Red Weapon Woven Carbon Fiber 6k Camera


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Designed for high-end cinema and video production, the RED WEAPON DSMC2 Woven Carbon Fiber 6K cinema camera features the DRAGON 6K Super-35 CMOS sensor and REDCODE RAW imaging pipeline. Shooting in 6K gives the production an edge in the post process, even in 4K deliverables, as shots can be re-framed in your NLE while keeping the material at 4K resolutions, or greater. VFX artists can also benefit from the extra resolution information.

REDCODE RAW is the format of choice for the WEAPON. RED’s versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding, though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media.

Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. Previous generation cameras required sensor windowing to record slow motion, requiring wider lenses to compensate for the crop factor. The WEAPON’s DRAGON sensor does not require windowing, allowing you to maintain a consistent frame while recording in lower resolutions.

All of the WEAPON’s power is enclosed in a relatively small body comprised of magnesium and aluminum. The brain’s size, or lack thereof, makes it very versatile. From studio tripod configuration to handheld and gimbal, drone, or vehicle mounted situations, the WEAPON can handle it all, providing cinema-grade high-resolution footage that punches above the camera’s weight.

Available in PL and EF Mount.

Available with Bomb EVF or 5.0″ Touch Screen

6K DRAGON Sensor

As the successor to the stalwart 5K Mysterium-X sensor, the 6K DRAGON CMOS sensor brings extra resolution, dynamic range, and color depth to the table. The DRAGON design is not a rehash of a previous design. Working from the ground up, the team at RED developed this sensor with an updated color science, while making additional improvements in dynamic range and sensitivity. Different separately available OLPFs (Optical Low-Pass Filters) can be exchanged for the included standard OLPF for more creative options that can improve highlight handling, skin-tone rendering, or low-light performance.


The cornerstone of RED’s workflow is the robust REDCODE RAW file format. Using wavelet compression with ratios ranging from 2:1 to 22:1 REDCODE RAW offers the versatility of raw files but without the overwhelming storage requirements of uncompressed image data. Since REDCODE RAW has been around since the days of the RED ONE cinema camera, many common NLE software programs including Adobe Premiere Pro, Blackmagic Design DaVinci Resolve, Apple Final Cut Pro, and Avid Media Composer can import and edit REDCODE RAW footage without transcoding, saving production time in the edit suite. 

Note: Not all compression ratios are available at all resolutions and frame rates