Miami RED Camera Rentals 2026: Essential DP Guide
QUICK SUMMARY
Moving Picture Rental stocks two RED cinema camera bodies for Miami productions – the Epic Dragon 6K and the Gemini 5K – both on the DSMC2 platform with PL and EF mount support.
KEY TAKEAWAYS
- Two RED DSMC2 bodies in active inventory: Epic Dragon 6K and Gemini 5K
- Both bodies shoot REDCODE RAW – compatible with every major NLE and color grading platform
- PL and EF mount via DSMC2 interchangeable mount system
- Lens inventory covers PL cine glass: Cooke S4/i, Master Primes, Ultra Primes, Angenieux Optimo zooms, plus Zeiss CP.2 on EF/PL
- Full camera support: Sachtler Video 18, O’Connor 2575, DJI Ronin 2, Easyrig Vario 5
- Delivery 7 days a week to Miami and throughout South Florida
- Serving Florida productions since 1987
Why Moving Picture Is Your Top Choice for Miami RED Camera Rentals
Miami RED camera rentals at Moving Picture Rental run on two DSMC2 bodies: the Epic Dragon, shooting 6K from the original RED DRAGON sensor, and the Gemini 5K, built around dual native ISO and a sensor profile optimized for low-light and anamorphic work.
Both cameras shoot REDCODE RAW – a variable-compression codec that scales from 3:1 to 22:1 and is natively supported in Premiere, DaVinci Resolve, and Avid. On a standard offline-to-online workflow, REDCODE at 8:1 or higher gives the editor a responsive timeline without transcoding, and the original RAW is there for the colorist at conform.
Moving Picture Rental has supplied productions throughout South and Central Florida since 1987 and offers delivery 7 days a week to any Miami-area set.
RED Camera Inventory for Miami Productions
Both RED bodies below are in active inventory – available as Miami RED camera rentals on the DSMC2 platform with interchangeable PL and EF mounts.
| Camera Body | Sensor / Format | Key Specs | Mount |
|---|---|---|---|
| RED Epic Dragon | RED DRAGON / Super 35 6K | 6K REDCODE RAW – 16.5+ stops DR – Up to 300fps at 2K – Interchangeable lens mount – DSMC2 platform | PL / EF (DSMC2) |
| RED DSMC2 Gemini 5K | Super 35 / 5K Dual ISO | Dual native ISO 800/3200 – 5K REDCODE RAW – 16.5 stops DR – Low-light shadow retention – DSMC2 platform | PL / EF (DSMC2) |
RED Epic Dragon 6K
The Epic Dragon runs the RED DRAGON sensor at 6K full-frame equivalent resolution, shooting REDCODE RAW at up to 300 frames per second at 2K – a spec that still holds up for high-speed commercial work and broadcast sports production. The sensor delivers 16.5+ stops of dynamic range with RED’s color science, and the DSMC2 interchangeable mount system means the full PL lens inventory drops straight onto the body.
At 6K, the Dragon gives significant latitude for reframe and stabilization in post without losing deliverable resolution. On episodic and branded content workflows where the grade happens in Resolve, REDCODE RAW at 6:1 to 8:1 compression hits a practical balance between image quality and media throughput.
The Dragon’s high-frame-rate capability at 2K makes it a cost-effective choice for slow-motion inserts on larger productions where a second RED body running HFR is more practical than renting a Phantom.
Pro Tip: RED Dragon High-Frame-Rate Inserts
At 300fps in 2K, the Epic Dragon covers slow-motion insert work without requiring a separate high-speed camera package. On automotive and action builds in Miami where one slow-motion angle is needed alongside a primary 6K acquisition camera, the Dragon handles both duties.
RED DSMC2 Gemini 5K
The Gemini 5K runs a 30.7 x 18mm Super 35 sensor with dual native ISO at 800 and 3200 – a hardware-level implementation that switches the readout circuit rather than pushing gain on a single base ISO. At ISO 3200, the Gemini holds shadow detail in conditions where most Super 35 sensors either clip highlights or crush blacks.
The 30.7 x 18mm sensor gives the Gemini greater vertical coverage than RED’s higher-resolution HELIUM and DRAGON-X sensors, making it the most anamorphic-friendly body in the RED lineup for 2x squeeze lenses. Full-frame coverage at 2x squeeze comes from the wider sensor footprint without cropping into the image circle.
For independent productions, narrative shorts, and documentary work in Miami, the Gemini delivers a professional REDCODE RAW pipeline at an accessible price point. The dual ISO implementation is particularly useful on Miami day-to-night builds where lighting conditions shift and pulling additional units is not always in the budget.
Pro Tip: Gemini Dual ISO and Miami Night Exteriors
Switching to ISO 3200 on the Gemini is a hardware-level change – not a gain push. On Wynwood, South Beach, or Brickell night exteriors where available light is mixed and inconsistent, the Gemini at ISO 3200 retains shadow detail that would block up on most Super 35 sensors at that exposure index. Dial this in with your DIT during camera prep, not on set.
