RED DIGITAL CINEMA 710-0336 RED RANGER MONSTRO 8K VV V-Mount User Manual

MONSTRO 8K VV | V7.3

RED.COM

RED RANGER MONSTRO

OPERATION GUIDE

Table of Contents 2

Disclaimer 4

Trademark Disclaimer 4

Translation Disclaimer 4

Compliance Statements 4

Safety Instructions 6

Battery Storage and Handling 7

Shipping Disclaimer 8

CHAPTER 1: Product Introduction 9

R3D File Format and REDCODE 10

Shoot For Video and Stills 10

Post Production 11

Post Production with REDCINE-X PRO 11

HDRX and MAGIC MOTION 12

Additional Resources 12

CHAPTER 2: Camera System Components 13

RED RANGER MONSTRO Camera Body 13

RED MINI-MAG System 23

Power Components 24

Displays and Electronic Viewfinders 25

LCD/EVF Adaptors 29

Camera Control Devices 31

Lens Mounts 32

Interchangeable OLPFs 32

Rails, Mounts, Tactical Gear, and Cables 33

CHAPTER 3: Basic Operations 34

Power Operations 34

Configure Your Camera 36

Shim the RED RANGER Shimmed PL Mount 38

Interchangeable OLPF System 40

Use a Tripod or Monopod 41

Video Monitor Outputs 42

Record 43

CHAPTER 4: Basic Menus and Controls 45

GUI Menu Introduction 45

Upper Status Row (Basic Menu) 46

Live Action Area

Lower Status Row 49

Navigation Controls 55

RED RANGER MONSTRO OPERATION GUIDE

TABLE OF CONTENTS

CHAPTER 5: Advanced Menus 61

Access the Advanced Menus 61

Image Menu 61

Monitoring Menu 69

Overlays Menu 74

Power Menu 83

Playback 85

Media Menu 90

Presets Menu 91

Settings Menu 94

CHAPTER 6: Sensor Calibration 136

When to Calibrate Sensor 136

Calibrate Sensor: Manual Calibration 137

Calibrate Sensor: Auto Calibration 138

Calibration Map Naming Conventions 139

Calibration Management 139

Calibration Map Actions 139

Export and Import Calibration Maps 140

CHAPTER 7: Audio System 141

Audio Overview 141

Set Up Audio 141

Control 142

Mix 143

Audio Output Options 143

Audio Meter (VU Meter) 143

Audio During Playback 144

Record Audio in Varispeed Mode 144

CHAPTER 8: Timecode, Genlock, Multi-

Camera Setup 147

Timecode 147

Genlock 149

Master/Slave Operation 150

Set Up Stereo/3D Configuration 155

Camera Array 156

Compatible Timecode Devices 157

Compatible Genlock Devices 157

CHAPTER 9: Upgrade Camera Firmware 158

Verify Current Camera Firmware

158

Upgrade Camera Firmware 158

CHAPTER 10: Camera System

Maintenance 160

Camera Body and Accessory Exterior

Surfaces 160

Clean EVF Screen 161

Clean LCD Screens 161

Water Damage 162

CHAPTER 11: Troubleshoot Your Camera 163

Perform a Stress Test 163

General Troubleshooting 163

Error Messages 170

APPENDIX A: Technical Specifications 174

RED RANGER MONSTRO Technical

Specifications 174

APPENDIX B: Mechanical Drawings 176

RED RANGER MONSTRO with V-Lock 176

RED RANGER MONSTRO with Gold Mount 182

APPENDIX C: Input/Output Connectors 188

Record/Monitor Out Ports 190

Communication Ports 192

Audio Ports 196

Power Ports 197

APPENDIX D: Lens Mounts and Lenses 199

Lens Mounts 199

Lenses 201

APPENDIX E: Default Key Functions 203

Default Keys 203

APPENDIX F: Menu Map 205

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RED RANGER MONSTRO OPERATION GUIDE

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

safety and general 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 12/19/2019. 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.

All trademarks, trade names, logos, icons, images, written material,

code, and product names used in association with the accompanying

product 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. AJA is

a registered trademark of AJA Video Systems, Inc. Cooke and S4/i are

registered trademarks of Cooke Optics Limited. DaVinci is a registered

trademark of Blackmagic Design in the U.S. and other countries.

Distagon, Makro-Planar, and Otus are registered trademarks of Carl

Zeiss AG. Fujinon is a registered trademark of FUJIFILM

CORPORATION. HDMI is a registered trademark of HDMI Licensing

LLC in the United States and other countries. Leica is a registered

trademark of Leica Microsystems. Loctite is a registered trademark of

Henkel AG & Company KGaA. Nikkor and Nikon are registered

trademarks of Nikon Corporation. Canon is a registered trademark of

Canon, U.S.A. Apple, 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. LEMO is

a registered trademark of LEMO USA. Sony is a registered trademark

of Sony Corporation. TORX is a registered trademark of Acument

Intellectual Properties, LLC in the United States or other countries.

IOS is a registered trademark of Cisco in the U.S. and other countries.

Avid is a registered trademark of Avid Technology, Inc. DaVinci

Resolve is a registered trademark of Blackmagic Design in the U.S.

and other countries. EDIUS Pro is a registered trademark of Grass

Valley. Vegas Pro is a registered trademark of Sony Creative

Software. IDX is a registered trademark of IDX Company, Ltd.

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RED RANGER MONSTRO OPERATION GUIDE

TRANSLATION DISCLAIMER

This document was originally prepared in English, and any translations

are provided for convenience only. While reasonable efforts were

made to provide accurate translations, RED will not be held

responsible for any errors, omissions, or ambiguities.

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 A digital

apparatus complies with Canadian ICES-003.

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 [A] est conforme à la norme NMB-003 du Canada.

CAN ICES-3 (A)/NMB-3(A)

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 in a commercial environment.

This equipment generates, uses, and can

radiate radio frequency energy and, if not installed and used in

accordance with the instructions, 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. However,

there is no guarantee that interference will not occur in a particular

installation. If this equipment does cause harmful interference to radio

or television reception, which can be determined by turning the

equipment off and on, the user is encouraged to try to correct the

interference by one or more of the following measures:

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver.

Connect the equipment into an outlet on a circuit different from

that to which the receiver is connected.

Consult the dealer or an experienced radio/TV technician for help.

In order 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 users authority to operate this equipment.

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.

CAUTION: If the device is changed or modified

without permission from RED, the user may void

his or her authority to operate the equipment.

NOTE: This device complies with Part 15 of the FCC Rules.

Operations subjected to the following two conditions (1) this device

may not cause harmful interference, and (2) this device must accept

any interference received, including that may cause undesirable

interference.

AUSTRALIA AND NEW ZEALAND STATEMENTS

RED declares that the radio equipment described in this document

comply 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 Compatibility

AS/NZS 61000.3.2 –Harmonic Current Emissions

AS/NZS 61000.3.3 –Voltage Changes, Voltage Fluctuations and

Flicker

JAPAN STATEMENTS

This is a Class A product based on the standard of

the Voluntary Control Council for Interference

(VCCI). If this equipment is used in a domestic

environment, radio interference may occur, in

which case the user may be required to take

corrective actions.

RED RANGER MONSTRO OPERATION GUIDE

GITEKI CERTIFICATION

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 comply 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 55024 (CISPR 24) Immunity Characteristics

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

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,

please 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. Please 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 you national

legislation.

For business users in the European Union, if you wish to discard

electrical and electronic equipment, please contact your dealer or

supplier for further information.

RESPONSIBLE PARTY

RED Digital Cinema

34 Parker

Irvine, CA 92618

USA

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RED RANGER MONSTRO OPERATION GUIDE

SAFETY INSTRUCTIONS

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 expose the camera to laser beams, as laser beams may

damage the sensor.

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.

DO NOT operate or store near any heat sources such as

radiators, heat registers, stoves, or any other apparatus 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: 0°C to 40°C (32°F to 104°F)

Storage range: –20°C to 50°C (–4°F to 122°F)

If there are any performance issues with your camera or

accessories when operating within this temperature range, submit

a Support ticket at https://support.red.com.

Lens mounts are NOT HOT SWAPPABLE, meaning you cannot

remove or install these items while the camera is turned on.

Before installing or removing these items, you MUST turn off the

camera. Failure to do so may result in damage to the item or

camera that is not covered under warranty.

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. A grounding-type plug shall be connected

to an outlet with a protective earthen 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.

Products marked with this symbol are class 2

devices. These 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.

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RED RANGER MONSTRO OPERATION GUIDE

WARNING: DO NOT expose the battery to

excessive heat.

WARNING: Danger of explosion if an incorrect

battery is charged with the RED Charger or is

used to power the camera and accessories.

Replace only with the same or equivalent type

battery.

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

for use indoors only.

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.

Always follow proper battery handling and storage practices.

Improper handling and/or 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

, REDVOLT-V,

REDVOLT XL, and RED BRICK

, 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

–20°C to 20°C (–4°F to 68°F).

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 when a specified recharging time

has elapsed, immediately stop further recharging.

DO NOT store batteries in a fully charged state for extended 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 use third-party chargers with your RED batteries.

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 0˚C to

40˚C (32˚F to 104˚F).

RED recommends that you only use RED chargers to recharge

RED batteries.

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

RED RANGER MONSTRO OPERATION GUIDE

immediately seek medical attention. Failure to do this may result in

eye injury.

If you find discoloration, a bad odor due to leakage, overheating

and/or other irregularities when using the battery for the first time,

submit a Support ticket at https://support.red.com.

NOTE: For more information regarding RED

battery charging and instructions for care, refer to

our Terms and Conditions.

SHIPPING DISCLAIMER

Shipment of Lithium Ion cells and batteries is subject to national and

international shipping requirements. A Class 9 Certified shipper is

required to transport these products within the United States.

REDVOLT, REDVOLT-V, REDVOLT XL, and RED BRICK batteries

are considered Dangerous Goods. Other products such as REDVOLT

AA and RED Li 7.2V batteries may also be classified as Dangerous

Goods when purchased in bulk. Applicable laws prohibit the shipping of

batteries that are physically damaged. We urge you to look into the

formal rules and regulations of shipping Class 9 Dangerous Goods

prior to preparing your shipment. For more information on these

regulations, visit

www.iata.org and www.dot.gov.

For more information, see our FAQs for Dangerous Goods

(Regulated Items).

RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 1:

PRODUCT INTRODUCTION

Figure: RED RANGER MONSTRO

RED RANGER MONSTRO is an integrated Large Format 8K camera system offering an all-in-one system for top-tier

production use. It features all of the benefits of the MONSTRO 8K VV sensor within a compact and less complex

platform for filmmakers. Features like integrated I/O’s, 24V power out, shimmed PL Mount, and improved thermal

performance offer unmatched versatility as well as peace of mind in challenging shooting environments.

RED RANGER MONSTRO is capable of handling the rigorous strain and robust power needs of high-end studio

productions. RED RANGER MONSTRO supports wide input voltage (11.5V to 32V), offers independent SDI and AUX

power outputs, and features an integrated XLR audio input. The camera also boasts a larger fan for quieter and more

efficient temperature management. RED RANGER MONSTRO is available in two configurations, supporting either V-

Lock or Gold Mount batteries.

This section introduces the imaging capabilities and advanced features of the camera system.

This guide is for the following cameras only:

SENSOR TYPE CAMERA

MONSTRO 8K VV RED RANGER MONSTRO 8K VV (V-Lock)

RED RANGER MONSTRO 8K VV (Gold Mount)

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 a proprietary wavelet based REDCODE

RAW compression, then stored to a RED MINI-MAG

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 recording technique promotes flexibility in RGB color processing, which can be deferred to post

production or adjusted in the field, without affecting the recorded RAW data image quality or dynamic range.

REDCODE is a visually lossless, wavelet-based compression codec that reduces R3D RAW files into a manageable

size, allowing longer recording times on media. The ability to compress RAW data is one of the significant technologies

that RED has brought to the industry.

For more information, see the

DSMC Media Operation Guide, available at www.red.com/downloads.

NOTE: REDCINE-X PRO

can create and export .RMD “Look” files which may then be imported as camera monitor

path color processing presets. This information is stored as reference metadata, so that these color processing choices

can be the default values used in post production. For more information, go to "Looks" on page 92.

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 of the ability to record at high frame rates and resolution, the camera is ideally

suited to capture video and still images, simultaneously.

The camera is equipped with a Stills mode that makes it easier to capture stunning images. With presets optimized for

stills and Swipe-Up Shortcuts for the RED Touch display, switching from Motion mode to Stills mode is seamless. Using

REDCINE-X PRO, or other editing applications supporting the RED SDK, you can pull full resolution still images from

R3D files.

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RED RANGER MONSTRO OPERATION GUIDE

POST PRODUCTION

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.

Many non-linear editing systems (NLEs) can open and edit RED footage. Each NLE version may have specific

compatibility requirements, such as camera firmware version or camera type. Before shooting, check all compatibility

requirements.

The following programs can be used to open and/or edit R3D files:

REDCINE-X PRO: RED's proprietary NLE. Download REDCINE-X PRO for Windows or REDCINE-X PRO for Mac

from www.red.com/downloads.

Adobe Photoshop: Can open .R3D files. Requires you to download the RED Adobe Photoshop Installer for

Windows or RED Adobe Photoshop Installer for Mac from www.red.com/downloads.

Adobe Premiere Pro: For more information on compatibility, go to the RED Support site at https://support.red.com.

Avid Media Composer

DaVinci Resolve

Edius Pro

Final Cut Pro 7: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads.

Final Cut Pro X: Requires you to download the RED Apple Workflow Installer from www.red.com/downloads.

Vegas Pro

POST PRODUCTION WITH REDCINE-X PRO

REDCINE-X PRO is a professional one-light coloring toolset, equipped with an integrated timeline and a post effects

software collection that provides the ideal environment to review recorded footage, edit metadata, organize projects, and

prepare your R3D files. Use either REDCINE-X PRO or a compatible third-party non-linear editing (NLE) application to

edit R3D files.

RED TETHER, included in REDCINE-X PRO, allows you to record footage from your camera directly to a computer or

an external drive. Using tethering bypasses the need to record to an SSD and offload to a computer later, saving you

time. The latest version of

REDCINE-X PRO for Windows, REDCINE-X PRO for Mac, and the REDCINE-X PRO

Operation Guide are available for download at RED Downloads at www.red.com/downloads.

NOTE: RED TETHER is included in REDCINE-X PRO build 35 or later.

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RED RANGER MONSTRO OPERATION GUIDE

HDRX AND MAGIC MOTION

HDRX

extends dynamic range up to six (6) stops by simultaneously capturing two (2) images of identical resolution and

frame rate. The first image is a normally exposed track (A-track), while the second is an underexposed track (X-track)

with an exposure value that reflects the additional stops of highlight protection. These tracks are “motion-conjoined”

during recording, leaving no time gap between the two (2) exposures. This is different from traditional alternating

exposures, which have small gaps between tracks, producing unwanted motion tracks.

MAGIC MOTION

MAGIC MOTION is a post production method that combines two (2) HDRX tracks to create an image with both natural

motion blur (from the A-track) and sharper reference (the X-track). MAGIC MOTION produces an image with an

extraordinary dynamic range that is not available with any other motion capture camera.

Shooting at 24 fps with a 180° (1/48 sec) shutter on traditional film or digital cameras produces motion blur throughout,

which is not the way the human eye observes motion. For example, ask someone to swing their arm. What you would

observe in a traditional recording of this action is constant motion blur until the arm stops. However, what your eye sees

is both motion blur and a sharper reference of the arm throughout the motion path. MAGIC MOTION creates an image

that matches the natural motion observed by the human eye.

ADDITIONAL RESOURCES

The following resources offer additional information about RED, the DSMC system, and the RED community:

RED.com: Check the official RED website for the latest information about RED products.

RED Learn Articles: RED offers in-depth technical articles about RED cameras, post-production, and digital

cinematography.

RED Downloads: Go to RED Downloads to download the latest firmware, operation guides, and post-production

software.

DSMC Toolkit: Go to RED Downloads to find the DSMC Toolkit, which offers many helpful tools and resources to

customize and improve your camera workflow.

RED Support: Check the RED SUPPORT site for FAQs, or to file a support ticket.

In-Camera Help: Select the Help button on an in-camera screen to open up the help for that screen.

REDUSER: Discuss all things RED on the REDUSER third-party forum.

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RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 2:

CAMERA SYSTEM

COMPONENTS

NOTE: Lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these items while the camera

is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do so may result in

damage to the item or camera that is not covered under warranty.

NOTE: Availability of components listed in this chapter is subject to change at any time.

RED RANGER MONSTRO CAMERA BODY

This section describes the controls, buttons, and features on the RED RANGER MONSTRO camera body. For

information on the input/output connectors, go to

"Input/Output Connectors" on page 188.

Figure: Camera Body Controls and Features

CAMERA BODY CONTROLS AND FEATURES

CAMERA FRONT

Figure: Camera Body Controls and Features

# ITEM DESCRIPTION

1 Lens mount area Attach lens mount

2 Mic 1 Left audio channels: Ch1 and Ch3. Go to

"Audio System" on page 141

3 Mic 2 Right audio channels: Ch2 and Ch4. Go to "Audio System" on page 141

4 User Key 2 Programmable key

User Key 1 + 2 Press: Eject Media

5 REC Button Programmable key

Full Press: Record Toggle

Half Press: AF Start

RED RANGER MONSTRO OPERATION GUIDE

# ITEM DESCRIPTION

6 User Key 1 Programmable key

User Key 1 + 2 Press: Eject Media

CAMERA TOP

Figure: Camera Body Controls and Features

# ITEM DESCRIPTION

7 Primary

EVF/LCD

Port

Mount a DSMC2 RED Touch LCD, LCD/EVF Adaptor A, or LCD/EVF Adaptor D

8 Top Handle

Port

Mount the DSMC2 Top Handle or DSMC2 Outrigger Handle. This is the only mounting option for the

DSMC2 Top Handle or DSMC2 Outrigger Handle (it cannot be attached backward)

9 Fan intake DO NOT block fan intake when the camera is on

RED RANGER MONSTRO OPERATION GUIDE

CAMERA LEFT

Figure: Camera Body Controls and Features

# ITEM DESCRIPTION

10 PWR/REC button Fully press and hold the

PWR/REC key for two (2) seconds to turn on/off.

When the camera is on, fully press and then release the PWR/REC key to toggle record

start/stop.

11 Industry-standard

rosette

Features an M6 threaded hole in the center; use with cages or accessories that feature rosette-

based mounting systems

12 Focal plane marks Marks align with the sensor plane; pull focus from these marks.

13 Side LCD and

Navigation

Go to "Side LCD and Navigation" on page 58

14 Wireless (802.11g)

antenna

Uses standard female SMA connector; can be replaced with taller SMA connector antennas

RED RANGER MONSTRO OPERATION GUIDE

CAMERA RIGHT

Figure: Camera Body Controls and Features

# ITEM DESCRIPTION

12 Focal plane marks Marks align with the sensor plane; pull focus from these marks.

15 Focus Hook Screw

Storage Location

Store the focus hook screw

16 Focus Hook

Mounting Point

Mount the focus hook

17 Secondary

EVF/LCD Port

Mount a DSMC2 RED Touch LCD or LCD/EVF Adaptor D. The secondary LCD/EVF port and a

MON-1 port cannot be used at the same time. Go to

"Monitor Preferences" on page 69

18 Hook and loop

patch

Rectangle of hook and loop material for attaching labels

1. Install only the focus hook screw to this mounting point. Damage to the media bay or other components of the camera system caused by

installing other devices is not covered under warranty.

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RED RANGER MONSTRO OPERATION GUIDE

CAMERA BACK

Figure: Camera Body Controls and Features (shown with gold mount)

# ITEM DESCRIPTION

19 Battery mount Depending on the RED RANGER type, you can attach either a gold mount battery or a v-lock battery

20 Media mount Mount RED MINI-MAG media

21 Fan exhaust DO NOT block fan exhaust when the camera is on

RED RANGER MONSTRO OPERATION GUIDE

CAMERA BOTTOM

Figure: Camera Body Controls and Features

# ITEM LOCATION DESCRIPTION

21 Fan exhaust Back/Bottom DO NOT block fan exhaust when the camera is on

22 Mounting Points Bottom Mount plates, tripods, monopods, etc.

RED RANGER MONSTRO OPERATION GUIDE

CAMERA BODY LEDS

LEFT SIDE LEDS

Figure: RED RANGER LEDs, Left Side

NOTE: When the camera is powered only by battery and not AC power, the Power Status LED (PWR) does not turn on.

To check the battery charge level, press the button on the battery.

# LED COLOR/FLASHING DESCRIPTION

1 Power Status LED (PWR) Off Camera off

Green Camera on

Amber flashing Camera on; 5 to 10 min of battery time available

Amber Camera booting

Red flashing Camera on; < 5 min of battery time available

Red Camera shutting down

2 Record Status LED (REC) Off No media present

Green Ready to record

Amber Finalizing

Red flashing (slow) Media mounted; > 5% and ≤ 10% of media available

Red flashing (fast) Media mounted; ≤ 5% of media available

Red Recording

N/A Power Status LED (PWR)

and Record Status LED (REC)

Both green flashing Firmware update in progress

Both red flashing Firmware update error

RED RANGER MONSTRO OPERATION GUIDE

MEDIA BAY LED

Figure: Media Bay LED

# LED COLOR/FLASHING DESCRIPTION

1 Media Status LED (Back of media

bay)

Off No media mounted

Green Preview; media mounted; > 10% of media space

available

Amber Record finalizing or playback mode

Amber flashing (slow) Formatting media

Red flashing (slow) Media mounted; > 5% and ≤ 10% of media available

Red flashing (fast) Media mounted; ≤ 5% of media available

Red Recording; media mounted; > 10% of media available

RED RANGER MONSTRO OPERATION GUIDE

REC LED

Figure: REC LED

# LED COLOR/FLASHING DESCRIPTION

1 Record Status LED

Off Not recording, or media not mounted

Red Recording

1. For more information on how to enable/disable this LED, go to "Indicator" on page 114. If media is not mounted, this LED is off.

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RED RANGER MONSTRO OPERATION GUIDE

RED MINI-MAG SYSTEM

Figure: RED MINI-MAG (120GB)

NOTE: For more information, see the DSMC Media Operation Guide, available at www.red.com/downloads.

RED MINI-MAG

SSDs deliver fast and reliable recording options for your camera. A RED STATION

enables you to

connect media to your computer for offloading and editing.

RED offers the following RED MINI-MAG SSDs:

ITEM PART NUMBER

RED MINI-MAG (120GB) 750-0075

RED MINI-MAG (240GB) 750-0082

RED MINI-MAG (480GB) 750-0090

RED MINI-MAG (512GB) V4

750-0078

RED MINI-MAG (512GB) V5

750-0078

RED MINI-MAG (512GB) V6

750-0078

RED MINI-MAG (960GB) 750-0087

RED MINI-MAG (1TB)

750-0081

1. To see the Model number, go to Menu > Media > Device.

2. The RED MINI-MAG 1TB can take up to 20 seconds to mount to a computer or a camera.

| 23

RED RANGER MONSTRO OPERATION GUIDE

POWER COMPONENTS

The following RED batteries, battery chargers, and power cables are compatible with the RED RANGER:

ITEM PART NUMBER NOTES

REDVOLT-V 740-0043 For use with V-Lock

RED BRICK 740-0002 For use with V-Lock

RED RANGER AC Power

Adaptor 270W

740-0048 Power adaptor for AC power; 3-pin female XLR

3-PIN XLR-TO-4-PIN 2B

POWER CABLE (10')

790-0665 Connects the DC-IN port to the RED RANGER AC Power Adaptor or

third-party 24/28V output power, such as Anton Bauer VCLX or Bebob

Cube 1200 batteries

RED RANGER MONSTRO OPERATION GUIDE

DISPLAYS AND ELECTRONIC VIEWFINDERS

RED offers the following displays and electronic viewfinders (EVFs):

NOTE: RED offers multiple mounting solutions for each camera type.

ITEM RESOLUTION TILT

SWIVEL

PART NUMBER

DSMC2 RED Touch 7.0" LCD (Woven CF) 1920 x 1136 Total: 180°

Forward: 90°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0018

DSMC2 RED Touch 7.0" LCD (Aluminum) 1920 x 1136 Total: 180°

Forward: 90°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0024

DSMC2 RED Touch 4.7" LCD 1280 x 720 Total: 240°

Forward: 90°

Backward: 150°

No swivel 730-0019

RED Touch 5.0" LCD

800 x 400 Total: 270°

Forward: 180°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0008

RED Touch 7.0" LCD

1920 x 1136 Total: 180°

Forward: 90°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0007

RED Touch 9.0" LCD

1280 x 768 Total: 270°

Forward: 180°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0011

RED Pro LCD 7"

1024 x 600 No tilt No swivel 730-0009

RED Pro Touch 7.0" LCD

1920 × 1136 No tilt No swivel 730-0025

DSMC2 Touch 7.0" Ultra-Brite LCD

2, 3

1920 x 1200 No tilt No swivel 730-0026

DSMC2 Touch 7.0" Ultra-Brite LCD (Direct Mount)

1920 x 1200 Total: 180°

Forward: 90°

Backward: 90°

Total: 360°

CW: 180°

CCW: 180°

730-0028

DSMC2 RED EVF (OLED)

1920 x 1080 N/A N/A 730-0021

BOMB EVF

(LCOS)

1280 x 784 N/A N/A 730-0004

BOMB EVF (OLED)

1280 x 1024 N/A N/A 730-0010

1. Approximate measurements.

2. Using this display with RED RANGER requires a DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D.

3. The DSMC2 Touch 7.0" Ultra-Brite LCD requires that your camera is on firmware v7.2 or later.

| 25

RED RANGER MONSTRO OPERATION GUIDE

RED LCDS

RED displays provide important camera parameters on the graphical user interface (GUI) and offer a variety of monitor

viewing options. RED touchscreen displays enable you to use gestures to navigate menus and adjust camera

parameters. RED displays feature 8-bit RGB, 4:4:4 progressive scan, providing up to 16.7 million colors and up to 70%

NTSC color gamut (83% coverage for the DSMC2 Touch 7.0" Ultra-Brite LCD).

LCD PRECAUTIONS

WARNING: DO NOT use a RED display as a handle to lift or carry the camera. Damage to a RED display or other

components of the camera system caused by using the display as a handle are not covered under warranty.

WARNING: DO NOT use the threaded holes in the RED Touch LCD base to mount the display to the camera. Damage

to a RED display or other components of the camera system caused by using these threaded holes is not covered under

warranty.

WARNING: DO NOT try to turn an LCD past its tilt or swivel range. Damage to a RED display or other camera

components caused by excessive force is not covered under warranty. For more information on the tilt and swivel range

for each display, go to "Displays and Electronic Viewfinders" on the previous page.

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RED RANGER MONSTRO OPERATION GUIDE

BOMB EVFS

Figure: BOMB EVF (OLED)

The BOMB EVF (LCOS) and BOMB EVF (OLED) deliver specialized viewing solutions for the camera. The BOMB EVF

(LCOS) is a high-definition, lightweight, and low-profile viewfinder. The BOMB EVF (OLED) uses OLED technology,

providing deeper blacks and more color accurate images.

ITEM CONTRAST RATIO DIOPTER RANGE

BOMB EVF (LCOS)

1000:1 typical 2.0 to –5.0.1

BOMB EVF (OLED)

>10,000:1 typical 2.0 to –5.0.1

1. Using these displays with a DSMC2 camera requires a DSMC2 LCD/EVF Adaptor A.

WARNING: DO NOT point the BOMB EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct sunlight

may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the BOMB EVF (OLED)

caused by continued exposure to direct sunlight is not covered under warranty.

# FEATURE DESCRIPTION

1 EVF Connector Custom digital video and power interconnection between the camera and RED EVF; Pinout not

published

2 EVF Tally LED When enabled, the LED illuminates red when recording; For more information, go to

"Indicator" on

page 114

3 Key 1 Programmable key

Magnify: Toggle

4 Key 2 Programmable key

Exposure Check: Toggle

5 Eyepiece

Heater

The integrated eyepiece heater automatically heats the eyepiece when the EVF detects a low ambient

temperature

RED RANGER MONSTRO OPERATION GUIDE

DSMC2 RED EVF

The DSMC2 RED EVF (OLED) is a high definition electronic viewfinder designed as the ideal single-viewer monitoring

solution. Featuring the latest OLED technology, this EVF provides an unmatched personal viewing experience with a

1080p OLED micro-display, and improved color accuracy with 30-bit RGB color represenation. View and monitor your

RED footage as it is intended with truer colors and deeper blacks in a larger field of view.

RED offers multiple mounting solutions for each camera type.

WARNING: DO NOT point the DSMC2 RED EVF (OLED) eyepiece at direct sunlight. Continued exposure to direct

sunlight may damage the EVF. Point the eyepiece away from sunlight when not in use. Damage to the DSMC2 RED

EVF (OLED) caused by continued exposure to direct sunlight is not covered under warranty.

NOTE: DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to allow rotation even

when the tension ring is fully engaged.

Figure: DSMC2 RED EVF

# FEATURE DESCRIPTION

1 DSMC2 RED EVF

Mount

The DSMC2 RED EVF Mount.

DO NOT overtighten the black tension ring on the EVF connector. The EVF is designed to allow

rotation even when the tension ring is fully engaged.

2 EVF Connector

Custom digital video and power interconnection between the EVF and other RED devices;

Pinout not published; compatible with standard RED LCD/EVF cables.

3 Key 1 Programmable key: Magnify: Toggle

4 Key 2 Programmable key: Exposure Check: Toggle

5 Mounting Point Mounting point for the DSMC2 RED EVF Mounting Plate

6 Modular Optical Block Fully coated with a > 32° field of view

1. Not visible. Shown with the DSMC2 RED EVF Mount attached.

RED RANGER MONSTRO OPERATION GUIDE

LCD/EVF ADAPTORS

The LCD/EVF adaptors enable you to use legacy RED displays (which feature LCD/EVF connectors) with the RED

RANGER (which features pogo LCD/EVF connectors). For more information on available displays, go to

"Displays and

Electronic Viewfinders" on page 25.

ITEM PART NUMBER

DSMC2 LCD/EVF Adaptor A 720-0037

DSMC2 LCD/EVF Adaptor B 720-0038

DSMC2 LCD/EVF Adaptor D 105-2119

LCD/EVF ADAPTOR A

Figure: DSMC2 LCD/EVF Adaptor A

The DSMC2 LCD/EVF Adaptor A makes your existing RED Touch, RED PRO, and RED PRO Touch displays, as well

as RED EVFs, fully compatible with the RED RANGER. The DSMC2 LCD/EVF Adaptor A converts the pogo

connection on the RED RANGER to a 16-Pin 1B LCD/EVF port. The DSMC2 LCD/EVF Adaptor A is designed to attach

to the primary (top) EVF/LCD port on the RED RANGER.

When used along with the DSMC2 LCD/EVF Adaptor B, this adaptor enables you to mount a DSMC2 RED Touch LCD

away from the camera—to a NOGA arm or other stable mounting point.

The DSMC2 LCD/EVF Adaptor A is compatible with the BOMB EVF, (LCOS) and (OLED) models, or later.

LCD/EVF ADAPTOR B

Figure: DSMC2 LCD/EVF Adaptor B

The DSMC2 LCD/EVF Adaptor B converts the display signal from a pogo connection to a 16-Pin 1B LCD/EVF port.

When used along with the DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D, this adaptor enables you to

mount a DSMC2 RED Touch LCD away from the camera—to a NOGA arm or other stable mounting point.

