visual representation of exposure and sensor data levels
Meter for red, green, and blue channels; Circles (traffic lights) will light up when clipping occurs
1. The RAW Level Bars represent 1/4 of the total pixels in the image, and illustrate the number of pixels that are noisy or clipped in relation to the
total number of pixels. For example, if the left RAW Level Bar is 1/8 of the total height, that means that approximately 1/32 of the total pixels in
the total image are at an exposure level that is at risk of displaying noise when pushed to higher ISO or FLUT® values in post production.
SYSTEM STATUS INDICATORS

This section describes the colors and behavior of the System Status indicators in the Lower Status Row. Tap the
System Status indicators in the Lower Status Row to access the System Status menu. For more information, go to
"System Status" on page 120.

CAL: T/E INDICATOR

The CAL: T/E indicator shows changes to temperature (T) or exposure (E) in relation to the active calibration map. If the
temperature or exposure change significantly, calibrate the sensor at the desired temperature and exposure. Failure to
properly calibrate the sensor may reduce image quality.
Green: Sensor temperature or exposure are properly calibrated for current settings.
Yellow: Slight change in sensor temperature or exposure.
Red: Significant change in sensor temperature or exposure.
The – and + indicate whether the sensor temperature or exposure has decreased or increased, respectively.
NOTE: T and E indicators change colors independently of each other.
TC INDICATOR
The TC indicator shows the current timecode status.
Grey: No analog timecode is detected.
Red: Analog timecode is detected but not enabled.
Green: Analog timecode is used to jam the time of day timecode.
For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page 165.
GEN INDICATOR
The GEN indicator shows the current genlock status.
Grey: No genlock signal is detected, or the signal cannot cross-lock to project (24.00 fps vs. 23.98 fps).
Red: During process of sync, or genlock is lost while recording.
Green: A genlock signal matching the current HD-SDI monitor rate is locked.
Yellow: Timing is cross-locked to compatible but not matching monitor rate. For example, genlock is 24.00 fps,
and HD-SDI monitor rate is 25.00 fps.
NOTE: When the GEN indicator is yellow, DO NOT perform 3D operation. This warns that genlock source settings and
camera settings are not aligned, so phasing of the sync between cameras is not guaranteed.
SYNC INDICATOR
The SYNC indicator shows the current sensor sync status, based on genlock.
Grey: The sensor sync mode is not set to genlock.
Red: The sensor sync mode is set to genlock, but is not locked to a genlock signal. This may occur if genlock or
sensor sync is lost while recording.
Green: The sensor sync mode and HD-SDI monitor rate are locked to a compatible genlock signal.
RM (REMOTE) INDICATOR
The RM indicator displays if the camera is linked to a REDMOTE or a third- party remote application, such as
foolcontrol. For more information, go to "REDMOTE System" on page 153.

LAN INDICATOR
The LAN indicator shows the current status of an external LAN connection through the Gig-E port.
Grey: External control of the camera is not enabled.
Green: Ethernet is enabled.
Yellow: If the LAN indicator is yellow, external camera control is not possible. For more information, go to "Cannot
Control Camera Externally" on page 195.
NOTE: The Yellow LAN indicator only applies to EPIC-X MYSTERIUM and EPIC-M MYSTERIUM-X.
POWER STATUS
The Power Status element displays the current supply voltage or remaining battery capacity. Tap the Power Status
element to access the Power menu. For more information, go to "Power Menu" on page 128.
DC IN SUPPLY VOLTAGE
When powering the camera via DC power, the current voltage displays. When powering the camera using batteries, the
remaining battery capacity displays. The remaining capacity is indicated by the following colors:
Green: 12.0 V and up
Yellow: 11.8 V to 11.9 V
Red: 11.6 V to 11.7 V
NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.
BATTERY TIME REMAINING

When using a REDVOLT, REDVOLT-V, or REDVOLT XL battery, the power status displays the location of the power
source (example: SH: DSMC Side Handle; RM: Rear Module) and the remaining battery capacity. When using a RED
BRICK battery connected to DC IN, the power status displays BRICK and the remaining battery capacity.
The color of the displayed battery capacity represents the amount of time remaining:
Green: >10 minutes
Yellow: 5 to 10 minutes
Red: <5 minutes

NAVIGATION CONTROLS
This section describes basic controls for navigating the camera menus.
TOUCHSCREEN NAVIGATION
You can control certain settings and navigate the camera menu using buttons and gestures on the RED Touch
displays.
RED TOUCH DISPLAY BUTTONS

RED Touch displays offer intuitive menu control and four (4) programmable buttons.
Figure: DSMC2 RED Touch 7.0" LCD
# RED TOUCH BUTTON DESCRIPTION
1 User Key 1 Magnify: Toggle
2 Up Button Increase display brightness
3 Down Button Decrease display brightness
4 User Key 2 Toggle Exposure Mode on/off
NOTE: RED Touch display keys are programmable. For more information, go to "Key Mapping" on page 111.

RED TOUCH DISPLAY GESTURES

Navigate the menus using a touchscreen by using the following gestures:
Tap: Tap has many functions:
Tap to select a Basic Menu, submenu, or button.
If a menu is open, tap anywhere outside the menu to save any changes and close the menu.
Tap the right or left regions of the touchscreen to access the programmable soft keys.
Swipe: Swipe to select different values in spinners or drop-down menus. For more information, go to "Swipe-Up
Menu" on the next page.
Double-Tap: If the monitor is in Clean mode, changes to Overlay mode.
Hold: Tap and hold an icon to bring up an advanced interface display.
Pinch: Move two (2) fingers apart/together to increase/decrease the size of the image. By default, this gesture is
disabled.
For more information, go to "Gestures" on page 85.

SWIPE-UP MENU
The Swipe-Up Menu is available in the Lower Status Row on RED Touch displays and provides Swipe-Up Shortcuts
for Motion mode, Stills mode, and Playback. For example, select the Camera Mode icon in the Lower Status Bar,
swipe up, and select a Camera Mode.
Figure: Swipe Up to Select a Camera Mode
Figure: Swipe-Up in Stills Mode

# SWIPE-UP SHORTCUT DESCRIPTION
1 Camera Mode1 Select Playback, Motion, or Stills
2 Tools Set Horizon, RAW, Magnify, Zebras, and False Color
3 Status View detailed status information
4 Media View as Percentage or Time Remaining, eject media, view clip thumbnails
5 Power View as Percentage or Time Remaining
6 Auto Focus2 Set Zone, Size, and Mode
7 Auto Exposure2 Set Exp Comp, Speed, Metering, Priority, and Mode
8 Record Mode2 Select Multi-Shot or Motion + Stills
1. For more information about Stills mode and Motion mode, go to "Camera Mode" on page 60.
2. Shortcuts only available in Stills Mode.
NAVIGATION GROUP
Figure: Navigation Group
The Navigation Group is the primary control interface on the DSMC Side Handle, RED Switchblade- M, and
REDMOTE.
# NAVIGATION GROUP ELEMENT DESCRIPTION
1 Scroll Wheel Select and adjust the value of a selected setting
2 ENTER key Press ENTER to confirm a setting or access the selected menu
3 Directional Keys Navigate menus and menu items
Navigate the menus using the following controls:

Press ENTER to open the menu, then rotate the Scroll Wheel clockwise to move right, counterclockwise to move
left to highlight the desired menu or parameter. Press ENTER to select.
Press the Up Directional Key to open the related Advanced Settings menu, if one (1) is available.
For more information on the REDMOTE, go to "REDMOTE System" on page 153.

DSMC SIDE HANDLE

This section describes the controls and display of the DSMC Side Handle.
Figure: DSMC Side Handle Controls
# CONTROL/ITEM DESCRIPTION
1 LCD Display Go to "DSMC Side Handle Display" on page 71
2 User Keys (1–4)1 User 1-4 keys are used to select a slot on the DSMC Side Handle Display. The front rotary
then adjusts the value of the selected slot.
3 Menu Button Access menus or exit currently selected menu
4 Rocker Switch Open (Up)/Close (Down) Iris
5 User Keys (5–7) 5: Toggle Exposure Mode on/off

6: Key Disabled
7: Eject Media
6 Thumbwheel Lock Install and remove the DSMC Side Handle
7 LCD Backlight Toggles LCD backlight illumination

Button
8 Navigation Group Navigate menus and menu items; go to "Navigation Group" on the previous page
9 User Keys (A–D) A: Cycle Auto-Focus Mode

B: Auto White Balance
C: Toggle: Magnify
D: Toggle Exposure Mode on/off
10 Focus/Record Half-press for auto-focus; full press to Start/Stop Record

Button

11 Rotary Dial Adjust camera parameter values based on the underlined value on the DSMC Side Handle
LCD Display
12 Battery Door Press to open the battery door

Release
13 PC Sync Port Triggers external flashes or strobes
14 Stills/Motion Toggles between Stills/Motion Mode, enabled in v6.0 firmware or later

Mode Switch
1. Press User Keys 1 + 4 simultaneously to lock/unlock DSMC Side Handle buttons to prevent inadvertent menu changes.
NOTE: DSMC Side Handle keys are programmable. For more information, go to "Keys" on page 111.

DSMC SIDE HANDLE DISPLAY

The DSMC Side Handle displays Basic Menu parameters and other system status information.
Figure: DSMC Side Handle Display
The DSMC Side Handle displays the following camera parameters:
# DISPLAY ITEM DESCRIPTION
1 Calibration Indicator of relative change in sensor temperature and exposure since last calibration
2 Recording Frame Current recording frame rate

Rate
3 White Balance Color temperature
4 ISO Camera sensor sensitivity
5 Lens Information Displays aperture when a supported Canon, Nikon, or Cooke lens is attached
6 Cursor User 1-4 keys are used to move the cursor to select a slot. The front rotary then adjusts the
value of the selected slot.
7 Shutter Speed Integration time or shutter angle
8 REDCODE REDCODE compression setting
9 Media Status Displays media location and remaining media capacity
10 Power Status DC supply voltage or % of remaining battery capacity
11 Temperature Displays camera sensor and core temperature, respectively
12 Resolution Recording resolution

RED SWITCHBLADE-M
Figure: RED Switchblade-M Controls
1 MENU Button Access menus or exit currently selected menu
2 Navigation Group Navigate menus and menu items; Go to "Navigation Group" on page 68
3 User Keys (A–D)1 A: Cycle Auto-Focus Mode

B: Auto White Balance
C: Toggle: Magnify
D: Toggle Exposure Mode
4 MODE Button2 Toggle RED Switchblade-M between Remote and Local Modes
5 Mounting Thumbscrew Install and remove the RED Switchblade-M
1. Press User Keys A + D simultaneously to lock/unlock RED Switchblade-M buttons to prevent inadvertent menu changes.
2. MODE Button functionality requires camera firmware v5.3 or later.
NOTE: RED Switchblade-M keys are programmable. For more information, go to "Key Mapping" on page 111.

OPERATION MODES
The RED Switchblade-M OLED display reflects the currently selected mode. Use the Scroll Wheel and Directional
Keys to navigate menus. Press MENU to access the Advanced Menu. Press MODE to toggle between the following
modes:
Remote Mode: Navigate with RED Switchblade-M controls, using an attached LCD, EVF, or other monitor as a
reference. The RED Switchblade-M displays the primary control screen.
Local Mode: Navigate using the RED Switchblade-M controls and display. User Keys A-D are inactive.
KEY LOCK/UNLOCK
Lock the keys on the RED Switchblade-M to prevent inadvertent button presses and menu changes.
Lock: Press A + D simultaneously.
Unlock: Press A + D simultaneously. Alternatively, press and hold ENTER while keys are locked.

RED SWITCHBLADE-M DISPLAY

The RED Switchblade-M OLED display provides basic camera parameters during operation.
Figure: RED Switchblade-M OLED (Local Mode)
The RED Switchblade-M displays the following camera parameters:
# DISPLAY ITEM DESCRIPTION
1 Frame Rate Current Recording Frame Rate
2 Lens Information Displays aperture when a supported Canon, Nikon, or Cooke lens is attached
3 White Balance Color temperature
4 REDCODE REDCODE compression setting
5 Media Status Displays media location and remaining media capacity
6 Timecode Current timecode value
7 Power Status DC supply voltage or % of remaining battery capacity
8 Color and Gamma Space Currently selected RED color and gamma space settings
9 Resolution Recording resolution
10 Shutter Speed Integration time or shutter angle
11 ISO Camera sensor sensitivity

CHAPTER 5:
ADVANCED MENUS
ADVANCED MENUS OVERVIEW
The Advanced Menus include:
ADVANCED DESCRIPTION DETAILS

MENU
Settings Camera settings including: Display, Look, Project, Audio, Recording, "Settings Menu" on the
Setup, and Maintenance next page
Media SSD operations including: format, eject, and more "Media Menu" on page 123
Playback View clips recorded to the attached SSD "Playback " on page 124
Power Power sources, settings, status, and shutdown "Power Menu" on page 128
HDRX HDRX mode and settings "HDRX Menu" on page 129
Focus Focus modes, features, settings, and rack focus "Focus Menu" on page 131
Exposure Automatic exposure settings and controls "Exposure Assist Menu" on

Assist page 136
Presets Adjust Looks, key mappings, I/O, and more "Presets Menu" on
page 138
ACCESS THE ADVANCED MENUS

To access the Advanced menus, perform one of the following:
Tap the Menu button on the DSMC® Side Handle or REDMOTE®.
Tap the Menu icon on the touchscreen.
Open any menu in the Upper Status Row, and then select the Advanced... button.

SETTINGS MENU
The Settings menu includes: Display, Look, Project, Audio, Recording, Setup, and Maintenance.
Figure: Settings Menu
DISPLAY
The Display menu includes: Tools, Zebra, Monitor Control, Modes, Guides, Test Signal , and REDCAST ® (the
REDCAST menu is only accessible when a REDCAST Module is installed).
TOOLS
The Tools menu provides access to false color and display modes.
For more information, see the Exposure with RED Cameras: False Color & Zebra Tools article , available at
www.red.com/learn/red-101/exposure-false-color-zebra-tools.
FALSE COLOR MODES

False color modes include: Off, Exposure, Video, Focus, Edge, and Gio Scope.
NOTE: Only monitors with the Tools check box selected in the Monitor Control menu show the false colors. For more
information, go to "Tools" on page 80.
NOTE: The sharpness setting affects the false color modes. For more information, go to "Sharpness" on page 90.
NOTE: False color modes affect video recorded through HDMI® or HD-SDI to an external recorder if the Tools check
box is selected in the Monitor Control menu. When recording through HDMI or HD-SDI, use false color modes only to
help configure project settings, and then disable the mode before recording.
OFF
Disables all false color modes.

EXPOSURE
The Exposure tool displays a color overlay on top of a desaturated image that allows you to check for proper
exposure. When enabled, the “E√” indicator displays in the Lower Status Row.
The Exposure meter colors indicate the following information:
Purple: Underexposed; indicates sensor exposure levels that may be noisy if gained up in post production.
Green: IRE 41–48; based on the RGB levels of the video out signal and not the RAW data.
Red: Overexposed; indicates sensor exposure levels that are clipping.
Purple (underexposure) and red (overexposure) are based on RAW data and show areas that are clipping or close to
clipping. The RGB settings DO NOT affect the Exposure indicators.
VIDEO
The Video tool displays a color overlay that indicates the video level of the RGB monitor path (calibrated to the
SMPTE test signal). When enabled, the “V√” indicator displays in the Lower Status Row.
Colors are based on the RGB levels of the video out signal (that is, the “cooked” look, and not RAW data). The RGB
settings affect the Video indicators.
The Video indicators represent the following IRE values (at all other values, the desaturated image represents the
luminance value of the ISO adjusted image):
Purple: IRE 0–4
Blue: IRE 5
Teal: IRE 10–12
Green: IRE 41–48
Pink: IRE 61–70
Straw: IRE 92–93
Yellow: IRE 94–95
Orange: IRE 96–98
Red: IRE 99–100
FOCUS
The Focus tool emphasizes contrast and edges in the image without changing brightness or image content making it
easier to judge focus. Adjust zoom and focus to easily see which objects are coming into focus.
When enabled, the “F√” indicator displays in the Lower Status Row.
EDGE
Shows the edges/outlines of objects that are in focus. When enabled, the “F√” indicator displays in the Lower Status
Row.
NOTE: The Edge setting may interfere with recordings done via HDMI or HD-SDI in Clean mode.

GIO SCOPE
Displays a color overlay on top of a desaturated image, identifying 16 increments within the dynamic range of the
sensor.
On cameras with the MYSTERIUM-X® sensor, you can still select up to 16 increments. However, the camera will not
detect the top and bottom increments.
When enabled, the “G√” indicator displays in the Lower Status Row. The Gio Scope indicators are based on RAW
data. The RGB settings (settings in the Look menu) DO NOT affect the indicators.
Each number indicates a different increment of dynamic range.
11: Represents mid-grey.
16: Represents the top increment, and is broken up into 1/8th sub-increments to show highlight roll-off. Each 1/8th
increment is represented by a different shade of red, ranging from light red (less light) to dark red (most light).
DISPLAY MODES
MAGNIFY
The Magnify tool displays the central region of the sensor in 1:1 pixel resolution on an attached monitor. When
enabled, the 1:1 text in the Lower Status Row turns green, and the AF Window and the magnified region display. The
AF Window determines the center point of the magnified region. If the lens or lens mount is not capable of autofocus
with the camera, use Confirm mode to turn on the AF Window. Sharpening is disabled when Magnify mode is
enabled. The camera automatically exits Magnify mode when recording begins.
The Magnify tool magnifies a 1920 x 1020 region, centered on a 1920 x 1080 display. If the resolution is lower than
1920 x 1020, the image border cannot be magnified. Use the following equations to determine the area of the image
border that will not be magnified:
Border width: (1920 – W) / 2
Border height: (1020 – H) / 2
NOTE: Frame rate and resolution cannot be modified in Magnify mode.
RAW
When enabled, the camera displays images unaffected by the RGB settings (settings in the Look menu). RAW affects
the video recorded via HDMI or HD-SDI to an external recorder. RAW image parameters DO NOT affect image
metadata; the parameters only affect the monitor output.
The RAW image parameters are:
Color Space: REDcolor2
Gamma Space: REDlogFilm
White Balance: 5600K
ISO: 800 ISO
Tint: 0 Tint
NOTE: In RAW mode, the following controls are disabled on all cameras: color temperature, tint, saturation, RGB
gains, ISO, contrast, brightness, shadow, FLUT ® , exposure compensation, LGG controls, RGB curves, and luma
curve.

HORIZON
Displays an overlay that provides a reference to the position of the horizon. The Horizon overlay consists of two (2)
short side-bars that are always horizontally centered on the monitor, and a single longer horizon-line that adjusts to the
horizon based on the orientation of the camera.
The side-bars are green if the pitch is within +/– 1° of the calibrated zero position, otherwise they are red. The horizon-
line is green if the roll is within +/– 1° of the calibrated zero position, otherwise it is red.
To add numerical values for the pitch and roll to the Horizon overlay, follow the instructions below:
1. Go to Menu > Settings > Display > Monitor Control > Overlay.
2. Select Create..., Clone..., or Edit..., respectively, for the desired overlay action.
3. Select a location on the interface to add the numerical data for the Horizon overlay.
4. Select Motion: Gyro Data (GYRO) from the Item drop-down menu.
5. Select the desired text size.
6. Select Add.
7. Select Save.
8. Go to Menu > Settings > Display > Monitor Control > Monitor, and select the overlay from the Overlay drop-
down menu.
NOTE: The internal gyroscope and accelerometer must be calibrated for the Horizon overlay to function properly. For
more information, go to "Gyroscope and Accelerometer Calibration" on page 118.
ZEBRAS
Use Zebra mode to enable and adjust the upper and lower values for two (2) independent zebra indicators. Use Zebra
1 for highlight exposure, and use Zebra 2 for mid-tones or shadows. Zebras are visible in Magnify mode and are
disabled by default.
The camera offers two (2) zebra types:
Video: IRE-based mode; evaluates based on the current ISO and Look settings, and not the RAW image.
RAW: Evaluates based on the RAW image.
For more information, see the Exposure with RED Cameras: False Color & Zebra Tools article , available at
www.red.com/learn/red-101/exposure-false-color-zebra-tools.
ENABLE ZEBRA INDICATORS

1. Go to Menu > Settings > Display > Zebra.
2. Select a Zebra:
Zebra 1:
Video: Areas of the image exposed within the IRE range are indicated by red diagonal lines at –45°. Default
is 98 to 100 IRE.
RAW: Areas of the image exposed within the range of stops are indicated by solid red. Default is 15.80 to
16.00 stops.
Zebra 2:
Video: Areas of the image exposed within the IRE range are indicated by green diagonal lines at 45°. Default
is 41 to 48 IRE.
RAW: Areas of the image exposed within the range of stops are indicated by solid purple. Default is 0.00 to
4.00 stops.

MONITOR CONTROL
Use the Monitor Control menu to configure monitor and overlay settings, control surface priorities, brightness, and
gestures.
MONITOR
Select the monitor to configure from the drop-down menu at the top of the menu. The other settings on the menu are
applicable to the selected monitor.
NOTE: While some changes take effect immediately, others take effect when you close the menu.
MONITOR MODE
Select an option for the Mode setting, which determines the elements displayed on the monitor:
Clean: Only the video displays. The Upper Status Row, Lower Status Row, and overlays do not display.
Overlay: The overlay displays. Overlays include the Upper Status Row and the Lower Status Row.
Mirror: The monitor mirrors another screen at the same resolution. You cannot mirror a screen that is set to Clean.
The Mirror option is available based on the settings of the other attached monitors, and includes the name of the
monitor that can be mirrored.
NOTE: You can set a maximum of four (4) monitors to Overlay at a time. To assign additional monitors to Overlay,
mirror a monitor with the same resolution that is set to Overlay.
NOTE: When two (2) touchscreens are attached to the camera with the same resolution and one (1) is currently the
control surface, set the other to mirror it and give the effect of having two (2) control surfaces.
OVERLAY
Select which overlay shows on top of the video. RED® provides preset overlays, which have “(RED)” in the overlay
name. Create custom overlays in the Overlay tab. For more information, go to "Custom Overlays" on page 82.
RESOLUTION
Select the output resolution for monitors (you cannot select a resolution for LCDs and EVFs, since the resolution is
determined automatically). For more information about available HD-SDI and HDMI resolutions, go to "3G-SDI (HD-
SDI) Out" on page 219 and "HDMI Out" on page 220.
FREQUENCY
Determines the monitor frequency. Available frequencies depend on the selected monitor. The LCD resolution defaults
to 60.00 Hz, which is the optimal refresh rate for the RED LCDs.
For HD-SDI monitors, the frequency depends on the project time base. For more information, go to "3G-SDI (HD-SDI)
Out" on page 219 and "HDMI Out" on page 220.
HD-SDI Auto: Sets the frequency equal to the Project Time Base, except when the Project Time Base is 47.95/48 fps.
When the Project Time Base is 47.95/48 fps, the frequency is half that rate (23.98/24 Hz).
TOOLS
Enables the false color modes on the monitor. For more information, go to "Tools" on page 76.

FLIP VIDEO
NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch
7.0" LCD, and RED Pro Touch 7.0" LCD.
Flip footage horizontally, so that it is upside down. This setting only affects the monitor, and does not affect captured
footage.
FRAMED OVERLAY
The video display is scaled down on the monitor so that the overlay items fit outside of the video area rather than over
it. This setting only affects the monitor, and does not affect captured footage.
AUTO HIDE MENUS

Hides the Upper Status Row and Lower Status Row. When this option is disabled, the video is scaled so that the
menus are not overlaid on the video. When this option is enabled, the video is not scaled. This option creates a
control surface on a monitor without scaling the video. This setting only affects the monitor, and does not affect
captured footage.
To toggle display/hide the menus when Auto Hide Menus is enabled, perform either of the following actions:
Press the Menu button on the DSMC Side Handle or RED Switchblade-M.
Tap the touchscreen.
NOTE: Enabling this option on a non-control surface results in the menus never displaying on that monitor.
FLIP/MIRROR
NOTE: This setting is ONLY available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch
Mirror and flip (invert) the graphical user interface (GUI) and footage, effectively rotating the entire displayed image
180°. Use this setting when mounting a monitor or the entire camera rig upside down. This setting only affects the
monitor, and does not affect captured footage.
UI FLIP/MIRROR
NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch
Flip the GUI vertically and mirror horizontally (not rotated). Use this setting when mounting a monitor upside down.
This setting only affects the monitor, and does not affect captured footage.
BRIGHTNESS
Control the brightness of each LCD and EVF. Move to the right for a brighter display; move to the left for a dimmer
display.
Side UI LCD controls the brightness of the Switchblade-M LCD.
NOTE: A rear LCD/EVF is an LCD/EVF that is plugged into any rear RED module, such as the +1 Adaptor Module or
the Pro I/O Module.

CUSTOM OVERLAYS
Create custom overlays that include specific items. Overlays can be stored on the camera or transferred to SSD to be
shared with other cameras.
Camera: Overlays saved internally on the camera display in the Overlay drop-down menu on the Monitor Control >
Monitor tab.
Media: Overlays saved to an SSD can be found at On Media: \overlays:.
Figure: Overlay
NOTE: Overlays that end with (RED) are provided by default and cannot be edited, deleted, or exported.
OVERLAY ACTIONS
Create...: Create a new custom overlay using a blank overlay template in the Overlay Editor.
Clone...: Create a new custom overlay using the selected camera overlay as a template in the Overlay Editor.
Edit...: Edit the selected camera overlay in the Overlay Editor.
Delete: Delete the selected camera overlay.
EXPORT AND IMPORT OVERLAYS

: Export selected overlay from camera to SSD.
All: Export all overlays from camera to SSD.
: Import selected overlay from SSD to camera.
All: Import all overlays from SSD to camera.

CREATE AND EDIT OVERLAYS
1. Go to Menu > Settings > Display > Monitor Control > Overlay.
2. Select Create, or select an existing overlay and select Clone or Edit.
3. If creating a new overlay, enter a name for the overlay and select OK.
4. Select any of the following check boxes to add the corresponding guides to the overlay:
Frame Guide
Action Guide
Title Guide
5. Select a button on the matrix to add a user interface element to that position on the matrix.
By default, the Magnify indicator (MI) is on the top left, the Record indicator (REC) is on the top right, the Clip
Name (CLIP) is on the bottom left, and the Timecode (TC) is on the bottom right.
Selecting one (1) of the buttons opens a new dialog that lets you choose a user interface element.
6. Select the Item that you want to add.
7. Select the Size of the item.
8. If adding a Custom Label (LBL), enter the Custom Text for that item.
9. Select Add to return to the previous screen.
10. Add all of the items to the overlay.
11. Select Create or Save.
The new overlay displays in the Camera list.
NOTE: Except for the Custom Label (LBL), you can only add each element once. If you add an element you have
already added to the overlay, the element moves to the new position.
LUTS
The LUTs menu is only accessible when a REDCAST Module is installed. For more information, see the REDCAST
Module Operation Guide, available at www.red.com/downloads.

PRIORITY
Figure: Priority
The camera can only have one (1) control monitor for interacting with camera settings. The Priority tab determines the
order in which a monitor becomes the control monitor. If you plan on removing or adding monitors during a shoot, set
up the priority list ahead of time.
For a monitor to become the control monitor, the following must occur:
The monitor must be set to Overlay mode in the Monitor Control menu.
Each monitor that has higher priority on the list must be either detached or not set to Overlay mode.
EXAMPLE
By default, the monitor priority is:
1. BRAIN LCD
2. BRAIN EVF
3. BRAIN HDMI
If you remove an LCD when an EVF is attached, then the EVF becomes the control monitor. If you then remove the
EVF when an HDMI monitor is attached, the HDMI monitor becomes the control monitor. If you then re-attach the LCD,
then the LCD is the control monitor again.
BRIGHTNESS
Control the brightness of each LCD and EVF. Move to the right for a brighter display; move to the left for a dimmer
display.
Side UI LCD controls the brightness of the Switchblade-M LCD.
NOTE: A rear LCD/EVF is an LCD/EVF that is plugged into any rear RED module, such as the +1 Adaptor Module or
the Pro I/O Module.