Epic Dragon vs. Gemini 5K: Reading the Decision
Two different tools from the same platform. Here is where each body makes the most sense on a Miami production:
| Consideration | Epic Dragon 6K | Gemini 5K |
|---|---|---|
| Sensor format | Super 35 / RED DRAGON | Super 35 / Dual ISO |
| Resolution | 6K REDCODE RAW | 5K REDCODE RAW |
| Dynamic range | 16.5+ stops | 16.5 stops |
| Base ISO | Single native ISO 250/500 | Dual native ISO 800/3200 |
| High-frame-rate | Up to 300fps at 2K | Up to 120fps at 2K |
| Anamorphic suitability | Standard S35 coverage | Wider sensor – better 2x coverage |
| Mount Vignetting Risks | Low – some older S35 lenses may vignette slightly at full 6K due to the wider sensor width | Low width risk – the taller sensor height (18mm vs 15.8mm) requires checking lens coverage when shooting 5K Full Height |
Lens Inventory for RED Packages
Both DSMC2 bodies run PL and EF mount via the interchangeable DSMC2 mount system. The full PL cine lens inventory is compatible with either body.
| Mount | Lens Set | Best Pairing | Key Characteristics |
|---|---|---|---|
| PL | ARRI/Zeiss Master Primes | Epic Dragon, Gemini 5K | Sharp, controlled flare – standard for clean commercial and narrative work |
| PL | ARRI/Zeiss Ultra Primes | Epic Dragon, Gemini 5K | Full focal range – reliable workhorse prime set for both bodies |
| PL | Cooke S4/i | Epic Dragon, Gemini 5K | Organic highlight rolloff – reduces the digital edge of RED’s sharper rendering |
| PL | Cooke Anamorphic/i (2X, 1.8X) | Gemini 5K (2x), Epic Dragon | 2x on Gemini covers full anamorphic frame from wider sensor – S35 coverage on Dragon |
| PL | Atlas Orion (2X) | Gemini 5K, Epic Dragon | Vintage anamorphic character – warmer rendering that pairs well with RED color science |
| PL | Angenieux Optimo zooms | Epic Dragon, Gemini 5K | 19.5-94mm T2.6 to 28-340mm T3.2 – go-to for narrative and episodic zoom coverage |
| PL / EF | Zeiss CP.2 Compact Primes | Epic Dragon (EF/PL), Gemini 5K (EF/PL) | Interchangeable mount – budget-accessible cine primes, T2.1 across the set |
| PL | Fujinon Cabrio 19-90mm, 20-120mm | Epic Dragon, Gemini 5K | Servo zoom – practical on builds where continuous zoom control is needed |
RED Cameras in Miami Production Conditions
RAW Pipeline and On-Set Data Management
REDCODE RAW at 6K generates significant data at higher frame rates. At 6:1 compression, a 6K Epic Dragon day at 24fps runs approximately 1TB per hour of shoot time – manageable on a standard DIT cart. The Gemini at 5K is comparable, though dual ISO switches do not affect data rate.
Miami Heat and the RED Sensor
The RED DRAGON and Gemini sensors run warmer than some cinema cameras under sustained load – long takes at high frame rates in Miami’s ambient heat can push internal temperatures faster than in a controlled environment. On full-day exteriors in direct sun, monitor the camera’s temperature readout and build short standby windows into the shooting schedule on complex HFR setups. This is not unique to RED, but Miami’s summer heat compresses the margins.
Colorimetry and Grading
RED’s IPP2 color pipeline captures in REDWideGamutRGB with Log3G10 tone curve. On Miami exterior builds with high color saturation – neon signage in Wynwood, ocean blues at South Beach, golden hour on Biscayne Bay – IPP2 retains enough gamut headroom that the grade can push saturation without posterizing. The wider the gamut at capture, the more room the colorist has to move without clipping into false colors on delivery.
Pro Tip: RED IPP2 and Miami Saturated Environments
IPP2 captures in REDWideGamutRGB – a gamut wider than Rec.2020. In Wynwood or South Beach where neon, signage, and saturated surfaces are in every frame, that extra gamut headroom gives the grade room to move without clipping into false colors.
Camera Support for RED Packages
RED DSMC2 bodies run lean without accessories and can be built heavy with EVF, wireless video, and full matte box rigs. Support selection depends on the final rigged weight. Full camera support is available with every package.
Fluid Heads and Tripods
A lightly rigged Gemini 5K or Epic Dragon on a compact prime set runs well on the Sachtler Video 18 (payload to 48.5 lbs / 22 kg). Fully rigged builds with a large cine zoom, EVF, and wireless transmitter move up to the O’Connor 2575 (payload to 90 lb / 40 kg).
