{"id":5223,"date":"2018-10-06T16:11:06","date_gmt":"2018-10-06T14:11:06","guid":{"rendered":"https:\/\/adriengontier.com\/?page_id=5223"},"modified":"2020-05-04T08:24:52","modified_gmt":"2020-05-04T07:24:52","slug":"red-monstro-8k-full-frame-vista-vision","status":"publish","type":"page","link":"https:\/\/adriengontier.com\/en\/red-monstro-8k-full-frame-vista-vision\/","title":{"rendered":"RED MONSTRO 8K FULL FRAME VISTA VISION"},"content":{"rendered":"<p>&nbsp;<\/p>\n<figure id=\"attachment_5224\" aria-describedby=\"caption-attachment-5224\" style=\"width: 453px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/weapon_monstro.png\"><img fetchpriority=\"high\" decoding=\"async\" class=\"size-full wp-image-5224\" src=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/weapon_monstro.png\" alt=\"RED monstro 8K VV\" width=\"453\" height=\"500\" srcset=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/weapon_monstro.png 453w, https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/weapon_monstro-241x266.png 241w\" sizes=\"(max-width: 453px) 100vw, 453px\" \/><\/a><figcaption id=\"caption-attachment-5224\" class=\"wp-caption-text\">RED monstro 8K Vista Vision<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<h3>MONSTRO 8K VV &#8211; FULL FRAME<\/h3>\n<ul data-equalizer-watch=\"\">\n<li>35.4 Megapixel CMOS Sensor<\/li>\n<li>40.96 mm x 21.60 mm (Diag: 46.31 mm)<\/li>\n<li>60 fps at 8K Full Format (8192 \u00d7 4320)<\/li>\n<li>75 fps at 8K 2.4:1 (8192 \u00d7 3456)<\/li>\n<\/ul>\n<hr \/>\n<h2>RED Monstro<\/h2>\n<p>Sortie quasiment en m\u00eame temps que les mod\u00e8les Weapon, la Monstro pr\u00e9sente elle aussi des caract\u00e9ristiques bien sp\u00e9cifiques. Monstro est le nom de son capteur, lui aussi original, puisqu\u2019il est au format <strong>VistaVision<\/strong> soit un \u00e9quivalent 70mm en pellicule avec une r\u00e9solution de 8K. Un des grands avantages de cette cam\u00e9ra est qu\u2019en 6K on retrouve le format super 35. Elle offre donc une versatilit\u00e9 de formats plus int\u00e9ressante que les autres RED. De plus sa dynamique est l\u00e9g\u00e8rement plus grande. Mais c\u2019est aussi la cam\u00e9ra la plus ch\u00e8re sortie par le fabricant am\u00e9ricain. Elle n\u00e9cessite des objectifs qui couvrent les grands formats et de gros disques durs pour une utilisation en 8K. Mais elle donnera aussi <strong>les plus belles images de la gamme.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><a href=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/RED-MONSTRO.png\"><img decoding=\"async\" class=\"aligncenter wp-image-5357\" src=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/RED-MONSTRO.png\" alt=\"RED MONSTRO\" width=\"828\" height=\"196\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>To shoot with this camera, 2 solutions :<br \/>\nFull frame in 8K or S35 in 6K<br \/>\nSo in Full frame , you need Full frame lenses and in S35 you can keep the standard lenses S35.<\/p>\n<p>2 systems of compression:<br \/>\nnormally you keep shooting in RAW for better result but you can shoot in ProRes 4K with the IPP2 log, depend of your workflow.