List of Red Digital Cinema cameras

The following provides a full list of cameras and notable accessories manufactured under the Red Digital Cinema Company brand.

Some models have different body variants: Aluminum Alloy, Forged or Woven Carbon Fiber and Magnesium and some have a custom-colored limited editions.

The Red One was Red Digital Cinema’s first production camera.^[1] Using a S35mm image plane, the Red One displays a natural depth of field from 2K to over 4K resolutions.^[2]

The first Red Ones were outfitted with the 12 megapixel Mysterium sensor, capable of capturing up to 120 frames per second at 2K resolution and 30 frames per second at 4K resolution.^[3] The only possible acquisition format is Redcode Raw. The cameras were initially sold with a CF card slot that later could be replaced with a RedMag module. The second generation, Red One Mysterium-X has a 14 megapixel Mysterium-X sensor. It captures up to 120 frames per second at 2K resolution and up to 30 frames per second at 4K resolution. With the upgraded sensor, the Red One Mysterium-X offers more dynamic range, higher sensitivity and enhanced color management tools than the Red One Mysterium.^[4]

DSMC cameras are modular and can be customized in various configurations. Several lens mounts can be attached to the camera. The only possible acquisition format is Redcode Raw. Introduction of RedMag SSDs, later Red Mini-Mags. Touchscreen introduction.

Scarlet M-X^[5] shoots regular speeds of up to 30fps at 4K and up to 120 fps at 2k. At 5K, it can't exceed 18fps.

DSMC2 cameras are modular and can be customised in various configurations. Several lens mounts can be attached to the camera. Differences to the former DSMC line are reduced size and weight, cable-less connections, as well as the addition of Apple ProRes and Avid DNx.

Ranger cameras are non-modular and come complete with a comprehensive I/O and power array. They are designed for demanding, higher budget studio work. The Ranger Monstro 8K VV was introduced as available for rental only, a first for Red.^[10]

DSMC3 cameras are modular and can be customised in various configurations. Differences to the former DSMC2 line are simplified compression options (LQ, MQ and HQ instead of ratios), more competitive pricing for Netflix shooters, and including more I/O on the body. Several lens mounts can be attached to the camera, adapted from the RF mount. The V-Raptor [X], Komodo-X and V-Raptor XE cameras are also available with native Z-mount, distinguished by a yellow lens locking mechanism.^{[11][12][13][14]}

Since 2016, Panavision has produced cameras based on Red's sensors.

Red has also made custom cameras for a few filmmakers, including Michael Bay's "Bayhem"^[17][18] Helium 8K and Komodo 6K^[19], as well as David Fincher’s Xenomorph.^[20][21][22] A remote camera head for tight spaces that just contains the sensor block, similar to a system that Sony developed^[23][24], was also produced for an unmentioned customer.^[25]

The Nikon ZR is a full-frame digital cinema camera announced by Nikon on 10 September 2025. It is the company’s first model co-developed with RED Digital Cinema, following Nikon’s acquisition of RED in 2024. The ZR is part of Nikon’s new Z-Cinema series and was released in late October 2025. It can use all of the Nikon Z-mount lenses.^[26][27]

Up to this point, Red deployed a tick tock strategy. Red stated sensors are their most important asset. The Dragon sensor received a score of 101 DxO Mark sensor rating.^[28] This marked the first time a digital cinema camera was tested alongside leading stills cameras.^[29] For economical reasons Scarlet-W and Dragon-X cameras have the same 6K Dragon sensor used in the original DSMC generation,^[30] but only 5K image area of it is utilized in Scarlet-W. ^[31] Red Raven has a "hard" 4.5K sensor.^[30]

Redcode Raw (.r3d) is a proprietary file format that initially employed wavelet compression to reduce the raw data coming off the sensor. This allows reduced file sizes while still keeping all advantages of a non-destructive raw workflow. In the beginning Redcode was a JPEG 2000 12‑bit linear file stream with PCM sound without encryption. Several third party applications are able to read Redcode and convert it to other file formats such as Cineform Raw.

Redcode started as having two different options, named Redcode 28 and Redcode 36, later a Redcode 42 option was added. Redcode 42 records the most amount of data and can only be selected with lower recording resolutions.^[32]

The Redcode options were replaced with compression ratios in the DSMC lineup of cameras. Since then, Redcode recorded 16-bits of information per color channel. Users choose between compression ratios of 2:1 and 22:1. Depending on the recording resolution, frame rate, and the camera body, some ratios could be unavailable. A compression ratio of 8:1 is selected by default.^[33]

RED switched to using DCT for compression starting with the Red Komodo. The granular compression ratios were replaced with just a few quality options in the DSMC3 lineup of cameras.^[34][35]

The ELQ setting was added later.^[37] Some cinematographers still prefer using DSMC2 cameras because they offer more compression choices.^[38]

The R3D NE codec was introduced in 2025 alongside the Nikon ZR.^[39] It uses the same compression algorithm as Nikon N-RAW called TicoRAW and is therefore different from the traditional Redcode codecs. R3D NE records color information with 12-bits per channel just like the Red One did.