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RED RANGER MONSTRO OPERATION GUIDE

DSMC2 LCD/EVF ADAPTOR D

Figure: DSMC2 LCD/EVF Adaptor D

Similar to the DSMC2 LCD/EVF Adaptor A, the DSMC2 LCD/EVF Adaptor D converts the pogo connection on the RED

RANGER to a 16-Pin 1B LCD/EVF port. The DSMC2 LCD/EVF Adaptor D is designed to attach to the primary (top), or

the secondary (side) EVF/LCD port on the RED RANGER.

When used along with the DSMC2 LCD/EVF Adaptor B, this adaptor enables you to mount a DSMC2 RED Touch LCD

away from the camera—to a NOGA arm or other stable mounting point.

The DSMC2 LCD/EVF Adaptor D is compatible with the BOMB EVF, (LCOS) and (OLED) models, or later.

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RED RANGER MONSTRO OPERATION GUIDE

CAMERA CONTROL DEVICES

This section describes the camera control devices that offer Record Start/Stop buttons:

ITEM PART NUMBER

DSMC2 Top Handle 720-0035

DSMC2 Outrigger Handle 720-0044

DSMC2 TOP HANDLE

Figure: DSMC2 Top Handle

Ergonomic and intuitive, the DSMC2 Top Handle was engineered entirely around the most important action for any

shooter—the record button. This intelligent top handle puts a new Record Start/Stop button at your fingertips, using built-in

integrated circuitry.

The DSMC2 Top Handle mounts directly to the 1/4-20 mounting points on the top of the camera. With a rubberized grip

and new trigger design—the DSMC2 Top Handle offers the ideal handle and shooting method for your camera.

DSMC2 OUTRIGGER HANDLE

Figure: DSMC2 Outrigger Handle

The DSMC2 Outrigger Handle offers a low profile side handle—designed with an ergonomic molded grip and integrated

Record Start/Stop button. Mounted to the Top Handle Port on your camera, the DSMC2 Outrigger Handle provides

comfort and stability, as well as additional 1/4-20 mounting points for your peripheral camera components. The built-in

Record button puts Start/Stop functionality right at your fingertips—so you are always ready to capture the perfect shot.

The DSMC2 Outrigger Handle is ideal for shooters who use one hand on the handle, for grip and record button access,

and the other for lens adjustments or support.

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RED RANGER MONSTRO OPERATION GUIDE

LENS MOUNTS

RED recommends only using the RED RANGER Shimmed PL Mount with the RED RANGER. Other RED lens mounts

are mechanically compatible, but may cause focus accuracy issues.

ITEM PART NUMBER

RED RANGER Shimmed PL Mount 725-0046

INTERCHANGEABLE OLPFS

The camera system includes intelligent, interchangeable optical low pass filters (OLPFs). The camera automatically

recognizes the OLPF type installed, eliminating the need to configure OLPF settings in the camera menu.

RED offers the following modular VV interchangeable OLPFs:

ITEM PART NUMBER

DSMC2 VV Standard OLPF 790-0558

DSMC2 VV Skin Tone-Highlight OLPF 790-0559

DSMC2 VV Low Light Optimized OLPF 790-0560

DSMC2 VV H

O OLPF 790-0601

RED RANGER MONSTRO OPERATION GUIDE

RAILS, MOUNTS, TACTICAL GEAR, AND CABLES

RED offers a wide variety of support gear, mounting platforms, cables, accessories, and other equipment. For more

information, visit the

RED Store at www.red.com/store.

MAXIMUM SUPPORTED WEIGHTS

The table below lists the maximum weight each handle can support in specific configurations. Damage to handles or

other components of the camera system caused by using a handle to lift more than the specified weight is not covered

under warranty.

ITEM PART # CONFIGURATION MAX WEIGHT

DSMC2 Universal Handle 790-0523 Attached directly to the camera body 30 lbs

Production Handle 105-2120 One riser attached to a plate; handle extension attached 40 lbs

Two risers attached to a plate; handle extension attached 80 lbs

PRODUCTION HANDLE

Figure: Production Handle

The modular design of the Production Handle provides a configurable, rugged handle with an array of 1/4-20 and 3/8-16

mounting points for industry-standard accessories. It can be set up in a compact or extended configuration to suit various

shooting needs.

The Production Handle ships with a focus hook, which can be mounted on the handle in two separate mounting points

(one for DSMC2 cameras, and another for RED RANGER cameras).

15MM LIGHTWEIGHT ROD SUPPORT

Figure: 15mm Lightweight Rod Supports

The 15mm Lightweight Rod Supports (P/N 105-2151) are designed for the following types of camera setups:

Configurations with top-mounted rods (which can support EVF mounts and top-mounted lens motors)

Compact camera configurations in which bottom-mounted rods are not desired

RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 3:

BASIC OPERATIONS

POWER OPERATIONS

This section describes the basic power operations of the camera system.

NOTE: Lens mounts are NOT HOT SWAPPABLE, meaning you cannot remove or install these items while the camera

is turned on. Before installing or removing these items, you MUST turn off the camera. Failure to do so may result in

damage to the item or camera that is not covered under warranty.

WARNING: While third-party batteries may be mechanically compatible with the camera system, the manufacturer is

responsible for the performance and stability of third-party options, not RED

. Damage to the camera system or third-

party devices caused by using third-party power options is not covered under warranty. The camera may be unable to

determine and display the voltage or remaining battery capacity of third-party power options.

POWER PRIORITY

When multiple power sources are connected to the camera, power consumption is prioritized in this sequence:

1. Any power supply connected to the DC IN port

2. Rear battery

POWER CONSUMPTION

The camera draws approximately 4.2 A (63 W) when configured with the DSMC2 RED Touch 7.0" LCD and RED MINI-

MAG

512GB.

Under typical conditions batteries provide the following operating time:

REDVOLT-V: Powers the camera and accessories for approximately 24 minutes.

RED BRICK: Powers the camera and accessories for approximately 96 minutes.

POWER STATUS

The power status of the current primary power source displays in the Lower Status Row of the graphical user interface

(GUI). Navigate to the Power In menu at

Menu > Power > Power In for the status of all connected power sources. For

more information, go to "Power Menu" on page 83.

APPROVED EXTERNAL DC POWER

The camera accepts input voltages of 11.5 V DC to 32 V DC, and can draw a maximum current of 14A. The camera can

be powered continuously by connecting one (1) of the following to the DC IN port on the camera:

XLR DC power source: Use the 3-PIN XLR-TO-4-PIN 2B POWER CABLE (10') to connect the DC-IN port to third-

party 24/28V output power, such as Anton Bauer VCLX or Bebob Cube 1200 batteries

TURN ON THE CAMERA

NOTE: If you have just turned off the camera, wait at least three (3) seconds before turning the camera back on.

1. Attach a power source to the camera.

2. Press and release the PWR/REC key on the right side of the camera.

The Power Status LED illuminates amber as the camera turns on.

The Power Status LED illuminates green to confirm that the camera is turned on and ready to use.

TURN OFF THE CAMERA

Use one of the following methods to turn off the camera:

Go to Menu > Power and select Shutdown.

Press and hold PWR/REC until the Shutting Down... notification shows on the display.

NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.

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RED RANGER MONSTRO OPERATION GUIDE

CONFIGURE YOUR CAMERA

This section describes common options for configuring your camera system.

DSMC2 TOP HANDLE AND DSMC2 OUTRIGGER HANDLE:

INSTALL/REMOVE

INSTALL THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): 3/16" hex key

1. Turn off the camera.

2. Position the DSMC2 Top Handle or DSMC2 Outrigger Handle on top of the camera, aligning the connector on the

bottom of the handle with the connector on top of the camera.

3. Tighten the two (2) captive screws approximately two (2) turns each using a 3/16" hex key. DO NOT FULLY

TIGHTEN.

4. Fully tighten the two (2) screws using a 3/16" hex key.

WARNING: DO NOT OVERTIGHTEN.

REMOVE THE DSMC2 TOP HANDLE OR DSMC2 OUTRIGGER HANDLE

WARNING: Before installing or removing this item, you MUST turn off the camera.

REQUIRED TOOL(S): 3/16" hex key

1. Turn off the camera.

2. Loosen the two (2) captive screws using a 3/16" hex key.

3. Remove the DSMC2 Top Handle or DSMC2 Outrigger Handle from the camera.

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RED RANGER MONSTRO OPERATION GUIDE

INSTALL THE FOCUS HOOK SCREW

The camera comes with a screw stored in the bottom of the media bay, called the focus hook screw. You can install this

screw in the Focus Hook Mounting point (along the sensor plane), and then pull focus from that location. You can either

attach measuring tape directly to the screw, or you can install a hook to the screw, and attach the measuring tape to the

hook.

To install the focus hook screw, follow the instructions below:

REQUIRED TOOL(S): Slotted screwdriver

1. Remove the focus hook screw from the Focus Hook Screw Storage Location on the media bay using a slotted

screwdriver.

Figure: Focus Hook Screw Storage Location

2. Tighten the focus hook screw into the Focus Hook Mounting Point on the media bay using a slotted screwdriver.

WARNING: DO NOT OVERTIGHTEN.

Figure: Focus Hook Mounting Point

RED RANGER MONSTRO OPERATION GUIDE

SHIM THE RED RANGER SHIMMED PL MOUNT

The RED RANGER Shimmed PL Mount is shimmed in the factory to align to the RED RANGER it is packaged with. To

shim a RED RANGER Shimmed PL Mount, use a DENZ

Flange Depth Controller (FDC), or similar tool, to measure

the Flange Focal Distance (FFD).

The following shims are provided with each RED RANGER PL Mount Shim Pack:

SHIM SPECIFICATIONS

PART NUMBER MICRONS INCHES

125-4660-001 13 .0005

125-4660-002 19 .00075

125-4660-003 25 .0010

125-4660-004 50 .0020

125-4660-005 75 .0030

SHIM OFFSET STACK TABLE

The table below shows the offsets (as measured in microns) created by using different combinations of shims. Shimming

requires no more than one (1) of each size shim and no more than three (3) total shims.

OFFSET WITHOUT SHIMS SHIM 1 SHIM 2 SHIM 3 SHIM TOTAL OFFSET AFTER SHIMS

50 50 — — 50 0

55 50 — — 50 5

60 50 13 — 63 –3

65 50 13 — 63 2

70 50 19 — 69 1

75 75 — — 75 0

80 75 — — 75 5

85 75 13 — 88 –3

90 75 13 — 88 2

95 75 19 — 94 1

100 75 25 — 100 0

105 75 25 — 100 5

110 75 25 13 113 –3

115 75 25 13 113 2

120 75 25 19 119 1

125 75 50 — 125 0

130 75 50 — 125 5

135 75 50 13 138 –3

RED RANGER MONSTRO OPERATION GUIDE

OFFSET WITHOUT SHIMS SHIM 1 SHIM 2 SHIM 3 SHIM TOTAL OFFSET AFTER SHIMS

140 75 50 13 138 2

145 75 50 19 144 1

150 75 50 25 150 0

INSTALL SHIMS

REQUIRED TOOL(S): T6 TORX screwdriver, DENZ FDC (or similar tool), LOCTITE

222

1. Turn off the camera.

2. Use a T6 TORX driver to remove the eight (8) screws on the lock ring assembly from the PL base.

3. Remove the lock ring assembly.

4. Add or remove the correct amount of provided shims measured with the DENZ FDC to the lock ring assembly. Add

the thinnest shims first, and then add the thicker ones, so that the thicker shims hold the thinner shims in place.

Figure: Shim Installation

5. Place the lock ring assembly back onto the PL base.

6. Place a small amount of LOCTITE 222 on each of the eight (8) leading threads.

7. Replace and loosely tighten the eight (8) M2x6 mm screws in a cross pattern ("X" pattern) using a T6 TORX driver.

WARNING: DO NOT FULLY TIGHTEN

8. Tighten the eight (8) screws evenly in a cross pattern ("X" pattern) using a T6 TORX driver to 30 in-oz, or damage

may occur.

WARNING: DO NOT OVERTIGHTEN.

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RED RANGER MONSTRO OPERATION GUIDE

INTERCHANGEABLE OLPF SYSTEM

WARNING: Read these instructions carefully and in their entirety before removing or installing an OLPF. Damage to the

OLPF module, camera, or sensor due to improper handling or use is not covered under warranty.

WARNING: Once an interchangeable OLPF is removed from the camera, the sensor is exposed. Improper handling of

the OLPF modules or camera during this procedure may compromise the installation or cause irreparable damage to your

camera or sensor.

WARNING: DO NOT allow any dirt or debris to enter the optical cavity.

WARNING: Use only VV OLPFs. DO NOT use other OLPFs.

SWAP AN INTERCHANGEABLE OLPF

REQUIRED TOOL(S): T20 TORX driver

1. Turn off the camera.

2. Remove any cables or accessories that may interfere with operations.

3. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20 TORX

driver.

NOTE: Some lens mounts have captive screws that are not removable.

NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.

4. Remove the lens mount.

5. Use a damp, lint-free cloth to gently wipe down the area around the lens mount and OLPF module. Remove as much

dust and debris as possible.

6. Use a T20 TORX driver to turn the OLPF lock on the camera counter-clockwise by a third turn to the Unlock position.

DO NOT turn the indicator mark past the Unlock icon.

WARNING: DO NOT OVERTIGHTEN.

7. Remove the OLPF module and place it in its protective case.

8. Use an LED light to ensure that the optical cavity is clean and free from dust or debris.

9. Ensure the new OLPF module is clean and free of debris.

10. Install the new OLPF module straight into the optical cavity, keeping the front face of the OLPF module parallel to the

front of the camera.

NOTE: Inserting the OLPF module at an angle may cause it to not seat properly.

11. Use a T20 TORX driver to turn the OLPF lock on the camera clockwise by a third turn to the Lock position. DO NOT

turn the indicator mark past the Lock icon.

WARNING: DO NOT OVERTIGHTEN.

NOTE: If the lock does not turn easily, gently press down on the OLPF module while turning the lock.

12. Replace the lens mount.

13. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a

T20 TORX driver. DO NOT FULLY TIGHTEN.

NOTE: Some lens mounts have captive screws that are not removable.

14. Fully tighten the four (4) lens mount screws in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT

exceed 350 in-oz, or damage may occur.

WARNING: DO NOT OVERTIGHTEN.

RED RANGER MONSTRO OPERATION GUIDE

USE A TRIPOD OR MONOPOD

This section describes the camera mounting points and mounting equipment for use with a tripod or monopod. The

camera is equipped three (3) 3/8-16 mounting holes and three (3) 1/4-20 mounting holes on the bottom of the camera.

These mounting points are designed for use with a variety of mounting plates and hardware, to support tripods and other

support systems.

WARNING: Ensure that the tripod, monopod, or support system is designed and rated to handle the weight of your

camera configuration. RED is not responsible for any damage caused by using a tripod, monopod, mount, or support

system that does not provide sufficient support.

WARNING: DO NOT use excessive force to mount a support accessory, as this may damage the screw threading.

RED offers the following products for use with tripods and other support systems:

Item Part Number

Mounting Plate (DSMC) 790-0094

DSMC Quick Release Platform Pack 790-0183

Quick Release Platform Pack (Bolt-On) 790-0078

Quick Release Platform (Dovetail) 790-0079

Quick Release Platform (Mini) 790-0390

Dovetail Mounting Plate (Long) 790-0083

Dovetail Mounting Plate (Short) 790-0084

For more information, visit the RED store at www.red.com/store.

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RED RANGER MONSTRO OPERATION GUIDE

VIDEO MONITOR OUTPUTS

The monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel RGB 4:4:4 video

signal. The signal may be modified using ISO, White Balance, or other RGB color space adjustments. The signal is then

scaled and gamma-corrected to provide monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.

The camera offers the following monitor outputs:

EVF/LCD: Supports a RED EVF or LCD display.

HD-SDI: Provides a 720p or 1080p output suitable for monitoring or recording to an external VTR or DDR device. It

may be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.

VIDEO MONITOR CATEGORIES

Video monitor outputs are separated into three (3) categories:

VIEWFINDER: The Upper Status Row, Live Action Area, and Lower Status Row display. Default output is the

EVF/LCD connector located on top of the camera. If an EVF or LCD is not connected, you can transfer the

VIEWFINDER output to the SDI output.

PROGRAM/Clean: None of the graphic overlays display.

PREVIEW: The Live Action Area and associated graphic overlays display.

For more information about changing the video monitor category of your monitor, go to "Monitor Mode" on page 69.

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RED RANGER MONSTRO OPERATION GUIDE

RECORD

Perform one of the following actions to begin recording:

Press PWR/REC on the camera.

Press START/STOP on the DSMC2 Top Handle or DSMC2 Outrigger Handle.

Trigger start/stop with a compatible third-party trigger.

Double-tap the right 25% on an attached touchscreen display (when enabled).

NOTE: To enable Double-Tap Right 25% to Record, go "Advanced" on page 72.

RECORD VIA HD-SDI

NOTE: Audio is not embedded in the MON-1 signal.

This section describes how to record via HD-SDI through simultaneous record (recording to an SSD and an external

recorder at the same time) or external record only.

SIMULTANEOUS RECORD

NOTE: The secondary LCD/EVF port and a MON-1 port cannot be used at the same time. Go to "Monitor Preferences"

on page 69.

You can record simultaneously to an external recorder and a RED SSD. To record simultaneously, follow the instructions

below:

1. Connect the camera to an external recorder with an HD-SDI cable.

2. Ensure that a formatted SSD is inserted in the camera.

3. Set up the HD-SDI output:

A. Go to Menu > Monitoring > Monitors and select a monitor.

B. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).

C. Select the output resolution from the Resolution drop-down menu.

NOTE: The HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out Ports" on

page 190.

4. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to

"Tools" on page 74.

5. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:

A. Go to Menu > Settings > Audio > Mix > Monitor Mix.

B. Adjust the input channels.

6. Go to Menu > Settings > Recording > Mode.

7. Select Local from the Storage drop-down menu.

8. Begin recording.

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RED RANGER MONSTRO OPERATION GUIDE

EXTERNAL RECORD

NOTE: The secondary LCD/EVF port and a MON-1 port cannot be used at the same time. Go to "Monitor Preferences"

on page 69.

You can record to an external recorder without recording to an SSD. To record to an external device only, follow the

instructions below:

1. Connect the camera to an external recorder with an HD-SDI cable.

2. Ensure the SSD is ejected.

3. Set up the HD-SDI output:

A. Go to Menu > Monitoring > Monitors and select a monitor.

B. Select Clean from the Mode drop-down menu (otherwise the external recorder records the overlay).

C. Select the output resolution from the Resolution drop-down menu.

NOTE: The HD-SDI maximum resolution is 1080p. For more information, go to "Record/Monitor Out Ports" on

page 190.

4. Disable all False Colors (otherwise the external recorder records the False Colors). For more information, go to

"Tools" on page 74.

5. If monitoring audio via a third-party monitor that supports audio, set up the monitor mix:

A. Go to Menu > Settings > Audio > Mix > Monitor Mix.

B. Adjust the input channels.

6. Go to Menu > Settings > Recording > Mode.

7. Select External from the Storage drop-down menu.

8. Begin recording.

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RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 4:

BASIC MENUS AND CONTROLS

GUI MENU INTRODUCTION

This section describes the structure and layout of the graphical user interface (GUI) that overlays the video monitor

signal. Advanced GUI menu controls enable convenient access to menus, overlays, and other critical camera

information. Functionality varies based on monitor output type and firmware version. The GUI menu is organized in the

following way:

By three (3) sections:

Figure: GUI Control Menu

# ITEM DESCRIPTION

1 Upper Status Row

(Basic Menu)

Easy access to primary camera capture parameters. Go to

"Upper Status Row (Basic Menu)" on

the next page.

2 Live Action Area Live camera recording view, overlays, guides, and more. Go to "Live Action Area" on page 48.

3 Lower Status Row Critical camera parameters, record/playback modes, media and power status, and audio meter.

Go to "Lower Status Row" on page 49.

UPPER STATUS ROW (BASIC MENU)

The Upper Status Row displays basic project parameters. The currently selected parameter in the Upper Status Row is

underlined with a red bar. The Upper Status Row is also known as the Basic Menu.

Figure: Upper Status Row

The Upper Status Row includes the following GUI elements:

# ITEM DESCRIPTION DETAILS

1 Frame Rate (fps) Recording frame rate

"Frame Rate" on page 94

2 ISO Camera sensitivity

"ISO" on page 66

3 Aperture Lens aperture (F stop) information "Aperture" on the next page

4 Exposure (Shutter) Integration time or shutter angle

"Exposure/Shutter" on page 95

5 Color Temperature White balance and Tint

"White Balance" on page 64

6 Resolution Record resolution

"Format" on page 97

7 REDCODE

REDCODE compression setting

"REDCODE" on the next page

8 Menu Access advanced settings "Advanced Menus" on page 61

9 Cursor Indicates currently selected Upper Status Row element N/A

ACCESS ADVANCED MENUS

For every Upper Status Row item, you can select the

Advanced... button to access the related menu in the Advanced

Menus.

For example, select Advanced... in the Frame Rate menu to open Menu > Settings > Project > Frame Rate.

For more information about Advanced Menus, go "Advanced Menus" on page 61.

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RED RANGER MONSTRO OPERATION GUIDE

FEATURE: EDIT LIST

Select the

Edit List... button in the Upper Status Row menus to change the values that display for each setting. For

example, if you open the Frame Rate menu and select Edit List..., the camera lets you add or remove values.

Figure: Select "Edit List..." Button

APERTURE

The aperture (also known as the T stop or F stop) parameter displays when a compatible mount and lens are installed.

The aperture controls the depth of field of the image and, in combination with the shutter speed/angle setting, controls the

amount of light that reaches the sensor (exposure).

Increasing the aperture to a higher number increases the depth of field, but reduces the exposure (brightness).

Decreasing the aperture to a lower number decreases the depth of field, but increases the exposure (brightness).

RED DSMC PL MOUNT INSTALLED

The current aperture of the attached lens displays when a DSMC

PL mount is installed and a supported lens equipped

with Cooke

S4/i

system is attached.

Select the

Advanced... button to access the Menu > Settings > Setup > Lens screen. For more information, go to

"Lens" on page 129.

REDCODE

Select the target REDCODE compression ratio for your project.

If the camera is able to achieve the target compression ratio, the compression ratio displays in white. If the camera is

unable to achieve the target compression ratio, the compression ratio displays in yellow, and the camera uses the next

possible compression ratio.

The current compression ratio is automatically recalculated when changes are made to the project resolution, aspect

ratio, anamorphic setting, frame rate, HDRX

mode, media, or the target REDCODE compression ratio.

The RECODE compression affects the overall quality of the footage. A lower compression (for example: 2:1) increases

the quality of the footage, while a higher compression (for example: 22:1) lowers the quality.

REDCODE range is 2:1 to 22:1. Default is 8:1.

For maximum available REDCODE values, see the

DSMC Media Operation Guide at www.red.com/downloads.

RED RANGER MONSTRO OPERATION GUIDE

LIVE ACTION AREA

The Live Action Area contains the recorded image area, Look Around area, and various overlays. The color of each

overlay can be customized to maximize the contrast between the guide(s) and scene being captured.

Figure: Live Action Area

The Live Action Area includes the following GUI elements:

# ITEM DESCRIPTION DETAILS

1 Lens Information Lens information when using supported lenses

"Lens Information"

below

2 AF Status Currently selected auto focus mode "Focus Menu" on

page 116

3 Center Crosshair and Spot

Focus Guide

Crosshair: Center of selected guide

Reference guides: Safe Action/Safe Title, Picture Center, Grid

Overlay

"General Tab" on

page 80

4 Frame Guides Record or sensor projection area "Guides" on page 79

5 Clip Filename Filename of the clip being recorded, or filename of the next clip

to be recorded

N/A

6 Timecode Value Current timecode value

"Timecode" on

page 147

LENS INFORMATION

This section describes the lens information displays when a supported lens is attached.

PL LENSES

Displays the focal length and focal distance when a DSMC PL mount is installed and a lens with the Cooke S4/i system

(or equivalent) is attached. For more information, go to

"Lens" on page 129.

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RED RANGER MONSTRO OPERATION GUIDE

LOWER STATUS ROW

The Lower Status Row provides access to key system information and camera values.

Figure: Lower Status Row

# ITEM SUB-ITEM/DESCRIPTION DETAILS

1 Camera Mode Swipe up to toggle Motion/Stills/Playback modes

"Camera Mode" on the next page

2 Histogram Histogram; tap to open the Tools menu "Histogram" on page 52

3 Project Status

Indicators

Tap to open the Project Status menu

"Project Status" on page 133

Camera sensor and core temperature "Sensor Calibration" on page 136

Cal: T/E "CAL: T/E Indicator" on page 53

HDRX

: Displays when HDRX mode is on "HDRX Menu" on page 115

False Color Mode: Displays modes "False Color Modes" on page 74

Magnify mode "Display Modes: Magnify" on page 76

Timecode "TC Indicator" on page 53

Genlock "GEN Indicator" on page 53

Sync "SYNC Indicator" on page 53

RM "RM (Remote) Indicator" on page 53

LAN "LAN Indicator" on page 54

RIG: Indicates 3D rig metadata is present N/A

WIFI: Indicates wireless connection "WiFi Indicator" on page 54

4 Media Status Media location and remaining capacity; tap to open the

Media Menu

"Media Menu" on page 90

5 Power Status DC voltage or remaining battery capacity; tap to open the

Power menu

"Power Status" on page 54

6 Audio Meter Audio input and volume; tap to open the Audio menu

"Audio Meter (VU Meter)" on page 143

RED RANGER MONSTRO OPERATION GUIDE

CAMERA MODE

The Camera Mode allows you to seamlessly toggle between Motion mode, Stills mode, and Playback. To select a

camera mode, select the

Camera Mode icon in the Lower Status Bar, swipe up, and select a camera mode.

NOTE: Setting adjustments made in Stills mode do not affect the settings in Motion mode, and vice versa.

You can select the following camera modes:

"Motion Mode" below

"Stills Mode" on the next page

"Playback " on page 85

MOTION MODE

Motion mode optimizes your camera settings for capturing motion. This mode defaults the camera to Continuous Record.

Motion mode includes the following features:

Motion recording modes:

"Continuous Record" on page 103

"Internal Timelapse Timer" on page 103

"Frame Trigger" on page 104

"Speed Ramp Mode" on page 104

"REDCODE Burst" on page 105

Swipe-Up Shortcuts

Camera Mode

False Color

Status

Media

Power

Audio

Default Motion Preset (RED)

NOTE: For more information, go to "Swipe-Up Menu" on page 57.

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RED RANGER MONSTRO OPERATION GUIDE

STILLS MODE

Stills mode optimizes your camera settings for capturing stills. Stills mode includes the following features:

Stills recording modes:

"Multi-Shot" on page 106

"Motion + Stills" on page 107

Swipe-Up Shortcuts:

False Color

Status

Media

Power

Auto Focus

Auto Exposure

Record Mode

Default Stills Preset (RED)

For more information, go to "Swipe-Up Menu" on page 57.

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RED RANGER MONSTRO OPERATION GUIDE

HISTOGRAM

NOTE: The sharpness setting affects the Histogram, RAW Level Bars, and RAW Clip Meter. For more information, go to

"Output Sharpness" on page 72.

This section describes the elements that comprise the Histogram section in the Lower Status Row. This section of the

GUI helps ensure that recorded footage is properly exposed.

Tap the Histogram in the Lower Status Row to access the Tools menu. For more information, go to "Tools" on page 74.

Figure: Histogram (Exposure)

# ITEM DESCRIPTION

1 RAW Level

Bar (left)

Also known as a “goal post”. Displays the amount of pixels in the image that are underexposed (noise)

2 RAW Level

Bar (right)

Also known as a “goal post”. Displays the amount of pixels in the image that are overexposed (clipping)

3 RGB

Histogram

Provides a visual representation of exposure and sensor data levels for red, green, and blue channels;

meter is affected by White Balance, ISO, and VIEW/LOOK settings

4 RAW Clip

Meter

Also known as “traffic lights”. Provides a visual representation of exposure and sensor data levels for red,

green, and blue channels; Circles (traffic lights) will light up when clipping occurs

1. The RAW Level Bars represent 1/4 of the total pixels in the image, and illustrate the number of pixels that are noisy or clipped in relation to the

total number of pixels. For example, if the left RAW Level Bar is 1/8 of the total height, that means that approximately 1/32 of the total pixels in

the total image are at an exposure level that is at risk of displaying noise when pushed to higher ISO or FLUT

values in post production.

PROJECT STATUS INDICATORS

This section describes the colors and behavior of the Project Status indicators in the Lower Status Row. Tap the Project

Status indicators in the Lower Status Row to access the Project Status menu. For more information, go to

"Project

Status" on page 133.

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RED RANGER MONSTRO OPERATION GUIDE

CAL: T/E INDICATOR

The CAL: T/E indicator shows changes to temperature (T) or exposure (E) in relation to the active calibration map. If the

temperature or exposure change significantly, calibrate the sensor at the desired temperature and exposure. Failure to

properly calibrate the sensor may reduce image quality.

Green: Sensor temperature or exposure are properly calibrated for current settings.

Yellow: Slight change in sensor temperature or exposure.

Red: Significant change in sensor temperature or exposure.

The – and + indicate whether the sensor temperature or exposure has decreased or increased, respectively.

NOTE: T and E indicators change colors independently of each other.

TC INDICATOR

The TC indicator shows the current timecode status.

Grey: No analog timecode is detected.

Red: Analog timecode is detected but not enabled.

Green: Analog timecode is used to jam the time of day timecode.

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page 147.

GEN INDICATOR

The GEN indicator shows the current genlock status.

Grey: No genlock signal is detected, or the signal cannot cross-lock to project (24.00 fps vs. 23.98 fps).

Red: During process of sync, or genlock is lost while recording.

Green: A genlock signal matching the current HD-SDI monitor rate is locked.

Yellow: Timing is cross-locked to compatible but not matching monitor rate. For example, genlock is 24.00 fps, and

HD-SDI monitor rate is 25.00 fps.

NOTE: When the GEN indicator is yellow, DO NOT perform 3D operation. This warns that genlock source settings and

camera settings are not aligned, so phasing of the sync between cameras is not guaranteed.

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page 147.

SYNC INDICATOR

The SYNC indicator shows the current sensor sync status, based on genlock.

Grey: The sensor sync mode is not set to genlock.

Red: The sensor sync mode is set to genlock, but is not locked to a genlock signal. This may occur if genlock or

sensor sync is lost while recording.

Green: The sensor sync mode and HD-SDI monitor rate are locked to a compatible genlock signal.

For more information, go to "Timecode, Genlock, Multi-Camera Setup" on page 147.

RM (REMOTE) INDICATOR

The RM indicator displays if the camera is linked to a third-party remote application, such as foolcontrol.

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RED RANGER MONSTRO OPERATION GUIDE

LAN INDICATOR

The LAN indicator shows the current status of an external LAN connection through the Gig-E port.

Grey: External control of the camera is not enabled.

Green: Ethernet is enabled.

WIFI INDICATOR

The WiFi indicator shows the wireless connectivity status.

Grey: Wireless is disabled.

Yellow: Wireless is not connected.

Green: Wireless is enabled.

For more information, go to "Wireless Connection" on page 122.

POWER STATUS

The Power Status element displays the current supply voltage or remaining battery capacity. Tap the Power Status

element to access the Power menu. For more information, go to

"Power Menu" on page 83.

DC IN SUPPLY VOLTAGE

When powering the camera via DC power, the current voltage displays. When powering the camera using batteries, the

remaining battery capacity displays. The remaining capacity is indicated by the following colors:

Green: 12.0 V and up

Yellow: 11.8 V to 11.9 V

Red: 11.6 V to 11.7 V

NOTE: The camera turns off automatically if the supply voltage drops to 11.5 V.

