RED Helium Weapon

Listing description

DSMC2 Red helium 8K S35 Carbon Fibre Digital Cinematography Camera Kit

Excellent condition

3 months warranty

958 hours

Bundling high-performance raw video recording in a compact camera body, the

RED DIGITAL CINEMA DSMC2 BRAIN with HELIUM 8K S35 Sensor is part of the 2018

unified DSMC2 lineup and is designed to be built up the way you want, to

tell your story in almost any way possible. Since the DSMC2 form factor is

standard, accessories from RED and other manufacturers can be easily

attached to accessorize your camera. While other RED cameras use sensors

larger than Super 35, the HELIUM is unique in that it allows for

high-resolution 8K recording while using classic cinema lenses designed for

the Super 35 film format. While 8K exhibition is not mainstream, the extra

recorded resolution is helpful for VFX artists and future-proofing your

productions for a time when 8K is standardized. Nearly limitless lens

options are available for the DSMC2 system. While this camera requires a

separately available lens mount, DSMC lens mounts themselves are offered in

different varieties for compatibility with a wide array of lens systems.

REDCODE RAW is the format of choice for DSMC2 cameras. RED's versatile raw

codec uses wavelet compression to reduce data rates while maintaining a

visually lossless image rendering. This efficient codec can be edited on

many available NLE software programs without transcoding, though if you

prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously

to the MINI-MAG media. Lowering the recording resolution allows the sensor

to capture higher frame rates for dramatic slow-motion footage. The DSMC2

cameras use sensor windowing to record slow motion in lower resolutions,

requiring wider or smaller-format lenses to compensate for the additional

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

fps and higher.

8K HELIUM S35 Sensor

At 35.4 megapixels, the HELIUM 8K Monochrome sensor can resolve the finest

details in a captured image and render smooth lines and shapes without the

aliasing or "stair-stepping" artifacts found in lower-resolution footage. If

you need higher frame rates, lower resolutions and wider aspect ratios can

yield up to 300 fps. RED measured the HELIUM sensor as having 16.5 stops of

dynamic range, able to represent both deep shadows and hot highlights within

the same frame.

REDCODE RAW

The cornerstone of RED's workflow is the robust REDCODE RAW file format.

Using wavelet compression with ratios ranging from 2:1 to 22:1, REDCODE RAW

offers the versatility of raw files without the overwhelming storage

requirements of uncompressed image data. Since REDCODE RAW has been around

since the days of the RED ONE cinema camera, many common NLE software

programs including Adobe Premiere Pro, Blackmagic Design DaVinci Resolve,

Apple Final Cut Pro, and Avid Media Composer can import and edit REDCODE RAW

footage without transcoding, saving production time in the edit suite.

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

higher options.

Note: Not all compression ratios are available at all resolutions and frame

rates

Apple ProRes and Avid DNx Formats

For projects requiring proxy files or quicker turnaround times than raw

files permit, Apple ProRes or Avid DNx formats can be recorded at 4K and 2K

resolutions directly to the onboard MINI-MAG media. Since these de-bayered

video files can be recorded alongside the raw files, no extra time is

required for transcoding the proxies. Bring the de-bayered files straight

into your NLE and begin editing.

REDCODE Options

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

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

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

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

DSMC2 Form Factor

Like the preceding DSMC cameras, RED designed the DSMC2 camera line to be

modular to fit a wide range of production workflows. Smaller and lighter

than the original DSMC design, when stripped down to the BRAIN itself, you

have a high-resolution gimbal workhorse. Likewise, add DSMC2 modules to the

rear to gain professional I/O connections and battery power. Many other

parts of the DSMC2 design are meant to be interchangeable. Swap out the lens

mounts to open up new libraries of lenses. Exchange the included standard

OLPF (Optical Low-Pass Filter) for alternative image renderings at the

sensor level. Mount an EVF without cables that can get snagged, or use a

separately available adapter to attach RED LCDs via LEMO cable. Since the

DSMC2 form factor is standardized, any accessories that you have for this

DSMC2 body will work with any other DSMC2 body, should you upgrade or

acquire an additional body in the future.

Color Management

Supports 33x33x33, 32x32x32, 26x26x26, and 17x17x17 3D LUTs

Variable number of 3D LUT outputs with DSMC2 expander module

User-programmable shaper 1D LUTs

Tetrahedral interpolation, 16-bit processing

This equipment is located in GB

Please note that this description may have been translated automatically.