The DSMC2 BRAIN with Gemini 5K S35 Sensor. It has a standard mode and a low light mode, both at 5K resolution which allows for capture at up to 96 fps. The Gemini allows for high-resolution 5K recording while using classic cinema lenses designed for the Super 35 film format. It also allows 4K recording using the whole sensor.

REDCODE RAW is the format of choice for the DSMC2. 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 uses sensor windowing to record slow motion in lower resolutions, requiring wider lenses to compensate for the additional crop. All the DSMC2's power is enclosed in a relatively small body comprised of magnesium and aluminum. The DSMC2's size, or lack thereof, makes it versatile.

Dual ISO
Originally developed by RED for use in space, RED improved the Gemini sensor so that it has roughly 16.5 stops of dynamic range in standard mode. In low light mode, you gain approximately two stops of speed, from 800 to 3200 ISO, without an increase in noise.

5K Gemini Sensor
The 5K Super 35mm 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. The shape of the sensor, with its increased height, is well-suited for anamorphic production. It also has a larger field of view than a DSMC2 with an 8K Helium sensor and can capture 5K at up to 96 fps.

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.