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Red Digital Cinema Red One 14.0 Operation Guide

1. G ka Desktop A001_C001_071015_P mo v An There will be one or more REDCODE RAW data files R3D containing RAW sensor data plus audio and metadata and three QuickTime reference movies which allows a QuickTime Player to display the recorded RAW data at _H high _M medium or _P proxy resolutions Double click on either of the QuickTime reference movies to see a preview of the R3D file Playback frame rate will depend on the processor speed of your computer If the frame rate is too low select a smaller QuickTime movie Typically the preview resolution will be the best choice for a battery powered laptop computer or older tower configuration model Note to operate with QuickTime under Macintosh OSX you must install the supplied RED CODE RAW plug in available at www red com support QuickTime for Windows is not sup ported at this time 20 Copyright RED Digital Cinema Feb 07 2008 Playback Playback of recorded clips is available on camera using the Transport Control Keys F The I gt key is used to enter PLAYBACK mode and to initiate playback of the last recorded Clip Press it once to enter Playback mode and a second time to start playback Once in clip play back this key acts as a Play Pause toggle The gt gt key permits the Clip to be played back at higher speeds Each press of this key cycles clip playback between 2 x 8 x and 32 x speed playback The lt lt key permits the Clip to be played back in reverse
2. 8 for West Coast US Pacific time Or set to local time and then set the TIMEZONE value to O GMT MONTH _fYEAR v MONTH _ Day Year allows the operator to enter a new value for the year Range 2007 2020 Month allows the operator to enter a new value the month Range 1 12 Day allows the operator to enter a new value for the day Range 0 31 A8 Copyright RED Digital Cinema Feb 07 2008 GMT HOUR vi HOUR E MINUTE E SECOND Hours allows the operator to enter new value for hours 24 hour format Range 0 23 Minutes allows the operator to enter new value for seconds Range 0 59 Seconds allows the operator to enter new value for seconds Range 0 59 SET CLOCK Set Clock loads the selected Date and Time parameters into the camera s system memory Note After pressing this key the camera will re boot The new parameters will take effect and be visible as TIME CODE on completion of the re boot cycle Feb 07 2008 Copyright RED Digital Cinema 49 9 Upgrading Camera Firmware RED ONE camera functionality may be upgraded by installing the latest firmware Log onto www red com support for a complete listing of firmware revisions available for the camera complementary QuickTime codec postproduction software and Operation Guide lt 11 e hrtp www red com support Q m Login to Support RedCineBeta RED ROJO Acreage Our Web Site e gt RED SUPPORT Fey ov RedCam Central Pink Un TRACE Login TRACE Cine
3. RED GAIN RED GAIN BLUE GAIN GREEN GAIN Red Gain adjusts the gain of the RED channel only Range is 0 0 no Red to 4 0 Blue Gain adjusts the gain of the BLUE channel only Range is 0 0 no Blue to 4 0 Green Gain adjusts the gain of the GREEN channel only Range is 0 0 no Green to 4 0 Viewfinder Menu VIEWFINDER lt HEADPHONE This menu permits the operator to adjust operation of the viewfinder COLOR FALSE COLOR METERS ZEBRAS j DARK DETAIL OPEN GATE Color When checked forces the RED EVF and RED LCD outputs to monochrome or a false color exposure assist or Edge Highlight this is not fully operational in Build 14 In Monochrome the color component of the image is removed In False Color the color component of the image is replaced by an overlay of colored bands representing the exposure levels with the image Bluer colors represent underexposed areas green is 18 ND yellow and red colors represent more exposed areas This chart illustrates the color mapping relative to stops of exposure and O 108 IRE values E I Po ee eee eee 7 6 5 4 0 0 3 0 6 0 9 1 Stop 10 9 8 3 18 ND Skin IRE 0 1 1 2 5 8 15 24 44 47 70 77 84 93 103 108 Note the green and pink bars that allow quick exposure setup for 18 ND and skin tones 32 Copyright RED Digital Cinema Feb 07 2008 An example of false color metering from the RED LCD is shown below 24 ies a320 And the corresponding white balanced but ot
