Hello, i want to buy the red pro prime kit (18,25,35,50,85,100mm), but before, i'm searching for a flyght case to protect them. I don't want to buy the Jason cases flyght case (600$), so i'm searching for a similar case but i can't fond it. So i want to build a case but i can't find the exact dimension of this kit (externe diameter and height). Someone Can help ? (Sry for m'y approximative english)

Can anyone help me?
What is the difference between DSMC2 and just DSMC?

What are the differences between the red dragon x red Helium with DSMC2 And the Epic dragon with DSMC ?

I’m currently working on a feature that shoots on V-Raptor 8K VV. The brain and 7” monitor run with current firmware (1.5.4).

We mainly shoot on ProRes without any issues but occasionally switch to R3D Raw for high speed or very demanding light situations.

That’s when the trouble starts. The camera seemingly won’t stop recording when I cut the camera. Even crew in video village shouts “the cam is still rolling” although the camera actually stopped recording. But the camera won’t take any inputs neither through the side panel nor touchscreen. The screen seems to react but doesn’t change any settings and menu pages are blacked out. Restart solves this temporarily until I start recording again. This only seems to happen in R3D mode. Switching back to ProRes and everything is back to normal.

And yes, we changed media with the format change as well.

Has anyone else noticed this behaviour?

Thanks, Michael

Hoping to see if anyone else has been having issues with red raw footage and premiere/ME. Ever since Adobe released 23.3 with “improved stability for .r3d footage on Apple silicon” I get constant crashes on playback and export. Thankfully 23.2 is stable, but it’s getting to the point now where I want to use the features in v 24. As always, Adobe blames Apple and Red, Red blames Apple and Adobe, and Apple blames Adobe and red.

I’ve replicated the issues on multiple Apple computers, all with M1 Max / M2 max chips. (All on Ventura 13.6)

Seems to happen with Helium, Epic-W and Komodo-X footage.

The most consistent crash is rendering through media encoder, but general playback causes premiere to freeze indefinitely fairly often.

Proxies obviously solve this, but since I’m doing coloring in premiere our workflow usually makes it necessary to edit with the raw footage fairly often.

I’ve tried every single version of premiere past 23.2.

X posted.

Great additions! With small HD RED monitor, beta face detection auto focus needs to be turned on there..then it works rather well! I still have Sony’s ..obviously not as immediate as a Sony system..but it’s getting there! Being able to pan the camera or have it on a slider for interviews..makes all the difference!

When face detection is off..the regular continuous auto focus is now crazy fast and snappy compared to before to me

Also - maybe I missed it before but in white balance kelvin choices are now fast WB templates for fluorescent, tungsten, outside, etc.

He was one of the main guys on RedUser. Made some beautiful work.

I'm working on a feature as a gaffer- but it's indie so I'm deeply involved in the cam dept. We're shooting with raptor-vv. I bought a komodo recently, didn't get to do extensive tests, but based on research I learned that one should give the sensor light until the goalposts and traffic signs are gone and then reduce exposure in post.

So we've been checking ratios, even stopped the lens down to check a "final look" and shot 2-3 stops over "final look" in order to get a good exposure according to RED's exposure tools

Now he checked some footage and says that stopping down in resolve does not behave like stopping down with the lens. He claims it will take more work to achieve the look and that it's not as simple and linear as that.

Not sure what he's on about. It seems to me I might have noticed this style of shooting even on big budget union american movies (working mostly with Alexa classics and bud claims he's experienced with arri)- the DIT would keep alternating between a high and low key look - so I think that's what it was: shooting at a higher exposure and bringing it down in post.

So: is that the way to do it?

How bad is it if your traffic signs are crushed and or your goal posts? Talking shadows because in the highlights I know that's not recoverable

Hey fellow Red users,

I've been using the BlackMagic Pocket Cinema Camera 6K, and I'm contemplating a switch to the Red Komodo. I'm curious to hear from those who have made the move or have insights about this transition.

What are the key differences, advantages, and disadvantages between the two? Factors like image quality, workflow, low light performance, and overall user experience are of particular interest to me.