Gimbals and Handheld
Both DSMC2 bodies mount on the DJI Ronin 2 with PL glass and a full accessory package within its 30 lb / 13.6 kg payload. The Gemini 5K is the lighter configuration of the two and the more practical choice for gimbal work where the rig needs to move between positions quickly.
The Easyrig Vario 5 – with or without the Flowcine Serene arm – handles payloads from 11-38 lb / 5-17.2 kg. On full shoot days in Miami where the operator is handheld for multiple hours across changing locations, the Serene arm absorbs the vertical shock and keeps the image stable without mechanical stabilization on the lens.
More Miami Camera Resources
Miami Cinema Camera Rentals: Essential DP Guide 2026 – Complete breakdown of every cinema camera body in the Miami inventory – ARRI, Sony, Canon, full lens inventory, and support.
Florida Statewide RED Guides:
RED Gemini 5K Rental Florida
Frequently Asked Questions: Miami RED Camera Rentals
What RED cameras can I rent in Miami?
Moving Picture Rental’s Miami RED camera rentals include two DSMC2 bodies: the Epic Dragon (RED DRAGON sensor, 6K, 16.5+ stops, up to 300fps at 2K) and the Gemini 5K (dual native ISO 800/3200, 5K, 16.5 stops). Both run PL and EF mount via the DSMC2 interchangeable mount system and are in active inventory for Miami.
What is the difference between the RED Epic Dragon and the Gemini 5K?
The Epic Dragon shoots 6K from the RED DRAGON sensor with high-frame-rate capability up to 300fps at 2K – the right call for productions that need maximum resolution or HFR inserts. The Gemini 5K runs a wider Super 35 sensor with dual native ISO at 800 and 3200, making it the better choice for low-light work, night exteriors, and 2x anamorphic builds where sensor width matters.
What lenses work with RED cameras in Miami?
Both DSMC2 bodies support PL and EF mount via the interchangeable mount system. Available PL glass includes ARRI/Zeiss Master Primes, Ultra Primes, Cooke S4/i, Cooke Anamorphic/i, Atlas Orion anamorphics, Angenieux Optimo zooms, and Fujinon Cabrio servo zooms. Zeiss CP.2 compact primes are available in interchangeable PL/EF mount.
Can I shoot anamorphic with RED cameras in Miami?
Yes. The Gemini 5K’s 30.7 x 18mm sensor provides greater horizontal coverage than RED’s higher-resolution bodies, making it the better choice for 2x anamorphic lenses – Cooke Anamorphic/i 2X and Atlas Orion 2X both work well on the Gemini. The Epic Dragon supports anamorphic via PL glass at standard Super 35 coverage. Using anamorphic builds on Miami beaches and open-water require careful front-element management given the salt air environment.
How far in advance do I need to book a RED camera rental in Miami?
Standard packages book with 24-48 hours notice. Builds that include specific anamorphic glass, large PL prime sets, or multi-day media packages should be reserved 72 hours out to confirm availability and prep time.
Do you deliver RED camera packages to Miami and South Florida?
Yes. Moving Picture Rental delivers RED camera packages 7 days a week to any Miami-area location – Miami Beach, Brickell, Wynwood, Coral Gables, Doral, and throughout South Florida. We also serve Orlando, Tampa, and Fort Myers for productions running statewide.
How to Book Your Miami RED Camera Rental
Send us your shoot dates, camera body and lens requirements and we will turn around a quote the same day. We work out the configuration together – body, mount, glass, media volume, support. We offer delivery 7 days a week to any set in the Miami area and throughout South Florida.
About Moving Picture Rental:
Moving Picture Rental is Florida’s one-stop shop for all your production services and rental needs. As your on-site production partner, we share our collective filmmaking experience, guiding your team to the right gear and crew for the job.
We provide digital cinema camera rentals, lens rentals, film lighting packages, grip truck rentals, walkie-talkies, and expendables at competitive prices.
We’ll connect you with our network of seasoned camera crews and assistants, grips, gaffers, sound mixers, hair and makeup, and PAs. We’re in the business of helping your production succeed.
Ready to Book Miami RED Camera Rentals?
Moving Picture Rental supplies complete Miami RED camera rentals – Epic Dragon and Gemini 5K builds with PL and EF glass, media, support, and accessories. We supply vetted crews, digital cine cameras, lenses, G&E, production supplies, and delivery 7 days a week.
Miami / Fort Lauderdale: (305) 522-1361
Orlando: (407) 674-2054
Fort Myers: (239) 288-0351
Tampa: (813) 296-2737
Or request a quote.
Disclaimer: Equipment availability referenced in this post reflects current Moving Picture Rental inventory and is subject to change based on rental demand and fleet updates. Specific camera bodies and lens sets should be confirmed when placing your reservation. This post is for informational purposes only.
