RED 8K V V Digital Cinema Camera User Guide

: June 9, 2024
: RED

8K V V Digital Cinema Camera

V-RAPTORTM 8K VV OPERATION GUIDE

Product Information

The V-RAPTORTM 8K VV is a high-end camera designed for
professional use. It has a sensor resolution of 8192 x 4320 and can
record in REDCODE RAW or ProRes format. The camera has a built-in
LCD screen and LED indicators to display various camera settings.
It also comes with a variety of menu options for adjusting image
and recording settings.

Product Usage Instructions

Preparing the Camera Hardware

Before using the camera, ensure that it is powered off and
insert a compatible battery into the power compartment. To turn on
the camera, press and hold the power button until the camera boots
up. To turn off the camera, press and hold the power button until
the camera shuts down.

Preparing the Camera System

To prepare the camera system, attach compatible lenses or
adapters to the camera body. Adjust the lens focus as needed.
Connect external audio devices or headphones to the appropriate
ports on the camera body. Insert a compatible media card into the
media compartment.

Recording

To start recording, press the record button on the camera body
or use an external recording device. To stop recording, press the
record button again. Use the menus to adjust recording settings
such as frame rate, resolution, codec, and quality.

Processing Footage

After recording, footage can be processed using compatible
software. Use the menus to adjust image settings such as ISO,
shutter speed, white balance, and color space. Use the LCD screen
to preview footage and adjust settings as needed.

V-RAPTORTM 8K VV
OPERATION GUIDE
V-RAPTOR 8K VV | V1.3, REV. B RED.COM

V-RAPTORTM 8K V V OPERATION GUIDE

TABLE OF CONTENTS

DISCLAIMER

V

SAFETY INSTRUCTIONS

VII

1. INTRODUCTION

V-RAPTORTM 8K VV + 6K S35

1

2. QUICK REFERENCE

PREPARING THE CAMERA HARDWARE

4

PREPARING THE CAMERA SYSTEM

4

RECORDING

4

PROCESSING FOOTAGE

4

3. CAMERA COMPONENTS

CAMERA BODY

5

CAMERA BODY CONTROLS AND FEATURES

5

FRONT

5

BACK

6

LEFT

7

RIGHT

8

TOP

9

BOTTOM

10

CAMERA BODY LEDS

11

LENSES AND ADAPTERS

15

LCD

17

LCD NAVIGATION

17

MENUS

18

PAGES

19

HOME PAGE

22

HISTOGRAM PAGE

28

TOOLS PAGE

31

SDI PAGE

34

AUDIO CHANNELS 1 / 2 PAGE

35

AUDIO CHANNELS 3 / 4 PAGE

37

HEADPHONE PAGE

39

SENSOR SYNC SHIFT PAGE

40

USER PAGES

40

STATUS BAR

41

RED CONTROL APP

45

RED CONTROL PRO

46

4. MENUS

IMAGE / LUT MENU

48

ISO

49

SHUTTER

49

WHITE BALANCE

51

OUTPUT COLOR SPACE

54

OUTPUT TONE MAP

54

HIGHLIGHT ROLL-OFF

55

DISPLAY PRESET

55

3D LUT

56

CDL

57

EXPOSURE ADJUST

61

PROJECT SETTINGS MENU

62

FORMAT

63

RECORDING FRAME RATE

71

PROJECT TIME BASE

72

FILE FORMAT

72

R3D QUALITY

75

PRORES PROXY RECORD

75

PRORES RESOLUTION

76

PRORES CODEC

76

PRORES COLOR PROFILE

77

PRE-RECORD

77

RECORDING MODE

79

TIMELAPSE

79

FRAME LIMIT

80

SLATE

81

AUDIO / TC MENU

84

AUDIO SOURCE

86

INTERNAL MICROPHONE (CH 1/2)

86

EXTERNAL (CH 3/4)

87

HEADPHONE

88

TIMECODE SOURCE

89

TIMECODE DISPLAY MODE

91

MONITORING MENU

91

TOP LCD

92

SDI 1 / 2

94

LIVE STREAM

105

TOOLS

106

GUIDES

112

MEDIA MENU

119

EJECT

119

MEDIA INFO

120

SECURE FORMAT

120

USER SETTINGS MENU

123

PRESETS

123

SIDE LCD CONTROL PANELS

126

USER 1, 2, 3

126

USER BUTTONS

128

AUTOFOCUS MENU

130

ENABLE

130

MODE

131

SIZE

131

POSITION

132

COMMUNICATION MENU

133

CAMERA

133

USB-C

134

WI-FI

137

SERIAL

145

FTPS

146

PTP

147

SYSTEM SETTINGS MENU

148

DATE / TIME

149

LENS

150

POWER

151

SENSOR

152

INDICATORS

153

GPO FUNCTION

154

STATUS SETTINGS

154

SYSTEM STATUS

156

LANGUAGE MENU

157

MAINTENANCE MENU

158

CALIBRATE

158

CALIBRATION

159

SAVE LOG

159

RESET DEFAULTS

160

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FACTORY RESET

160

UPGRADE

160

5. HOW-TO

WI-FI CONFIGURATION

161

CONNECTING WIRELESSLY TO AN EXISTING

WI-FI NETWORK

161

FTPS CONFIGURATION

164

CAMERA SET-UP

164

SOFTWARE SET-UP (FILEZILLA)

165

ADDITIONAL INFORMATION

166

USB-C CONFIGURATION

167

USB-C ANDROID CONFIGURATION

168

USB-C APPLE CONFIGURATION

174

USB-C ETHERNET CONFIGURATION

181

POWER

184

ATTACHING THE BATTERY

184

REMOVING THE BATTERY

184

POWER COMPONENTS

184

AUTO BOOT ON POWER

184

POWER CONSUMPTION

185

POWER PRIORITY

185

TURNING ON THE CAMERA

185

TURNING OFF THE CAMERA

186

MEDIA MANAGEMENT

186

EJECTING MEDIA

186

INSERTING MEDIA

188

SECURE FORMAT

190

MEDIA INFORMATION

191

FILE SYSTEM

191

CLIP FOLDER NAMING CONVENTION

192

CLIP METADATA

192

MEDIA BEST PRACTICES

193

RED MONITOR INTERFACE CABLE

194

MONITORING

194

DSMC3TM RED® TOUCH 7.0″ LCD

194

SDI OUTPUT TO A MONITOR

195

RED CONTROL

197

USB-C

198

EXPOSURE

199

FALSE COLOR EXPOSURE TOOLS

199

FOCUS

200

FOCUS PEAKING MODE

200

EDGE PEAKING MODE

200

PEAKING PEAKING MODE

201

TIMECODE

201

TIME OF DAY

201

EDGECODE

203

ZEBRA MODES

204

ZEBRA OVERVIEW

204

PRE-RECORDING CONTENT

205

CALIBRATING THE SENSOR

206

WHEN TO CALIBRATE THE SENSOR

206

UPGRADING THE FIRMWARE

206

VERIFYING THE FIRMWARE VERSION

206

UPGRADING THE FIRMWARE

206

UPGRADING THE DSMC3TM RED® TOUCH

7.0″ LCD FIRMWARE

209

UPDATING AUTOMATICALLY THROUGH THE

CAMERA

209

UPDATING MANUALLY THROUGH SMALLHD 209

SYSTEM MAINTENANCE

210

6. TROUBLESHOOTING

GENERAL TROUBLESHOOTING TIPS

212

CONTACT SUPPORT

212

SENSOR MASK

213

STATUS ICONS

213

A. MECHANICAL DRAWINGS

FRONT VIEW

215

BACK VIEW

216

RIGHT SIDE VIEW

217

LEFT SIDE VIEW

218

TOP VIEW

219

BOTTOM VIEW

220

FEMALE RP SMA PORT

221

USB-C PORT

222

12G-SDI (SDI-1 & SDI-2)

223

AUDIO PORT

225

HEADPHONE JACK

226

6-PIN DC-IN

227

EXTENSION PORT

228

B. MENU MAP

229

C. TECHNICAL SPECIFICATIONS

231

D. ACCESSORIES

CFEXPRESS TYPE B MEDIA

234

RED® CFEXPRESS TYPE B READER

235

REDVOLT BATTERIES

236

REDVOLT MICRO-V BATTERY

236

REDVOLT MICRO-G BATTERY

237

RED® COMPACT CHARGERS

238

RED® COMPACT DUAL V-LOCK CHARGER 238

RED® COMPACT DUAL GOLD MOUNT

CHARGER

239

V-RAPTORTM 8K VV POWER ADAPTOR

239

DSMC3TM RED® TOUCH 7.0″ LCD

240

SPECIFICATIONS

240

DSMC3TM RED® TOUCH 7.0″ LCD HOOD 241

DSMC3TM RMI CABLES

242

V-RAPTORTM TOP HANDLE AND

EXTENSIONS

242

INSTALLING THE TOP HANDLE

243

V-RAPTORTM WING GRIP

246

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OUTRIGGER HANDLE

246

RED® PRODUCTION GRIPS

246

V-RAPTORTM SIDE RIBS

247

V-RAPTORTM EXPANDER BLADE

248

DSMC3TM RED® 5-PIN TO SINGLE 3.5 MM

ADAPTER

249

DSMC3TM RED® 5-PIN TO DUAL XLR

ADAPTER

249

V-RAPTORTM QUICK RELEASE PLATFORM

PACK

250

V-RAPTORTM TACTICAL TOP PLATE AND

BATTERY ADAPTER (V-LOCK OR GOLD

MOUNT)

253

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DISCLAIMER
RED® has made every effort to provide clear and accurate information in this document, which is provided solely for the user’s information. While thought to be accurate, the information in this document is provided strictly “as is” and RED will not be held responsible for issues arising from typographical errors or user’s interpretation of the language used herein that is different from that intended by RED. All information is subject to change as a result of changes in local, federal or other applicable laws. RED reserves the right to revise this document and make changes from time to time in the content hereof without obligation to notify any person of such revisions or changes. In no event shall RED, its employees or authorized agents be liable to you for any damages or losses, direct or indirect, arising from the use of any technical or operational information contained in this document. This document was generated on 10/22/2022. To see earlier versions of this document, submit a Support ticket at https://support.red.com. For comments or questions about content in this document, send a detailed email to OpsGuides@red.com.
COPYRIGHT NOTICE
COPYRIGHT© 2022 RED.COM, LLC All trademarks, trade names, logos, icons, images, written material, code, and product names used in association with the accompanying products are the copyrights, trademarks, or other intellectual property owned and controlled exclusively by RED.COM, LLC. For a comprehensive list, see www.red.com/trademarks.
TRADEMARK DISCLAIMER
All other company, brand, and product names are trademarks or registered trademarks of their respective holders. RED has no affiliation to, is not associated with or sponsored by, and has no express rights in third-party trademarks. Adobe and Adobe Premiere Pro are registered trademarks of Adobe Systems Incorporated. DaVinci and DaVinci Resolve are registered trademarks of Blackmagic Design in the U.S. and other countries. Leica is a registered trademark of Leica Microsystems. Canon is a registered trademark of Canon, U.S.A. Apple, iOS, Macintosh, Final Cut Pro, and QuickTime are registered trademarks of Apple Inc. in the U.S. and other countries. Windex is a registered trademark of S. C. Johnson & Son, Inc. Windows is a registered trademark of Microsoft Corporation. Avid is a registered trademark of Avid Technology, Inc. FileZilla is a registered trademark of its respective owners. NukeTM is a trademark of The Foundry Visionmongers Ltd. SCRATCH is a registered trademark ® of ASSIMILATE, 2006. SCRATCH SCAFFOLDS, SCRATCH EXTENSIONS, and SCRATCH Digital Intermediate Process Solution are all trademarks and registered trademarks of ASSIMILATE, 2006, All rights reserved. Autodesk, the Autodesk logo, Flame are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries.
COMPLIANCE STATEMENTS
INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS
This device complies with Industry Canada license-exempt RSS standards RSS 139 and RSS 210. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device. This Class B digital apparatus complies with Canadian ICES-003.

To comply with FCC and Industry Canada RF exposure limits for general population/ uncontrolled exposure, the antenna(s) used for this transmitter must be installed to provide a separation distance of 70 mm from all persons and operating in conjunction with any other antenna or transmitter, except in accordance with FCC multi-transmitter product procedures. Other user manual statements may apply. Le présent appareil est conforme aux CNR d’Industrie Canada applicables aux appareils radio exempts de licence. L’exploitation est autorisée aux deux conditions suivantes : (1) l’appareil ne doit pas produire de brouillage, et (2) l’utilisateur de l’appareil doit accepter tout brouillage radioélectrique subi, même si le brouillage est susceptible d’en compromettre le fonctionnement. Cet appareil numérique de la classe B est conforme à la norme NMB003 du Canada. Pour se conformer aux limites d’exposition aux RF de la FCC et d’industries Canda pour la population générale/ exposition non controlee, l’antenne(s) utilisée pour ce transmetteur doit être installé pour fournir une distance de separation d’au moins 70 mm de toutes les personnes et fonctionnant conjointement avec une autre antenne ou émetteur, saufen conformité avec les proceédures de produits multiémetteur FCC. Autres d’eclarations manuel de l’utilisateur peuvent s’appliquer.
FEDERAL COMMUNICATIONS COMMISSION (FCC) STATEMENTS
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. To maintain compliance with FCC regulations, shielded cables must be used with this equipment. Operation with non-approved equipment or unshielded cables is likely to result in interference to radio and TV reception. The user is cautioned that changes and modifications made to the equipment without the approval of manufacturer could void the user’s authority to operate this equipment. This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
CAUTION: Exposure to Radio Frequency Radiation.
The device shall be used in such a manner that the potential for human contact is minimized. This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment. This equipment should be installed and operated with a minimum distance of 20 cm between the radiator and your body.