When using a RED battery, the power status displays the location of the power source and the remaining battery

capacity. When using a RED BRICK battery connected to DC IN, the power status displays BRICK and the remaining

battery capacity.

The color of the displayed battery capacity represents the amount of time remaining:

Green: >10 minutes

Yellow: 5 to 10 minutes

Red: <5 minutes

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RED RANGER MONSTRO OPERATION GUIDE

NAVIGATION CONTROLS

This section describes basic controls for navigating the camera menus.

TOUCHSCREEN NAVIGATION

You can control certain settings and navigate the camera menu using buttons and gestures on the RED Touch displays.

RED TOUCH DISPLAY BUTTONS

RED Touch displays offer intuitive menu control and four (4) programmable buttons.

Figure: DSMC2 RED Touch 7.0" LCD

# RED TOUCH BUTTON DESCRIPTION

1 User Key 1 Magnify: Toggle

2 Up Button Increase display brightness

3 Down Button Decrease display brightness

4 User Key 2 Toggle Exposure Mode on/off

NOTE: RED Touch display keys are programmable. For more information, go to "Key Mapping" on page 120.

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RED RANGER MONSTRO OPERATION GUIDE

RED TOUCH DISPLAY GESTURES

Navigate the menus using a touchscreen by using the following gestures:

Tap: Tap has many functions:

Tap to select a Basic Menu, submenu, or button.

If a menu is open, tap anywhere outside the menu to save any changes and close the menu.

Tap the right or left regions of the touchscreen to access the programmable soft keys.

Swipe: Swipe to select different values in spinners or drop-down menus. For more information, go to "Swipe-Up

Menu" on the next page.

Double-Tap: If the monitor is in Clean mode, changes to Overlay mode.

Hold: Tap and hold an icon to bring up an advanced interface display.

Pinch: Move two (2) fingers apart/together to increase/decrease the size of the image. By default, this gesture is

disabled.

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RED RANGER MONSTRO OPERATION GUIDE

SWIPE-UP MENU

The Swipe-Up Menu is available in the Lower Status Row on RED Touch displays and provides Swipe-Up Shortcuts for

Motion mode, Stills mode, and Playback. For example, select the

Camera Mode icon in the Lower Status Bar, swipe

up, and select a Camera Mode. For more information about Stills mode and Motion mode, go to "Camera Mode" on

page 50.

Figure: Swipe Up Menu

# SWIPE-UP

SHORTCUT

DESCRIPTION MODE

1 Camera Mode Select Playback, Motion, or Stills Motion, Stills

2 False Color Select a false color mode; go to

"False Color Modes" on page 74 Motion, Stills

3 Status View detailed status information Motion, Stills

4 Media View as Percentage or Time Remaining, eject media, view clip thumbnails Motion, Stills

5 Power View as Percentage, Time Remaining, or Voltage Motion, Stills

6 Audio Select Audio settings Motion

7 Auto Focus Set Zone, Size, and Mode Stills

8 Auto Exposure Set Exp Comp, Speed, Metering, Priority, and Mode Stills

9 Record Mode Select Multi-Shot or Motion + Stills Stills

RED RANGER MONSTRO OPERATION GUIDE

SIDE LCD AND NAVIGATION

Figure: Side LCD and Navigation

# CONTROL/ITEM DESCRIPTION

1 User Keys (A–D)

A: Cycle Auto-Focus Mode

B: Auto White Balance

C: Toggle: Magnify

D: Toggle Exposure Mode

A + D: Lock/unlock side buttons to prevent inadvertent menu changes

2 MENU Button Access menus or exit currently selected menu

3 MODE Button Toggle between Remote and Local Modes

4 Navigation Group Navigate menus and menu items; Go to "Navigation Group" on the next page

1. Press User Keys A + D simultaneously to lock/unlock Side LCD buttons to prevent inadvertent menu changes.

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RED RANGER MONSTRO OPERATION GUIDE

NAVIGATION GROUP

Figure: Navigation Group

# NAVIGATION GROUP ELEMENT DESCRIPTION

1 Scroll Wheel Select and adjust the value of a selected setting

2 ENTER key Press

ENTER to confirm a setting or access the selected menu

3 Directional Keys Navigate menus and menu items

Navigate the menus using the following controls:

Press ENTER to open the menu, then rotate the Scroll Wheel clockwise to move right, counterclockwise to move

left to highlight the desired menu or parameter. Press ENTER to select.

Press the Up Directional Key to open the related Advanced Settings menu, if one (1) is available.

OPERATION MODES

The Side LCD display reflects the currently selected mode. Use the

Scroll Wheel and Directional Keys to navigate

menus. Press MENU to access the Advanced Menu.

Press MODE to toggle between the following modes:

Remote Mode: Navigate with the Side LCD controls, using an attached LCD, EVF, or other monitor as a reference.

The Side LCD displays the primary control screen.

Local Mode: Navigate using the Side LCD controls and display. User Keys A-D are inactive.

KEY LOCK/UNLOCK

Lock the keys on the Side LCD to prevent inadvertent button presses and menu changes.

Lock: Press A + D simultaneously.

Unlock: Press A + D simultaneously. Alternatively, press and hold ENTER while keys are locked.

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RED RANGER MONSTRO OPERATION GUIDE

SIDE LCD DISPLAY

The Side LCD display provides basic camera parameters during operation.

Figure: Side LCD (Local Mode)

The Side LCD displays the following camera parameters:

# ITEM DESCRIPTION

1 Frame Rate Current Recording Frame Rate

2 Lens Information Displays aperture if a supported Cooke lens is attached

3 White Balance Color temperature

4 REDCODE REDCODE compression setting

5 Media Status Displays media location and remaining media capacity

6 Timecode Current timecode value

7 Power Status DC supply voltage or % of remaining battery capacity

8 Resolution Recording resolution

9 Shutter Speed Integration time or shutter angle

10 ISO Camera sensor sensitivity

RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 5:

ADVANCED MENUS

ACCESS THE ADVANCED MENUS

To access the Advanced menus, perform one of the following:

Tap the Menu button on the side of the camera.

Tap the Menu icon on the touchscreen.

Open any menu in the Upper Status Row, and then select the Advanced... button.

NOTE: Some menus are only available if certain hardware is present.

IMAGE MENU

Figure: Image Menu

The Image menu includes tools that control how the image appears, including Color Space and Gamma Curve.

IMAGE PIPELINE

To set up the image pipeline, go to

Menu > Image > Image Pipeline.

IMAGE PIPELINE MODE OPTIONS

The camera offers two (2) different ways to process your image. Each mode changes which sub-menus are available in

the Image menu.

Legacy: In Legacy mode, the camera provides the same color options that firmware v6.3 did. Enables the Color,

Gain, Curves, and LGG menus.

IPP2: Image Processing Pipeline 2 (IPP2) is the new image processing pipeline, which is available starting with

firmware v6.4. In IPP2, the camera applies REDWideGamutRGB, which is a color space designed to encompass all

colors a RED camera can generate without clipping. The camera then encodes the image using Log3G10, a gamma

curve that prevents clipping. Using this color space and gamma curve allows you to grade and make color

adjustments in post production, instead of in-camera. Selecting IPP2 enables the CDL menu, and hides the Color,

Gain, Curves, and LGG menus (since those are used for grading).

LEGACY MODE

To use Legacy mode, follow the instructions below:

1. Go to

Menu > Image > Image Pipeline > Options.

2. Select Legacy from the Mode drop-down menu.

3. Select OK.

Figure: Legacy Mode

4. Select a color space from the Color Space drop-down menu.

5. Select a gamma curve from the Gamma Curve drop-down menu.

6. If you want to apply a 3D LUT, go to "3D LUT" on page 68.

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RED RANGER MONSTRO OPERATION GUIDE

IPP2 MODE

To use IPP2 mode, follow the instructions below:

1. Go to

Menu > Image > Image Pipeline > Options.

2. Select IPP2 from the Mode drop-down menu. With IPP2, the Color Space and Gamma Curve are always

REDWideGamutRGB and Log3G10, respectively.

3. Select OK.

Figure: IPP2 Mode

4. If you want to apply a 3D LUT, go to "3D LUT" on page 68.

5. Select a color space from the Output Color Space drop-down menu.

6. Select a contrast setting from the Output Tone Map drop-down menu.

7. Select a highlight option from the Highlight Roll-Off drop-down menu.

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RED RANGER MONSTRO OPERATION GUIDE

OUTPUT SUMMARY

The Output Summary menu is an information-only menu that displays what image information is applied to the R3D files

and proxy files. To view the output summary, go to

Menu > Image > Image Pipeline > Output Summary.

Figure: Image Menu

R3D FILE METADATA

N/A : Displays if the camera is not set to record R3D files. To enable/disable recording to R3D, go to "Select Record

File Format" on page 112.

3D LUT: The name of the 3D LUT applied to the file. If no LUT is applied, the screen displays [NONE].

Output Color Space: Applicable to IPP2 mode only. The name of the output color space selected on the Options

tab.

INTERMEDIATE / PROXY FILE

N/A: Displays if the camera is not set to record Apple

ProRes files or Avid DNxHD/HR files. To enable/disable

recording to these files, go to "Select Record File Format" on page 112.

Color Space / Gamma Curve: Applicable to Legacy mode only. The color space and gamma curve applied to the

file.

Baked-in Settings: Applicable to IPP2 mode only. The image settings that are irreversibly encoded (baked) into the

recorded file. To select these settings, go to "Select Record File Format" on page 112.

Codec: The selected codec. To select a codec, go to "Select Record File Format" on page 112.

WHITE BALANCE

Select a color temperature. The range is 1700 to 10,000 KELVIN, and the default is 5600 KELVIN.

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 parameter adjusts the RGB color balance with a

compensating magenta-green color component. Tint range is –100 to 100, with a default of 0.000.

The Tint value displays as a rounded number in the Upper Status Row.

NOTE: Selecting Auto White Balance calculates a new Tint value. The value does not change if you adjust the color

temperature manually. Selecting a preset resets the Tint to 0.000.

RED RANGER MONSTRO OPERATION GUIDE

PRESETS

Each preset has 0.000 Tint. Available preset options are:

Incandescent: 2800 K

Tungsten: 3200 K

Fluorescent: 4500 K

Flash: 5500 K

Daylight: 5600 K

Cloudy: 7500 K

Shade: 9000 K

AUTO WHITE BALANCE

Auto white balance analyzes the central 25% of the image visible in the monitor to calculate a color temperature that will

render a white object as white.

To use auto white balance, follow the instructions below:

1. Place a white or grey object under the ambient light.

2. Go to

Menu > Image > White Balance.

3. Select Auto White Balance.

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RED RANGER MONSTRO OPERATION GUIDE

ISO MENU

To select an ISO setting, go to

Menu > Image > ISO.

ISO

NOTE: To see the full range of ISO ratings, select ISO in the Upper Status Row, select Edit List, and select Custom.

Select the camera ISO rating. The sensitivity value increments in 1/3 stops. When the ISO rating is adjusted, the camera

logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter images in the

monitor path, and vice versa.

RED recommends setting the ISO to the default, then adjusting the aperture, lighting, and ND filters to match. The ISO

can later be adjusted around one (1) stop for fine-tuning.

Range is ISO 250 to 12,800. Default is ISO 800.

FLUT

NOTE: This feature is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Floating Point Lookup Table (FLUT) is an exposure control exclusive to RED. FLUT works like a traditional ISO setting,

but can be fine-tuned in post production to any level of exposure precision. FLUT automatically protects highlights and

shadows, even when changed substantially.

The FLUT setting is expressed in terms of relative exposure value (EV), where each unit represents a 1-stop change in

midtone exposure level. Range is –8.0 to 8.0. Default is 0.0.

SHADOW

NOTE: This feature is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Shadow adjusts the toe value of the FLUT (the tone near black). Increasing the Shadow value raises the video level of

near blacks. Lowering the Shadow value crushes the video level of near blacks. Range is –2.0 to 2.0. Default is 0.0.

EXPOSURE ADJUST

NOTE: This feature is only available in IPP2 mode. For more information, go to "Image Pipeline" on page 62.

Exposure Adjust (called FLUT in firmware v6.3 and earlier) works like a traditional ISO setting, but can be fine-tuned in

post production to any level of exposure precision. Exposure Adjust automatically protects 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. Range is –8.0 to 8.0. Default is 0.0.

ISO CALIBRATION

RED cameras with HELIUM

, MONSTRO

, and GEMINI

sensors have an ISO calibration that better matches a light

meter and improves overall exposure quality. RED cameras with HELIUM, MONSTRO, and GEMINI sensors therefore

depict a one stop brighter image compared to prior sensors (when set to an otherwise identical ISO, T-stop, and shutter

speed). ISO 400 now appears as bright as ISO 800 did before, for example.

To match exposure between cameras with HELIUM, MONSTRO, and GEMINI sensors and RED cameras that DO NOT

have those sensors, either reduce your camera’s ISO speed by 1 stop compared to the other camera, or deselect the

Menu > Image > ISO > Use updated ISO calibration check box.

As usual, RED recommends using ISO 800 as a starting point for exposure, then adjusting the T-stop and lighting or ND

filters to match.

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RED RANGER MONSTRO OPERATION GUIDE

CDL

NOTE: This menu is only available in IPP2 mode. For more information, go to "Image Pipeline" on page 62.

American Society of Cinematographers Color Decision List (ASC CDL) controls are a standardized, camera-agnostic

way to adjust the look of your images. Color corrections made with a device can therefore be applied or modified by other

devices, even if such devices are from different manufacturers and use different standards.

Use the CDL menu to set up:

Slope

Power

Offset

Saturation

MANAGE CDLS

Use the CDLs menu to apply and import/export CDLs.

CDLs can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting CDLs from

camera to an SSD, the CDLs are saved to a folder on the SSD called “cdls”. When importing CDLs from an SSD to

camera, the CDLs must be stored on the SSD in a folder called “cdls”.

Apply: Apply the selected CDL.

Create: Create a new CDL using the current settings.

Delete: Delete the selected CDL.

: Export selected CDL from camera to SSD.

All: Export all CDLs from camera to SSD.

: Import selected CDL from SSD to camera.

All: Import all CDLs from SSD to camera.

COLOR

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Saturation: Adjusts color saturation. Range is 0.0 (monochrome) to 4.0 (super color). Default is 1.0.

Contrast: Adjusts the overall contrast of the image. Range is –1.0 (flat) to 1.0 (max contrast). Default is 0.0.

Brightness: Adjusts brightness without crushing highlights. Available range is –10.0 to 10.0. Default is 0.0.

Exp Comp: Adjusts exposure compensation. Available range is –7.0 to 7.0. Default is 0.0.

GAIN

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Adjust the red channel, blue channel, and green channel individually. The range for each is 0.0 (none of the color) to 10.0,

and the default for each is 1.0.

CURVES

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Define the individual curves for the luma, red, green, and blue channels. You can only adjust one (1) curve at a time.

Select

Reset Curve to reset a curve.

RED RANGER MONSTRO OPERATION GUIDE

LGG (LIFT, GAMMA, GAIN)

NOTE: This menu is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

Adjust the lift, gamma, and gain for the red channel, blue channel, and green channel individually.

3D LUT

Use the 3D LUT menu to apply and manage LUTs.

SELECT LUT

If you are recording to a 2K Apple ProRes or 2K Avid DNxHD/HR codec while the camera is in IPP2 mode, you can

chose to irreversibly encode (bake) the 3D LUT into the recorded file. For more information, go to

"Select Record File

Format" on page 112.

When you apply a 3D LUT to a monitor, the name of the 3D LUT displays in the lower left corner of the Live Action area

for that monitor. The Display Preset feature controls which Color Space / Gamma Curve pairing and/or 3D LUT is applied

to the monitor. For more information, go to "Display Preset" on page 70.

NOTE: The 3D LUT indicator is part of the default "Standard (RED)" overlay, which you can override by selecting or

creating a different overlay. For more information, go to "Custom Overlays" on page 81.

To apply a 3D LUT, follow the instructions below:

1. Go to Menu > Image > 3D LUT.

2. Select a LUT from the Creative 3D LUT drop-down menu.

3. Select OK.

EXPORT/IMPORT LUTS

To export and import 3D LUTs, go to

Menu > Image > 3DLUT > Import/Export.

3D LUTs can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting 3D LUTs

from camera to an SSD, the 3D LUTs are saved to a folder on the SSD called “luts”. When importing 3D LUTs from an

SSD to camera, the 3D LUTs must be stored on the SSD in a folder called “luts”.

: Export selected 3D LUT from camera to SSD.

All: Export all 3D LUTs from camera to SSD.

: Import selected 3D LUT from SSD to camera.

All: Import all 3D LUTs from SSD to camera.

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RED RANGER MONSTRO OPERATION GUIDE

MONITORING MENU

The Monitoring menu includes tools that control different monitor outputs, Look Around, and overlays.

MONITORS

To set up monitor preferences, go to

Menu > Monitoring > Monitors and select the monitor whose preferences you

want to change. You can set up preferences for each of the following monitors:

LCD Top

EVF Top

LCD Left

EVF Left

MON-1

SDI-1/2

To see what monitor preferences are available, go to "Monitor Preferences" below.

MONITOR PREFERENCES

Set up the preferences for the selected monitor. Some options are only available with specific monitors.

NOTE: While some changes take effect immediately, others take effect when you close the menu.

LCD/EVF LEFT / MON-1 SELECT

NOTE: This setting is available for LCD Left, EVF Left, and MON-1.

Select to enable either the secondary LCD/EVF port on the camera or the MON-1 port. The secondary LCD/EVF port

and the MON-1 port cannot be used at the same time.

MONITOR MODE

Select an option for the

Mode setting, which determines the elements displayed on the monitor:

Clean: Only the video displays. The Upper Status Row, Lower Status Row, and overlays do not display.

Overlay: The overlay displays. Overlays include the Upper Status Row and the Lower Status Row.

Mirror: The monitor mirrors another screen at the same resolution. You cannot mirror a screen that is set to Clean.

The Mirror option is available based on the settings of the other attached monitors, and includes the name of the

monitor that can be mirrored.

NOTE: You can set a maximum of four (4) monitors to Overlay at a time. To assign additional monitors to Overlay, mirror

a monitor with the same resolution that is set to Overlay.

NOTE: When two (2) touchscreens are attached to the camera with the same resolution and one (1) is currently the

control surface, set the other to mirror it and give the effect of having two (2) control surfaces.

OVERLAY

Select which overlay shows on top of the video. RED

provides preset overlays, which have “(RED)” in the overlay

name. Create custom overlays in the Overlay tab. For more information, go to

"Custom Overlays" on page 81.

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RED RANGER MONSTRO OPERATION GUIDE

RESOLUTION

Select the output resolution for monitors (you cannot select a resolution for LCDs and EVFs, since the resolution is

determined automatically). For more information about available HD-SDI resolutions, go to

"Record/Monitor Out Ports" on

page 190.

FREQUENCY

Determines the monitor frequency. Available frequencies depend on the selected monitor. The LCD resolution defaults to

60.00 Hz, which is the optimal refresh rate for the RED LCDs.

For HD-SDI monitors, the frequency depends on the project time base. For more information, go

"Record/Monitor Out

Ports" on page 190.

HD-SDI Auto: Sets the frequency equal to the Project Time Base, except when the Project Time Base is 47.95/48 fps.

When the Project Time Base is 47.95/48 fps, the frequency is half that rate (23.98/24 Hz).

DISPLAY PRESET

Select the Color Space and Gamma Curve combination for the monitor. For more information, go to

"Image Pipeline" on

page 62.

TOOLS

Enables the false color modes on the monitor. For more information, go to

"False Color Modes" on page 74.

FLIP VIDEO

NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch

7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

Flip footage horizontally, so that it is upside down. This setting only affects the monitor, and does not affect captured

footage.

FRAMED OVERLAY

The video display is scaled down on the monitor so that the overlay items fit outside of the video area rather than over it.

This setting only affects the monitor, and does not affect captured footage.

AUTO HIDE MENUS

Hides the Upper Status Row and Lower Status Row. When this option is disabled, the video is scaled so that the menus

are not overlaid on the video. When this option is enabled, the video is not scaled. This option creates a control surface

on a monitor without scaling the video. This setting only affects the monitor, and does not affect captured footage.

To toggle display/hide the menus when Auto Hide Menus is enabled, perform either of the following actions:

Press the Menu button.

Tap the touchscreen.

NOTE: Enabling this option on a non-control surface results in the menus never displaying on that monitor.

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RED RANGER MONSTRO OPERATION GUIDE

FLIP/MIRROR

NOTE: This setting is ONLY available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED

Touch 7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

Mirror and flip (invert) the graphical user interface (GUI) and footage, effectively rotating the entire displayed image 180°.

Use this setting when mounting a monitor or the entire camera rig upside down. This setting only affects the monitor, and

does not affect captured footage.

UI FLIP/MIRROR

NOTE: This setting is NOT available on the DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD, RED Touch

7.0" LCD, RED Pro Touch 7.0" LCD, and DSMC2 Touch 7.0" Ultra-Brite LCD.

Flip the GUI vertically and mirror horizontally (not rotated). Use this setting when mounting a monitor upside down. This

setting only affects the monitor, and does not affect captured footage.

BRIGHTNESS

Control the brightness of each LCD and EVF. Move to the right for a brighter display; move to the left for a dimmer

display.

PRIORITY

The camera can only have one (1) control monitor for interacting with camera settings. The Priority tab determines the

order in which a monitor becomes the control monitor. If you plan on removing or adding monitors during a shoot, set up

the priority list ahead of time.

For a monitor to become the control monitor, the following must occur:

The monitor must be set to Overlay mode in the Monitor Control menu.

Each monitor that has higher priority on the list must be either detached or not set to Overlay mode.

TEST SIGNAL

Use the Test Signal menu to replace the video monitor outputs with one of the following video test patterns:

Chip Chart

SMPTE Bars

Luma

NOTE: Test signals are not recordable; they are provided to help align external HD-SDI monitors.

AUDIO TONE

To apply an audio tone, follow the instructions below:

1. Go to

Menu > Monitoring > Test Signals.

2. Toggle Tone On/Off.

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RED RANGER MONSTRO OPERATION GUIDE

LOOK AROUND

To enable Look Around, go to

Menu > Monitoring > Look Around.

When Look Around is enabled, the Frame Guide and recording area are scaled down on the display so that you can see

what images will enter the recording area.

To assign a Shading overlay to the Look Around area (the area outside of the recording area), go to "General Tab" on

page 80.

Look Around limits the available frame rates. At high resolutions, the recording area on the display shows the full sensor

area or full sensor height, so there is no extra room for Look Around.

Look Around may affect the recorded file:

R3D: Only the area inside the frame is recorded; the Look Around area is NOT recorded.

Apple ProRes: The full image is recorded, including the Look Around area.

Avid DNxHD/HR: The full image is recorded, including the Look Around area.

ADVANCED

Provides access to additional monitor settings.

VIDEO

SMALL DIALOGS ON 9" LCD

The dialogs on the RED Touch 9.0" LCD are smaller than the default dialogs.

ALLOW REDUCED JUDDER PREVIEW

Reduced Judder Preview allows the camera to preview images at a refresh rate that is twice the project time base. For

example, if the project time base is 23.98 FPS or 24.00 FPS, enabling Reduced Judder Preview causes the LCD or EVF

to have a refresh rate of 48 Hz (50 Hz).

You cannot use Reduced Judder Preview when:

Varispeed is enabled.

Speed Ramp mode is enabled.

Genlock is enabled.

The shutter angle is 180° or greater.

NOTE: When you disable Reduced Judder Preview mode, the image on the EVF may be disrupted for up to three (3)

seconds.

GLOBAL FLIP/MIRROR

Applies Flip/Mirror to all monitors. For more information, go to "Flip/Mirror" on the previous page.

OUTPUT SHARPNESS

Control the sharpness of each monitor output. Move to the left for a sharper image; move to the right for a less sharp

image.

NOTE: The sharpness setting affects the Histogram, RAW Level Bars, RAW Clip Meter, and false color modes. For

more information, go to "Histogram" on page 52 and "False Color Modes" on page 74.

NOTE: The camera applies the sharpness setting to recorded proxy files.

RED RANGER MONSTRO OPERATION GUIDE

AUTO FOCUS PEAKING

When Auto Focus Peaking mode is enabled (either Focus or Edge), the camera automatically goes onto Focus Peaking

mode when you manually adjust the focus via the lens.

Off: The camera does not automatically go into Focus Peaking mode.

Focus: The camera automatically goes into Focus Peaking mode when you manually adjust the focus via the lens.

Emphasizes contrast and edges in the image without changing brightness or image content making it easier to judge

focus.

Edge: The camera automatically goes into Focus Peaking mode when you manually adjust the focus via the lens.

Shows the edges/outlines of objects that are in focus.

TOUCH

Lock Touchscreen: Touchscreen control is locked. To unlock, tap the screen and follow the on-screen instructions.

Pinch to Magnify: Move two (2) fingers apart or together to toggle Magnify. For more information, go to "Display

Modes: Magnify" on page 76.

Double Tap Right to Record: Double-tap the right 25% of the video area on the LCD to toggle record.

Double Tap Left to AF: Double-tap the left 25% of the video area on the LCD to start autofocus when compatible

lenses are used.

GENLOCK OFFSET

Offset the video of the HD-SDI out to align it with the genlock signal:

Negative offset: Advances the video, so the video reaches the switcher earlier than it would otherwise.

Positive offset: Delays the video, so the video reaches the switcher later than it would otherwise.

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RED RANGER MONSTRO OPERATION GUIDE

OVERLAYS MENU

The Overlays menu includes settings that display on top of the monitor image.

TOOLS

The Tools menu provides access to false color and display modes.

For more information, see the

Exposure with RED Cameras: False Color & Zebra Tools article , available at

www.red.com/learn/red-101/exposure-false-color-zebra-tools.

FALSE COLOR MODES

False color modes include:

"False Color Modes: Off" below

"False Color Modes: Exposure" on the next page

"False Color Modes: Video" on the next page

"False Color Modes: Focus" on the next page

"False Color Modes: Edge" on the next page

"False Color Modes: Peaking" on page 76

"False Color Modes: Gio Scope" on page 76

NOTE: Only monitors with the Tools check box selected in the Monitor Control menu show the false colors. For more

information, go to "Tools" on page 70.

NOTE: The sharpness setting affects the false color modes. For more information, go to "Output Sharpness" on page 72.

NOTE: False color modes affect video recorded through HD-SDI to an external recorder if the Tools check box is

selected in the Monitor Control menu. When recording through HD-SDI, use false color modes only to help configure

project settings, and then disable the mode before recording.

NOTE: Since the 3D LUT modifes the data displayed for the exposure tools, you cannot use the exposure tools with a

3D LUT.

DISPLAY MODES

Display modes include:

"Display Modes: Magnify" on page 76

"Display Modes: Log View" on page 77

"Display Modes: RAW" on page 77

"Display Modes: Horizon" on page 77

"Display Modes: Zebras" on page 78

FALSE COLOR MODES: OFF

To disable all false color modes, go to

Menu > Overlays > Tools > False Color and select Off from the False Color

drop-down menu.

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RED RANGER MONSTRO OPERATION GUIDE

FALSE COLOR MODES: EXPOSURE

To enable, go to

Menu > Overlays > Tools > False Color and select Exposure from the False Color drop-down menu.

The Exposure tool displays a color overlay on top of a desaturated image that allows you to check for proper exposure.

When enabled, the “E√” indicator displays in the Lower Status Row.

The Exposure meter colors indicate the following information:

Purple: Underexposed; indicates sensor exposure levels that may be noisy if gained up in post production.

Green: IRE 41–48; based on the RGB levels of the video out signal and not the RAW data.

Red: Overexposed; indicates sensor exposure levels that are clipping.

Purple (underexposure) and red (overexposure) are based on RAW data and show areas that are clipping or close to

clipping. The RGB settings DO NOT affect the Exposure indicators.

FALSE COLOR MODES: VIDEO

To enable, go to

Menu > Overlays > Tools > False Color and select Video from the False Color drop-down menu.

The Video tool displays a color overlay that indicates the video level of the RGB monitor path (calibrated to the SMPTE

test signal). When enabled, the “V√” indicator displays in the Lower Status Row.

Colors are based on the RGB levels of the video out signal (that is, the “cooked” look, and not RAW data). The RGB

settings affect the Video indicators.

The Video indicators represent the following IRE values (at all other values, the desaturated image represents the

luminance value of the ISO adjusted image):

Purple: IRE 0–4

Blue: IRE 5

Teal: IRE 10–12

Green: IRE 41–48

Pink: IRE 61–70

Straw: IRE 92–93

Yellow: IRE 94–95

Orange: IRE 96–98

Red: IRE 99–100

FALSE COLOR MODES: FOCUS

To enable, go to

Menu > Overlays > Tools > False Color and select Focus from the False Color drop-down menu.

The Focus tool emphasizes contrast and edges in the image without changing brightness or image content making it

easier to judge focus. Adjust zoom and focus to easily see which objects are coming into focus.

When enabled, the “F√” indicator displays in the Lower Status Row.

FALSE COLOR MODES: EDGE

To enable, go to

Menu > Overlays > Tools > False Color and select Edge from the False Color drop-down menu.

Shows the edges/outlines of objects that are in focus. When enabled, the “F√” indicator displays in the Lower Status

Row.

NOTE: The Edge setting may interfere with recordings done via HD-SDI in Clean mode.

RED RANGER MONSTRO OPERATION GUIDE

FALSE COLOR MODES: PEAKING

To enable, go to

Menu > Overlays > Tools > False Color and select Peaking from the False Color drop-down menu.

The Focus Peaking tool displays a red overlay on top of in-focus edges. Select a Peaking Level of 1 to 10 (weak to

strong). The RGB settings affect the indicators.

The Focus Peaking indicators are applied after the image is scaled to a monitor, so the indicators may look different on

different monitors.

When enabled, the “P√” indicator displays in the Lower Status Row.

FALSE COLOR MODES: GIO SCOPE

To enable, go to

Menu > Overlays > Tools > False Color and select Gio Scope from the False Color drop-down

menu.

Displays a color overlay on top of a desaturated image, identifying 16 increments within the dynamic range of the sensor.

When enabled, the “G√” indicator displays in the Lower Status Row. The Gio Scope indicators are based on RAW data.

The RGB settings (color temperature, ISO, LGG, etc.) DO NOT affect the indicators.

Each number indicates a different increment of dynamic range.

10: Represents mid-grey.

16: Represents the top increment, and is broken up into 1/8th sub-increments to show highlight roll-off. Each 1/8th

increment is represented by a different shade of red, ranging from light red (less light) to dark red (most light).

DISPLAY MODES: MAGNIFY

To enable, go to

Menu > Overlays > Tools and select Magnify.

The Magnify tool displays the central region of the sensor in 1:1 pixel resolution on an attached monitor. When enabled,

the 1:1 text in the Lower Status Row turns green, and the AF Window and the magnified region display. The AF Window

determines the center point of the magnified region. If the lens or lens mount is not capable of autofocus with the

camera, use Confirm mode to turn on the AF Window. Sharpening is disabled when Magnify mode is enabled. The

camera automatically exits Magnify mode when recording begins.

The Magnify tool magnifies a 1920 x 1020 region, centered on a 1920 x 1080 display. If the resolution is lower than 1920

x 1020, the image border cannot be magnified. Use the following equations to determine the area of the image border that

will not be magnified:

Border width: (1920 – W) / 2

Border height: (1020 – H) / 2

NOTE: Frame rate and resolution cannot be modified in Magnify mode.