4. monochrome or false color On Off and the lower center User Key turns the METER e g WAVEFORM or FOCUS ASSIST On Off Press and hold the large rotary switch for two seconds to switch the monitor video output from any other display such as the RED LCD to the RED EVF if both are attached at the same time The rotary switch may also be used to adjust the viewfinder backlight intensity Push the switch once to activate this control Rotation clockwise decreases the display intensity coun terclockwise increases the display intensity Push the switch once more to lock in the value Using external HD SDI or HDMI monitors To aid external monitor alignment the RED ONE camera provides a range of test signals in cluding SMPTE BARS Luminance and Chrominance Ramps and a Chip Chart Note that the test signal cannot be recorded it is provided to align external video recorders or monitors connected to the camera via the HD SDI or HDMI ports Consult your monitors Operations Manual for instructions on video monitor alignment Feb 07 2008 Copyright RED Digital Cinema 23 6 SENSOR MENU Controls This section describes how to set sensor specific menu parameters including Exposure Shutter Speed Color Temperature Varispeed and Timelapse Press the SENSOR menu key at the bottom left of the status display or a direct access key on the left of the status display EXPOSURE COLOR TEMP SHUTTER VARISPEED TIME LAPSE Note When recording RAW Ex
5. Cursors enables combination displays of Safe Action Safe Title and Image Center cursors A2 Copyright RED Digital Cinema Feb 07 2008 Active This sub menu selects the primary monitoring output of the camera ACTIVE OUTPUT EVF PVW __ FRAME GUIDE ACTIVE zj TEST SIGNAL HD SDI EVF REFRESH Output choices include RED EVF RED LCD PREVIEW and HDMI The PREVIEW mode places 720p video on both the Preview HD SDI and HDMI outputs To use a DVI computer monitor as an external viewfinder select HDMI This puts 1280 x 848 progressive scan video equal to the RED EVF on the HDMI output Then use a HDMI to DVI cable to connect the monitor The EVF PVW mode permits the RED EVF and PREVIEW modes to operate simultaneously Test Signal Permits the video monitor outputs to be replaced with a video test pattern TEST SIGNAL SMPTE Bars FRAME GUIDE ACTIVE V TEST SIGNAL HD SDI EVF REFRESH To enable disable a test signal check the box Available test signals include Color Bars Lu minance Ramp Chrominance Ramp Chip Chart Black and Gray Field Note The test signals cannot be recorded to the digital media they are pro vided to help align the zebras and external video recorders or monitors con nected to the camera via the HD SDI or HDMI ports HD SDI Sets the1280 x 720p HD SDI and HDMI monitor signal update rate to 50 00 or 59 94 Hz FRAME RATE 59 94 HZ FRAME GUIDE ACTIVE z TEST SIGNAL HD SDI EVF REFRESH The default
6. Each press of this key cycles clip playback between 1 x 2 x and 8 x speed playback The I lt key cues the Clip to its Start Frame If already at the Start Frame pressing this key again will cue to the Start Frame of the previous clip recorded on the digital media if one exists The gt I key cues the Clip to its End Frame If already at the End Frame pressing this key again will cue to the Start Frame of the next clip recorded on the digital media if one exists It is recommended but not necessary to exit Playback mode prior to the next recording To exit playback mode press the RECORD key or press the EXIT key to the left of the joystick Note When in playback all cursors are disabled and the full screen width is used to display a clean feed of the recorded video signal If monitoring EVF PVW or PVW 720p the 1280 x 720 pixel video output represents a scaled version of your 4K or 2K recording Depending on the capture frame rate pull down may be added to create a standard 720p 59 94Hz or 50 00 Hz high definition video signal which may be recorded or monitored by a variety of 3 party devices using HD SDI and or HDMI interfaces Note At this time there is no embedded SMPTE timecode available from the HD SDI outputs Feb 07 2008 Copyright RED Digital Cinema 21 Monitoring RED LCD and RED EVF monitors are factory preset digital displays There are no saturation peaking or contrast adjustments as found on analog monitors
