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Exporting to EXR file format will give you a multi-view EXR with both exposures (like a stereo EXR).
NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of
dynamic range just as if you had not enabled HDRx. For this reason, we encourage the A-track
exposure to be "normal" as it provides the most options. If you are tempted to shoot "over-under",
you are then fully committed to using HDRx and your post-production options are reduced.
NOTE: When recording in HDRx mode the camera records twice as many frames per second so the
maximum frame rate or minimum REDCODE ratio, and the maximum record time on your media
will be cut in half.
MAGIC MOTION™
Shooting at 24fps and with an 180 degree (1/48th) shutter on a film or digital camera may create an
optical illusion we are familiar with, however it is not really the way the eye sees motion. To understand
this, ask someone to stand in front of you and swing their arm over their head from one side to the other.
What you would observe in the recording is a constant motion blur until the arm stopped. What your eye
sees though is both motion blur AND a sharper reference to the arm and hand all along the motion path.
"Magic Motion" provides such a combination of motion blur (A-track) and a sharper reference (X-track),
with the bonus of extreme dynamic range not available with any other motion capture camera system.
AUDIO RECORDING
The RED DSMC camera can record up to two discreet channels of microphone level uncompressed 24-
bit, 48 KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO
I/O Module), that are synchronized with video and timecode to a REDMAG 1.8" SSD digital media
Magazine.
Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the
desired audio reference / recording level and maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the
Graphical User Interface. Meter range is –36dBu to +20dBu (-56dBFS to 0dBFS) with audio input type,
reference level and audio input clipping indicators.
Audio monitor output options include a 2-channel headphone output on the camera Brain and 2-channel
line level analog outputs from the optional PRO I/O Module, plus 2-channel and 4-channel 24-bit 48KHz
uncompressed digital audio embedded in the HD-SDI and HDMI outputs.
MICROPHONE LEVEL ANALOG INPUTS
The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain
setting of the camera's pre-amplifier. Available pre-amplifier range is +15dB to +57dB, with a default value
of +17dB. The camera operator should choose a Gain value that aligns the input signal to the 0dBu
reference line drawn on the camera's Audio Level Meter (or the 0VU reference line if operating at that
level).
This setting provides up to 30dB of input signal headroom above reference 0dBu level before clipping (up
to 26dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
955-0002_v3.3, Rev-B
COPYRIGHT © 2012 RED.cm, Inc.
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