ADVANCED
Provides access to additional monitor settings.
Figure: Advanced Monitor Control
GESTURES
Pinch to Magnify: Move two (2) fingers apart or together to toggle Magnify. For more information, go to "Magnify"
on page 78.
Double-Tap Right 25% to Record: Double-tap the right 25% of the video area on the LCD to toggle record.
Double-Tap Left 25% to Start AF: Double-tap the left 25% of the video area on the LCD to start autofocus when
compatible lenses are used.
OTHER
Lock Touch Screen: Touchscreen control is locked. To unlock, tap the screen and follow the on-screen
instructions.
Small Dialogs on 9" LCD: The dialogs on the RED Touch 9.0" LCD are smaller than the default dialogs.
GENLOCK OFFSET
Offset the video of the HDSDI out or REDCAST Module to align it with the genlock signal:
Negative offset: Advances the video, so the video reaches the switcher earlier than it would otherwise.
Positive offset: Delays the video, so the video reaches the switcher later than it would otherwise.
ALLOW OPEN GATE

Open Gate allows the camera to preview images at a refresh rate that is twice the project time base. For example, if
the project time base is 23.98 FPS or 24.00 FPS, enabling Open Gate causes the LCD or EVF to have a refresh rate of
48 Hz (50 Hz).
You cannot use Open Gate when:
Varispeed is enabled.
Speed Ramp mode is enabled.
Genlock is enabled.
The shutter angle is 180° or greater.
NOTE: When you disable Open Gate mode, the image on the EVF may be disrupted for up to three (3) seconds.

MODES
Use the Modes menu to determine how the following settings display:
Camera
Lens
CAMERA
Figure: Display Mode: Camera
EXPOSURE
Time (Absolute): Displays the exposure time in seconds (1/xx sec). When you change the frame rate in this mode,
the shutter time stays the same, but the shutter angle changes. (Default)
Angle (Relative): Displays the exposure as an angle (1° to 360°). When you change the frame rate in this mode, the
shutter angle stays the same, but the exposure time changes.
POWER
Current Batt %: Displays the remaining percentage of active battery. (Default)
Total Time: Displays the total run-time left of battery power, taking into account all available batteries.
VU METER
Input: Displays levels of audio inputs (pre-mixer). (Default)
Output: Displays levels of audio outputs (post-mixer).
HISTOGRAM
NOTE: The Histogram setting is disabled on Monochrome cameras.
RGB: Displays red, green, and blue channels on histogram. (Default)
Luma: Displays luma channel on histogram.
MEDIA
Percentage: Displays media space remaining as a percentage. (Default)
Time Remaining: Displays media space remaining as time in hours and minutes (HHH:MM).

LENS
Figure: Display Mode: Lens
APERTURE
1/4 F#: Aperture increments in 1/4 stops.
1/3 F#: Aperture increments in 1/3 stops. (Default)
FOCUS DISTANCE
Metric: Displays lens focus distances in meters.
Imperial: Displays lens focus distances in feet and inches. (Default)
MOTION MOUNT ND AND MOTION MOUNT ISO PULL

Only applicable when using a DSMC RED MOTION MOUNT ® S35 lens mount. For more information, see the RED
MOTION MOUNT Operation Guide, available at www.red.com/downloads.
RACK SHOW DISTANCE

On: Displays the focus distance of each rack point on the Live Action Area when rack focus is enabled. For more
information, go to "Set Up Rack Focus" on page 135.
Off: Does not display the focus distance of rack points when rack focus is enabled. (Default)
GUIDES
Use the Guides menu to configure the Frame Guide, Action Guide, and Title Guide.
MODE
Off: Disable all guides.
Full: Guide has the same aspect ratio as the record format.
4:3, 16:9, 1.85:1, 1.9:1, 2.4:1: Guide has the selected aspect ratio.
User: Select an aspect ratio from the drop-down menu that displays when you select this option.
Absolute: Guide is defined by absolute pixel dimensions rather than aspect ratio and scale. When you select
Absolute, the Width/Height fields replace the Scale field.

SCALE
Percentage to scale guide from its maximum possible size. Available range is 0 to 100%.
WIDTH/HEIGHT
The Width/Height fields replace the Scale field when you select Absolute from the Mode drop-down menu. Select the
values for the width and height of the guide in pixels.
OFFSET X/Y
Percentage to offset guide from its default centered position. Available range is –100 to 100%.
100%: Right-aligned (for X offset) and bottom-aligned (for Y offset).
-100%: Left-aligned (for X offset) and top-aligned (for Y offset).
APPEARANCE
Line Style: Select one of the following line styles: Solid, Dashed, or Bracket.
Color: Select the color that has the highest contrast to the scene. The default is White.
Opacity: Set the guide opacity. Available options are 25%, 50%, 75% and 100%.
RELATIVE TO FRAME GUIDE

Select the Relative to Frame Guide check box to size and position the guide relative to (and have it bounded by) the
Frame Guide instead of the record format.
NOTE: The Relative to Frame Guide check box is available on the Action Guide and Title Guide tabs.
GENERAL TAB
Enable/Disable and select the location (Relative To), color, and opacity of the following elements:
Center: The center crosshair.
Grid: Rule-of-thirds grid.
Shading: The shaded region outside of the area of interest.
TEST SIGNAL
Use the Test Signal menu to replace the video monitor outputs with one of the following video test patterns:
Chip Chart
SMPTE Bars
Luma
If needed, enable an Audio Tone.

NOTE: Test signals are not recordable; they are provided to help align external HD-SDI and HDMI monitors.
REDCAST
The REDCAST menu is only accessible when a REDCAST Module is installed. For more information, see the
REDCAST Module Operation Guide, available at www.red.com/downloads.

LOOK
The Look menu includes: Color, Gain, ISO/FLUT, Sharpness, Curves, Video, Color Temperature, and LGG (Lift,
Gamma, Gain).
The Look settings affect the look of the monitor path, but do not affect the recorded RAW data.
COLOR
NOTE: Saturation is disabled on Monochrome cameras.
Saturation: Adjusts color saturation. Range is 0.0 (monochrome) to 4.0 (super color). Default is 1.0.
Contrast: Adjusts the overall contrast of the image. Range is –1.0 (flat) to 1.0 (max contrast). Default is 0.0.
Brightness: Adjusts brightness without crushing highlights. Available range is –10.0 to 10.0. Default is 0.0.
Exp Comp: Adjusts exposure compensation. Available range is –7.0 to 7.0. Default is 0.0.
GAIN
Adjust the red channel, blue channel, and green channel individually. The range for each is 0.0 (none of the color) to
10.0, and the default for each is 1.0.
ISO/FLUT
Use the ISO/FLUT menu to adjust ISO, FLUT®, and Shadow. For more information, see the following articles:
Exposure with RED Cameras: Strategy, available at www.red.com/learn/red-101/exposure-with-red-cameras
ISO Speed Revisited, available at www.red.com/learn/red-101/iso-speed-revisited
ISO
NOTE: To see the full range of ISO ratings, select ISO in the Upper Status Row, select Edit List, and select Custom.
NOTE: The default for Monochrome cameras is ISO 2000.
Select the camera ISO rating. The sensitivity value increments in 1/3 stops. When the ISO rating is adjusted, the
camera logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter
images in the monitor path, and vice versa.
RED recommends setting the ISO to the default, then adjusting the aperture, lighting, and ND filters to match. The ISO
can later be adjusted around one (1) stop for fine-tuning.
Range is ISO 250 to 12,800. Default is ISO 800.
FLUT
Floating Point Lookup Table (FLUT) is an exposure control exclusive to RED. FLUT works like a traditional ISO
setting, but can be fine-tuned in post production to any level of exposure precision. FLUT automatically protects
highlights and shadows, even when changed substantially.
The FLUT setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop change in
midtone exposure level. Range is –8.0 to 8.0. Default is 0.0.
SHADOW
Shadow adjusts the toe value of the FLUT (the tone near black). Increasing the Shadow value raises the video level of
near blacks. Lowering the Shadow value crushes the video level of near blacks. Range is –2.0 to 2.0. Default is 0.0.

SHARPNESS
Control the sharpness of each monitor output. Move to the left for a sharper image; move to the right for a less sharp
image.
NOTE: The sharpness setting affects the Histogram, RAW Level Bars, RAW Clip Meter, and false color modes. For
more information, go to "Histogram" on page 62 and "False Color Modes" on page 76.
CURVES
NOTE: Luma is the only channel on Monochrome cameras.
Define the individual curves for the luma, red, green, and blue channels. You can only adjust one (1) curve at a time.
Select Reset Curve to reset a curve.
VIDEO
Use the Video menus to adjust the color space and gamma space for the monitor outputs. All settings in the Video
menus affect metadata only, and can be changed in REDCINE-X PRO®.
NOTE: Selecting options in the Video menu may make the menu lighter or darker. The camera applies the color and
gamma spaces after rendering the user interface, so changing these settings affects the user interface.
NOTE: RED recommends using the most recent Color Space and Graded Gamma settings. Use legacy settings (such
as REDcolor2) only if you need to record footage to match footage recorded with that legacy setting.

VIDEO SOURCE
1. Select a source from the Video Source drop-down menu:
Graded: Select this to choose a color space and graded gamma space.
Graded (ACES): Select this to output a graded ACES proxy.
Graded (ACEScc): Select this to output a graded ACEScc proxy.
RLF: Select this to output REDLogFilm. Then choose a color space and graded gamma space. Selecting RLF
allows you to apply a neutral look to recorded files, while applying a graded look to monitors.
LOG3G12: Select this to output LOG3G12. Then choose a color space and graded gamma space.
ACES: Select this to output a graded ACES proxy. Then choose a graded gamma space. Selecting ACES
allows you to apply a neutral look to recorded files, while applying a graded look to monitors.
ACEScc: Select this to output a graded ACEScc proxy. Then choose a graded gamma space.
2. Graded, RLF: Select a color space from the Color Space drop-down menu.
3. Graded, RLF, ACES: Select a graded gamma space from the Graded Gamma Space drop-down menu.
4. IRLF, ACES: Set up the Monitor Configuration. For more information, go to "Monitor Config (Monitor
Configuration)" on the next page.
Figure: Select Video Source

MONITOR CONFIG (MONITOR CONFIGURATION)

The Monitor Config menu is available if the Video Source is set to RLF or ACES. For more information, go to "Video"
on page 90.
Use the Monitor Config menu to apply curves to the monitor outputs.
1. Select the monitor to configure from the drop-down menu at the top of the menu.
2. Select a curve from the Curve drop-down menu:
Neutral: The camera does not apply a graded gamma space to the monitor output.
Graded: The camera applies a graded gamma space to the monitor output.
The Video Path displays the video source and graded gamma space applied to the monitor.
Figure: Monitor Config
COLOR TEMPERATURE
NOTE: Color temperature is disabled on Monochrome cameras.
Select a color temperature. The range is 1700 to 10,000 KELVIN, and the default is 5600 KELVIN.
TINT
NOTE: Tint is disabled on Monochrome cameras.
Color temperature calculations assume a pure light source that may not be true in the specific scene the camera is
imaging. To compensate for any residual colorcast, the Tint parameter adjusts the RGB color balance with a
compensating magenta-green color component. Tint range is –100 to 100, with a default of 0.000.
The Tint value displays as a rounded number in the Upper Status Row.
NOTE: Selecting Auto White Balance calculates a new Tint value. The value does not change if you adjust the color
temperature manually. Selecting a preset resets the Tint to 0.000.

PRESETS
Each preset has 0.000 Tint. Available preset options are:
Incandescent: 2800 K
Tungsten: 3200 K
Fluorescent: 4500 K
Flash: 5500 K
Daylight: 5600 K
Cloudy: 7500 K
Shade: 9000 K
AUTO WHITE BALANCE

Auto white balance analyzes the central 25% of the image visible in the monitor to calculate a color temperature that
will render a white object as white.
To use auto white balance, follow the instructions below:
1. Place a white or grey object under the ambient light.
2. Go to Menu > Settings > Look > Color Temp.
LGG (LIFT, GAMMA, GAIN)

Adjust the lift, gamma, and gain for the red channel, blue channel, and green channel individually.
PROJECT
The Project menu includes settings that define the recorded file, including recording frame rate, exposure, and format.
FRAME RATE
RECORDING FRAME RATE
Select the recording frame rate (also referred to as the capture frame rate). The recording frame rate is the number of
frames per second (fps) that are recorded. The recording frame rate is different from the project time base, which is the
rate at which the footage will be played back.
The default recording frame rate is 23.98 fps. If you change the project time base, the recording frame rate
automatically changes its value to match the project time base.
The maximum frame rate for each format is determined by several factors, including project time base, REDCODE, and
Lookaround.
For more information about the maximum REDCODE settings for each common recording frame rate, see the DSMC
Media Operation Guide, available at www.red.com/downloads.

PROJECT TIME BASE

Select the project time base. The project time base is the rate at which the footage will be played back. The project
time base displays in the lower left corner of the display.
The following project time bases are available:
23.98 fps (Default)
24.00 fps
25.00 fps
29.97 fps
47.95 fps
48.00 fps
50.00 fps
59.94 fps
VARISPEED
When a recording frame rate other than the current project time base is selected, the fps text turns yellow and the word
Varispeed replaces the Audio Meter in the lower right corner of the display.
Audio is not recorded in Varispeed mode.
EXPOSURE/SHUTTER
Select the exposure (shutter speed / shutter angle) of each frame. You can change exposure while recording.
Decreasing shutter speed increases the amount of time that light hits the sensor, which increases exposure and motion
blur of moving objects. Increasing shutter speed decreases the amount of time that light hits the sensor, which
decreases exposure and motion blur of moving objects.
The Upper Status Row displays the exposure as either shutter speed or shutter angle. For more information, go to
"Exposure" on page 86.
If the camera is able to achieve the target exposure, the exposure value displays in white. If the camera is unable to
achieve the target exposure, the exposure value displays in yellow, and the camera uses the closest available
exposure.
NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera ramps
to a frame rate that is incompatible with the current exposure, the exposure changes to the longest exposure possible
for the frame rate. For more information, go to "Speed Ramp Mode" on page 106.
NOTE: You cannot change the exposure when HDR is enabled.
INTEGRATION TIME
Enter the exposure value as a shutter speed (1/xx sec).
The slowest shutter speed is 1/(recording frame rate). For example, if the recording frame rate is 24 fps, the slowest
available shutter speed is 1/24 sec. The fastest shutter speed is 1/131,579 sec. The default shutter speed is 1/48 sec.
SHUTTER ANGLE
Enter the exposure value as a shutter angle (xx°). The shutter angle range is 1.000° to 360.000°. The default shutter
angle is 180.000°.

EXPOSURE CONVERSIONS
The table below lists common shutter speed and shutter angle equivalents. The calculations in the table use a
recording frame rate of 24 fps.
SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°) SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°)
1/32 270 1/120 72
1/48 180 1/192 45
1/50 172.8 1/384 22.5
1/60 144 1/696 12.4
1/96 90 1/1000 8.6
CONVERT SHUTTER SPEED TO SHUTTER ANGLE

Shutter Angle = (Shutter Speed x Frame Rate x 360)
Example: (1/48 x 24 x 360) = 180
CONVERT SHUTTER ANGLE TO SHUTTER SPEED

Shutter Speed = 1/(Frame Rate x 360/Angle)
Example: 1/(24 x 360/180) = 1/48
TIMECODE
RED cameras use non-drop frame timecode. For more information about timecode, go to "Timecode, Genlock, Multi-
Camera Setup" on page 165.
TIMECODE DISPLAY MODE

Time of Day (TOD): Displays the time of day (HH:MM:SS:FF). TOD timecode runs continuously and is not affected
by recording. TOD timecode can be synchronized with the Real-Time Clock (RTC) in the camera.
Edge: Edge timecode is continuous between clips, meaning that when recording starts, timecode begins. and
when recording stops, timecode stops. By default, Edge timecode default begins at 01:00:00:00, but can be
configured in the Media menu when formatting an SSD.
TIMECODE SOURCE
User Provided: Allows you to select one of the following:
Use RTC Time: Uses the internal Real Time Clock as the timecode counter source. You can set the hours,
minutes, and seconds in the numerical boxes on the screen.
Set Manually: Define a custom value as the timecode counter seed. Set the hours, minutes, and seconds in the
numerical boxes on the screen.
External: BRAIN: Uses the timecode from an external device connected to the timecode connector on the camera.
External: Rear Module: Uses the timecode from an external device connected to a Pro I/O Module or a
REDCAST Module.

LTC OUT
The LTC Out (linear timecode out) check box is only available when a Pro I/O Module is attached. Select the LTC Out
check box to output the linear timecode signal generated by the camera through the timecode (TCODE) port on the
Pro I/O Module.
NOTE: If jamming camera timecode to a timecode device, ensure that LTC Out is disabled.
SLATE
Use the Slate menu to add metadata to clips. After configuring the following fields, the information populates in the
Media menu when formatting media:
Camera ID
Camera Position
NOTE: The scene name is limited to eight (8) characters.
AUTO-INCREMENT TAKE
To automatically increment the take number when the camera stops recording, follow the instructions below:
1. Go to Menu > Settings > Project > Slate > Scene.
2. Enter a value in the Take box.
AUTO SLATE
Frame values for Auto Head Frames and Auto Tail Frames on the Auto Slate tab, these values only show in-
camera. The Auto Head Frames and Auto Tail Frames metadata values are currently disabled in REDCINE-X PRO.

FORMAT
Use the Format menu to select the resolution, aspect ratio, anamorphic setting, and Lookaround setting.
To access the Format menu, go to Menu > Settings > Project > Format.
The available aspect ratios are determined by the selected resolution.
After selecting format settings, select Set Format.
When you lower the resolution on a camera, only a portion of the sensor is used. The camera does not downscale
from full format when recording RAW.
EPIC DRAGON FORMATS

The table below describes the formats that are available for EPIC DRAGON.
Default for EPIC DRAGON is 6K 2:1.
The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format and
the corresponding non-anamorphic format are the same. For more information, go to "Anamorphic" on page 101.
Using a 6:5 aspect ratio at 2x anamorphic gives you a 2.4:1 aspect ratio.
RESOLUTION DIMENSIONS (PIXELS) DIMENSIONS (MM)
WIDTH HEIGHT WIDTH HEIGHT DIAGONAL
6K FF 6144 3160 30.72 15.80 34.55
6K 2:1 6144 3072 30.72 15.36 34.35
6K 2.4:1 (WS) 6144 2592 30.72 12.96 33.34
6K 16:9 (HD) 5568 3132 27.84 15.66 31.94
6K 3:2 4752 3160 23.76 15.80 28.53
6K 6:5 3792 3160 18.96 15.80 24.68
6K 4:1 6144 1536 30.72 7.68 31.67
6K 8:1 6144 768 30.72 3.84 30.96
5.5K FF 5632 2948 28.16 14.74 31.78
5.5K 2:1 5632 2816 28.16 14.08 31.48
5.5K 2.4:1 (WS) 5632 2376 28.16 11.88 30.56
5.5K 16:9 (HD) 5376 3024 26.88 15.12 30.84
5.5K 4:1 5632 1408 28.16 7.04 29.03
5.5K 8:1 5632 704 28.16 3.52 28.38
5K FF 5120 2700 25.60 13.50 28.94
5K 2:1 5120 2560 25.60 12.80 28.62
5K 2.4:1 (WS) 5120 2160 25.60 10.80 27.78
5K 16:9 (HD) 4800 2700 24.00 13.50 27.54

5K 6:5 3240 2700 16.20 13.50 21.09
5K 4:1 5120 1280 25.60 6.40 26.39
5K 8:1 5120 640 25.60 3.20 25.80
4.5K FF 4608 2412 23.04 12.06 26.01
4.5K 2:1 4608 2304 23.04 11.52 25.76
4.5K 2.4:1 (WS) 4608 1944 23.04 9.72 25.01
4.5K 16:9 (HD) 4224 2376 21.12 11.88 24.23
4.5K 3:2 4320 2880 21.60 14.40 25.96
4.5K 4:1 4608 1152 23.04 5.76 23.75
4.5K 8:1 4608 576 23.04 2.88 23.22
4K FF 4096 2160 20.48 10.80 23.15
4K 2:1 4096 2048 20.48 10.24 22.90
4K 2.4:1 (WS) 4096 1728 20.48 8.64 22.23
4K 16:9 (HD) 3840 2160 19.20 10.80 22.03
4K 6:5 2592 2160 12.96 10.80 16.87
4K 3:2 3840 2560 19.20 12.80 23.08
4K 4:3 3840 2880 19.20 14.40 24.00
4K 5:4 3840 3072 19.20 15.36 24.59
4K 4:1 4096 1024 20.48 5.12 21.11
4K 8:1 4096 512 20.48 2.56 20.64
3.5K FF 3584 1876 17.92 9.38 20.23
3.5K 2:1 3584 1792 17.92 8.96 20.04
3.5K 2.4:1 (WS) 3584 1512 17.92 7.56 19.45
3.5K 16:9 (HD) 3456 1944 17.28 9.72 19.83
3.5K 3:2 3360 2240 16.80 11.20 20.19
3.5K 4:3 3360 2520 16.80 12.60 21.00
3.5K 5:4 3360 2688 16.80 13.44 21.51
3.5K 4:1 3584 896 17.92 4.48 18.47
3.5K 8:1 3584 448 17.92 2.24 18.06

3K FF 3072 1620 15.36 8.10 17.36
3K 2:1 3072 1536 15.36 7.68 17.17
3K 2.4:1 (WS) 3072 1296 15.36 6.48 16.67
3K 16:9 (HD) 2880 1620 14.40 8.10 16.52
3K 6:5 1944 1620 9.72 8.10 12.65
3K 3:2 2880 1920 14.40 9.60 17.31
3K 4:3 2880 2160 14.40 10.80 18.00
3K 5:4 2880 2304 14.40 11.52 18.44
3K 4:1 3072 768 15.36 3.84 15.83
3K 8:1 3072 384 15.36 1.92 15.48
2.5K FF 2560 1340 12.80 6.70 14.45
2.5K 2:1 2560 1280 12.80 6.40 14.31
2.5K 2.4:1 (WS) 2560 1080 12.80 5.40 13.89
2.5K 16:9 (HD) 2304 1296 11.52 6.48 13.22
2.5K 3:2 2400 1600 12.00 8.00 14.42
2.5K 4:3 2400 1800 12.00 9.00 15.00
2.5K 5:4 2400 1920 12.00 9.60 15.37
2.5K 4:1 2560 640 12.80 3.20 13.19
2.5K 8:1 2560 320 12.80 1.60 12.90
2K FF 2048 1080 10.24 5.40 11.58
2K 2:1 2048 1024 10.24 5.12 11.45
2K 2.4:1 (WS) 2048 864 10.24 4.32 11.11
2K 16:9 (HD) 1920 1080 9.60 5.40 11.01
2K 3:2 1920 1280 9.60 6.40 11.54
2K 4:3 1920 1440 9.60 7.20 12.00
2K 5:4 1920 1536 9.60 7.68 12.29
2K 6:5 1296 1080 6.48 5.40 8.44
2K 4:1 2048 512 10.24 2.56 10.56
2K 8:1 2048 256 10.24 1.28 10.32

SCARLET DRAGON FORMATS

The table below describes the formats that are available for SCARLET DRAGON.
SCARLET DRAGON offers a 6:5 aspect ratio for each resolution. Using a 6:5 aspect ratio at 2x anamorphic gives you
a 2:40:1 aspect ratio.
6K FF 6144 3160 30.72 15.80 34.55
6K 3:2 4752 3160 23.76 15.80 28.53
6K 6:5 3792 3160 18.96 15.80 24.68
5K FF 5120 2700 25.60 13.50 28.94
5K 2:1 5120 2560 25.60 12.80 28.62
5K 2.4:1 (WS) 5120 2160 25.60 10.80 27.78
5K 16:9 (HD) 4800 2700 24.00 13.50 27.54
5K 6:5 3240 2700 16.20 13.50 21.09
4K FF 4096 2160 20.48 10.80 23.15
4K 2:1 4096 2048 20.48 10.24 22.90
4K 2.4:1 (WS) 4096 1728 20.48 8.64 22.23
4K 16:9 (HD) 3840 2160 19.20 10.80 22.03
4K 6:5 2592 2160 12.96 10.80 16.87
3K FF 3072 1620 15.36 8.10 17.36
3K 2:1 3072 1536 15.36 7.68 17.17
3K 2.4:1 (WS) 3072 1296 15.36 6.48 16.67
3K 16:9 (HD) 2880 1620 14.40 8.10 16.52
3K 6:5 1944 1620 9.72 8.10 12.65
2K FF 2048 1080 10.24 5.40 11.58
2K 2:1 2048 1024 10.24 5.12 11.45
2K 2.4:1 (WS) 2048 864 10.24 4.32 11.11
2K 16:9 (HD) 1920 1080 9.60 5.40 11.01
2K 6:5 1296 1080 6.48 5.40 8.44
C O PYR I G HT © 2 0 1 8 R ED.C O M , LLC 9 5 5 - 0 0 2 0 _V 6 .3 , R EV - AA | 1 0 0

EPIC MYSTERIUM-X AND SCARLET MYSTERIUM-X FORMATS

The table below describes the formats that are available for EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X.
EPIC MYSTERIUM-X: Default is 5K 2:1.
SCARLET MYSTERIUM-X: Default is 4K.
The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format and
the corresponding non-anamorphic format are the same. For more information, go to "Anamorphic" below.
5K FF 5120 2700 27.65 14.58 31.26
5K 2:1 5120 2560 27.65 13.82 30.91
5K 2.4:1 (WS) 5120 2160 27.65 11.66 30.01
5K 16:9 (HD) 4800 2700 25.92 14.58 29.74
5K 1.22:1 3300 2700 17.80 14.58 23.01
4K FF 4096 2160 22.12 11.66 25.01
4K 2.4:1 (WS) 4096 1708 22.12 9.22 23.96
4K 16:9 (HD) 3840 2160 20.74 11.66 23.79
3K FF 3072 1620 16.59 8.75 18.75
3K 2.4:1 (WS) 3072 1284 16.59 6.93 17.98
3K 16:9 (HD) 2880 1620 15.55 8.75 17.84
2K FF 2048 1080 11.06 5.83 12.50
2K 2.4:1 (WS) 2048 854 11.06 4.61 11.98
2K 16:9 (HD) 1920 1080 10.37 5.83 11.90
1K 16:9 (HD) 1280 720 6.91 3.89 7.93
1K 2.4:1 (WS) 1280 480 6.91 2.59 7.38
ANAMORPHIC
Select an Anamorphic setting, if applicable. The anamorphic setting de-squeezes the image on the monitor and
marks the footage as anamorphic in the clip metadata. When you open the clip in REDCINE-X PRO, the program
automatically de-squeezes the image. The available anamorphic settings depend on your camera type.
EPIC DRAGON: Supports anamorphic 1.3x and 2x with each format.
SCARLET DRAGON: Supports anamorphic 2x for 5K 6:5.
EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: Supports the following:
5K FF: Anamorphic 1.3x and 2x
5K 1.22:1: Anamorphic 2x
NOTE: Anamorphic de-squeeze on the RED PRO LCD 7.0" requires that your camera is on firmware v5.3 or later.

DE-SQUEEZED RESOLUTION AND DE-SQUEEZED ASPECT RATIO

When you enable anamorphic, both the actual format and the de-squeezed format display at the bottom of the Format
menu. To view the actual format and the de-squeezed format, go to Menu > Settings > Project > Format > Format.
When anamorphic is enabled, the camera does not crop the sensor image, so the recorded image has the same
resolution and dimensions as the corresponding non-anamorphic format.
After de-squeezing the footage in post production, the resulting footage has a different format than the original
recorded image. The format of the de- squeezed footage is the second format (resolution and aspect ratio) that
displays on the Format menu.
Since the camera does not crop the image, you will have additional horizontal area to frame the image. Then, crop or
scale the footage to the intended aspect ratio.
Figure: De-Squeezed Resolution and De-Squeezed Aspect Ratio

SHORT-CUT TO INDUSTRY-STANDARD ANAMORPHIC FORMATS

To quickly access industry- standard anamorphic formats, go to Menu > Settings > Project > Format >
Anamorphic. The Anamorphic tab is a short-cut to all of the industry-standard anamorphic formats, so that you can
easily select the most common anamorphic formats.
The Anamorphic tab lists the following anamorphic formats:
EPIC DRAGON: Every format with a 6:5, 5:4, or 4:3 aspect ratio and a 1.3x or 2x anamorphic setting
SCARLET DRAGON: 5K 6:5 2x
EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: 5K 1.22:1 2x
NOTE: The Anamorphic tab only lists industry-standard anamorphic formats. To access all of the anamorphic and
non-anamorphic formats, go to Menu > Settings > Project > Format > Format.
Figure: Short-Cut to Industry-Standard Anamorphic Formats
LOOKAROUND
When Lookaround is enabled, the Frame Guide and recording area are scaled down on the display so that you can
see what images will enter the recording area.
To assign a Shading overlay to the Lookaround area (the area outside of the recording area), go to "General Tab" on
page 88.
Lookaround limits the available frame rates. At high resolutions, the recording area on the display shows the full
sensor area or full sensor height, so there is no extra room for Lookaround.
Also, Lookaround is either very limited or not possible for high resolutions (such as 5K full format in EPIC
MYSTERIUM-X and 6K full format in EPIC DRAGON).
UHD
The UHD menu is only accessible when a REDCAST Module is installed. For more information, see the REDCAST
MODULE Operation Guide, available at www.red.com/downloads.