<\/p>\n<p>other benefit: the sensor is a Full frame in 35,4Megapixel so you can shoot and edit a photography in 16bit raw (better than most of reflex)<\/p>\n<figure id=\"attachment_4349\" aria-describedby=\"caption-attachment-4349\" style=\"width: 484px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/taille-de-capteur-e1538925844442.jpg\"><img decoding=\"async\" class=\"wp-image-4349\" src=\"https:\/\/adriengontier.com\/wp-content\/uploads\/vignette\/taille-de-capteur-e1538925844442.jpg\" alt=\"taille de capteur red\" width=\"484\" height=\"269\" \/><\/a><figcaption id=\"caption-attachment-4349\" class=\"wp-caption-text\">taille de capteur red<\/figcaption><\/figure>\n<h2>SUPERIOR IMAGE QUALITY<\/h2>\n<p>DSMC2 combines advanced color science with incredible dynamic range. The result is cinema image quality that breathes life into your footage. Showcase the depths of shadows as well as highlight roll-off to capture otherwise imperceptible details.<\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"text-left hidden-sm\">DSMC2 BRAIN<\/h2>\n<p class=\"hidden-sm\">The camera BRAIN is the primary building block of the RED system, housing the image sensor and advanced computing components. A DSMC2 <sup>\u00ae<\/sup> BRAIN is capable of data write speeds of 300 MB\/s, can simultaneously record in REDCODE RAW and Apple ProRes or Avid DNxHR\/HD, and is offered with three sensor options &#8211; delivering incredible dynamic range and up to 8K resolution. With features like cable-free peripherals, integrated media bay, wireless control, DSMC2 is the most powerful and intuitive camera to date. It is also compatible with a growing arsenal of modules and accessories\u2014from RED and other Third-Party manufacturers. Tack on interchangeable OLPFs and lens mounts and DSMC2 gives you the ultimate control over your footage.<\/p>\n<p>&nbsp;<\/p>\n<h2>RESOLUTION MATTERS<\/h2>\n<p>All RED cameras deliver stunning resolution and image quality\u2014creating clean and organic images that bring your footage to life. The MONSTRO and HELIUM sensors take the next step in exceeding beauty offered by film &#8211; up to 17x more resolution than HD\u2014and over 4x more than 4K.<\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"white\">YOUR WORKFLOW. SIMPLIFIED.<\/h2>\n<p>Shooting RAW has never been this easy. RED&rsquo;s proprietary REDCODE RAW file format, also referred to simply as R3D, gives you maximum flexibility during post. DSMC2 offers greater creative freedom via its ability to simultaneously record in both R3D and Apple ProRes or Avid DNxHR\/HD.<\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"text-center\">TECHNICAL SPECIFICATIONS<\/h2>\n<p>&nbsp;<\/p>\n<table>\n<tbody>\n<tr>\n<th>SENSOR TYPE<\/th>\n<td>MONSTRO\u00a035.4 Megapixel\u00a0CMOS<\/td>\n<\/tr>\n<tr>\n<th>EFFECTIVE\u00a0PIXELS<\/th>\n<td>8192 \u00d7 4320<\/td>\n<\/tr>\n<tr>\n<th>SENSOR SIZE<\/th>\n<td>40.96 mm \u00d7 21.60 mm (Diagonal: 46.31 mm)<\/td>\n<\/tr>\n<tr>\n<th>DYNAMIC RANGE<\/th>\n<td>17+ stops<\/td>\n<\/tr>\n<tr>\n<th>MAX DATA RATES<\/th>\n<td>Up to 300 MB\/s using\u00a0RED\u00a0MINI-MAG\u00a0(480GB &amp; 