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CAUTION: Regulations of the FCC and FAA prohibit airborne operation of radio- frequency wireless devices because their signals could interfere with critical aircraft instruments. CAUTION: If the device is changed or modified without permission from RED, the user may void his or her authority to operate the equipment. AUSTRALIA AND NEW ZEALAND STATEMENTS RED declares that the radio equipment described in this document complies with the following international standards: IEC 62368-1 Product Safety ETSI EN 300 328 Technical requirement for radio equipment
RED declares digital devices described in this document comply with the following Australian and New Zealand standards:
AS/NZS CISPR 32 Electromagnetic Interference AS/NZS 61000.3.2 Power Line Harmonics AS/NZS 61000.3.3 Power Line Flicker
SOUTH KOREA STATEMENT
BRAZIL STATEMENT This product is approved by ANATEL according to the procedures regulated for conformity assessment of telecommunications products and meets the applicable technical requirements, including the limits for measuring human exposure to electric, magnetic and electromagnetic radio frequency fields. The product has a body Specific Absorption Rate (SAR) of 0.011 W/kg. This equipment is not entitled to protection against harmful interference and may not cause interference to properly authorized systems.
SINGAPORE STATEMENT Complies with IMDS Standards N3434-20. THAILAND STATEMENT This telecommunication equipment conforms to NTC/NBTC technical requirements. JAPAN STATEMENT This equipment contains specified radio equipment that has been certified to the Technical Regulation Conformity Certification under the Radio Law.

EUROPEAN UNION COMPLIANCE STATEMENTS
RED declares that the radio equipment described in this document complies with the EMC Directive (2014/30/EU) and the Low Voltage Directive (2014/35/EU) issued by the Commission of the European Community. Compliance with this directive implies conformity to the following European Norms (in brackets are the equivalent international standards).
EN 62368-1 (IEC 62368-1) Product Safety ETSI EN 300 328 Technical requirement for radio equipment ETSI EN 301 489 General EMC requirements for radio equipment EN 55032 (CISPR 32) Electromagnetic Compatibility EN 55035 (CISPR 35) Immunity Requirements EN 61000-3-2 (IEC 61000-3-2) Harmonic Current Emissions EN 61000-3-3 (IEC 61000-3-3) Voltage changes, voltage fluctuations and flicker EU 2015/863 RoHS Directive
WASTE ELECTRICAL AND ELECTRONIC EQUIPMENT (WEEE)
The Waste Electrical and Electronic Equipment (WEEE) mark applies only to countries within the European Union (EU) and Norway. This symbol, on the product and accompanying documents, means that used electrical and electronic products should not be mixed with general household waste. For proper treatment, recovery and recycling, take this product to designated collection points where it will be accepted free of charge. Alternatively, in some countries you may be able to return your products to your local retailer upon purchase of an equivalent new product. Disposing of this product correctly will help save valuable resources and prevent any potential negative effects on human health and the environment, which could otherwise arise from inappropriate waste handling. Contact your local authority for further details of your nearest designated collection point. Penalties may be applicable for incorrect disposal of this waste, in accordance with your national legislation. For business users in the European Union, if you wish to discard electrical and electronic equipment, contact your dealer or supplier for further information.
RESPONSIBLE PARTY
RED Digital Cinema 94 Icon Foothill Ranch, CA 92610 USA

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SAFETY INSTRUCTIONS
This equipment is intended to be used by instructed personnel and is not intended to be used by children.
DO NOT use the camera or accessories near water. Avoid exposing your camera to moisture. The unit is not waterproof, so contact with water could cause permanent damage to the unit as well as electric shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with high moisture without appropriate protection, and immediately remove power source if camera or accessories are exposed to moisture.
WARNING: To reduce the risk of fire or electric shock, do not expose the camera to rain or moisture.
DO NOT point the camera directly into extreme light sources such as the sun or lasers. Permanent damage to optical path or sensor may occur, which is not covered by manufacturer’s warranty.
DO NOT expose your camera to excessive vibration or impact (shock). Be careful not to drop your camera. Internal mechanisms may be damaged by severe shock. Mechanical alignment of optical elements may be affected by excessive vibration.
ELECTROMAGNETIC INTERFERENCE: The use of devices using radio or other communication waves may result in the malfunction or interference with the unit and/or with audio and video signals.
Clean only using a dry cloth. When cleaning your camera, remember that it is not waterproof and moisture can damage electronic circuitry. DO NOT rinse or immerse any element of the camera, lens or other accessory, keep them dry at all times. DO NOT use soaps, detergents, ammonia, alkaline cleaners, and abrasive cleaning compounds or solvents. These substances may damage lens coatings and electronic circuitry.
Maintain sufficient ventilation–DO NOT block any ventilation openings or obstruct cooling fan airflow.
CAUTION: Proper camera ventilation requires a minimum 0.5″ (1.25 cm) clearance between the camera ventilation openings and external surfaces. Verify that objects that can block the fan intake and exhaust ports do not impede airflow. Failure to permit adequate airflow may result in overheating of the camera, degraded operation, and in extreme situations, damage to the camera.
WARNING: Media cards can become very hot during prolonged recording sessions. When ejecting the media card, let it cool before touching it with bare fingers.
DO NOT operate or store near any heat sources such as radiators, heat registers, stoves, or any other apparatuses that produce heat. Store in a protected, level and ventilated place. Avoid exposure to temperature extremes, damp, severe vibration, strong magnetic fields, direct sunlight or local heat sources during storage. Remove any batteries from the camera before storage. Recommended storage and usage temperatures for your camera, lenses and other accessories are:
Operating range: 32° F to 104° F (0° C to 40° C)
Storage range: 4° F to 122° F (20° C to 50° C)

If there are any performance issues with your camera or accessories when operating within this temperature range, submit a support ticket to https://support.red.com. DO NOT bypass the third prong of the grounding-type plug on the power cord of the included power adaptor. A grounding-type plug has two blades and a third “grounding” prong. The third prong is provided for your safety. You must connect the plug to an outlet with a protective earth connection. If the grounding-type plug does not fit into your outlet, do not attempt to modify the plug or outlet, consult a qualified electrician. Protect all power cords from being pinched, walked on, or driven over by a vehicle. Replace any power cords suspected of sustaining damage due to crushing or other forms physical damage.
CAUTION: Install this camera in a proper support system that can handle the entire weight of the camera and the accessories. Secure the camera by using the ¼-20 and/or the 3/8-16 mounting points located on the bottom of the camera. Always verify that the screws are tightened properly. When the camera is not properly attached, or is placed on an unstable surface, the camera can fall and cause injury or be damaged.
CAUTION: Products marked with this symbol are class 2 devices. These double insulated devices are not provided with a grounding type plug.
CAUTION: The power cord plug for the included power adaptor is used as the power disconnect. To disconnect all power from the power adaptor, unplug the power cord plug from the wall outlet. During use, the power cord plug should remain easily accessible at all times.
Lithium-ion batteries may be subject to special handling requirements pursuant to federal and local laws. Refer to specific shipping instructions included with your battery regarding proper transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries must be in accordance with local environmental regulations. For example, California law requires that all rechargeable batteries must be recycled by an authorized recycle center. Storing batteries fully charged or in high temperature conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.
WARNING: DO NOT expose the battery to excessive heat.
CAUTION: Refer all service and repair to qualified RED service personnel. To reduce the risk of electric shock, and damage to the camera or accessories, DO NOT attempt to perform any servicing other than any procedures that are recommended in the operating instructions.
INDOOR USE ONLY: This device is designed primarily for indoor use.
BATTERY STORAGE AND HANDLING
WARNING: Failure to read, understand, and follow these instructions may result in overheating, chemical leakage, smoke emission, fire, or other potentially harmful results.

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Read and adhere to all safety instructions provided by the manufacturer of the batteries.
Always follow proper battery handling and storage practices. Improper handling and failure to abide by proper storage instructions may cause permanent damage to batteries, or degrade battery charge holding capacity. Improper handling practices or failure to comply with instructions may also put you at risk.
Lithium-Ion batteries, like the REDVOLT Micro-V, self-discharge over time. When storing for long periods of time, store batteries separately from the camera or charger and remember to charge batteries to a capacity level of 40% to 60%. If batteries will be stored for long periods of time, RED recommends that you check the charge level at least once every six (6) months, and recharge batteries to a capacity level of 40% to 60%.
When not in use, remove the battery from the camera or charger and store the battery in a cool, dry place. Avoid extreme hot temperatures (such as inside a hot car), corrosive gas, and direct sunlight. The optimal storage temperature for batteries is between 4° F to 68° F (20° C to 20° C).
WARNING: Batteries stored in a discharged state for long periods of time may self-discharge and lose the ability to hold a charge.
WARNING: If recharging operation fails to complete even after a specified recharging time has elapsed, immediately stop further recharging.
DO NOT store batteries in a fully charged state for extended periods of time.
DO NOT store batteries in a fully discharged state for extended periods of time.
DO NOT store batteries in the camera or in a charger for extended periods of time.
DO NOT use batteries for purposes other than their intended use.
DO NOT store batteries in extreme hot or cold temperatures.
DO NOT store batteries in direct sunlight.
DO NOT disassemble or modify the battery.
DO NOT overcharge batteries. Overcharging may increase internal temperature beyond the recommended limits and cause permanent damage to the battery.
DO NOT connect the positive (+) and negative () terminals to a metal object such as a wire.
DO NOT transport or store the battery together with metal objects such as jewelry, hairpins, etc. as they may generate heat if they come into contact with the battery.
DO NOT discard the battery into fire or heat.
DO NOT store, use, or recharge the battery near a heat source such as a fire or a heater.
DO NOT allow the battery to get wet.
DO NOT pierce the battery with pointed or other sharp objects.
DO NOT step on, throw, or strike the battery with a hammer.
DO NOT use a battery that appears to be deformed or damaged.
DO NOT directly solder the battery.
DO NOT put the battery into a microwave oven or a pressurized container.
DO NOT use or subject the battery to intense sunlight or hot temperatures such as in a car in hot weather.
DO NOT use it in a location where static electricity may be present.

DO NOT exceed the recharging temperature range of 32° F to 104° F (0° C to 40° C).
Store the battery in a location where children cannot reach it.
If the battery leaks or gives off a bad odor, discontinue use immediately.
If the battery gives off an odor, generates heat, becomes discolored or deformed, or in any way appears abnormal during use, recharging or storage, immediately remove it from the equipment or battery charger and discontinue use.
If electrolyte begins leaking from the battery and comes into contact with your skin or clothing, immediately wash it away with running water. Failure to do this may result in skin inflammation.
If the battery leaks and the electrolyte reaches the eyes, do not rub them. Instead, rinse the eyes with clean running water and immediately seek medical attention. Failure to do this may result in eye injury.

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1. INTRODUCTION

Figure: V-RAPTOR 8K V V camera
V-RAPTORTM 8K VV + 6K S35
V-RAPTOR 8K V V is the latest breakthrough product in RED’s long line of innovative image capture technology. This compact DSMC3 entrant in the RED lineup is an all-in-one, and highly powerful cinema camera. It features RED’s cinema grade image quality, color science, and sensor technology in a portable form factor cinematographers can take anywhere and adapt to any shooting scenario.
The new sensor in V-RAPTOR 8K V V is an 8K V V plus 6K S35 dual format CMOS sensor. This sensor breaks new technical ground by retaining wide dynamic range and delivering unmatched RED imagery, without compromising creative or technical features. V-RAPTOR 8K V V includes a built-in locking RF-style mount allowing users the flexibility to use the full features of RF-style lenses and several lens adapters, such as Canon EF, PL, and Leica M mount.
The V-RAPTOR 8K V V records using the R3D, R3D+ProRes Proxy, and ProRes formats on a CFexpress Type B media card. The RED V-RAPTOR 8K V V is powered by the REDVOLT MICRO-V battery, by a power cable, or by full size VLock and Gold Mount batteries (using an adapter). You can control the V-RAPTOR 8K V V features by using the side LCD, or by using RED Control over Wi-Fi or through a wired connection.
QUICK REFERENCE
Refer to the Quick Reference section to get familiar with this guide and the camera.

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R3D FILE FORMAT AND REDCODE
All videos and frames are recorded to the R3D® file format. The R3D file format was developed by RED to provide an efficient and manageable RAW video data format that promotes advanced post-production editing capabilities. In the R3D file format, the digital image received from the sensor is formatted as a pixel-defect corrected (but in all other aspects unprocessed) 16-bit per pixel RAW data frame. Each RAW frame, or sequence of RAW frames in a clip, is compressed using proprietary REDCODE® RAW compression, then stored to media. RAW data is recorded independently of any RGB domain color processing such as ISO, White Balance, or other RGB color space settings. Instead, color parameters are saved as reference metadata; that is, color is not burned into the recorded RAW data. This innovative recording technique promotes flexibility in RGB color processing. It allows you to defer color correction to post-production, or to adjust the image color in the field, without changing the recorded RAW data image quality or dynamic range. REDCODE is a compression codec that reduces R3D RAW files down to a manageable size, allowing the media to record longer. The ability to compress RAW data is one of the significant technological advances that RED has brought to the motion picture industry.
IMAGE PROCESSING PIPELINE
This camera uses RED’s Image Processing Pipeline 2 (IPP2). In IPP2, the advanced RED color space (REDWideGamutRGB) allows the camera to use every color that the sensor can generate up to the clipping threshold. Then the camera encodes the image using Log3G10, a gamma curve that retains extreme highlight and shadow detail. Using the advanced color space and gamma curve, RED IPP2 allows you to grade and make color adjustments in postproduction, instead of in-camera. IPP2 also allows the camera to use a CDL for grading. For more information about IPP2, refer to the RED IPP2 support page.
SHOOT FOR VIDEO AND STILLS
High resolution video, such as the digital footage captured by the camera, has surpassed the detail necessary to produce professional full-sized prints. Because the camera is able to record RAW video at high frame rates and resolution, this camera is ideally suited to capture video and still images simultaneously while still preserving the full flexibility that RAW still photographers have come to expect.

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POST-PRODUCTION
Many non-linear editing systems (NLEs) can open and edit RED footage, allowing full RAW control and flexibility without any need to re-transcode. Each NLE version may have specific compatibility requirements, such as camera firmware version or camera type. Before shooting, make sure you check all of the compatibility requirements. You can open and/or edit R3D files by using one of the following products:
REDCINE-X PRO: RED’s proprietary application. Download REDCINE-X PRO for Windows or REDCINE-X PRO for Mac from www.red.com/downloads. Adobe Premiere Pro Avid Media Composer DaVinci Resolve Final Cut Pro X: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads. Adobe PhotoShop: Can open .R3D files, however, you must download the RED Adobe PhotoShop Installer for Windows or RED Adobe PhotoShop Installer for Mac from www.red.com/downloads. Foundry Nuke Assimilate Scratch AutoDesk Flame ColorFront Transkoder (beta for latest support)
NOTE: Third-party applications may have limited compatibility with R3D files. Third-party developers must use the most recent R3D SDK to offer compatibility with the latest RED firmware.
POST-PRODUCTION WITH REDCINE-X PRO
REDCINE-X PRO is a professional one-light coloring tool set, equipped with an integrated time line, and with a collection of post effects software. REDCINE-X PRO provides the ideal environment to review recorded footage, edit metadata, organize projects, and prepare your R3D files. You can use REDCINE-X PRO or any of the compatible thirdparty NLEs to edit R3D files.
ADDITIONAL RESOURCES
RED.com: Visit the official RED website for the latest information about RED products. RED Downloads: Go to RED Downloads to download the latest firmware, operation guides, and post-production software. RED 101 Articles: RED offers in-depth technical articles about RED cameras, post-production, and digital cinematography. RED TECH Videos: RED offers videos about understanding and using RED cameras. RED Support: Visit the RED SUPPORT site for support articles or to file a support ticket.