SENSOR (FLIP/MIRROR SCAN DIRECTION)

NOTE: Flip/Mirror Scan Direction is only available on an EPIC DRAGON or SCARLET DRAGON.
The Flip/Mirror Scan Direction feature rotates the image 180°, both on the monitor and in the recorded R3D file.
Normally, the sensor scans the image from the top to the bottom. When the Flip/Mirror Scan Direction feature is
enabled, the sensor scan direction reverses, and the sensor scans the image from the bottom to the top.
The Flip/Mirror Scan Direction feature is intended for multi-camera arrays when all sensors are synchronized, and at
least one (1) camera is mounted upside-down. Using this feature is helpful for matching the line scan direction for the
cameras in the array.
To enable the Flip/Mirror Scan Direction feature, follow the instructions below:
1. Go to Menu > Settings > Project > Sensor.
2. Select the Flip/Mirror Scan Direction check box.
The camera rotates the image 180° on the monitor and in the recorded R3D file.
Figure: Flip/Mirror Scan Direction
RECORDING
The Recording menu includes: Mode, Codec, Frame Processing, Pre-Record, and Indicator.
MODE
You can select the following recording modes: Continuous Record, Internal Timelapse Timer, Frame Trigger,
REDCODE Burst, Speed Ramp Mode, Multi-Shot, and Motion + Stills.
NOTE: Audio is recorded only in Continuous Record and Motion + Stills modes.
STORAGE
You can select the following storage locations:
Local: Stores footage directly to an SSD
Network: Stores footage to a network
External: Stores footage to an external device
NOTE: HDRX is disabled in Network Storage mode.

NOTE: The Network option is only available on an EPIC DRAGON or SCARLET DRAGON.
NOTE: In External storage, you can only select Continuous Record and Motion + Stills recording modes.

CONTINUOUS RECORD
NOTE: This mode is not available in Stills mode.
Continuous Record is the “normal” recording mode. The camera continuously records frames at the current recording
frame rate. You can limit each recording to a specific amount of frames using the Limit Recording to setting.
INTERNAL TIMELAPSE TIMER

NOTE: Audio is not recorded in Internal Timelapse Timer mode.
In Internal Timelapse Timer mode, the camera records a specified number of frames at a specified interval. The current
recording frame rate determines the timing of the frames per pulse.
For example, in Internal Timelapse Timer mode, you can choose to record a total amount of 1000 frames, and take 1
frame every 4.67 seconds. After recording 1000 frames (which takes 4,670.00 seconds), the recording process stops.
To use Internal Timelapse Timer mode, follow the instructions below:
2. Select Internal Timelapse Timer from the Mode drop-down menu.
3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).
4. Select the number of frames to be captured in the Record field.
5. Select the time interval from the Interval field (range is 1–3,599 sec). The Interval setting specifies the frequency at
which the frame or group of frames is captured.
6. Close the menu.
7. Start recording to start the interval.
The overlay displays the number of frames recorded out of the total amount of frames.
FRAME TRIGGER
NOTE: Audio is not recorded in Frame Trigger mode.
In Frame Trigger mode, the camera records the specified number of frames for each external trigger. This mode limits
the REDCODE based on sustainable record rates.
To use Frame Trigger mode, follow the instructions below:
2. Select Frame Trigger from the Mode drop-down menu.
4. Select a Pre Count and Post Count. For more information, go to "Pre Count and Post Count" on page 107.
5. Close the menu.
6. Start recording.
The overlay displays the number of frames recorded out of the total amount of frames.
NOTE: There may be a delay between receiving the external trigger and capturing the next frame(s). The delay may be
as long one (1) frame period at the current recording frame rate. To completely synchronize frames to an external
trigger, set Sensor Sync Mode to MoCo. For more information, go to "Sync" on page 114.

SPEED RAMP MODE

NOTE: Audio is not recorded in Speed Ramp mode.
Speed Ramp mode lets you program the current recording frame rate to transition to different recording frame rates
during recording.
2. Select Speed Ramp Mode from the Mode drop-down menu.
4. Select a ramp target:
Ramp A/B/C/D: Each ramp target is tied to a specific Target/Duration combination.
Ramp Reset: Ramp to the starting frame rate with the specified Duration.
5. Set the Target frame rate.
6. Set the Duration, which is how long it takes to transition from the current frame rate to the target frame rate.
7. Go to Menu > Settings > Setup > Keys and program a key to one of the following functions:
Record: Start Speed Ramp A/B/C/D
Record: Start Speed Ramp Reset
8. Start recording.
9. To start speed ramp, press the key that you have mapped to start the speed ramp.
The frame rate transitions to the target frame rate during the duration you set up.
NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera
ramps to a frame rate that is incompatible with the current exposure, the exposure changes to the longest
exposure possible for the frame rate.

REDCODE BURST
NOTE: Audio is not recorded in REDCODE Burst mode.
In REDCODE Burst mode, the camera can record at a lower compression (REDCODE) for the specified amount of
frames. When REDCODE Burst mode is enabled and recording starts, the camera captures a “burst” of frames at the
lower REDCODE, and then continues to record at the next available REDCODE. To add more bursts to clips during
recording, press any key mapped to “Record: Mark Frame”.
To use REDCODE Burst mode, follow the instructions below:
2. Select REDCODE Burst from the Mode drop-down menu.
4. Select a Pre Count and Post Count. For more information, go to "Pre Count and Post Count" below.
5. Close the menu.
6. Start recording.
Figure: REDCODE Burst
PRE COUNT AND POST COUNT

When Frame Trigger or Burst mode is enabled, select the number of frames for the Pre Count and Post Count:
Pre Count: The camera captures the frame cache from the time preceding the marker.
Post Count: The camera captures the remaining frame cache after the marker.
The maximum frame counts are listed in the Available column, and are based on format and REDCODE.

MULTI-SHOT
NOTE: Multi-Shot mode is only available on an EPIC DRAGON or SCARLET DRAGON.
NOTE: The camera does not sync timecode in Multi-Shot mode.
NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.
NOTE: Audio is not recorded in Multi-Shot mode.
Multi-Shot mode removes restrictions on Recording Frame Rate and REDCODE, allowing you to shoot at a high
resolution, high frame rate, and low compression. These restrictions are removed because the camera records first to
the camera’s memory, and then offloads (while recording) to SSD after the camera’s buffer fills up. Since the camera
records only as fast as the buffer can transfer data, frames are dropped from the clip.
Multi-Shot mode has two sub-modes:
Basic Multi-Shot mode
Advanced Multi-Shot mode
BASIC MULTI-SHOT MODE

In Basic Multi-Shot mode, you can record a one-frame clip by pressing a Record key, or you can continuously record
frames by holding a Record key. This mode is the easiest way to shoot stills, but there is some latency (about 700
milliseconds) when you press Record.
This mode only involves the Record keys on the side SSD modules, REDMOTE, and DSMC Side Handle.
Pressing the PWR/REC key on the camera initiates Advanced Multi-Shot mode.
To use Basic Multi-Shot mode, perform one of the following:
Press a Record key to record a one-frame clip.
Press and hold a Record key to start a new clip and continuously add frames to that clip. Release the Record key
to stop adding frames and end the clip.
ADVANCED MULTI-SHOT MODE

In this mode, the camera is continuously recording, but is not saving frames. This eliminates the delay you get in Basic
Multi-Shot mode. Since the camera is continuously recording, the camera requires the same amount of power it does
during Continuous Record (as opposed to Preview mode). Unlike Basic mode, all frames are added to one (1) clip,
instead of to separate clips.
To use Advanced Multi-Shot mode, follow the instructions below:
1. Press the PWR/REC key on the camera to start a new clip. This initial press adds one (1) frame to the clip.
2. Press a Record key on the side SSD module, REDMOTE, or DSMC Side Handle to add frames to the clip:
Press a Record key once to add a few frames to the clip. (The number of frames varies, and depends on the
buffer.)
Press and hold a Record key to continuously add frames; release the Record key to stop adding frames.
3. Press the PWR/REC key on the camera to end the clip.
NOTE: You cannot shut down the camera until you end the clip.

ENABLE MULTI-SHOT MODE
To enable Multi-Shot mode, follow the instructions below:
1. Set the camera to Stills mode. For more information, go to "Camera Mode" on page 60.
3. Select Multi-Shot from the Mode drop-down menu.
5. Close the menu.
MOTION + STILLS
NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.
Motion + Stills mode is identical to Continuous Record, except that when you initiate recording by pressing the
PWR/REC key on the camera, all other Record keys mark frames for the duration of the clip. (If you initiate recording
by pressing any other Record key, you can press any key mapped to “Record: Mark Frame” to mark stills.)
To use Motion + Stills mode, follow the instructions below:
1. Set the camera to Stills mode. For more information, go to "Camera Mode" on page 60.
3. Select Motion + Stills from the Mode drop-down menu.
5. Close the menu.
6. Press the PWR/REC key on the camera to start recording.
7. Press a Record key on the side SSD module, REDMOTE, or DSMC Side Handle to mark a frame.
8. Press the PWR/REC key on the camera to stop recording.
CODEC
Select the target REDCODE compression ratio for your project from the REDCODE drop-down menu. For more
information, go to "REDCODE" on page 57.
FRAME PROCESSING
NOTE: Frame processing is not supported in Speed Ramp Mode. For more information, go to "Speed Ramp Mode"
on page 106.
Frame processing allows for the combination of multiple captured frames into one recorded frame. The combination
occurs before the resulting frame is encoded. You can select the following frame processing settings: No Frame
Processing, Frame Summing, Frame Averaging.
When in Frame Summing mode or Frame Averaging mode, the current integration time is applied to each frame. This
means if the integration time is not the entire frame time (or 360°) there are gaps between the images used to create the
combined frame. This may lead to unexpected motion artifacts.
The effect of frame processing is only visible during record. In Frame Summing mode, this means the exposure
changes between preview and record. Experiment with the exposure and frame processing settings to achieve the
effect you want.
NO FRAME PROCESSING
Normal frame processing mode. The Frames to Process selection does not affect recording.

FRAME SUMMING
Frame Summing combines the specified number of frames into one frame, and adds together the exposure time for
each of the original frames. The resulting frame has an effective integration time that is equal to the current integration
time multiplied by the number of frames.
For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image has
an effective integration time of 1/3 sec (16 x 1/48).
Frame summing results in a final image that is brighter and possibly blurrier than any of the original frames, so you can
use frame summing to achieve the effect of long-exposure.
FRAME AVERAGING
Frame Averaging combines the specified number of frames into one frame, and averages the exposure time for each
of the original frames. The resulting frame has an effective integration time that is equal to the current integration time.
For example, if you select 2 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image still
has the exposure value of 1/48 sec, along with the effect of long-exposure.
You can use frame averaging to achieve the effect of long- exposure along with the benefits of reduced noise.
However, frame averaging does affect motion blur characteristics.
PRE-RECORD
When enabled, the Pre-Record setting continuously captures a cache of footage before recording starts. Select to
have 4 to 30 seconds (incremented at two second intervals) of pre-record time added to the actual footage. When Pre-
Record is enabled, you will not miss the start of a shot by being a little slow on the trigger.
Pre-Record Duration: Select the pre-record time.
Always trigger Pre-Record before recording: When selected, Pre-Record always starts when recording starts:
Press PWR/REC to activate Pre-Record.
Press PWR/REC a second time to start recording.
Press PWR/REC a third time to stop recording.
Trigger Pre-Record Now: When selected, the Pre-Record menu closes and Pre-Record mode starts.
NOTE: Always perform a Secure Format before using Pre-Record. A Secure Format restores the SSD back to factory
out-of-box settings, and optimizes the SSD for Pre-Record.
NOTE: Pre-Record puts your SSD in a state of constant record. As with any SSD technology, continuously writing
data over an extended period of time will impact the lifespan of the media.
NOTE: To use Pre-Record only for specific situations, map Pre-Record to a key (Menu > Settings > Setup > Keys >
Record: Start Pre-Record). For more information, go to "Keys" on the next page.
INDICATOR
Enable Sounds: Select this check box to enable sounds. Then select sounds for the following actions:
Record Start
Record Stop
Mark Still Frame
EVF Tally Light: Enable the EVF Record Tally LED on the EVF to illuminate red when recording.

SETUP
The Setup menu includes: Keys, Date/Time, Communication, REDMOTE, GPIO/Sync, Fan Control, Lens, and Motor
Control.
KEYS
Map keys to often-used actions to easily control the camera. For a full list of the default key mappings, go to "Default
Key Functions" on page 241.
KEY MAPPING
To map or remap a user key:
1. Press the user key that you want to map.
2. Select an action from the Press (or CCW) drop-down menu that you want to map to the user key.
3. To un-map a key, select -Key Disabled- from the drop-down menu.
4. If you want, map a Release or (CW) action to the key.
A Release action occurs when a pressed key is released.
OPTIONS
Lock Side Module keys: None of the module keys perform any actions when pressed, unless you set up the
exceptions below:
Record key remains active when locked
Navigation keys remain active when locked
Show key action notifications: A notification displays on the bottom of the display when you perform an action
mapped to a key.
SOFT KEYS
The following sets of soft keys are available on the touchscreen:
A, B, C, D: Left side of the touchscreen
1, 2, 3, 4: Right side of the touchscreen
To map or remap a soft key, select an action from the drop-down menu next to the key you want to map.
Enable Soft Keys on touchscreen: Tap the left or right side of the touchscreen to show the soft keys.
Show key actions as labels: When the soft keys display, the number/letter of the key and the key action display.
ADVANCED
Use the Advanced tab to map any key, even if the key is not currently accessible. For example, you can map the
REDMOTE keys even if a REDMOTE is not present.
WARNING: It is possible to remap the navigation keys using this tab. However, if you do not have a touchscreen
attached, it is possible to lock out control. Be careful when remapping navigation keys.
DATE/TIME
Use the Date/Time menu to reset the internal clock of the camera. The time and date are timestamps on R3D® files
when recording to an SSD. The camera uses the 24-hour clock convention (military time). For example, enter 2:35 p.m.
as 14:35:00.
The date and time are saved when you close the Date/Time menu.

COMMUNICATION
Use the Communication menu to allow one (1) or more cameras to communicate with each other or external devices.
You can use the serial port or a direct Ethernet cable to connect two (2) cameras, or one (1) camera and one (1) external
device. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate with
each other.
For example, on a multi-rig 3D shoot, you can send commands to an individual camera (Example: Set CAM_A_L to
1/48 exposure), to a group of cameras (Example: Set 3DRIG_A to 48 fps), or to all cameras (Example: Start Recording
on all cameras).
CAMERA
Use the Camera menu to set up a unique identifier for your camera (or a group of cameras). All command filtering
happens on the receiver side of the communication link. Use camera names and group names to address commands
to a specific camera or group of networked cameras.
Camera ID: Enter a unique camera name to use in network communications. The field is limited to eight (8)
characters.
Group ID: Enter a group name to identify the camera as a member of a group of devices. The field is limited to
eight (8) characters, and the default name is DEFAULT.
Target: Specify which devices the camera can send commands to:
All: The camera can send commands to all devices on the network.
None: The camera can only receive commands. The camera cannot send commands.
Custom: The camera can send commands to a specific camera/device (enter the name of the camera/device in
the Target ID text box) or a specific group (enter the name of the group in the Target ID text box). The
camera/group name must match the name entered in the Camera/Group field of the target device(s).
Figure: Camera Menu

SERIAL
To access the Serial menu, go to Menu > Settings > Setup > Communication > Serial.
The camera can communicate to external devices via the CTRL and the GIG- E connectors (camera- to- camera
communication is possible only via GIG-E or the R.C.P.™ Bridge).
Select one of the following protocols from the Serial Protocol drop-down menu:
None (Default)
Element Technica
3ality SPC 7XXX
RED Command Protocol
ETHERNET
To set up the Ethernet settings, go to Menu > Settings > Setup > Communication > Ethernet.
Each camera or device requires a unique IP address. For camera-to-camera communication via Ethernet, both cameras
need to be in the same sub-net (have the same netmask address) and have the same gateway address.
Enable DHCP: Enables DHCP. If a DHCP-server is available in the communications network, the camera obtains
an IP address, netmask address, and gateway address automatically from the DHCP server. You cannot manually
enter anything in the IP Address, Netmask, and Gateway fields when this check box is selected.
Enable Camera to Camera: A change to settings on this camera is sent to other cameras via the network as a
SET command (as UDP packets). The SET command then sets the property on other cameras. If this camera
receives a SET command, the camera does not send the command to other cameras/devices.
Enable External Control: This camera can be controlled via TCP/IP from an external device.
WIFI
The settings on the WiFi menu are only used when an R.C.P. Bridge is attached to the camera. For more information,
see the R.C.P. Bridge Operation Guide, available at www.red.com/downloads.
RCP
Select the Enable Remote Control Panel (RCP) check box to enable a remote control panel (RCP).
COMPATIBLE REMOTE CONTROL PANELS (RCP)

The following remote control panels have been confirmed for compatibility with the camera:
Sony® RCP-1500
Sony RCP-1501
Sony RCP-1530
Sony MSU-1500

REDMOTE
Use the REDMOTE menu to pair a REDMOTE to the camera. For more information, go to "REDMOTE System" on
page 153.
Wireless Enable: When selected, the camera produces a wireless signal. Disable wireless in any setting in which
the wireless signal could interfere with other devices, such as in a helicopter.
Wireless Channel: Select the communication channel for the wireless connection in the event of interference from
other wireless devices.
Camera MAC: View the camera MAC address.
GPIO SYNC
SYNC
Use the Sync menu to set up genlock and Motion Control (MoCo). For more information, go to "Timecode, Genlock,
Multi-Camera Setup" on page 165.
SENSOR SYNC MODE

Sensor Sync Mode allows the shutter timing (scan start) to sync to an external signal.
Off: Sensor runs at the current recording frame rate. This is the default option.
Genlock: Sensor synchronizes with the incoming compatible genlock signal.
MoCo: Each rising edge on the sync input triggers a frame to be captured.
GENLOCK SOURCE
Select a genlock input:
BRAIN (Default)
Rear Module (Pro I/O Module or REDCAST Module)
BRAIN GPIO
GPI Function (Camera Input): Select one (1) of the following options to configure the input for devices connected
to the SYNC connector on the camera:
Sync In: The camera input is used as a sync-in signal for MoCo.
General Purpose In: Use the BRAIN GPI In High/Low drop-down menus to map inputs to actions.
GPO Function (Camera Output): Select an option to configure the output for devices connected to the CTRL
connector on the camera:
Sync Out: Provides an output sync signal to act as a shutter start tally.
Recording Indicator Out: Provides a signal when recording is in process.
For more information, go to "Input/Output Connectors" on page 217.
GEN AND SYNC STATUS INDICATORS

The Lower Status Row of the camera display has GEN and SYNC indicators, which change color based on the current
genlock and sync statuses. For more information, go to "System Status Indicators" on page 62.

FAN AND TEMPERATURE MANAGEMENT

The camera is controlled by complex thermal algorithms to ensure that the sensor and camera operate at safe
temperatures. Each fan control mode affects the sensor temperature, sensor warm-up time, fan speed, and resulting
fan noise.
When selecting a fan mode, first take into consideration how each fan mode behaves, and then select a fan mode that
fits the needs of your project.
Regardless of sensor type and fan mode, you will get the best image quality by calibrating the sensor at the
temperature that you want to use for your shoot.
FAN CONTROL MODES

Select a fan control mode for the bottom fan. If a top fan is installed, it runs at a constant speed when necessary.
NOTE: After selecting a new fan setting, run the camera until the core temperature stabilizes, and then calibrate the
sensor.
NOTE: If using a top fan, the top fan may not run immediately after turning on the camera, as the top fan runs when the
camera requires additional cooling power.
NOTE: Manual and Auto modes require that you actively manage the sensor temperature, because these modes focus
on controlling fan speed and do not target a narrow sensor temperature range. Use the T/E status indicators as guides
for proper temperature calibration.
NOTE: Maximum speeds are intended as target speeds only; actual fan speeds may be higher at times due to long
recording times or high ambient temperatures.
ADAPTIVE (TARGET TEMPERATURE)

Adaptive is the default mode for EPIC DRAGON and SCARLET DRAGON.
Select a Target Temperature and the bottom fan self-adjusts to maintain the selected temperature. The default Target
Temperature is 65°C. After the camera reaches the Target Temperature, and if the ambient temperature remains
constant, Adaptive mode results in a consistent fan speed and fan noise over time.
Targeting a higher temperature raises the sensor temperature, lengthens the sensor warm-up time, and lowers the fan
speed. Targeting a lower temperature lowers the sensor temperature, shortens the sensor warm- up time, and
increases the fan speed.
NOTE: The intent of Target Temperature is to set the sensor temperature so that you can then create a calibration map
for that temperature.
NOTE: When the camera turns on, the Target Temperature is the temperature of the current calibration map, regardless
of what the Target Temperature was before you turned off the camera. Setting a calibration map also overrides the
Target Temperature. For more information, go to "Sensor Calibration" on page 141.
EPIC DRAGON and SCARLET DRAGON: Target temperature range is 55°C to 70°C. A target temperature of 65°C
works best across most environmental conditions.
EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X: Target temperature range is 45°C to 70°C. Target
temperatures above 50°C give noticeable fan noise improvements when compared to Auto mode.
ADAPTIVE PREVIEW QUIET RECORD

Record mode: The camera uses Quiet fan mode. For more information, go to "Quiet" on the next page.
Standby mode: The camera uses Adaptive fan mode. For more information, go to "Adaptive (Target
Temperature)" above.

AUTO
Auto is the default mode for EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X.
Select a maximum bottom fan record speed, and the standby mode fan speed self-adjusts accordingly so that
enough cooling is provided overall.
The default Maximum Record Speed is 50%. The Maximum Record Speed range is 25–100%. A slower speed setting
results in a faster standby mode fan speed, and vice versa.
QUIET
The bottom fan self-adjusts to maintain the lowest possible noise level in record and standby mode while still cooling
the camera. Using Quiet results in a higher sensor temperature when compared to Auto mode.
MANUAL
Select a speed for the bottom fan in both record and standby modes. The bottom fan self-adjusts to maintain the
selected speeds. The default Maximum Record Speed is 50% and the default Maximum Preview Speed is 75%. The
range for both Maximum Record Speed and Maximum Preview Speed is 25–100%.
POST RECORD DELAY

Select the amount of time that it takes for the bottom fan to switch from record to preview mode.
LENS
LENS TAB
The options displayed on the Lens tab change based on the attached lens mount.
PL MOUNT
Enable Power to Lens: Ensures that the camera powers the lens via the lens mount. This feature is enabled by
default, but the camera saves the last selected setting. Deselect when using a Fujinon® T2.9 Cabrio Premier PL
lens. If you disable this feature for the Fujinon Cabrio, re-enable it when using other lenses. For more information,
go to "Fujinon T2.9 Cabrio Premier PL Lenses" on page 231.
Auto-Detect PL Lenses: By default, this feature is enabled.
Detect Lens: Detects a lens, if one is attached.
CANON AND NIKON LENS SETTINGS

The options below display when a DSMC Nikon Mount or DSMC Canon Mount is installed with a supported lens.
Aperture: Enter the aperture value. The range and default depend on the lens.
Focus: Use the slider to change the focal distance. Manually changing the focal distance on the lens itself does
not cause the slider to move. This setting is only available if the lens is in AF mode.
Init Lens: Initializes the lens.

LENS INFO TAB

The Info tab displays the attached lens mount and lens information.
LENS METADATA TAB

If a supported lens is attached, the camera autopopulates some Lens Metadata fields. You can also manually edit the
Lens Metadata fields to describe the attached lens. The information is stored in the clip metadata. The Lens Metadata
fields are:
Lens Name
Lens Serial Number
Lens Owner
Lens Manufacturer
Lens Min Focal Length
Lens Max Focal Length
Figure: Metadata
MOTION MOUNT TAB

The Motion Mount menu is only accessible when a DSMC RED MOTION MOUNT S35 lens mount is installed. For
more information, see the RED MOTION MOUNT Operation Guide, available at www.red.com/downloads.
MOTOR CONTROL
This menu is only accessible when the RED 3-Axis Lens Control System is attached. Use the Motor Control menu to
set up the RED 3- Axis Lens Control System. For more information, see the RED 3- Axis Lens Control System
Operation Guide, available at www.red.com/downloads.
MAINTENANCE
The Maintenance menu includes: Save Log, Upgrade, Calibrate, Self- Test, Reset Defaults, Rediscover, System
Status, and OLPF.

SAVE A LOG FILE

A log file is a detailed text file of the processes and operations performed by the camera. If you contact RED for
support, you may be asked to send a log file.
To save a log file, follow the instructions below:
1. Ensure that an SSD is properly mounted to the camera.
2. Go to Menu > Settings > Maintenance.
3. Select Save Log.
The log file is saved as a *.txt file in the SSD root directory.
For more information about RED support or to create a support ticket, go to https://support.red.com.
NOTE: The camera automatically saves a log file when it is turned off properly and an SSD is mounted.
UPGRADE
You can check for upgrades for the following items:
Camera: Go to "Upgrade Camera Firmware" on page 181.
REDMOTE: Go to "Upgrade REDMOTE Firmware" on page 161.
Media: For more information on the media upgrade procedure, see the DSMC Media Operation Guide, available at
CALIBRATE
The Calibrate menu includes:
Sensor: For more information, go to "Sensor Calibration" on page 141.
Gyro/Acc: For more information, go to "Gyroscope and Accelerometer Calibration" below.
GYROSCOPE AND ACCELEROMETER CALIBRATION

The internal three-axis gyroscope and three-axis accelerometer need to be calibrated for the Horizon overlay to
function properly. The Gyro/Acc calibration file is stored in the flash memory of the camera, so you DO NOT need to
recalibrate after restoring the camera or upgrading firmware. For more information, go to "Horizon" on page 79.
To calibrate the Horizon overlay, follow the instructions below:
1. Turn on the camera and place it on a level surface.
2. Wait for the camera core temperature to reach room temperature.
3. Go to Menu > Settings > Maintenance > Calibrate > Gyro/Acc and select Low Temperature Calibration.
4. After the calibration finishes, wait for the camera core temperature to reach maximum operating temperature.
5. When the camera reaches maximum operating temperature, select High Temperature Calibration.
SELF-TEST
The Self-Test menu includes: Enable/Disable Sensor Test Pattern and Touchscreen.
ENABLE/DISABLE SENSOR TEST PATTERN

The Sensor Test Pattern is used during manufacturing and stress testing. For more information, go to "Perform a
Stress Test" on page 187. The Sensor Test Pattern is a white screen with vertical lines.
To enable/disable the sensor test pattern, go to Menu > Settings > Maintenance > Self-Test > Enable/Disable
Sensor Test Pattern.

TOUCHSCREEN
To perform a touchscreen self-test, follow the instructions below:
1. Go to Menu > Settings > Maintenance > Self-Test.
2. Select Touchscreen.
A grid of green squares displays on the touchscreen.
3. Touch each box with your finger.
Each green box turns blue.
4. To exit the self-test, perform one (1) of the following actions:
Touch all of the boxes, so that they are all blue.
Press and hold the touchscreen.
Press the Enter or Menu button on the DSMC Side Handle or REDMOTE.
Figure: Self-Test Menu
RESTORE SYSTEM
Restore System offers two (2) types of restores: Reset Defaults and Wipe Camera.
RESET DEFAULTS
Reset Defaults changes all settings to the factory default values. To perform a Reset Defaults, follow the instructions
below:
1. Go to Menu > Settings > Maintenance > Restore System.
2. Select Reset Defaults.
3. Select YES on the screen that asks you to confirm the action.
The camera turns off.
NOTE: After performing a system restore, pair the REDMOTE to the camera again.