7. If using S4 i compatible lenses the data pins should be at the top of the lens Note Matching pins are not currently installed in the RED P L mount Attach matte box and motors and any auxiliary power cables required to power these items Insert the digital media such as RED 8GB compact flash CF card or connect a RED DRIVE via the supplied custom e SATA cable T Mrk FA Ws 0 Inserting a Compact Flash card Attach a RED BRICK 140 battery or connect to a RED CHARGER using the supplied cable Now adjust the balance of the camera The RED CRADLE Universal Rail mount unit slides on 19mm rods so you can adjust the distance to the camera back Find the position that best offsets the weight of the lens Finally tighten the butterfly locks to maintain that position The shoulder pad wedge plate adaptor is also designed to slide within the RED RAIL base plate until you lock it in place You don t need to remove it to mount the camera on a tripod Press the On Off switch to power the camera The rear status display will illuminate and after approximately 60 seconds it will display the camera PIN firmware build and firmware version The P I N is a unique product identification code in the format ABC_123_XYZ This code is in cluded in the metadata recorded with each image The PIN provides tracking data for customer service and assistance in authenticating legal ownership of the camera When the camera is ready for use th
8. Pe a The blue highlight bar will animate to indicate an upgrade is in progress After about 5 min utes the upgrade will have completed All monitor outputs will report back Upgrade Complete Power cycle the camera to continue Power cycle the camera to return to normal operation At the end of the camera power up process the camera will display the camera P I N plus firmware Build and Version numbers Note After upgrading camera firmware perform a Black Shading Calibration Feb 07 2008 Copyright RED Digital Cinema 51 10 Managing Digital Media The RED ONE camera currently supports two types of media compact flash and hard disk Compact Flash CF media requires an optional RED FLASH CF module mounted to the left side of the camera body Hard disk media is housed in a RED DRIVE magazine mounted to the rear of the camera body and connected via a custom16 pin interface cable Compact Flash CF will be available in a variety of capacities but at this time is fixed at 8GB Depending on resolution and frame rate each 8GB Compact Flash card will provide over 4 minutes of 4K 24fps RAW recording or over 12 minutes of 2K 24fps RAW RED DRIVE Media will be available in a variety of capacities but at this time is fixed at 320GB Depending on resolution and frame rate each 320GB RED DRIVE will provide ap proximately 180 minutes of 4K 2 1 24fp RAW recording or 720 minutes of 2K 24fps RAW During a recording the rear s
9. RED Digital Cinema 19 Recording Check that you have a RED DRIVE attached or Compact Flash card inserted in the camera To initiate a recording press either RECORD button Press once to begin recording and again to stop recording The camera will automatically create a file name for every clip recorded on the digital magazine or media REDCODE RAW recordings store the Color Temperature and Exposure ASA values you enter as metadata This metadata is used to color balance the viewfinder and other monitor outputs It is also used in REDALERT as the initial White Balance point change it if you wish when you process the RAW footage Timecode generated by the camera is Non Drop Frame NDF Digital media should be treated with equal care as exposed film or a videotape master We recommend storing digital media that contains your footage in a secure location and backing up the data on another digital media such as data tape or a hard disk drive Each clip is recorded to the digital media in a separate folder and with a unique clip name To copy the clip from the digital media to a Macintosh or Windows computer just drag and drop its folder to the computer s storage device If you open the Clip folder it will look like this COD A001_C001_071015 RDC I m Q iS Laptop Mac N Q Q A Network movit vovit A001_C001_071015_001 R A001_C001_071015_H mo A001_C001_071015_M mo RED_ONE a 3D v v j Archive Drive