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2. QUICK REFERENCE
Congratulations new RED V-RAPTORTM 8K V V camera owner. This quick reference topic helps you get familiar with this guide and the Camera Body. It includes links to topics about configuring the camera to fit your recording requirements, and for learning the basic operation of the camera.
PREPARING THE CAMERA HARDWARE
Prepare the camera hardware for recording by: Attaching accessories (refer to Accessories) Installing Lenses and Adapters Inserting Media Connecting a power source (refer to Power or REDVOLT Batteries) Turning On the Camera
PREPARING THE CAMERA SYSTEM
Configure the camera settings to prepare for recording by: Configuring the camera system settings (refer to the System Settings Menu) Upgrading the Firmware and Upgrading the DSMC3TM RED® Touch 7.0″ LCD Firmware Calibrating the camera using the Calibrate feature Formatting the media (refer to Secure Format) Specifying the desired recording resolution (refer to Format) Configuring the Recording Frame Rate and Project Time Base Setting the exposure (refer to Shutter) Configuring the monitoring tools and reviewing the monitored image (refer to the Monitoring Menu) Reviewing the camera status (refer to System Status)
RECORDING
Start recording your project. Record by pressing the REC button on the Camera Body or Outrigger Handle Record by using the Top LCD (refer to DSMC3TM RED® Touch 7.0″ LCD) Record by using an external trigger (refer to Extension Port) Start, stop, and control the camera by using USB-C (refer to USB-C Configuration) Start, stop, and control the camera by using Wi-Fi (refer to How-To)
PROCESSING FOOTAGE
Perform post-production using any of the standard applications. Adobe® Premiere® Pro
Avid® Media Composer®
DaVinci Resolve®
Final Cut Pro X®
NOTE: Third-party applications may have limited compatibility with R3D files. Third-party developers must use the most recent R3D SDK to offer compatibility with the latest RED firmware.

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3. CAMERA COMPONENTS
The camera components include the camera body, lenses and adapters, and camera LCD.
CAMERA BODY
This section describes the Front, Back, Left, Right, Top, and Bottom of the camera, and identifies the controls, buttons, Camera Body LEDs, and the lens mount on the body.
CAMERA BODY CONTROLS AND FEATURES
This section describes the controls and features of the camera.
FRONT

Figure: Camera Body Front Controls and Features

ITEM 1 Mounting holes 2 Lens release 3 Locking ring 4 REC button 5 Tally

light 6 Mounting holes

DETAILS Two upper ¼”-20 mounting holes Press to release RF-type lenses Rotate to lock and unlock lenses Press to select recording modes or alternate programmable functions Indicates that the camera is recording (refer to Camera Body LEDs and Indicators) Eight lower ¼”-20 mounting holes

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BACK

Figure: Camera Body Rear Controls and Features

ITEM 1 Antenna

DETAILS
Male RP SMA Wi-Fi antenna mounted to a female RP SMA connector. Supports 2.4 GHz and 5 GHz

2 USB-C port 3 12G-SDI port 1 4 12G-SDI port 2

USB-C connection Full-size 12G-SDI BNC port for SDI monitor connection1,2 Full-size 12G-SDI BNC port for SDI monitor connection1,2

5 Audio port/LED 6 Headphone port 7 DC-IN port 8 9-Pin Extension Port 9 Micro V-Lock port

5-Pin 00B ODU for 2 channel audio (Line, Mic, and +48V) 3.5 mm stereo headphone jack 6-Pin 1B ODU for DC-IN (11 to 17 Volts) (refer to 6-Pin DC-IN) 9-Pin 0B ODU serial port for start/stop, Genlock, TC and RS-232 14.4 V Micro V-Lock battery mount (refer to REDVOLT Batteries)

1. Use certified 12G-SDI cables.
2. WARNING: Always connect the accessories’ DC power cable (or batteries) before connecting the BNC SDI cable. Always remove the BNC SDI cable before removing the accessories’ DC power cable (or batteries).

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LEFT

Figure: Camera Body Left Controls and Features

ITEM 1 Mounting holes 2 Intake 3 Media compartment 4 CFexpress LED 5 Access

media 6 EJECT button

DETAILS Two side ¼-20 mounting holes Cooling fan air intake Covered CFexpress Type B compartment CFexpress status indicator (refer to Camera Body LEDs) Latch for the CFexpress Type B media compartment door Eject button for Micro V-Lock battery

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RIGHT

Figure: Camera Body Right Controls and Features

ITEM

DETAILS

1 Power switch Slide up to turn on the camera and slide down to turn off the camera. LED displays the camera

and LED

ready status (refer to Camera Body LEDs)

2 Menu LCD

GUI menu screen and buttons

3 Mounting holes Two side ¼”-20 mounting holes

4 Speaker

Beep speaker for audible feedback

5 Record LED Displays the camera recording status (refer to Camera Body LEDs)

6 REC button

Press and release the REC button to toggle between record start and stop

7 Air intake

Air intake for thermal management

8 Focus plane Focus plane indicator symbol

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TOP

Figure: Camera Body Top Controls and Features

ITEM

DETAILS

1 Mounting holes Four top front ¼”-20 mounting holes

2 Accessory port Connection port for accessories (refer to Outrigger Handle, and DSMC3TM RED® Touch 7.0″ LCD)

3 Exhaust

Air exhaust for thermal management

4 Mounting holes Eight top side ¼”-20 mounting holes

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BOTTOM

Figure: Camera Body Bottom Features

ITEM 1 Mounting point 2 Mounting points 3 Air intakes

DETAILS One (1) ¼”-20 mounting hole Two (2) “-16 mounting holes Air intakes for thermal management

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CAMERA BODY LEDS
FRONT LED

Figure: V-RAPTOR 8K V V LED, Front

ITEM 1 Tally indicator LED

COLOR Red

DETAILS
When enabled, this LED is ON when the camera is recording. For information about enabling this LED, refer to Indicators

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BACK LEDS

Figure: V-RAPTOR 8K V V , DC/Battery LEDs

ITEM

1 Phantom power
2 DC-IN

COLOR Blue

DETAILS Indicates that the +48 V Phantom Power is enabled

Green Flashing amber Amber Red

DC-IN is present and / or the battery is fully charged Communicating with, and evaluating, the battery Charging connected battery Error charging the battery

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LEFT SIDE LED

Figure: V-RAPTOR 8K V V LED, Left Side

ITEM 1 CFexpress media LED

COLOR/FLASHING Off Green
Amber Amber flashing slow Red flashing slow
Red flashing fast
Red

DETAILS
No media mounted
Preview; media mounted with > 10% of media space available
Recording finalizing or playback mode
Formatting media
Media mounted with >5% and <= 10% of media space available
Media mounted with <= 5% of media space available
Recording with > 10% of media space available

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RIGHT SIDE LEDS

Figure: V-RAPTOR 8K V V LEDs, Right Side

ITEM 1 Power status (ON)

2 Record status (REC)
3 Power (firmware update)

COLOR/FLASHING Off Amber Green Amber flashing Red flashing Red Off Green Red Amber Red flashing slow
Red flashing fast
Flashing green Flashing red

DETAILS Camera OFF Camera booting Camera ON Camera ON; 5 to 10 min of battery time available Camera ON; < 5 min of battery time available Camera shutting down No media present Ready to record Recording Finalizing Media mounted with

5% and <= 10% of media space available Media mounted with <= 5% of media space available Firmware update in progress Firmware update error (refer to Upgrading the Firmware)

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LENSES AND ADAPTERS
This section lists the compatible lenses and adapters for the camera. It also provides the steps for Attaching Lenses and Removing Lenses. For more information on a specific lens or adapter, refer to the original manufacturer’s instructions. WARNING: When the camera is not in use, protect lenses and the camera sensor by attaching the lens caps and camera mount cap.

Figure: Camera with mount cap installed.
Incompatible lenses do not register on the camera UI and they will not show any UI lens information or menu controls. The camera can control compatible lenses electronically, including the following features:
Iris – The UI menu is enabled and the camera can control the lens Iris Autofocus – The UI menu is enabled for lenses that support autofocus Image Stabilization – The UI indicates that image stabilization is present Control Ring – The UI menu is enabled and the camera can use the control ring
For more information, refer to the Lens menu.

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COMPATIBLE LENSES
The latest RED-tested and approved lenses are listed on the V-RAPTOR 8K VV section of RED Support.
LENS WEIGHT AND LENS SUPPORT
Use a lens support system when mounting heavy or long lenses to your camera. When mounting a heavy or long lens, ensure that the full weight of the lens is never directly on the camera or lens mount. Mount the lens to the support system first, and then carefully mount the lens to the camera.
COMPATIBLE MOUNT ADAPTERS
RED tested the following adapters and determined that they are compatible with the camera: Canon Mount Adapter EF-EOS R Canon Drop-In Filter Mount Adapter EF-EOS R with Variable ND Filter / Clear Filter / Circular Polarizer
Refer to the V-RAPTOR 8K VV section of RED Support for more information.
ATTACHING LENSES
1. Unlock the locking ring by rotating it to the fully counterclockwise position. 2. Press and hold the lens release button on the camera. While holding the lens release button, turn the camera lens
mount cap counter-clockwise until it stops, and remove it from the camera. If the lens locking ring rotates while removing the cap, make sure that you hold the locking ring tab in place while rotating the cap. 3. Remove the rear lens cap from the mount end of the lens. 4. Align the red dot on the lens mount with the red dot on the camera lens mount, and insert the lens mount of the lens in the camera lens mount opening. 5. Turn the lens clockwise until it clicks in place. If the lens locking ring rotates while attaching the lens, make sure that you hold the locking ring tab in place while rotating the lens or adapter. 6. Gently tighten the locking ring. DO NOT OVER-TIGHTEN THE LOCKING RING. 7. Store the camera lens mount cap and the rear lens cap together in a dust free location.
REMOVING LENSES
1. Loosen the locking ring gently. 2. Press and hold the lens release button on the camera. While holding the lens release button, turn the lens counter-
clockwise until it stops, and remove it from the camera. If the lens locking ring rotates while removing the lens, make sure that you hold the locking ring tab in place while rotating the lens or adapter. 3. Align the red dot on the camera lens mount cap with the red dot on the camera lens mount, and attach the cap to the camera. 4. Gently tighten the locking ring. DO NOT OVER-TIGHTEN THE LOCKING RING. 5. Attach the rear lens cap to the lens. 6. Store the lens with the front and rear caps attached.

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LCD

This section describes the graphical user interface (GUI) for the built-in camera side LCD. Durable controls enable convenient access to menus, camera features, and critical camera information.

LCD NAVIGATION
Press the up and down arrows together to lock or unlock the LCD. When the LCD is locked, the Lock icon displays briefly whenever you push an LCD button. Select items on the LCD screen by pressing the adjacent buttons:

In this example, pressing the button above FPS opens the Recording Frame Rate selection list: Press the up and down arrows to navigate the list. Press the button below OK or press the SEL button to accept the choice and return to the Home Page. Press the button below CANCEL or press the MENU button to return to the Home Page without making a change. Press the button under EDIT to open a manual editing screen.

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MENUS
Press the MENU button from the Home Page to open the Menus:

Press the up and down arrows to navigate up and down in the menu list. Press SEL to select a menu and open the submenus:

Press SEL to select a submenu and open a list of menu items:

Press the buttons above FIRST, LAST, PAGE , or PAGE or press the up or down arrow to navigate the list. Press SEL, or the button under OK, to select the item. Press MENU, or the button under CANCEL, to return to the menu without making a selection.
For more information about menus, refer to Menus.

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PAGES
The LCD contains the Home Page, Histogram Page, Tools Page, SDI Page, Audio Channels 1 and 2 Page, Audio Channels 3 and 4 Page, Headphones Page, Sensor Sync Shift Page, and User Pages 1, 2, and 3. Press the up arrow or down arrow to navigate through the pages. Select the pages you want the LCD to display by using the Side LCD menu (refer to Side LCD Control Panels).
HOME PAGE
The Home Page contains the Recording Quick Settings, Exposure Meter, Recording Status, VU Meter, Status Bar, and Quick Menus (refer to Home Page).
HISTOGRAM PAGE
The Histogram Page contains the Autofocus Quick Settings, Exposure Meter, Histogram, and Lens Quick Settings (refer to Histogram Page).

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TOOLS PAGE
The Tools Page contains the Peaking Tools, Exposure Tools, Zebra Tools, and Quick Monitor Menu (refer to Tools Page).
SDI PAGE
The SDI Page contains the switches you use to enable or disable the SDI features, and the Look settings for SDI Port 1 and SDI Port 2 (refer to SDI Page).
AUDIO CHANNELS 1 / 2 PAGE
The Audio Channels 1 / 2 Page contains the settings for the internal microphone channels 1 and 2 (refer to Audio Channels 1 / 2 Page).

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AUDIO CHANNELS 3 / 4 PAGE
The Audio Channels 3 / 4 Page contains the settings for the external audio port channels 3 and 4 (refer to Audio Channels 3 / 4 Page).
HEADPHONE PAGE
The Headphone Page contains the settings for the headphone port audio output (refer to Headphone Page).
SENSOR SYNC SHIFT PAGE
The Sensor Sync Shift page buttons allow you to quickly adjust the sensor sync shift (refer to Sensor Sync Shift Page).
USER PAGES
The User Pages (1-3) allow you to assign eight quick buttons to each page (refer to User Pages).

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HOME PAGE

This section describes the Home Page of the LCD GUI. This page contains the Quick Settings, Exposure Meter, Recording Information, VU Meter, Status Bar, and Quick Menus. This is the first page that displays when you power up the camera.