WIPE CAMERA
Wipe Camera deletes all user settings, including: looks, overlays, and presets. Wipe Camera restores all factory
defaults.
NOTE: On EPIC DRAGON and SCARLET DRAGON cameras, wiping the camera also deletes calibration files.
1. Go to Menu > Settings > Maintenance > Restore System.
2. Select Wipe Camera.
3. Select YES on the screen that asks you to confirm the action.
REDISCOVER (HARDWARE REDISCOVER)

Rediscovers all hardware and caches the data for future boot cycles. Perform a Hardware Rediscover if a module or
lens mount is not functioning correctly.
To perform a Hardware Rediscover, follow the instructions below:
1. Go to Menu > Settings > Maintenance.
2. Select Rediscover.
3. Select Yes on the screen that asks you to confirm the Hardware Rediscover.
SYSTEM STATUS
The System Status menu displays key project and system information.
PROJECT STATUS
Displays the current camera and project settings. Includes the following tabs: File Format, Recording, Look, Other.
ATTACHED MODULES
Lists the attached RED modules and lens mount.
This screen does not list attached displays, media modules, and lenses.
CAMERA INFO
Displays the following camera information:
Type: Camera type and sensor type.
Firmware Version: Current firmware version.
PIN: The personal identification number that is specific to your camera.
SVN Revision: The current firmware number.
Runtime: The number of hours that the camera has been turned on.

OLPF
NOTE: The OLPF menu is only available on an EPIC DRAGON or SCARLET DRAGON.
RED offers multiple optical low- pass filters (OLPFs) for EPIC DRAGON and SCARLET DRAGON . Each OLPF
optimizes certain characteristics to take full advantage and control of each shooting environment. The camera checks
the OLPF type, and adjusts the color science based on the selected OLPF.
To view your OLPF type, go to Menu > Settings > Maintenance > OLPF. The OLPF that is installed in your camera
displays in the OLPF Type field.
CHECK INSTALLED OLPF (IF YOU HAVE A FIXED OLPF)

If your camera has a fixed OLPF (if you do not have the DSMC interchangeable OLPF system), then your camera
automatically detects which OLPF is installed.
To see which OLPF is installed when you have a fixed OLPF, follow the instructions below:
1. Go to Menu > Settings > Maintenance > OLPF. The OLPF type displays
SKIN TONE-HIGHLIGHT: Also known as “OLPF, Version 2”. Currently shipping in new cameras unless
otherwise requested.
LOW LIGHT OPTIMIZED: Also known as “OLPF, Version 1”.
Figure: OLPF Menu

SELECT OLPF TYPE (IF YOU HAVE THE DSMC INTERCHANGEABLE OLPF SYSTEM)
If your camera has the DSMC interchangeable OLPF system, then you must select the correct OLPF type that is
installed.
Select your OLPF type by following the instructions below:
1. Go to Menu > Settings > Maintenance > OLPF.
2. Select your OLPF type from the Type drop-down menu.
IMPORTANT: Ensure that the correct OLPF type is selected from the drop-down menu. Failure to select the
correct OLPF type affects color accuracy.
NOTE: If you are unsure which OLPF is installed, go to "Verify Installed OLPF" on page 50.
Figure: Select OLPF Type

MEDIA MENU
The Media Menu allows you to format and eject an SSD and to view and load clips on the SSD.
For more information about using media, see the DSMC Media Operation Guide , available at
DEVICE
Format and eject (unmount) the SSD.
To see information about the SSD in the camera, select More Info....
Figure: Device Menu
CLIPS
View and load clips on the SSD in thumbnail view.
Figure: Clips Menu

PLAYBACK
To view clips from the SSD:
Go to Menu > Playback.
Press the Record/Playback toggle in the lower left corner of the touchscreen.
NOTE: The camera uses RGB color space in Playback mode by default, regardless of settings in Record mode. To
playback clips in RAW mode, enable to RAW mode. For more information, go to "Tools" on page 76.
PLAYBACK MENUS
In Playback mode, the menu is pared-down, so you cannot access all menus. Some menus offer different options.
MEDIA
Lists all available clips on the attached SSD. You can perform the following actions:
: Move selected clip to the Play List.
All : Move all clips to the Play List.
Apply Image Metadata: Image data (such as color, gain, and curves) recorded with the image displays with the
playback image. When deselected, the current playback Look settings are used.
Load: Closes the menu and brings up the selected clip in Playback mode.
RECORD (EXIT)
Select Record to exit Playback mode. You can also press any button mapped to Record to exit Playback mode.
META
Displays the metadata for the selected clip.
PLAYBACK STATUS BAR

Displays the progress of the clip during playback. When using the touchscreen, swipe your finger right and left to fast-
forward and rewind the clip, respectively.

PLAYBACK CONTROLS
GENERAL PLAYBACK CONTROLS
Figure: Playback Controls
# CONTROL DESCRIPTION
1 Clips View clips as thumbnails1
2 Load Previous Clip Loads the previous clip in the playlist.
3 Frame-by-Frame Moves through the clip frame-by-frame in reverse.

Reverse
4 Reverse Play/Pause Plays clip in reverse, and toggles between play and pause.
toggle
5 Play/Pause toggle Toggles between play and pause.
6 Frame-by-Frame Moves through the clip frame-by-frame.

Forward
7 Load Next Clip Loads the next clip in the playlist.
8 Play Options Displays the following subset of options: Play Once, Loop, Loop Playlist, and
Playback Speed.
13 Playback Speed Option to select x1, x2, x4, x8, or x16 playback speed.
1. Thumbnail view is only available on an EPIC DRAGON or SCARLET DRAGON. On MYSTERIUM-X cameras, a logo appears instead of a
thumbnail.

PLAY OPTIONS
Figure: Play Options
9 Marker Displays the following subset of options: In Point, Remove In/Out Point, Out Point, Previous
Options Marker, and Next Marker.
10 Play Once Plays clip to the end, and does not repeat the clip.
11 Loop Plays the clip on a loop.
12 Loop Loops all clips in the playlist. To create a playlist, go to Menu > Playback > Menu > Media >
Playlist Playlist, and move clips to the Play List field.

MARKER OPTIONS
Figure: Marker Options
14 In Point Sets a red In Point marker in the Playback Status Bar. Use an In Point marker in conjunction with an
Out Point marker to play only a certain portion of a clip. The In/Out Point markers help when the clip
is long and you want to focus on a particular segment.
15 Remove Removes the In/Out Point markers and skips to the end of the clip.
In/Out
Point
16 Out Point Sets a red Out Point marker in the Playback Status Bar. Use an Out Point marker in conjunction with
an In Point marker to play only a certain portion of a clip. The In/Out Point markers help when the
clip is long and you want to focus on a particular segment.
17 Previous Goes to the previous marked frame, which displays as a red line in the Playback Status Bar.
Marker Disabled when there are no marked frames.
18 Next Goes to the next marked frame, which displays as a red line in the Playback Status Bar. Disabled
Marker when there are no marked frames.

POWER MENU
The Power menu displays the power status of all attached power sources and allows you to turn off the camera.
NOTE: For more information about powering the camera, see the DSMC Power Operation Guide , available at
POWER IN
The power status displays for the BRAIN DC, DSMC Side Handle, Rear 1, Rear 2, Rear 3, and Rear 4. The menu
displays the voltage of the source or the relative percentage of the power left, as well as the time left, if applicable.
POWER OUT
The Power Out menu shows the status of the power out ports on the Pro I/O Module and the +1 Adaptor Module. The
statuses are:
N/A: The device is not present.
OK: The power out port is functional.
FAULT: A short or overcurrent tripped the electronic fuse. Remove the device that is connected to the port, as it
may be drawing too much power. Select RESET to clear the fault.
POWER SAVE
You can select the following power saving options (the default for each is Never):
Low Power Preview: The camera uses a lower amount of power after the specified period of inactivity.
Sleep: All monitors turn off and keys do not perform mapped actions after the specified period of inactivity. Tap
the touchscreen or press a key to exit Sleep mode.
Auto Shutdown: The camera turns off after the specified period of inactivity.
SHUTDOWN
Shutdown controls are interlocked to prevent the camera from being accidentally turned off. For more information
about different ways to turn off your camera, go to "Turn Off the Camera" on page 39.
1. Go to Menu > Power.
2. Select Shutdown.
The Shutting Down... message displays and the camera turns off.

HDRX MENU
NOTE: HDRX mode cannot be modified when test signals are enabled.
NOTE: You cannot change the exposure when HDRX is enabled.
In HDRx mode, the camera records two (2) exposures within the interval that it would usually record only one (1). The
primary exposure is normal, and uses the standard aperture and shutter settings (the “A track”). The secondary
exposure is typically for highlight protection, and uses an adjustable shutter speed that is 2 to 6 stops faster (the “X
track”). Since the camera captures twice the usual amount of frames, the maximum available recording frame rate is
halved and the REDCODE compression options are limited.
For more information, see the High Dynamic Range Video with HDRX article, available at www.red.com/learn/red-
101/hdrx-high-dynamic-range-video.
HDRX RESTRICTIONS
You cannot use HDRX mode when:
The MOTION MOUNT Shutter Type is set to Soft or Square.
A Sensor Sync Mode (Genlock or MoCo) is enabled.
Speed Ramp mode is enabled.
A Frame Processing mode (Frame Summing or Frame Averaging) is enabled.
Network Storage mode is enabled.

ENABLE HDRX
By default HDRX is disabled, and the HDRX indicator in the Lower Status Row is grey.
To enable HDRX, follow the instructions below:
1. Go to Menu > HDRX.
2. Select HDRX.
The HDRX text in the Lower Status Row turns white.
3. Select the number of Factors. The range is 1 to 6, and the default is 2.
4. Select which track you want the display to show:
A Track: This track shows the video with the selected aperture and exposure settings applied.
X Track: This track shows the video with the additional stops applied.
Figure: HDRX Menu

FOCUS MENU
The Focus menu includes: Mode and Rack.
MODE TAB
The Mode tab is used to enable and select Focus parameters.
MODE
Select one (1) of the following from the Mode drop-down menu:
Manual: When selected, all focus operations are manual.
Confirm: Enables the Center or Spot focus target. This mode provides additional focus assistance by using red,
yellow, and green color changes to the focus spot window. Inadequate subject illumination and/or contrast may
interfere using Confirm mode. For best results with Confirm mode, “rock” the focus ring: Focus through the point
of optimal focusing and back again in decreasing amplitude, as when “zeroing-in” for precision manual focus.

AUTOFOCUS MODES
When any of the following conditions are met, the Mode drop-down menu has additional options:
DSMC S35 Nikon Mount and a supported lens is attached. The lens focus switch is set to “A” or “M/A”.
DSMC Canon Mount and a supported lens is attached. The lens focus switch is set to “AF”.
DSMC RED MOTION MOUNT S35 Ti Canon (Captive) lens mount and a supported lens is attached. The lens focus
switch is set to “AF”.
When any of the above conditions are met, the following options display in the Mode drop-down menu:
Single: When you press the key mapped to AF: Start, the camera performs single-shot AF. Optimized for rapid
focus even under low-contrast conditions. Works with both Center and Spot zones.
Continuous: When you press the key mapped to AF: Start, the camera attempts to keep objects in the target in
focus. Works best with good lighting and contrast. Works with both Center and Spot zones.
Touch Track: Dynamically updates a positionable AF point using the touchscreen. Only works with Spot zone.
Keep target on subject while moving across frame, as the lens continuously focuses on that target.
Rack: Enables rack focus. Only works with Spot zone. For more information, go to "Rack Focus" on page 135.
In Single, Continuous, and Touch Track modes, a single target displays on the screen that indicates where the image
will be in focus. In Rack mode, multiple targets display on the screen to indicate the different areas between which the
camera will rack focus.
Press the key mapped to AF Mode: Cycle (REDMOTE/DSMC Side Handle button A default) to cycle through the
Focus Mode options in order.
Autofocus performance may be reduced under the following conditions:
Subject is dark or distant.
Subject is bright or too close.
Inadequate contrast between the subject and background.
Scene has reflective highlights.
Subject is backlit.
Inadequate surface contrast/detail inside the window.
NOTE: Although the camera supports autofocus, RED recommends using it only as a focus assist tool. Performance
may also vary from lens to lens. For the best focus accuracy results, use manual focus.
NOTE: Use Edge mode for assistance in these conditions. For more information, go to "Edge" on page 77.

ZONE
Figure: Mode Tab
Available zones are Center and Spot (default). Both the Center and Spot targets change color to indicate the focus
state of the objects in the targets.
TARGET COLOR DESCRIPTION
Blue Camera is focusing
Red Objects are out of focus
Yellow Objects are almost in focus
Green Objects are in focus
CENTER
Provides a large target square for focus that is centered in the recording area.
SPOT
Provides a small target for precise focus that you can move around the recording area.
MOVE THE SPOT FOCUS TARGET

Move Spot target with touchscreen:
Tap and hold the touchscreen on the location where you want to relocate the Spot target.
Tap and hold the touchscreen where the Spot target currently is, and drag the Spot target.
Move Spot target with DSMC Side Handle or REDMOTE:

1. Go to the main screen.
2. Press the Down Directional Key in the Navigation Group.
The Spot target line weight increases and the red cursor under Menu dims slightly.
3. Use the directional keys to move the Spot target to the desired location.
4. Press ENTER.
5. To exit, press the Menu button.

SIZE
Choose a size for the Spot target.
ENHANCED A/F
Enhanced A/F is an autofocus algorithm that offers better performance and improved visual indicators in Confirm
mode.
ENABLE ENHANCED A/F

1. Go Menu > Focus > Mode.
2. Select Confirm from the Mode drop-down menu.
3. Select an option from the Zone drop-down menu.
4. If you selected Spot from the Zone drop-down menu, select a size from the Size drop-down menu.
5. Select the Enhanced A/F check box.
6. Select the monitor dedicated to using the Enhanced A/F feature from the Monitor drop-down menu:
BRAIN HDMI
BRAIN HD-SDI
The selected monitor is in Clean mode (no overlay) with a set resolution of 720p and update frequency of 60 Hz.
The target does not display on the selected monitor. You cannot control the monitor until you disable the
Enhanced A/F feature.
7. Select the Confirm target style from the Confirm Style drop-down menu. For more information, go to "Confirm
Style" below.
8. Close the Focus menu.
The target displays on the touchscreen, and the monitor that you selected for the Enhanced A/F feature is in Clean
mode.
CONFIRM STYLE
CONFIRM DESCRIPTION OBJECTS IN TARGET ARE IN OBJECTS IN TARGET ARE
STYLE FOCUS OUT OF FOCUS
None Square target; operates like the Target is yellow or green Target is red
target square in Confirm mode
Circle Yellow circle around a square Target is yellow or green; circle is Target is red; circle gets
target almost the same size as the square bigger
Bar Bar target Target is yellow or green; vertical bar Target is red; vertical bar on
on the right side is filled up the left side is almost empty
Pie Pie target Target is yellow or green; line around Target is red; line around the
the curve is filled up curve is almost empty

RACK FOCUS
Use the Rack tab to configure up to four (4) focus points and execute rack focus between them.
SET UP RACK FOCUS

1. Ensure that a DSMC Nikon Mount, DSMC Canon Mount, or DSMC RED MOTION MOUNT S35 Ti Canon (Captive)
lens mount is installed and that a supported lens is attached to the camera.
2. Go to Menu > Focus > Mode.
3. Select Rack from the Mode drop-down menu.
4. Select a size from the Size drop-down menu.
5. Go to the Rack tab.
6. Use the Rack Speed slider to change the speed at which the lens moves. Move the slider to the left for a slower
speed, and to the right for a faster speed.
7. Select the number of Rack Points (up to 4).
8. To set the focal distance for each point, do any of the following:
If the focal distance is N/A, select a rack point. The camera calculates the focal distance.
Select a rack point, manually change the focal distance, and select Set.
Select a rack point, and select Refocus. The camera re-calculates the focal distance.
9. To set a rack point location, follow the instructions below:
A. Select the rack point: A, B, C, or D.
B. Select Close to return to the main screen.
C. Tap and hold the touchscreen where you want the rack point to be, or press and drag the rack point. When you
move a rack point, the camera autofocuses.
NOTE: To prevent a rack point from being accidentally moved, the rack point is less sensitive to touch than the
other focus targets. To fine-tune the rack point location, first drag the rack point farther than it needs to be, and
then drag it to where you want it to be.
NOTE: To view the focus distance for each rack point on the main screen, enable Rack Show Distance mode.
For more information, go to "Lens" on page 116.
Figure: Set Rack Point Location

10. Select another rack point by performing any of the following actions:
Select another rack point on the touchscreen.
Press the key mapped to AF: Start (default is SH Record Half Press) to cycle to the next rack point in order (A,
B, C, and D). For example, if rack point A is selected when you trigger the AF: Start action, the focus racks
from point A to point B.
Press a key that is mapped to racking to a specific rack point.
MAP KEYS TO CYCLE RACK FOCUS

You can map user keys to rack focus to different rack points. For more information, go to "Keys" on page 111. You
can map the following actions:
AF: Start
AF: Rack to A
AF: Rack to B
AF: Rack to C
AF: Rack to D
EXPOSURE ASSIST MENU

The Exposure Assist menu provides access to settings for the Auto Exposure (AE) feature. The AE feature maintains a
constant image brightness, even if the actual scene brightness changes.
The AE feature is different than traditional AE, in that RED AE only controls the amount of light that hits the sensor,
either by adjusting aperture or exposure. RED AE analyzes RAW data before the ISO curve, and ensures that the
sensor matches the user-selected brightness.
Figure: Exposure Assist

AUTO EXPOSURE MODES

The Exposure Assist modes determine when the AE tools go into effect:
Off: The AE tools are not enabled.
Single Shot: Map one of the following actions to trigger the AE tools:
AE: Start
AE/AF: Start
Continuous in Preview: The AE tools are enabled in preview only.
Continuous in Preview/Record: The AE tools are enabled in both preview and record.
NOTE: In Stills mode, AE/AF: Start is mapped to Record Half Press by default. For more information, go to "Default
Key Functions" on page 241.
EXPOSURE PRIORITY
Manual: You have full control of aperture and shutter. (Default)
Auto: The camera sets the aperture and shutter to meet the selected exposure.
Av (Aperture Value): You set the aperture, and then the camera sets the shutter to meet the selected exposure.
Tv (Time Value): You set the shutter, and then the camera sets the aperture to meet the selected exposure.
EXP COMP AND EV SHIFT

Use the Exp Comp (Exposure Compensation) slider and the EV Shift setting to adjust the brightness of the image.
The default setting of zero (0) attempts to match the average brightness on an 18% grey-target. When AE is enabled,
the target and current measured brightness for the selected metering area display in the histogram as a grey and white
line, respectively.
You can also map these actions to user keys:
AE: Decrease EV Offset: Reduces the EV Offset in increments of 0.2.
AE: Increase EV Offset: Increases the EV Offset in increments of 0.2.
METERING MODE
Metering determines the area of the sensor that is used for brightness evaluation:
Spot: Weights the measurement to the center 5% of the sensor, approximately.
Center: Weights the measurement to the center 25% of the sensor, approximately.
Average: Averages the entire image area of the sensor.
SPEED
The Speed setting determines how quickly the algorithm adapts to changing light.
Slow: Settings adapt in small steps. Use this setting for fewer and gradual adjustments.
Normal: Settings adapt in medium steps.
Fast: Settings adapt in large steps.

SELECTION
The Selection setting determines which values the algorithm uses. This enables you to modify the list of values so that
the algorithm selects only specific parameters. Use Free Value Selection to improve accuracy.
For example, you can modify the aperture list to include f/2.8 and f/5.6. If Free Value Selection is enabled, the
algorithm only selects aperture parameters between f/2.8 and f/5.6. This setting limits the range of focal depth.
AE INDICATORS
When the AE feature is able to match the sensor brightness, the overlay turns yellow. If the brightness fluctuates more
than half of a stop, the overlay turns red.
When AE is enabled, the “AE” indicator displays before the aperture and exposure parameters in the Upper Status
Row. The user-selected brightness and current measured brightness display in the histogram as grey and white lines,
respectively.
AE LIMITS
All limits, includes custom modifications made to available menu items, are taken into account when AE is active. For
example, if you modify the available list of exposure values, only those values are considered.
PRESETS MENU
The camera has the following presets:
Camera Presets: These store and recall camera setup information, such as in-camera Looks, key mappings, I/O
configurations, and more. The camera has a number of factory-installed presets.
Looks: These allow you to save the specific color, image, white balance, and detail settings to be used for other
projects. Looks that are generated in-camera display on the Camera Presets tab. Looks that are generated in
REDCINE-X PRO and are imported to the camera display on the Looks tab.
Auto Presets: These allow you to specify pre-selected presets for Startup, Preview, Motion, Stills, and Playback.
You can create custom presets and Looks. Presets and Looks can be stored on the camera or transferred to SSD, so
that you can build a library of presets and Looks, or quickly copy presets and Looks from one camera to another via
SSD.
Camera: Presets or Looks that are saved internally on the camera.
Media: Presets or Looks that are on the SSD in the path shown (for example, On Media: \presets:).
CAMERA PRESETS
PRESETS ACTIONS
Apply: Apply the selected preset.
Create...: Create a new preset using the current settings.
Update...: Update the selected preset by allowing the parameter set to be modified and all the values to be
updated to their current in-camera values. You cannot update factory-installed presets, which end with “(RED)”.
Clone...: Create a new preset using the selected preset as a template.
Delete: Delete the selected preset.

EXPORT AND IMPORT PRESETS

Presets can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting presets
from camera to an SSD, the presets are saved to a folder on the SSD called “Presets”. When importing presets from
an SSD to camera, the presets must be stored on the SSD in a folder called “Presets”.
: Export selected preset from camera to SSD.
All: Export all presets from camera to SSD.
: Import selected preset from SSD to camera.
All: Import all presets from SSD to camera.
CREATE PRESETS
1. Set up the camera how you want the preset to be configured. For example, if you want to create a preset
specifically for your zebra indicators, first configure the zebras the exact way that you want them to be in the
preset.
2. Go to Menu > Presets > Camera Presets.
3. Select Create, or select an existing preset and select Clone or Update.
4. If creating a new preset, enter a name for the preset and select OK.
5. Select the following tabs to display different sets of preset options: Display, Key, Look, Project, and System.
6. Select the following:
: Add selected setting to the preset.
All: Add all settings to the preset.
X: Remove selected setting from the preset.
7. Select Create.
The preset is saved and stored in the camera.
LOOKS
A Look is made up of the following settings: Color, Gain, FLUT, Sharpness, Curves, Color Space, Gamma, Color
Temperature, and LGG (Lift, Gamma, Gain). These settings are configured either in-camera or in REDCINE-X PRO®.
CREATE AND MANAGE IN-CAMERA LOOKS

Create in-camera looks in the Menu > Presets > Camera Presets tab. Modify and manage the in-camera Looks the
same way as any other presets created in the Camera Presets tab. For more information, go to "Camera Presets" on
the previous page.

IMPORT LOOKS FROM REDCINE-X PRO

1. While your SSD is mounted to your computer, create a folder on the SSD called Looks.
2. Save your RMD files (that have been exported from REDCINE-X PRO) to the Looks folder on the SSD.
3. Eject the SSD from your computer.
4. Mount the SSD to your camera.
5. Go to Presets > Looks.
6. Select one (1) of the following:
: Import selected Look from SSD to camera.
All: Import all Looks from SSD to camera.
For more information, see the REDCINE- X PRO: Saving Looks to Camera video tutorial , available at
www.red.com/learn/workflow/redcine-x-saving-looks-camera.
MANAGE IMPORTED LOOKS

Manage Looks imported from REDCINE-X PRO in the Presets > Looks tab. When exporting Looks from camera to
SSD, the Looks are saved to a folder on the SSD called “Looks”.
You can perform the following actions with imported Looks:
: Export selected Looks from camera to SSD.
All: Export all Looks from camera to SSD.
Apply: Apply the selected Look.
Delete: Delete the selected Look.
AUTO PRESETS
On Startup: The selected preset is applied every time the camera is turned on.
On Enter Preview: The selected preset is applied every time the camera enters Preview mode, including at startup
and when exiting Playback mode.
On Enter Playback: The selected preset is applied every time the camera enters Playback mode.

CHAPTER 6:
SENSOR CALIBRATION
Sensor calibration, also known as black shading, is a process during which the camera optimizes image quality by
ensuring that pixel sensitivity remains consistent throughout the sensor. Calibrating the sensor generates a calibration
map based on system and environment settings. After calibration, the sensor shows a uniform noise profile over the
whole area without any falloffs on any side.
NOTE: Calibration maps are still available after performing a system restore.
CHECK NOISE PROFILE

To check the current noise profile, follow the instructions below:
1. Ensure that the camera reaches the temperature you want to use for your shoot.
2. Set the exposure to the exposure you want to use for your shoot.
3. Put a lens cap on the lens (if a lens is attached) or a front body cap on the camera (if a lens is not attached).
4. Set FLUT to 8.000. For more information, go to "FLUT" on page 89.
5. Check the noise that displays on the monitor:
The noise is random, with no fixed patterns or lines. The sensor is calibrated.
The noise has patterns or lines. Calibrate the sensor. For more information, go to "Calibration Capture (Sensor
Calibration)" on the next page.
WHEN TO CALIBRATE SENSOR

Calibration is required:
After an extreme change in temperature (+/– 30°F or +/–15°C) from the current calibration map.
After an extreme change in exposure time (+/– 1/2 sec) from the current calibration map.
If either the T or E in the CAL: T/E indicator is not green.
For EPIC DRAGON or SCARLET DRAGON: After each firmware upgrade.
For EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X: After a firmware upgrade if instructed to do so in the
firmware release notes.
To check the temperature/exposure of the current calibration file, go to "System Status" on page 120.

CALIBRATION CAPTURE (SENSOR CALIBRATION)

Not including preparation time, the calibration procedure takes several minutes. To calibrate the sensor, follow the
instructions below:
1. Ensure that the camera reaches the temperature that you want to use for your shoot.
2. Set the exposure to the exposure that you want to use for your shoot.
3. Ensure that the sensor is as dark as possible.
Preferably, take off the lens, and install the front body cap.
If you cannot take off the lens, put a lens cap on the lens. (Not all lens caps completely block IR. Lens caps are
made to protect the lens, not necessarily to block light.)
If possible, use a dark room.
Just closing the aperture is NOT sufficient.
4. Go to Menu > Settings > Maintenance > Calibrate > Sensor.
5. Select Create....
6. For EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X, select one (1) of the following:
Save As user HS: The calibration map created by calibrating the sensor will overwrite the user HS calibration
map. User HS is the name for the current in-camera user-created calibration map.
Save To Media: The calibration map created by calibrating the sensor will be saved to an SSD.
Leave both Save check boxes deselected: The calibration will only be applied until the camera turns off, and
will not be saved.
7. For EPIC MYSTERIUM-X or SCARLET MYSTERIUM-X, select the exposure you want to use for the calibration
from the drop-down menu.
8. For EPIC DRAGON or SCARLET DRAGON, select how many calibration maps you want to create from the
Number of captures drop-down menu. You can create up to four (4) calibration maps at a time.
9. For EPIC DRAGON or SCARLET DRAGON, select the exposure you want for each calibration map from the
Capture drop-down menus.
10. Select OK on the dialog box that opens. The system initializes and then makes multiple passes through the
following phases of the calibration:
Capturing
Analyzing
Erasing
Programming
11. When the Calibration Successful dialog displays, select OK to complete the process.
The new calibration map is automatically selected.

CALIBRATION MAP NAMING CONVENTIONS

Each calibration map has a unique name that uses the format described in the table below:
NAME DESCRIPTION EXAMPLE
Exposure Current exposure; to set exposure, go to "Exposure/Shutter" on page 94 48
Sensor Sensor temperature (Celsius); in the Lower Status Row, this is the number to the left of 32C
Temperature the forward slash (Temp: 32/35)
Year Year that the calibration map is created (yyyy) 2014
Month Month that the calibration map is created (mm) 01
Day Day that the calibration map is created (dd) 28
Time Time according to the 24-hour clock in the camera (hhmmss) 122150
For example, a set of calibration maps may look like this:

48_32C_20140128122150
72_34C_20140128122858
120_41C_20140128124306
NOTE: If you mount an SSD with calibration files to your computer, each calibration map displays as a sub-folder in a
folder called Calibration. To save a calibration map to your hard drive, copy the entire sub-folder to your drive.
CALIBRATION MANAGEMENT
To apply, export, and import calibration maps, go to Menu > Settings > Maintenance > Calibrate.
In Camera: The calibration maps that are saved internally on the camera:
Factory: This is the calibration map generated during the manufacturing process. (Default)
All other: The user-created calibration maps.
Media: The calibration maps that are on the SSD in the path shown (for example, S-SSD\calibration).
CALIBRATION MAP ACTIONS

Apply: Apply the selected calibration map (if the calibration map is on the SSD, the camera applies the map
temporarily, and does not import it into the camera).
Create: Create a calibration map. For more information, go to "Calibration Capture (Sensor Calibration)" on the
previous page.
Delete: Delete the selected camera calibration map. You cannot delete the factory map.
Rename: Rename the selected calibration map.

