Carrying on the legacy of the revolutionary RED ONE®, SCARLET-W® brings an unparalleled level of accessibility to content creators everywhere. SCARLET-W combines RED’s intuitive camera design—including integrated mounting points, interchangeable lens mounts, simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHR/HD recording formats, intelligent OLPF system, and in-camera 3D LUT outputs—with a RED DRAGON® sensor to provide a solution that blends flexibility and accessibility with high-end performance.
The RED DRAGON sensor allows shooters to get the best shot every time. SCARLET-W harnesses the massive dynamic range of the RED DRAGON sensor to produce cinema-quality images rich with natural color. SCARLET-W’s Monochrome camera option gives shooters the ability to capture black and white images that contain enhanced resolution and heightened light sensitivity. SCARLET-W gives you the ability to capture your vision exactly as you see it: 5K 2.4:1 at 60 frames per second (fps), 4K 2.4:1 at 150 fps, or 2K 2.4:1 at 300 fps with REDCODE RAW.
RED's innovative modular design brings maximum flexibility to every professional, providing adaptability in every situation you encounter. Interchangeable lens mount options give you the capability to change your perspective at a moment’s notice, while the full range of DSMC2® module adaptors lets you dial in your camera rig to exact specifications.
RED’s commitment to providing a seamless workflow persists with SCARLET-W. RED’s innovative REDCODE RAW recording format, also known as R3D®, enables shooters to maintain visual integrity throughout post production with non-destructive editing capabilities. Compatible with most professional-grade editing programs, REDCODE RAW easily adapts to your preferred system. Additionally, shooters have the freedom to simultaneously capture options in both R3D and Avid DNxHR/HD or Apple ProRes file formats.
The rugged, durable design of SCARLET-W makes it an ideal option for wherever your journey takes you. Whether you configure your camera to be as lightweight as possible or work with a complex studio configuration, SCARLET-W allows you to feel secure in its abilities to capture cinema-quality images in any circumstance. A Base I/O V-Lock package option comes with the key components necessary for you to get out and start shooting, allowing you to immediately set your production in motion.
SCARLET-W’s introduction reinforces RED’s commitment to placing adaptable, high-end creative tools in the hands of professionals everywhere. SCARLET-W uses the DSMC2 line of accessories—compatible with both WEAPON and RED RAVEN™ cameras—giving shooters the option to move between camera systems without having to purchase all new gear.
RED makes OBSOLESCENCE OBSOLETE®.
|SENSOR TYPE||RED DRAGON 13.8 MP Super 35 mm CMOS|
|EFFECTIVE PIXELS||5120 x 2700|
|SENSOR SIZE||25.6 mm x 13.5 mm (Diagonal: 28.9 mm)|
|DYNAMIC RANGE||16.5+ stops|
|MAX DATA RATES||Up to 170 MB/s using RED MINI-MAG|
|MAX FRAME RATES1||50 fps at 5K Full Format (5120 x 2700), 60 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 |
|23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions|
|REDCODE SETTINGS |
RANGE FROM 2:1 UP TO 22:11
|4:1 REDCODE for 5K Full Format (5120 x 2700) at 24 fps |
7:1 REDCODE for 5K Full Format (5120 x 2700) at 50 fps
3:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
6:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
|REDCODE RAW |
|5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x |
4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 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 and ProRes 422 LT at 4K (4096 × 2160) up to 29.97 fps |
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 60 fps
|AVID CODECS3||DNxHR SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps |
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 60 fps
|TYPICAL MAX RECORDING TIME |
USING RED MINI-MAG 120GB5
|5K Full Format (5120 x 2700) at 24 fps and 11:1 REDCODE: 41 minutes |
5K Full Format (5120 x 2700) at 48 fps and 14:1 REDCODE: 26 minutes
4.5K 2.4:1 (4608 x 1944) at 120 fps and 15:1 REDCODE: 17 minutes
|WEIGHT||3.5 lbs (BRAIN with Integrated Media Bay)|
|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 17×17×17 3D LUTs |
Variable number of 3D LUT outputs with DSMC2 expander module
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
|AUDIO||Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz |
Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
|REMOTE CONTROL||Integrated R.C.P. WiFi antenna |
Ethernet, RS232, and GPI Trigger with DSMC2 expander module
|MONITOR OUTPUTS||3G-SDI (HD-SDI) and HDMI with DSMC2 expander module |
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI Only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
|MONITOR OPTIONS||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, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable.
|REDCINE-X PRO |
|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 |
|Adobe Premiere Pro, Avid Media Composer, |
DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro
Tech specs reflect both current and projected information. Everything is subject to change.
1. REDCODE values and max frame rates may vary based on selected acquisition format, aspect ratio, project time base, Lookaround setting, and SSD. For more information on available REDCODE compression settings for all formats, see the DSMC Media Operation Guide.
2. For more information on available acquisition formats, see the DSMC Operation Guides.
3. Avid DNxHD/HR Codecs recording support added to DSMC2 firmware v6.3 or later.
4. Third-party non-linear editing (NLE) applications may have limited compatibility with R3D files.
5. Estimated recording times represent averages over the course of a typical recording to REDCODE RAW only with Pre-Record disabled and may vary depending on subject matter. It is always recommended to perform your own tests using typical camera settings and shooting conditions.