RECORDING QUICK SETTINGS
The Recording Quick Settings section of the LCD home page displays the Recording Quick Settings buttons. You can use these buttons to quickly access the most often used camera recording menu settings. These settings include Recording Frame Rate, ISO, Shutter, and White Balance.
Press the top buttons to open the menu item lists. Press Up and Down to navigate the list. Press the button under OK or SEL to select the item and return to the Home Page. Press the button under CANCEL or press MENU to return to the Home Page without making any changes.

Press and hold the button above SHUTTER to toggle the shutter between degrees and fractions (refer to Shutter for more information).
Press and hold White Balance (WB) to toggle between Color Temperature and Color Temperature Presets (refer to White Balance for more information).

RAW RGB EXPOSURE METER

The Exposure section of the LCD home page displays the RAW RGB (pre-ISO) exposure levels for the camera.

Exposure Meter

Overexposed Example

Underexposed Example

Balanced Example

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The RAW RGB Exposure Meter displays the quantity of over-exposed or under- exposed pixels in each of the separate red, green, and blue channels of the raw sensor data. The top and bottom RGB lights illuminate when a small number of pixels on the sensor are overexposed or underexposed. This indicates that a small number of pixels in the image are too bright and will not contain any detail, or are too dark and will appear as noise. The bars show the quantity of overexposed and underexposed RGB pixels on the sensor. Adjust the settings in the camera such as ND, Iris, or shutter speed to compensate, or change the scene’s lighting for the best, balanced image.
CAMERA DESIGNATION AND REC INDICATOR

The Camera Designation and Record indicator on the LCD home page displays the camera letter assigned to the camera (refer to Slate and Camera ID). The color of this area indicates when the camera recording is ready (black), when the camera is recording (red), and when the recording is stopped and the camera is adding the pre-recording (yellow).

Recording:

Adding Pre-Recording:

TIMECODE / EDGECODE

The Timecode / Edgecode section displays the timecode or edgecode (refer to Timecode Display Mode).

Timecode:

Edgecode:

This text turns red when the camera is recording.

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CLIP
The Clip area displays either the currently recording clip name, or the upcoming clip name designated in the Project Settings menu (refer to Slate).
DURATION
The Duration area displays the real-time duration of the current clip.
SENSOR FORMAT
The Sensor Format area displays the sensor format selected in the Project Settings (refer to Format).
QUALITY
The Quality area displays the R3D or ProRes compression level (refer to R3D Quality).

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PROJECT TIME BASE
The Project Time Base area displays the playback rate for the recorded footage selected in the Project Settings (refer to Project Time Base).
3D LUT
The 3D LUT area displays the LUT file selected in the Image / LUT menu (refer to 3D LUT).
STATUS BAR
The Status Bar contains status icons for various camera settings and inputs.
QUICK MENUS
The Quick Menus section of the LCD home page displays the Quick Menu buttons. You can use these buttons to quickly access the most often used camera menus. These settings include Project Settings Menu, Media Menu, Monitoring Menu, and Playback .
Press the bottom buttons to open the Quick Menus. Press Up, Down, and SEL to navigate the menus. Press MENU to return to the Home screen.

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PLAYBACK
When you press the button below PLAY on the Home Page, the LCD displays the Playback screen.
To close the Playback screen, press the button below CAMERA.
PLAYBACK SCREEN
The Playback screen displays the following: Clip Information Playback Screen Buttons
CLIP INFORMATION
The Clip Information displays the name, Timecode, duration, project time base, format, and timeline of the clip.

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PLAYBACK SCREEN BUTTONS

With the Playback screen buttons you can view the Clip list, move to the start of the clip, fast reverse, play/pause, fast forward, and move forward and reverse by a single frame.
CLIP LIST
Press the button over the Clip List to open the Clip Load list.

Navigate to the desired clip and press the button under OK to open the clip in the Playback screen.
START/END
Press the button above the Start or End button to navigate to the start or end of the clip.
NEXT PREVIOUS
Press the UP arrow to move forward by a single frame and press the DOWN arrow to reverse by a single frame.
REWIND
Press the button below Rewind to quickly navigate backwards through the clip.
PLAY/PAUSE
Press the button below Play/Pause to toggle between playing the clip and pausing the clip.

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FAST FORWARD
Press the button below Fast Forward to quickly navigate forward through the clip.
CAMERA
Press the button below CAMERA to return to the camera interface.
HISTOGRAM PAGE
The LCD Histogram page is the second page on the LCD. Press the down button to navigate from the Home page to the Histogram page. The Histogram Page contains the Autofocus Quick Settings, Exposure Meter, Histogram, and Iris/ND Quick Settings.
AUTOFOCUS QUICK SETTINGS
The Autofocus quick settings allow you to access the Autofocus settings quickly. Press the button above AF SIZE to select the autofocus size
Press the button above POSITION to select the autofocus location on the screen

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Press the button above AF MODE to select the autofocus mode

Press the button above START AF to enable autofocus Refer to Autofocus Menu for more information about the Autofocus menu.

RAW RGB EXPOSURE METER

The Exposure meter displays the RAW RGB (pre-ISO) exposure levels for the camera.

Exposure Meter

Overexposed Example

Underexposed Example

Balanced Example

The RAW RGB Exposure Meter displays the quantity of over-exposed or under- exposed pixels in each of the separate red, green, and blue channels of the raw sensor data.
The top and bottom RGB lights illuminate when a small number of pixels on the sensor are overexposed or underexposed. This indicates that a small number of pixels in the image are too bright and will not contain any detail, or are too dark and will appear as noise.
The bars show the quantity of overexposed and underexposed RGB pixels on the sensor. Adjust the settings in the camera such as ND, Iris, or shutter speed to compensate, or change the scene’s lighting for the best, balanced, image.

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HISTOGRAM
The Histogram area displays a histogram distribution of the RGB exposure of the Log3G10 signal after ISO and White Balance adjustments.
The histogram displays the darkest image elements at the far left, the midtones in the middle, and the lightest image elements at the far right. This gives you a fast way to determine your overall image exposure levels.

Overexposed Example

Underexposed Example

IRIS QUICK SETTINGS
The Iris and ND quick settings allow you to access the Iris and ND settings quickly. Press the button under IRIS to open the Iris menu list and select the lens f-stop.
Refer to Lens for more information about the Iris settings.

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TOOLS PAGE

The LCD Tools page is the third page on the LCD. Press the down button twice to navigate from the Home page to the Tools page. The Tools Page contains the Peaking Modes, False Color Modes, Zebra Tool Switches, and Quick Monitor Menu.
PEAKING MODES

The Peaking tools are modes that provide different ways to indicate image focus. The Peaking modes you can select include:

ITEM

DETAILS

Peaking

Select a colored overlay to indicate objects in focus

Edge

Show outlines of focused objects

Focus

Use enhanced contrast and edges for focusing

Press the button below the Peaking tools column to cycle through the choices. When you select the Peaking tool Peaking mode, the settings for Color and Level are enabled:

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FALSE COLOR MODES

Press the button below the False Color tools column to cycle through the choices. False Color Modes include:

ITEM

DETAILS

False Color Video Mode

Display an overlay that indicates exposure levels without relying on inaccurate LCD image brightness.

False Color Exposure Mode Use false colors to determine an optimal balance between overexposure and underexposure.

NOTE: False Color modes display on video recorded through SDI to an external recorder when the Tools are enabled in the Monitor menu. When recording through SDI, use False Color modes only to help determine scene exposure settings, and then disable the mode before recording.

FALSE COLOR VIDEO MODE
NOTE: For best results, Video Mode should be viewed at or above ISO 800.

Video Mode displays a color overlay that indicates the video level of the RGB monitor path (calibrated to the SMPTE test signal).
The colors used are based on the RGB levels of the video out signal (that is, the “cooked” look, and not RAW data). The camera’s RGB settings can change the appearance of the Video Mode colors.
For more information, refer to False Color.

FALSE COLOR EXPOSURE MODE
When this monitoring False Color mode is activated, most of the tonal range will appear in monochrome.
The Exposure Mode is able to indicate exactly where middle gray is falling, and indicate which highlights or shadows are problematic in the logarithmic representation of the image. Exposure mode is judging the exposure after ISO and White Balance adjustments are made, and before any sort of LUT or transform is applied to the Log3G10 image.
For more information, refer to False Color.

ZEBRA TOOLS
Use Zebra 1 to display one set of diagonal stripes to indicate highlight exposure levels. Use Zebra 2 to display a second set of diagonal stripes to indicate mid-tone and shadow levels. For more information, refer to Zebra Modes.

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ZEBRA 1

Press the button below the ZEBRA 1 switch to enable or disable the Zebra 1 tool. For more information, refer to Zebra 1.
ZEBRA 2

Press the button below the ZEBRA 2 switch to enable or disable the Zebra 2 tool. For more information, refer to Zebra 2.
QUICK MONITOR MENU

Press the button above SETTINGS to open the Quick Monitoring Menu.

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SDI PAGE
The SDI Page contains the switches you use to enable or disable the SDI features, and the Look settings for SDI Port 1 and SDI Port 2.
SWITCHES
The SDI 1 and SDI 2 sections contain the switches you can use to enable and disable image magnification, focus and exposure tools, and frame and center guides. For more information, refer to the Monitoring Menu section.
Press the button next to the switch to toggle from disabled to enabled. Select LOOK to open the Look options for the SDI 1 and SDI 2 ports.
You can select the Image / LUT look defined in the Image / LUT menu, or you can select the RWG (REDWideGamutRGB) / Log3G10 Image Processing Pipeline (IPP2) look.

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AUDIO CHANNELS 1 / 2 PAGE
Press the down button to navigate from the Home page to the Audio Channels 1 / 2 page. The Audio Channels 1 / 2 page contains the switch to enable the internal microphone channels (1 and 2), a button to enable and disable the link between the channel 1 and 2 levels, the audio level indicators, the headphone monitoring indicator, the 48-volt phantom power indicator, the audio VU meters for channels 1, 2, 3, and 4, adjusters to reduce the audio channel 1 and 2 levels, and adjusters to increase the audio channel 1 and 2 levels.
TOP BAR
The Audio Channels 1 / 2 top bar allows you to enable the internal microphones (channels 1 and 2). Press the button above CH 1/2 to enable or disable the internal microphones Press the button above LINK to link the audio level adjustments for channels 1 and 2
Refer to the Audio / TC Menu section for more information about the audio features.
LEVEL INDICATORS
The audio level indicators move up and down to indicate the changes in the audio level adjustments. The level measured in decibels is displayed below the level indicators. You can adjust channels 1 and 2 individually, or you can link the channels and adjust them together.

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VU METER
The VU meter displays the headphone indicators, the limiter indicator, the 48 V phantom power indicator, the audio channel numbers, and the audio signal levels.
BOTTOM BAR
The Audio Channels 1 / 2 bottom bar allows you to adjust the internal microphones (channels 1 and 2). You can adjust the channels individually or you can link them and adjust them together.
Press the buttons below CH1 to reduce the external audio levels (channel 1) Press the buttons below CH1 to increase the external audio levels (channel 1) Press the buttons below CH 2 to reduce the external audio levels (channel 2) Press the buttons below CH 2 to increase the external audio levels (channel 2) Refer to the Audio / TC Menu section for more information about the audio features.

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AUDIO CHANNELS 3 / 4 PAGE
Press the down button to navigate from the Home page to the Audio Channels 3 and 4 page. The Audio Channels 3 and 4 page contains a switch to enable the external audio input channels (3 and 4), a button to enable and disable the link between the channel 3 and 4 levels, the audio level indicators, the headphone monitoring indicator, the 48-volt phantom power indicator, the audio VU meters for channels 1, 2, 3, and 4, adjusters to reduce the audio channel 3 and 4 levels, and adjusters to increase the audio channel 3 and 4 levels.
TOP BAR
The Audio Channels 3 and 4 top bar allows you to enable the external audio inputs (channels 3 and 4). Press the button above CH 3/4 to enable or disable the external audio Press the button above CH 3 or CH 4 to open a list of external audio options for those channels (Mic, Line, +48V)
Press the button above LINK to link the audio level adjustments for channels 3 and 4 Refer to the Audio / TC Menu section for more information about the audio features.

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LEVEL INDICATORS
The audio level indicators move up and down to indicate the changes in the audio level adjustments. The level measured in decibels is displayed below the level indicators. You can adjust channels 3 and 4 individually, or you can link the channels and adjust them together.
VU METER
The VU meter displays the headphone indicators, the limiter indicator, the +48 V phantom power indicator, the audio channel numbers, and the audio signal levels.
BOTTOM BAR
The Audio Channels 3 and 4 bottom bar allows you to adjust the external audio (channels 3 and 4) in 3 dB increments. You can adjust the channels individually or you can link them and adjust them together.
Press the buttons below CH 3 to reduce the external audio levels (channel 3) Press the buttons below CH 3 to increase the external audio levels (channel 3) Press the buttons below CH 4 to reduce the external audio levels (channel 4) Press the buttons below CH 4 to increase the external audio levels (channel 4) Refer to the Audio / TC Menu section for more information about the audio features.

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HEADPHONE PAGE

Press the down button to navigate from the Home page to the Headphone page.
The Headphone page contains the switch to enable the headphone jack, a source list to select the source to monitor (CH 1/2 or CH 3/4), the headphone level indicator, the headphone monitoring indicator, the limiter indicator, the +48 volt phantom power indicator, the audio VU meters for channels 1, 2, 3, and 4, an adjuster to reduce the headphone levels, and an adjuster to increase the headphone levels.

TOP BAR

The Headphone top bar allows you to enable/disable the headphone port output, to select the source of the headphone output (internal channels 1 and 2 or external channels 3 and 4), and to quickly access the Audio /TC menu.
Press the button above the headphone icon to enable or disable the headphone audio Press the button above SOURCE to open the list of channels to monitor (Ch 1/2 or Ch 3/4)

Press the button above SETTINGS to open the Audio / TC menu

Refer to the Audio / TC Menu section for more information about the audio features.
LEVEL INDICATOR
The audio level indicator moves up and down to indicate the changes in the headphone level adjustments. The level measured in decibels is displayed below the level indicator.

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VU METER

The VU meter displays the headphone indicators, the limiter indicator, the +48 V phantom power indicator, the audio channel numbers, and the audio signal levels.
BOTTOM BAR
The headphone bottom bar allows you to adjust the headphone volume. Press the button below VOL to reduce the headphone volume Press the button below VOL to increase the headphone volume
Refer to the Audio / TC Menu section for more information about the headphone features.
SENSOR SYNC SHIFT PAGE
Use the Sync Shift page to quickly offset the sensors synchronization from the incoming Genlock source. This allows you to fine-tune synchronization issues in production environments such as shooting with LED Volumes.