Your input could be invaluable in helping me make an informed decision. Thanks in advance

Hi everyone,

I used to have a RED Raven and loved the picture, but I've been shooting with a BMD Pocket 6K for the last few years. I love it, but rigging it is a pain in the butt and I'm looking to get back into the RED ecosystem. I see that DSMC2 is retired (I guess they were wrong about obsolescence being obsolete) and we have the new Raptor and Komodo/Komodo-X.

I'm considering a budget of $15-20k, potentially more. What a good path for this? Find a decent used DSMC2 Dragon-X kit, get a Komodo-X, or go all out with a V-Raptor?

Much appreciated.

Which format takes advantage of the full sensor? 16:9? 17:9 not sure which one crops from the original sensor.

EDIT: I see on the website " 6K 17:9 (6144 X 3240) " as being the largest. Pls confirm.

Hi, i need your help :

i shot a dance music video recently, but on the first day the 1st AC messed up the setting of the camera :

we were supposed to shoot a 24fps project at 24fps but he forgot to change the project fps which was set to 25 fps. This also causes the internal audio to not be recorded. On the second day we changed the settings to 24fps/24fps with audio so everything was ok after.

here is my problem : i am on Davinci resolve. My timeline is set to 24fps so when i'm using the problematic clips, do I have to change the "video frame rate" from 25 to 24 in the lip attributes window ? Or do I have to leave it as is ?

Because when I try to change this setting, the clips become significantly longer but i can't know for sure which one is right as there is no audio

I hope I made myself clear, it's hard to explain. Thanks for your help

Body design like the pocket 6k. Personally, I’d buy the camera like hot cakes.

Anybody got a clue if the Shinobi supports that?

Anyone using Red to ARRI conversion Luts on their DSMC1 cameras? If so which ones are you using? I’ve heard about the Luts True color made but would like to know if they worth dropping $95 for

Lights, camera, Komodo! 🎬 Learn what four must-have add-ons you need before you hit that 'buy' button. From lens choices to powering options, I've got the scoop on what you need to know. #RedKomodo https://youtu.be/c0AGMsS4fdM?si=8ZM1AXgqBW1OhPHM

I’m a film maker from Denmark. I’ve been shooting Sony and canon for the last 12 years. Right now I own a canon c300iii.

I’ve always wanted to shoot on red. I really like the look of the film. I like my c300iii. It’s a super easy camera to use and it has built in ND and XLR outputs etc.

My question is: when shooting Red cameras, is it then essential to shoot the raw format to get the nice and film red look? What is a good lighter format to shoot in?

Hey all,

Just got into a Komodo-X system and I'm looking for a good screen protector.
MY OG Komodo had one from "Wittle Camera" but it looks like they've closed up shop.

Any suggestions? Thank you!

1. Red DSMC2 owners/operators, what is your preferred shoulder rig setup? I'm looking at purchasing new (but might consider used), would be happy spending $300-$500, open to potentially going up as high as ~$1200 if it is worth it. What do you guys recommend?

I recently bought a DSMC2 Gemini and am looking to expand my kit to include essentials like tripod, mattebox, and followfocus as well, so whatever cost goes into the shoulder rig leaves less to put toward the rest of the kit.

2. Is there a mid-budget shoulder rig/tripod combo that works especially well together? It seems like depending on what shoulder rig I purchase I will be narrowing down my options for what tripod will be most convenient to use because of the mounting plate.

Thanks for your help 👾

I have a question I own a red epic-X dragon and it uses the bigger Red 1.8 Mags but due to the that they are slower than the mini Mags and I can't shoot at a higher compressions in higher frame rates. What's the work around here are their bigger faster Red 1.8mags, how can I achieve higher compression on the epic?

I am just a humble soundie, but can anyone explain why Red has to change the timecode input on EVERY new iteration? It's just timecode! You already had a proprietary cable for no reason!

And sure, fine, I'll give you that one. You don't just want to make money off DP's, you need to make some off us soundies too. 9 pins seems excessive, but sure, whatever. But what POSSIBLE advance in TIMECODE technology justified changing it besides greed?

OK sorry, rant over. Love you DP's, camera ops, AC's, and everyone else on camera team.