The following provides a full list of cameras and notable accessories manufactured under the Red Digital Cinema Company brand.
Cameras Some models have different body variants: Aluminum Alloy, Forged or Woven Carbon Fiber and Magnesium and some have a custom-colored limited editions.
Red One (introduced in 2007-2009)
The Red One was Red Digital Cinema’s first production camera. Using a S35mm image plane, the Red One displays a natural depth of field from 2K to over 4K resolutions. 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. 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.
DSMC (introduced in 2011-2013) 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 shoots regular speeds of up to 30fps at 4K and up to 120 fps at 2k. At 5K, it can't exceed 18fps.
DSMC2 (introduced in 2015-2018) 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 (introduced in 2019) 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.
DSMC3 (introduced in 2020-2025)
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.
Panavision 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" Helium 8K and Komodo 6K, as well as David Fincher’s Xenomorph. A remote camera head for tight spaces that just contains the sensor block, similar to a system that Sony developed, was also produced for an unmentioned customer.
Nikon and Red 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. A wide variety of lens can be used:
It can use all of the Nikon Z-mount lenses. It can use PL-mount lenses via the following mount adapters: RED Z to PL Adapter Pack: Enables the use of PL-mount lenses on Z-mount RED Digital Cinema cameras. RED Z to PL with Electronic ND Adapter Pack: Similar to the previous, but includes an integrated electronic ND feature which allows a user to rapidly adjust exposure in 1/4, 1/3, or full stops.
Sensors Through at least 2025, 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. This marked the first time a digital cinema camera was tested alongside leading stills cameras. For economical reasons Scarlet-W and Dragon-X cameras have the same 6K Dragon sensor used in the original DSMC generation, but only 5K image area of it is utilized in Scarlet-W. Red Raven has a "hard" 4.5K sensor.
Redcode 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.
Red One 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 data and can only be selected with lower recording resolutions.
DSMC/DSMC2 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.
DSMC3 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.
The ELQ setting was added later. Some cinematographers still prefer using DSMC2 cameras because they offer more compression choices.
R3D NE The R3D NE codec was introduced in 2025 alongside the Nikon ZR. 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.
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