The Sensor Sync Shift page buttons allow you to quickly adjust the sensor sync shift in units of 0.013481 microseconds.
USER PAGES
The User (1, 2, 3) pages are the last pages on the LCD. Press the up button to navigate from the Home page to the User pages. The User Pages contain the settings you assigned to the pages in the User Settings menu. From this page you can press buttons next to 1-8 to quickly select a camera setting or feature. Refer to the User Settings Menu section for more information.

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STATUS BAR
The LCD screen displays the camera status bar.

The Status Bar contains the following button and icons: CFexpress Status Icon Temperature / Exposure Icon Timecode Icon Genlock Icon SYNC Icon
Camera Status Icon FTPS Activity Icon
Wi-Fi Icon Network Icon LCD Lock Icon Battery Icon DC-In Icon
CFEXPRESS STATUS ICON

TEMPERATURE / EXPOSURE ICON

This icon displays the status of the CFexpress media card, and it displays the recording time remaining for the current camera settings. The status displayed includes:
Good
Missing
Incompatible

This icon displays the temperature (T) and exposure (E) calibration indicators.
· When T is yellow or red, it indicates that the camera requires sensor re- calibration at the current ambient temperature.
· When E is yellow or red, it indicates that the camera requires sensor re- calibration at the current shutter speed or sensor scan orientation.
Refer to Calibrating the Sensor.

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TIMECODE ICON

GENLOCK ICON

This icon indicates the state of the Timecode generator connection.
Gray indicates that no Timecode generator signal is detected.
Green indicates that the Timecode source is connected and jammed.
Red indicates that the selected Timecode Source is not present, or not jammed in the last 12 hours.
White indicates that the selected Timecode source is not currently connected but was jammed during the current camera boot.
Yellow indicates that the selected Timecode source has not been jammed in current camera boot but has been within the last 12 hours, or that timecode source is cross-jammed (at a different Project Time Base).
SYNC ICON

This icon indicates the state of the Genlock connection.
Gray indicates that no Genlock signal is detected.
Green indicates that the camera is receiving and is locked to a Genlock signal.
Red indicates that the camera is receiving and is not locked to a Genlock signal.
CAMERA STATUS ICON

This icon indicates that the Timecode and Genlock signals are synchronized to the camera’s frames per second (FPS) settings.
Gray indicates that no synchronization is detected.
Green indicates that the camera is synchronized with the Timecode and Genlock signals.
Yellow indicates that the camera is synchronized using Genlock but not Timecode.

This icon indicates the state of the camera hardware. The different icons and their corresponding status include:
Good: Camera operating as expected.
Overheating Warning: Camera is nearing overheated state. Consider cooling the camera.
Overheating: Camera has reached temperature threshold and shut down is imminent.
Shutting Down: Camera is shutting down due to overheating.

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FTPS ACTIVITY ICON

WI-FI ICON

This icon indicates the state of FTPS data transfer. Gray indicates that the FTPS is not transferring
data. Green indicates that the camera is transferring
FTPS data.
NETWORK ICON

This icon indicates the state of Wi-Fi connection.
Gray and empty indicates that no Wi-Fi signal is detected.
White bars indicate that Wi-Fi signal is detected (Infrastructure).
White antenna indicates that Wi-Fi signal is broadcasting (Ad-hoc).
LCD LOCK ICON

This icon indicates the state of the network connection.
Gray indicates that the camera is not connected to a network.
Green indicates that the camera is connected to a network.

This icon indicates the state of the LCD Lock. The states include:
Gray and open indicates that the camera LCD is unlocked.
White and closed indicates that the camera LCD is locked.

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BATTERY ICON

DC-IN ICON

This icon indicates the state of the battery connection and charge level. When the voltage is low, it displays the voltage in red.
Gray indicates that no battery is connected.
White indicates that the battery is connected and green shows the relative level of charge remaining.
Yellow indicates 10 minutes of power remaining.
Red indicates less than 5 minutes of power remaining.
Gray question mark indicates no communication with the battery and no power.
White question mark indicates no communication with the battery and power.
Gray exclamation point indicates error communicating with the battery and no power.

This icon indicates the state of DC power connection.
Gray with gray NA indicates that no DC power is connected.
Green with white voltage numbers indicates that the camera is receiving DC power.
Green with flashing red voltage numbers indicates low DC power. The low power warning gasholder is defined in the System Settings>Power menu.

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RED CONTROL APP
The RED Control app provides remote and tethered access to the camera from a device. Access is available through Wi-Fi, USB-C, USB-C to Ethernet, or GIG-E. The RED Control app is free through the Google Play store and the Apple App store.

The RED Control app allows you to control all of the camera features while viewing the image.

For more information about connecting the camera to RED Control, refer to the How-To section (USB-C Configuration).

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RED CONTROL PRO
You can use the RED Control Pro App for advanced control over the V-RAPTORTM, and for multi-camera arrays. RED Control Pro offers advanced features and an enhanced experience, including native iPad and Mac support, multicamera control, quick settings overview, FTP file access, advanced LUT, CDL and PRESET management, and independent image orientation settings. RED Control Pro is also fully redesigned for larger screens and monitoring of live streaming from several cameras simultaneously. The MacOS version includes additional features such as, clip auto download, and detachable and resizable windows. NOTES:
The RED Control Pro App is compatible with V-RAPTOR, V-RAPTOR XL, and KOMODO 6K only. It is not available for use with DSMC2 or previous generation RED cameras. Lens control requires a compatible electronic lens. Multi-camera control requires that all devices are connected to the same local network.

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4. MENUS

This section describes the menus and sub-menus for the camera. To access the menus, navigate to a menu item from the LCD.

MENUS Image / LUT Menu
Project Settings Menu
Audio / TC Menu
Monitoring Menu Media Menu User Settings Menu Autofocus Menu Communication Menu System Settings Menu
Language Menu Maintenance Menu

DETAILS
ISO, Shutter, White Balance, Output Color Space, Output Tone Map, Highlight Roll-Off, Display Preset, 3D LUT, CDL, Exposure Adjust
Format, Recording Frame Rate, Project Time Base, File Format, R3D Quality, ProRes Proxy Record, ProRes Resolution, ProRes Codec, ProRes Color Profile, Pre-Record, Recording Mode, Timelapse, Frame Limit, Slate
Audio Source, Internal Microphone, External, Headphone, Timecode Source, Jam Timecode to TOD, Timecode Display Mode
Top LCD, SDI 1/2, Live Stream, Tools, Guides
Eject, Media Info, Secure Format
Presets, Side LCD, User 1, User 2, User 3, User Buttons
Enable, Mode, Size, Position, Start AF
Camera, USB-C, Wi-Fi, Serial, FTPS, PTP
Date / Time, Lens, Power, Sensor, Side LCD Brightness, Indicators, GPO Function, Status Settings, System Status
English, Chinese, French, German, Japanese, Spanish
Calibrate, Calibration, Save Log, Reset Defaults, Factory Reset, Upgrade

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IMAGE / LUT MENU
The Image / LUT menu contains the settings you use to configure your image. From the camera LCD menu, navigate to Image / LUT and press SEL:

Use the Image / LUT menu to configure the camera’s image and lookup table (LUT) settings:

ITEM ISO Shutter White Balance Output Color Space Output Tone Map Highlight Roll-Off Display Preset 3D LUT CDL Exposure Adjust

DETAILS Adjusts the image’s brightness in the monitoring path Adjusts the amount of light exposed to the sensor Adjusts the colors to compensate for the light source temperature Adjusts on-set working color space Adjusts the image contrast Adjusts image highlight compression Select the displayed preview image gamma for the SDI ports Manage the camera’s look up tables (LUTs) Opens the Color Decision List (CDL) menu Manually fine-tunes the midtone exposure level

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ISO
Use the ISO setting to adjust the image’s brightness in the monitoring path.
The ISO range is ISO 250 to ISO 12,800. The default ISO is ISO 800. Higher ISO values create brighter images in the monitor path, and lower ISO values create darker images in the monitor path. When you record, the ISO settings are stored as metadata and you can adjust them non-destructively in postprocessing with REDCINE-X PRO or other editing tools that support R3D files. RED recommends setting the ISO to the default of 800, then adjusting the aperture and lighting to match. You can adjust the ISO later for fine-tuning.
SHUTTER
Use Shutter to select the exposure time (shutter speed / shutter angle). The camera allows you to change the shutter settings while recording.
You can switch between angle and time by using the Status Settings or by pressing and holding the button above SHUTTER on the Home Page (refer to Home Page). Decreasing shutter speed increases the amount of time that light hits the sensor, which increases exposure and motion blur of moving objects. Increasing shutter speed decreases the amount of time that light hits the sensor, which decreases exposure and motion blur of moving objects.

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SHUTTER ANGLE
Enter the exposure value as a shutter angle (xx°). The shutter angle range is 1° to 360°. The default shutter angle is 180°. Click Edit to enter an exact shutter angle or shutter speed.

EXPOSURE CONVERSIONS
The table below lists common shutter angle and shutter speed equivalents. The calculations in the table use a recording frame rate of 23.98 fps.

SHUTTER ANGLE (°)
360° 288° 270° 240° 225° 180° 172.8° 144° 135° 120°

SHUTTER SPEED (1/XX SEC)
1/23.98 1/29.97 1/31.97 1/35.96 1/38.36 1/47.95 1/49.95 1/59.94 1/63.95 1/71.93

SHUTTER ANGLE (°)
105° 90° 72° 45° 22.5° 11.2° 8.6° 4° 1°

SHUTTER SPEED (1/XX SEC)
1/82.20 1/95.90 1/119.88 1/191.81 1/383.62 1/770.66 1/1003.65 1/2157.84 1/8000 (max)

SHUTTER SPEED
Enter the exposure value as a shutter speed (1/xx sec).
The slowest shutter speed is 1/(recording frame rate). For example, if the recording frame rate is 23.98 fps, the slowest available shutter speed is 1/23.98 sec. The fastest shutter speed is 1/8000 sec. The default shutter speed is 1/47.95 sec.

CONVERT SHUTTER SPEED TO SHUTTER ANGLE Shutter Angle = (Shutter Speed x Frame Rate x 360) Example: (1/47.95 x 23.98 x 360) = 180

CONVERT SHUTTER ANGLE TO SHUTTER SPEED Shutter Speed = 1/(Frame Rate x 360/Angle) Example: 1/(23.98 x 360/180) = 1/47.95

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WHITE BALANCE
Use the White Balance menu to adjust the Color Temperature and the Tint. When shooting in R3D format, the camera stores white balance as metadata, which you can adjust non-destructively in post-production after filming.

Use the White Balance menu to configure the color temperature and tint settings for your image:

ITEM Color Temperature Color Temperature Presets Tint Auto White Balance

DETAILS Image color temperature correction Select a preset color temperature Adjust magenta-green color component The camera automatically sets the color temperature and tint

COLOR TEMPERATURE
Use Color Temperature to adjust the image’s color temperature in Kelvin units (K) or by selecting presets.

When the image’s light source color temperature is warm, you can compensate by setting the camera to a warmer color temperature. When the image’s light source color temperature is cool, you can compensate by setting the camera to a cooler temperature.
The color temperature range is 1,700 K to 10,000 K. The default color temperature is 5600 K.
When the White Balance List Mode (refer to Status Settings) is set to Presets, the Color Temperature menu list uses the Preset temperatures instead of the Kelvin temperatures.

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COLOR TEMPERATURE PRESETS
Use Color Temperature Presets to select a pre-configured color temperature.

The color temperature presets you can select include:

ITEM Incandescent Tungsten Fluorescent Flash

DETAILS 2800 K 3200 K 4500 K 5500 K

ITEM Daylight Cloudy Shade

DETAILS 5600 K 7500 K 9000 K

TINT
Use Tint to adjust the image’s color tint.
Color temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging. To compensate for any residual colorcast, the Tint setting adjusts the RGB color balance with a compensating magenta-green color component.

Tint range is 100 to 100. The default Tint setting is 0.

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AUTO WHITE BALANCE
Use Auto White Balance to use the camera’s automatic white balance adjustment. When shooting in R3D format, the camera stores white balance as metadata, which you can adjust non-destructively in post-production after filming.
To use Auto White Balance: 1. Place an 18% gray chart in the center of the image under the correct exposure. 2. From the White Balance menu, navigate down to Auto White Balance and press SEL to enable. 3. The camera automatically sets the color temperature and tint settings. NOTE: Place the chart in the same location as your subject, and illuminate it with the same lighting. Make sure that you center the chart, and that it fills at least 25% of the sensor area.

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OUTPUT COLOR SPACE
Use Output Color Space to select the desired color space associated with the clip. When the camera file format is R3D, it saves this color space as metadata, which you can adjust in post-processing. When the camera file format is ProRes, and the ProRes Color Profile is Image/LUT, the camera bakes the color space in the resulting image.
The Output Color Space selections include: DCI-P3 – Digital Cinema Initiatives theater projector standard color space Rec. 709 – Standard Color Space for HDTV (default) Rec. 2020 – Standard Color Space for UHD and HDR REDWideGamutRGB – Color space encompassing all of the colors that the RED camera can generate without clipping
OUTPUT TONE MAP
Use Output Tone Map to adjust the image contrast when displaying the camera output.
When shooting in R3D format, the camera stores this as metadata, which you can adjust non-destructively in postproduction after filming. The Output Tone Map selections include:
Low Contrast – Low contrast is applied to the image Medium Contrast – Medium contrast is applied to the image (default) High Contrast – High contrast is applied to the image

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HIGHLIGHT ROLL-OFF
Use Highlight Roll-Off to select the desired highlight compression to use when displaying the camera output.

When shooting in R3D format, the camera stores this as metadata, which you can adjust non-destructively in postproduction after filming.
The Highlight Roll-Off selections include: Very Soft – The lightest compression is applied to the image highlights Soft – Soft compression is applied to the image highlights (default) Medium – Medium compression is applied to the image highlights Hard – The highest compression is applied to the image highlights
DISPLAY PRESET
Use Display Preset to select the gamma of the displayed preview image for the SDI ports:

When shooting in R3D format, the camera stores this as metadata, which you can adjust non-destructively in postproduction after filming.
The Display Preset allows you to select the gamma for the camera preview and monitor output.
Each monitor is designed to display using a specific gamma. Most monitors use SDR. However, some support HDR and HLG gamma signals. Select the display preset that works best with your monitor.
The selections are: SDR – Standard Dynamic Range (default) HDR – High Dynamic Range HLG – Hybrid Log-Gamma
Standard-dynamic-range (SDR) video describes images or video using a conventional gamma curve signal.
High-dynamic-range (HDR) video images are recorded using the SMPTE-2084 PQ curve. This technology captures and outputs a greater range of luminance than images recorded using standard-dynamic-range (SDR) methods.
Hybrid log-gamma (HLG) delivers HDR resolution without the need for metadata. This allows HLG to display well on SDR and HDR monitors.