10. color proc essed fo illustrate a look and feeds the RED EVF RED LCD HD SDI and HDMI outputs 10 Copyright RED Digital Cinema Feb 07 2008 Audio Processing Line input analog audio received via the min XLR inputs is immediately digitized at 24 bit per sample at a 48KHz sample rate Microphone level audio inputs are routed via an adjustable gain pre amplifier before digitization no gain adjustment is available for Line level inputs Reference Line Input level OdB is 0 775v Microphones with an output sensitivity ranging between 30dB and 60dB can be accommodated by the pre amplifier which provides user adjustable amplification over the range of 22dB to 54dB with minimal signal degradation Due to the significantly higher precision and dynamic range of 24 bit sampling input stage limiters or AGC s are not provided by the RED ONE camera The digitized audio data can be considered as high dynamic range RAW sound information that is com plimentary to the high dynamic range RAW video information Just as linear response RAW video data is converted to REC 709 for metering the linear re sponse audio data is converted to Log Base 10 data for metering A color coded 4 channel audio meter is provided in the lower section of the camera GUI This information is visible in the RED EVF RED LCD and HDMI DVI monitor outputs The goal for optimal quality recording is to place the audio reference level at an appropriate location in the di
11. for correct color reproduction All monitor outputs on the RED ONE camera provide REC 709 standard color and gamma Image intensity can be adjusted to compensate for ambient lighting conditions For the RED LCD use the Up Down keys on top of the display For RED EVF use the rotary encoder To assist with exposure the RED EVF RED LCD and HDMI and Preview HD SDI outputs can display either a dual Zebra pattern or a False Color exposure meter overlaid on the video RED LCD Controls The top of the RED LCD provides two round and two triangular keys The key on the left is used to turn the METER e g FOCUS ASSIST selected in the VIEWFINDER menu On Off The two triangular keys in the center are used to increase or decrease the backlight intensity The key on the right is used to switch between 1280 x 848 pixel Video plus Menus and 1280 x 720 pixel Video plus Frame Guide modes If a RED LCD is physically connected but there is no video displayed press and hold this button to acquire the monitor feed to the RED LCD RED EVF Controls The focus ring on the viewfinder may be adjusted for optimal subject focus for your eye The available diopter range is 1 5 to 2 0 22 Copyright RED Digital Cinema Feb 07 2008 The User Key closest to the focus ring selects IMAGE MAGNIFY mode This magnifies the cen tral region of the subject image in the monitor path but leaves the record path unaffected The upper center User Key turns COLOR TOOLS
12. is 59 94 720p 59 94 In Europe you may wish to select 50 00 720p 50 00 Feb 07 2008 Copyright RED Digital Cinema 43 EVF Refresh SYNCED FRAME GUIDE ACTIVE E TEST SIGNAL EVF REFRESH When capturing images at normal frame rate and 23 98 24 00 or 25 00 fps Project Frame Rates refresh permits the operator to select the display refresh rate used by the RED EVF The default mode is SYNCED This avoids use of 2 3 pull down and instead doubles the cap ture frame rate to display images at 48Hz 50Hz for 25 00 fps The display may exhibit in creased luminance flicker do to the lower frame update rate but will not have a 2 3 stutter The alternative FIXED mode uses 2 3 pull down or other appropriate pull down sequences required to displays images at a fixed frequency of 59 94 Hz or 50Hz at all capture frame rates This mode minimizes display flicker but may exhibit 2 3 motion stutter on 24fps images Note The camera will operate in FIXED mode when the Project Frame Rate is other than 23 98 24 00 or 25 00 and also when in VariSpeed or Ramp Setup This menu permits a variety of system maintenance tasks to be accomplished PREFERENCES lt MAINTENANCE SET CLOCK Selections are PREFERENCES MAINTENANCE and SET CLOCK Preferences permits the user to define system preferences KEYMAP 7 GPIO Selections are KEY MAP GPIO and LOOK Note In Build 14 the LOOK menu is not fully operational 44 Copyright RED Digital Cinem
13. phone jack for headphone audio output Pin __ Signal Description Direction LEFT Left channel audio Out RIGHT Right channel audo sieeve GND Ground SSCSC SC Ssi Stereo Headphone Output Connector Feb 07 2008 Copyright RED Digital Cinema 63 USB Host A standard USB 2 0 Type A receptacle provides a means to connect USB devices to the cam era Refer to the USB specification for mating connectors and pin assignments USB Device A standard USB 2 0 Type B receptacle provides a means to connect the camera to a USB host e g a P C Refer to the USB specification for mating connectors and pin assignments Genlock Input The camera includes a DIN 1 0 2 3 coaxial connector on its right side panel for Tri Level Sync Pin Signal Description Direction SMPTE 274M 2005 Trievel Syne ShislalSereen Ground Grom D Genlock Input Signal Preview HD SDI The camera includes a DIN 1 0 2 3 coaxial connector on its right side panel for the HD Pre view signal which is 1280 x 720 progressive 10 bit 4 2 2 HD SDI output at 59 94 or 50 00Hz Pin Signal Description Direction HD SDI SMPTE 292M HD SDI out Shield Sereen Grond O o SSS SS Monitor HD SDI Output Single Dual link HD SDI The camera includes two DIN 1 0 2 3 coaxial connectors on its right side panel The dual link HD SDI output is fixed in Build 12 firmware as additional copies of the HD Preview signal Pin Signal Description Direct