EXPORT AND IMPORT CALIBRATION MAPS

Calibration maps can be stored on the camera or transferred to SSD. You can also build a library of calibration maps
to use in different settings. A camera only imports calibration maps that it created. Calibration maps cannot be shared
between cameras.
: Export selected calibration map from camera to SSD.
All: Export all files from camera to SSD.
: Import selected calibration map from SSD to camera. This overwrites the user HS calibration map.
All: Import all files from SSD to camera.

CHAPTER 7:
AUDIO SYSTEM
AUDIO OVERVIEW
The camera can record up to two (2) discrete stereo channels of uncompressed 24-bit, 48 KHz audio. A Pro I/O
Module provides two (2) channels of microphone level or line level audio inputs, and up to four (4) digital AES audio
inputs. In total, the camera supports eight (8) incoming audio channels, and can record up to four (4) audio channels.
Input signals are routed via a high-quality pre-amplifier and soft clip analog limiter (the limiter is optional) to achieve the
desired recording levels and maximize dynamic range.
Audio data is synchronized with video and timecode and embedded in the R3D® file. You can export audio data from
REDCINE-X PRO® as separate audio files.
Audio is also embedded in any HD-SDI and HDMI® output connected to the camera.
For more information about using the Pro I/O Module, see the Pro I/O Operation Guide , available at
AUDIO DATA PATH

The diagram below shows how the camera records and outputs audio.
Figure: Audio Data Path

SET UP AUDIO
To set up audio, go to Menu > Settings > Audio, and adjust the input, pre-amplifier, headphone, and mix settings.
Figure: Audio Menu
AUDIO INPUT (SOURCE) OPTIONS

SOURCE NAME CHANNEL PAIRS MODULE CONNECTORS
NONE N/A N/A N/A
CAM ANALOG Ch1/Ch2, Ch3/Ch4 BRAIN MIC-1, MIC-2
PRO I/O ANALOG Ch1/Ch2, Ch3/Ch4 Pro I/O Module AUDIO 3, AUDIO 4
PRO I/O AES A Ch1/Ch2, Ch3/Ch4 Pro I/O Module AES
PRO I/O AES B Ch3/Ch4 Pro I/O Module AES
NONE
Select NONE to disable recording audio.
CAM ANALOG AND PRO I/O ANALOG (MICROPHONE)

The camera provides two (2) microphone jacks for recording two (2) channels of microphone level analog audio. The
Pro I/O Module provides two (2) XLR connectors for recording two (2) additional channels of microphone level audio.
The sensitivity of the microphone and the pre-amp gain determine the recording level of the microphone input.
PRO I/O ANALOG (LINE IN)

The Pro I/O Module provides two (2) XLR connectors for recording two (2) channels of line level analog audio. Line
input passes without gain through the system. The signal provided by the field production mixer or other external line
level source determines the recording level of the line input.
NOTE: Line level audio is only available via the Pro I/O Module.

PRO I/O AES A/B (DIGITAL INPUT)

The AES connector on the Pro I/O Module allows an input of 24-bit, 48 KHz AES digital audio.
NOTE: Digital input audio is only available via the Pro I/O Module.
LINK
Gain Sliders: Ensures that each pre-amplifier (Pre-Amp) slider has the same value. If you select the check box
while the sliders have different values, you must change one (1) slider for all sliders to sync up.
Volume Sliders: Ensures that each headphone (Headphone) slider has the same value, so that you can control the
master volume for headphones. If you select the check box while the sliders have different values, you must
change one (1) slider for all sliders to sync up.
CHANNEL NAME
You can rename each audio channel. The default names are Ch1, Ch2, Ch3, and Ch4. The channel names display in
the Audio Meter, but are not included in the clip metadata. For more information, go to "Audio Meter (VU Meter)" on
page 151.
CHANNEL MODES
Match the channel mode to the incoming audio signal.
MODE SOURCE DESCRIPTION
NONE NONE Audio recording disabled.
BALANCED CAM Balanced microphone input. Enables the 48V phantom power option. Typically used
ANALOG, with microphones that have XLR connectors and internal batteries.
PRO I/O
ANALOG
UNBALANCED CAM Unbalanced microphone input with 3.3V bias. Disables the 48V phantom power option.
ANALOG, Typically used with unpowered microphones that have 3.5 mm TRS plugs.
PRO I/O
ANALOG
LINE PRO I/O Fixed input gain with limiter settings if limiter is enabled. Disables the 48V phantom
ANALOG power option.
AES PRO I/O Only mode available for AES input. Disables the limiter and 48V phantom power
AES A, options.
PRO I/O
AES B
PHANTOM POWER (48V POWER)

Select the 48VPower check box to enable 48V phantom power for an audio channel. The 48V phantom power option
is only available when the channel mode is set to BALANCED.

LIMITER
Select the Limiter check box to add a limiter to the analog input signal chain. Use the limiter in dynamic environments
where external mixers are not practical for controlling signal strength. The limiter is only available with analog audio
input.
PRE-AMP
The pre-amplifier range is 30 dB to 60 dB. The default is 32 dB. To adjust amplification levels, follow the instructions
below:
1. Go to Menu > Settings > Audio > Pre-Amp.
2. Move the Pre-Amp (pre-amplifier) sliders up and down to adjust the amplification levels.
3. To link the amplification for each channel, go to Menu > Settings > Audio > Channel and select the Gain Sliders
check box. For more information, go to "Link" on the previous page.
AUDIO OUTPUT OPTIONS

DSMC BRAIN: One (1) 2-channel headphone output. For maximum quality, use high impedance headphones.
Pro I/O Module: One (1) XLR connector that supports 2-channel line level analog output. The signal strength of the
line out cannot be controlled, and is fixed at –15 dB gain.
HDMI and HD-SDI monitor: Both output two (2) channels of 24-bit 48 KHz uncompressed, embedded digital
audio. Select and mix the stereo channels in the Monitor Mix menu at Menu > Settings > Audio > Monitor Mix.
To monitor audio via HDMI or HD-SDI, the third-party monitor must support audio.

CONTROL HEADPHONE VOLUME (BRAIN)

The volume range for Left and Right is –28 dB to –0 dB. The default is –9 dB. To adjust headphone volume, use the
following instructions:
1. Go to Menu > Settings > Audio > Headphone.
2. Move the Headphone sliders up and down to adjust the volume.
3. To toggle mute/unmute, select ACTIVE and MUTE, respectively.
4. To link the volume for Left and Right, go to Menu > Settings > Audio > Channel and select the Volume Sliders
check box. For more information, go to "Link" on page 147.
Figure: Headphone Volume

CONTROL AUDIO MIX (CAM MIX, REAR MIX, AND MONITOR MIX)
The camera features a digital audio mixer that controls the volume and stereo settings for each input channel. The
mixer affects audio monitoring (such as headphones) and audio recorded to external devices. The mixer DOES NOT
affect audio embedded in the R3D file.
The range for each channel is 0% to 100%. The default for each active channel is 100%. Channel 3 and Channel 4 are
active only when there is audio input via the Pro I/O Module.
The digital mixer normalizes each output to prevent the output from exceeding the signal range. For example, if you
pass Channel 1 to an output at 100%, and then mix Channel 2 into the same output, the level of Channel 1 decreases
to 50%.
Assign each audio channel to the Left, Middle, or Right side of the stereo mix. Move the sliders up and down to
adjust the volume.
You can control the volume and stereo for each audio monitoring option:
Cam Mix (Camera Mix): Headphones plugged into the camera.
Rear Mix: Line out plugged into the Pro I/O Module. The input gain is fixed.
Monitor Mix: External HDMI and HD-SDI monitors that support audio.
Figure: Audio Mix

AUDIO METER (VU METER)

The Audio Meter displays at the bottom-right corner of the viewfinder, and displays either the incoming audio channels
(default), or the outgoing audio (Cam Mix, Rear Mix, and Monitor Mix). For more information, go to "VU Meter" on
page 86.
INCOMING AUDIO CHANNELS

When you select Input as the VU Meter Source, the Audio Meter displays the incoming audio channels (default). For
more information, go to "VU Meter" on page 86. Channel 1 and Channel 2 are the default channels, correlating with the
MIC-1 and MIC-2 inputs on the camera. Channel 3 and Channel 4 are greyed out unless the camera detects audio
input via the Pro I/O Module.
The channel names selected in the Audio menu determine the channel names displayed in the Audio Meter. For more
information, go to "Channel Name" on page 147.
The Audio Meter shows the incoming audio signal when a source is selected, even if the channel is not recorded.
When a channel is recorded, the channel indicator left of the Audio Meter is green.
OUTGOING AUDIO
When you select Output as the VU Meter Source, the Audio Meter displays the Cam Mix, Rear Mix, and Monitor Mix
levels. For more information, go to "VU Meter" on page 86.
When recording to an external device, use the Output levels to help accurately monitor recorded audio.

AUDIO METER LEVELS
Figure: Audio Meter
The camera updates the Audio Meter 12 times per second with the maximum signal from the last 1/12 of a second
period. The range of the Audio Meter is –52 dBFS to 0 dBFS.
The lines and colors indicate danger of clipping, as described in the table below:
LINE DBFS BAR DESCRIPTION

COLOR
First line (far left border; –52 Green Audio is not clipping
solid) dBFS
Second line (solid) –20 Green Audio is not clipping

dBFS
Third line (dashed) –12 Yellow Audio close to clipping

dBFS
Fourth line (dashed) –2 dBFS Red Audio is clipping
Fifth line (far right border; 0 dBFS Red Audio is clipping (if signal exceeds –1 dBFS, the whole bar
solid) is red)
NOTE: In the American broadcast and post production systems, –20 dBFS roughly corresponds to 0 VU and 4 dBu. In
a digital system, dBu is an approximation; the correct unit for digital audio levels is dBFS.
AUDIO DURING PLAYBACK

The camera plays all recorded channels during playback (via headphones or HDMI and HD- SDI monitors), and
automatically unmutes any muted audio outputs.
To access audio settings during playback, go to Menu > Settings > Audio and select the following tabs:
Control
Mix

CHAPTER 8:
REDMOTE SYSTEM
REDMOTE OVERVIEW
The REDMOTE ® is a remote camera control unit that attaches to the rear of the camera or other expansion module.
When detached from the camera, the REDMOTE provides wireless camera control using the proprietary R.C.P.™
protocol. Whether attached or operating wirelessly, the REDMOTE provides access to all necessary controls,
including record start/stop, Shutter Speed, White Balance, ISO, and programmable User Keys. The color LCD
displays critical camera settings, including media and battery capacity, timecode and clip name, lens data and
exposure information.
The REDMOTE has a rechargeable Lithium Ion battery that automatically recharges when docked to the camera or
other module. It can also be recharged using the built-in USB 2.0 connector. Under typical operating conditions, the
REDMOTE provides up to eight (8) hours of battery life and supports wireless communication at a range of
approximately 50 ft. The REDMOTE supports 16 (0-15) wireless channels ranging from 2.4 GHz to 2.4835 GHz. The
default channel is 0.
IMPORTANT: To operate properly, upgrade both REDMOTE and camera firmware to the most recent version.

REDMOTE CONTROLS, CONNECTORS, AND LEDS

This section describes the REDMOTE controls, connectors, and color LCD display.
Figure: REDMOTE
The following table describes default REDMOTE control actions. Each control is also programmable.
# REDMOTE CONTROL DESCRIPTION
1 Stills/Motion Switch Toggles between Stills/Motion Mode, enabled in v6.0 firmware or later
2 Release Buttons Press and hold to undock the REDMOTE
5 Rocker Switch Up: Iris open; Down: Iris close
6 User Function Keys Go to "Default Key Functions" on page 241
7 Menu Button Toggle between basic and advanced menus
8 Soft Menu Buttons (1-3) Go to "REDMOTE Soft Menu Buttons (1-3)" on the next page
9 Soft Menu Buttons (4-8) Go to "Customize REDMOTE Setting Menus" on page 159
10 Navigation Group Go to "Navigation Group" on page 156
11 Focus/Record Button Half press initiates auto focus; full press toggles record start/stop
12 Power/Lock Switch Go to "Power/Key Lock Switch" on page 156
13 Mini-USB Power Port Charges the internal battery; upgrade firmware
For a full list of default user key actions for the REDMOTE, go to "Default Key Functions" on page 241.

REDMOTE LEDS
There are two (2) status LED indicators located above the rocker switch on the left side of the LCD display.
# REDMOTE LED COLOR/FLASHING DESCRIPTION
3 Power/Recording LED Red Camera startup; camera recording
4 Status/Connectivity LED Green Camera ready; REDMOTE connected
Green flashing Searching/Establishing communication
REDMOTE SOFT MENU BUTTONS (1-3)

There are three (3) Primary Soft Menu Buttons located below the left side of the REDMOTE LCD. These buttons
provide quick access to REDMOTE advanced operations.
Button 1: Access Connect Menu.
Button 2: Toggle between Local and Remote Modes.
Button 3: Access Setup Menu.
REDMOTE CONTROL MODES

Press Button 2 to toggle between Remote Mode and Local Mode. The current mode displays on the REDMOTE LCD,
directly above the Primary Soft Menu Buttons. Use the Scroll Wheel and Directional Keys to navigate with the
cursor. For more information, go to "Navigation Group" on the next page.
Local Mode: Navigate menus using the REDMOTE controls and display.
Remote Mode: Navigate menus with REDMOTE controls, using an attached LCD, EVF, or other monitor as a
reference.
NOTE: When in Remote Mode, the current menu item does not display on the REDMOTE.
REDMOTE SETUP
The Setup Menu includes:
Turn Wireless On/Off: Toggles the RED Command Protocol (R.C.P.) wireless link on/off.
Setup System: Provides access to REDMOTE settings.
Setup Slot: Program the menu slots on the REDMOTE LCD.
SETUP SYSTEM
The Setup System Menu allows you to change REDMOTE settings and shows the MAC address and REDMOTE
firmware version.
The following adjustable settings are available:
Brightness: LCD backlight intensity. Set the value to maximum for daylight visibility, or reduce it for standard
operation and prolonged battery life. Default is Maximum.
Volume: Volume of the REDMOTE speaker. Default is Minimum.
Auto Shutdown: Amount of inactivity time before the REDMOTE turns off automatically. Default is off.

NAVIGATION GROUP
Use the Navigation Group to navigate the camera menus and change settings.
Scroll Wheel: Select and adjust the value of a selected setting.
Directional Keys: Navigate menus.
ENTER: Press ENTER to confirm a setting or access the selected menu.
POWER/KEY LOCK SWITCH

Turn on: Press and hold the switch in the down position for two (2) seconds.
Turn off: Press and hold the switch in the down position for five (5) seconds. Or, press the switch down into the
down position and release to access the Shutdown menu.
Lock keys: Move the switch to the up position to prevent unintentional operation. “KEYS LOCKED” displays
above the Primary Soft Menu Buttons when lock is enabled.
REDMOTE BASICS
This section describes the common REDMOTE operations.
DOCK THE REDMOTE

1. Position the REDMOTE V-Mount dock over the V-Mount on the BRAIN or rear module.
2. Slide the REDMOTE down until you hear a click, which indicates that the REDMOTE is securely attached.
NOTE: Docking the REDMOTE automatically pairs the REDMOTE with the camera when the camera is turned on
and wireless settings are enabled.
UNDOCK THE REDMOTE

1. Press both Release buttons, located on the sides of the REDMOTE.
2. Slide the REDMOTE up to release from the V-Mount on the BRAIN or rear module.
3. Remove the REDMOTE.
TURN ON THE REDMOTE

When docked, the REDMOTE automatically turns on when the camera is turned on.
Slide and hold the Power/Key Lock switch in the down position for two (2) seconds, then release.

TURN OFF THE REDMOTE

When docked, the REDMOTE automatically turns off when the camera is turned off.
Slide and hold the Power/Key Lock switch in the down position for five (5) seconds, then release.
Slide and hold the Power/Key Lock switch in the down position momentarily, then release. Select the desired
option from the Shutdown menu and press Enter:
Shutdown Cam + REDMOTE: Turn off both the camera and the REDMOTE
Shutdown REDMOTE: Turn off the REDMOTE only.
Shutdown Camera: Turn off the camera only. Option not available when the REDMOTE is docked.
NOTE: For maximum battery life, remove power from the REDMOTE by pressing the Power/Lock Switch down into
the off position and release. Then use the menu to turn off the device. When turning off the REDMOTE using the
Power/Lock Switch, a slight power draw remains and continues to drain the battery.
RECORD START/STOP
Start Record: Press and release the REC button. The Power/Recording LED illuminates red and the Timecode
value on the LCD display changes to red text.
Stop Record: Press and release the REC button. When media recording processes are complete, the
Power/Recording LED turns off and the Timecode value on the LCD display changes back to white text.
PAIR THE REDMOTE

There are two (2) ways to pair the REDMOTE to a camera:
Dock to pair
Pair wirelessly
When a REDMOTE and camera are paired:

The REDMOTE displays the camera settings.
VIEWFINDER ouputs display green RM status and signal strength indicators in the Lower Status Row.
NOTE: You can pair the REDMOTE to multiple BRAINs. However, you can only control one BRAIN at a time.
DOCK TO PAIR
1. Turn on the BRAIN.
2. Dock the REDMOTE to the back of the BRAIN or rear module.
NOTE: When the REDMOTE is removed from the camera, it automatically scans for the wireless signal and connects
to that camera.

PAIR WIRELESSLY
2. Go to Menu > Settings > Setup > REDMOTE.
3. Select Scan for REDMOTEs.
4. When the scan is complete, select the REDMOTE from the scan list.
5. Select Pair ->.
6. Select Close to exit the menu.
7. On the REDMOTE, press Button 2.
The Connect Menu opens.
8. On the REDMOTE, use the Scroll Wheel or Directional Keys to select the camera from the list and press ENTER.
9. If the camera does not display, select RESCAN... and press ENTER. If the camera is still missing from the list,
ensure that camera settings are properly configured in the Communication and REDMOTE menus.
NOTE: To see the REDMOTE MAC address, go to Setup > Setup System. The MAC address displays at the
bottom of the LCD.
RECONNECT REDMOTE TO A PAIRED CAMERA

Follow the instructions below to reconnect the REDMOTE to a camera that is has been to paired to before.
1. Press Button 1 to scan for paired cameras within wireless range. A scan takes about 20–30 seconds.
2. Select the camera and press Enter.
The REDMOTE connects to the selected camera.
3. If the REDMOTE fails to find a camera within range, select Rescan and press ENTER in the Navigation Group to
force a second scan.
NOTE: The Connect Menu is hidden on the LCD when the REDMOTE is attached to a camera or rear module.
RECONNECT THE REDMOTE AFTER SIGNAL LOSS

On loss of wireless communication, the REDMOTE scans for the camera it was last paired with. If the REDMOTE is
unable to reconnect after 30 seconds, the manual Scan menu opens.
DISCONNECT THE REDMOTE FROM A PAIRED CAMERA

1. Press Button 1.
2. Select DISCONNECT.
3. Press ENTER.
CHARGE THE REDMOTE

A fully discharged REDMOTE battery requires approximately six (6) hours to fully charge. You can use the REDMOTE
while it charges.
Charge the REDMOTE using either of the following methods:
Dock the REDMOTE to a camera or rear module.
Connect the REDMOTE to a computer, cell phone charger, or other sufficient power source using the RED Mini-
USB-to-USB cable. If the power supply does not provide enough voltage, an “Error Charging” message displays.

CHARGE INDICATORS
The battery indicator in the lower right of the REDMOTE LCD indicates remaining battery life and charge status.
Green: The battery has a sufficient charge, or is fully charged.
Yellow: The battery is somewhat depleted and should be recharged soon.
Red: The battery is nearly discharged and should be recharged immediately. Wireless communication is at risk of
being lost when the battery indicator is red.
CUSTOMIZE REDMOTE SETTING MENUS

NOTE: Soft Menu Buttons 7 and 8 are not defined.
When operating the REDMOTE in Local mode, you can configure the settings displayed in each REDMOTE menu
window. There are five (5) REDMOTE Setting menus, accessible with the Soft Menu Buttons (4-8).
To customize settings, follow the instructions below:
1. Ensure the camera is on and wirelessly connected to the REDMOTE.
2. If the REDMOTE is in Remote Mode, press Button 2 to toggle to Local Mode.
3. Select the Soft Menu Button (4-8) page that you would like to set the setting on.
4. Use the Directional Keys to move the red cursor to the setting location.
5. Press Button 3.
6. Select Setup Slot and press ENTER.
7. Select the setting from the available list.
8. Press Enter.

REDMOTE LCD DISPLAY MENU

The REDMOTE LCD displays key camera settings. The primary REDMOTE Setting Menu (Button 4) displays the items
in the table below.
REDMOTE ITEM DESCRIPTION
HDR Displays HDRX mode status
1:1 Tallies when magnify is selected
False Color Displays false color overlay mode
LAN Indicates communication via Ethernet connection
RIG Indicates 3D rig metadata is present
SYNC Indicates sensor shutter sync status
GEN Indicates presence of valid Genlock signal/HD-SDI sync to genlock
TC Indicates presence of valid SMPTE timecode signal
Aperture Displays aperture when using supported Canon, Nikon, or Cooke lenses
Focus Dist. Displays optimum focus distance when using supported Canon, Nikon, or Cooke lenses
Sensitivity Camera sensor sensitivity
Exposure Integration time or shutter angle
Color Temp White balance
Format Recording resolution
REDCODE REDCODE compression setting
Recording Frame Rate Current frame capture rate
Project Time Base Current project time base
Clip Filename Filename of the current clip or next clip to be shot
Histogram RGB Histogram
Model EPIC or SCARLET
Media Status Media location and remaining media capacity %
RAW Clip Meter RGB sensor RAW clipping status
Timecode Current timecode value
Battery Indicator Displays battery life or charge status of REDMOTE
Audio Meter Audio input selection and levels
Power Status DC supply voltage or % of remaining battery capacity including current supply voltage
Camera ID Displays camera ID
Wireless Status Displays signal strength when connected wirelessly

UPGRADE REDMOTE FIRMWARE

This section describes the REDMOTE firmware upgrade process using Mac®, Windows®, and the camera.
UPGRADE REDMOTE WITH CAMERA

When you dock a REDMOTE, the camera checks the REDMOTE firmware. If the firmware is slightly outdated, you can
update it via the camera. If REDMOTE firmware is severely outdated, you will be instructed to install updates via USB.
NOTE: The REDMOTE and camera must be re-paired after upgrading camera firmware.
UPGRADE REDMOTE (MAC)

This section describes the REDMOTE firmware upgrade process using a Mac.
INSTALL REDMOTE UPGRADE UTILITY (MAC)

The REDMOTE Upgrade Utility enables you to upgrade REDMOTE firmware from your computer.
1. Download the REDMOTE Upgrade Utility, available at www.red.com/downloads.
2. Uncompress and open the zip file.
3. Open the REDMOTE_Upgrade_Utility folder.
4. Open the Mac folder.
5. Open REDMOTE.dmg.
6. Open REDMOTE Upgrade Utility.
7. Continue to "Configure REDMOTE Connection with Computer (Mac)" below.
CONFIGURE REDMOTE CONNECTION WITH COMPUTER (MAC)

Establish a connection between the computer and the REDMOTE.
1. Disable WiFi and disconnect the Ethernet cable connected to your computer.
2. Connect a USB to mini-USB cable between the Mac and the USB connector on the REDMOTE.
3. Open System Preferences and select Network.
4. Look for a device called RNDIS/...Gadget.
5. Change Configure IPv4 setting to Manually.
6. In the IP Address field, enter 192.168.0.1.
7. In the Subnet Mask field, enter 255.255.255.0.
8. Click Apply.
The Status changes to Connected.
9. Go back to REDMOTE Upgrade Utility and click Connect to establish a connection with the REDMOTE.
“Connection is Established With REDMOTE” displays when connected. If the connection is not established, then
disable all internet connections and try again.
10. Go to "Upgrade REDMOTE Firmware (Mac)" on the next page.
NOTE: An internet connection interferes with the computer’s attempt to recognize the REDMOTE.
NOTE: When properly connected to the computer, the battery charge indicator flashes.
NOTE: After entering the IP address, you may not connect during the upgrade procedure. If the IP address is 0.0.0.0
and the status of the device is Connected, you may need to re-enter the IP address.

UPGRADE REDMOTE FIRMWARE (MAC)

1. Download the REDMOTE Firmware, available at www.red.com/downloads.
2. Uncompress the zip file.
3. Open the REDMOTE_vX.X.XX folder.
4. Click Select File in REDMOTE Upgrade Utility.
5. Open the redmote.1.bin file in the REDMOTE_Firmware_vX.X.XX folder.
“Selected File: redmote.1.bin” displays.
6. Click Start Upgrade.
When the file transfer is complete, the REDMOTE displays “Firmware Upgrade Susccessfully Done”.
7. Click OK.
8. Click Disconnect to close the REDMOTE Upgrade Utility.
The REDMOTE automatically reboots.
After the upgrade is complete, the REDMOTE displays “POWER UP” and then “SEARCHING”.
9. Select Cancel.
10. On the REDMOTE, go to Setup > Setup System and verify the current REDMOTE firmware version.
The REDMOTE upgrade is complete.
11. You may need to re-pair the REDMOTE with the camera after upgrading firmware. For more information, go to
"Pair the REDMOTE" on page 157.
NOTE: Review the read_me_redmote_vX.X.XX instructions contained in the REDMOTE_vX.X.XX.zip file.

UPGRADE REDMOTE (WINDOWS)

This section describes the REDMOTE firmware upgrade process using Windows.
INSTALL REDMOTE UPGRADE UTILITY (WINDOWS)

1. Download the REDMOTE Upgrade Utility, available at www.red.com/downloads.
2. Uncompress and open the zip file.
4. Open the Win folder.
5. Open REDMOTE_upgrade_setup.exe.
6. Click Extract All.
7. Select a destination and click Extract.
8. Go to the location where you extracted the DSMC_Toolkit_vX.X file.
10. Open the Win folder.
11. Open REDMOTE_upgrade_setup.exe. The License Agreement opens.
12. Click I Agree.
13. Ensure that the Install REDMOTE Firmware update check box is selected and click Next.
14. Select a destination and click Next.
15. Select a Start Menu folder where program shortcuts will be created. Default is REDMOTE Update.
16. Click Install.
17. Click Close after setup completes successfully.
18. Go to "Configure REDMOTE Connection with Computer (Windows)" below.
NOTE: If an error occurs during the installation of the REDMOTE Upgrade Utility, right-click the setup file and select
Run as Administrator to proceed.
CONFIGURE REDMOTE CONNECTION WITH COMPUTER (WINDOWS)

Establish a connection between the computer and the REDMOTE.
1. Disable WiFi and disconnect the Ethernet cable connected to your computer.
2. Connect a USB to mini-USB cable between the computer and the USB connector on the REDMOTE.
If connecting for the first time, a RNDIS/Gadget driver is installed on the system.
When the driver is installed, the battery charge indicator flashes on the REDMOTE.
3. Open the REDMOTE_update program from the Start Menu folder that you created the shortcut for.
4. Click Connect to establish a connection between the REDMOTE and REDMOTE_update.
When the REDMOTE is connected, “Connection is Established With REDMOTE” displays. If the connection is not
established, disable all internet connections and try again.
5. Go to "Upgrade REDMOTE Firmware (Windows)" on the next page.
NOTE: An internet connection interferes with the computer’s attempt to recognize the REDMOTE.
NOTE: If the REDMOTE does not connect to the Windows computer, download the REDMOTE Firmware file from
www.red.com/downloads, open the read_me_redmote_vX.X.XX file, and follow the instructions to manually set up
the network connection. For additional assistance, contact RED SUPPORT at https://support.red.com.

UPGRADE REDMOTE FIRMWARE (WINDOWS)

1. Download the REDMOTE Firmware, available at www.red.com/downloads.
2. Uncompress the zip file.
3. Open the REDMOTE_Firmware_vX.X.XX folder.
4. Click Select File in REDMOTE Upgrade Utility.
5. Go to the redmote.1.bin file located in the REDMOTE_Firmware_vX.X.XX folder and click Open.
“Selected File: redmote.1.bin” displays.
6. Click Start Upgrade.
When the file transfer is complete, the REDMOTE displays “Firmware Upgrade Successfully Done”.
7. Click OK.
8. Click Disconnect to close the REDMOTE Upgrade Utility.
The REDMOTE reboots.
After the upgrade is complete, the REDMOTE displays “POWER UP” and then “SEARCHING”.
9. Select Cancel.
10. On the REDMOTE, go to Setup > Setup System and verify the current REDMOTE firmware version.
REDMOTE upgrade is complete.
11. You may need to re-pair the REDMOTE with the camera after upgrading firmware. For more information, go to
"Pair the REDMOTE" on page 157.
NOTE: Review the read_me_redmote_vX.X.XX instructions contained in the REDMOTE_vX.X.XX.zip file.