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3D LUT
Use the 3D LUT menu to apply and manage the camera’s Look-Up Tables (LUTs).

LUT

When you are recording in the ProRes format, you can choose to irreversibly encode (bake) the 3D LUT into the recorded file. For more information, refer to the ProRes Color Profile section. When you are recording in the R3D format, this LUT will be saved along with each clip on which it is activated during recording. The output file name format for the LUT is clip_LUT Name.cube. The LUT is non-destructive, and it is reversible, when recording in the R3D format.
ON MEDIA LUTS
To import 3D LUTs from media, go to MENU > IMAGE / LUT > 3D LUT > On Media LUTs.

3D LUTs can be imported from media to the camera. When importing 3D LUTs from media to the camera, the 3D LUTs must be saved on the root path of your media, in a folder titled “luts.”
From On Media LUTs, you can: Import the selected 3D LUT from the media to the camera Import all 3D LUTs from the media to the camera
When you copy LUTs from a computer to the media, make sure that the card reader is not set to read only.

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IN CAMERA LUTS
To export and delete 3D LUTs stored in the camera, go to MENU > IMAGE / LUT > 3D LUT > In Camera LUTs.
You can export 3D LUTs stored on the camera, to media, to use on other cameras. When you export 3D LUTs from the camera to media, the 3D LUTs are saved to a folder on the media called “luts.” NOTE: When a LUT is active during record, it will automatically be saved along with the recorded clip. From In Camera LUTs you can:
Delete a selected 3D LUT from the camera Export a selected 3D LUT from the camera to the media Export all 3D LUTs from the camera to the media
CDL

The Color Decision List (CDL) allows you define the look of the camera’s colors in your project.
Use the CDL menu to: Enable the CDLs Configure CDL Power Configure CDL Slope Configure CDL Offset Configure CDL Saturation
MANAGE CDLS
Use the CDLs menu to import and export CDLs.
CDLs can be stored on the camera or transferred to media to be shared with other cameras. When exporting CDLs from camera to media, the CDLs are saved to a folder on the media called “cdls”. When importing CDLs from media to the camera, the CDLs must be stored on the media in a folder called “cdls.”
When you record with a CDL in both ProRes and R3D formats, the camera automatically saves the CDL together with the clip. The output file name format for the CDL is clip_CDL Name.
To export selected CDLs from the camera to the media, refer to the In Camera CDLs section.
To import selected CDLs from the media to the camera, refer to the On Media CDL section.

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CDL OVERVIEW
A Color Decision List (CDL) is a metadata file format developed by the American Society of Cinematographers (ASC) to exchange standard color correction information between post-production tools. This non-destructive color adjustment layer simplifies the versioning of looks by updating simple metadata without the need to re-transfer the image data.
CDLs are very common in VFX workflows because the VFX artist needs both the ungraded shot and the intended look. The ungraded shot allows the artist to comp in truly linear light, and the intended look is needed to confirm that the individual plates still hold together after the grade is applied.
SLOPE, OFFSET AND POWER
The three CDL tone curve parameters are Slope, Offset and Power. These algorithms allow the camera to modify the recorded image.
Slope multiplies the incoming data Offset is sum of the incoming data Power is a power function to the incoming data
These three relate to Gain, Lift, and Gamma in the following ways: Slope = Gain Gain Adjusts highlights. Offset = Lift Lift Increases the value of dark colors. Power = Gamma Gamma adjusts midtones.
These three relate to each other in the following ways:
Slope= input x slope
Offset= (input x slope) + offset
Power= ((input x slope) + offset) ^ power
The formula for ASC CDL color correction is:

where

is the color graded pixel code value is the input pixel code value (0=black, 1=white) is slope (any number 0 or greater, nominal value is 1.0) is offset (any number, nominal value is 0) is power (any number greater than 0, nominal value is 1.0)

The formula is applied to the three color values for each pixel using the corresponding slope, offset, and power numbers for each color channel.
SATURATION
A fourth parameter “Saturation” is achieved by converting the out data in a Luma and Chroma component. The Chroma Signal is then multiplied by the “Saturation” parameter.

FILM GRADE AND VIDEO GRADE
With Slope and Offset you can produce both a Film Grade “Exposure” and “Contrast” and a Video Grade “Lift” and “Gain”.
Exposure is achieved by Offset Contrast is achieved by a combination of Offset and Slope Gain is achieved by Slope Lift is achieved by a combination of Offset and Slope Gamma is achieved by Power

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CDL POWER
The CDL Power settings control the power of the Red, Green, Blue, color data.

Use the CDL Power menu to adjust the power of the Red, Green, and Blue CDL data.
CDL POWER SETTINGS

The CDL Power settings range from 0.00000 to 4.00000. The default CDL Power setting for each color is 1.00000.
CDL SLOPE
The CDL Slope settings multiply the incoming RGB data.

Use the CDL Slope menu to set the slope of the red, green, and blue signals.
SLOPE SETTINGS

The CDL Slope settings range from 0.00000 to 2.00000. The default CDL Slope setting for each color is 1.00000.

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CDL OFFSET
The CDL Offset settings control the offset of the RGB color data.

Use the CDL Offset menu to adjust the offset of the CDL Slope for the Red, Green, and Blue CDL data.
RED GREEN AND BLUE OFFSETS

These CDL Offset settings range from -1.00000 to 1.00000. The default CDL Offset setting for each color is 0.00000.

CDL SATURATION

The CDL Saturation settings control the intensity of the color data.

Use the CDL Saturation menu to adjust the intensity of the image color.

The CDL Saturation settings range from 0.00000 to 4.00000. The default CDL Saturation setting is 1.00000.

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ON MEDIA CDL
Use On Media CDLs to copy CDLs stored on the media and store them on the camera.

CDLs can be imported from media to the camera. When importing CDLs from media to the camera, the CDLs are saved to a folder on the camera called “cdls.” From Media CDLs you can import the selected CDL from the media to the camera or import all of the CDLs from the media to the camera. When you copy CDLs from a computer to the media, make sure that the card reader is not set to Read Only.
IN CAMERA CDLS
Use In Camera CDLs to copy CDLs stored on the camera and store them on the media. You can also select which stored CDLs you want the camera to use.

CDLs can be exported from the camera to the media. When exporting CDLs from camera to the media, the CDLs are saved to a folder on the media called “cdls.” From Camera CDLs you can apply the selected CDL to the camera, delete the selected CDL from the camera, export the selected CDL from the camera to the media, or export all of the CDLs from the camera to the media.
EXPOSURE ADJUST
Use Exposure Adjust to manually fine-tune the midtone exposure level.

The Exposure Adjust range is 8.000 to 8.000. The default is 0.000.
Exposure Adjust allows you to adjust the midtone exposure levels while preserving the highlights and shadows, even when changed substantially. The Exposure Adjust setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop change in midtone exposure level.

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PROJECT SETTINGS MENU
The Project Settings menu contains the camera’s main recording configuration settings. From the camera LCD menu, navigate to Project Settings and press SEL:

Use the Project Settings menu to configure the recording settings:

ITEM Format Recording Frame Rate Project Time Base File Format R3D Quality ProRes Proxy Record ProRes Resolution ProRes Codec ProRes Color Profile Pre- Record Recording Mode Timelapse Frame Limit Slate

DETAILS Size of the area captured by the sensor Frames recorded per second
Image playback rate Select the file recording format Compression level of the recorded image file Records a ProRes Proxy file along with the R3D file
Select the ProRes file resolution Select the ProRes file codec Select the color profile you want baked in the ProRes
Enable and configure a pre-record clip Select normal motion or time-lapse recording Select time-lapse settings Configure a frame limit for recording Enter the camera ID, camera position, camera operator, scene, shot, take, production, director, DoP, and unit

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FORMAT
Use the Format setting to designate how much of the sensor the camera should use to capture images.

Use the Format menu to configure the camera’s sensor capture area settings:

ITEM

DETAILS

VV (8K)

Select from VV (8K) sensor capture areas

VV Anamorphic (8K)

Select from VV anamorphic (8K) sensor capture areas

Super 35 (6K)

Select from Super 35 (6K) sensor capture areas

Super 35 Anamorphic (7K/6K) Select from Super 35 anamorphic (7K/6K) sensor capture areas

Super 16 (3K)

Select from Super 16 (3K) sensor capture areas

All Formats

Select from all sensor capture areas

The available aspect ratios are determined by the selected resolution. The default format setting is 8K 17:9.

When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the 8K 17:9 format when recording RAW.

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VV (8K)
Use the VV (8K) format setting to designate how much of the sensor the camera should use to capture images.

The available aspect ratios are determined by the selected resolution.

VV (8K) FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in pixels and in millimeters used by each VV (8K) format. These dimensions are close approximations. The default format is 8K 17:9.

FORMAT
8K 17:9 8K 2:1 8K 2.4:1 8K 16:9 8K 1:1

DIMENSION (PIXELS)

Width

Height

8192 8192 8192 7680 4320

4320 4096 3456 4320 4320

DIMENSIONS (MM) Width Height Diagonal

40.96 40.96 40.96 38.40 21.60

21.60 20.48 17.28 21.60 21.60

46.31 45.79 44.46 44.06 30.55

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VV ANAMORPHIC (8K)
Use the VV Anamorphic (8K) format setting to designate how much of the sensor the camera should use to capture anamorphic images with the appropriate de- squeeze ratio.

The available aspect ratios are determined by the selected resolution.
When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the format when recording RAW.

VV ANAMORPHIC (8K) FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in pixels and in millimeters used by each VV Anamorphic (8K) format. These dimensions are close approximations. The default format is 8K 4:3 2x.

FORMAT
8K 4:3 2x 8K 6:5 2x 8K 1:1 2x 8K 3:2 1.8x 8K 4:3 1.8x 8K 3:2 1.6x 8K 16:9 1.5x 8K 17:9 1.3x 8K 16:9 1.3x 8K 17:9 1.25x

DIMENSION (PIXELS)

Width

Height

5760 5184 4320 6480 5758 6480 7680 8192 7680 8192

4320 4320 4320 4320 4320 4320 4320 4320 4320 4320

DIMENSIONS (MM) Width Height Diagonal

28.80 25.92 21.60 32.40 28.80 32.40 38.40 40.96 38.40 40.96

21.60 21.60 21.60 21.60 21.60 21.60 21.60 21.60 21.60 21.60

36.00 33.74 30.55 38.94 36.00 38.94 44.06 46.31 44.06 46.31

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SUPER 35 (6K)
Use the Super 35 (6K) format setting to designate how much of the sensor the camera should use to capture images.

The available aspect ratios are determined by the selected resolution.
When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the 6K 17:9 format when recording RAW.

SUPER 35 (6K) FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in pixels and in millimeters used by each Super 35 (6K) format. These dimensions are close approximations. The default format is 6K 17:9.

FORMAT
6K 17:9 6K 2:1 6K 2.4:1 6K 16:9 6K 1:1

DIMENSION (PIXELS)

Width

Height

6144 6144 6144 5760 3240

3240 3072 2592 3240 3240

DIMENSIONS (MM) Width Height Diagonal

30.72 30.72 30.72 28.80 16.20

16.20 15.36 12.87 16.20 16.20

34.73 34.35 33.31 33.04 22.91

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SUPER 35 ANAMORPHIC (7K/6K)
Use the Super 35 Anamorphic Format setting to designate how much of the sensor the camera should use to capture images.

The available aspect ratios are determined by the selected resolution.
When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the format when recording RAW.

SUPER 35 ANAMORPHIC (7K/6K) FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in pixels and in millimeters used by each Super 35 Anamorphic (7K/6K) format. These dimensions are close approximations. The default setting is 7K 4:3 2x.

FORMAT
7K 4:3 2x 7K 6:5 2x 7K 1:1 2x 7K 3:2 1.8x 7K 4:3 1.8x 7K 3:2 1.6x 6K 16:9 1.5x 6K 17:9 1.3x 6K 16:9 1.3x 6K 17:9 1.25x

FILM EQUIVALENT
Super 35 mm 4-Perf Super 35 mm 4-Perf Super 35 mm 4-Perf Super 35 mm 4-Perf Super 35 mm 4-Perf Super 35 mm 4-Perf Super 35 mm 3-Perf Super 35 mm 3-Perf Super 35 mm 3-Perf Super 35 mm 3-Perf

DIMENSION (PIXELS)

Width 5040 4536 3780 5670 5040 5670 5760 6144 5760 6144

Height 3780 3780 3780 3780 3780 3780 3240 3240 3240 3240

DIMENSIONS (MM)

Width 25.20 22.68 18.90 28.35 25.20 28.35 28.80 30.72 28.80 30.72

Height 18.90 18.90 18.90 18.90 18.90 18.90 16.20 16.20 16.20 16.20

Diagonal 31.50 29.52 26.73 28.14 31.50 28.14 33.04 34.73 33.04 34.73

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SUPER 16 (3K)
Use the Super 16 (3K) format setting to designate how much of the sensor the camera should use to capture images.

The available aspect ratios are determined by the selected resolution.
When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the format when recording RAW.

SUPER 16 (3K) FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in pixels and in millimeters used by each Super 16 (3K) format. These dimensions are close approximations. The default format is 3K 17:9.

FORMAT
3K 17:9 3K 2:1 3K 2.4:1 3K 16:9 3K 1:1

DIMENSION (PIXELS)

Width

Height

3072 3072 3072 2880 1620

1620 1536 1296 1620 1620

DIMENSIONS (MM) Width Height Diagonal

15.36 8.10 15.36 7.68 15.36 6.48 14.40 8.10 8.10 8.10

17.36 17.17 16.67 16.52 11.46

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ALL FORMATS
Use the All Formats setting to select from all of the possible formats to designate how much of the sensor the camera should use to capture images.

The available aspect ratios are determined by the selected resolution.
When you lower the resolution on the camera, only a portion of the sensor is used. The camera does not downscale from the 8K 17:9 format when recording RAW.