960GB)<br \/>\nUp to 225 MB\/s using\u00a0RED\u00a0MINI-MAG\u00a0(120GB &amp; 240GB)<\/td>\n<\/tr>\n<tr>\n<th>MAX FRAME RATES<\/th>\n<td>60 fps at 8K Full Format (8192 \u00d7 4320), 75 fps at 8K 2.4:1 (8192 \u00d7 3456)<br \/>\n60 fps at 7K Full Format (7168 \u00d7 3780), 75 fps at 7K 2.4:1 (7168 \u00d7 3024)<br \/>\n75 fps at 6K Full Format (6144 \u00d7 3240), 100 fps at 6K 2.4:1 (6144 \u00d7 2592)<br \/>\n96 fps at 5K Full Format (5120 \u00d7 2700), 120 fps at 5K 2.4:1 (5120 \u00d7 2160)<br \/>\n120 fps at 4K Full Format (4096 \u00d7 2160), 150 fps at 4K 2.4:1 (4096 \u00d7 1728)<br \/>\n150 fps at 3K Full Format (3072 \u00d7 1620), 200 fps at 3K 2.4:1 (3072 \u00d7 1296)<br \/>\n240 fps at 2K Full Format (2048 \u00d7 1080), 300 fps at 2K 2.4:1 (2048 \u00d7 864)<\/td>\n<\/tr>\n<tr>\n<th>PLAYBACK\u00a0FRAME\u00a0RATES (PROJECT\u00a0TIMEBASE)<\/th>\n<td>23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions<\/td>\n<\/tr>\n<tr>\n<th>REDCODE\u00a0SETTINGS\u00a0RANGE\u00a0FROM\u00a02:1 UP TO 22:1<\/th>\n<td>5:1\u00a0REDCODE\u00a0for 8K Full Format (8192 \u00d7 4320) at 24 fps<br \/>\n12:1\u00a0REDCODE\u00a0for 8K Full Format (8192 \u00d7 4320) at 60 fps<br \/>\n2:1\u00a0REDCODE\u00a0for 4K Full Format (4096 \u00d7 2160) at 24 fps<br \/>\n3:1\u00a0REDCODE\u00a0for 4K Full Format (4096 \u00d7 2160) at 60 fps<\/td>\n<\/tr>\n<tr>\n<th>REDCODE\u00a0RAW ACQUISITION\u00a0FORMATS<\/th>\n<td>8K Full Format (8192 \u00d7 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<br \/>\n7K Full Format (7168 \u00d7 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x<br \/>\n6K Full Format (6144 \u00d7 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<br \/>\n5K Full Format (5120 \u00d7 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x<br \/>\n4K Full Format (4096 \u00d7 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<br \/>\n3K Full Format (3072 \u00d7 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<br \/>\n2K Full Format (2048 \u00d7 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<\/td>\n<\/tr>\n<tr>\n<th>APPLE PRORES<\/th>\n<td>ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 \u00d7 2160) up to 29.97 fps<br \/>\nProRes 4444 XQ and ProRes 4444 at 2K (2048 \u00d7 1080) up to 120 fps<br \/>\nProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 \u00d7 1080) up to 120 fps<\/td>\n<\/tr>\n<tr>\n<th>AVID\u00a0CODECS<\/th>\n<td>DNxHR\u00a0HQX\u00a0at 4K (4096 \u00d7 2160) 12-bit\u00a0up to 29.97 fps<br \/>\nDNxHR HQ, SQ and LB at 4K (4096 \u00d7 2160) 8-bit\u00a0up to 29.97 fps<br \/>\nDNxHR 444 at 2K (2048 \u00d7 1080) 12-bit\u00a0up to 120 fps<br \/>\nDNxHD 444 and\u00a0HQX\u00a0(1920 \u00d7 1080) 10-bit\u00a0up to 120 fps<br \/>\nDNxHD HQ, SQ and LB (1920 \u00d7 1080) 8-bit\u00a0up to 120 fps<\/td>\n<\/tr>\n<tr>\n<th>CONSTRUCTION<\/th>\n<td>Aluminum Alloy<\/td>\n<\/tr>\n<tr>\n<th>WEIGHT<\/th>\n<td>3.35 lbs (BRAIN\u00a0with Integrated Media Bay)<\/td>\n<\/tr>\n<tr>\n<th>OPERATING\u00a0TEMPERATURE<\/th>\n<td>0\u00b0C to 40\u00b0C (32\u00b0F to 104\u00b0F)<\/td>\n<\/tr>\n<tr>\n<th>STORAGE\u00a0TEMPERATURE<\/th>\n<td>\u201320\u00b0C to 50\u00b0C (\u20134\u00b0F to 