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RED RANGER MONSTRO OPERATION GUIDE

DISPLAY MODES: RAW

NOTE: RAW is only available in Legacy mode. For more information, go to "Image Pipeline" on page 62.

To enable, go to Menu > Overlays > Tools and select RAW.

When enabled, the camera displays images unaffected by the RGB settings (color temperature, ISO, LGG, etc.). RAW

affects the video recorded via HD-SDI to an external recorder. RAW image parameters DO NOT affect image metadata;

the parameters only affect the monitor output.

The RAW image parameters are:

Color Space: DRAGONcolor2

Gamma Space: REDgamma4

White Balance: 5600K

ISO: 800 ISO

Tint: 0 Tint

NOTE: In RAW mode, the following controls are disabled on all cameras: color temperature, tint, saturation, RGB gains,

ISO, contrast, brightness, shadow, FLUT

, exposure compensation, LGG controls, RGB curves, and luma curve.

DISPLAY MODES: LOG VIEW

NOTE: Log View is only available in IPP2 mode. For more information, go to "Image Pipeline" on page 62.

To enable, go to Menu > Overlays > Tools and select Log View.

When enabled, the camera displays images in REDWideGamutRGB and Log3G10 that are only affected by the ISO,

Exposure Adjust, Color Temperature, and Tint settings. This allows you to quickly see ungraded footage that remains

unaffected by creative decisions such as the choice of 3D LUT or CDL. Log View affects the video recorded via HD-SDI

to an external recorder, but does not affect the R3D file itself.

DISPLAY MODES: HORIZON

To enable, go to

Menu > Overlays > Tools and select Horizon.

Displays an overlay that provides a reference to the position of the horizon. The Horizon overlay consists of two (2) short

side-bars that are always horizontally centered on the monitor, and a single longer horizon-line that adjusts to the horizon

based on the orientation of the camera.

The side-bars are green if the pitch is within +/– 1° of the calibrated zero position, otherwise they are red. The horizon-line

is green if the roll is within +/– 1° of the calibrated zero position, otherwise it is red.

To add numerical values for the pitch and roll to the Horizon overlay, follow the instructions below:

1. Go to Menu > Overlays > Custom.

2. Select Create..., Clone..., or Edit..., respectively, for the desired overlay action.

3. Select a location on the interface to add the numerical data for the Horizon overlay.

4. Select Motion: Gyro Data (GYRO) from the Item drop-down menu.

5. Select the desired text size.

6. Select Add.

7. Select Save.

8. Apply the custom overlay to a monitor. For more information, go to "Monitor Preferences" on page 69.

NOTE: The internal gyroscope and accelerometer must be calibrated for the Horizon overlay to function properly. For

more information, go to "Gyroscope and Accelerometer Calibration" on page 131.

RED RANGER MONSTRO OPERATION GUIDE

DISPLAY MODES: ZEBRAS

Use Zebra mode to enable and adjust the upper and lower values for two (2) independent zebra indicators. Use Zebra 1

for highlight exposure, and use Zebra 2 for mid-tones or shadows. Zebras are visible in Magnify mode and are disabled

by default.

The camera offers two (2) zebra types:

Video: IRE-based mode; evaluates based on the current ISO and Look settings, and not the RAW image.

RAW: Evaluates based on the RAW image.

For more information, see the Exposure with RED Cameras: False Color & Zebra Tools article , available at

www.red.com/learn/red-101/exposure-false-color-zebra-tools.

ENABLE ZEBRA INDICATORS

1. Go to

Menu > Overlays > Tools and select Zebras.

2. Select a Zebra:

Zebra 1:

Video: Areas of the image exposed within the IRE range are indicated by red diagonal lines at –45°. Default is

98 to 100 IRE.

RAW: Areas of the image exposed within the range of stops are highlighted. Default is 15.80 to 16.00 stops.

Zebra 2:

Video: Areas of the image exposed within the IRE range are indicated by green diagonal lines at 45°. Default

is 41 to 48 IRE.

RAW: Areas of the image exposed within the range of stops are highlighted. Default is 0.00 to 4.00 stops.

3. If you selected RAW, select how you want the RAW areas to look by setting up the Raw Style options (fill and

color).

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CAMERA AND LENS STATUS

To set up what camera and lens info displays as part of the overlay, go to

Menu > Overlays > Status.

CAMERA STATUS OVERLAYS

EXPOSURE

Shutter Speed: Displays the exposure time in seconds (1/xx sec). When you change the frame rate in this mode,

the shutter speed stays the same, but the shutter angle changes.

Shutter Angle: Displays the exposure as an angle (1° to 360°). When you change the frame rate in this mode, the

shutter angle stays the same, but the shutter speed changes. (Default)

POWER

Current Batt %: Displays the remaining percentage of active battery. (Default)

Total Time: Displays the total run-time left of battery power, taking into account all available batteries.

Voltage: Displays the voltage.

VU METER

Input: Displays levels of audio inputs (pre-mixer). (Default)

Output: Displays levels of audio outputs (post-mixer).

HISTOGRAM

RGB: Displays red, green, and blue channels on histogram. (Default)

Luma: Displays luma channel on histogram.

MEDIA

Percentage: Displays media space remaining as a percentage.

Time Remaining: Displays media space remaining as time in hours and minutes (HHH:MM). (Default)

LENS STATUS OVERLAYS

APERTURE INCREMENTS

1/4 Stop: Aperture increments in 1/4 stops.

1/3 Stop: Aperture increments in 1/3 stops. (Default)

FOCUS DISTANCE

Metric: Displays lens focus distances in meters.

Imperial: Displays lens focus distances in feet and inches. (Default)

GUIDES

Use the Guides menu to configure the Frame Guide, Action Guide, and Title Guide.

RED RANGER MONSTRO OPERATION GUIDE

MODE

Off: Disable all guides.

Full: Guide has the same aspect ratio as the record format.

4:3, 16:9, 1.85:1, 1.9:1, 2.4:1: Guide has the selected aspect ratio.

User: Select an aspect ratio from the drop-down menu that displays when you select this option.

Absolute: Guide is defined by absolute pixel dimensions rather than aspect ratio and scale. When you select

Absolute, the Width/Height fields replace the Scale field.

SCALE

Percentage to scale guide from its maximum possible size. Available range is 0 to 100%.

WIDTH/HEIGHT

The Width/Height fields replace the Scale field when you select Absolute from the Mode drop-down menu. Select the

values for the width and height of the guide in pixels.

OFFSET X/Y

Percentage to offset guide from its default centered position. Available range is –100 to 100%.

100%: Right-aligned (for X offset) and bottom-aligned (for Y offset).

-100%: Left-aligned (for X offset) and top-aligned (for Y offset).

APPEARANCE

Line Style: Select one of the following line styles: Solid, Dashed, or Bracket.

Color: Select the color that has the highest contrast to the scene. The default is White.

Opacity: Set the guide opacity. Available options are 25%, 50%, 75% and 100%.

RELATIVE TO FRAME GUIDE

Select the

Relative to Frame Guide check box to size and position the guide relative to (and have it bounded by) the

Frame Guide instead of the record format.

NOTE: The Relative to Frame Guide check box is available on the Action Guide and Title Guide tabs.

GENERAL TAB

Enable/Disable and select the location (Relative To), color, and opacity of the following elements:

Center: The center crosshair. You can select the following shapes: Cross (crosshair), Small Dot, Medium Dot.

Grid: Rule-of-thirds grid.

Shading: The shaded region outside of the area of interest.

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RED RANGER MONSTRO OPERATION GUIDE

CUSTOM OVERLAYS

Create custom overlays that include specific items. Overlays can be stored on the camera or transferred to SSD to be

shared with other cameras.

Camera: Overlays saved internally on the camera display in the Overlay drop-down menu on the Monitor Control >

Monitor tab.

Media: Overlays saved to an SSD can be found at On Media: \overlays:.

NOTE: Overlays that end with (RED) are provided by default and cannot be edited, deleted, or exported.

OVERLAY ACTIONS

Create...: Create a new custom overlay using a blank overlay template in the Overlay Editor.

Clone...: Create a new custom overlay using the selected camera overlay as a template in the Overlay Editor.

Edit...: Edit the selected camera overlay in the Overlay Editor.

Delete: Delete the selected camera overlay.

EXPORT AND IMPORT OVERLAYS

: Export selected overlay from camera to SSD.

All: Export all overlays from camera to SSD.

: Import selected overlay from SSD to camera.

All: Import all overlays from SSD to camera.

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RED RANGER MONSTRO OPERATION GUIDE

CREATE AND EDIT OVERLAYS

1. Go to

Menu > Overlays > Custom.

2. Select Create, or select an existing overlay and select Clone or Edit.

3. If creating a new overlay, enter a name for the overlay and select OK.

4. Select any of the following check boxes to add the corresponding guides to the overlay:

Frame Guide

Action Guide

Title Guide

5. Select a button on the matrix to add a user interface element to that position on the matrix.

By default, the Magnify indicator (MI) is on the top left, the Record indicator (REC) is on the top right, the Clip Name

(CLIP) is on the bottom left, and the Timecode (TC) is on the bottom right.

Selecting one (1) of the buttons opens a new dialog that lets you choose a user interface element.

6. Select the Item that you want to add.

7. Select the Size of the item.

8. If adding a Custom Label (LBL), enter the Custom Text for that item.

9. Select Add to return to the previous screen.

10. Add all of the items to the overlay.

11. Select Create or Save.

The new overlay displays in the Camera list.

NOTE: Except for the Custom Label (LBL), you can only add each element once. If you add an element you have

already added to the overlay, the element moves to the new position.

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RED RANGER MONSTRO OPERATION GUIDE

POWER MENU

The Power menu displays the power status of all attached power sources and allows you to turn off the camera.

To access the Power Menu, go to

Menu > Power.

POWER IN

The power status displays for all attached power devices. The menu displays the voltage of the source or the relative

percentage of the power left, as well as the time left, if applicable.

LOW VOLTAGE WARNING

When the Low Voltage Warning is enabled and the incoming voltage is less than the level you select, the camera shows

a warning message and the Power Status indicator in the Lower Status Row turns red. This warning gives you the

opportunity to change the battery or prepare for the camera to lose power. The warning continues to show until the

incoming voltage is equal to or higher than the level you select.

RED does not recommend a specific voltage threshold, since that depends on the power draw of the attached

accessories.

To enable the Low Voltage warning, follow the instructions below:

1. Go to

Menu > Power.

2. Select the Low Voltage Warning check box.

3. Select the voltage level threshold. The camera warns you when the incoming voltage is less than this level.

POWER OUT

The Power Out menu shows the status of the power out ports on the camera. The statuses are:

N/A: The device is not present.

OK: The power out port is functional.

FAULT: A short or overcurrent tripped the electronic fuse. Remove the device that is connected to the port, as it may

be drawing too much power. Select RESET to clear the fault.

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RED RANGER MONSTRO OPERATION GUIDE

POWER SAVE

You can select the following power saving options (the default for each is Never):

Low Power Preview: The camera uses a lower amount of power after the specified period of inactivity.

Sleep: All monitors turn off and keys do not perform mapped actions after the specified period of inactivity. Tap the

touchscreen or press a key to exit Sleep mode.

Auto Shutdown: The camera turns off after the specified period of inactivity.

Figure: Power Save

SHUTDOWN

Shutdown controls are interlocked to prevent the camera from being accidentally turned off. For more information about

different ways to turn off your camera, go to

"Turn Off the Camera" on page 35.

1. Go to Menu > Power.

2. Select Shutdown.

The Shutting Down... message displays and the camera turns off.

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RED RANGER MONSTRO OPERATION GUIDE

PLAYBACK

To view clips from the SSD:

Go to Menu > Playback.

Press the Record/Playback toggle in the lower left corner of the touchscreen.

NOTE: The camera uses RGB color space in Playback mode by default, regardless of settings in Record mode. To

playback clips in RAW mode, enable to RAW mode. For more information, go to "Tools" on page 74.

PLAYBACK MENUS

In Playback mode, the menu is pared-down, so you cannot access all menus. Some menus offer different options.

MEDIA

Includes the Playlist menu, which lists all available clips on the attached SSD. You can perform the following actions:

: Move selected clip to the Play List.

All : Move all clips to the Play List.

RECORD (EXIT)

Select

Record to exit Playback mode. You can also press any button mapped to Record to exit Playback mode.

PLAYBACK STATUS BAR

Displays the progress of the clip during playback. When using the touchscreen, swipe your finger right and left to fast-

forward and rewind the clip, respectively.

RED RANGER MONSTRO OPERATION GUIDE

PLAYBACK CONTROLS

GENERAL PLAYBACK CONTROLS

Figure: Playback Controls

# CONTROL DESCRIPTION

1 Clips View clips as thumbnails

2 Load Previous Clip Loads the previous clip in the playlist.

3 Frame-by-Frame

Reverse

Moves through the clip frame-by-frame in reverse.

4 Reverse Play/Pause

toggle

Plays clip in reverse, and toggles between play and pause.

5 Play/Pause toggle Toggles between play and pause.

6 Frame-by-Frame

Forward

Moves through the clip frame-by-frame.

7 Load Next Clip Loads the next clip in the playlist.

8 Play Options Displays the following subset of options: Play Once, Loop, Loop Playlist, and Playback Speed.

9 Marker Options Displays the following subset of options: In Point, Remove In/Out Point, Out Point, Previous

Marker, and Next Marker.

10 Apple ProRes

Playback

Displays the following subset of options: R3D and ProRes

RED RANGER MONSTRO OPERATION GUIDE

PLAYBACK FILE TYPE

Figure: Playback Controls

# CONTROL DESCRIPTION

11 R3D Playback Plays the R3D clip.

12 ProRes Plays the Apple ProRes clip.

RED RANGER MONSTRO OPERATION GUIDE

PLAYBACK SPEED AND LOOPING

Figure: Playback Controls

# CONTROL DESCRIPTION

13 Play Once Plays clip to the end, and does not repeat the clip.

14 Loop Plays the clip on a loop.

15 Loop Playlist Loops all clips in the playlist. To create a playlist, go to

Menu > Media > Playlist, and move clips to the

Play List field.

16 Playback

Speed

Option to select x1, x2, x4, x8, or x16 playback speed.

RED RANGER MONSTRO OPERATION GUIDE

PLAYBACK MARKERS

Figure: Playback Controls

# CONTROL DESCRIPTION

17 In Point Sets a red In Point marker in the Playback Status Bar. Use an In Point marker in conjunction with an Out

Point marker to play only a certain portion of a clip. The In/Out Point markers help when the clip is long

and you want to focus on a particular segment.

18 Remove

In/Out Point

Removes the In/Out Point markers and skips to the end of the clip.

19 Out Point Sets a red Out Point marker in the Playback Status Bar. Use an Out Point marker in conjunction with an In

Point marker to play only a certain portion of a clip. The In/Out Point markers help when the clip is long

and you want to focus on a particular segment.

20 Previous

Marker

Goes to the previous marked frame, which displays as a red line in the Playback Status Bar. Disabled

when there are no marked frames.

21 Next Marker Goes to the next marked frame, which displays as a red line in the Playback Status Bar. Disabled when

there are no marked frames.

RED RANGER MONSTRO OPERATION GUIDE

MEDIA MENU

The Media Menu allows you to format and eject an SSD and to view and load clips on the SSD.

For more information about using media, see the

DSMC Media Operation Guide, available at www.red.com/downloads.

DEVICE

Format and eject (unmount) the SSD.

To see information about the SSD in the camera, select

More Info....

CLIPS

View and load clips on the SSD in thumbnail view.

Figure: Clips Menu

RED RANGER MONSTRO OPERATION GUIDE

PRESETS MENU

The camera has the following presets:

Camera Presets: These store and recall camera setup information, such as in-camera Looks, key mappings, I/O

configurations, and more. The camera has a number of factory-installed presets.

Looks: These allow you to save the specific color, image, white balance, and detail settings to be used for other

projects. Looks that are generated in-camera display on the Camera Presets tab. Looks that are generated in

REDCINE-X PRO and are imported to the camera display on the Looks tab.

Auto Presets: These allow you to specify pre-selected presets for Startup, Preview, Motion, Stills, and Playback.

You can create custom presets and Looks. Presets and Looks can be stored on the camera or transferred to SSD, so

that you can build a library of presets and Looks, or quickly copy presets and Looks from one camera to another via

SSD.

Camera: Presets or Looks that are saved internally on the camera.

Media: Presets or Looks that are on the SSD in the path shown (for example, On Media: \presets:).

CAMERA PRESETS

NOTE: You cannot update, delete, or export factory-installed presets, which end with "(RED)".

PRESETS ACTIONS

Apply: Apply the selected preset.

Create...: Create a new preset using the current settings.

Update...: Update the selected preset by allowing the parameter set to be modified and all the values to be updated

to their current in-camera values.

Clone...: Create a new preset using the selected preset as a template.

Delete: Delete the selected preset.

EXPORT AND IMPORT PRESETS

Presets can be stored on the camera or transferred to SSD to be shared with other cameras. When exporting presets

from camera to an SSD, the presets are saved to a folder on the SSD called “Presets”. When importing presets from an

SSD to camera, the presets must be stored on the SSD in a folder called “Presets”.

: Export selected preset from camera to SSD.

All: Export all presets from camera to SSD.

: Import selected preset from SSD to camera.

All: Import all presets from SSD to camera.

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CREATE PRESETS

1. Set up the camera how you want the preset to be configured. For example, if you want to create a preset specifically

for your zebra indicators, first configure the zebras the exact way that you want them to be in the preset.

2. Go to

Menu > Presets > Camera Presets.

3. Select Create, or select an existing preset and select Clone or Update.

4. If creating a new preset, enter a name for the preset and select OK.

5. Select the following tabs to display different sets of preset options: Display, Key, Look, Project, and System.

6. Select the following:

: Add selected setting to the preset.

All: Add all settings to the preset.

X: Remove selected setting from the preset.

7. Select Create.

The preset is saved and stored in the camera.

LOOKS

A Look is made up of the following settings: Color, Gain, FLUT, Sharpness, Curves, Color Space, Gamma, Color

Temperature, and LGG (Lift, Gamma, Gain). These settings are configured either in-camera or in REDCINE-X PRO

CREATE AND MANAGE IN-CAMERA LOOKS

Create in-camera looks in the

Menu > Presets > Camera Presets tab. Modify and manage the in-camera Looks the

same way as any other presets created in the Camera Presets tab. For more information, go to "Camera Presets" on the

previous page.

IMPORT LOOKS FROM REDCINE-X PRO

1. While your SSD is mounted to your computer, create a folder on the SSD called

Looks.

2. Save your RMD files (that have been exported from REDCINE-X PRO) to the Looks folder on the SSD.

3. Eject the SSD from your computer.

4. Mount the SSD to your camera.

5. Go to Presets > Looks.

6. Select one (1) of the following:

: Import selected Look from SSD to camera.

All: Import all Looks from SSD to camera.

For more information, see the REDCINE- X PRO: Saving Looks to Camera video tutorial , available at

www.red.com/learn/workflow/redcine-x-saving-looks-camera.

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MANAGE IMPORTED LOOKS

Manage Looks imported from REDCINE-X PRO in the

Presets > Looks tab. When exporting Looks from camera to

SSD, the Looks are saved to a folder on the SSD called “Looks”.

You can perform the following actions with imported Looks:

: Export selected Looks from camera to SSD.

All: Export all Looks from camera to SSD.

Apply: Apply the selected Look.

Delete: Delete the selected Look.

AUTO PRESETS

Startup: The selected preset is applied every time the camera is turned on.

Motion: The selected preset is applied every time Motion mode is enabled.

Stills: The selected preset is applied every time Stills mode is enabled.

Playback: The selected preset is applied every time the camera enters Playback mode.

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RED RANGER MONSTRO OPERATION GUIDE

SETTINGS MENU

PROJECT

The Project menu includes settings that define the recorded file, including recording frame rate, exposure, and format.

FRAME RATE

RECORDING FRAME RATE

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.

The default recording frame rate is 23.98 fps. If you change the project time base, the recording frame rate automatically

changes its value to match the project time base.

The maximum frame rate for each format is determined by several factors, including project time base, REDCODE, and

Look Around.

PROJECT TIME BASE

Select the project time base. The project time base is the rate at which the footage will be played back. The project time

base displays in the lower left corner of the display.

The following project time bases are available:

23.98 fps (Default)

24.00 fps

25.00 fps

29.97 fps

30.00 fps

47.95 fps

48.00 fps

50.00 fps

59.94 fps

60.00 fps

VARISPEED

When a recording frame rate other than the current project time base is selected, the fps text turns yellow and the word

Varispeed replaces the Audio Meter in the lower right corner of the display.

Starting with firmware v6.4, the camera supports recording audio in Varispeed mode. For more information, go to

"Record

Audio in Varispeed Mode" on page 144.

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EXPOSURE/SHUTTER

Select the exposure (shutter speed / shutter angle) of each frame. You can change exposure while recording.

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.

The Upper Status Row displays the exposure as either shutter speed or shutter angle. For more information, go to

"Exposure" on page 79.

If the camera is able to achieve the target exposure, the exposure value displays in white. If the camera is unable to

achieve the target exposure, the exposure value displays in yellow, and the camera uses the closest available exposure.

NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera ramps

to a frame rate that is incompatible with the current exposure, the exposure changes to the longest exposure possible for

the frame rate. For more information, go to "Speed Ramp Mode" on page 104.

NOTE: You cannot change the exposure when HDR is enabled.

INTEGRATION TIME

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 24 fps, the slowest

available shutter speed is 1/24 sec. The fastest shutter speed is 1/131,579 sec. The default shutter speed is 1/48 sec.

SHUTTER ANGLE

Enter the exposure value as a shutter angle (xx°). The shutter angle range is 1.000° to 360.000°. The default shutter

angle is 180.000°.

EXPOSURE CONVERSIONS

The table below lists common shutter speed and shutter angle equivalents. The calculations in the table use a recording

frame rate of 24 fps.

SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°) SHUTTER SPEED (1/XX SEC) SHUTTER ANGLE (°)

1/32 270 1/120 72

1/48 180 1/192 45

1/50 172.8 1/384 22.5

1/60 144 1/696 12.4

1/96 90 1/1000 8.6

CONVERT SHUTTER SPEED TO SHUTTER ANGLE

Shutter Angle = (Shutter Speed x Frame Rate x 360)

Example: (1/48 x 24 x 360) = 180

CONVERT SHUTTER ANGLE TO SHUTTER SPEED

Shutter Speed = 1/(Frame Rate x 360/Angle)

Example: 1/(24 x 360/180) = 1/48

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RED RANGER MONSTRO OPERATION GUIDE

TIMECODE

RED cameras use non-drop frame timecode. For more information about timecode, go to

"Timecode, Genlock, Multi-

Camera Setup" on page 147.

TIMECODE DISPLAY MODE

Time of Day (TOD): Displays the time of day (HH:MM:SS:FF). TOD timecode runs continuously and is not affected

by recording.

Edge: Edge timecode is continuous between clips, meaning that when recording starts, timecode begins. and when

recording stops, timecode stops. By default, Edge timecode default begins at 01:00:00:00, but can be configured in

the Media menu when formatting an SSD.

TIMECODE SOURCE

RTC: Uses the internal Real Time Clock as the timecode counter source.

External: Uses the timecode from an external device connected to the timecode connector on the camera.

SLATE

Use the Slate menu to add metadata to clips. After configuring the following fields, the information populates in the Media

menu when formatting media:

Camera ID

Camera Position

NOTE: The scene name is limited to eight (8) characters.

AUTO-INCREMENT TAKE

To automatically increment the take number when the camera stops recording, follow the instructions below:

1. Go to

Menu > Settings > Project > Slate > Scene.

2. Enter a name in the Scene box.

3. Enter a value in the Take box.

AUTO SLATE

Frame values for

Auto Head Frames and Auto Tail Frames on the Auto Slate tab, these values only show in-camera.

The Auto Head Frames and Auto Tail Frames metadata values are currently disabled in REDCINE-X PRO.

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FORMAT

To access the Format menu, go to

Menu > Settings > Project > Format.

The available aspect ratios are determined by the selected resolution.

After selecting format settings, select Set Format.

When you lower the resolution on a camera, only a portion of the sensor is used. The camera does not downscale from

full format when recording RAW.

RED RANGER MONSTRO FORMATS

The table below describes the formats for RED RANGER MONSTRO.

The table below omits rows for the anamorphic formats, since the pixel dimensions for each anamorphic format and the

corresponding non-anamorphic format are the same. For more information, go to

"Anamorphic" on page 101.

Using a 6:5 aspect ratio at 2x anamorphic gives you a 2.4:1 aspect ratio.

RESOLUTION DIMENSION (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

8K FF 8192 4320 41.0 21.6 46.3

8K 2:1 8192 4096 41.0 20.5 45.8

8K 2.4:1 (WS) 8192 3456 41.0 17.3 44.5

8K 16:9 (HD) 7680 4320 38.4 21.6 44.1

8K 14:9 6720 4320 33.6 21.6 39.9

8K 3:2 6480 4320 32.4 21.6 38.9

8K 6:5 5184 4320 25.9 21.6 33.7

8K 8:9 3840 4320 19.2 21.6 28.9

8K 4:1 8192 2048 41.0 10.2 42.2

8K 8:1 8192 1024 41.0 5.1 41.3

7.5K FF 7680 4080 38.4 20.4 43.5

7.5K 2:1 7680 3840 38.4 19.2 42.9

7.5K 2.4:1 (WS) 7680 3240 38.4 16.2 41.7

7.5K 16:9 (HD) 7296 4104 36.5 20.5 41.9

7.5K 4:1 7680 1920 38.4 9.6 39.6

7.5K 8:1 7680 960 38.4 4.8 38.7

7K FF 7168 3780 35.8 18.9 40.5

7K 2:1 7168 3584 35.8 17.9 40.1

7K 2.4:1 (WS) 7168 3024 35.8 15.1 38.9

7K 16:9 (HD) 6720 3780 33.6 18.9 38.6

7K 8:9 3360 3780 16.80 18.90 25.29

7K 6:5 4536 3780 22.7 18.9 29.5

RED RANGER MONSTRO OPERATION GUIDE

RESOLUTION DIMENSION (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

7K 4:1 7168 1792 35.8 9.0 36.9

7K 8:1 7168 896 35.8 4.5 36.1

6.5K FF 6656 3536 33.3 17.7 37.7

6.5K 2:1 6656 3328 33.3 16.6 37.2

6.5K 2.4:1 (WS) 6656 2808 33.3 14.0 36.1

6.5K 16:9 (HD) 6144 3456 30.7 17.3 35.2

6.5K 4:1 6656 1664 33.3 8.3 34.3

6.5K 8:1 6656 832 33.3 4.2 33.5

6K FF 6144 3240 30.7 16.2 34.7

6K 2:1 6144 3072 30.7 15.4 34.3

6K 2.4:1 (WS) 6144 2592 30.7 13.0 33.

6K 16:9 (HD) 5760 3240 28.8 16.2 33.0

6K 3:2 5760 3840 28.8 19.2 34.6

6K 4:3 5760 4320 28.8 21.6 36.0

6K 8:9 2880 3240 14.40 16.20 21.67

6K 6:5 3888 3240 19.4 16.2 25.3

6K 4:1 6144 1536 30.7 7.7 31.7

6K 8:1 6144 768 30.7 3.8 31.0

5.5K FF 5632 2948 28.2 14.7 31.8

5.5K 2:1 5632 2816 28.2 14.1 31.5

5.5K 2.4:1 (WS) 5632 2376 28.2 11.9 30.6

5.5K 16:9 (HD) 5376 3024 26.9 15.1 30.8

5.5K 4:1 5632 1408 28.2 7.0 29.0

5.5K 8:1 5632 704 28.2 3.5 28.4

5K FF 5120 2700 25.6 13.5 29.0

5K 2:1 5120 2560 25.6 12.8 28.6

5K 2.4:1 (WS) 5120 2160 25.6 10.8 27.8

5K 16:9 (HD) 4800 2700 24.0 13.5 27.5

5K 4:3 5120 3840 25.60 19.20 32.00

5K 8:9 2400 2700 12.00 13.50 18.06

5K 6:5 3240 2700 16.2 13.5 21.1

5K 4:1 5120 1280 25.6 6.4 26.4

5K 8:1 5120 640 25.6 3.2 25.8

RED RANGER MONSTRO OPERATION GUIDE

RESOLUTION DIMENSION (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

4.5K FF 4608 2412 23.0 12.1 26.0

4.5K 2:1 4608 2304 23.0 11.5 25.8

4.5K 2.4:1 (WS) 4608 1944 23.0 9.7 25.0

4.5K 16:9 (HD) 4224 2376 21.1 11.9 24.2

4.5K 3:2 4320 2880 21.6 14.4 26.0

4.5K 4:3 4320 3240 21.6 16.2 27.0

4.5K 5:4 4320 3456 21.6 17.3 27.7

4.5K 4:1 4608 1152 23.0 5.8 23.7

4.5K 8:1 4608 576 23.0 2.9 23.2

4K FF 4096 2160 20.5 10.8 23.2

4K 2:1 4096 2048 20.5 10.2 22.9

4K 2.4:1 (WS) 4096 1728 20.5 8.6 22.2

4K 16:9 (HD) 3840 2160 19.2 10.8 22.0

4K 3:2 3840 2560 19.2 12.8 23.1

4K 4:3 3840 2880 19.2 14.4 24.0

4K 5:4 3840 3072 19.2 15.4 24.6

4K 8:9 1920 2160 9.60 10.80 14.45

4K 6:5 2592 2160 13.0 10.8 16.9

4K 4:1 4096 1024 20.5 5.1 21.1

4K 8:1 4096 512 20.5 2.6 20.6

4K 1:1 4320 4320 21.6 21.6 30.5

3.5K FF 3584 1876 17.9 9.4 20.2

3.5K 2:1 3584 1792 17.9 9.0 20.0

3.5K 2.4:1 (WS) 3584 1512 17.9 7.6 19.4

3.5K 16:9 (HD) 3456 1944 17.3 9.7 19.8

3.5K 3:2 3360 2240 16.8 11.2 20.2

3.5K 4:3 3360 2520 16.8 12.6 21.0

3.5K 5:4 3360 2688 16.8 13.4 21.5

3.5K 4:1 3584 896 17.9 4.5 18.5

3.5K 8:1 3584 448 17.9 2.2 18.1

3K FF 3072 1620 15.4 8.1 17.4

3K 2:1 3072 1536 15.4 7.7 17.2

3K 2.4:1 (WS) 3072 1296 15.4 6.5 16.7

RED RANGER MONSTRO OPERATION GUIDE

RESOLUTION DIMENSION (PIXELS) DIMENSIONS (MM)

WIDTH HEIGHT WIDTH HEIGHT DIAGONAL

3K 16:9 (HD) 2880 1620 14.4 8.1 16.5

3K 3:2 2880 1920 14.4 9.6 17.3

3K 4:3 2880 2160 14.4 10.8 18.0

3K 5:4 2880 2304 14.4 11.5 18.4

3K 6:5 1944 1620 9.7 8.1 12.7

3K 4:1 3072 768 15.4 3.8 15.8

3K 8:1 3072 384 15.4 1.9 15.5

2.5K FF 2560 1340 12.8 6.7 14.4

2.5K 2:1 2560 1280 12.8 6.4 14.3

2.5K 2.4:1 (WS) 2560 1080 12.8 5.4 13.9

2.5K 16:9 (HD) 2304 1296 11.5 6.5 13.2

2.5K 3:2 2400 1600 12.0 8.0 14.4

2.5K 4:3 2400 1800 12.0 9.0 15.0

2.5K 5:4 2400 1920 12.0 9.6 15.4

2.5K 4:1 2560 640 12.8 3.2 13.2

2.5K 8:1 2560 320 12.8 1.6 12.9

2K FF 2048 1080 10.2 5.4 11.6

2K 2:1 2048 1024 10.2 5.1 11.4

2K 2.4:1 (WS) 2048 864 10.2 4.3 11.1

2K 16:9 (HD) 1920 1080 9.6 5.4 11.0

2K 3:2 1920 1280 9.6 6.4 11.5

2K 4:3 1920 1440 9.6 7.2 12.0

2K 5:4 1920 1536 9.6 7.7 12.3

2K 6:5 1296 1080 6.5 5.4 8.4

2K 4:1 2048 512 10.2 2.6 10.6

2K 8:1 2048 256 10.2 1.3 10.3

RED RANGER MONSTRO OPERATION GUIDE

ANAMORPHIC

Select an

Anamorphic setting, if applicable. The anamorphic setting de-squeezes the image on the monitor and marks

the footage as anamorphic in the clip metadata. When you open the clip in REDCINE-X PRO, the program automatically

de-squeezes the image. The available anamorphic settings depend on your camera type.