FORMAT SPECIFICATIONS
This table contains the dimensions of the sensor area in Pixels and in Millimeters used by all of the camera formats. These dimensions are close approximations. The default setting is 8K 17:9.

FORMAT
8K 17:9 8K 2:1 8K 2.4:1 8K 16:9 8K 1:1 8K 4:3 2x 8K 6:5 2x 8K 1:1 2x 8K 3:2 1.8x 8K 4:3 1.8x 8K 3:2 1.6x 8K 16:9 1.5x 8K 17:9 1.3x 8K 16:9 1.3x 8K 17:9 1.25x 7K 17:9 7K 2:1 7K 2.4:1 7K 16:9 7K 1:1 7K 4:3 2x

DIMENSION (PIXELS)

Width

Height

8192

4320

8192 8192

4096 3456

7680

4320

4320 5760

4320 4320

5184

4320

4320 6480

4320 4320

5758

4320

6480 7680

4320 4320

8192

4320

7680 8192

4320 4320

7168

3780

7168 7168

3584 3002

6720

3780

3780 5040

3780 3780

DIMENSIONS (MM) Width Height Diagonal

40.96 21.6

46.31

40.96 40.96

20.48 17.28

45.79 44.46

38.40 21.6

44.06

21.6 28.80

21.6 21.60

30.55 36.00

25.92 21.60

33.74

21.60 32.40

21.60 21.60

30.55 38.94

28.80 21.60

36.00

32.40 38.40

21.60 21.60

38.94 44.06

40.96 21.60

46.31

38.40 40.96

21.60 21.60

44.06 46.31

35.84 18.90

40.52

35.84 35.84

17.92 15.01

40.07 38.86

33.60 18.90

38.55

18.90 25.20

18.90 18.90

26.73 31.50

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FORMAT
7K 6:5 2x 7K 1:1 2x 7K 3:2 1.8x 7K 4:3 1.8x 7K 3:2 1.6x 6K 17:9 6K 2:1 6K 2.4:1 6K 16:9 6K 1:1 6K 16:9 1.5x 6K 17:9 1.3x 6K 16:9 1.3x 6K 17:9 1.25x 5K 17:9 5K 2:1 5K 2.4:1 5K 16:9 5K 1:1 4K 17:9 4K 2:1 4K 2.4:1 4K 16:9 4K 1:1 3K 17:9 3K 2:1 3K 2.4:1 3K 16:9 3K 1:1 2K 17:9 2K 2:1 2K 2.4:1 2K 16:9 2K 1:1 4K 8:1

DIMENSION (PIXELS)

Width

Height

4536

3780

3780 5670

3780 3780

5040

3780

5670 6144

3780 3240

6144

3072

6144 5760

2592 3240

3240

5760 6144

3240 3240

5760

3240

6144 5120

3240 2700

5120

2560

5120 4800

2160 2700

2700

4096 4096

2160 2048

4096

1728

3840 2160

2160 2160

3072

1620

3072 3072

1536 1296

2880

1620

1620 2048

1620 1080

2048

1024

2048 1920

864 1080

1080

4096

512

DIMENSIONS (MM) Width Height Diagonal

22.68 18.90

29.52

18.90 28.35

18.90 18.90

26.73 28.14

25.20 18.90

31.50

28.35 30.72

18.90 16.20

28.14 34.73

30.72 15.36

34.35

30.72 28.80

12.87 16.20

33.31 33.04

16.20 16.20

22.91

28.80 30.72

16.20 16.20

33.04 34.73

28.80 16.20

33.04

30.72 25.60

16.20 13.50

34.73 28.94

25.60 12.80

28.62

25.60 24.00

10.80 13.50

27.78 27.54

13.50 13.50

19.09

20.48 20.48

10.80 10.24

23.15 22.90

20.48 8.64

22.23

19.20 10.80

10.80 10.80

22.03 15.27

15.36 8.10

17.36

15.36 7.68 15.36 6.48

17.17 16.67

14.40 8.10

16.52

8.10

10.24 5.40

11.46 11.58

10.24 5.12

11.45

10.24 4.32

9.60

5.40

11.11 11.01

5.40

7.64

20.48 2.56

20.64

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RECORDING FRAME RATE
Use Recording Frame Rate to select the recording frame rate (also referred to as the capture frame rate).

The recording frame rate is the number of frames per second (FPS) that are recorded. The recording frame rate is different from the project time base, which is the rate at which the footage will be played back. Lower values than the project time base will result in under-cranking (fast motion playback) and values larger than the project time base will result in over-cranking (slow motion playback).
The maximum frame rate for each format is determined by Project Time Base and Format.
When you select a Project Time Base, the camera automatically selects a matching Recording Frame Rate and an R3D Quality (when possible). You must change the Recording Frame Rate and R3D Quality after the Project Time Base to select a different setting.
A Recording Frame Rate highlighted in yellow will result in playback occurring at a different frame rate than the original recording, and will record varispeed audio.

FORMATS AND FRAME RATES
This table lists the camera’s maximum recording frame rates. These rates are based on a Project Time Base setting of 24 frames per second (24 FPS).

FORMAT FPS

8K 17:9 120

8K 2:1

126

8K 2.4:1 150

8K 16:9 120

8K 1:1

120

7K 17:9 140

7K 2:1

144

7K 2.4:1 175

7K 16:9 137

7K 1:1

137

FORMAT FPS

6K 17:9 160

6K 2:1

168

6K 2.4:1 200

6K 16:9 160

6K 1:1

160

5K 17:9 192

5K 2:1

202

5K 2.4:1 240

5K 16:9 192

5K 1:1

192

FORMAT FPS

4K 17:9 240

4K 2:1

253

4K 2.4:1 300

4K 16:9 240

4K 1:1

240

3K 17:9 320

3K 2:1

337

3K 2.4:1 400

3K 16:9 320

3K 1:1

320

FORMAT 2K 17:9 2K 2:1 2K 2.4:1 2K 16:9 2K 1:1 4K 8:1

FPS 480 505 600 480 480 1000

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PROJECT TIME BASE
Use the Project Time Base setting to choose the playback rate for the recorded footage.

The following project time bases are available:

· 23.98 FPS (Default) · 25.00 FPS · 30.00 FPS · 59.94 FPS

· 24.00 FPS

· 29.97 FPS · 50.00 FPS · 60.00 FPS

When you select the Project Time Base, it changes the Recording Frame Rate to the same setting (when possible).

When you change the Format, the Recording Frame Rate and Project Time Base do not automatically update. You must select the Project Time Base after you change the Format setting.

FILE FORMAT
Use File Format to select the format that the camera uses to record image files.

When you change the file format, a message warns you that the camera must be rebooted to complete the change:

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R3D REDCODE FILE FORMAT
The RED R3D file format records images in a compressed RAW format. In comparison to Apple ProRes, REDCODE RAW data does not bake in image settings like ISO, saturation, or LUTs, allowing more flexibility in post-processing workflows without reducing image quality or dynamic range. Instead R3D files store the image settings as Metadata. You can open and process R3D files with REDCINE-X PRO or with non-linear editing (NLE) software that supports the RED SDK.
R3D is the camera’s default file format.
APPLE PRORES FORMAT
This section provides general information about recording Apple ProRes files with the camera, including: The maximum recording frame rate in ProRes is 120 frames per second (FPS). QuickTime files have the same metadata as the REDCODE RAW files. The metadata is per clip, and not per frame. You can select a Format from the Project Settings Menu and the camera will scale it to the target resolution you select in ProRes Resolution. Recording 4K ProRes files requires 4K and above formats in 17:9. When in ProRes, formats below 4K will automatically be recorded as 2K or HD. ProRes Proxy files are recorded in 2K for 17:9 formats and in HD for all others. For more information about Apple ProRes, including the data rates for each codec, refer to the Apple ProRes White Paper.

APPLE PRORES DESCRIPTION
The table below describes each supported Apple ProRes codec.

NAME ProRes 4444 XQ ProRes 4444 ProRes 422 HQ ProRes 422 ProRes 422 LT

CHROMA SAMPLING Y’ Cb Cr + 4:4:4:4 Y’ Cb Cr + 4:4:4:4 Y’ Cb Cr 4:2:2 Y’ Cb Cr 4:2:2 Y’ Cb Cr 4:2:2

DATA RATE 1697 Mbps at 4K 17:9 and 24 FPS 1131 Mbps at 4K 17:9 and 24 FPS 754 Mbps at 4K 17:9 and 24 FPS 503 Mbps at 4K 17:9 and 24 FPS 350 Mbps at 4K 17:9 and 24 FPS

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FILE STRUCTURE OF RECORDED APPLE PRORES FILES
When you record using R3D + ProRes Proxy, this is the file structure of the recorded files on the media: .RDM Folder .RDC Folder .mov .R3D .rtn (RED Thumbnail file)
When you record using ProRes format, this is the file structure of the recorded files on the media: .RDM Folder .RDC Folder .mov

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R3D QUALITY
Use R3D Quality to select the R3D data rate the camera uses to record the image files.

The R3D Quality selections include: HQ – High data rate and less recording time MQ – Medium data rate (default) and longer recording time LQ – Low data rate and long recording time ELQ – Lowest data rate and longest recording time
For high complexity scenes, VFX, and stills from motion workflows, RED recommends the HQ setting. For cinema (nonVFX) and high-end TV, RED recommends the MQ setting. For TV, online content, documentary and interviews, RED recommends the LQ setting. ELQ compression mode provides nearly 50% more recording time than LQ, and RED recommends using ELQ for scenes where the complexity is low or the final delivery resolution is lower than the acquisition resolution (downsampling).

R3D QUALITY DATA RATES

FORMAT 24P HQ 24P MQ

8K 17:9

446 MB/s 312 MB/s

6K 17:9

251 MB/s 176 MB/s

24P LQ 195 MB/s 110 MB/s

24P ELQ 104 MB/s 68 MB/s

PRORES PROXY RECORD
You can enable the camera to record a ProRes proxy file along with the R3D file.

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When ProRes Proxy is enabled, the ProRes menus are enabled. The setting for ProRes resolution is set to 2K (17:9) or HD, and you cannot change it. You can select from the ProRes Codec list and the ProRes Color Profile:
PRORES RESOLUTION
Use ProRes Resolution to select the resolution to record when the File Format is set to ProRes. When you enable ProRes Proxy, the ProRes resolution is set automatically to 2K or HD.
The ProRes Resolution selections include: HD (16:9) 2K (17:9) UHD (16:9) 4K (17:9, default)
The camera will downscale to achieve the selected ProRes resolution when the aspect ratios of your format and ProRes resolution do not match.
PRORES CODEC
When you enable ProRes or R3D+ProRes Proxy as the File Format, you can select the ProRes Codec.

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The ProRes Codec selections include: R3D+ProRes Proxy
ProRes 422 HQ ProRes 422 ProRes 422 LT
ProRes ProRes 4444 XQ ProRes 4444 ProRes 422 HQ ProRes 422 ProRes 422 LT
PRORES COLOR PROFILE
When you enable ProRes or ProRes Proxy as the File Format you can select the ProRes Color Profile settings.

The ProRes Color Profile settings include: RWG/Log3G10 – REDWideGamutRGB color space and Log3G10 gamma curve Image / LUT – Applies all Image / LUT settings for Output Color Space, Display Preset, 3D LUT, and CDL
NOTE: All ProRes Color Profile settings bake in both the ISO and the White Balance settings.
PRE-RECORD
Use the Pre-Record menu to enable or disable Pre-Record, and to adjust the length of the Pre-Recorded clip.

Pre-Record allows you to continually capture images to a small amount of memory while waiting to begin recording. This allows you to capture unexpected events such as, a whale breaching the water, or an athlete scoring a goal. When you finish recording, the pre-recorded clip is added to the beginning of the recording.
You can set the Pre-Record clip to record from half a second up to 30 seconds, depending on the format, file type, resolution, and quality. The default setting is 2 seconds at the default Project Time Base of 23.98 FPS.

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When the Recording Frame Rate and Project Time Base are set to unmatched rates, the time interval changes and is displayed in yellow. For more information, refer to Pre-Recording Content.
ENABLE
Select Enable to toggle Pre-Record on and off.
TIME
Select Time to choose or enter the number of seconds to pre-record.
PLAYBACK DURATION
Playback Duration displays the duration in seconds that the pre-record clip will last in playback.
FRAMES TO RECORD
Frames to Record displays the number of frames the pre-recorded clip will contain at the current settings.

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RECORDING MODE
Use Recording Mode to select between normal motion recording or time-lapse recording.

When you select Timelapse, the Timelapse option is enabled on the menu.
TIMELAPSE
Use Timelapse to select the select the time-lapse settings. From Timelapse you can select the interval time between the group of frames per interval, and you can select the number of frames captured per interval.
INTERVAL TIME
Select Interval Time to enter the elapsed time between the group of frames per interval. For example: 60s = 1 minute 3600s = 1 hour 86400s = 1 day
FRAMES PER INTERVAL
Select Frames Per Interval to enter the number of frames to record per interval. Adding more frames per interval allows you to have more flexibility in post (for example: image stacking).

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FRAME LIMIT
Use Frame Limit to limit the total number of frames recorded per clip. Frame limit applies to both Motion and Timelapse recording modes.
The Frame Limit selections include Enable, Frames, and Playback Duration.
ENABLE
Select Enable to toggle the activation of the Frame Limit feature.
FRAMES
Use frames to enter the maximum number of frames the clip can record.
PLAYBACK DURATION
Playback Duration displays the calculated playback duration of the clip with the selected Frame Limit and FPS. For example, using 1440 Frames as a Frame Limit at 24 FPS results in one minute of playback duration.

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SLATE
Use the Slate menu to enter information the camera adds when recording clips.

The information you can add to a clip includes:

Camera ID Camera Position Camera Operator

Scene

Production

Unit

Shot

Director

Take

DoP

NOTE: When you set the Camera ID and Camera Position, they are also set in the Media>Secure Format menu items.

CAMERA ID
Use Camera ID to assign a camera ID when the camera records clips. NOTE: You can also change the Camera ID by using Secure Format (refer to Secure Format).

The camera IDs you can assign when recording a clip include the letters A-Z.
CAMERA POSITION
Use Camera Position to assign a camera position letter when the camera records clips.

The camera positions you can assign when recording a clip include the letters A-Z.

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CAMERA OPERATOR
Use Camera Operator to enter the name of the camera operator.
SCENE
Use Scene to enter the scene name.
SHOT
Use Shot to enter the number of the shot.
TAKE
Use Take to enter the number of the take.