14. press User B key on the camera side panel 24 Copyright RED Digital Cinema Feb 07 2008 Tint TINT AUTO WB TUNGSTEN DAYLIGHT MANUAL WB Color Temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging To compensate for any residual colorcast the TINT parameter can adjust the RGB color balance with a compensating Magenta Green color component Note Pressing Auto WB calculates a new Tint value This is maintained if the Color Temp is adjusted via the Manual WB parameter If you select the Tung sten or Daylight presets Tint will be reset to zero which is the default value Shutter Menu Adjusts the exposure time of each frame captured by the Mysterium sensor The exposure time is may be programmed via a series of preset Shutter Speeds encompassing all the com mon shutter angles available on a camera operating at a nominal 24 or 25 fps Adjustments may be made to a preset shutter speed by the RELATIVE and SYNCRO parameters PHASE ADJUST M GENLOCK SYNCRO PHASE Genlock permits Shutter Phase scan start time to be referenced to an external Tri Level Sync genlock signal For 3D and multi camera applications this permits the precise scan timing and phase relationship of two or more cameras to be matched Mode enables one of three following shutter modes Default is Normal Normal Shutter Speed is defined exclusively by the Shutter Speed setting Syncro Shutter Spe
15. protected and switched by camera firmware Mating connector LEMO FGG 0B 304 CLAD42Z straight 00 View into camera Auxiliary Power Output connector 60 Copyright RED Digital Cinema Feb 07 2008 Pin Signal Description ae VOUT Auxiliary power return Ground Tally VOUT Auxiliary power output Note Commencing with Build 10 firmware Pins 2 and 3 can be used to provide an external Trigger and Tally signal The function of each GPIO pin can be configured by the operator however the default setting for the upper connector is Pin 2 Record Start Stop and Pin 3 Record Tally For the lower connector the default setting is Pin 2 Record Next Frame and Pin 3 Frame Record Completed Use this for animation or simple motion control interface Timecode Input This connector supports SMPTE Timecode input and output Pins 2 and 3 may be used together to receive a balance SMPTE 12M serial time code input or pin 2 may be used by itself leave pin 3 open to receive a single ended SMPTE 12M serial time code input Mating connector LEMO FGG 0B 305 CLAD42Z straight View into camera Timecode connector Signal Description Direction Ca Ga ene a TIMECODE_IN_P Serial timecode input positive Ooo h TIMECODE_IN_N Serial timecode input negative in Note Pin 5 is reserved for future use for single ended SMPTE 12M serial time code signal out Feb 07 2008 Copyright RED Digital Cinema 61 Lens RS232 This conn
16. the PROJECT key This highlights the PROJECT sub menu CONFIGURE TIMECODE M QT PROXIES 2 Push the joystick right then press to enter the CONFIGURE menu to set the QUALITY Quality Choose between REDCODE 28 or REDCODE 36 Default is REDCODE 28 Note REDCODE 36 limits the available choices of frame rates and resolutions to CF cards FRAMERATE 23 98fps RESOLUTION FRAME RATE 3 Next select the project FRAME RATE Frame Rate Choose between 23 98 24 00 25 00 or 29 97fps Project Frame Rates Note 2K recording resolutions also support 50 00 and 59 94 fps Project Frame Rates 4 Next select the project RESOLUTION Resolution Choose 4K 3K or 2K or 2 1 variants Use 2K or 2K 2 1 for S16mm B4 lenses Note A project can only support one Project Frame Rate as this defines the frame rate to be used for timecode and for clip playback It is also the primary frame rate for acquisition but variable speed overcrank and undercrank recordings can be made above and below this base frame rate On playback these recordings will be displayed at the Project Frame Rate 5 Finally push the joystick left and press it again to enter the SLATE menu SET CAMERA ID CAMERA E FORCE REEL CAMERA Select a letter between A Z The default is camera letter is A REEL Select a number between 1 and 999 The default reel number is 1 After making any adjustments to the SLATE menu press the EXIT key to exit the menus Feb 07 2008 Copyright