CHAPTER 9:
TIMECODE, GENLOCK, MULTI-
CAMERA SETUP
This chapter describes timecode, genlock, and multi-camera operations such as 3D and array setup.
TIMECODE
Timecode is a numeric sequence based on SMPTE 12M that aids in the management and synchronization of footage
and audio. Timecode is embedded in recorded RAW files as metadata and in HANC metadata provided by the HD-
SDI monitor output. The camera can generate timecode on its own or can receive and sync to timecode generated by
an external source. RED cameras use non-drop frame timecode.
Timecode displays in the lower right corner of the Live Action Area on the graphical user interface (GUI) and is
embedded as metadata. Timecode is represented as an eight (8) digit sequence (HH:MM:SS:FF), where:
HH: Hours
MM: Minutes
SS: Seconds
FF: Frames
NOTE: Timecode is most accurate and effective when coupled with genlock. For more information, go to "Genlock"
on page 167.
NOTE: The camera cannot output internally generated timecode on its own. A Pro I/O Module or REDCAST ® Module
is required to output timecode generated by the camera.
NOTE: For more information on HANC metadata, see HD- SDI HANC Metadata Information , available at
www.red.com/developers.

SET UP INTERNAL TIMECODE

To set up and adjust timecode generated by the camera, follow the instructions below:
1. Go to Menu > Settings > Project > Timecode.
2. Select the desired Timecode Display mode.
3. Set Source to User Provided.
4. Use the additional controls to sync TOD timecode with the RTC or set manually. Alternatively, go to Menu >
Media > Device > Format Media... to set Edge timecode manually.
The TC indicator in the Lower Status Row remains grey when internal timecode is enabled.
Figure: Source: User Provided
5. Select the LTC Out check box to perform Linear Timecode Out, if applicable.

INPUT EXTERNAL TIMECODE

To input timecode generated by an external device, follow the instructions below:
1. Connect the external timecode generator to the camera:
Connect the SYNC port (00B LEMO) on the camera to the device (yellow BNC) using a 3BNC-to-00 LEMO
Sync Cable.
2. Go to Menu > Settings > Project > Timecode.
3. Select the desired Timecode Display Mode.
4. Set Source to External: BRAIN.
The TC indicator in the Lower Status Row turns green when an external timecode source is locked.
NOTE: When an external source is selected but not present, timecode displays User Provided settings.
Figure: Source: External
REQUIRED CABLE
790-0154: 3BNC-to-00 LEMO Sync Cable
GENLOCK
Generator locking (genlock) is a tri-level signal used to synchronize video and audio systems. Genlock is based on
SMPTE 296M and 274M. There are two (2) important genlock sync modes:
Monitor Sync
Sensor Sync
NOTE: For genlock to function correctly, the cameras must be on the same firmware version, and must be using the
same project time base and recording frame rate.

MONITOR SYNC
Monitor Sync occurs when an incoming genlock signal is compatible with the monitor output frequency. Monitor Sync
is achievable even if the camera is using another form of synchronization to sync the camera sensor.
1. Connect the genlock device to the camera:
Connect the SYNC port on the camera to the device (green BNC) using a 3BNC-to-00 LEMO Sync Cable.
2. Set up the frequency for the HD-SDI output (select Auto to automatically match the HD-SDI output to the current
Project Time Base). For more information, go to "Frequency" on page 80.
Monitor Sync is achieved automatically when an incoming genlock signal is compatible with the monitor output
frequency. When Monitor Sync is achieved, the GEN indicator in the Lower Status Row illuminates green.
Figure: HD-SDI Output Frequency
REQUIRED CABLE

SENSOR SYNC
Sensor Sync is achieved when an incoming genlock signal is compatible with the monitor output frequency, project
time base, and recording frame rate. In Sensor Sync mode, sensor timing is locked to the genlock signal. Sensor
Sync requires the following synchronized settings:
SETTING MENU LOCATION PATH
Genlock signal frequency N/A; external genlock device
HD-SDI monitor output frequency Menu > Settings > Display > Monitor Control
Project Time Base Menu > Settings > Project > Frame Rate
Recording Frame Rate Menu > Settings > Project > Frame Rate
To set up and enable Sensor Sync Mode, follow the instructions below:
1. Connect the SYNC port on the camera to the device (green BNC) using a 3BNC-to-00 LEMO Sync Cable
2. Go to Menu > Settings > Setup > GPIO/Sync > Sync.
3. Select Genlock from the Sensor Sync Mode drop-down menu.
4. Select BRAIN from the Genlock Source drop-down menu.
Figure: Sync Settings
5. Set up the frequency for the HD-SDI output (select Auto to automatically match the HD-SDI output to the current
Project Time Base). For more information, go to "Frequency" on page 80.
The GEN indicator in the Lower Status Row turns green when a compatible genlock signal is present and genlock
is enabled. The SYNC indicator in the Lower Status Row turns green when Sensor Sync is achieved.
REQUIRED CABLE

MASTER/SLAVE OPERATION
NOTE: The Master camera controls metadata and basic camera parameters of the Slave cameras. Any other setting
changes required by the Slave cameras must be made before recording.
This section describes operation in Master/Slave configuration and clip naming conventions for clips recorded on
those cameras. Master/Slave is the most common configuration for Stereo/3D productions.
When cameras are operated in Master/Slave configuration, you can perform the following operations:
Power: Turn off the Master camera to turn off both cameras.
Record: Press the PWR/REC key on the Master camera to start/stop recording on both cameras.
Change settings: Change settings on the Master camera, to change settings on the Slave camera.
For a Master/Slave configuration to function, the cameras must have the same:
Firmware version
Project time base
Recording frame rate
BRAIN
Sensor

SET UP MASTER/SLAVE OPERATION

1. Connect the cameras using the Master/Slave Gig-E Cable:
A. Connect the GIG-E port on one camera to the GIG-E port on the other camera.
2. On the Master camera, follow the instructions below:
A. Go to Menu > Settings > Setup > Communication.
B. Type a name for the camera (Example: CAM A, LEFT, MASTER, etc) in the Camera ID field.
C. Set Target to All.
Figure: Master Settings
D. Go to Menu > Settings > Setup > Communication and select the Ethernet tab.
E. Select the Camera to Camera the check box.

3. On the Slave camera(s), follow the instructions below:

A. Go to Menu > Settings > Setup > Communication.
B. Type a name for the camera (Example: CAM B, RIGHT, SLAVE, etc) in the Camera ID field.
C. Set Target to None.
Figure: Slave Settings
D. Go to Menu > Settings > Setup > Communication and select the Ethernet tab.
E. Select the Camera to Camera the check box.
The LAN indicator in the Lower Status Row illuminates green.
NOTE: Cameras can also be set up in a Master/Master configuration. To set up Master/Master, set Target to All
on both cameras, allowing either camera to make changes and control record start/stop.
REQUIRED CABLE
790-0163: Master/Slave Gig-E Cable (4')

SET REEL NUMBER, CAMERA ID, AND CAMERA POSITION

NOTE: Camera ID and Camera Position settings can also be found at Menu > Settings > Project > Slate > Camera.
To prepare media and slate settings for a Master/Slave or Stereo/3D production, follow the instructions below:
1. On both Master and Slave cameras, go to Menu > Media > Device and select Format Media....
2. On both Master and Slave cameras, select the desired Reel Number and Camera ID settings. The Reel Number
and Camera ID settings on both cameras should match.
3. On the Master camera, change the Camera Position to Left, representing “left eye”.
Figure: Master Settings
4. On the Slave camera, change the Camera Position to Right, representing “right eye”.
5. On both cameras, select Format... to format media and set the Reel Number, Camera ID, and Camera Position
settings.

MULTI-CAMERA CLIP NAMING CONVENTIONS

This section describes automatic camera-generated clip naming conventions based on slate settings. Cameras use
the Reel No, Cam ID, and Cam Pos settings to generate a custom clip name.
For example, if you have two (2) cameras in Master/Slave configuration and format media on both cameras with the
following settings:
CAMERA REEL NUMBER CAMERA ID CAMERA POSITION
Master 1 S Left
Slave 1 S Right
The first clip recorded by this Master/Slave camera configuration is:

Master: S001_L001_0503B6.R3D
Slave: S001_R001_0503R7.R3D
NOTE: B6 and R7 are examples of camera-generated wildcard characters.

NOTE: If both cameras have a Camera Position of Left, the recorded clips will have the same filename structure, with
the exception of the camera-generated wildcard characters. For example:
Master: A001_C001_0503B6.R3D
Slave: A001_C001_0503R7.R3D
NOTE: Reel Number, Camera ID, and Camera Position can be set when formatting media.
SET UP STEREO/3D CONFIGURATION

This section describes basic procedures for connecting two (2) cameras in a Master/Slave configuration for 3D
operation.
NOTE: When providing the signals to a Stereo Image Processor (SiP) for verifying 3D alignment, set the HD-SDI
monitor output on both cameras to have the same overlay configuration.
To set up a Stereo/3D setup, follow the instructions below.
1. On both cameras, set the project time base and recording frame rate.
2. On both cameras, follow the instructions in "Sensor Sync" on page 169 to achieve Sensor Sync genlock status.
The GEN and SYNC indicators in the Lower Status Row illuminate green.
3. Follow the instructions in "Set Up Master/Slave Operation" on page 171 to set Master and Slave camera settings.
4. On both cameras, follow the instructions in "Set Reel Number, Camera ID, and Camera Position" on the previous
page to set up media and camera settings.
REQUIRED CABLES
Use one (1) per camera:
Use one (1) per setup:


3D CONFIGURATION EXAMPLE
The diagram below is an example of how to set up a 3D configuration.
Figure: 3D Configuration Example

CAMERA ARRAY
SET UP A CAMERA ARRAY
NOTE: To operate a camera array setup from a Windows ® computer or workstation, you need one of several
applications provided by RED® or third-party developers.
You can sync more than two (2) cameras for applications and productions that require a camera array. To set up a
camera array, you need a 1000Base-T gigabit Ethernet router.
For more information on camera control, see the R.C.P.™ SDK, available at www.red.com/developers.
To set up a camera array, follow the instructions below:
1. On each camera, go to Menu > Settings > Setup > Communication and set the following:
A. On the Camera tab, set Target to All.
B. On the Camera tab, enter a matching name in the Group ID field. All cameras must have the same Group ID
name.
C. On the Ethernet tab, select the DHCP, Camera to Camera, and External Control check boxes.
2. Follow the instructions in "Sensor Sync" on page 169 to connect each camera to the genlock device.
The GEN and SYNC indicators in the Lower Status Row illuminate green.
3. Follow the instructions in "Set Up Master/Slave Operation" on page 171 to set Master and Slave camera settings.
Instead of using the Master/Slave Gig-E Cable, connect each camera to the router using a LEMO-To-CAT5E
Ethernet Cable.
A. Connect the LEMO connector to the GIG-E port on the camera.
B. Connect the Ethernet connector to the router.
4. On each camera, follow the instructions in "Set Reel Number, Camera ID, and Camera Position" on page 173 to
prepare media and camera settings.
REQUIRED CABLES
Use one (1) per camera:
Use one (1) of the following per setup:
790-0159: RED GIG-E Straight-to-CAT5E Ethernet Cable (9')
790-0557: RED GIG-E Right-to-CAT5E Ethernet Cable (9')

CAMERA ARRAY EXAMPLE

The diagram below is an example of how to set up a camera array.
Figure: Camera Array Example

SET UP MOTION CONTROL (MOCO)

NOTE: When using MoCo, set the frame rate to be at least two times (2x) the fastest trigger rate used. When using
MoCo, REDCODE is calculated based on fps/2. Therefore, if you are in MoCo mode, and the frame rate is 100.83 fps,
the maximum REDCODE is calculated based on a frame rate of 50.415 fps.
NOTE: HDRX is not available when MoCo is enabled.
NOTE: Genlock and timecode can also be used with MoCo.
Motion Control (MoCo) is a form of sensor synchronization used to automate precision camera movements required
for special effects and difficult shots. Motion Control uses GPIO signals transmitted using the SYNC (GPI) and CTRL
(GPO) ports on the camera or a connected Pro I/O Module or REDCAST Module.
For more information on GPIO connections, go to "Input/Output Connectors" on page 217.
To set up MoCo, follow the instructions below:
1. Connect the Motion Control device to the camera using a 3BNC-to-00 LEMO Sync Cable.
Sync In: Connect the white BNC connector to the Motion Control device and the 00B LEMO connector to the
SYNC port on the camera.
Sync Out: Connect the yellow BNC connector to the Motion Control device and the 00B LEMO connector to
the CTRL port on the camera.
2. Go to Menu > Settings > Setup > GPIO/Sync > Sync.
3. Select MoCo from the Sensor Sync Mode drop-down menu.
Figure: MoCo Sync Settings
4. Select the BRAIN GPIO tab.

5. Select Sync In from the GPI Function drop-down menu.

6. Select Sync Out from the GPO Function drop-down menu. (Optional)
Figure: MoCo BRAIN GPIO Settings
7. Supply a pulse from the Motion Control device to sync the shutter to the rising edge of the sync input.
NOTE: For more information, refer to the manufacturer’s instructions for the Motion Control device.
REQUIRED CABLE
790-0154: 3BNC-to-00 LEMO Sync Cable (required per SYNC and CTRL port used)
COMPATIBLE TIMECODE DEVICES

The following timecode devices are compatible with the camera. Additional timecode devices may be compatible, but
have not yet been tested by RED.
Ambient ACL 202CT
Ambient LOCKIT ACL 203
Ambient ACL 204
Ambient ACC 501 Clockit Controller
Ambient ACD-301 Lockit Slate
Denecke SB-3 Syncbox Time-Code Generator
Sound Devices 788T
Sound Devices 744
Sound Devices PIX-240
Zaxcom Nomad 12
Zaxcom ZFR100
Zaxcom ZFR200

COMPATIBLE GENLOCK DEVICES

The following genlock devices are compatible with the camera. Additional genlock devices may be compatible, but
have not yet been tested by RED.
AJA® GEN10 HD/SD/AES Sync Generator with Universal Power Supply
Ambient ACL 202CT
Ambient ACL 203
Ambient ACL 204
Denecke SB-T
Evertz Master Clock 5600MSC
NOTE: Ensure that your genlock device provides a full-strength genlock signal to each camera. Splitting a genlock
signal weakens it, which may compromise the sync between cameras.

CHAPTER 10:
UPGRADE CAMERA FIRMWARE
Your camera functionality may be upgraded by installing the latest firmware. Make a habit of frequently visiting RED
Downloads at www.red.com/downloads to check for new versions of camera firmware, updated operation guides, and
post production software.
Your REDMOTE ® also requires a firmware upgrade. For more information on upgrading your REDMOTE, go to
"Upgrade REDMOTE Firmware" on page 161.
VERIFY CURRENT CAMERA FIRMWARE

To see the firmware version that is currently installed on your camera, go to Menu > Settings > Maintenance >
System Status > Camera Info. A higher number reflects a later release.
UPGRADE CAMERA FIRMWARE

Install the most recent firmware. Unless otherwise specified in the release notes, you do not need to upgrade to any
firmware in between your current version and the most recent version available online.
NOTE: Preset, Look, and Custom Overlay files are preserved across upgrades to v6.2.3 or later.
NOTE: On Mac ® computers with REDCINE-X PRO ® installed, RED Watchdog mounts the SSD as Read-Only by
default, which means that you are unable to write files (including firmware upgrade files) to the SSD. Change the
Mount preference to Read-Write before attempting to copy firmware to the SSD.
1. Connect an SSD (RED MINI-MAG® or REDMAG 1.8") to your computer.
2. Download the most recent firmware for your camera from RED Downloads at www.red.com/downloads.
3. Unzip the firmware zip file.
4. Copy the force_upgrade folder and its contents to the top level of the SSD directory.
5. Eject or unmount the SSD, and then remove the SSD.
6. Ensure that the camera is turned off and the REDMOTE is undocked.
7. Insert the SSD with the force_upgrade folder into your camera.
The upgrade runs automatically.
During upgrade, the fans run at high speed and the PWR and REC LEDs flash green. After approximately 15
seconds, the LEDs stop flashing and the camera turns off. Nothing displays on the external monitors during the
upgrade.
9. After the camera turns off, remove the SSD and wait 10 seconds.
The camera may take 30 seconds or longer to upgrade all of the attached modules. During this time the PWR and
REC LEDs flash green and nothing displays on the external monitors.
11. If this is your first time upgrading firmware, a pop-up menu opens with the Software License Agreement (SLA).
Select Agree. If you do not agree to the SLA, the camera cannot be used. The SLA continues to display until it is
accepted.

12. Verify that the firmware version listed matches the firmware version that you downloaded. For more information, go
to "Verify Current Camera Firmware" on the previous page.
13. After upgrading an EPIC DRAGON or SCARLET DRAGON, go to Menu > Settings > Maintenance > Calibrate >
Sensor and calibrate the sensor using the Black Shading (default) option. For more information, go to "Sensor
Calibration" on page 141.
14. Reformat the SSD before recording.

CHAPTER 11:
CAMERA SYSTEM MAINTENANCE
All RED ® products are designed for rugged durability, but precision instruments demand proper care. Follow the
instructions in this chapter to clean, maintain, and store your devices.
WARNING: DO NOT rinse or immerse the camera or other accessories in water. Keep dry at all times.
WARNING: DO NOT use soaps, detergents, ammonia, acetone, alkaline cleaners, abrasive cleaning compounds, or
solvents. These substances may damage lens coatings and electronic circuitry.
WARNING: DO NOT use an excess of cleaning solution.
WARNING: DO NOT reuse swabs or wipes.
WARNING: DO NOT attempt to clean the sensor or optical cavity for any reason. If the sensor becomes dirty, contact
your Bomb Squad representative.
WARNING: DO NOT attempt to modify, dismantle, or open the camera, lens, or other accessory as doing so may
expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made
to the camera, lens, or other accessory, except by a RED®authorized service facility, voids all warranties.
WARNING: Use caution with compressed air and gas dusters, since the high pressure, oily residue, cold air,
particulates, and moisture may cause damage. You may use a filtered, non-residue gas duster to clean non-critical
areas, such as around the fans and other recesses on the exterior of the camera. Damage to the camera or other
components of the camera system caused by using compressed air or gas dusters is not covered under warranty.
WARNING: DO NOT use compressed air and gas dusters on the sensor or on any optics.
BRAIN AND ACCESSORY EXTERIOR SURFACES

Use a filtered, non-residue gas duster to clean non-critical areas, such as around the fans and other recesses on
the exterior of the camera.
Clean with a dry lint-free cloth. When cleaning your camera and accessories, remember that the devices are not
waterproof and moisture can damage electronic circuitry.
STORAGE
RED recommends that you store the camera and accessories in the water-resistant cases available in the RED Store at
www.red.com/store. These cases feature laser-cut foam to keep the camera and accessories secure.
WARNING: DO NOT store the camera or accessories in any place with extreme temperatures, direct sunlight, high
humidity, severe vibration, or strong magnetic fields.

CLEAN THE CAMERA SENSOR OR OLPF

The camera sensor and optical low-pass filter (OLPF) are EXTREMELY sensitive to dust, debris, and contamination.
As with all optical glass, any type of physical contact with the OLPF may scratch or damage the surface. RED
recommends that you clean the camera sensor or OLPF using physical contact ONLY if absolutely necessary.
ALWAYS use an air bulb to remove any particles or contaminants—such as dust—before cleaning the sensor or OLPF
with electronics swabs or wipes and cleaning solution. Cleaning the sensor or OLPF without removing solid particles
and contaminants greatly increases the risk of scratching the optical surface.
RED recommends using a Delkin Devices Digital Duster Kit (or equivalent) to clean the sensor or OLPF.
WARNING: Clean the camera sensor AT YOUR OWN RISK. The camera sensor is covered by a layer of protective
glass, but will not protect the sensor from improper care. Damage to the sensor caused by improper handling is NOT
covered under warranty. If the sensor becomes dirty, contact your Bomb Squad representative.
WARNING: Handle the DSMC interchangeable OLPFs carefully. DO NOT touch the OLPF glass. Failure to follow
proper instructions may scratch or damage the OLPF.
CLEAN EVF SCREEN

NOTE: This section describes only how to clean the screen on the DSMC2® RED EVF, and not how to clean the entire
device.
This section explains how to clean the screen on the DSMC2 RED EVF. The screen is accessed by removing the
DSMC2 RED EVF Modular Optical Block.
Use an ionized rubber air bulb to clean the screen on the DSMC2 RED EVF. If there are still particles on the screen
after using an air bulb, gently wipe the screen with a rolled-up, particulate-free, non-abrasive optical-grade wipe.
NOTE: Cleaning the screen without first removing solid particles increases the risk of scratching the screen. As with
many screens, any type of physical contact with the screen may scratch the surface.
PROHIBITED EVF SCREEN CLEANERS

DO NOT use any of the items listed below to clean the screen on the DSMC2 RED EVF. These products have not
been tested on RED products and may cause damage or streaking.
Compressed air
Gas dusters
Solvents
Rubbing alcohol
Isopropyl alcohol
Windex®
Third-party cleaning kits
Pre-packaged lens cleaner containing any additives, such as detergent, anti-static compounds, or fragrance
RED Microfiber Bag
WARNING: Damage to any screens or other components of the camera system caused by using prohibited cleaners
is not covered under warranty.

CLEAN LCD SCREENS

NOTE: This section describes only how to clean the screen on each specified device, and not how to clean the entire
device.
This section explains how to clean the screens on the following devices:
RED PRO LCD
RED Touch LCD
RED PRO Touch LCD
DSMC Side Handle
REDMOTE®
APPROVED LCD SCREEN CLEANERS

Use only the following products to clean LCD screens:
Ionized rubber air bulb
Delkin Devices Sensor Solution®
Lens swabs
Dry optical wipes
RED Microfiber Bag
NOTE: Before cleaning the screen with swabs or wipes and a cleaning solution, ALWAYS use an ionized rubber air
bulb to remove any solid particles. Cleaning the screen without removing solid particles increases the risk of
scratching the screen.
PROHIBITED LCD SCREEN CLEANERS

DO NOT use any of the items listed below to clean LCD screens. These products have not been tested on RED
products and may cause damage or streaking.
Compressed air
Gas dusters
Solvents
Rubbing alcohol
Isopropyl alcohol
Windex
Pancro Professional Lens Cleaner (or equivalent)
Third-party cleaning kits
Pre-packaged lens cleaner containing any additives, such as detergent, anti-static compounds, or fragrance
WARNING: Damage to any screens or other components of the camera system caused by using prohibited cleaners
is not covered under warranty.
SCREEN STORAGE
Store any RED device with a screen in a RED Microfiber bag. Storing devices in a RED Microfiber bag preserves the
superior quality of the specialized AR and AS coatings on the LCDs.
Hand wash and air-dry the RED Microfiber bag regularly.

WATER DAMAGE
If your device has come in contact with water or you suspect water damage, contact your Bomb Squad representative
immediately.
WARNING: DO NOT attempt to power any device that may have water damage.
WARNING: DO NOT place the device in a container of rice, silica gel, or desiccant packets in an attempt to dry the
device.
ADJUST BACK FOCUS

Adjust back focus by using the RED Focus or a focus chart. For more information about using the RED Focus, see the
RED Focus Operation Guide, available at www.red.com/downloads.

CHAPTER 12:
TROUBLESHOOT YOUR CAMERA
PERFORM A STRESS TEST
Perform a stress test before important projects to ensure the reliability and stability of your gear. A stress test subjects
your camera system and equipment to the increased stress of prolonged operation. If any components are developing
issues, this test will help identify those problems before you have an equipment failure during a major shoot.
1. Configure your camera.
2. Calibrate the sensor. For more information, go to "Sensor Calibration" on page 141.
3. Enable the Sensor Test Pattern. For more information, go to "Enable/Disable Sensor Test Pattern" on page 118
4. Select the desired resolution.
5. Select the highest available frame rate.
6. Perform a secure format of the SSD.
7. Record a full SSD of footage.
8. Perform a secure format of the SSD.
9. Repeat Step 6 to Step 8 to test multiple SSDs.
10. If any errors occur, save a log file and submit a Technical Support request at https://support.red.com.
NOTE: Problems or dropped frames found during the stress test display as “Errors” in the bottom of the user
interface.

GENERAL TROUBLESHOOTING
FIRMWARE DOES NOT UPGRADE
SYMPTOM
During an attempt to upgrade firmware, the PWR and REC LEDs flash red.
After an attempt to upgrade firmware, the firmware version does not change.
POTENTIAL RESOLUTIONS
After downloading the firmware upgrade file, ensure that you unzip the file before saving it to the SSD.
Ensure that the “force_upgrade” folder is saved to the top level of the SSD, and not to a subfolder.
SYMPTOM
A module or lens mount is not functioning correctly, or is not communicating with the camera.
Perform a Hardware Rediscover. For more information, go to "Rediscover (Hardware Rediscover)" on page 120.
Upgrade your camera firmware. For more information, go to "Upgrade Camera Firmware" on page 181.
Reset your camera’s default settings. For more information, go to "Reset Defaults" on page 119.
CAMERA DOES NOT RECOGNIZE LENS

SYMPTOM
The camera does not recognize the attached lens.
Ensure that the lens is compatible. For more information, go to "Lenses" on page 230.
If using a PL lens, ensure that the camera is providing power to the lens: go to Menu > Settings > Setup > Lens
and select the Enable Power to Lens check box.
Detect the lens: go to Menu > Settings > Setup > Lens and select Detect Lens.

CAMERA DISPLAYS N/A FOR APERTURE

SYMPTOM
The camera displays N/A for aperture when a lens is attached.
Ensure that your lens is completely locked in place.
Remove your lens mount. Check the connection points for damage or debris. Install your lens mount.
Re-install your camera firmware.
If your camera is on beta firmware, downgrade to the release build.
If you are using a DSMC PL mount, go to Menu > Settings > Setup > Lens and ensure that power is enabled.
NOTE: Some lenses do not display the aperture information because they are incompatible. Some PL lenses do not
have i-technology data.
CAMERA CANNOT PAIR TO REDMOTE

SYMPTOM
The camera cannot pair to the REDMOTE®.
Ensure REDMOTE display indicates IDLE before attempting to pair the camera to the REDMOTE.
Ensure the REDMOTE is detached from the rear of the camera and turned on.
Ensure the REDMOTE wireless in turned on.
CANNOT SEE MENUS ON LCD TOUCHSCREEN

SYMPTOM
The LCD touchscreen does not display menus.
POTENTIAL RESOLUTION
Double-tap the LCD touchscreen to exit Clean mode.
SCREEN FREEZES OR DOES NOT DISPLAY

SYMPTOM
The screen freezes or does not display.
Perform a Hard Restore. For more information, go to "Perform a Hard Restore" on page 191.

LCD FLICKER
SYMPTOM
The LCD or monitor is flickering.
Set the LCD frequency to 60 Hz. For more information, go to "Frequency" on page 80.
Use a different cable.
Ensure cables are properly attached.
LCD BLANK AT STARTUP

SYMPTOM
When you turn on the camera, the LCD does not show any image.
Turn off the camera. Wait at least three (3) seconds, and then turn the camera back on.
CANNOT USE TOUCHSCREEN OR DSMC SIDE HANDLE

SYMPTOM
Cannot control the camera via the touchscreen or the DSMC Side Handle.
Perform a Hard Restore. For more information, go to "Perform a Hard Restore" on the next page.
If you are using an HD-SDI or HDMI® monitor, enable menus on the monitors and control the camera via the DSMC
Side Handle:
Connect an SSD (RED MINI-MAG® or RED STATION REDMAG 1.8") to your computer.
On the SSD, create a new folder, and name it force_preset.
Download the DSMC Toolkit from www.red.com/downloads.
Open the Preset_Files folder.
Open the folder that corresponds to the firmware version you are using.
Save the appropriate enable_menus file to the force_preset folder on your SSD.
Eject or unmount the SSD, and then remove the SSD.
Ensure that the camera is turned off and the REDMOTE is undocked.
Insert the SSD into your camera.
Turn on the camera. The camera automatically applies the preset.
NOTE: On Mac ® computers with REDCINE-X PRO ® installed, RED ® Watchdog mounts the SSD as Read-Only by
default, which means that you are unable to write files (including firmware upgrade files) to the SSD. Change the
Mount preference to Read-Write before attempting to copy firmware to the SSD.

TIGHTEN DC IN CONNECTOR
SYMPTOM
The DC IN connector nut is loose.
Tighten the loose DC IN connector nut using a pair of heavy duty strong point tweezers.