The camera supports anamorphic 1.3x and 2x with each format.

The camera also supports anamorphic 1.25x for 6K full format and 8K full format.

DE-SQUEEZED RESOLUTION AND DE-SQUEEZED ASPECT RATIO

When you enable anamorphic, both the actual format and the de-squeezed format display at the bottom of the Format

menu. To view the actual format and the de-squeezed format, go to

Menu > Settings > Project > Format > Format.

When anamorphic is enabled, the camera does not crop the sensor image, so the recorded image has the same

resolution and dimensions as the corresponding non-anamorphic format.

After de-squeezing the footage in post production, the resulting footage has a different format than the original recorded

image. The format of the de-squeezed footage is the second format (resolution and aspect ratio) that displays on the

Format menu.

Since the camera does not crop the image, you will have additional horizontal area to frame the image. Then, crop or

scale the footage to the intended aspect ratio.

SHORT-CUT TO INDUSTRY-STANDARD ANAMORPHIC FORMATS

To quickly access industry-standard anamorphic formats, go to

Menu > Settings > Project > Format > Anamorphic.

The Anamorphic tab is a short-cut to all of the industry-standard anamorphic formats, so that you can easily select the

most common anamorphic formats.

The Anamorphic tab lists the anamorphic formats for every format with a 6:5, 5:4, or 4:3 aspect ratio.

NOTE: The Anamorphic tab only lists industry-standard anamorphic formats. To access all of the anamorphic and non-

anamorphic formats, go to Menu > Settings > Project > Format > Format.

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RED RANGER MONSTRO OPERATION GUIDE

SENSOR (FLIP/MIRROR SCAN DIRECTION)

The Flip/Mirror Scan Direction feature rotates the image 180°, both on the monitor and in the recorded R3D file. Normally,

the sensor scans the image from the top to the bottom. When the Flip/Mirror Scan Direction feature is enabled, the

sensor scan direction reverses, and the sensor scans the image from the bottom to the top.

The Flip/Mirror Scan Direction feature is intended for multi-camera arrays when all sensors are synchronized, and at least

one (1) camera is mounted upside-down. Using this feature is helpful for matching the line scan direction for the cameras

in the array.

To enable the Flip/Mirror Scan Direction feature, follow the instructions below:

1. Go to

Menu > Settings > Project > Sensor.

2. Select the Flip/Mirror Scan Direction check box.

The camera rotates the image 180° on the monitor and in the recorded R3D file.

Figure: Flip/Mirror Scan Direction

RED RANGER MONSTRO OPERATION GUIDE

RECORDING

The Recording menu includes: Mode, Codec, Frame Processing, Pre-Record, and Indicator.

MODE

You can select the following recording modes: Continuous Record, Internal Timelapse Timer, Frame Trigger, REDCODE

Burst, Speed Ramp Mode, Multi-Shot, and Motion + Stills.

NOTE: Audio is recorded only in Continuous Record and Motion + Stills modes.

STORAGE

You can select the following storage locations:

Local: Stores footage directly to an SSD

Network: Stores footage to a network

External: Stores footage to an external device

NOTE: HDRX is disabled in Network Storage mode.

NOTE: In External storage, you can only select Continuous Record and Motion + Stills recording modes.

CONTINUOUS RECORD

NOTE: This mode is not available in Stills mode.

Continuous Record is the “normal” recording mode. The camera continuously records frames at the current recording

frame rate. You can limit each recording to a specific amount of frames using the Limit Recording to setting.

INTERNAL TIMELAPSE TIMER

NOTE: This mode is not available in Stills mode.

NOTE: Audio is not recorded in Internal Timelapse Timer mode.

In Internal Timelapse Timer mode, the camera records a specified number of frames at a specified interval. The current

recording frame rate determines the timing of the frames per pulse.

For example, in Internal Timelapse Timer mode, you can choose to record a total amount of 1000 frames, and take 1

frame every 4.67 seconds. After recording 1000 frames (which takes 4,670.00 seconds), the recording process stops.

To use Internal Timelapse Timer mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select Internal Timelapse Timer from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select the number of frames to be captured in the Record field.

5. Select the time interval from the Interval field (range is 1–3,599 sec). The Interval setting specifies the frequency at

which the frame or group of frames is captured.

6. Close the menu.

7. Start recording to start the interval.

The overlay displays the number of frames recorded out of the total amount of frames.

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RED RANGER MONSTRO OPERATION GUIDE

FRAME TRIGGER

NOTE: This mode is not available in Stills mode.

NOTE: Audio is not recorded in Frame Trigger mode.

In Frame Trigger mode, the camera records the specified number of frames for each external trigger. This mode limits the

REDCODE based on sustainable record rates.

To use Frame Trigger mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select Frame Trigger from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a Pre Count and Post Count. For more information, go to "Pre Count and Post Count" on the next page.

5. Close the menu.

6. Start recording.

The overlay displays the number of frames recorded out of the total amount of frames.

SPEED RAMP MODE

NOTE: This mode is not available in Stills mode.

NOTE: Audio is not recorded in Speed Ramp mode.

Speed Ramp mode lets you program the current recording frame rate to transition to different recording frame rates during

recording.

1. Go to Menu > Settings > Recording > Mode.

2. Select Speed Ramp Mode from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a ramp target:

Ramp A/B/C/D: Each ramp target is tied to a specific Target/Duration combination.

Ramp Reset: Ramp to the starting frame rate with the specified Duration.

5. Set the Target frame rate.

6. Set the Duration, which is how long it takes to transition from the current frame rate to the target frame rate.

7. Go to Menu > Settings > Setup > Keys and program a key to one of the following functions:

Record: Start Speed Ramp A/B/C/D

Record: Start Speed Ramp Reset

8. Start recording.

9. To start speed ramp, press the key that you have mapped to start the speed ramp.

The frame rate transitions to the target frame rate during the duration you set up.

NOTE: If using speed ramp mode, select an exposure that is valid for each ramp target frame rate. If the camera

ramps to a frame rate that is incompatible with the current exposure, the exposure changes to the longest exposure

possible for the frame rate.

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RED RANGER MONSTRO OPERATION GUIDE

REDCODE BURST

NOTE: This mode is not available in Stills mode.

NOTE: Audio is not recorded in REDCODE Burst mode.

In REDCODE Burst mode, the camera can record at a lower compression (REDCODE) for the specified amount of

frames. When REDCODE Burst mode is enabled and recording starts, the camera captures a “burst” of frames at the

lower REDCODE, and then continues to record at the next available REDCODE. To add more bursts to clips during

recording, press any key mapped to “Record: Mark Frame”.

To use REDCODE Burst mode, follow the instructions below:

1. Go to Menu > Settings > Recording > Mode.

2. Select REDCODE Burst from the Mode drop-down menu.

3. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

4. Select a Pre Count and Post Count. For more information, go to "Pre Count and Post Count" below.

5. Close the menu.

6. Start recording.

Figure: REDCODE Burst

PRE COUNT AND POST COUNT

When Frame Trigger or Burst mode is enabled, select the number of frames for the Pre Count and Post Count:

Pre Count: The camera captures the frame cache from the time preceding the marker.

Post Count: The camera captures the remaining frame cache after the marker.

The maximum frame counts are listed in the Available column, and are based on format and REDCODE.

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RED RANGER MONSTRO OPERATION GUIDE

MULTI-SHOT

NOTE: The camera does not sync timecode in Multi-Shot mode.

NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.

NOTE: Audio is not recorded in Multi-Shot mode.

Multi-Shot mode removes restrictions on Recording Frame Rate and REDCODE, allowing you to shoot at a high

resolution, high frame rate, and low compression. These restrictions are removed because the camera records first to the

camera’s memory, and then offloads (while recording) to SSD after the camera’s buffer fills up. Since the camera records

only as fast as the buffer can transfer data, frames are dropped from the clip.

Multi-Shot mode has two sub-modes:

Basic Multi-Shot mode

Advanced Multi-Shot mode

BASIC MULTI-SHOT MODE

In Basic Multi-Shot mode, you can record a one-frame clip by pressing a Record key, or you can continuously record

frames by holding a Record key. This mode is the easiest way to shoot stills, but there is some latency (about 700

milliseconds) when you press Record.

This mode only involves the Record key on the media bay.

Pressing the PWR/REC key on the camera initiates Advanced Multi-Shot mode.

To use Basic Multi-Shot mode, perform one of the following:

Press a Record key to record a one-frame clip.

Press and hold a Record key to start a new clip and continuously add frames to that clip. Release the Record key to

stop adding frames and end the clip.

ADVANCED MULTI-SHOT MODE

In this mode, the camera is continuously recording, but is not saving frames. This eliminates the delay you get in Basic

Multi-Shot mode. Since the camera is continuously recording, the camera requires the same amount of power it does

during Continuous Record (as opposed to Preview mode). Unlike Basic mode, all frames are added to one (1) clip,

instead of to separate clips.

To use Advanced Multi-Shot mode, follow the instructions below:

1. Press the PWR/REC key on the camera to start a new clip. This initial press adds one (1) frame to the clip.

2. Press the Record key on the media bay to add frames to the clip:

Press a Record key once to add a few frames to the clip. (The number of frames varies, and depends on the

buffer.)

Press and hold a Record key to continuously add frames; release the Record key to stop adding frames.

3. Press the PWR/REC key on the camera to end the clip.

NOTE: You cannot shut down the camera until you end the clip.

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RED RANGER MONSTRO OPERATION GUIDE

ENABLE MULTI-SHOT MODE

To enable Multi-Shot mode, follow the instructions below:

1. Set the camera to Stills mode. For more information, go to "Camera Mode" on page 50.

2. Go to Menu > Settings > Recording > Mode.

3. Select Multi-Shot from the Mode drop-down menu.

4. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

5. Close the menu.

MOTION + STILLS

NOTE: This mode is available in Motion mode, but is only recommended in Stills mode.

Motion + Stills mode is identical to Continuous Record, except that when you initiate recording by pressing the

PWR/REC key on the camera, all other Record keys mark frames for the duration of the clip. (If you initiate recording by

pressing any other Record key, you can press any key mapped to “Record: Mark Frame” to mark stills.)

To use Motion + Stills mode, follow the instructions below:

1. Set the camera to Stills mode. For more information, go to "Camera Mode" on page 50.

2. Go to Menu > Settings > Recording > Mode.

3. Select Motion + Stills from the Mode drop-down menu.

4. Use the Limit Recording to fields to set the recording to end at a predefined frame limit (optional).

5. Close the menu.

6. Press the PWR/REC key on the camera to start recording.

7. Press the Record key on the media bay to mark a frame.

8. Press the PWR/REC key on the camera to stop recording.

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RED RANGER MONSTRO OPERATION GUIDE

APPLE PRORES INFORMATION

By default, the camera records all videos and stills in the REDCODE RAW file format (records R3D files). You also

have the option to record Apple ProRes files. This section provides general information about recording Apple ProRes

files with the camera:

NOTE: If Look Around is enabled, the Look Around area is recorded in the Apple ProRes file.

Selecting a Recording Frame Rate that is not supported by Apple ProRes has the following effects:

2K Apple ProRes over 120 FPS: The QuickTime file will be sub-sampled.

4K Apple ProRes over 60 FPS: Apple ProRes is disabled.

4K Apple ProRes + R3D over 29.97 FPS: Apple ProRes is disabled.

The camera cannot record Apple ProRes when Pre-Record is enabled.

The camera can record Apple ProRes only when either of the following recording modes is enabled:

Continuous Record

Motion + Stills

Recording 4K Apple ProRes is only available:

When recording to Apple ProRes only

When recording to the following codecs:

Apple ProRes 422

Apple ProRes 422 HQ

Apple ProRes 422 LT

If HDRX

is enabled, only the selected monitor track is recorded to the QuickTime files. For more information, go to

"HDRX Menu" on page 115.

RED recommends performing a Secure Format before recording Apple ProRes. For more information, see the DSMC

Media Operation Guide, available at www.red.com/downloads.

QuickTime files have the same metadata that is in the REDCODE RAW files. The metadata is per clip, and not per

frame. At this time, there is no tool for extracting that metadata from the QuickTime files.

You can select any resolution. When recording Apple ProRes, the camera scales that format to the Resolution (2K)

selected in the Codec menu. The field of view is maintained in the QuickTime file; the image is not cropped.

If recording 4K Apple ProRes and the Resolution is less than 4K, the image is scaled to 2K.

For more information about Apple ProRes, including the data rates for each codec, see the Apple Support site.

To record Apple ProRes files, go to "Select Record File Format" on page 112.

APPLE PRORES DESCRIPTION

The table below describes each supported Apple ProRes codec.

NAME CHROMA SAMPLING

ProRes 422 HQ YCbCr 4:2:2

ProRes 422 YCbCr 4:2:2

ProRes 422 LT YCbCr 4:2:2

ProRes 4444 XQ YCbCr 4:4:4

ProRes 4444 YCbCr 4:4:4

RED RANGER MONSTRO OPERATION GUIDE

FILE STRUCTURE OF RECORDED APPLE PRORES FILES

When recording R3D + Apple ProRes, this is the file structure of the recorded files on the SSD (when the SSD is

formatted as FAT32):

.RDM Folder

.RDC Folder

.mov

.R3D

.rtn (RED Thumbnail file)

NOTE: The camera creates multiple .mov files, similar to how the camera creates multiple R3D files.

Figure: File Structure: R3D + Apple ProRes

When recording Apple ProRes only, this is the file structure of the recorded files on the SSD (when the SSD is formatted

as FAT32):

.RDM Folder

.RDC Folder

.mov

NOTE: The camera creates multiple .mov files, similar to how the camera creates multiple R3D files.

Figure: File Structure: Apple ProRes

RED RANGER MONSTRO OPERATION GUIDE

AVID DNXHD AND AVID DNXHR INFORMATION

By default, the camera records all videos and stills in the REDCODE RAW file format (records R3D files). You also

have the option to record to Avid DNxHD and Avid DNxHR (records .mxf files). This section provides general

information about recording Avid DNxHD/HR with the camera:

NOTE: If Look Around is enabled, the Look Around area is recorded in the Avid DNxHD/HR file.

NOTE: Enabling Look Around effects the aspect ratio of the scaled file, regardless of the recorded area.

Selecting a Recording Frame Rate that is not supported by Avid DNxHD/HR causes the codec file to be sub-

sampled to half of the selected Recording Frame Rate.

The camera cannot record Avid DNxHD/HR when Pre-Record is enabled.

The camera can record Avid DNxHD/HR only when either of the following recording modes is enabled:

Continuous Record

Motion + Stills

If HDRX

is enabled, only the selected monitor track is recorded to the Avid DNxHD/HR file. For more information,

go to "HDRX Menu" on page 115

RED recommends performing a Secure Format before recording Avid DNxHD/HR. For more information, see the

DSMC Media Operation Guide, available at www.red.com/downloads.

The .mxf files have the same metadata that is in the REDCODE RAW files. The metadata is per clip, and not per

frame. At this time, there is no tool for extracting that metadata from the .mxf files.

You can select any resolution. When recording Avid DNxHD/HR, the camera scales that format to the Resolution (2K

or 4K) selected in the Codec menu. The field of view is maintained in Avid DNxHD/HR; the image is not cropped.

If recording 4K Avid DNxHD/HR and the Resolution is less than 4K, the image is scaled to 2K.

For more information about Avid DNxHD/HR, see the Avid site.

To record Avid DNxHD/HR, go to "Select Record File Format" on page 112.

AVID DNXHD AND AVID DNXHR DESCRIPTION

The table below describes each Avid DNxHD/HR codec.

NAME CODEC ID MAXIMUM BITS COLOR

DNxHR HQX 1271 12 bit YCbCr 4:2:2

DNxHR HQ 1272 8 bit YCbCr 4:2:2

DNxHR SQ 1273 8 bit YCbCr 4:2:2

DNxHR 444 1270 12 bit RGB 4:4:4

DNxHD 444 1256 10 bit RGB 4:4:4

DNxHD HQX 1235 10 bit YCbCr 4:2:2

DNxHD HQ 1238 8 bit YCbCr 4:2:2

DNxHD SQ 1237 8 bit YCbCr 4:2:2

RED RANGER MONSTRO OPERATION GUIDE

FILE STRUCTURE OF RECORDED AVID CODEC FILES

When recording R3D + Avid DNxHD/HR, this is the file structure of the recorded files on the SSD (when the SSD is

formatted as FAT32):

.RDM Folder

.RDC Folder

.R3D

.mxf (audio file, marked with an “A”)

.mxf (video file, marked with a “V”)

.rtn (RED Thumbnail file)

NOTE: The camera creates multiple .mxf files, similar to how the camera creates multiple R3D files.

Figure: File Structure: R3D + DNxHD/HR

When recording Avid DNxHD/HR only, this is the file structure of the recorded files on the SSD (when the SSD is

formatted as FAT32):

.RDM Folder

.RDC Folder

.mxf (audio file, marked with an “A”)

.mxf (video file, marked with a “V”)

.rtn (RED Thumbnail file)

NOTE: The camera creates multiple files, similar to how the camera creates multiple R3D files.

Figure: File Structure: R3D + DNxHD/HR

RED RANGER MONSTRO OPERATION GUIDE

SELECT RECORD FILE FORMAT

NOTE: For more information on which codecs your camera offers, go to "Technical Specifications" on page 174.

To select what file formats to record to, follow the instructions below.

1. Go to Menu > Settings > Recording > Codec.

2. Select the file format(s) you want to record to from the Record File Format drop-down menu:

R3D

R3D + Apple ProRes

R3D + Avid DNxHD/HR

Apple ProRes

Avid DNxHD/HR

The selected file format displays in the Lower Status Row.

3. R3D: Select a target REDCODE compression ratio from the REDCODE menu. For more information, go to

"REDCODE" on page 47.

4. Apple ProRes or Avid DNxHD/HR: Select a resolution from the Resolution drop-down menu.

5. Apple ProRes or Avid DNxHD/HR: Select a codec from the Record Video Codec drop-down menu.

6. Apple ProRes or Avid DNxHD/HR: If the camera is in IPP2 mode, select an option from the Baked-in Settings

drop-down menu. This determines which image settings are irreversibly encoded (baked) as image data in the

recorded file. For more information on the options in this menu, go to "Baked-In Settings" below.

NOTE: Although the "All Image Settings" is an option when 4K is selected within the Resolution drop-down menu,

this option can only be applied with 2K output. If 4K and "All Image Settings" are selected at the same time, the

Baked-in Settings turns red and yellow as a warning, and the settings are NOT applied.

BAKED-IN SETTINGS

If the camera is in IPP2 mode and you are recording to a 2K Apple ProRes or 2K Avid DNxHD/HR codec, you can

irreversibly encode (bake) certain image settings into the recorded file. To bake in settings, select one of the following

options from the

Baked-in Settings drop-down menu:

Primary Only: Only bakes the ISO, Color Temperature, Tint, and Exposure Adjust settings into the recorded file.

Does NOT bake in the 3D LUT and other image settings.

All Image Settings: Bakes all image settings into the recorded file, including the Primary Raw Development, Grading,

and Output Transform stages. This includes the 3D LUT, CDLs, and output color space. For more information on the

different IPP2 stages, see the IPP2: Image Pipeline Stages white paper at www.red.com/downloads. With the All

Image Settings option, you can select either SDR or HDR to control the tone curve for standard dynamic range

(SDR) or high dynamic range (HDR) output.

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RED RANGER MONSTRO OPERATION GUIDE

FRAME PROCESSING

NOTE: Frame processing is not supported in Speed Ramp Mode. For more information, go to "Speed Ramp Mode" on

page 104.

NOTE: For cameras with the MONSTRO sensor, frame processing is disabled for formats larger than 7680 x 4320.

Frame processing allows for the combination of multiple captured frames into one recorded frame. The combination

occurs before the resulting frame is encoded. You can select the following frame processing settings: No Frame

Processing, Frame Summing, Frame Averaging.

When in Frame Summing mode or Frame Averaging mode, the current integration time is applied to each frame. This

means if the integration time is not the entire frame time (or 360°) there are gaps between the images used to create the

combined frame. This may lead to unexpected motion artifacts.

The effect of frame processing is only visible during record. In Frame Summing mode, this means the exposure changes

between preview and record. Experiment with the exposure and frame processing settings to achieve the effect you

want.

NO FRAME PROCESSING

Normal frame processing mode. The Frames to Process selection does not affect recording.

FRAME SUMMING

Frame Summing combines the specified number of frames into one frame, and adds together the exposure time for each

of the original frames. The resulting frame has an effective integration time that is equal to the current integration time

multiplied by the number of frames.

For example, if you select 16 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image has an

effective integration time of 1/3 sec (16 x 1/48).

Frame summing results in a final image that is brighter and possibly blurrier than any of the original frames, so you can

use frame summing to achieve the effect of long-exposure.

FRAME AVERAGING

Frame Averaging combines the specified number of frames into one frame, and averages the exposure time for each of

the original frames. The resulting frame has an effective integration time that is equal to the current integration time.

For example, if you select 2 as the Frames to Process value, and set exposure to 1/48 sec, the resulting image still has

the exposure value of 1/48 sec, along with the effect of long-exposure.

You can use frame averaging to achieve the effect of long-exposure along with the benefits of reduced noise. However,

frame averaging does affect motion blur characteristics.

NOTE: For RED cameras with 8K sensors, a maximum of 2 frames can be averaged.

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RED RANGER MONSTRO OPERATION GUIDE

PRE-RECORD

To set up Pre-Record, go to

Menu > Settings > Recording > Pre-Record.

When enabled, the Pre-Record setting continuously captures a cache of footage before recording starts. Select to have 4

to 30 seconds (incremented at two second intervals) of pre-record time added to the actual footage. When Pre-Record is

enabled, you will not miss the start of a shot by being a little slow on the trigger.

Pre-Record Duration: Select the pre-record time.

Always trigger Pre-Record before recording: When selected, Pre-Record always starts when recording starts:

Press PWR/REC to activate Pre-Record.

Press PWR/REC a second time to start recording.

Press PWR/REC a third time to stop recording.

Trigger Pre-Record Now: When selected, the Pre-Record menu closes and Pre-Record mode starts.

NOTE: Always perform a Secure Format before using Pre-Record. A Secure Format restores the SSD back to factory

out-of-box settings, and optimizes the SSD for Pre-Record.

NOTE: Pre-Record puts your SSD in a state of constant record. As with any SSD technology, continuously writing data

over an extended period of time will impact the lifespan of the media.

NOTE: Audio is not recorded when Pre-Record is enabled.

NOTE: To use Pre-Record only for specific situations, map Pre-Record to a key (Menu > Settings > Setup > Keys >

Record: Start Pre-Record). For more information, go to "Keys" on page 120.

INDICATOR

Enable Sounds: Select this check box to enable sounds. Then select sounds for the following actions:

Record Start

Record Stop

Tag Still Frame

EVF Tally Light: Enable the EVF Record Tally LED on the EVF to illuminate red when recording.

SSD Tally Light: Enable the Record Tally LED on the media bay to illuminate red when recording.

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HDRX MENU

NOTE: HDRX mode cannot be modified when test signals are enabled.

NOTE: You cannot change the exposure when HDRX is enabled.

In HDRx mode, the camera records two (2) exposures within the interval that it would usually record only one (1). The

primary exposure is normal, and uses the standard aperture and shutter settings (the “A track”). The secondary exposure

is typically for highlight protection, and uses an adjustable shutter speed that is 2 to 6 stops faster (the “X track”). Since

the camera captures twice the usual amount of frames, the maximum available recording frame rate is halved and the

REDCODE compression options are limited.

For more information, see the High Dynamic Range Video with HDRX article, available at www.red.com/learn/red-

101/hdrx-high-dynamic-range-video.

HDRX RESTRICTIONS

You cannot use HDRX mode when:

A Sensor Sync Mode (Genlock) is enabled.

Speed Ramp mode is enabled.

A Frame Processing mode (Frame Summing or Frame Averaging) is enabled.

Network Storage mode is enabled.

ENABLE HDRX

By default HDRX is disabled, and the HDRX indicator in the Lower Status Row is grey.

To enable HDRX, follow the instructions below:

1. Go to

Menu > Settings > HDRX.

2. Select HDRX.

The HDRX text in the Lower Status Row turns white.

3. Select the number of Factors. The range is 1 to 6, and the default is 2.

4. Select which track you want the display to show:

A Track: This track shows the video with the selected aperture and exposure settings applied.

X Track: This track shows the video with the additional stops applied.

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FOCUS MENU

To access the Focus menu, go to

Menu > Settings > Focus.

The Focus menu includes: Mode and Rack.

MODE TAB

Use the Mode tab to select a focus setting. To set up focus, follow the instructions below:

1. Go to

Menu > Settings > Focus > Mode.

2. Select a mode from the Mode drop-down menu. For more information, go to "Mode" below.

3. Select a zone/target from the Zone drop-down menu. For more information, go to "Zone/Target" below.

4. If using Spot, select a size from the Size drop-down menu. For more information, go to "Size" below.

5. Select a confirm style from the Confirm menu. For more information, go to "Confirm Style" below.

MODE

Select an option from the

Mode drop-down menu:

Manual: Enables manual focus. Disables all other settings in the Focus menu.

Confirm: Enables a focus target, which changes color to indicate if the subject in the target is in focus. After

selecting Confirm, set up the target type (zone), size, and confirm style. Inadequate lighting and/or contrast may

decrease the performance of Confirm mode.

ZONE/TARGET

Select an option from the

Zone drop-down menu:

Center: A large square centered in the recording area.

Spot: A small target for precise focus that you can move around the recording area. Select a size for the target from

the Size drop-down menu. For information on how to move the Spot target, go to "Move the Spot Focus Target" on

the next page.

SIZE

Select a size for the Spot target from the

Size drop-down menu.

CONFIRM STYLE

Select a confirm style from the

Confirm Style drop-down menu.

STYLE DESCRIPTION OBJECT IN FOCUS OBJECT OUT OF FOCUS

None Square target Target is yellow or green Target is red

Circle Yellow circle around a

square target

Target is yellow or green; circle is almost the

same size as the square

Target is red; circle gets bigger

Bar Bar target Target is yellow or green; vertical bar on the

right side is filled up

Target is red; vertical bar on the left

side is almost empty

Pie Pie target Target is yellow or green; line around the curve

is filled up

Target is red; line around the curve is

almost empty

RED RANGER MONSTRO OPERATION GUIDE

TARGET COLOR

Both the Center and Spot targets change color to indicate if the objects in the target are in focus.

Blue: Camera is focusing

Red: Objects are out of focus

Yellow: Objects are almost in focus

Green: Objects are in focus

MOVE THE SPOT FOCUS TARGET

Move the Spot target with a touchscreen:

Tap and hold the touchscreen on the location where you want to relocate the Spot target.

Tap and hold the touchscreen where the Spot target currently is, and drag the Spot target.

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EXPOSURE ASSIST MENU

To access the Exposure Assist menu, go to

Menu > Settings > Exposure Assist.

The Exposure Assist menu provides access to settings for the Auto Exposure (AE) feature. The AE feature maintains a

constant image brightness, even if the actual scene brightness changes.

The AE feature is different than traditional AE, in that RED AE only controls the amount of light that hits the sensor,

either by adjusting aperture or exposure. RED AE analyzes RAW data before the ISO curve, and ensures that the sensor

matches the user-selected brightness.

AUTO EXPOSURE MODES

The Exposure Assist modes determine when the AE tools go into effect:

Off: The AE tools are not enabled.

Single Shot: Map one of the following actions to trigger the AE tools:

AE: Start

AE/AF: Start

Continuous in Preview: The AE tools are enabled in preview only.

Continuous in Preview/Record: The AE tools are enabled in both preview and record.

NOTE: In Stills mode, AE/AF: Start is mapped to Record Half Press by default. For more information, go to "Default Key

Functions" on page 203.

EXPOSURE PRIORITY

Manual: You have full control of aperture and shutter. (Default)

Auto: The camera sets the aperture and shutter to meet the selected exposure.

Av (Aperture Value): You set the aperture, and then the camera sets the shutter to meet the selected exposure.

Tv (Time Value): You set the shutter, and then the camera sets the aperture to meet the selected exposure.

EXP COMP AND EV SHIFT

Use the

Exp Comp (Exposure Compensation) slider and the EV Shift setting to adjust the brightness of the image. The

default setting of zero (0) attempts to match the average brightness on an 18% grey-target. When AE is enabled, the

target and current measured brightness for the selected metering area display in the histogram as a grey and white line,

respectively.

You can also map these actions to user keys:

AE: Decrease EV Offset: Reduces the EV Offset in increments of 0.2.

AE: Increase EV Offset: Increases the EV Offset in increments of 0.2.

METERING MODE

Metering determines the area of the sensor that is used for brightness evaluation:

Spot: Weights the measurement to the center 5% of the sensor, approximately.

Center: Weights the measurement to the center 25% of the sensor, approximately.

Average: Averages the entire image area of the sensor.

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SPEED

The Speed setting determines how quickly the algorithm adapts to changing light.

Slow: Settings adapt in small steps. Use this setting for fewer and gradual adjustments.

Normal: Settings adapt in medium steps.

Fast: Settings adapt in large steps.

SELECTION

The Selection setting determines which values the algorithm uses. This enables you to modify the list of values so that

the algorithm selects only specific parameters. Use

Free Value Selection to improve accuracy.

For example, you can modify the aperture list to include f/2.8 and f/5.6. If Free Value Selection is enabled, the algorithm

only selects aperture parameters between f/2.8 and f/5.6. This setting limits the range of focal depth.

AE INDICATORS

When the AE feature is able to match the sensor brightness, the overlay turns yellow. If the brightness fluctuates more

than half of a stop, the overlay turns red.

When AE is enabled, the “AE” indicator displays before the aperture and exposure parameters in the Upper Status Row.

The user-selected brightness and current measured brightness display in the histogram as grey and white lines,

respectively.

AE LIMITS

All limits, includes custom modifications made to available menu items, are taken into account when AE is active. For

example, if you modify the available list of exposure values, only those values are considered.

RED RANGER MONSTRO OPERATION GUIDE

SETUP

The Setup menu includes: Keys, Date/Time, Communication, GPIO/Sync, Fan Control, Lens, and Motor Control.

KEYS

Map keys to often-used actions to easily control the camera. For a full list of the default key mappings, go to

"Default

Key Functions" on page 203.

KEY MAPPING

To map or remap a user key:

1. Press the user key that you want to map.

2. Select an action from the

Press (or CCW) drop-down menu that you want to map to the user key.

3. To un-map a key, select -Key Disabled- from the drop-down menu.

4. If you want, map a Release or (CW) action to the key.

A Release action occurs when a pressed key is released.

