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RED DSMC OPERATION GUIDE

955-0020_V5.1, REV-D

Export to EXR file format to get a multi-view EXR with both exposures (like a stereo EXR).

NOTE:

If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of dynamic range

just as if you had not enabled HDRx. For this reason, we encourage the A-track exposure to be “normal” as

it provides the most options. If you are tempted to shoot “over-under”, you are then fully committed to using

HDRx and your post-production options are reduced.

NOTE:

When recording in HDRx mode, the camera records twice as many frames per second so that the maxi-

mum frame rate or minimum REDCODE ratio, and the maximum record time on your media will be cut in half.

NOTE:

HDRx mode can be used with sensor syncing.

MAGIC MOTION

Shooting at 24 FPS and with an 180 degree (1/48 sec) shutter on a film or digital camera may create an opti-

cal illusion we are familiar with, however it is not really the way the eye sees motion. To understand this, ask

someone to stand in front of you and swing their arm over their head from one side to the other. What you would

observe in the recording is a constant motion blur until the arm stopped. What your eye sees though is both

motion blur AND a sharper reference to the arm and hand all along the motion path. MAGIC MOTION provides

such a combination of motion blur (A-track) and a sharper reference (X-track), with the bonus of extreme dy-

namic range not available with any other motion capture camera system.

AUDIO RECORDING

The RED DSMC camera can record up to two discreet channels of microphone level uncompressed 24-bit, 48

KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO I/O MOD-

ULE), that are synchronized with video and timecode to a REDMAG 1.8” SSD.
Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the de-

sired audio reference/recording level and maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the graphi-

cal user interface. Meter range is -36 dBu to +20 dBu (-56 dBFS to 0 dBFS) with audio input type, reference

level and audio input clipping indicators.
Audio monitor output options include a 2-channel headphone output on the DSMC BRAIN and 2-channel line

level analog outputs from the optional PRO I/O MODULE, plus 2-channel and 4-channel 24-bit 48 KHz uncom-

pressed digital audio embedded in the HD-SDI and HDMI outputs.

MICROPHONE LEVEL ANALOG INPUTS

The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain setting

of the camera’s pre-amplifier. Available pre-amplifier range is +30 dB to +60 dB. The camera operator should

choose a Gain value that aligns the input signal to the 0 dBu reference line drawn on the camera’s Audio Level

Meter (or the 0 VU reference line if operating at that level).
This setting provides up to 30 dB of input signal headroom above reference 0 dBu level before clipping (up to

26 dB above 0 VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.

LINE LEVEL ANALOG INPUTS

The recording level of a Line input is affected only by the signal provided by the field production sound mixer

or other external line level source. The sound mixer operator should choose a mixer output level that aligns a

reference tone signal to the 0 dBu (-20 dBFS) reference mark drawn on the camera’s Audio Level Meter, or if

using 0 VU as reference level, a mixer output level that aligns a reference tone signal to the 0 VU (-16 dBFS)

reference mark.
This setting provides up to 24 dB of input signal headroom above reference 0 dBu level before clipping (up to

20 dB above 0 VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.