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RED HELIUM DSMC2 2500 Hours, 8k 60FPS, Used
RED HELIUM DSMC2 2500 Hours, 8k 60FPS, Used
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RED HELIUM DSMC2 2500 Hours, 8k 60FPS, Used

code: FMP60087LPBR
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RED HELIUM DSMC2 2500 Hours, 8k 60FPS, Used (FMP60087LPBR)
 
3 MONTH WARRANTY - GREAT CONDITION
 
Bundling high-performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K S35 Sensor is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, enabling you to tell your story in nearly any way possible.

Since the DSMC2 form factor is standard, accessories from RED and other manufacturers can be easily attached to enhance your camera. While other RED cameras use sensors larger than Super 35, the HELIUM is unique in that it allows for high-resolution 8K recording with classic cinema lenses designed for the Super 35 film format. Although 8K exhibition is not yet mainstream, the extra recorded resolution is beneficial for VFX artists and future-proofs your productions for a time when 8K becomes standardized.

The DSMC2 system offers nearly limitless lens options.

While this camera requires a separately available lens mount, DSMC lens mounts are offered in different varieties for compatibility with a wide array of lens systems.

REDCODE RAW is the format of choice for DSMC2 cameras. RED's versatile raw codec uses wavelet compression to reduce data rates while maintaining visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding. However, if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media.

Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. The DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop.

Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.

Bundling high-performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K S35 Sensor is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, enabling you to tell your story in nearly any way possible.

Since the DSMC2 form factor is standard, accessories from RED and other manufacturers can be easily attached to enhance your camera. While other RED cameras use sensors larger than Super 35, the HELIUM is unique in that it allows for high-resolution 8K recording with classic cinema lenses designed for the Super 35 film format. Although 8K exhibition is not yet mainstream, the extra recorded resolution is beneficial for VFX artists and future-proofs your productions for a time when 8K becomes standardized.

The DSMC2 system offers nearly limitless lens options.

While this camera requires a separately available lens mount, DSMC lens mounts are offered in different varieties for compatibility with a wide array of lens systems.
REDCODE RAW is the format of choice for DSMC2 cameras. RED's versatile raw codec uses wavelet compression to reduce data rates while maintaining visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding. However, if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media.
Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. The DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop.

Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.
 
HELIUM S35 Sensor

The HELIUM 8K Monochrome sensor, boasting 35.4 megapixels, captures intricate details and delivers smooth lines and shapes without the aliasing or "stair-stepping" effects seen in lower-resolution footage.
For higher frame rates, you can opt for lower resolutions and wider aspect ratios, achieving up to 300 fps. The HELIUM sensor has been measured by RED to offer 16.5 stops of dynamic range, effectively capturing both deep shadows and bright highlights in a single frame.

REDCODE RAW

At the heart of RED's workflow is the powerful REDCODE RAW file format. Utilizing wavelet compression with ratios ranging from 2:1 to 22:1, REDCODE RAW provides the flexibility of raw files without the heavy storage demands of uncompressed data. Since its inception with the RED ONE cinema camera, REDCODE RAW has been supported by many popular NLE software programs, including Adobe Premiere Pro, Blackmagic Design DaVinci Resolve, Apple Final Cut Pro, and Avid Media Composer, allowing for seamless import and editing without the need for transcoding. Capture rates range from 12 fps and upwards, including 24/25/30/48/50/60 fps and higher. Note: Not all compression ratios are available at all resolutions and frame rates.

Apple ProRes and Avid DNx Formats

For projects requiring proxy files or faster turnaround times, Apple ProRes or Avid DNx formats can be recorded at 4K and 2K resolutions directly to the onboard MINI-MAG media. These de-bayered video files can be recorded simultaneously with the raw files, eliminating the need for proxy transcoding. You can bring the de-bayered files straight into your NLE and start editing immediately.