OPTIONS

Lock Side Module keys

Show key action notifications: A notification displays on the bottom of the display when you perform an action

mapped to a key.

Figure: Key Options

SOFT KEYS

The following sets of soft keys are available on the touchscreen:

A, B, C, D: Left side of the touchscreen

1, 2, 3, 4: Right side of the touchscreen

To map or remap a soft key, select an action from the drop-down menu next to the key you want to map.

Enable Soft Keys on touchscreen: Tap the left or right side of the touchscreen to show the soft keys.

Show key actions as labels: When the soft keys display, the number/letter of the key and the key action display.

RED RANGER MONSTRO OPERATION GUIDE

ADVANCED

Use the Advanced tab to map any key, even if the key is not currently accessible.

WARNING: It is possible to remap the navigation keys using this tab. However, if you do not have a touchscreen

attached, it is possible to lock out control. Be careful when remapping navigation keys.

DATE/TIME

Use the Date/Time menu to reset the internal clock of the camera. The time and date are timestamps on R3D

files

when recording to an SSD. The camera uses the 24-hour clock convention (military time). For example, enter 2:35 p.m.

as 14:35:00.

The date and time are saved when you close the Date/Time menu.

COMMUNICATION

Use the Communication menu to allow one (1) or more cameras to communicate with each other or external devices.

You can use the serial port or a direct Ethernet cable to connect two (2) cameras, or one (1) camera and one (1) external

device. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate with

each other.

For example, on a multi-rig 3D shoot, you can send commands to an individual camera (Example: Set CAM_A_L to 1/48

exposure), to a group of cameras (Example: Set 3DRIG_A to 48 fps), or to all cameras (Example: Start Recording on all

cameras).

CAMERA

To access the Camera menu, go to

Menu > Settings > Setup > Communication.

Use the Camera menu to set up a unique identifier for your camera (or a group of cameras). All command filtering

happens on the receiver side of the communication link. Use camera names and group names to address commands to

a specific camera or group of networked cameras.

Camera ID: Enter a unique camera name to use in network communications. The field is limited to eight (8)

characters.

Group ID: Enter a group name to identify the camera as a member of a group of devices. The field is limited to eight

(8) characters, and the default name is DEFAULT.

Target: Specify which devices the camera can send commands to:

All: The camera can send commands to all devices on the network.

None: The camera can only receive commands. The camera cannot send commands.

Custom: The camera can send commands to a specific camera/device (enter the name of the camera/device in

the Target ID text box) or a specific group (enter the name of the group in the Target ID text box). The

camera/group name must match the name entered in the Camera/Group field of the target device(s).

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SERIAL

To access the Serial menu, go to

Menu > Settings > Setup > Communication > Serial.

The camera can communicate to external devices via the CTRL and the GIG-E connectors (camera-to- camera

communication is possible only via GIG-E).

Select one of the following protocols from the Serial Protocol drop-down menu:

None (Default)

Element Technica

3ality SPC 7XXX

RED Command Protocol

ETHERNET

To set up the Ethernet settings, go to

Menu > Settings > Setup > Communication > Ethernet.

Each camera or device requires a unique IP address. For camera-to-camera communication via Ethernet, both cameras

need to be in the same sub-net (have the same netmask address) and have the same gateway address.

Enable DHCP: Enables DHCP. If a DHCP-server is available in the communications network, the camera obtains

an IP address, netmask address, and gateway address automatically from the DHCP server. You cannot manually

enter anything in the IP Address, Netmask, and Gateway fields when this check box is selected.

Enable Camera to Camera: A change to settings on this camera is sent to other cameras via the network as a SET

command (as UDP packets). The SET command then sets the property on other cameras. If this camera receives a

SET command, the camera does not send the command to other cameras/devices.

Enable External Control: This camera can be controlled via TCP/IP from an external device.

WIRELESS CONNECTION

The camera offers a wireless (802.11g) connection that provides communication support for third-party applications. The

camera uses the RED Command Protocol (R.C.P.) to communicate information between the camera and an application.

As with all wireless devices, the communication range may be affected by the environment and any radio frequency (RF)

interference that may be present. The wireless frequency is 2.4 GHz. For optimal performance, do not obstruct the

antenna with any accessory, mounting plate, or mounting rail.

There are two (2) ways to connect the camera to a device:

Ad-Hoc mode: The camera and your device connect to each other.

Infrastructure mode: The camera and your device both connect to an access point, and communicate through that

wireless network.

NOTE: To connect the camera to an app, the app must have been programmed using the R.C.P. SDK, which is

available through the R.C.P. Development Kit.

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CONNECT WIRELESSLY TO A DEVICE VIA AD-HOC MODE

In Ad-Hoc mode, the camera and your device connect to each other. To connect the camera to your device via an ad-hoc

network, follow the instructions below:

1. Go to Menu > Settings > Setup > Communication.

2. Select the WiFi tab.

3. Select Ad-Hoc from the Mode menu.

4. Select a wireless channel from the Channel drop-down menu. The default is Ch1, and you can select one out of 11

channels.

5. Select a security option from the Encryption drop-down menu:

NONE: The connection will be unsecured.

WPA2: The connection will be encrypted via WPA2.

6. If you selected WPA2 as the encryption option, type the passphrase that will be required to access the network.

7. Close the WiFi screen.

8. Connect your device to the ad-hoc network created by the camera. The steps in this procedure depend on what type

of device and operating system you are using. For example, if you are connecting an iOS device, go to Settings >

Wi-Fi > Devices, and select the camera name.

The camera name displays on the WiFi screen in-camera. The camera and your device are now connected.

NOTE: If you created a passphrase for the network, you will need to enter that passphrase.

CONNECT WIRELESSLY TO A DEVICE VIA INFRASTRUCTURE MODE

In Infrastructure mode, the camera and your device both connect to an access point, and communicate through that

wireless network. The camera can connect to access points that are not encrypted, use WPA encryption, or use WPA2

encryption. To connect the camera to your device via an existing wireless network, follow the instructions below:

1. Connect your device to a wireless network. The access point for the network must have DHCP enabled.

2. Make sure that you know the name and password for the network, since you will need that information to connect the

camera to the same network.

3. Go to Menu > Settings > Setup > Communication.

4. Select the WiFi tab.

5. Select Infrastructure from the Mode menu.

Figure: WiFi Menu

RED RANGER MONSTRO OPERATION GUIDE

6. Select Scan to search for available wireless networks.

The available wireless networks (access points) display.

7. Highlight the wireless network that your device is connected to and select Select.

Figure: Select Wireless Network

8. If you select an encrypted network, follow the instructions below to enter the passphrase for the network:

A. Select a security option from the Encryption drop-down menu.

B. Tap or select the Passphrase text box.

C. Type the passphrase to access the network.

D. Select OK.

9. To enable/disable DHCP, select IP Config and set up the IP settings. For more information on configuring DHCP

and IP settings, go to "Ethernet" on page 122.

10. Select Connect at the bottom of the WiFi screen.

The IP address of the access point displays at the bottom of the WiFi screen after the camera connects to the

access point.

Figure: Select Connect

RED RANGER MONSTRO OPERATION GUIDE

11. Connect your device to the same wireless network that the camera is connected to. The steps in this procedure

depend on what type of device and operating system you are using. For example, if you are connecting an iOS

device, go to Settings > Wi-Fi, and select the wireless network.

The camera and your device are now connected.

Figure: Connect to Network

12. To ensure that your app can communicate with the camera, ensure that there is a way to connect your app to a

specific camera. Since there may be multiple cameras in the area, select your specific camera in the app itself.

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GPIO SYNC

SYNC

Use the Sync menu to set up genlock. For more information, go to

"Timecode, Genlock, Multi-Camera Setup" on

page 147.

SENSOR SYNC MODE

Sensor Sync Mode allows the shutter timing (scan start) to sync to an external signal.

Off: Sensor runs at the current recording frame rate. This is the default option.

Genlock: Sensor synchronizes with the incoming compatible genlock signal.

Figure: Sync Menu

RED RANGER MONSTRO OPERATION GUIDE

BRAIN GPIO

GPO Function (Camera Output): Select an option to configure the output for devices connected to the CTRL

connector on the camera:

Sync Out: Provides an output sync signal to act as a shutter start tally.

Recording Indicator Out: Provides a signal when recording is in process.

Figure: BRAIN GPIO Menu

GEN AND SYNC STATUS INDICATORS

The Lower Status Row of the camera display has GEN and SYNC indicators, which change color based on the current

genlock and sync statuses. For more information, go to

"Project Status Indicators" on page 52.

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FAN AND TEMPERATURE MANAGEMENT

To select a fan control mode, go to

Menu > Settings > Setup > Fan Control.

The camera is controlled by complex thermal algorithms to ensure that the sensor and camera operate at safe

temperatures. Each fan control mode affects the sensor temperature, sensor warm-up time, fan speed, and resulting fan

noise.

When selecting a fan mode, first take into consideration how each fan mode behaves, and then select a fan mode that

fits the needs of your project.

Regardless of sensor type and fan mode, you will get the best image quality by calibrating the sensor at the temperature

that you want to use for your shoot.

FAN CONTROL MODES

Select a fan control mode.

NOTE: After selecting a new fan setting, run the camera until the core temperature stabilizes, and then calibrate the

sensor.

NOTE: Manual mode requires that you actively manage the sensor temperature, because this mode focuses on

controlling fan speed and does not target a narrow sensor temperature range. Use the T/E status indicators as guides for

proper temperature calibration.

NOTE: Maximum speeds are intended as target speeds only; actual fan speeds may be higher at times due to long

recording times or high ambient temperatures.

ADAPTIVE (TARGET TEMPERATURE)

Select a Target Temperature and the fans self- adjust to maintain the selected temperature. The default Target

Temperature is 39°C. After the camera reaches the Target Temperature, and if the ambient temperature remains

constant, Adaptive mode results in a consistent fan speed and fan noise over time.

Targeting a higher temperature raises the sensor temperature, lengthens the sensor warm-up time, and lowers the fan

speed. Targeting a lower temperature lowers the sensor temperature, shortens the sensor warm-up time, and increases

the fan speed.

NOTE: The intent of Target Temperature is to set the sensor temperature so that you can then create a calibration map

for that temperature.

NOTE: When the camera turns on, the Target Temperature is the temperature of the current calibration map, regardless

of what the Target Temperature was before you turned off the camera. Setting a calibration map also overrides the Target

Temperature. For more information, go to "Sensor Calibration" on page 136.

QUIET

Quiet is the default mode for the camera.

The fans self-adjust to maintain the lowest possible noise level in record and standby mode while still cooling the

camera.

MANUAL

Select a speed for the fans in both record and standby modes. The fans self-adjust to maintain the selected speeds. The

default Maximum Record Speed is 50% and the default Maximum Preview Speed is 75%. The range for both Maximum

Record Speed and Maximum Preview Speed is 20–100%.

POST RECORD DELAY

Select the amount of time that it takes for the fan to switch from record to preview mode.

RED RANGER MONSTRO OPERATION GUIDE

LENS

To access the Lens menu, go to

Menu > Settings > Setup > Lens.

LENS TAB

The options displayed on the Lens tab change based on the attached lens mount.

PL MOUNT

Enable Power to Lens: Ensures that the camera powers the lens via the lens mount. This feature is enabled by

default, but the camera saves the last selected setting. Deselect when using a Fujinon

T2.9 Cabrio Premier PL lens.

If you disable this feature for the Fujinon Cabrio, re-enable it when using other lenses. For more information, go to

"Fujinon T2.9 Cabrio Premier PL Lenses" on page 202.

Auto-Detect PL Lenses: By default, this feature is enabled.

Detect Lens: Detects a lens, if one is attached.

Figure: Lens Menu

RED RANGER MONSTRO OPERATION GUIDE

LENS INFO TAB

The Info tab displays the attached lens mount and lens information.

LENS METADATA TAB

If a supported lens is attached, the camera autopopulates some Lens Metadata fields. You can also manually edit the

Lens Metadata fields to describe the attached lens. The information is stored in the clip metadata. The Lens Metadata

fields are:

Lens Name

Lens Serial Number

Lens Owner

Lens Manufacturer

Lens Min Focal Length

Lens Max Focal Length

Figure: Metadata

RED RANGER MONSTRO OPERATION GUIDE

MAINTENANCE

The Maintenance menu includes: Save Log, Upgrade, Calibrate, Self-Test, Restore System, Rediscover, System

Status, and OLPF.

SAVE A LOG FILE

A log file is a detailed text file of the processes and operations performed by the camera. If you contact support, you may

be asked to send a log file.

To save a log file, follow the instructions below:

1. Ensure that an SSD is properly mounted to the camera.

2. Go to

Menu > Settings > Maintenance.

3. Select Save Log.

The log file is saved as a *.txt file in the SSD root directory.

For more information about RED support or to create a support ticket, go to https://support.red.com.

NOTE: The camera automatically saves a log file when it is turned off properly and an SSD is mounted.

UPGRADE

To access the Upgrade menu, go to

Menu > Settings > Maintenance > Upgrade.

You can check for upgrades for the following items:

Camera: Go to "Upgrade Camera Firmware" on page 158.

Media: For more information on the media upgrade procedure, see the DSMC Media Operation Guide, available at

www.red.com/downloads.

CALIBRATE

The Calibrate menu includes:

Sensor: For more information, go to "Sensor Calibration" on page 136.

Gyro/Acc: For more information, go to "Gyroscope and Accelerometer Calibration" below.

GYROSCOPE AND ACCELEROMETER CALIBRATION

The internal three-axis gyroscope and three-axis accelerometer need to be calibrated for the Horizon overlay to function

properly. The Gyro/Acc calibration file is stored in the flash memory of the camera, so you DO NOT need to recalibrate

after restoring the camera or upgrading firmware. For more information, go to

"Display Modes: Horizon" on page 77.

To calibrate the Horizon overlay, follow the instructions below:

1. Turn on the camera and place it on a level surface.

2. Wait for the camera core temperature to reach room temperature.

3. Go to Menu > Settings > Maintenance > Calibrate > Gyro/Acc and select Low Temperature Calibration.

4. After the calibration finishes, wait for the camera core temperature to reach maximum operating temperature.

5. When the camera reaches maximum operating temperature, select High Temperature Calibration.

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SELF-TEST

The Self-Test menu includes: Enable/Disable Sensor Test Pattern and Touchscreen.

ENABLE/DISABLE SENSOR TEST PATTERN

The Sensor Test Pattern is used during manufacturing and stress testing. For more information, go to

"Perform a Stress

Test" on page 163. The Sensor Test Pattern is a white screen with vertical lines.

To enable/disable the sensor test pattern, go to Menu > Settings > Maintenance > Self- Test > Enable/Disable

Sensor Test Pattern.

TOUCHSCREEN

To perform a touchscreen self-test, follow the instructions below:

1. Go to

Menu > Settings > Maintenance > Self-Test.

2. Select Touchscreen.

A grid of green squares displays on the touchscreen.

3. Touch each box with your finger.

Each green box turns blue.

4. To exit the self-test, perform one (1) of the following actions:

Touch all of the boxes, so that they are all blue.

Press and hold the touchscreen.

Press the Enter or Menu button on the side of the camera.

Figure: Self-Test Menu

RED RANGER MONSTRO OPERATION GUIDE

RESTORE SYSTEM

Restore System offers two (2) types of restores: Reset Defaults and Wipe Camera.

RESET DEFAULTS

Reset Defaults changes all settings to the factory default values. To perform a Reset Defaults, follow the instructions

below:

1. Go to

Menu > Settings > Maintenance > Restore System.

2. Select Reset Defaults.

3. Select YES on the screen that asks you to confirm the action.

The camera turns off.

4. Turn on the camera.

WIPE CAMERA

Wipe Camera deletes all user settings, including: looks, calibration files, overlays, and presets. Wipe Camera restores all

factory defaults.

1. Go to

Menu > Settings > Maintenance > Restore System.

2. Select Wipe Camera.

3. Select YES on the screen that asks you to confirm the action.

The camera turns off.

4. Turn on the camera.

REDISCOVER (HARDWARE REDISCOVER)

Rediscovers all hardware and caches the data for future boot cycles. Performs a Hardware Rediscover when an

attached device or lens mount is not functioning correctly.

To perform a Hardware Rediscover, follow the instructions below:

1. Go to

Menu > Settings > Maintenance.

2. Select Rediscover.

3. Select Yes on the screen that asks you to confirm the Hardware Rediscover.

The camera turns off.

4. Turn on the camera.

SYSTEM STATUS

The System Status menu displays key project and system information.

PROJECT STATUS

Displays the current camera and project settings. Includes the following tabs: File Format, Recording, ProRes,

DNxHD/HR, Image, Other.

ATTACHED MODULES

Lists the attached lens mount.

This screen does not list attached displays and lenses.

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RCP CONNECTIONS

Lists any RCP clients the camera is connected to.

CAMERA INFO

Displays the following camera information:

Type: Camera type and sensor type.

Firmware Version: Current firmware version.

PIN: The personal identification number that is specific to your camera.

SVN Revision: The current firmware number.

Runtime: The number of hours that the camera has been turned on.

Name: Sensor type.

OLPF

RED offers multiple optical low-pass filters (OLPFs). Each OLPF optimizes certain characteristics to take full advantage

and control of each shooting environment. The camera checks the OLPF type, and adjusts the color science based on

the selected OLPF.

To view your OLPF type, go to

Menu > Settings > Maintenance > OLPF. The OLPF that is installed in your camera

displays in the OLPF Type field.

Figure: OLPF Menu

RED RANGER MONSTRO OPERATION GUIDE

THIRD-PARTY OLPFS

WARNING: RED does not guarantee that third-party OLPFs will work as intended. Any damage caused by using a third-

party OLPF, or any undesirable effects to the footage caused by using a third-party OLPF, is not covered under any RED

warranty. If you have any questions or support issues with a third-party OLPF, contact the OLPF’s manufacturer.

If you are using a third-party OLPF, follow the instructions below to set up the OLPF:

1. Install the OLPF. For more information, go to "Swap an Interchangeable OLPF" on page 40.

2. Go to Menu > Settings > Maintenance > OLPF.

3. Select an option from the 3rd Party Emulated Type drop-down menu. This menu lists the RED OLPFs that are

available for the camera. The camera will simulate the color science based on the RED OLPF that you select. RED

DOES NOT guarantee that the third-party OLPF and the camera’s color science will match.

4. Enter a name for the OLPF in the 3rd Party Name field. The name that you enter is for metadata purposes; the

name has no effect on the color science.

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CHAPTER 6:

SENSOR CALIBRATION

Sensor calibration, also known as black shading, is a process during which the camera optimizes image quality by

ensuring that pixel sensitivity remains consistent throughout the sensor. Calibrating the sensor generates a calibration

map based on system and environment settings. After calibration, the sensor shows a uniform noise profile over the

whole area without any falloffs on any side.

The camera offers two (2) ways to calibrate the sensor:

Manual Calibration: RED recommends using Manual Calibration for the HELIUM 8K S35, MONSTRO 8K VV, and

GEMINI 5K S35 sensors. For more information, go to "Calibrate Sensor: Manual Calibration" on the next page.

Auto Calibration: For more information, go to "Calibrate Sensor: Auto Calibration" on page 138.

For more information, see the Sensor Calibration Methods article.

NOTE: Calibration maps are still available after performing a system restore.

WHEN TO CALIBRATE SENSOR

Calibration is required:

After an extreme change in temperature (+/– 30°F or +/–15°C) from the current calibration map.

After an extreme change in exposure time (+/– 1/2 sec) from the current calibration map.

If either the T or E in the CAL: T/E indicator is not green.

After each firmware upgrade.

To check the temperature/exposure of the current calibration file, go to Menu > Settings > Maintenance > System

Status > Project Status.

CALIBRATE SENSOR: MANUAL CALIBRATION

The camera offers two (2) ways to calibrate the sensor: Manual Calibration and Auto Calibration. This section describes

how to calibrate the sensor with Manual Calibration.

When you start a Manual Calibration, the camera calibrates the sensor at the current exposure and temperature setting.

You will need to re-calibrate the sensor after extreme changes in exposure and temperature. The Manual Calibration

process takes several minutes.

MANUAL CALIBRATION PROCEDURE

To perform a Manual Calibration, follow the instructions below:

1. Ensure that the camera reaches the temperature that you want to use for your shoot.

2. Set the exposure to the exposure that you want to use for your shoot.

3. Ensure that the sensor is as dark as possible.

Preferably, take off the lens, and install the front body cap.

If you cannot take off the lens, put a lens cap on the lens. (Not all lens caps completely block IR. Lens caps are

made to protect the lens, not necessarily to block light.)

If possible, use a dark room.

Just closing the aperture is NOT sufficient.

4. Go to Menu > Settings > Maintenance > Calibrate > Sensor > Create > Manual.

5. Select how many calibration maps that you want to create from the Number of captures drop-down menu. You can

create up to four (4) calibration maps at a time.

6. Select the exposure that you want for each calibration map from the Capture drop-down menus.

7. Select Start Captures.

8. Select OK on the dialog box that opens. The system initializes and then makes multiple passes through the following

phases of the calibration:

Capturing

Analyzing

Erasing

Programming

9. When the Calibration Successful dialog displays, select OK to complete the process.

The new calibration map is automatically selected.

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CALIBRATE SENSOR: AUTO CALIBRATION

NOTE: The camera cannot export calibration maps created by Auto Calibration.

The camera offers two (2) ways to calibrate the sensor: Manual Calibration and Auto Calibration. This section describes

how to calibrate the sensor with Auto Calibration.

When you start an Auto Calibration, the camera calibrates the sensor at 16 exposure settings, and uses that data to build

a calibration curve. Afterward, the sensor is calibrated for each exposure along the calibration curve, so you do not need

to re-calibrate every time you change the exposure.

The calibration process does not factor in multiple temperatures, so you will need to re-calibrate the sensor after extreme

changes in temperature.

This process can take up to 1 hour.

AUTO CALIBRATION PROCEDURE

To perform an Auto Calibration, follow the instructions below:

1. Ensure that the camera reaches the temperature that you want to use for your shoot.

2. Ensure that the sensor is as dark as possible.

Preferably, take off the lens, and install the front body cap.

If you cannot take off the lens, put a lens cap on the lens. (Not all lens caps completely block IR. Lens caps are

made to protect the lens, not necessarily to block light.)

If possible, use a dark room.

Just closing the aperture is NOT sufficient.

3. Ensure a properly formatted SSD is attached to the camera.

4. Go to Menu > Settings > Maintenance > Calibrate > Sensor > Create > Auto.

5. Select OK on the dialog box that opens. The system initializes and then makes multiple passes through the

calibration phases.

6. When the Calibration Successful dialog displays, select OK to complete the process.

NOTE: When you change the exposure setting, the E indicator turns yellow and it may take up to 8 seconds for the

calibration map to load.

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CALIBRATION MAP NAMING CONVENTIONS

Each calibration map has a unique name that uses the format described in the table below:

NAME DESCRIPTION EXAMPLE

Exposure Current exposure; to set exposure, go to

"Exposure/Shutter" on page 95

If the calibration map was created using Auto Calibration, then "auto" displays instead of an

exposure setting

auto

Sensor

Temperature

Sensor temperature (Celsius); in the Lower Status Row, this is the number to the left of the

forward slash (Temp: 32/35)

32C

Year Year that the calibration map is created (yyyy) 2014

Month Month that the calibration map is created (mm) 01

Day Day that the calibration map is created (dd) 28

Letters

Two random alphanumeric characters generated by the camera to prevent any possibility

of duplicate names being created

For example, a set of calibration maps may look like this:

auto_39C_200001030O

48_39C_20000103NB

24_37C_20160105AT

NOTE: If you mount an SSD with calibration files to your computer, each calibration map displays as a sub-folder in a

folder called Calibration. To save a calibration map to your hard drive, copy the entire sub-folder to your drive.

CALIBRATION MANAGEMENT

To apply, export, and import calibration maps, go to

Menu > Settings > Maintenance > Calibrate > Sensor.

In Camera: The calibration maps that are saved internally on the camera:

Factory: This is the calibration map generated during the manufacturing process. (Default)

All other: The user-created calibration maps.

Media: The calibration maps that are on the SSD in the path shown (for example, S-SSD\calibration).

CALIBRATION MAP ACTIONS

NOTE: You cannot delete or rename the factory map.

Apply: Apply the selected calibration map (if the calibration map is on the SSD, the camera applies the map

temporarily, and does not import it into the camera).

Create: Create a calibration map. For more information, go to "Calibrate Sensor: Manual Calibration" on page 137 and

"Calibrate Sensor: Auto Calibration" on the previous page.

Delete: Delete the selected camera calibration map.

Rename: Rename the selected calibration map.

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EXPORT AND IMPORT CALIBRATION MAPS

NOTE: The camera cannot export calibration maps created by Auto Calibration.

Calibration maps can be stored on the camera or transferred to SSD. You can also build a library of calibration maps to

use in different settings. A camera only imports calibration maps that it created. Calibration maps cannot be shared

between cameras.

: Export selected calibration map from camera to SSD.

All: Export all files from camera to SSD.

: Import selected calibration map from SSD to camera. This overwrites the user HS calibration map.

All: Import all files from SSD to camera.

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CHAPTER 7:

AUDIO SYSTEM

AUDIO OVERVIEW

The camera has two (2) integrated dual channel digital stereo microphones that record uncompressed audio at 24-bit 48

kHz. These microphones offer you the ability to capture scratch-track audio.

The camera features a built-in headphone jack, so you can hear the audio during playback via headphones. Together, the

integrated microphones and headphone jack offer an audio solution for run-and-gun shoots.

Additionally, the camera has one full-size XLR audio jack for recording line level and microphone level audio.

The camera can record up to four (4) discrete stereo channels of uncompressed 24-bit, 48 kHz audio.

Input signals are routed via a high-quality pre-amplifier to achieve the desired recording levels and maximize dynamic

range.

Audio data is synchronized with video and timecode and embedded in the R3D

file. You can export audio data from

REDCINE-X PRO

as separate audio files.

Audio is also embedded in any HD-SDI output connected to the camera (except the MON-1 signal).

SET UP AUDIO

To set up audio, go to

Menu > Settings > Audio. To adjust the input, pre-amplifier, and headphone settings, select

Control. To adjust the mix settings, select Mix.

Figure: Audio Menu

CONTROL

To adjust the input, pre-amplifier, and headphone settings, select

Control.

CHANNEL 1/2 AND CHANNEL 3/4

To set up Channel 1/2 and 3/4, go to

Menu > Settings > Audio > Control.

Figure: Channel Setup

SOURCE

SOURCE NAME CHANNEL PAIRS CONNECTORS

None N/A N/A

Camera Internal Ch1/Ch2, Ch3/Ch4 Mic 1, Mic 2

Rear Analog Ch1/Ch2, Ch3/Ch4 AUDIO (full-size XLR)

NAME

You can rename each audio channel. The default names are Ch1, Ch2, Ch3, and Ch4. The channel names display in the

Audio Meter, but are not included in the clip metadata.

MODE

When Rear Analog is selected, the Mode (Line, Mic, or +48V) displays for the incoming audio signal.

PHANTOM POWER

The 5-pin XLR connector provides +48 V phantom phantom power.

Enable phantom power (via the switch adjacent to the XLR port) after a microphone is connected. Disable phantom

power (by switching to Line or Mic) before removing the microphone.

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PRE-AMP GAIN

Pre-amp gain range is 0 dB to 55 dB. Default is 0 dB.

To adjust amplification levels, follow the instructions below:

1. Go to

Menu > Settings > Audio > Control > Pre-Amp Gain.

2. Move the Pre-Amp (pre-amplifier) sliders up and down to adjust the amplification levels.

3. To link the amplification for each channel, select Link.

HEADPHONE VOLUME

Headphone volume range is –54 dB to 0 dB. Default is 0 dB.

CHANGE HEADPHONE VOLUME

1. Go to

Menu > Settings > Audio > Control > Headphone Volume.

2. Move the Left and Right sliders up and down to adjust the volume.

3. To toggle mute/unmute, select Mute.

4. To link the volume for Left and Right, select Link.

MIX

The camera features a digital audio mixer that controls the volume and stereo settings for each input channel. The mixer

affects audio monitoring (such as headphones) and audio recorded to external devices. The mixer DOES NOT affect

audio embedded in the R3D file. To access mix settings, go to

Menu > Settings > Audio > Mix.

The range for each channel is 0% to 100%. The default for each active channel is 100%.

The digital mixer normalizes each output to prevent the output from exceeding the signal range. For example, if you pass

Channel 1 to an output at 100%, and then mix Channel 2 into the same output, the level of Channel 1 decreases to 50%.

Assign each audio channel to the Left, Middle, or Right side of the stereo mix. Move the sliders up and down to adjust

the volume.

You can control the volume and stereo for each audio monitoring option:

Headphone Mix: Headphones plugged into the camera.

Monitor Mix: External HD-SDI monitors that support audio.

AUDIO OUTPUT OPTIONS

One (1) 2-channel headphone output. For maximum quality, use high impedance headphones.

HD-SDI monitor: Output two (2) channels of 24-bit 48 kHz uncompressed, embedded digital audio. Select and mix

the stereo channels in the Monitor Mix menu at Menu > Settings > Audio > Mix > Monitor Mix. To monitor or HD-

SDI, the third-party monitor must support audio.

AUDIO METER (VU METER)

The Audio Meter displays at the bottom-right corner of the viewfinder, and displays either the incoming audio channels

(default), or the outgoing audio (mixes). For more information, go to

"VU Meter" on page 79.

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INCOMING AUDIO CHANNELS

When you select Input as the VU Meter Source, the Audio Meter displays the incoming audio channels (default). For

more information, go to

"VU Meter" on page 79. Channel 1 and Channel 2 are the default channels, correlating with the

MIC-1 and MIC-2 inputs on the camera. Channel 3 and Channel 4 are greyed out unless the camera detects audio input.

The channel names selected in the Audio menu determine the channel names displayed in the Audio Meter.

The Audio Meter shows the incoming audio signal when a source is selected, even if the channel is not recorded. When

a channel is recorded, the channel indicator left of the Audio Meter is green.

OUTGOING AUDIO

When you select Output as the VU Meter Source, the Audio Meter displays the Headphone Mix, Audio Out Mix, and

Monitor Mix levels. For more information, go to

"VU Meter" on page 79.

When recording to an external device, use the Output levels to help accurately monitor recorded audio.

AUDIO METER LEVELS

Figure: Audio Meter

The camera updates the Audio Meter 12 times per second with the maximum signal from the last 1/12 of a second

period. The range of the Audio Meter is –52 dBFS to 0 dBFS.

The lines and colors indicate danger of clipping, as described in the table below:

LINE DBFS COLOR DESCRIPTION

First line (far left border; solid) –52 dBFS Green Audio is not clipping

Second line (solid) –20 dBFS Green Audio is not clipping

Third line (dashed) –12 dBFS Yellow Audio close to clipping

Fourth line (dashed) –2 dBFS Red Audio is clipping

Fifth line (far right border; solid) 0 dBFS Red Audio is clipping (if signal exceeds –1 dBFS, the whole bar is red)

NOTE: In the American broadcast and post production systems, –20 dBFS roughly corresponds to 0 VU and 4 dBu. In a

digital system, dBu is an approximation; the correct unit for digital audio levels is dBFS.

AUDIO DURING PLAYBACK

The camera plays all recorded channels during playback(via headphones and HD-SDI monitors), and automatically

unmutes any muted audio outputs.

