New Rental-Only Large-Format Camera From RED

RED Digital Cinema has started the year by launching a new rental-only, large-format camera, plus additional features for the existing DSMC2 range. The Ranger was shown in China and the US before making its European debut at the BSC expo in London at the beginning of February, while high-end inputs and outputs, among other accessories, have been added to the Monstro, Gemini and Dragon-X.

Operating at 60 frames per second (fps) at 8k, the Ranger is based on the DSMC2 camera system. RED Digital Cinema sees this as a universal body into which different sensors can be installed. "This negates the need for third party accessories," commented Gareth Daley, a stereographer and camera supervisor who demonstrated the camera at BSC expo.

Further uniformity is provided by a shimmed PL (positive lock) lens mount designed to be fully compatible within the industry, enabling it to be used over a whole shoot. Working with the 35.4 Megapixel Monstro CMOS sensor and recoding on to R3D (Redcode Raw Video Image File) media, as do other cameras in the DSMC2 range, the Ranger can record at data rates of up to 300MB/s using the 480GB and 960GB MINI-MAGs and up to 225MB/s on the 120GB and 240GB models.

Other features include wireless control, SMPTE timecode, genlock, GigE for camera array work, three SDI outputs (two mirrored, one discrete) and a number of power options, including 24V and 12V outputs (two of each) and options for 11.5V to 32V input voltage. The Ranger will only be available for hire from authorised RED rental houses.

Also on display during BSC expo was a Monstro full cinema camera with a range of new features that can also be installed on other DSMC2 models. Among these are a variety of high-end inputs and outputs, 12V auxiliary power, a XLR mic connection for mic or line and many of the same I/Os found on the Ranger. There is additionally a multi-direction handle and an ultra bright display for working in sunny conditions.

Let us know what you think…

Log-in or Register for free to post comments…

You might also like...

Server-Based “At Home” Workflows Provide Efficiency For NASCAR Productions

NASCAR Productions, based in Charlotte NC, prides itself on maintaining one of the most technically advanced content creation organizations in the country. It’s responsible for providing content, graphics and other show elements to broadcasters (mainly Fox and NBC), as w…

Special Report: Super Bowl LIII – The Technology Behind the Broadcast

New England Patriot quarterback, Tom Brady, entered Mercedes Benz stadium in Atlanta, GA on February 3rd having already won five Super Bowl games. And through four-quarters of play, all delivered by a television crew of hundreds of technicians, sports casters…

CBS Trumpets Augmented Reality and 8K at Super Bowl 2019

Super Bowl 2019 will raise the bar for live broadcasting technology with innovations in augmented reality (AR) and use of at least one 8K camera, while also highlighting past innovations that have fallen out of favor.

TV Director Treats Super Bowl Telecast Like Any Other Game

Like many professional football players themselves, CBS Sports Lead television director Mike Arnold tries to treat the Super Bowl as he would a regular season game, calling the same shots and camera angles—albeit with many more cameras at his d…

Graphics to Virtually Enhance the CBS Super Bowl LIII Broadcast

During Super Bowl LIII, the football action will be on the field. But a lot of the action will be enhanced by incredible new graphics, some virtual, that CBS is using to super charge the screen.