REDCODE Options

• 5:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps
• 12:1 REDCODE for 8K Full Format (8192 x 4320) at 60 fps
• 2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
• 3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps

DSMC2 Form Factor

Building on the DSMC camera line, RED designed the DSMC2 cameras to be modular, accommodating a variety of production workflows. Smaller and lighter than the original DSMC design, the DSMC2 BRAIN is a high-resolution gimbal workhorse when stripped down. Adding DSMC2 modules to the rear enables professional I/O connections and battery power. Many parts of the DSMC2 design are interchangeable. You can swap lens mounts to access different libraries of lenses, exchange the standard OLPF (Optical Low-Pass Filter) for alternative image renderings, and mount an EVF without cumbersome cables, or use an adapter to attach RED LCDs via LEMO cable. The standardized DSMC2 form factor ensures compatibility with any DSMC2 body, making upgrades or additions seamless.

Color Management

• Supports 33x33x33, 32x32x32, 26x26x26, and 17x17x17 3D LUTs
• Variable number of 3D LUT outputs with DSMC2 expander module
• User-programmable shaper 1D LUTs
• Tetrahedral interpolation, 16-bit processing
 

Sensor Type 

HELIUM® 35.4 Megapixel CMOS 

 

Effective Pixels 

8192 x 4320 

 

Sensor Size 

29.90 mm x 15.77 mm (Diagonal: 33.80 mm) 

 

Dynamic Range 

16.5+ stops 


Max Data Rates 

Up to 300 MB/s using RED MINI-MAG® (480GB, 512GB, 960GB & 1TB) 

Up to 225 MB/s using RED MINI-MAG (120GB & 240GB) 


Max Frame Rates

60 fps at 8K Full Format (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456) 

60 fps at 7K Full Format (7168 x 3780), 75 fps at 7K 2.4:1 (7168 x 3024) 

75 fps at 6K Full Format (6144 x 3240), 100 fps at 6K 2.4:1 (6144 x 2592) 

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) 

150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296) 

240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864) 


Playback Frame Rates (Project Time Base) 

23.98, 24, 25, 29.97, 30, 47.95, 48, 50, 59.94, 60 fps, all resolutions 


Best Available REDCODE® Settings 

5:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps 

12:1 REDCODE for 8K Full Format (8192 x 4320) at 60 fps 

2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps 

3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps 


REDCODE RAW Acquisition Formats 

8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 

7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 

6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 

5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 8:9, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 

4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x 

3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x

2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 


Apple® ProRes 

ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps 

ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps 

ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps 


Avid® Codecs 

DNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps 

DNxHR HQ and SQ at 4K (4096 × 2160) 8-bit up to 30 fps 

DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps 

DNxHR HQ and SQ at 2K (2048 × 1080) 8-bit up to 120 fps 

DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps 

DNxHD HQ and SQ (1920 × 1080) 8-bit up to 120 fps 


Construction 

Aluminum Alloy 


Weight 

3.35 lbs (BRAIN® with Integrated Media Bay) 

 

Operating Temperature 

0ËšC to 40ËšC (32ËšF to 104ËšF) 

 

Storage Temperature 

–20ËšC to 50ËšC (–4ËšF to 122ËšF) 

 

Relative Humidity 

0% to 85% non-condensing 

 

Color Management 

Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs 


Variable number of 3D LUT outputs with DSMC2® expander module 

User programmable shaper 1D LUTs 

Tetrahedral interpolation, 16-bit processing 


Audio 

Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz 

Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz 


Remote Control 

Integrated R.C.P.â„¢ WiFi antenna 

Ethernet, RS232, and GPI Trigger with DSMC2 expander module 


Monitor Outputs 

3G-SDI (HD-SDI) and HDMI® with DSMC2 expander module 

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 Touch 7.0" Ultra-Brite LCD (Direct Mount), DSMC2 RED® Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, and DSMC2 RED EVF (OLED) with cable-free connection. 

RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, DSMC2 Touch 7.0" Ultra-Brite LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D, and LCD/EVF cable. 


REDCINE-X PRO Delivery Formats 

4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 

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 Software Compatibility

Adobe® Premiere® Pro, Avid Media Composer®, DaVinci Resolve®, Edius Pro®, Final Cut Pro®, Vegas Pro®

 

In The Box:

EF & PL Mounts

OLPFs

1x 4.7" Touch Monitor

1x 500GB Minimag & Reader

1x Shoulder Rig

1x Power & EVF + Network Cables

1x 15mm Bridgeplate + Rods

1x Top + Side Plates

1x R/S Top Handle

1x FD Mount

1x 300mm Canon FD SSC Lens 

1x Travel Case

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