To access audio settings during playback, go to

Menu > Settings > Audio and select the following tabs:

Control

Mix

RECORD AUDIO IN VARISPEED MODE

The camera supports recording audio in Varispeed mode when all of the following criteria is met:

RED RANGER MONSTRO OPERATION GUIDE

The Recording Frame Rate is higher than the Project Time Base

The Recording Storage is set to Local, and the Recording mode is set to Continuous Record (Menu > Settings >

Recording > Mode)

The Record varispeed audio in a separate WAV file check box is selected (Menu > Settings > Recording > Mode)

The Record File Format includes R3D (Menu > Settings > Recording > Codec)

To record audio in Varispeed mode, follow the instructions below:

1. Set the Recording Frame Rate to a higher rate than the Project Time Base. The camera cannot record audio when

the Recording Frame Rate is lower than the Project Time Base. For more information, go to "Frame Rate" on

page 94.

Figure: Enable Varispeed

2. Go to Menu > Settings > Recording > Mode.

3. Select Local from the Storage drop-down menu.

4. Select Continuous Record from the Mode drop-down menu.

5. Select the Record varispeed audio in a separate WAV file check box. This option is available only when the

Recording Frame Rate is higher than the Project Time Base.

The Audio Meters display in the Lower Status Row. For more information, go to "Audio Meter (VU Meter)" on

page 143.

Figure: Record Varispeed Audio

RED RANGER MONSTRO OPERATION GUIDE

6. Record.

7. When you mount the SSD to a computer, a WAV file displays in the RDC folder.

Figure: WAV File in RDC Folder

RED RANGER MONSTRO OPERATION GUIDE

CHAPTER 8:

TIMECODE, GENLOCK, MULTI-

CAMERA SETUP

This chapter describes timecode, genlock, and multi-camera operations such as 3D and array setup.

TIMECODE

Timecode is a numeric sequence based on SMPTE 12M that aids in the management and synchronization of footage and

audio. Timecode is embedded in recorded RAW files, QuickTime

files (if recording an Apple

ProRes codec), and MXF

files (if recording an Avid

codec) as metadata and in HANC metadata provided by the HD-SDI monitor output. The

camera can generate timecode on its own or can receive and sync to timecode generated by an external source. RED

cameras use non-drop frame timecode.

Timecode displays in the lower right corner of the Live Action Area on the graphical user interface (GUI) and is embedded

as metadata. Timecode is represented as an eight (8) digit sequence (HH:MM:SS:FF), where:

HH: Hours

MM: Minutes

SS: Seconds

FF: Frames

NOTE: Timecode is most accurate and effective when coupled with genlock. For more information, go to "Genlock" on

page 149.

NOTE: For more information on HANC metadata, see HD- SDI HANC Metadata Information , available at

www.red.com/developers.

SET UP INTERNAL TIMECODE

To set up and adjust timecode generated by the camera, follow the instructions below:

1. Go to

Menu > Settings > Project > Timecode.

2. Select the desired Timecode Display mode.

3. Set Source to RTC.

The TC indicator in the Lower Status Row remains grey when internal timecode is enabled.

Figure: Timecode

OUTPUT TIMECODE

To output a timecode signal to an external device or slaved camera, follow the instructions below:

1. Follow the instructions in

"Set Up Internal Timecode" above to set up internal timecode.

2. Connect the camera to another device using the PRO I/O TIMECODE CABLE (3').

A. Connect the other connector to an external device or camera.

REQUIRED CABLE

790-0212: PRO I/O TIMECODE CABLE (3')

INPUT EXTERNAL TIMECODE

To input timecode generated by an external device, follow the instructions below:

1. Connect the external timecode device to the

TIMECODE port on the camera by using a 75 ohm BNC cable.

2. Go to Menu > Settings > Project > Timecode.

3. Select the desired Timecode Display Mode.

4. Set Source to External.

The TC indicator in the Lower Status Row turns green when an external timecode source is locked.

NOTE: When an external source is selected but not present, timecode displays User Provided settings.

REQUIRED CABLE

790-0212: PRO I/O TIMECODE CABLE (3')

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GENLOCK

Generator locking (genlock) is a tri-level signal used to synchronize video and audio systems. Genlock is based on

SMPTE 296M and 274M. There are two (2) important genlock sync modes:

Monitor Sync

Sensor Sync

MONITOR SYNC

Monitor Sync occurs when an incoming genlock signal is compatible with the monitor output frequency. Monitor Sync is

achievable even if the camera is using another form of synchronization to sync the camera sensor.

1. Connect the

GENLOCK port on the camera to the device using a 75 ohm BNC cable.

2. Set up the frequency for the HD-SDI output (select Auto to automatically match the HD-SDI output to the current

Project Time Base). For more information, go to "Frequency" on page 70.

Monitor Sync is achieved automatically when an incoming genlock signal is compatible with the monitor output

frequency. When Monitor Sync is achieved, the GEN indicator in the Lower Status Row illuminates green.

REQUIRED CABLE

75 ohm BNC cable (such as the RED HD-SDI Cable, P/N 790-0341)

SENSOR SYNC

NOTE: HDRX

is not available when Genlock Sensor Sync is enabled.

Sensor Sync is achieved when an incoming genlock signal is compatible with the monitor output frequency, project time

base, and recording frame rate. In Sensor Sync mode, sensor timing is locked to the genlock signal. Sensor Sync

requires the following synchronized settings:

SETTING MENU LOCATION PATH

Genlock signal frequency N/A; external genlock device

HD-SDI monitor output frequency Menu > Monitoring > Monitors > select monitor

Project Time Base Menu > Settings > Project > Frame Rate

Recording Frame Rate Menu > Settings > Project > Frame Rate

SET UP SENSOR SYNC MODE

To set up and enable Sensor Sync Mode, follow the instructions below:

1. Ensure that the Project Time Base and Recording Frame Rate will be compatible with the incoming genlock signal.

2. Connect the

GENLOCK port on the camera to the device using a 75 ohm BNC cable.

3. Go to Menu > Settings > Setup > GPIO/Sync > Sync.

4. Select Genlock from the Sensor Sync Mode drop-down menu.

5. Set up the frequency for the HD-SDI output (select Auto to automatically match the HD-SDI output to the current

Project Time Base). For more information, go to "Frequency" on page 70.

The GEN indicator in the Lower Status Row turns green when a compatible genlock signal is present and genlock is

enabled. The SYNC indicator in the Lower Status Row turns green when Sensor Sync is achieved.

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REQUIRED CABLE

75 ohm BNC cable (such as the RED HD-SDI Cable, P/N 790-0341)

MASTER/SLAVE OPERATION

NOTE: The Master camera controls metadata and basic camera parameters of the Slave cameras. Any other setting

changes required by the Slave cameras must be made before recording.

This section describes operation in Master/Slave configuration and clip naming conventions for clips recorded on those

cameras. Master/Slave is the most common configuration for Stereo/3D productions.

When cameras are operated in Master/Slave configuration, you can perform the following operations:

Power: Turn off the Master camera to turn off both cameras.

Record: Press the PWR/REC key on the Master camera to start/stop recording on both cameras.

Change settings: Change settings on the Master camera, to change settings on the Slave camera.

For a Master/Slave configuration to function, the cameras must have the same:

Firmware version

Project time base

Recording frame rate

Sensor

NOTE: You can Master/Slave the RED RANGER to the DSMC2 cameras when they have matching sensor types.

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SET UP MASTER/SLAVE OPERATION

1. Connect the

GIG-E port on one camera to the GIG-E port on the other camera using the Master/Slave Gig-E Cable.

2. On the Master camera, follow the instructions below:

A. Go to Menu > Settings > Setup > Communication.

B. Type a name for the camera (Example: CAM A, LEFT, MASTER, etc) in the Camera ID field.

C. Set Target to All.

Figure: Master Settings

D. Go to Menu > Settings > Setup > Communication and select the Ethernet tab.

E. Select the Camera to Camera the check box.

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3. On the Slave camera(s), follow the instructions below:

A. Go to Menu > Settings > Setup > Communication.

B. Type a name for the camera (Example: CAM B, RIGHT, SLAVE, etc) in the Camera ID field.

C. Set Target to None.

Figure: Slave Settings

D. Go to Menu > Settings > Setup > Communication and select the Ethernet tab.

E. Select the Camera to Camera check box.

The LAN indicator in the Lower Status Row illuminates green.

NOTE: Cameras can also be set up in a Master/Master configuration. To set up Master/Master, set Target to All on

both cameras, allowing either camera to make changes and control record start/stop.

REQUIRED CABLE

790-0163: Master/Slave Gig-E Cable (4')

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SET REEL NUMBER, CAMERA ID, AND CAMERA POSITION

NOTE: Camera ID and Camera Position settings can also be found at Menu > Settings > Project > Slate > Camera.

To prepare media and slate settings for a Master/Slave or Stereo/3D production, follow the instructions below:

1. On both Master and Slave cameras, go to Menu > Media > Device and select Format Media....

2. On both Master and Slave cameras, select the desired Reel Number and Camera ID settings. The Reel Number

and Camera ID settings on both cameras should match.

3. On the Master camera, change the Camera Position to Left, representing “left eye”.

Figure: Master Settings

4. On the Slave camera, change the Camera Position to Right, representing “right eye”.

5. On both cameras, select Format... to format media and set the Reel Number, Camera ID, and Camera Position

settings.

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MULTI-CAMERA CLIP NAMING CONVENTIONS

This section describes automatic camera-generated clip naming conventions based on slate settings. Cameras use the

Reel No, Cam ID, and Cam Pos settings to generate a custom clip name.

For example, if you have two (2) cameras in Master/Slave configuration and format media on both cameras with the

following settings:

CAMERA REEL NUMBER CAMERA ID CAMERA POSITION

Master 1 S Left

Slave 1 S Right

The first clip recorded by this Master/Slave camera configuration is:

Master: S001_L001_0503B6.R3D

Slave: S001_R001_0503R7.R3D

NOTE: B6 and R7 are examples of camera-generated wildcard characters.

NOTE: If both cameras have a Camera Position of Left, the recorded clips will have the same filename structure, with

the exception of the camera-generated wildcard characters. For example:

Master: A001_C001_0503B6.R3D

Slave: A001_C001_0503R7.R3D

NOTE: Reel Number, Camera ID, and Camera Position can be set when formatting media.

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SET UP STEREO/3D CONFIGURATION

This section describes basic procedures for connecting two (2) cameras in a Master/Slave configuration for 3D operation.

NOTE: When providing the signals to a Stereo Image Processor (SiP) for verifying 3D alignment, set the HD-SDI

monitor output on both cameras to have the same overlay configuration.

NOTE: For genlock to function correctly, the cameras must be on the same firmware version, and must be using the

same project time base and recording frame rate.

To set up a Stereo/3D setup, follow the instructions below.

1. On both cameras, set the project time base and recording frame rate.

2. On both cameras, follow the instructions in "Sensor Sync" on page 149 to achieve Sensor Sync genlock status.

The GEN and SYNC indicators in the Lower Status Row illuminate green.

3. Follow the instructions in "Set Up Master/Slave Operation" on page 151 to set Master and Slave camera settings.

4. On both cameras, follow the instructions in "Set Reel Number, Camera ID, and Camera Position" on page 153 to set

up media and camera settings.

REQUIRED CABLES

Use one (1) per camera:

75 ohm BNC cable (such as the RED HD-SDI Cable, P/N 790-0341)

Use one (1) per setup:

790-0163: Master/Slave Gig-E Cable (4')

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CAMERA ARRAY

SET UP A CAMERA ARRAY

NOTE: For genlock to function correctly, the cameras must be on the same firmware version, and must be using the

same project time base and recording frame rate.

NOTE: To operate a camera array setup from a Windows

computer or workstation, you need one of several

applications provided by RED

or third-party developers.

You can sync more than two (2) cameras for applications and productions that require a camera array. To set up a

camera array, you need a 1000Base-T gigabit Ethernet router.

For more information on camera control, see the R.C.P.™ SDK, available at www.red.com/developers.

To set up a camera array, follow the instructions below:

1. On each camera, go to Menu > Settings > Setup > Communication and set the following:

A. On the Camera tab, set Target to All.

B. On the Camera tab, enter a matching name in the Group ID field. All cameras must have the same Group ID

name.

C. On the Ethernet tab, select the DHCP, Camera to Camera, and External Control check boxes.

2. Follow the instructions in "Sensor Sync" on page 149 to connect each camera to the genlock device.

The GEN and SYNC indicators in the Lower Status Row illuminate green.

3. Follow the instructions in "Set Up Master/Slave Operation" on page 151 to set Master and Slave camera settings.

Instead of using the Master/Slave Gig-E Cable, connect each camera to the router using a 9-Pin 0B GIG-E-To-

CAT5E Ethernet Cable.

A. Connect the LCD/EVF connector to the GIG-E port on the camera.

B. Connect the Ethernet connector to the router.

4. On each camera, follow the instructions in "Set Reel Number, Camera ID, and Camera Position" on page 153 to

prepare media and camera settings.

REQUIRED CABLES

Use one (1) per camera:

790-0154, 790-0643: 3BNC-to-00 Sync Cable

75 ohm BNC cable (such as the RED HD-SDI Cable, P/N 790-0341)

Use one (1) of the following per setup:

790-0159: RED GIG-E Straight-to-CAT5E Ethernet Cable (9')

790-0557, 790-0655: RED GIG-E Right-to-CAT5E Ethernet Cable (9')

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COMPATIBLE TIMECODE DEVICES

The following timecode devices are compatible with the camera. Additional timecode devices may be compatible, but

have not yet been tested by RED.

Ambient ACL 202CT

Ambient LOCKIT ACL 203

Ambient ACL 204

Ambient ACC 501 Clockit Controller

Ambient ACD-301 Lockit Slate

Denecke SB-3 Syncbox Time-Code Generator

Sound Devices 788T

Sound Devices 744

Sound Devices PIX-240

Zaxcom Nomad 12

Zaxcom ZFR100

Zaxcom ZFR200

COMPATIBLE GENLOCK DEVICES

The following genlock devices are compatible with the camera. Additional genlock devices may be compatible, but have

not yet been tested by RED.

AJA

GEN10 HD/SD/AES Sync Generator with Universal Power Supply

Ambient ACL 202CT

Ambient ACL 203

Ambient ACL 204

Denecke SB-T

Evertz Master Clock 5600MSC

NOTE: Ensure that your genlock device provides a full-strength genlock signal to each camera. Splitting a genlock signal

weakens it, which may compromise the sync between cameras.

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CHAPTER 9:

UPGRADE CAMERA FIRMWARE

Your camera functionality may be upgraded by installing the latest firmware. Make a habit of frequently visiting RED

Downloads at www.red.com/downloads to check for new versions of camera firmware, updated operation guides, and

post production software.

VERIFY CURRENT CAMERA FIRMWARE

To see the firmware version that is currently installed on your camera, go to

Menu > Settings > Maintenance > System

Status > Camera Info. A higher number reflects a later release.

UPGRADE CAMERA FIRMWARE

Install the most recent firmware. Unless otherwise specified in the release notes, you do not need to upgrade to any

firmware in between your current version and the most recent version available online.

NOTE: You must calibrate the sensor after upgrading the camera. For more information, go to "Sensor Calibration" on

page 136.

NOTE: Preset, Look, and Custom Overlay files are preserved across upgrades to v6.2.3 or later.

NOTE: On Mac

computers with REDCINE-X PRO

installed, RED Watchdog mounts the SSD as Read-Only by

default, which means that you are unable to write files (including firmware upgrade files) to the SSD. Change the Mount

preference to Read-Write before attempting to copy firmware to the SSD.

1. Connect an SSD (RED MINI-MAG

) to your computer.

2. Download the most recent firmware for your camera from RED Downloads at www.red.com/downloads.

3. Unzip the firmware zip file.

4. Copy the force_upgrade folder and its contents to the top level of the SSD directory.

5. Eject or unmount the SSD, and then remove the SSD.

6. Ensure that the camera is turned off.

7. Insert the SSD with the force_upgrade folder into your camera.

8. Turn on the camera.

The upgrade runs automatically.

During upgrade, the fans run at high speed and the PWR and REC LEDs flash green. After approximately 15

seconds, the LEDs stop flashing and the camera turns off. Nothing displays on the external monitors during the

upgrade.

9. After the camera turns off, remove the SSD and wait 10 seconds.

10. Turn on the camera.

The camera may take 30 seconds or longer to upgrade all of the attached RED devices. During this time the PWR

and REC LEDs flash green and nothing displays on the external monitors.

11. If this is your first time upgrading firmware, a pop-up menu opens with the Software License Agreement (SLA). Select

Agree. If you do not agree to the SLA, the camera cannot be used. The SLA continues to display until it is accepted.

12. Verify that the firmware version listed matches the firmware version that you downloaded. For more information, go to

"Verify Current Camera Firmware" on the previous page.

13. Reformat the SSD before recording.

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CHAPTER 10:

CAMERA SYSTEM

MAINTENANCE

All products are designed for rugged durability, but precision instruments demand proper care. Follow the instructions in

this chapter to clean, maintain, and store your devices.

WARNING: DO NOT rinse or immerse the camera or other accessories in water. Keep dry at all times.

WARNING: DO NOT use soaps, detergents, ammonia, acetone, alkaline cleaners, abrasive cleaning compounds, or

solvents. These substances may damage lens coatings and electronic circuitry.

WARNING: DO NOT use an excess of cleaning solution.

WARNING: DO NOT reuse swabs or wipes.

WARNING: DO NOT attempt to clean the sensor or optical cavity for any reason. If the sensor becomes dirty, submit a

Support ticket at https://support.red.com.

WARNING: DO NOT attempt to modify, dismantle, or open the camera, lens, or other accessory as doing so may

expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made to

the camera, lens, or other accessory, except by a RED

authorized service facility, voids all warranties.

WARNING: Use caution with compressed air and gas dusters, since the high pressure, oily residue, cold air,

particulates, and moisture may cause damage. You may use a filtered, non-residue gas duster to clean non-critical areas,

such as around the fans and other recesses on the exterior of the camera. Damage to the camera or other components

of the camera system caused by using compressed air or gas dusters is not covered under warranty.

WARNING: DO NOT use compressed air and gas dusters on the sensor or on any optics.

WARNING: DO NOT use compressed air and gas dusters on or around the integrated microphones on the front of the

camera.

CAMERA BODY AND ACCESSORY EXTERIOR

SURFACES

Use a filtered, non-residue gas duster to clean non-critical areas, such as around the fans and other recesses on the

exterior of the camera.

Clean with a dry lint-free cloth. When cleaning your camera and accessories, remember that the devices are not

waterproof and moisture can damage electronic circuitry.

STORAGE

RED recommends that you store the camera and accessories in the water-resistant cases available in the

RED Store at

www.red.com/store. These cases feature laser-cut foam to keep the camera and accessories secure.

WARNING: DO NOT store the camera or accessories in any place with extreme temperatures, direct sunlight, high

humidity, severe vibration, or strong magnetic fields.

CLEAN EVF SCREEN

NOTE: This section describes only how to clean the screen on the DSMC2

RED EVF, and not how to clean the entire

device.

This section explains how to clean the screen on the DSMC2 RED EVF. The screen is accessed by removing the

DSMC2 RED EVF Modular Optical Block.

Use an ionized rubber air bulb to clean the screen on the DSMC2 RED EVF. If there are still particles on the screen after

using an air bulb, gently wipe the screen with a rolled-up, particulate-free, non-abrasive optical-grade wipe.

NOTE: Cleaning the screen without first removing solid particles increases the risk of scratching the screen. As with

many screens, any type of physical contact with the screen may scratch the surface.

PROHIBITED EVF SCREEN CLEANERS

DO NOT use any of the items listed below to clean the screen on the DSMC2 RED EVF. These products have not been

tested on RED products and may cause damage or streaking.

Compressed air

Gas dusters

Solvents

Rubbing alcohol

Isopropyl alcohol

Windex

Third-party cleaning kits

Pre-packaged lens cleaner containing any additives, such as detergent, anti-static compounds, or fragrance

RED Microfiber Bag

WARNING: Damage to any screens or other components of the camera system caused by using prohibited cleaners is

not covered under warranty.

CLEAN LCD SCREENS

NOTE: This section describes only how to clean the screen on each specified device, and not how to clean the entire

device.

This section explains how to clean the screens on the following devices:

RED PRO LCD

RED Touch LCD

RED PRO Touch LCD

Camera Side LCD

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APPROVED LCD SCREEN CLEANERS

Use only the following products to clean LCD screens:

Ionized rubber air bulb

Delkin Devices Sensor Solution

Lens swabs

Dry optical wipes

RED Microfiber Bag

NOTE: Before cleaning the screen with swabs or wipes and a cleaning solution, ALWAYS use an ionized rubber air bulb

to remove any solid particles. Cleaning the screen without removing solid particles increases the risk of scratching the

screen.

PROHIBITED LCD SCREEN CLEANERS

DO NOT use any of the items listed below to clean LCD screens. These products have not been tested on RED

products and may cause damage or streaking.

Compressed air

Gas dusters

Solvents

Rubbing alcohol

Isopropyl alcohol

Windex

Pancro Professional Lens Cleaner (or equivalent)

Third-party cleaning kits

Pre-packaged lens cleaner containing any additives, such as detergent, anti-static compounds, or fragrance

WARNING: Damage to any screens or other components of the camera system caused by using prohibited cleaners is

not covered under warranty.

SCREEN STORAGE

Store any RED device with a screen in a RED Microfiber bag. Storing devices in a RED Microfiber bag preserves the

superior quality of the specialized AR and AS coatings on the LCDs.

Hand wash and air-dry the RED Microfiber bag regularly.

WATER DAMAGE

When your device comes in contact with water, or when you suspect water damage, submit a Support ticket at

https://support.red.com immediately.

WARNING: DO NOT attempt to power any device that may have water damage.

WARNING: DO NOT place the device in a container of rice, silica gel, or desiccant packets in an attempt to dry the

device.

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CHAPTER 11:

TROUBLESHOOT YOUR CAMERA

PERFORM A STRESS TEST

Perform a stress test before important projects to ensure the reliability and stability of your gear. A stress test subjects

your camera system and equipment to the increased stress of prolonged operation. If any components are developing

issues, this test will help identify those problems before you have an equipment failure during a major shoot.

1. Configure your camera.

2. Calibrate the sensor. For more information, go to

"Sensor Calibration" on page 136.

3. Enable the Sensor Test Pattern. For more information, go to "Enable/Disable Sensor Test Pattern" on page 132.

4. Select the desired resolution.

5. Select the highest available frame rate.

6. Perform a secure format of the SSD.

7. Record a full SSD of footage.

8. Perform a secure format of the SSD.

9. Repeat Step 6 to Step 8 to test multiple SSDs.

10. If any errors occur, save a log file and submit a Support ticket at https://support.red.com.

NOTE: Problems or dropped frames found during the stress test display as “Errors” in the bottom of the user interface.

GENERAL TROUBLESHOOTING

FIRMWARE DOES NOT UPGRADE

SYMPTOM

During an attempt to upgrade firmware, the PWR and REC LEDs flash red.

After an attempt to upgrade firmware, the firmware version does not change.

POTENTIAL RESOLUTIONS

After downloading the firmware upgrade file, ensure that you unzip the file before saving it to the SSD.

Ensure that the “force_upgrade” folder is saved to the top level of the SSD, and not to a subfolder.

GENERAL: LENS MOUNT NOT FUNCTIONING

SYMPTOM

The lens mount is not functioning correctly, or is not communicating with the camera.

POTENTIAL RESOLUTIONS

Perform a Hardware Rediscover. For more information, go to "Rediscover (Hardware Rediscover)" on page 133.

Upgrade your camera firmware. For more information, go to "Upgrade Camera Firmware" on page 158.

Reset your camera’s default settings. For more information, go to "Reset Defaults" on page 133.

CAMERA DOES NOT RECOGNIZE LENS

SYMPTOM

The camera does not recognize the attached lens.

POTENTIAL RESOLUTIONS

Ensure that the lens is compatible. For more information, go to "Lenses" on page 201.

If using a PL lens, ensure that the camera is providing power to the lens: go to Menu > Settings > Setup > Lens

and select the Enable Power to Lens check box.

Detect the lens: go to Menu > Settings > Setup > Lens and select Detect Lens.

Perform a Hardware Rediscover. For more information, go to "Rediscover (Hardware Rediscover)" on page 133.

CAMERA DISPLAYS N/A FOR APERTURE

SYMPTOM

The camera displays N/A for aperture when a lens is attached.

POTENTIAL RESOLUTIONS

Ensure that your lens is completely locked in place.

Remove your lens mount. Check the connection points for damage or debris. Install your lens mount.

Perform a Hardware Rediscover. For more information, go to "Rediscover (Hardware Rediscover)" on page 133.

Re-install your camera firmware.

If your camera is on beta firmware, downgrade to the release build.

If you are using a DSMC PL mount, go to Menu > Settings > Setup > Lens and ensure that power is enabled.

NOTE: Some lenses do not display the aperture information because they are incompatible. Some PL lenses do not have

i-technology data.

CANNOT SEE MENUS ON LCD TOUCHSCREEN

SYMPTOM

The LCD touchscreen does not display menus.

POTENTIAL RESOLUTION

Double-tap the LCD touchscreen to exit Clean mode.

RED RANGER MONSTRO OPERATION GUIDE

SCREEN FREEZES OR DOES NOT DISPLAY

SYMPTOM

The screen freezes or does not display.

POTENTIAL RESOLUTION

Perform a Hard Restore. For more information, go to "Perform a Hard Restore" on page 167.

INTERMITTENT MOTION JITTER

SYMPTOM

A slight, intermittent motion jitter displays on the monitor.

POTENTIAL RESOLUTIONS

If you calibrate the sensor using the Auto Calibration method, the calibration map updates in the background when

camera settings change. The update may cause slight, intermittent motion jitter to the image on the monitor. The jitter

characteristic only displays in live preview, and does not affect recorded footage. For more information on sensor

calibration, go to "Sensor Calibration" on page 136.

LCD FLICKER

SYMPTOM

The LCD or monitor is flickering.

POTENTIAL RESOLUTIONS

Set the LCD frequency to 60 Hz. For more information, go to "Frequency" on page 70.

Use a different cable.

Ensure cables are properly attached.

LCD BLANK AT STARTUP

SYMPTOM

When you turn on the camera, the LCD does not show any image.

POTENTIAL RESOLUTIONS

Turn off the camera. Wait at least three (3) seconds, and then turn the camera back on.

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CANNOT USE TOUCHSCREEN

SYMPTOM

Cannot control the camera via the touchscreen or the Side LCD.

POTENTIAL RESOLUTIONS

Perform a Hard Restore. For more information, go to "Perform a Hard Restore" on the next page.

If you are using an external monitor, enable menus on the monitors and control the camera via the Side LCD:

Connect an SSD (RED MINI-MAG

) to your computer.

On the SSD, create a new folder, and name it force_preset.

Download the DSMC Toolkit from www.red.com/downloads.

Open the Preset_Files folder.

Open the folder that corresponds to the firmware version you are using.

Save the appropriate enable_menus file to the force_preset folder on your SSD.

Eject or unmount the SSD, and then remove the SSD.

Ensure that the camera is turned off.

Insert the SSD into your camera.

Turn on the camera. The camera automatically applies the preset.

NOTE: On Mac

computers with REDCINE-X PRO

installed, RED

Watchdog mounts the SSD as Read-Only by

default, which means that you are unable to write files (including firmware upgrade files) to the SSD. Change the Mount

preference to Read-Write before attempting to copy firmware to the SSD.

TIGHTEN DC IN CONNECTOR

SYMPTOM

The DC IN connector nut is loose.

POTENTIAL RESOLUTIONS

Tighten the loose DC IN connector nut using a pair of heavy duty strong point tweezers.

WARNING: DO NOT OVERTIGHTEN.

Optional: Add a small amount of Loctite

222 (low strength thread locker) to the threads of the DC IN connector nut

to prevent the connector from becoming loose again.

CAMERA DOES NOT TURN ON

SYMPTOM

The camera does not turn on (does not boot up), even when powered.

POTENTIAL RESOLUTIONS

Remove all accessories and power the camera using the power adaptor.

Perform a Hard Restore. For more information, go to "Perform a Hard Restore" on the next page.

Remove all accessories and power the camera using the power adaptor.

RED RANGER MONSTRO OPERATION GUIDE

PERFORM A HARD RESTORE

A common way to resolve camera firmware issues is to perform a Hard Restore. A Hard Restore functions like a

System Restore in that it changes all settings to the factory default values.

To perform a Hard Restore, follow the instructions below:

1. With the camera turned off, hold the

PWR/REC key on the camera for 20 seconds or until the fans turn at a high

speed.

2. Release the PWR/REC key.

The screen displays correctly.

NOTE: User key settings reset as well as any other changes from the default settings.

IMAGE APPEARS GRAINY

SYMPTOM

Image or footage appears grainy.

POTENTIAL RESOLUTIONS

Calibrate the sensor before recording additional clips. For more information, go to "Sensor Calibration" on page 136.

Check the histogram to ensure proper exposure. Noise occurs if an image is overexposed or underexposed.

Use the lowest REDCODE

compression possible for the settings you have selected.

Use a higher resolution.

Use Adaptive fan mode to regulate the camera temperature. Noise occurs when the temperature from the applied

calibration map is not in sync.

BLACK AND WHITE IMAGE

SYMPTOM

The display shows that an image is in black and white, and the menus are still in color.

POTENTIAL RESOLUTIONS

Check the Color Saturation setting. If the Saturation setting is set to a low value, change the Saturation to a higher

value.

Reset your camera’s default settings. For more information, go to "Reset Defaults" on page 133.

INCORRECT COLOR TEMPERATURE

SYMPTOM

The camera color temperature is off and the image looks warmer or cooler than normal.

POTENTIAL RESOLUTIONS

Perform an auto white-balance. For more information, go to "White Balance" on page 64.

Calibrate the sensor. For more information, go to "Sensor Calibration" on page 136.

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TIMECODE OR GENLOCK DOES NOT FUNCTION

SYMPTOM

The SYNC, GEN, and/or TC light is red, yellow, or greyed out.

POTENTIAL RESOLUTIONS

Ensure that your timecode or genlock device is compatible. For more information, go to "Compatible Timecode

Devices" on page 157 and "Compatible Genlock Devices" on page 157.

Use a different cable.

Ensure that your timecode or genlock device settings match your project settings.

Ensure that your timecode or genlock device is set to the correct source. For more information, go to "Timecode" on

page 147 and "Genlock" on page 149.

Ensure that your Sensor Sync Mode is set to Genlock. For more information, go to "Sensor Sync" on page 149.

Set the ACN (Ambient Clockit Network) to Off.

CAMERA DOES NOT RECOGNIZE OLPF

SYMPTOM

Your camera does not recognize the OLPF.

POTENTIAL RESOLUTIONS

Reinstall the OLPF. For more information, go to "Swap an Interchangeable OLPF" on page 40.

Install a different OLPF.

If your camera still does not recognize the OLPF, submit a Technical Support request at https://support.red.com.

POSSIBLE HOT PIXEL

SYMPTOM

Your camera displays a possible hot pixel.

EXPLANATION

There may not be an issue with the pixel itself. The sensor can display a hot pixel when the sensor calibration is

outdated. Current camera settings and temperature can affect pixel calibration.

POTENTIAL RESOLUTIONS

Delete all user-generated calibration files and recalibrate the sensor. For more information, go to "Sensor Calibration"

on page 136.

Upgrade your camera firmware. For more information, go to "Upgrade Camera Firmware" on page 158.

Reset your camera’s default settings. For more information, go to "Reset Defaults" on page 133.

Check your footage on a computer to confirm that the hot pixel is from the camera sensor, not your display monitor.

If you determine that the camera sensor has a hot pixel, use the Pixel Masking tool in REDCINE-X PRO to remove

the hot pixel until the issue gets resolved. For more information, see the REDCINE-X PRO Operation Guide,

available at

www.red.com/downloads.