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PRODUCTION
Use Production to enter the name of the production.
DIRECTOR
Use Director to enter the name of the director.
DOP
Use DoP to enter the name of the director of photography.
UNIT
Use Unit to enter the name of the production unit.

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AUDIO / TC MENU
The Audio / TC menu contains the settings you use to configure your camera audio and Timecode. From the camera LCD menu, navigate to Audio / TC and press SEL:

Use the Audio / TC menu to configure the audio and Timecode settings for the camera:

ITEM Audio Source Internal Microphone (Ch 1/2) External (Ch 3/4) Headphone Timecode Source Auto Jam Jam Timecode to TOD Timecode Display Mode

DETAILS Audio input source Left and right internal microphone levels Left and right external audio levels Headphone volume level Timecode source Button to enable auto-jamming TOD Timecode Button to jam Timecode to time-of-day (TOD) Timecode to display

AUDIO DETAILS
The camera is equipped with two integrated microphones suitable for scratch- track audio (Ch 1 and 2), and it is equipped with a 5-Pin LEMO audio connector that accepts 2-channel audio, Line, Mic, and +48V Phantom Power for external audio (Ch 3 and 4).
You can link the gain for the two internal channels together and you can link the two external channels together. This allows you to adjust the two internal (or external) channels together as one.
You can record audio from the internal microphones, from the external audio connector (2-channel recording), or from internal and external sources combined as 24-bit 48 kHz uncompressed audio tracks.
You can adjust the external audio by using the appropriate camera gain- settings (-52.5 dB to 36.0 dB). The default camera gain setting is 1 dB.
The camera’s audio data is synchronized with video and timecode, and it is embedded in the R3D file. You can export the audio data as separate audio files by using REDCINE-X PRO, if needed. The camera also embeds the audio in the SDI output.
You can monitor the audio during recording and playback by using the equipped 3.5 mm stereo headphone port.

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VARISPEED AUDIO
This camera has the ability to record audio when the camera’s Recording Frame Rate is set to a higher speed than the Project Time Base setting (Varispeed mode). NOTE: The camera records the audio as a separate WAV file and stores it in the clip’s RDC folder on the media drive.

TIMECODE DETAILS
Timecode provides a mechanism to reference frames from the camera’s recorded clips to external devices, such as other cameras or audio recorders. Some devices can also gather additional data such as, lens metadata, or camera orientation, which Timecode can later use for merging the data back together in post-processing.
The camera provides two separate Timecode formats: Time Of Day (TOD) – The camera records the time of day as the Timecode for each clip Edgecode – The camera records elapsed time as the Timecode for each clip. The time is reset to 01:00:00 when a new media card is inserted in the camera. All of the clips on the media will have a continuous Timecode track. However, each new media card will default to a Timecode track starting at 01:00:00. Edgecode is equivalent to RUN RECORD as used on broadcast cameras. You can change the Edgecode to begin at any desired time by using the Media Format menu (refer to Edgecode).
The camera synchronizes (jams) the TOD Timecode to an external Timecode generator (when one is connected to the camera) or it jams the Timecode to its internal real-time clock.
When using Internal TOD, a jam between the running timecode and a real time clock is required. The time at which this jam occurs will have an effect on the overall timecode drift over a 24-hour period due to the nature of non- drop-frame (NDF) timecode. By enabling Auto-Jam, the camera automatically jams its timecode, ensuring repeatable drift across multiple cameras and days.
When Auto Jam is disabled, you can manually pick the instant in which you want to jam timecode to the real time clock.
The camera stores TOD and Edge Timecode in the R3D file. You can select which one you want to display on the side LCD (refer to Timecode Display Mode).

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AUDIO SOURCE
Use the Audio Source settings to select the audio input source.
The audio input sources include: None Internal Microphone (Ch 1/2) – enables the Internal Microphone (Ch 1/2) menu (default) External (Ch 3/4) – enables the External (Ch 3/4) menu Internal + External – enables all audio sources
NOTE: The headphones can only monitor the internal microphone channels (Ch 1 and 2) or the external audio channels (Ch 3 and 4).
INTERNAL MICROPHONE (CH 1/2)
Use the Internal Microphone (Ch 1/2) settings to set the left and right internal audio levels (channels 1 and 2). This menu is only enabled when the Audio Source is set to Internal Microphone or Internal + External. Internal audio is intended as scratch audio quality only. NOTE: When the Recording Frame Rate and Project Time Code settings are different, varispeed audio is recorded (refer to Audio / TC Menu).

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The Internal Microphone is represented as Channels 1 and 2 on the Home Page and on the Audio Channels 1/2 Page VU Meters (refer to LCD for more information). The left channel is channel 1 and the right channel is channel 2.
You can adjust the internal audio levels for left and right from -52.5 dB to 36.0 dB. The default setting is 0 dB. When you enable Link Left & Right Gain, the channels are linked together and adjusted as one.
EXTERNAL (CH 3/4)
Use the External audio settings to set the left and right external audio levels. This menu is only enabled when the Audio Source is set to External (Ch 3/4) or Internal + External. NOTE: When the Recording Frame Rate and Project Time Code settings are different, varispeed audio is recorded (refer to Audio / TC Menu).

The External audio is represented as Channels 3 and 4 on the Home Page and on the Audio Channels 3/4 Page VU Meters (refer to LCD for more information). The left channel is channel 3 and the right channel is channel 4.
GAIN
You can adjust the external audio gain levels for channels 3 and 4 from -8.0 dB to 34.0 dB.

The default setting is 1.0 dB. When you enable Link Channel 3 and Channel 4 Gain, the channels are linked together and adjusted as one.

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SOURCE
Use Source to select the type of input connected to external audio channel 3 and 4 ports.
You can select microphone, line, or +48V phantom power. The default setting is microphone (Mic).
LIMITER
When enabled, use the limiter to place a limit past which the audio level for channels 3 and 4 cannot exceed.
You can select from -2.0 to -12.0 Decibel Full Scale (dBFS) as the limit. The default limit is -6.0 dBFS.
HEADPHONE
Use the Headphone settings to enable the headphone jack and to adjust the headphone volume.
You can enable and disable the headphone audio jack by pressing SEL to toggle Enable to the right (green / enabled) and to the left (red / disabled).

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VOLUME
You can adjust the headphone volume from 0 to 100.

SOURCE
When the Audio Source is set to Internal + External, you can use Source to select the audio source you want to monitor with the headphones.

You can select the internal microphone channels 1 and 2, or you can select the external channels 3 and 4. The default setting is the internal microphone channels 1 and 2.
TIMECODE SOURCE
Use Timecode source to configure the Timecode source the camera applies to the recordings.

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INTERNAL TOD
Use Internal Time of Day (TOD) to JAM to the camera’s internal Timecode generator. When using Internal TOD, a jam between the running timecode and a real time clock is required. The time at which this jam occurs will have an effect on the overall timecode drift over a 24-hour period due to the nature of non-drop-frame (NDF) timecode. By enabling Auto-Jam, the camera automatically jams its timecode, ensuring repeatable drift across multiple cameras and days. When Auto Jam is disabled, you can manually pick the instant in which you want to jam timecode to the real time clock.
INTERNAL MANUAL
Use Internal Manual to JAM to the camera’s internal Timecode generator and edit the Timecode starting number. Select Manual Timecode OK to open the JAM and editing options:

Select JAM to jam to the internal Timecode or select Manual Timecode to open the editing screen:

Enter the desired Timecode number and select OK. Select JAM to jam to the edited Timecode number.
EXTERNAL
Use External to connect an external Timecode generator to the 5-Pin 0B Timecode port (refer to Camera Body and Timecode Port for more information).
PRECISION TIME PROTOCOL (PTP)
Use PTP to connect an external PTP clock to the Extension Port (refer to Camera Body and Extension Port for more information). Precision Time Protocol (SMPTE 2059-1) is a network-based synchronization method which when configured using a USB-C to Ethernet adapter offers a level of precision that supports frame-accurate camera synchronization over IP. PTP in the V-RAPTOR camera body only offers frame-level precision and therefore cannot be used for sensor scan synchronization. PTP Timecode can be sent over USB-C through an Ethernet adapter.

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TIMECODE DISPLAY MODE
Use Timecode Display Mode to configure the Timecode display type that the camera applies to the recordings.

You can set the Timecode Display Mode as Time of Day (TOD) or Edge.
TOD DISPLAY MODE
Time of Day (TOD) display mode displays the Timecode as the time of day that the frame was recorded.
EDGE DISPLAY MODE
Edge display mode displays the Timecode as the sequential recording time that has elapsed starting with the first frame.
MONITORING MENU
The Monitoring menu contains the settings you use to configure your camera monitoring options. From the LCD menu, navigate to Monitoring and press SEL:

Use the Monitoring menu to configure the monitoring settings:

ITEM Top LCD SDI 1 / 2
Live Stream Tools Guides

DETAILS Monitoring tools for the top LCD SDI port resolution, frequency, look, guides, tools, overlay, and overlay mode Enable or disable Wi-Fi live streaming Various monitoring tools including False Color, Peaking, and Zebra Modes Frame guides and a center guide

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TOP LCD
The Top LCD menu provides access to the top LCD features. This menu is only visible when the optional DSMC3TM RED Touch 7.0″ LCD is attached to the camera (refer to DSMC3TM RED® Touch 7.0″ LCD).

The Top LCD settings you can configure include:

ITEM Resolution Look Custom Display Guides Tools Magnify Magnify Position Flip / Mirror

DETAILS Select the monitor resolution Set the look of the monitor between RWG / Log3G10 or Image / LUT Select the gamma displayed on the monitor Enable or disable the monitor guides Enable or disable the monitor tools Magnify the monitor image Select the position of the original image to magnify Flip and mirror the top LCD display

RESOLUTION

You can select the resolution of the Top LCD. The selections include: · Auto (default) · 1080p · 2K DCI

LOOK

You can select the look of the image preview signal sent to the Top LCD. The selections include: · Image / LUT (default) · REDWideGamutRGB / Log3G10 · Custom Display (enables the Custom Display menu)

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CUSTOM DISPLAY

Use Custom Display to select the Top LCD’s Image/LUT settings.
Refer to Image / LUT Menu for more information about the Image/LUT settings and menus.

GUIDES
Use Guides to enable or disable the viewing of guides. Press SEL to toggle between enabled (default) and disabled.

TOOLS
Use Tools to enable or disable the viewing of tools. Press SEL to toggle between enabled (default) and disabled.

MAGNIFY
Use Magnify to enable or disable monitor magnification. Press SEL to toggle between enabled and disabled (default).

MAGNIFY POSITION

Use Magnify Position to globally select the area of the image you want to magnify. The selections include:

· Left · Upper Left · Lower Left

· Upper Middle · Center (default) · Lower Middle

· Upper Right · Lower Right · Right

FLIP / MIRROR
Use Flip / Mirror to enable or disable the flipped mirrored orientation of the Top LCD. Press SEL to toggle between enabled and disabled (default).

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SDI 1 / 2
Use SDI 1 / 2 to configure the settings on SDI ports 1 and 2.

You can quickly configure SDI 2 to match SDI 1 by selecting Mirror SDI 1 on the SDI 2 menu:

The SDI port settings you can configure include:

ITEM

DETAILS

Frequency

Select the SDI port frequency

Resolution

Select the SDI port resolution

Look

Set the look of the monitor to RWG/Log3G10, Image/LUT, or Custom Display

Custom Display

Configure the look of the monitor independently of other monitor pipelines

Guides

Enable or disable the monitor guides

Tools

Enable or disable the monitor tools

Magnify

Magnify the monitor image

Magnify Position (Global) Select the area of the image to magnify

Overlay

Enable or disable the monitor overlay

Overlay Mode

Select the overlay type

Overlay Opacity

Select the opacity of the overlay

Flip / Mirror

Flip and mirror the image output to the monitor

WARNING: Under certain circumstances, it is possible for an SDI connector to incur damage when connected to an accessory and powered without using shielded cables. RED recommends only using high quality, shielded BNC cables that are rated for 12G-SDI signals and only using shielded power cables for powering SDI accessories.
Make sure power is connected to the SDI accessory at all times before you connect the BNC to the camera. Ungrounded power from SDI accessories can damage the camera’s SDI port. To avoid this possible damage, attach the power source to the accessory before attaching it to the BNC cable. When using RED Approved Third Party battery plates, unplug the BNC cable prior to hot swapping.

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When possible, avoid using P-Tap (also known as D-Tap) cables to power accessories. To avoid damage when using PTap/D-Tap, it’s imperative that the connect/disconnect sequence (below) is followed precisely.

BNC ATTACHMENT INSTRUCTIONS
When attaching SDI accessories: 1. Connect a power source to the SDI accessory; power on the SDI accessory. 2. Ensure a power source is connected to the camera. This ensures both are grounded prior to connecting the BNC.
The camera’s power state does not have an impact on SDI attachment sequence. 3. Connect the BNC cable to the accessory, then to the camera.
When detaching an accessory mounted to an SDI output, ensure that you remove the BNC connection to the camera before removing power to the SDI device: 1. Shutdown the SDI accessory. 2. Disconnect the BNC cable from the camera. 3. Disconnect the power source from the SDI accessory.
When you need to swap out a battery on an accessory mounted to the camera’s SDI port, you must: 1. Shutdown the SDI accessory. 2. Disconnect the BNC cable from the camera. 3. Replace the battery on the SDI accessory. 4. Connect the BNC cable to the camera. 5. Power on the SDI accessory. For more information about SDI safety, refer to Preventing Damage to SDI Outputs.

FREQUENCY

Use Frequency to select one of the following SDI port frequency settings: · 23.98 Hz · 29.97 Hz · 59.94 Hz The camera displays different choices depending on which Project Time Base you have selected.

RESOLUTION

Use resolution to select one of the following SDI port resolution settings: · Auto · 1080p (default) · 2K DCI · 4K UHD · 4K DCI The resolution selected here controls the SDI output resolution of the preview page.

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SCALING PREVIEW
When monitoring in 1080p or 4K UHD while capturing in a 17:9 format, the entire 17:9 image will be down-scaled to the 16:9 aspect ratio of 1080p or 4K UHD. Small black bars will only appear on the top and bottom of the frame in the monitor path and not on the recorded image.

LOOK

You can select the look of the image preview signal sent to the SDI port. The selections include: · Image / LUT (default) · REDWideGamutRGB / Log3G10 · Custom Display (enables the Custom Display menu)

CUSTOM DISPLAY

Use Custom Display to configure the SDI i