HDRx was introduced with the DSMC line, allowing the shooter to get up to 6 extra stops of dynamic range. The goal is to preserve more detail in very bright parts of a scene. This works by recording two tracks, one being normally exposed and the other being underexposed. The underexposed track is recorded at a faster shutter speed, compromising motion clarity.^[40]

The HDRx feature is not available on DSMC3 cameras^[41] but some higher end DSMC3 cameras offer a comparable feature called Extended Highlights, which is just a simple on-off switch for three extra stops^[42] of highlight protection without any configuration options.^[43]

This feature is only available on some higher end DSMC3 cameras^[44] and lets them record two views in alternating frames simultaneously to separate .r3d tracks. It is intended to be used for VFX work in virtual production environments.^[45]

The footage from Red cameras can also be captured over a LAN network using the Red Tether application.^[67][68] Since older Red cameras only featured a Gigabit-Ethernet connection, this resulted in reduced recording frame rates and higher compression ratios.^[69] DSMC2 cameras require a compatible expansion module, as the camera body itself doesn't feature Ethernet connectivity.^[70]

Announced at NAB 2013 and launched in 2014, The RCP Development Kit is a SDK (software development kit) that allows programmers to create custom applications to control their camera via mobile device, computer, or micro-controller. The kit included the Redlink Bridge^[71], a wireless module that allows apps to communicate with the camera. The bridge supports a wireless communication range of approximately 50 feet.^[72]

Redcine-X Pro is a free-of-charge post-processing software collection developed by Red, built specifically for Red camera systems. It includes a coloring toolset, integrated timeline, and post effects software collection for both stills and motion. The post-production software allows for non-destructive manipulation of raw .R3D files.^[73] Redcine-X was the first workflow software developed solely by Red. Like Redcine, Red offered it as an end-to-end workflow solution for Red customers. It preceded the current Redcine-X Pro.

With Redcine-X Pro, users can mark frames while shooting and access those specific frames within their timeline. Users can take advantage of the countless color grading and raw adjustment options. Additionally, there were^[74] features like A.D.D. (Advanced Dragon Debayer), a complex algorithm that analyzes every pixel^[75] and is only available for footage captured on specific sensors^[76].

"Red Alert!" was the first form of workflow made available to Red owners/operators, though it was more of a diagnostic tool. It allowed Red One users to tweak debayer settings and render out to dpx/tiff/mov.^[77]

Redcine was the first end-to-end workflow for Red users. A third-party company developed the software, and Red provided the SDK.

Red Rocket is an internal PCI Express card that is capable of 4K, 2K, or 1080p real-time debayering and video playback of R3D files coming from Mysterium and Mysterium-X sensors. It can be used to accelerate video editing in compatible Non-linear editing systems, outputting the image via HD-SDI to a user-supplied monitor. A component of the Red Rocket allows users to convert the HD-SDI signal to four HDMI outputs.^[78]

Red Rocket-X is an internal PCI Express card optimized for the 6K Dragon sensor and is designed to accelerate the processing of R3D workflow, regardless of resolution. Compared to Red Rocket, Red Rocket-X processes and transcodes files up to five times faster.^[78]

The Red Rocket cards are no longer supported by Redcine-X Pro^[74] since 2022^[79] in favor of GPU-based video decoding^[80][81][82].

Red offers the Red Apple Workflow Installer, which allows R3D Raw settings within Final Cut Pro X. Other applications include support for QuickTime to use .R3D files, and plugins for Adobe Photoshop,^[83] Adobe Premiere Pro, Avid Media Composer, Final Cut Pro X, and Sony Vegas Pro.

The Red 3-Axis lens control system^[84][85][86] is a turn-key wireless lens control kit for driving focus, iris and zoom using the Red Lens Control Motor.^[87][88] Included is the T.H.C. (Tactical Hand Controller), a wireless remote that allows the operator to adjust lens settings from a distance.^[89]

The motion mount is a lineup of lens mounts, available in multiple EF- and PL-mount versions. The motion mount is compatible with DSMC and DSMC2 cameras, excluding the Red Raven. It transforms the camera from rolling shutter to global shutter and offers internal ND control.^[90][91][92] Using the motion mount results in a light loss of at least 1.6 stops without the additional ND feature engaged.^[93][94] The ND feature of the motion mount changes the look of out-of-focus areas. It didn't receive widespread adoption due to its high price^[95].

The Meizler Module was an accessory aimed at larger productions that offered live wireless video, wireless timecode, simultaneous proxy recording with Red Mini-Mags, wireless camera control, wireless focus, iris, and zoom (FIZ) control, all in a single module.^[96][97] Even though the accessory was showcased at NAB^[98][99], IBC^[100], and even appeared in product catalogues, it was never sold. Other accessories that were supposed to work together with the Meizler Module include a Redlink Video Receiver (HD-SDI)^[101], Redlink Video Receiver (HDMI)^[102], Redsync Master^[103], Meizler-to-Redmote Dock^[104], as well as adapters^[105] and cables^[106][107]. A Proxy Module was planned as a more affordable alternative to the Meizler Module and only featured the proxy recording capability.^[108]

The 4K Broadcast module was an accessory aimed at broadcast productions that offered 4K live wireless video via four 3G-SDI connectors, whose outputs would be spliced together.^[109] Even though the accessory was announced and demonstrated at NAB, it was never sold.

The Rear SSD module, which was announced at NAB 2012^[110], was a niche accessory for DSMC1 cameras that allowed stereoscopic 3D productions to achieve a closer interaxial distance without the use of a beamsplitter. Compared the Side SSD module, the Rear SSD module didn't feature any buttons, but still offered a status LED.^[111] It accepted the traditional 1.8" REDMAGs.^[112]

The RED Focus was a PL-mount accessory that allowed camera operators to verify the backfocus on their camera^[113] for which RED-branded AA-batteries^[114] were created.