RED RANGER MONSTRO OPERATION GUIDE

NO MON-1 SIGNAL

SYMPTOM

The MON-1 port does not output a signal.

EXPLANATION

The secondary LCD/EVF port (on the side of the camera) and the MON-1 port cannot be used at the same time. For

more information, go to "Monitor Preferences" on page 69.

POTENTIAL RESOLUTIONS

If an LCD or EVF is connected to the secondary LCD/EVF port (on the side of the camera), remove the LCD or EVF.

Ensure that HD-SDI monitoring/recording is set up correctly. For more information, go to "Record" on page 43.

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RED RANGER MONSTRO OPERATION GUIDE

ERROR MESSAGES

“CRITICAL FAILURE” OR “SERIOUS ERROR” MESSAGES

SYMPTOM

When you upgrade or turn on the camera, the display shows a message with the phrase “Critical Failure” or “Serious

Error”.

POTENTIAL RESOLUTIONS

Update the camera firmware to the latest release build available for download at www.red.com/downloads.

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power

cables).

PRESET COULD NOT BE APPLIED

SYMPTOM

The display shows the following message: “Preset Could Not Be Applied”.

POTENTIAL RESOLUTION

Turn off the camera, power it back up, and attempt to apply the preset that failed.

CANNOT CONTROL CAMERA EXTERNALLY

SYMPTOM

The camera displays the message “For reliable external control over Ethernet your camera’s hardware may need to be

upgraded. Please contact your Bomb Squad representative”.

POTENTIAL RESOLUTIONS

If you see this message, submit a Support ticket at https://support.red.com to have your hardware upgraded. You will not

be able to control the camera externally until the hardware is upgraded.

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ERROR 0X00000020 OR ERROR 0X20

SYMPTOM

The display shows one of the following messages:

Error 0x00000020. Please save log and send to RED Support.

ERROR 0x20. Media integrity error. Please secure format the SSD. If the issue persists, save log file and contact

RED Support with the log file, method of powering camera, and camera configuration.

POTENTIAL RESOLUTIONS

Perform a secure format of the SSD. For more information, see the DSMC Media Operation Guide, available at

www.red.com/downloads.

Update the camera firmware to the latest release build available for download at www.red.com/downloads.

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power

cables).

ERROR 0X01D

SYMPTOM

The display shows the following message: "ERROR 0x01D. Possible hardware error. Please save log file and contact

RED Support with the log file and camera configuration."

POTENTIAL RESOLUTIONS

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power cables).

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ERROR 0X11D

SYMPTOM

The display shows the following message: "Media integrity error. Please secure format the SSD. If the issue persists,

save log file and contact RED Support with the log file, method of powering camera, and camera configuration."

POTENTIAL RESOLUTIONS

Perform a secure format of the SSD. For more information, see the DSMC Media Operation Guide, available at

www.red.com/downloads.

Update the camera firmware to the latest release build available for download at www.red.com/downloads.

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power

cables).

CAMERA KEEPS PROMPTING BLACK SHADE MESSAGE

SYMPTOM

Your camera keeps prompting you to black shade the camera.

POTENTIAL RESOLUTIONS

Ensure that you complete the sensor calibration process. For more information, go to "Sensor Calibration" on

page 136.

Go to Menu > Settings > Maintenance > Calibrate and select user1 Calibration Map. Click Set.

Go to Menu > Settings > Maintenance > Calibrate and delete all user-created calibration maps. Then reset your

camera’s default settings. For more information, go to "Reset Defaults" on page 133.

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RED RANGER MONSTRO OPERATION GUIDE

AUDIO BUFFER OVERFLOW WARNING

SYMPTOM

The error message "Audio Buffer Overflow" displays.

POTENTIAL RESOLUTIONS

Update the camera firmware to the latest release build available for download at www.red.com/downloads.

Perform a secure format of the SSD. For more information, see the DSMC Media Operation Guide, available at

www.red.com/downloads.

IMPORTANT: Ensure that data is backed up before formatting the media, since formatting erases all data on the

SSD.

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power

cables).

List of file formats you were recording to before the error occurred (R3D, Apple ProRes, Avid DNxHD/HR).

PROXY BUFFER OVERFLOW WARNING

SYMPTOM

The error message "Proxy Buffer Overflow" displays.

POTENTIAL RESOLUTIONS

Update the camera firmware to the latest release build available for download at www.red.com/downloads.

Select a different recording file format and/or resolution from the Codec menu. For more information, go to "Select

Record File Format" on page 112

Submit a Support ticket at https://support.red.com. Include the following with the request:

Log file. For more information, go to "Save a Log File" on page 131.

List of devices, lens, and third-party accessories that were attached when the error occurred.

Method for powering the camera when the error occurred (include battery types, power devices, and power

cables).

List of file formats you were recording to before the error occurred (R3D, Apple ProRes, Avid DNxHD/HR).

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APPENDIX A:

TECHNICAL SPECIFICATIONS

RED RANGER MONSTRO TECHNICAL SPECIFICATIONS

RED RANGER MONSTRO

SPECIFICATION DESCRIPTION

Sensor Type MONSTRO

35.4 Megapixel CMOS

Effective Pixels 8192 x 4320

Sensor Size 40.96 mm x 21.60 mm (Diagonal: 46.31 mm)

Dynamic Range 17+ stops

Max Data Rates Up to 300 MB/s using RED MINI-MAG

(480GB, 512GB, 960GB & 1TB)

Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)

Max Frame Rates

60 fps at 8K Full Format (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)

60 fps at 7K Full Format (7168 x 3780), 75 fps at 7K 2.4:1 (7168 x 3024)

75 fps at 6K Full Format (6144 x 3240), 100 fps at 6K 2.4:1 (6144 x 2592)

96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160)

120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728)

150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296)

240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864)

Playback Frame

Rates (Project

Time Base)

23.98, 24, 25, 29.97, 30, 47.95, 48, 50, 59.94, 60 fps, all resolutions

Best Available

REDCODE

Settings

5:1 REDCODE at 8K Full Format (8192 x 4320) and 24 fps

12:1 REDCODE at 8K Full Format (8192 x 4320) and 60 fps

2:1 REDCODE at 4K Full Format (4096 x 2160) and 24 fps

3:1 REDCODE at 4K Full Format (4096 x 2160) and 60 fps

REDCODE RAW

Acquisition

Formats

8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x

7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x

6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x

5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 8:9, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x

4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x

3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x

2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x

Apple

ProRes ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps

ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps

ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps

RED RANGER MONSTRO

SPECIFICATION DESCRIPTION

Avid

Codecs DNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps

DNxHR HQ and SQ at 4K (4096 × 2160) 8-bit up to 30 fps

DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps

DNxHR HQ and SQ at 2K (2048 × 1080) 8-bit up to 120 fps

DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps

DNxHD HQ and SQ (1920 × 1080) 8-bit up to 120 fps

Construction Aluminum Alloy

Weight 7.30 lbs (with Integrated Media Bay, PL Mount, and Gold Mount)

7.50 lbs (with Integrated Media Bay, PL Mount, and V-Lock)

Operating

Temperature

0˚C to 40˚C (32˚F to 104˚F)

Storage

Temperature

–20˚C to 50˚C (–4˚F to 122˚F)

Relative Humidity 0% to 85% non-condensing

Color

Management

Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs

Variable number of 3D LUT outputs

User programmable shaper 1D LUTs

Tetrahedral interpolation, 16-bit processing

Audio Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz

Integrated dual channel 5-pin XLR, uncompressed, 24-bit 48 kHz

Remote Control External R.C.P. WiFi antenna with SMA connector

Ethernet, RS232, and GPI Trigger

Monitor Outputs 3G-SDI (HD-SDI) and MON-1

1080p RGB or 4:2:2, 720p RGB or 4:2:2

SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio

Monitor Options DSMC2 Touch 7.0" Ultra-Brite LCD (Direct Mount), DSMC2 RED

Touch 4.7" LCD, DSMC2 RED Touch

7.0" LCD, and DSMC2 RED EVF (OLED) with cable-free connection.

RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, DSMC2 Touch

7.0" Ultra-Brite LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LCD/EVF

Adaptor A or DSMC2 LCD/EVF Adaptor D, and LCD/EVF cable.

REDCINE-X PRO

Delivery Formats

4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)

2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)

1080p RGB 4:2:2, 720p 4:2:2 : QuickTime

, JPEG, Avid AAF, MXF

1080p 4:2:0, 720p 4:2:0 : H.264, .MP4

Video Editing

Software

Compatibility

Adobe

Premiere

Pro, Avid Media Composer

, DaVinci Resolve

, Edius Pro

, Final Cut Pro

, Vegas

Pro

1. REDCODE values and max frame rates may vary based on selected acquisition format, aspect ratio, project time base, Look Around setting,

and SSD. For more information, see the DSMC Media Operation Guide at www.red.com/downloads.

2. For more information on available acquisition formats, see the DSMC Media Operation Guide at www.red.com/downloads.

3. Third-party non-linear editing (NLE) applications may have limited compatibility with R3D files.

RED RANGER MONSTRO OPERATION GUIDE

APPENDIX B:

MECHANICAL DRAWINGS

RED RANGER MONSTRO WITH V-LOCK

NOTE: Dimensions are shown in mm.

The optical axis height of the camera is 95.90 mm.

FRONT VIEW

Figure: Camera Front View

BACK VIEW

Figure: Camera Back View

RED RANGER MONSTRO OPERATION GUIDE

SIDE VIEW (RIGHT)

Figure: Camera Side View (Right)

RED RANGER MONSTRO OPERATION GUIDE

SIDE VIEW (LEFT)

Figure: Camera Side View (Left)

RED RANGER MONSTRO OPERATION GUIDE

TOP VIEW

Figure: Camera Top View

RED RANGER MONSTRO OPERATION GUIDE

BOTTOM VIEW

Figure: Camera Bottom View

RED RANGER MONSTRO OPERATION GUIDE

RED RANGER MONSTRO WITH GOLD MOUNT

NOTE: Dimensions are shown in mm.

The optical axis height of the camera is 95.90 mm.

FRONT VIEW

Figure: Camera Front View

RED RANGER MONSTRO OPERATION GUIDE

BACK VIEW

Figure: Camera Back View

RED RANGER MONSTRO OPERATION GUIDE

SIDE VIEW (RIGHT)

Figure: Camera Side View (Right)

RED RANGER MONSTRO OPERATION GUIDE

SIDE VIEW (LEFT)

Figure: Camera Side View (Left)

RED RANGER MONSTRO OPERATION GUIDE

TOP VIEW

Figure: Camera Top View

RED RANGER MONSTRO OPERATION GUIDE

BOTTOM VIEW

Figure: Camera Bottom View

RED RANGER MONSTRO OPERATION GUIDE

APPENDIX C:

INPUT/OUTPUT CONNECTORS

This appendix provides pinout information for the input/output connectors on the camera.

NOTE: When connecting a cable to a connector, align the key and red marker on the cable connector with the

corresponding key and marker on the device connection.

NOTE: Connector diagram images are for reference only. Diagrams are not to scale.

Figure: RED RANGER I/O

# CONNECTOR CONNECTOR TYPE DETAILS

1 CTRL 4-pin 00B

"CTRL (RS232 Control)" on page 192

2 AUX PWR, 3.0A MAX 2-Pin 0B "AUX Power 2-Pin 0B, 3.0A" on page 197

3 SDI 1 and 2 BNC "3G-SDI (HD-SDI) Out" on page 190

4 MON-1 BNC "MON-1" on page 191

5 GIG-E 9-pin 0B "GIG-E (Ethernet)" on page 194

6 DC IN 4-pin 2B "DC IN (Power Input)" on page 197

7 USB USB 2.0 Type A (power only) "USB Power" on page 198

# CONNECTOR CONNECTOR TYPE DETAILS

8 AUDIO 5-pin XLR

"Audio" on page 196

9 Headphone Jack 3.5mm stereo "Headphone" on page 196

10 POWER TAP P-Tap 2-pin Female "AUX Power (P-Tap)" on page 198

11 GENLOCK BNC "Genlock" on page 192

12 TIMECODE 5-Pin 0B "Timecode" on page 193

13 AUX PWR, 1.5A MAX 2-Pin 0B "AUX Power 2-Pin 0B, 1.5A" on page 198

14 24V RS 1 and 2 3-pin Fischer "24V RS" on page 195

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RECORD/MONITOR OUT PORTS

3G-SDI (HD-SDI) OUT

SDI-1 and SDI-2 output a cloned 3G-SDI signal.

A standard 75 ohm BNC connector provides the following output:

Legal range of HD-SDI signals

Broadcast specification 3G-SDI (HD-SDI) video output (default mode is Clean)

Two (2) channels of embedded audio

Time of Day and Edge timecode

Record Tally flag

Clip name information (as SMPTE RP-188 VITC2 HANC metadata)

The 3G-SDI (HD-SDI) output provides the formats described in the table below:

3G-SDI (HD-SDI) OUTPUT FORMATS

VIDEO FEED

FREQUENCY (HZ)

SMPTE STANDARD

720p 23.98, 24.00, 25.00, 29.97, 30.00, 50.00, 59.94 SMPTE ST 292-1 (1.485 Gbps)

1080p 10-bit 4:2:2 23.98, 24.00, 25.00, 29.97, 30.00 SMPTE ST 292 (1.485 Gbps)

1080p 10-bit 4:2:2 50.00, 59.94, 60.00 3G-SDI

SMPTE ST 424 (2.970 Gbps)

SMPTE ST 425 (2.970 Gbps)

1. Ensure that you select a frequency supported by your monitor.

2. The output is progressive scan (p); it does not support progressive segmented frame (PsF) or interlaced (i) scan formats.

3. The frequency options depend on project time base. If you have a non-drop frame project time base (such as 24.00), you can select only non-

drop frame frequencies. If you have a drop frame project time base (such as 23.98), you can select only drop frame frequencies.

75 OHM BNC CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

Center 3G-SDI SMPTE ST 424 Out

Shield/Screen GROUND Camera ground N/A

COMPATIBLE CABLE

790-0341: RED

HD-SDI Cable (6')

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MON-1

The MON-1 port provides an additional monitor feed that is separate from the SDI-1 and SDI-2 cloned feeds.

The MON-1 output provides the formats described in the table below:

MON-1 OUTPUT FORMATS

VIDEO FEED

FREQUENCY (HZ)

720p 50.00, 60.00

1080p 24.00, 25.00, 30.00, 50.00, 60.00

1. Ensure that you select a frequency supported by your monitor.

2. The output is progressive scan (p); it does not support progressive segmented frame (PsF) or interlaced (i) scan formats.

3. Supports only non-drop frame frequencies.

75 OHM BNC CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

Center

SDI SDI out

Out

Shield/Screen GROUND Camera ground N/A

RED RANGER MONSTRO OPERATION GUIDE

COMMUNICATION PORTS

CTRL (RS232 CONTROL)

The 4-Pin 00B CTRL Connector supports RS232 remote control for 3D camera communication and third-party metadata

ingest applications. For more information, go to

"BRAIN GPIO" on page 127.

The General Purpose Out (GPO) tally presents 3.3 V at a maximum of 0.04 A between pins 1 and 3. When used as a

record tally, the rising edge of the pulse indicates start of record, falling edge represents end of record.

For more information about controlling the camera via RS232, download the R.C.P.™ SDK , available at

www.red.com/developers.

Figure: Front Face of the CTRL (RS232) Connector (Looking at the Camera)

4-PIN 00B CTRL CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Common ground N/A

2 232 RX RS232 RX In

3 SS/GPO Shutter sync/general purpose output Out

4 232 TX RS232 TX Out

NOTE: Mating connector is FGG.00.304.CLAD.

COMPATIBLE CABLES

790-0154, 790-0643: 3BNC-to-00 Sync Cable

790-0187, 790-0648: 4-Pin 00B-to-Flying Lead

White: Ground

Yellow: RS232 RX

Blue: Shutter/sync, general purpose output

Red: RS232 TX

Black: Shield

790-0415: RED Start/Stop Cable (14-Pin 1B to SYNC, CTRL, BNC)

GENLOCK

The 75 ohm BNC connector accepts incoming sync and genlock signals.

75 OHM BNC CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

Center SYNC SMPTE ST 274

RS 170A Tri-Level Sync

Shield/Screen GROUND Camera ground N/A

RED RANGER MONSTRO OPERATION GUIDE

TIMECODE

The LEMO EAG.0B.305.CLN connector supports SMPTE timecode input and output. Pins 2 and 3 can be used together

to receive a balance SMPTE 12M serial timecode input. Pin 2 can be used by itself (leave pin 3 open) to receive a single-

ended SMPTE 12M serial timecode input. Pin 5 is a timecode output.

Figure: Front Face of Timecode (LEMO EAG.0B.305.CLN) Connector (Looking at the Camera)

LEMO EAG.0B.305.CLN CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Camera Ground N/A

2 TIMECODE IN(S) Timecode input - SMPTE single ended In

3 N/A No connection (NC) N/A

4 +5 V OUT +5 V out, 200 mA max Out

5 TIMECODE OUT SMPTE 12 M Timecode output Out

NOTE: Mating connector is FHG.0B.305.CLAD.

COMPATIBLE CABLE

790-0212: Pro I/O Time Code Cable 3'

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GIG-E (ETHERNET)

The GIG-E 9-pin 0B connector provides a 1000BASE-T (IEEE 802.3ab) gigabit Ethernet connection for remote camera

setup, master/slave camera communication, and external metadata ingest. Since the GIG-E connector does not support

slower speeds (10BASE-T and 100BASE-T), ensure that any device you connect to supports 1000BASE-T.

Figure: Front Face of the GIG-E Connector (Looking at the Camera)

9-PIN 0B GIG-E CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 BI_DC+ Data pair C+ N/A

2 BI_DC- Data pair C- N/A

3 BI_DD+ Data pair D+ N/A

4 BI_DD- Data pair D- N/A

5 BI_DA- Data pair A- N/A

6 BI_DA+ Data pair A+ N/A

7 BI_DB+ Data pair B+ N/A

8 BI_DB- Data pair B- N/A

9 N/A Do not connect N/A

NOTE: Mating connector is FGG.0B.309.CLAD.

COMPATIBLE CABLES

790-0159: RED GIG-E Straight-to-CAT5E Ethernet Cable (9')

790-0557, 790-0655: RED GIG-E Right-to-CAT5E Ethernet Cable (9')

790-0163: Master/Slave Gig-E Cable (4')

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24V RS

The two (2) Fischer 3-pin 102 connectors supply a combined 24V power out at a maximum sustained current draw of

2.5A. Each connector also includes a run/stop (R/S) trigger input. To operate the contact closure style trigger, short Pin 3

(R/S) to Pin 1 (ground).

When the camera is powered by an on-board battery or DC-IN with less than 24V input, the connector output is 24V

(regulated). When the camera is powered by DC-IN with more than 24V input, the connector output matches the camera

input voltage.

WARNING: DO NOT apply voltage to Pin 3 (R/S).

Figure: 24V RS (Looking at the Connector)

FISCHER 3-PIN CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Common ground N/A

2 +24 V OUT +24 V out, 2.5A max (shared between the connectors) Out

3 R/S Active Low to start/stop record (3.3V pull up) In

CONTACT CLOSURE STYLE TRIGGER BUTTON CIRCUIT (24V RS)

The diagram below shows the contact closure style trigger button circuit on the 24V RS connector.

Figure: Contact Closure Style Trigger Button Circuit Diagram (24V RS)

RED RANGER MONSTRO OPERATION GUIDE

AUDIO PORTS

AUDIO

The 5-pin XLR connector provides input for two (2) audio channels. Use the adjacent Audio switch to set the audio

channels to line in (Line), Microphone level in (Mic), or microphone level in with 48 V 10mA phantom power (+48V). The

switch controls both channels together; the channels cannot be controlled independently.

Figure: Front Face of Audio Input (5-Pin XLR) Connector (Looking at the Camera)

5-PIN XLR CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Camera ground N/A

2 CH1_P Channel 1 (left), positive voltage In

3 CH1_N Channel 1 (left), negative voltage In

4 CH2_P Channel 2 (right), positive voltage In

5 CH2_N Channel 2 (right), negative voltage In

HEADPHONE

The 3.5mm stereo jack provides two (2) channels of audio for monitoring. For maximum quality, use high impedance

headphones.

HEADPHONE JACK

PIN SIGNAL DESCRIPTION DIRECTION

TIP LEFT Left channel audio Out

RING RIGHT Right channel audio Out

SLEEVE GND Camera ground N/A

RED RANGER MONSTRO OPERATION GUIDE

POWER PORTS

DC IN (POWER INPUT)

The 4-Pin 2B connector accepts DC input power from 11.5 V DC to 32 V DC. A built-in power conditioner protects

against reverse-polarity connections, electrostatic discharge (ESD), undervoltage, overvoltage, and overcurrent.

Figure: Front Face of the DC IN Power Input Connector (Looking at the Camera)

4-PIN 2B DC INPUT CONNECTOR

PIN SIGNAL DESCRIPTION

1 N/A No connection (NC)

2 N/A No connection (NC)

3 VIN Power input, +11.5 to +32 V DC

4 GROUND Power return (camera ground)

NOTE: The mating connector is FGJ.2B.304.CLLD62Z (LEMO).

COMPATIBLE CABLES

790-0665: 3-PIN XLR-TO-4-PIN 2B POWER CABLE (10')

AUX POWER 2-PIN 0B, 3.0A

The 2-Pin 0B connector (LEMO EEG.0B.302.CLL) supplies unregulated (+) 11.5 to 17 VDC battery pass-through power.

The maximum sustained current draw is 3.0A.

Figure: Front Face of Connector (Looking at the Camera)

LEMO EEG.0B.302.CLL CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Common ground N/A

2 +11.5 to +17 VDC +11.5 to 17 VDC unregulated battery pass-through power Out

NOTE: Mating connector is FGG.00.302.CLAD35Z.

COMPATIBLE CABLE

790-0410: RED W.M.D. Power Cable 2-Pin 1B to 2-Pin 0B (18")

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AUX POWER 2-PIN 0B, 1.5A

The 2-Pin 0B connector (LEMO EEG.0B.302.CLL) supplies unregulated (+) 11.5 to 17 VDC battery pass-through power.

The maximum sustained current draw is 1.5A.

Figure: Front Face of AUX PWR Connector (Looking at the Camera)

LEMO EEG.0B.302.CLL CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Common ground N/A

2 +11.5 to +17 VDC +11.5 to 17 VDC unregulated battery pass-through power Out

NOTE: Mating connector is FGG.00.302.CLAD35Z.

COMPATIBLE CABLE

790-0410: RED W.M.D. Power Cable 2-Pin 1B to 2-Pin 0B (18")

USB POWER

The USB power out connector supplies 5 V of power. The maximum sustained current draw is 1.5A.

NOTE: The USB connector only offers power out, and does NOT support USB communication.

AUX POWER (P-TAP)

Figure: P-Tap Connector (Looking at Camera)

The AUX power out connector features an industry-standard P-Tap connector and supplies conditioned VBATT at a

maximum of 3.0A of power.

2-PIN P-TAP CONNECTOR

PIN SIGNAL DESCRIPTION DIRECTION

1 GROUND Common ground N/A

2 +11.5 to +17 VDC +11.5 to 17 VDC unregulated battery pass-through power Out

RED RANGER MONSTRO OPERATION GUIDE

APPENDIX D:

LENS MOUNTS AND LENSES

LENS MOUNTS

This section describes camera lens mounts. Camera mounts may be configured with 19mm rods to accommodate most

cinematography lenses, matte boxes, and follow focus systems.

RED recommends only using the RED RANGER Shimmed PL Mount with the RED RANGER. Other RED lens mounts

are mechanically compatible, but may cause focus accuracy issues.

WARNING: All lenses are hot swappable. However, lens mounts are NOT HOT SWAPPABLE, meaning you cannot

remove or install lens mounts while the camera is turned on. Before installing or removing lens mounts, you MUST turn

off the camera. Failure to do so may result in damage to the lens mounts or camera that is not covered under warranty.

REMOVE A LENS MOUNT

NOTE: You can change lens mounts in the field. However, RED

recommends that you change lens mounts only in a

dust-free environment.

REQUIRED TOOL(S): T20 TORX

driver

1. Turn off the camera.

2. Attach the camera to a stable platform or position the camera on a clean and level work surface so that the lens

mount screws are accessible.

3. Remove the lens and any devices, cables, or other accessories that might interfere with removing the lens mount.

4. Depending on the lens mount, you may need to turn the locking ring slightly counter-clockwise so that you can

access the lens mount screws.

5. Loosen and remove the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a T20 TORX

driver.

NOTE: Some lens mounts have captive screws that are not removable.

NOTE: Screw removal may require a large handle T20 TORX driver and additional leverage.

6. Remove the lens mount from the camera.

INSTALL A LENS MOUNT

NOTE: You can change lens mounts in the field. However, RED recommends that you change lens mounts only in a

dust-free environment.

REQUIRED TOOL(S): T20 TORX driver

1. Ensure that the camera is turned off and remove any accessories or cables that may interfere with installation.

2. Inspect the gold electrical contact pins on the front of the camera and the gold contact pads on the rear of the lens

mount to ensure that they are free of any contamination.

3. Align the lens mount on the front of the camera. The camera connection pins must align with the lens mount pins.

4. Depending on the lens, you may need to turn the locking ring slightly counter-clockwise so that you can access the

lens mount screws.

5. Replace and loosely tighten the four (4) M4x0.7 x 8 mm lens mount screws in a cross pattern (“X” pattern) using a

T20 TORX driver.

WARNING: DO NOT FULLY TIGHTEN.

NOTE: Some lens mounts have captive screws that are not removable.

6. Tighten the four (4) lens mount screws evenly in a cross pattern (“X” pattern) using a T20 TORX driver. DO NOT

exceed 350 in-oz, or damage may occur.

WARNING: DO NOT OVERTIGHTEN.

7. After installation, a hardware rediscover or firmware upgrade may be required. To perform a hardware rediscover, go

to Menu > Settings > Maintenance > Rediscover. A system reboot is required after a hardware rediscover.

NOTE: If you need to replace any screws, submit a Support ticket at https://support.red.com.

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LENSES

This section describes lenses that are compatible with the RED RANGER Shimmed PL Mount. Other lenses and lens

mounts may be used with the RED RANGER, but may cause focus accuracy issues.

To avoid vignetting, use standard full frame PL mount lenses.

NOTE: Lenses are hot swappable.

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.

WARNING: Failure to use lens supports appropriate for the lens and camera setup may lead to damage of the camera

and lens mount. Any damage caused by not using a lens support system is not covered under warranty.

POSITIVE LOCK (PL) LENSES

This section describes the appropriate method for attaching and detaching PL lenses. For more information, refer to the

original manufacturer’s instructions. This section also lists lenses supported by the camera PL mounts.

WARNING: ALWAYS protect your equipment, when it is not in use, by replacing lens caps and mount caps.

ATTACH PL LENSES

1. Rotate the locking ring counter-clockwise to release the camera mount cap.

2. Remove the rear lens cap and the camera mount cap.

3. Align the key and contact pads (if present) on the PL lens with the key and connector pins on the camera PL mount.

4. Insert the lens into the camera PL mount.

5. Rotate the locking ring clockwise to secure the lens in place.

DETACH PL LENSES

1. Rotate the locking ring counter-clockwise to release the PL lens.

2. Remove the PL lens from the camera PL mount.

3. Replace the rear lens cap and camera mount cap when the lens is not in use.

CAMERA PL MOUNT SUPPORTED LENSES

The RED PL lens mount is compatible with most standard PL mount cinema lenses and devices.

WARNING: Using a non-standard PL mount lens or device with a camera PL mount may damage the camera and lens

mount. Any damage caused by not using a standard PL mount lens or device is not covered under warranty.

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FUJINON T2.9 CABRIO PREMIER PL LENSES

NOTE: The VTR switch on the lens is mapped to Record: Toggle by default. The VTR switch can be mapped to another

key.

NOTE: Fujinon lenses running older versions of lens firmware might not send correct data to the camera.

The following Fujinon

T2.9 Cabrio Premier PL lenses are compatible with all camera PL mounts, but must be powered

externally and configured a specific way:

Fujinon 14-35mm T2.9 Cabrio Premier PL

Fujinon 19-90mm T2.9 Cabrio Premier PL

To set up the Fujinon T2.9 Cabrio Premier PL lenses, follow the instructions below. Refer to the manufacturer’s operation

manual for detailed information about setting up and using the lens.

1. Attach the lens to the camera PL mount.

2. Ensure that the lens has lens firmware v6.4 or later (to check version in the camera, go to Menu > Settings > Setup

> Lens > Lens Info). Contact the manufacturer for lens firmware.

3. On the lens, set the Camera Communication switch to On.

4. On the lens, set the LDS, /i Select switch to Off.

5. Connect an external power source to the lens.

6. In the camera, to Menu > Settings > Setup > Lens.

7. Deselect the Enable Power to Lens check box.

NOTE: This option is only available when a camera PL mount is attached to the camera.

8. The lens should be successfully connected. However, if lens data does not display within 10 seconds, go to Menu >

Settings > Setup > Lens and select Detect Lens.

CANON PL MOUNT LENSES

The following Canon PL mount lenses are compatible with all camera PL mounts, but must be configured a specific way:

Canon CN7x17 KAS S Cine-Servo 17-120mm T2.95

Canon CN20x50 IAS H Cine-Servo 50-1000mm

Requirements for using these Canon PL mount lenses:

The lens requires lens firmware v6.4 or later; contact the manufacturer for lens firmware.

In the camera, go to Menu > Settings > Setup > Lens, and select the Enable Power to Lens check box.

RED recommends using an external battery for the lens, since the lens mount provides a limited supply of power to

the lens.

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APPENDIX E:

DEFAULT KEY FUNCTIONS

DEFAULT KEYS

ITEM KEY FUNCTION

Camera BRAIN

Record Full Press Record: Toggle

GPI In High Record: Start

GPI In Low Record: Stop

Media Bay (Side SSD) Record Full Press Record: Toggle/Multi-Shot Start

Record Full Release Record: Multi-Shot Stop

Record Half Press AF: Start

User 1+2 Press Eject Media

LCD (Primary and Secondary) Up Press Br. Up (Increase Brightness)

Down Press Br. Down (Decrease Brightness)

User 1 Press Magnify: Toggle

User 2 Press Exposure Check: Toggle

User 1+2 Press LCD: Toggle Lock

EVF (Primary and Secondary) User 1 Press Magnify: Toggle

User 2 Press Exposure Check: Toggle

RANGER Side LCD and Navigation User A Press Cycle Auto-Focus Mode

User B Press Auto White Balance

User C Press Toggle: Magnify

User D Press Exposure Check: Toggle

User A+D Press Lock/unlock side buttons to prevent inadvertent menu changes

Nav Menu Press Navigation: Menu

Nav North Press Navigation: Up

Nav South Press Navigation: Down

Nav East Press Navigation: Right

Nav West Press Navigation: Left

Nav Enter Press Navigation: Select

Rotary CW Navigation: CW

Rotary CCW Navigation: CCW

ITEM KEY FUNCTION

DSMC2 Top Handle Record Full Press Record: Toggle/Multi-Shot Start

Record Full Release Record: Multi-Shot Stop

DSMC2 Outrigger Handle Record Full Press Record: Toggle/Multi-Shot Start

Record Full Release Record: Multi-Shot Stop

1. The Focus Control Wheel is NOT programmable; it cannot be mapped to another function.

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APPENDIX F:

MENU MAP

RED DIGITAL CINEMA 710-0336 RED RANGER MONSTRO 8K VV V-Mount

Product's Documents

User Manual

Specifications

RED DIGITAL CINEMA 710-0336 Questions and Answers