RED MONSTRO VV
The RED Monstro VV has a full-frame sensor that boasts up to 17 stops of dynamic range and can record the full image circle of full-frame 35mm lenses. You can also use Super 35mm lenses with a windowed capture area for high frame rate recording. Sitting in front of the full-frame sensor is an interchangeable PL mount. This way, you can use industry-standard cinema lenses right out of the box, or exchange the mount to use alternative photo and video lenses. The RED Monstro VV is the camera C&I Studios frequently uses on set for large productions such as KISS, NBC, and AT&T.
REDCODE RAW is the format of choice for DSMC2 cameras. RED’s versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding. Though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media. Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. Our DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop.
Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.
The RED Monstro VV has a full-frame sensor that boasts up to 17 stops of dynamic range and can record the full image circle of full-frame 35mm lenses. You can also use Super 35mm lenses with a windowed capture area for high frame rate recording. Sitting in front of the full-frame sensor is an interchangeable PL mount. This way, you can use industry-standard cinema lenses right out of the box, or exchange the mount to use alternative photo and video lenses. The RED Monstro VV is the camera C&I Studios frequently uses on set for large productions such as KISS, NBC, and AT&T.
REDCODE RAW is the format of choice for DSMC2 cameras. RED’s versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding. Though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media. Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. Our DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop.
Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.