Optional: Add a small amount of Loctite® 222 (low strength thread locker) to the threads of the DC IN connector
nut to prevent the connector from becoming loose again.
CAMERA DOES NOT TURN ON

SYMPTOM
The camera does not turn on (does not boot up), even when powered.
Remove all accessories and power the camera using the DSMC AC Power Adaptor.
Perform a Hard Restore. For more information, go to "Perform a Hard Restore" below.
Remove all accessories and power the camera using the DSMC AC Power Adaptor.
PERFORM A HARD RESTORE

A common way to resolve camera firmware issues is to perform a Hard Restore. A Hard Restore functions like a
System Restore in that it changes all settings to the factory default values.
To perform a Hard Restore, follow the instructions below:
1. With the camera turned off, hold the PWR/REC key on the camera for 20 seconds or until the fans turn at a high
speed.
2. Release the PWR/REC key.
The screen displays correctly.
NOTE: User key settings reset as well as any other changes from the default settings. The REDMOTE will also
require pairing to communicate wirelessly with the camera.

IMAGE APPEARS GRAINY

SYMPTOM
Image or footage appears grainy.
Calibrate the sensor before recording additional clips. For more information, go to "Sensor Calibration" on
page 141.
Check the histogram to ensure proper exposure. Noise occurs if an image is overexposed or underexposed.
Use the lowest REDCODE® compression possible for the settings you have selected.
Use a higher resolution.
If you have the DSMC interchangeable OLPF system installed, verify that you have the correct OLPF selected in the
OLPF menu. For more information, go to "Verify Installed OLPF" on page 50.
Use Adaptive fan mode to regulate the camera temperature. Noise occurs when the temperature from the applied
calibration map is not in sync.
POLARIZER AFFECTS IMAGE

SYMPTOM
The image has a faint vertical rainbow artifact.
EXPLANATION
When using a polarizer with an EPIC DRAGON or SCARLET DRAGON (with either a Skin Tone-Highlight or a Low
Light Optimized OLPF), a faint vertical rainbow artifact might appear on the image. This artifact is not exclusive to
EPIC DRAGON or SCARLET DRAGON cameras, and can occur on other cameras depending upon camera orientation
and direction of the polarized light. The rainbow artifact is caused by a complex interaction between the scene lighting,
lens, polarizer, OLPF, and the camera.
Reorient the polarizer or the camera.
Avoid using a polarizer.
BLACK AND WHITE IMAGE

SYMPTOM
The display shows that an image is in black and white, and the menus are still in color.
Check the Color Saturation setting. If the Saturation setting is set to a low value, change the Saturation to a higher
value.

INCORRECT COLOR TEMPERATURE

SYMPTOM
The camera color temperature is off and the image looks warmer or cooler than normal.
Perform an auto white-balance. For more information, go to "Color Temperature" on page 92.
Calibrate the sensor. For more information, go to "Sensor Calibration" on page 141.
If you have the DSMC interchangeable OLPF system installed, verify that you have the correct OLPF selected in the
OLPF menu. For more information, go to"Verify Installed OLPF" on page 50.
TIMECODE OR GENLOCK DOES NOT FUNCTION

SYMPTOM
The SYNC, GEN, and/or TC light is red, yellow, or greyed out.
Ensure that your timecode or genlock device is compatible. For more information, go to "Compatible Timecode
Devices" on page 179 and "Compatible Genlock Devices" on page 180.
Use a different cable.
Ensure that your timecode or genlock device settings match your project settings.
Ensure that your timecode or genlock device is set to the correct source. For more information, go to "Timecode"
on page 165 and "Genlock" on page 167.
Ensure that your Sensor Sync Mode is set to Genlock. For more information, go to "Sensor Sync" on page 169.
Set the ACN (Ambient Clockit Network) to Off.
CAMERA DOES NOT RECOGNIZE OLPF

SYMPTOM
Your camera does not recognize the OLPF.
Reinstall the OLPF. For more information, go to "Swap an Interchangeable OLPF" on page 46.
Install a different OLPF.
If your camera still does not recognize the OLPF, please submit a Technical Support request at

POSSIBLE HOT PIXEL

SYMPTOM
Your camera displays a possible hot pixel.
EXPLANATION
There may not be an issue with the pixel itself. The sensor can display a hot pixel when the sensor calibration is
outdated. Current camera settings and temperature can affect pixel calibration.
Calibrate the sensor. For more information, go to "Sensor Calibration" on page 141.
Upgrade your camera firmware. For more information, go to "Upgrade Camera Firmware" on page 181.
Check your footage on a computer to confirm that the hot pixel is from the camera sensor, not your display
monitor.
If you determine that the camera sensor has a hot pixel, use REDCINE-X PRO to remove the hot pixel until the
issue gets resolved. For more information, see the REDCINE-X PRO Operation Guide, available at

ERROR MESSAGES
“CRITICAL FAILURE” OR “SERIOUS ERROR” MESSAGES
SYMPTOM
When you upgrade or turn on the camera, the display shows a message with the phrase “Critical Failure” or “Serious
Error”.
Update the camera firmware to the latest release build available for download at www.red.com/downloads.
Submit a Technical Support request at https://support.red.com. Include the following with the request:
Log file. For more information, go to "Save a Log File" on page 118.
List of modules, lens, and third-party accessories that were attached when the error occurred.
Method for powering the camera when the error occurred (include battery types, power modules, and power
cables).
"UPGRADE ATTACHED PERIPHERALS" MESSAGE

SYMPTOM
During an attempt to upgrade firmware, the display shows the message “Upgrade Attached Peripherals”. After turning
the camera off and then on, the same message displays, and then prompts you to turn off the camera.
Ensure that you are upgrading your camera to the newest firmware version.
One (1) of your modules or lens mounts (collectively known as “peripherals”) may be experiencing issues. Remove
all peripherals (except for the SSD module) and upgrade firmware. Then attach another peripheral, and upgrade
firmware again. Repeat this process, upgrading one (1) peripheral at a time. This will identify which peripheral is
experiencing issues. If there is a peripheral that will not upgrade, submit a Technical Support request at
PRESET COULD NOT BE APPLIED

SYMPTOM
The display shows the following message: “Preset Could Not Be Applied”.
Turn off the camera, power it back up, and attempt to apply the preset that failed.
CANNOT CONTROL CAMERA EXTERNALLY

SYMPTOM
The camera displays the message “For reliable external control over Ethernet your camera’s hardware may need to be
upgraded. Please contact your Bomb Squad representative”.
If you see this message, contact your Bomb Squad representative to have your hardware upgraded. You will not be
able to control the camera externally until the hardware is upgraded.

ERROR 0X00000020
SYMPTOM
The display shows a message with the phrase “Error 0x00000020. Please save log and send to RED support.”
Perform a secure format of the SSD. For more information, see the DSMC Media Operation Guide, available at
cables).
CAMERA KEEPS PROMPTING BLACK SHADE MESSAGE

SYMPTOM
Your camera keeps prompting you to black shade the camera.
Ensure that you complete the sensor calibration process. For more information, go to "Sensor Calibration" on
page 141.
Go to Menu > Settings > Maintenance > Calibrate and select user1 Calibration Map. Click Set.
Go to Menu > Settings > Maintenance > Calibrate and delete all user-created calibration maps. Then reset your
camera’s default settings. For more information, go to "Reset Defaults" on page 119.
MOUNT TYPE: UNKNOWN

SYMPTOM
The error message “Mount type: Unknown” displays in Menu > Settings > Setup > Lens.
Ensure that a lens mount is installed.
Ensure that a compatible lens mount is installed.
NOTE: Third-party lens mounts are not compatible with the camera.

AUDIO BUFFER OVERFLOW WARNING

SYMPTOM
The error message "Audio Buffer Overflow" displays.
Perform a secure format of the SSD. For more information, see the DSMC Media Operation Guide, available at
IMPORTANT: Ensure that data is backed up before formatting the media, since formatting erases all data on the
SSD.
cables).

APPENDIX A:
TECHNICAL SPECIFICATIONS
EPIC DRAGON TECHNICAL SPECIFICATIONS
SPECIFICATION DESCRIPTION
Sensor Type RED DRAGON® 19.4 Megapixel CMOS
Effective Pixels 6144 x 3160
Sensor Size 30.7 mm x 15.8 mm (Diagonal: 34.5 mm)
Dynamic Range 16.5+ stops
Max Data Rates Up to 200 MB/s using RED MINI-MAG® (480GB, 512GB, 960GB & 1TB)
Up to 170 MB/s using RED MINI-MAG (120GB & 240GB) or REDMAG™ 1.8"
Max Frame 75 fps at 6K Full Format (6144 x 3160), 100 fps at 6K 2.4:1 (6144 x 2592)
Rates1 96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728)
Playback Frame 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
Rates
(Project Time
Base)
Best Available To see all of the maximum available REDCODE values, see the DSMC Media Operation Guide at
REDCODE® www.red.com/downloads
Settings1
REDCODE RAW Go to "EPIC DRAGON Formats" on page 97 for a full list

Acquisition
Formats
Construction Aluminum Alloy
Weight 5 lbs (BRAIN only)
Operating 0˚C to 40˚C (32˚F to 104˚F)

Temperature
Storage –20˚C to 50˚C (–4˚F to 122˚F)

Temperature
Relative Humidity 0% to 85% non-condensing

Color 3D LUT capabilities with REDCAST® Module

Management
Audio 2 channel, uncompressed, 24-bit, 48kHz

Optional 4 channel, and AES/EBU digital audio
Remote Control Ethernet, RS232, and GPI Trigger

Wireless control with optional REDMOTE® and R.C.P.™ Bridge
Monitor Outputs 3G-SDI (HD-SDI) and HDMI® with Frame Guides and Lookaround
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI Only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
Monitor Options DSMC2® RED® Touch 4.7" LCD and DSMC2 RED Touch 7.0" LCD compatible with DSMC2
LEMO Adaptor B and LCD/EVF cable.
RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, RED Touch
7.0" LCD, DSMC2 RED EVF (OLED), BOMB® EVF (OLED), and BOMB EVF (LCOS) compatible
with LCD/EVF cable.
REDCINE-X 4K: DPX, TIFF, OpenEXR (.RED via RRencode Plugin)

PRO® 2K: DPX, TIFF, OpenEXR (.RED via RRencode Plugin)
Delivery Formats
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime®, JPEG, Avid® AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
Video Editing Adobe® Premiere® Pro, Avid Media Composer®, DaVinci Resolve®, Edius Pro®, Final Cut Pro®,
Software Vegas Pro®
Compatibility2
1. REDCODE values and max frame rates may vary based on selected acquisition format, aspect ratio, project time base, Lookaround setting,
and SSD. For more information, see the DSMC Media Operation Guide at www.red.com/downloads.
2. Third-party non-linear editing (NLE) applications may have limited compatibility with R3D files.

SCARLET DRAGON TECHNICAL SPECIFICATIONS

Sensor Type RED DRAGON 19.4 Megapixel CMOS
Effective Pixels 6144 x 3160
Sensor Size 30.7 mm x 15.8 mm (Diagonal: 34.5 mm)
Dynamic Range 16.5+ stops
Max Data Rates Up to 72 MB/s using RED MINI-MAG or REDMAG 1.8"
Max Frame Rates1 12 fps Burst Mode at 6K Full Format (6144 x 3160)
Playback Frame 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
Rates
(Project Time
Base)
Best Available To see all of the maximum available REDCODE values, see the DSMC Media Operation Guide
REDCODE at www.red.com/downloads
Settings1
REDCODE RAW Go to "SCARLET DRAGON Formats" on page 100 for a full list

Acquisition
Formats

Temperature
Storage –20˚C to 50˚C (–4˚F to 122˚F)

Temperature
Color 3D LUT capabilities with REDCAST Module

Management
Audio 2 channel, uncompressed, 24-bit, 48kHz, optional 4 channel, and AES/EBU digital audio
Remote Control Ethernet, RS232, GPI Trigger, and wireless control with optional REDMOTE and R.C.P. Bridge

Monitor Outputs 3G-SDI (HD-SDI) and HDMI with Frame Guides and Lookaround
1080p RGB or 4:2:2, 720p RGB or 4:2:2
Monitor Options DSMC2 RED Touch 4.7" LCD and DSMC2 RED Touch 7.0" LCD compatible with DSMC2 LEMO
Adaptor B and LCD/EVF cable.
RED Touch 9.0" LCD, RED TOUCH 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, RED
Touch 7.0" LCD, BOMB EVF (OLED), and BOMB EVF (LCOS) compatible with LCD/EVF cable.
REDCINE-X PRO 4K: DPX, TIFF, OpenEXR (.RED via RRencode Plugin)
Delivery Formats 2K: DPX, TIFF, OpenEXR (.RED via RRencode Plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, Avid AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
Video Editing Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas
Software Pro
Compatibility2

EPIC MYSTERIUM-X TECHNICAL SPECIFICATIONS

Sensor Type MYSTERIUM-X® 14 Megapixel sensor
Effective Pixels 5120 (h) x 2700 (v)
Sensor Size 27.7 mm (h) x 14.6 mm (v) x 31.4 mm (d)
Dynamic Range 13.5 stops, up to 18 stops with HDRX®
Playback Frame 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94 fps, all resolutions
Rates
(Project Time Base)
Best Available To see all of the maximum available REDCODE values, see the DSMC Media Operation Guide
REDCODE Settings1 at www.red.com/downloads
REDCODE RAW Go to "EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X Formats" on page 101 for a full
Acquisition Formats list

Temperature
Storage Temperature –20˚C to 50˚C (–4˚F to 122˚F)
Audio 2 channel, uncompressed, 24-bit 48 kHz

Remote Control Ethernet, RS232, GPI Trigger, wireless with REDMOTE and R.C.P. Bridge
1080p RGB or 4:2:2, 720p RGB or 4:2:2
Monitor Options DSMC2 RED® Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, and DSMC2 RED EVF (OLED)
with DSMC2 LEMO Adaptor B.
RED Touch 9.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, RED Touch 7.0" LCD, BOMB
EVF® (LCOS), and BOMB EVF (OLED) compatible with LCD/EVF cable.

1080p RGB 4:2:2, 720p 4:2:2 : QuickTime®, JPEG, Avid AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
Video Editing Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro,
Software Vegas Pro
Compatibility2

SCARLET MYSTERIUM-X TECHNICAL

SPECIFICATIONS
SCARLET MYSTERIUM-X TECHNICAL SPECIFICATIONS
Sensor Type MYSTERIUM-X 14 Megapixel sensor
Effective Pixels 5120 (h) x 2700 (v)
Sensor Size 27.7 mm (h) x 14.6 mm (v) x 31.4 mm (d)
Dynamic Range 13.5 stops, up to 18 stops with HDRX
Playback Frame 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94 fps, all resolutions
Rates
(Project Time Base)
Best Available To see all of the maximum available REDCODE values, see the DSMC Media Operation
REDCODE Settings1 Guide at www.red.com/downloads
REDCODE RAW Go to "EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X Formats" on page 101 for a full
Acquisition Formats list

Temperature
Storage Temperature –20˚C to 50˚C (–4˚F to 122˚F)
Audio 2 channel, uncompressed, 24-bit 48 kHz

Remote Control Ethernet, RS232, GPI Trigger, wireless with REDMOTE and R.C.P. Bridge
1080p RGB or 4:2:2, 720p RGB or 4:2:2
Monitor Options DSMC2 RED Touch 4.7 LCD, DSMC2 RED Touch 7.0" LCD, and DSMC2 RED EVF (OLED)
with DSMC2 LEMO Adaptor B.
RED Touch 9.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, RED Touch 7.0" LCD, BOMB
EVF (LCOS), and BOMB EVF (OLED) compatible with LCD/EVF cable.

SCARLET MYSTERIUM-X TECHNICAL SPECIFICATIONS
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, Avid AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
Video Editing Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro,
Software Vegas Pro
Compatibility2

APPENDIX B:
MECHANICAL DRAWINGS
EPIC BRAIN
NOTE: Dimensions are shown in mm.
The optical axis height of all EPIC/SCARLET cameras is 95.90 mm.

FRONT VIEW
Figure: EPIC Front View

SIDE VIEW (LEFT)
Figure: EPIC Side View (Left)

TOP VIEW
Figure: EPIC Top View

BOTTOM VIEW
Figure: EPIC Bottom View

BACK VIEW
Figure: EPIC Back View

SCARLET BRAIN
NOTE: Dimensions are shown in mm.
The optical axis height of all EPIC/SCARLET cameras is 95.90 mm.
FRONT VIEW
Figure: SCARLET Front View

SIDE VIEW (LEFT)
Figure: SCARLET Side View (Left)

TOP VIEW
Figure: SCARLET Top View

BOTTOM VIEW
Figure: SCARLET Bottom View

BACK VIEW
Figure: SCARLET Back View

APPENDIX C:
INPUT/OUTPUT CONNECTORS
This appendix provides pinout information for the input/output connectors on the camera.
NOTE: When connecting a cable to a connector, align the key and red marker on the cable connector with the
corresponding key and marker on the device connection.
NOTE: Connector diagram images are for reference only. Diagrams are not to scale.

DSMC BRAIN
Figure: BRAIN Connectors
# CONNECTOR CONNECTOR TYPE DETAILS
1 HD-SDI BNC "3G-SDI (HD-SDI) Out" on the next page
2 Headphone Jack 3.5mm stereo "Headphone" on page 225
3 SYNC 4-pin 00B LEMO® "Communication Ports" on page 221
4 CTRL 4-pin 00B LEMO "CTRL (RS232 Control)" on page 223
5 GIG-E 9-pin 0B LEMO "GIG-E (Ethernet)" on page 224
6 DC IN 6-pin 1B LEMO "DC IN (Power Input)" on page 226
7 HDMI HDMI "HDMI Out" on page 220
8 Module Power SEARAY "Power Priority" on page 38
9 REDMOTE Dock 8-point POGO "REDMOTE System" on page 153
N/A MIC-1, MIC-2 (Front) 3.5 mm stereo "SSD Module Connectors" on page 226

RECORD/MONITOR OUT PORTS

3G-SDI (HD-SDI) OUT
A standard 75 ohm BNC connector provides the following output:
Legal range of HD-SDI signals
Broadcast specification 3G-SDI (HD-SDI) video output (default mode is Clean)
Two (2) channels of embedded audio
Time of Day and Edge timecode
Record Tally flag
Clip name information (as SMPTE RP-188 VITC2 HANC metadata)
The 3G-SDI (HD-SDI) output provides the formats described in the table below:
3G-SDI (HD-SDI) OUTPUT FORMATS1
VIDEO FEED2 FREQUENCY (HZ)3 SMPTE STANDARD
720p 23.98, 24.00, 25.00, 29.97, 30.00, 50.00, 59.94 SMPTE ST 292-1 (1.485 Gbps)
1080p 10-bit 4:2:2 23.98, 24.00, 25.00, 29.97, 30.00 SMPTE ST 292 (1.485 Gbps)
1080p 10-bit 4:2:2 50.00, 59.94, 60.00 3G-SDI

SMPTE ST 424 (2.970 Gbps)
SMPTE ST 425 (2.970 Gbps)
1. Ensure that you select a frequency supported by your monitor.

2. The output is progressive scan (p); it does not support progressive segmented frame (PsF) or interlaced (i) scan formats.
3. The frequency options depend on project time base. If you have a non-drop frame project time base (such as 24.00), you can select only non-
drop frame frequencies. If you have a drop frame project time base (such as 23.98), you can select only drop frame frequencies.
75 OHM BNC CONNECTOR
PIN SIGNAL DESCRIPTION DIRECTION
Center 3G-SDI SMPTE ST 424 Out
Shield/Screen GROUND Camera ground N/A
COMPATIBLE CABLE
790-0341: RED® HD-SDI Cable (6')

HDMI OUT
A standard HDMI connector provides the following output:
High-definition video output (default mode is Overlay)
Two (2) channels of embedded audio
The HDMI output provides the formats described in the table below:
HDMI OUTPUT FORMATS1
VIDEO FEED2 FREQUENCY (HZ)
480p 50.00, 60.00
720p 24.00, 25.00, 30.00, 50.00, 60.00
1080p 24.00, 25.00, 30.00, 50.00, 60.00
1. Ensure that you select a frequency supported by your monitor.

2. The HDMI output is progressive scan (p); it does not support progressive segmented frame (PsF) or interlaced (i) scan formats.
COMPATIBLE CABLE
790-0331: RED HDMI Cable (5')

COMMUNICATION PORTS
SYNC (VIDEO SYNC IN)
The 4-pin 00B LEMO SYNC connector accepts timecode, genlock, and General Purpose Input (GPI) signals.
Figure: Front Face of the SYNC (Video Sync) Connector (Looking at the Camera)
4-PIN 00B LEMO SYNC CONNECTOR
1 GROUND Common ground N/A
2 SS/GPI Shutter sync/general purpose input trigger In
3 TIMECODE SMPTE unbalanced timecode input In
4 GENLOCK Tri-level sync input In
NOTE: Mating connector is FGG.00.304.CLAD.

SYNC TRIGGER BUTTON CIRCUIT

The SYNC connector has a 3.3 V Schmitt trigger (5 V tolerant). The trigger is not a switch closure circuit, so it requires
that the trigger source supplies current. Both edges of the input signal may be used as a trigger.
For example, this is the behavior of the circuit when the GPI trigger is used for record start/stop:
Start Record: On ground to 3.3 V transition
During Record: Hold at 3.3 V
Stop Record: On 3.3 V to ground transition
During Stop: Hold at ground
Figure: Trigger Button Circuit Diagram
NOTE: In the diagram above, values are approximate. Use standard values.
COMPATIBLE CABLES
790-0187: 4-Pin 00 LEMO-to-Flying Lead
790-0415: RED Start/Stop Cable (14-Pin LEMO to SYNC, CTRL, BNC)
790-0428: RED Start/Stop Cable (14-Pin to 00B SYNC)

CTRL (RS232 CONTROL)

The 4-pin 00B LEMO CTRL connector supports RS232 remote control for 3D camera communication and third-party
metadata ingest applications. For more information, go to "BRAIN GPIO" on page 114.
The General Purpose Out (GPO) tally presents 3.3 V at a maximum of 0.04 A between pins 1 and 3. When used as a
record tally, the rising edge of the pulse indicates start of record, falling edge represents end of record.
For more information about controlling the camera via RS232, download the R.C.P.™ SDK , available at
www.red.com/developers.
Figure: Front Face of the CTRL (RS232) Connector (Looking at the Camera)
4-PIN 00B LEMO CTRL CONNECTOR
1 GROUND Common ground N/A
2 232 RX RS232 RX In
3 SS/GPO Shutter sync/general purpose output Out
4 232 TX RS232 TX Out
NOTE: Mating connector is FGG.00.304.CLAD.
COMPATIBLE CABLES
790-0187: 4-Pin 00 LEMO-to-Flying Lead
790-0415: RED Start/Stop Cable (14-Pin LEMO to SYNC, CTRL, BNC)

GIG-E (ETHERNET)
The GIG-E 9-pin 0B LEMO connector provides a 1000BASE-T (IEEE 802.3ab) gigabit Ethernet connection for remote
camera setup, master/slave camera communication, and external metadata ingest. Since the GIG-E connector does
not support slower speeds (10BASE-T and 100BASE-T), ensure that any device you connect to supports 1000BASE-
T.
Figure: Front Face of the GIG-E Connector (Looking at the Camera)
9-PIN 0B LEMO GIG-E CONNECTOR
1 BI_DC+ Data pair C+ N/A
2 BI_DC- Data pair C- N/A
3 BI_DD+ Data pair D+ N/A
4 BI_DD- Data pair D- N/A
5 BI_DA- Data pair A- N/A
6 BI_DA+ Data pair A+ N/A
7 BI_DB+ Data pair B+ N/A
8 BI_DB- Data pair B- N/A
9 N/A Do not connect N/A
NOTE: Mating connector is FGG.0B.309.CLAD.
COMPATIBLE CABLES
790-0159: RED GIG-E Straight-to-CAT5E Ethernet Cable (9')
790-0557: RED GIG-E Right-to-CAT5E Ethernet Cable (9')

AUDIO PORTS
MIC-1, MIC-2 (MICROPHONE AUDIO)
The two (2) 3.5mm microphone jacks are microphone level analog audio inputs. Each jack has 2.4K ohm of nominal
impedance. For more information, go to "Audio System" on page 145.
MIC-1: Ch1
MIC-2: Ch2
MICROPHONE JACK
TIP IN + Mic input (+48V phantom power, optional) In
RING IN - Mic Input (+48V phantom power, optional) In
SLEEVE GND Camera ground N/A
COMPATIBLE CABLE
790-0229: XLR Microphone Cable (20”)
HEADPHONE
The 3.5mm stereo jack provides two (2) channels of audio for monitoring. For maximum quality, use high impedance
headphones.
HEADPHONE JACK
TIP LEFT Left channel audio Out
RING RIGHT Right channel audio Out
SLEEVE GND Camera ground N/A

POWER PORTS
DC IN (POWER INPUT)
The 6-pin 1B LEMO connector accepts DC input power from 11.5 V DC to 17 V DC. A built-in power conditioner
protects against reverse- polarity connections, electrostatic discharge (ESD), undervoltage, overvoltage, and
overcurrent.
WARNING: Both pairs of +VBATT and GROUND pins must be wired. Using a third-party power cable that wires only
one (1) pair of +VBATT and GROUND pins may damage the power supply or the camera. Damage to the power
supply or other components of the camera system caused by using an inappropriate power cable is not covered
under warranty.
Figure: Front Face of the DC In Power Input Connector (Looking at the Camera)
6-PIN 1B DC INPUT CONNECTOR
PIN SIGNAL DESCRIPTION
1 +VBATT Power input, +11.5 to +17 V DC
2 +VBATT Power input, +11.5 to +17 V DC
3 SCL-BATT Serial battery bus clock
4 GROUND Power return (camera ground)
5 GROUND Power return (camera ground)
6 SDA-BATT Serial battery bus data
NOTE: Mating connector is FGJ.1B.306.CWLD72Z.
COMPATIBLE CABLES
790-0138: RED 2B-to-1B LEMO Power Adaptor Cable
790-0164: XLR Power Cable (10')
790-0165: XLR Power Cable (30")
SSD MODULE CONNECTORS

The connectors for the side SSD modules and the Rear SSD Module are described in the DSMC Media Operation
Guide, available at www.red.com/downloads.

APPENDIX D:
LENS MOUNTS AND LENSES
LENS MOUNTS
This section describes camera lens mounts. Camera mounts may be configured with 19mm rods to accommodate
most cinematography lenses, matte boxes, and follow focus systems.
DSMC RED MOTION MOUNT

The DSMC RED® MOTION MOUNT ® S35 lens mount is a revolutionary and adjustable lens mount system for your
camera. By integrating a global shutter, temporal anti-aliasing soft shutter, and variable neutral density (ND) system
into a single lens mount, the DSMC RED MOTION MOUNT S35 lens mount delivers on-the-fly shutter adjustments to
reduce motion blur and temporal aliasing. The ND filter also includes a linear polarizer and IR filter for improved image
color and contrast.
For more information, see the MOTION MOUNT Operation Guide, available at www.red.com/downloads.
NOTE: HDRX is not availabe when the MOTION MOUNT Shutter Type is set to Soft or Square.
REMOVE A LENS MOUNT

NOTE: You can change lens mounts in the field. However, RED® recommends that you change lens mounts only in a
dust-free environment.
REQUIRED TOOL(S): T20 TORX® driver
2. Attach the camera to a stable platform or position the camera on a clean and level work surface so that the lens
mount screws are accessible.
3. Remove the lens and any camera modules, cables, or other accessories that might interfere with removing the lens
mount.

4. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20
TORX driver.
NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.
Figure: Remove the Lens Mount Screws
5. Remove the lens mount from the camera.
Figure: Remove the Lens Mount

INSTALL A LENS MOUNT

NOTE: You can change lens mounts in the field. However, RED recommends that you change lens mounts only in a
dust-free environment.
1. Ensure that the camera is turned off and remove any accessories or cables that may interfere with installation.
2. Inspect the gold electrical contact pins on the front of the camera and the gold contact pads on the rear of the lens
mount to ensure that they are free of any contamination.
3. Align the lens mount on the front of the camera. The camera connection pins must align with the lens mount pins.
NOTE: For EPIC and SCARLET cameras, the DSMC Fan 2.0 (Bottom) and the DSMC S35 Mg PL Mount 2.0 are
not natively compatible with each other, since the fan grill prevents the lens mount locking ring from rotating. To
use these devices together, remove the lower tabs from the locking ring using a T8 TORX driver.
Figure: Align Lens Mount Pins
4. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a
T20 TORX driver.
WARNING: DO NOT FULLY TIGHTEN.
Figure: Tighten Screws

5. Tighten the four (4) lens mount screws evenly in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT
6. After installation, a hardware rediscover or firmware upgrade may be required, particularly if you are installing a
MOTION MOUNT. If a MOTION MOUNT is not recognized, you will be unable to access the Motion Mount menu
at Menu > Settings > Setup > Lens. To perform a hardware rediscover, go to Menu > Settings > Maintenance
> Rediscover. A system reboot is required after a hardware rediscover.
NOTE: If you need to replace any screws, please contact your Bomb Squad representative.
LENSES
This section describes lenses and lens operations for the camera system.
WARNING: All lenses are hot swappable.
All lenses are hot swappable. However, lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or
install lens mounts while the camera is turned on. Before installing or removing lens mounts, you MUST turn off the
camera. Failure to do so may result in damage to the lens mounts or camera that is not covered under warranty.
LENS WEIGHT AND LENS SUPPORT

Use a lens support system when mounting heavy or long lenses to your camera.
When mounting a heavy or long lens, ensure that the full weight of the lens is never directly on the camera or lens
mount. Mount the lens to the support system first, and then carefully mount the lens to the camera.
Due to the lightweight construction of the carbon fiber BRAIN and magnesium mounts, most setups with the carbon
fiber BRAIN require a lens support system for all but the lightest lenses.
WARNING: Failure to use lens supports appropriate for the lens and camera setup may lead to damage of the camera
and lens mount. Any damage caused by not using a lens support system is not covered under warranty.
POSITIVE LOCK (PL) LENSES

This section describes the appropriate method for attaching and detaching PL lenses. For more information, refer to
the original manufacturer’s instructions. This section also lists lenses supported by the camera PL mounts.
WARNING: ALWAYS protect your equipment, when it is not in use, by replacing lens caps and mount caps.
ATTACH PL LENSES
1. Rotate the locking ring counter-clockwise to release the camera mount cap.
2. Remove the rear lens cap and the camera mount cap.
3. Align the key and contact pads (if present) on the PL lens with the key and connector pins on the camera PL
mount.
4. Insert the lens into the camera PL mount.
5. Rotate the locking ring clockwise to secure the lens in place.
DETACH PL LENSES
1. Rotate the locking ring counter-clockwise to release the PL lens.
2. Remove the PL lens from the camera PL mount.
3. Replace the rear lens cap and camera mount cap when the lens is not in use.

CAMERA PL MOUNT SUPPORTED LENSES

The RED DSMC PL lens mounts and the DSMC RED MOTION MOUNT S35 Ti PL lens mount are compatible with
most standard PL mount cinema lenses and devices. For information about the compatibility of the DSMC RED
MOTION MOUNT S35 Ti PL lens mount, see the MOTION MOUNT Operation Guide at www.red.com/downloads.
WARNING: Using a non-standard PL mount lens or device with a camera PL mount may damage the camera and lens
mount. Any damage caused by not using a standard PL mount lens or device is not covered under warranty.
FUJINON T2.9 CABRIO PREMIER PL LENSES

NOTE: The VTR switch on the lens is mapped to Record: Toggle by default. The VTR switch can be mapped to
another key.
The following Fujinon ® T2.9 Cabrio Premier PL lenses are compatible with all camera PL mounts, but must be
powered externally and configured a specific way:
Fujinon 14-35mm T2.9 Cabrio Premier PL
Fujinon 19-90mm T2.9 Cabrio Premier PL
To set up the Fujinon T2.9 Cabrio Premier PL lenses, follow the instructions below. Refer to the manufacturer’s
operation manual for detailed information about setting up and using the lens.
1. Attach the lens to the camera PL mount.
2. Ensure that the lens has lens firmware v6.4 or later (to check version in the camera, go to Menu > Settings >
Setup > Lens > Lens Info). Contact the manufacturer for lens firmware.
3. On the lens, set the Camera Communication switch to On.
4. On the lens, set the LDS, /i Select switch to Off.
5. Connect an external power source to the lens.
6. In the camera, to Menu > Settings > Setup > Lens.
7. Deselect the Enable Power to Lens check box.
NOTE: This option is only available when a camera PL mount is attached to the camera.
8. The lens should be successfully connected. However, if lens data does not display within 10 seconds, go to
Menu > Settings > Setup > Lens and select Detect Lens.
CANON PL MOUNT LENSES

The following Canon PL mount lenses are compatible with all camera PL mounts, but must be configured a specific
way:
Canon CN7x17 KAS S Cine-Servo 17-120mm T2.95
Canon CN20x50 IAS H Cine-Servo 50-1000mm
Requirements for using these Canon PL mount lenses:

The lens requires lens firmware v6.4 or later; contact the manufacturer for lens firmware.
In the camera, go to Menu > Settings > Setup > Lens, and select the Enable Power to Lens check box.
RED recommends using an external battery for the lens, since the lens mount provides a limited supply of power to
the lens.

CANON EF LENSES
This section describes the appropriate method for attaching and detaching Canon® EF lenses. For more information,
refer to the original manufacturer’s instructions.
This section also lists lenses supported by the DSMC® Canon EF Mount.
ATTACH CANON EF LENSES

1. Rotate the secondary locking ring counter-clockwise to disengage.
2. Press the lens release button and rotate the lens cap counter-clockwise to remove the camera mount cap.
3. Remove the rear lens cap.
4. Align the red dot on the lens with the red dot on the DSMC Canon Mount and position the lens in the mount.
5. Turn the lens clockwise until it clicks into place.
6. Rotate the secondary locking ring clockwise to engage.
DETACH CANON EF LENSES

2. Press and hold the lens release button. While holding the lens release button, turn the lens counterclockwise until it
stops and remove it from the camera mount.

DSMC CANON MOUNT SUPPORTED LENSES

The DSMC Canon Mount and DSMC RED MOTION MOUNT S35 Ti Canon (Captive) lens mount electronically support
the following lenses:
COMPATIBLE LENS TYPE FOCAL LENGTH
Canon EF Canon EF 8-15mm f/4L Fisheye USM

Canon EF 11-24mm f/4L USM
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 15-85mm f/3.5 IS USM
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 20mm f/2.8 USM
Canon EF 24mm f/1.4L II
Canon EF 24mm f/2.8
Canon EF 24mm f/2.8 IS USM
Canon EF 24-70mm f/2.8L
Canon EF 24-70mm f/2.8L II USM
Canon EF 24-70mm f/4L IS USM
Canon EF 24-105mm f/4L IS
Canon EF 28mm f/2.8
Canon EF 28mm f/2.8 IS USM
Canon EF 28-105mm f3.5 II USM
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 35mm f/1.4L
Canon EF 35mm f/2
Canon EF 35mm f/2 IS USM
Canon EF 40mm f/2.8 STM
Canon EF 50mm f/1.8 II
Canon EF 50mm f/1.8 STM
Canon EF 50mm f/2.5 Compact Macro
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS with 1.4x Extender
Canon EF 70-200mm f/2.8L IS with 2x Extender
Canon EF 70-200mm f/2.8L IS II USM

Canon EF Canon EF 70-200mm f/2.8 L IS II with 1.4x Extender

Canon EF 70-200mm f/2.8 L IS II with 2x Extender
Canon EF 70-200mm f/2.8L USM
Canon EF 70-200mm f/4L
Canon EF 70-200mm f/4L with 1.4x Extender
Canon EF 70-200mm f/4L with 2x Extender
Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon EF 70-300mm f/4-5.6L IS
Canon EF 70-300mm f/4-5.6L IS USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 100-400mm f/4.5-5.6L IS
Canon Zoom EF 100-400mm f/4.5L IS with 1.4x Extender
Canon Zoom EF 100-400mm f/4.5L IS with 2x Extender
Canon EF 100-400mm f/4.5-5.6L IS II USM
Canon EF 135mm f/2.0 L with 1.4x Extender
Canon EF 135mm f/2.0 L with 2.0x Extender
Canon EF 135mm f/2.8 Soft Focus
Canon EF 180mm f/3.5L Macro
Canon EF 180mm f/3.5L Macro with 1.4x Extender
Canon EF 180mm f/3.5L Macro with 2x Extender
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.0L IS with 1.4x Exender
Canon EF 200mm f/2.0L IS with 2x Extender
Canon EF 200mm f/2.8L II with 1.4x Extender
Canon EF 200mm f/2.8L II with 2x Extender
Canon EF 200-400mm f/4L IS USM
Canon EF 200-400mm f/4L IS USM 1.4x Extender
Canon EF 300mm f/2.8
Canon EF 300mm f/2.8L IS II USM
Canon EF 300mm f/2.8L IS with 1.4x Extender

Canon EF Canon EF 300mm f/2.8L IS II USM with 1.4x III Extender

Canon EF 300mm f/2.8L IS II USM with 2x III Extender
Canon EF 300mm f/4L IS
Canon EF 300mm f/4.0 L IS with 1.4x Extender
Canon EF 300mm f/4.0 L IS with 2.0x Extender
Canon EF 400mm f/2.8
Canon EF 400mm f/2.8 IS II USM
Canon EF 400mm f/4.0 DO IS
Canon EF 400mm f/4.0 DO IS with 1.4x Extender
Canon EF 400mm f/4.0 DO IS with 2x Extender
Canon EF 400mm f/5.6L with 1.4x Extender
Canon EF 400mm f/5.6L with 2x Extender
Canon EF 500mm f/4L IS USM
Canon EF 500mm f/4L IS II USM
Canon EF 500mm f/4L IS with 1.4x Extender
Canon EF 500mm f/4L IS with 2x Extender
Canon EF 500 f/4L IS II USM
Canon EF 600mm f/4L IS II USM
Canon EF 600mm f/4L IS with 1.4x Extender
Canon EF 600mm f/4L IS with 2x Extender

Canon EF-S Canon EF-S 10-18mm f/4.5-5.6 IS STM1

Canon EF-S 10-22mm f/3.5-4.5 USM1
Canon EF-S 15-85mm f/3.5-5.6 IS USM
Canon EF-S 17-55mm f/2.8 IS USM
Canon EF-S 18-55mm f/3.5-5.6 IS1
Canon EF-S 18-55mm f/3.5-5.6 IS II
Canon EF-S 18-135mm f/3.5-5.6 IS STM1
Canon EF-S 18-200mm f/3.5-5.6 IS
Canon EF-S 24mm f/2.8 STM
Canon EF-S 60mm f/2.8 Macro USM
Sigma Sigma 10-20mm f/3.5 EX DC HSM

Sigma 15mm f/2.8 EX DG Diagonal Fisheye
Sigma 17-70mm f/2.8-4 DC Macro OS HSM
Sigma 18-35mm f/1.8 DC HSM Art
Sigma 20mm f/1.8 EX DG ASP RF
Sigma 24mm f/1.8 EX DG ASP Macro AF
Sigma 24-35mm f/2 DG HSM Art
Sigma 24-70mm f/2.8 IF EX DG HSM
Sigma 24-105mm f/4 DG OS HSM
Sigma 28mm f/1.8 EX DG ASP Macro AF
Sigma 50mm f/1.4 EX DG HSM
Sigma 85mm f/1.4 EX DG HSM
Sigma 120-300mm f2.8 DG OS HSM1
Sigma APO Sigma APO 50-150mm f/2.8 EX DC HSM II

Sigma APO 70-200mm f/2.8 EX DG HSM1
Sigma APO 70-200mm f/2.8 EX DG Macro HSM II
Sigma APO 120-300mm f/2.8 EX DG OS HSM
Sigma APO 180mm f/2.8 Macro EX DG OS HSM
Tamron® Tamron 28-300mm f3.5 Macro

Tamron 28-300mm f/3.5 XR Di VC LD Aspherical IF Macro
Tamron 70-200mm f/2.8 Di LD IF Macro

Tamron SP Tamron SP 10-24mm f/3.5-4.5 Di II LD

Tamron SP 15-30mm f/2.8 Di VC USD1
Tamron SP 24-70mm f/2.8 Di VC USD
Tamron SP 28-75mm f/2.8 XR Di LD Aspherical IF Macro
Tamron SP 70-200mm f/2.8 Di VC USD1
Tamron SP 150-600mm f/5 USD Di1
Tamron SP 200-500mm f/5 Di LD IF
Tokina Tokina AT-X 116 Pro DX, 11-16mm f/2.8 SD IF DX

Tokina AT-X 116 Pro DX-II, 11-16mm f/2.8 SD IF DX
Zeiss Distagon® Zeiss Distagon T* 15mm f/2.8 ZE

Zeiss Distagon T* 18mm f/3.5 ZE
Zeiss Distagon T* 21mm f2.8 ZE
Zeiss Distagon T* 25mm f/2 ZE
Zeiss Distagon T* 28mm f/2 ZE
Zeiss Distagon T* 35mm f2 ZE
Zeiss Makro-Planar® Zeiss Makro-Planar T* 100mm f/2 ZE
Zeiss Otus® Zeiss Otus 55mm f/1.4
Zeiss Planar Zeiss Planar T* 50mm f1.4 ZE

Zeiss Planar T* 85mm f1.4 ZE
1. Image stabilization (IS) is not supported.
NIKON F-MOUNT LENSES

This section describes the appropriate method for attaching and detaching Nikon ® F- Mount lenses. For more
information, refer to the original manufacturer’s instructions. This section also lists lenses supported by the DSMC
Nikon F-Mount.
ATTACH NIKON F-MOUNT LENSES

2. Press the lens release button and rotate the lens cap clockwise to remove the camera mount cap.
3. Remove the rear lens cap.
4. Align the mounting index (white dot) on the lens with the mounting index on the DSMC Nikon mount and position
the lens in the bayonet mount.
5. Rotate the lens counter-clockwise until it clicks into place, being careful to NOT press the lens release button.
6. Rotate the secondary locking ring clockwise to engage.

DETACH NIKON F-MOUNT LENSES

2. Press and hold the lens release button. While holding the lens release button, turn the lens clockwise until it stops
and remove it from the camera mount.
3. Replace the rear lens cap and camera mount cap when items are not in use.
DSMC NIKON MOUNT SUPPORTED LENSES

The DSMC Nikon Mount electronically supports the following lenses:
Nikkor AF AF Nikkor 28mm f/2.8D

AF Nikkor 50mm f/1.8D
AF DX Fisheye-Nikkor 10.5mm f/2.8G ED
AF Fisheye-Nikkor 16mm f/2.8D
AF Nikkor 35mm f/2D
AF Nikkor 50mm f/1.4D1, 2
AF Nikkor 85mm f/1.4D IF
AF Nikkor 200mm d/1.4D ED Micro
Nikkor AF-S AF-S Nikkor 10-24mm f/3.5-4.5G ED DX

AF-S Nikkor 12-24mm f4G ED DX
AF-S Nikkor 14-24mm f/2.8G ED
AF-S Nikkor 17-35mm f/2.8D ED IF
AF-S Nikkor 17-55mm f/2.8G ED DX
AF-S Nikkor 20mm f/1.8G ED N
AF-S Nikkor 24mm f/1.4G ED
AF-S Nikkor 24-70mm f/2.8G ED
AF-S Nikkor 35mm f/1.4G
AF-S Nikkor 70-200mm f/2.8G ED VR II
AF-S Nikkor 80-400mm f/4.5-5.6G ED N1
AF-S Nikkor 200-400mm f/4.0G ED VR II
AF-S Nikkor 200-500m f/5.6E ED VR3
AF-S Nikkor 300mm f/4E PF ED VR
AF-S Nikkor 600mm f/4G ED VR N
AF-S DX Micro-Nikkor 40mm f/2.8G
AF-S Micro-Nikkor 60mm f/2.8G ED
AF-S Micro-Nikkor 105mm f/2.8G VR IF-ED

Sigma Sigma 17-50mm f/2.8 EX DC OS HSM

Sigma 17-70mm f/2.8-4 DC Macro OS HSM
Sigma 18-35mm f/1.8 DC HSM
Sigma 24-35mm f/2 DG HSM Art
Sigma 24-70mm f/2.8 EX DG HSM
Sigma 24-105mm f/4 DG OS HSM
Sigma 120-300mm f/2.8 DG OS HSM
Sigma APO Sigma APO 70-200mm f/2.8 DG OS HSM

Sigma APO 120-300mm f/2.8 EX DG OS HSM
Tamron Tamron SP 24-70mm f2.8 Di VC USD
Tokina Tokina AT-X 107 DX, 10-17mm f/3.5-4.5 Fisheye DX

Tokina AT-X 116 Pro DX, 11-16mm f/2.8 SD IF DX
Tokina AT-X 116 Pro DX-II, 11-16mm f/2.8 SD IF DX
Zeiss Distagon Zeiss Distagon T* 21mm f/2.8 ZF.2

Zeiss Distagon T* 35mm f/1.4 ZF.2
Zeiss Otus1, 2 Zeiss Otus 55mm f/1.41, 2

Zeiss Otus 85mm f/1.4 ZF.2 APO1
Zeiss Planar Zeiss Planar T* 50mm f/1.4 ZF.2

Zeiss Planar T* 85mm f/1.4 ZF.2
1. Iris control only, no AF.

2. No hand controller support.
3. Set the VR switch on the lens to OFF when installing the lens. Also, Nikon has issued an advisory for the AF-S Nikkor 200-500mm f/5.6E ED VR
lens. For more information, go to https://www.nikonimgsupport.com/ni/NI_article?lang=en_US&articleNo=000004723.
AL LEICA-M MOUNT LENSES

This section describes the appropriate method for attaching and detaching Leica-M ® lenses. For more information,
refer to the original manufacturer’s instructions. This section also lists lenses supported by the DSMC AL Leica-M
Mount.
ATTACH LEICA-M LENSES

1. Rotate the locking ring counter-clockwise to release the camera mount cap.
2. Remove the rear lens cap and the camera mount cap.
3. Align the mounting index (white dot) on the lens with the mounting index on the DSMC AL Leica-M mount.
4. Insert the lens into the DSMC AL Leica-M mount.
5. Rotate the locking ring clockwise to secure the lens in place.

DETACH LEICA-M LENSES

1. Rotate the locking ring counter-clockwise to release the Leica-M lens.
2. Remove the Leica-M lens from the DSMC AL Leica-M mount.
DSMC AL LEICA-M MOUNT SUPPORTED LENSES

The DSMC AL Leica-M Mount is compatible with most Leica M-series lenses with focal lengths of 50mm and greater,
EXCEPT for the 50mm f2.0 Dual-Range Summicron. The 50mm f2.0 Dual-Range Summicron has a protruding lug on
the exterior of the lens body for mounting a supplementary finder. This lug interferes with the locking ring on the
DSMC AL Leica- M Mount. Most Leica lenses with focal lengths of less than 50mm will encounter mechanical
interference between the rear lens cell and the camera’s front panel.
EPIC DRAGON AND SCARLET DRAGON

If you are using an EPIC DRAGON or SCARLET DRAGON ® camera, you do not need to install a new OLPF frame.
You can attach most Leica-M lenses without causing any interference with camera.
EPIC MYSTERIUM-X AND SCARLET MYSTERIUM-X

If you are using an EPIC MYSTERIUM-X® or SCARLET MYSTERIUM-X camera, you need to install a new OLPF frame
(included with the DSMC AL Leica-M Mount). Leica-M lenses are incompatible with older models of the OLPF frame
originally installed in the EPIC MYSTERIUM-X and SCARLET MYSTERIUM-X.
For more information, go to OLPF Frame Installation Instructions available at www.red.com/downloads.
WARNING: Attempting to mount Leica lenses of focal lengths of less than 50mm could result in damage to the lens
and/or the camera.

APPENDIX E:
DEFAULT KEY FUNCTIONS
DEFAULT KEYS
ITEM KEY FUNCTION
Camera BRAIN® Record Full Press Record: Toggle
GPI In High Record: Start
GPI In Low Record: Stop
Side SSD Module Record Full Press Record: Toggle/Multi-Shot Start
Record Full Release Record: Multi-Shot Stop
Record Half Press AF: Start
User 1+2 Press Eject Media
LCD (Primary and Secondary) Up Press Br. Up (Increase Brightness)
Down Press Br. Down (Decrease Brightness)
User 1 Press Magnify: Toggle
User 2 Press Exposure Check: Toggle
User 1+2 Press LCD: Toggle Lock
EVF (Primary and Secondary) User 1 Press Magnify: Toggle
DSMC® Side Handle User A Press AF Mode: Cycle
User B Press WB: Auto Calc
User C Press Magnify: Toggle
User D Press Exposure Check: Toggle

ITEM KEY FUNCTION
DSMC Side Handle User 1 Press SH: Key 1
User 2 Press SH: Key 2
User 6 Press Key Disabled
User 7 Press Eject Media
User 1+4 Press SM: Toggle Key Lock
Nav Menu Press Navigation: Menu
Nav North Press Navigation: Up
Nav South Press Navigation: Down
Nav East Press Navigation: Right
Nav West Press Navigation: Left
Nav Enter Press Navigation: Select
Backlight Press SH: Toggle Backlight
Movie Select Focus Mode: Motion
Still Select Focus Mode: Still
Record Full Press Record: Toggle/Multi-Shot Start
Rocker + Press Iris: Open
Rocker - Press Iris: Close
Rotary Front CW Navigation: CW
Rotary Front CCW Navigation: CCW
Rotary Jog CW Navigation: CW
Rotary Jog CCW Navigation: CCW

ITEM KEY FUNCTION
RED Switchblade-M User A Press AF Mode: Cycle
User A+D Press SM: Toggle Key Lock

ITEM KEY FUNCTION
REDMOTE® User A Press AF Mode: Cycle
Still Select Focus Mode: Still
Movie Select Focus Mode: Motion
Record Full Press Record: Toggle/Multi-Shot Start
Rocker + Press Iris: Open
Rocker - Press Iris: Closed
PRO I/O GPIO GPI A LOW Record: Toggle
GPI B Low Record: Toggle
SW 1 Low Go to: Playback
SW 2 Low Record: Toggle

PRESET DEFAULT KEY FUNCTIONS

The following table describes default key functions for the Default Stills and Motion presets.
NOTE: You cannot update factory-installed presets, which end with “(RED)”.
PRESET DEFAULT KEY FUNCTIONS
ITEM KEY FUNCTION
Default Stills Preset (RED) User A Press Record: Mark Frame
User B Press Playback/Preview: Toggle
Record Half Press AE/AF: Start
Rocker + Press Iris Open
Rocker - Press Iris Close
Rotary Front Increment/Decrement Value
User 1 Press1 SH: Key 1
User 1+4 Press Toggle Key Lock
Default Motion Preset (RED) User A Press AF Mode: Cycle
User C Press Magnify Toggle
Rocker + Press Iris Open
Rocker - Press Iris Close
Rotary Front Increment/Decrement Value
User 1+4 Press Toggle Key Lock
1. User 1-4 keys are soft keys used to select a slot. The front rotary then adjusts the value of the selected slot.

APPENDIX F:
MENU MAP
The menu map is applicable to the following cameras, except as noted throughout this guide:
EPIC-M RED DRAGON® (Carbon Fiber)
EPIC-M RED DRAGON
EPIC-X RED DRAGON
SCARLET DRAGON®
EPIC-M MYSTERIUM-X®
EPIC-X MYSTERIUM-X
SCARLET-X MYSTERIUM-X
EPIC-M Monochrome
EPIC-X Monochrome
EPIC-M RED DRAGON Monochrome

MENU
SETTINGS MEDIA PLAYBACK POWER HDRX FOCUS EXPOSURE PRESETS

ASSIST
} Device } Playback Screen } Power In } Mode } Mode } Camera Presets
} Clips } Power Save } Factor } Rack } Mode } Looks
} Shutdown } Monitor Track } Exposure Priority } Auto Presets
} Exp Comp
} Metering Mode
} Speed
} Selection
DISPLAY LOOK PROJECT AUDIO RECORDING SETUP MAINTENANCE

Tools Color Control Mode Keys Save Log
Frame Rate } Storage
} False Color } Saturation } Channel 1/2 } Key Mapping } Save Camera
} Recording Frame
} Magnify } Contrast } Channel 3/4 } Mode } Options Log to Media
Rate
} RAW } Brightness } Pre-Amp Gain } Soft Keys
} Project Time
} Horizon } Exp Comp } Headphone Codec } Advanced Upgrade
Base
Volume } REDCODE® } Camera
Zebra Gain Date/Time } REDMOTE®
Exposure Frame
} Zebra 1 and 2 } Color Mix } Date } Media
} Integration
} User Matrix } Headphone Mix Processing } Local Time
Time
Monitor Control } Monitor Mix } Mode } Time Zone Calibrate
} Shutter Angle
} Monitor ISO/FLUT® } Number of } Sensor
} Overlays } ISO Frames Communication } Gyro/Acc
Timecode
} Priority } FLUT® } Camera } Lens
} Timecode
} Brightness } Shadow Pre-Record } Serial
Display Mode
} Advanced } Duration } Ethernet Self Test
} Source
Sharpness } Always Trigger } RCP } Sensor Test
Modes } Output } Trigger Pattern
Slate Pre-Record Now
} Camera Sharpness REDMOTE ®
} Touchscreen
} Scene
} Lens } Discovered
} Camera
Curves Indicator } Paired Restore System
} Project
Guides } Luma } Enable Sounds } Wireless Enable } Restore Defaults
} Auto Slate
} Frame Guide } Red } EVF Tally Light } Wireless Channel } Wipe Camera
} Action Guide } Green
Format
} Title Guide } Blue GPIO/Sync Rediscover
} Format
} General } Sync } Rediscover
} Anamorphic
Video } Brain GPIO Hardware
} UHD1
Test Signals } Video Source
} Off } Monitor Config Fan Control System Status
Sensor
} Chip Chart } Mode } Project Status
} Flip/Mirror Scan
} SMPTE Bars Color Temp2 } Maximum } Attached
Direction
} Luma } Color Record Speed Modules
} Audio Tone Temperature } Maximum } Camera Info
} Tint Preview Speed
REDCAST1 } Auto White } Target OLPF
} Output Balance Temperature } Type5
} Genlock } Post Record
} Video Reset LGG Delay
} Lift
} Gamma Lens
} Gain } Lens
} Motion Mount3
Motor Control4
} General
1. Only available when a REDCAST™ Module is attached. } Focus
2. Not available on any BRAIN with a Monochrome or RED DRAGON Monochrome sensor. } Iris
3. Only available when a MOTION MOUNT is attached. } Zoom
4. Only available when a RED 3-Axis Lens Control System is attached. } Wireless
5. Only available on an EPIC DRAGON or SCARLET DRAGON.

955-0020 - v6.3 Rev-AA RED PS, EPIC SCARLET Operation Guide

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955-0020 - v6.3 Rev-AA RED PS, EPIC SCARLET Operation Guide

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955-0020 - v6.3 Rev-AA RED PS, EPIC SCARLET Operation Guide

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EPIC/SCARLET

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DISCLAIMER TRANSLATION DISCLAIMER

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CAUTION: Exposure to Radio Frequency RED declares that the radio

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Products marked with this symbol are class 2

CAUTION: The power cord plug for the DSMC

Lithium-ion batteries may be subject to special handling

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Figure: EPIC Camera and Accessories

SENSOR TYPE CAMERA

RED DRAGON EPIC-M RED DRAGON (Carbon Fiber)

MYSTERIUM-X EPIC-M MYSTERIUM-X

Monochrome EPIC-M Monochrome

RED DRAGON Monochrome EPIC-M RED DRAGON Monochrome

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READ BEFORE YOU SHOOT

To download RED operation guides, go to RED Downloads at www.red.com/downloads.

R3D FILE FORMAT AND REDCODE

SHOOT FOR VIDEO AND STILLS

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POST PRODUCTION WITH REDCINE-X PRO

HDRX AND MAGIC MOTION

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Figure: EPIC-X RED DRAGON BRAIN

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BRAIN CONTROL: PWR/REC KEY

LED COLOR/FLASHING DESCRIPTION

Power Status LED (PWR) Off No power present

Green Power present; camera on

Amber flashing Power present; 5 to 10 min of battery time

Amber Power present; camera booting

Red flashing Power present; ≤ 5 min of battery time available

Red Power present; camera off

Record Status LED (REC) Off No media present

Green Ready to record

Red flashing (fast) Media mounted with 5% of media space

MEDIA BAY CONTROLS

User Key 1 Programmable key

REC Button Programmable key

User Key 2 Programmable key

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ITEM PART NUMBER

DSMC 1.8" SSD Side Module 720-0013

DSMC 1.8" SSD Side Module (DRAGON)1 N/A

Carbon Fiber DSMC 1.8" SSD Side Module (DRAGON)2 N/A

RED MINI-MAG® Side SSD Module 720-0021

Carbon Fiber RED MINI-MAG Side SSD Module2 N/A

Rear SSD Module 720-0009

SIDE SSD MODULES

Figure: DSMC Side SSD Module

SIDE SSD MODULE CONNECTOR

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