With the DSMC2 BRAIN, featuring their HELIUM 8K Super 35 sensor. 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 for future-proofing your productions for a time when 8K is standardized.
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 of 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 very versatile. From studio tripod configuration to handheld and gimbal, drone, or vehicle mounted situations, the DSMC2 can handle it all, providing 8K raw files that punch above the camera's physical size.
8K HELIUM Sensor
At 35.4 megapixels, the HELIUM camera's 8K 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.
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.