122\u00b0F)<\/td>\n<\/tr>\n<tr>\n<th>RELATIVE HUMIDITY<\/th>\n<td>0% to 85% non-condensing<\/td>\n<\/tr>\n<tr>\n<th>COLOR MANAGEMENT<\/th>\n<td>Supports 33\u00d733\u00d733, 32\u00d732\u00d732, 26\u00d726\u00d726, and 17\u00d717\u00d717 3D LUTs<br \/>\nVariable number of 3D\u00a0LUT\u00a0outputs with DSMC2 expander module<br \/>\nUser programmable shaper 1D LUTs<br \/>\nTetrahedral interpolation, 16-bit processing<\/td>\n<\/tr>\n<tr>\n<th>AUDIO<\/th>\n<td>Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz<\/td>\n<\/tr>\n<tr>\n<th>REMOTE\u00a0CONTROL<\/th>\n<td>Integrated R.C.P. WiFi antenna<br \/>\nEthernet, RS232, and\u00a0GPI\u00a0Trigger with DSMC2 expander module<\/td>\n<\/tr>\n<tr>\n<th>MONITOR OUTPUTS<\/th>\n<td>3G-SDI\u00a0(HD-SDI) and\u00a0HDMI\u00a0with DSMC2 expander module<br \/>\n1080p\u00a0RGB\u00a0or 4:2:2, 720p\u00a0RGB\u00a0or 4:2:2<br \/>\n480p\u00a0RGB\u00a0or 4:2:2 (HDMI\u00a0only)<br \/>\nSMPTE\u00a0Timecode,\u00a0HANC\u00a0Metadata, 24-bit 48 kHz Audio<\/td>\n<\/tr>\n<tr>\n<th>MONITOR OPTIONS<\/th>\n<td>DSMC2\u00a0RED\u00a0Touch 4.7&Prime;\u00a0LCD, DSMC2\u00a0RED\u00a0Touch 7.0&Prime;\u00a0LCD\u00a0and DSMC2\u00a0RED\u00a0EVF\u00a0(OLED) with cable-free connection.<br \/>\nRED\u00a0Touch 9.0&Prime;\u00a0LCD,\u00a0RED\u00a0Touch 7.0&Prime;\u00a0LCD,\u00a0REDTouch 5.0&Prime;\u00a0LCD,\u00a0RED\u00a0PRO\u00a07&Prime;\u00a0LCD,\u00a0BOMB\u00a0EVF (OLED) and\u00a0BOMB\u00a0EVF\u00a0(LCOS) compatible with DSMC2\u00a0LEMO\u00a0Adaptor A and\u00a0LCD\/EVF\u00a0cable.<\/td>\n<\/tr>\n<tr>\n<th>REDCINE-X\u00a0PRO\u00a0DELIVERY\u00a0FORMATS<\/th>\n<td>4K:\u00a0DPX,\u00a0TIFF, OpenEXR (.RED\u00a0via RRencode plugin)<br \/>\n2K:\u00a0DPX,\u00a0TIFF, OpenEXR (.RED\u00a0via RRencode plugin)<br \/>\n1080p\u00a0RGB\u00a04:2:2, 720p 4:2:2 : QuickTime,\u00a0JPEG,\u00a0AVID\u00a0AAF,\u00a0MXF<br \/>\n1080p 4:2:0, 720p 4:2:0 : H.264, .MP4<\/td>\n<\/tr>\n<tr>\n<th>VIDEO\u00a0EDITING\u00a0SOFTWARE\u00a0COMPATIBILITY<\/th>\n<td>Adobe Premiere Pro,\u00a0AVID\u00a0Media Composer,\u00a0DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro<\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p>&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; MONSTRO 8K VV &#8211; FULL FRAME 35.4 Megapixel CMOS Sensor 40.96 mm x 21.60 mm (Diag: 46.31 mm) 60 fps at 8K Full Format (8192 \u00d7 4320) 75 fps at 8K 2.4:1 (8192 \u00d7 3456) RED Monstro Sortie quasiment en m\u00eame temps que les mod\u00e8les Weapon, la Monstro pr\u00e9sente elle aussi des caract\u00e9ristiques [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":6865,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-5223","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>RED MONSTRO 8K FULL FRAME VISTA VISION | Adrien Gontier, Directeur de la photographie, Chef op\u00e9rateur, Cinematographer, Paris, France |<\/title>\n<meta name=\"description\" content=\"Adrien Gontier, Directeur de la photographie, Chef op\u00e9rateur, Cinematographer, Paris, France | RED MONSTRO 8K FULL FRAME VISTA VISION | adriengontier.com\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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