17. A HEX driver is supplied with the camera The rails and shoulder pad wedge plate adapter slide into the base plate The RED CRADLE which holds a RED DRIVE and the V mount battery plate attaches to the Universal Rail mount plate using a hex screw This is mounted to the camera using 19mm rods If using RED DRIVE plate it into the RED CRADLE and secure it with the four thumbscrews Then connect the RED e SATA cable to the RED DRIVE and to the e SATA input on the rear of the camera body Connect the power cable from the battery plate adapter to the DC input on the rear of the camera body The RED LCD and RED EVF viewfinder are mounted to the camera body using a RED ARM At tach the RED ARM to the camera body using the shorter threaded screw There are attachment points on the camera body or on the RED RAIL TOP BRACKET Attach the other threaded end of the arm to the RED LCD or RED EVF Then connect the cable from the camera body to the RED LCD or RED EVF Carefully align the red dots on the socket and plug and push firmly to establish contact Attaching the RED LCD or RED EVF The RED LCD and RED EVF cables are interchangeable but the outputs are not The RED EVF should be connected to the upper output a RED LCD should be connected to the lower output 4 Copyright RED Digital Cinema Feb 07 2008 Remove the lens cap and mount the PL lens you wish to use The lens will have four metal tabs with cutouts for the registration pin in the mount
18. D Digital Cinema 57 RED ALERT The RED ALERT application performs white balance and one light color correction and exports AK and 2K resolution 10 bit DPX and 16 bit TIFF files RED ALERT also creates color corrected QuickTime reference movies for playback in other applications such as QuickTime Player that use the REDCODE RAW QuickTime component described above The upper panel in the display provides information about the video levels in the selected clip Exposure and White Balance may be altered R G and B digital values may be sampled from the image and a Zebra exposure indicator can be selected the default value is set at 95 D Rep ern standard B 2 all crace emcee SMENE n 0 Out 1745 Totali 1746 R GB 95 v1 28 BETA x TE bi 0 50 DRX 720 Biack Offset Save save a Status z ft lt ay gt o DE puu S E E A composite RGB histogram may be selected which appears below the main display area This provides an interactive view of the exposure distribution for each of the R G B channels A one light color correction panel permits adjustment of Color Temperature Saturation Con trast Brightness R Gain G Gain and B Gain These parameters match those available in the RED ONE camera The range and resolution of these parameters may be greater than those available in the camera Ul This reflects the desirability for greater range and precision for the controls in post production than are required for mon
19. ED Digital Cinema A5 Maintenance This sub menu defines how the cooling fan behaves and enables software updates BLACK SHADING RESTORE UPDATE SW Fan Sub Menu specifies how the cooling fan operates FAN MODE _ VARIABLE __ The camera s fan speed can be changed depending on the ambient air temperature and re cording application The default setting is VARIABLE Variable This setting is most useful when the ambient temperatures is below 50 F 10 C In variable mode the fan runs at a continuously variable speed in both preview and record At low ambient temperatures the fan will run at minimum speed At higher ambient temperature the fan will run at an increased speed to maintain the camera body within its operating tem perature limits Hot This setting is most useful when the ambient temperature is between 86 F 32 C and 104 F 40C In hot mode the fan runs at its maximum speed Other camera cooling precau tions may be necessary such as shading the camera from sunlight and use of a cold gel pack Standard This setting is most useful when the ambient temperature is below 86F 32C In standard mode the fan will run at half its maximum speed when in record Quiet This setting is most useful when the ambient temperature is below 72 F 25 C In quiet mode the fan runs at one quarter its maximum speed when in record Silent This setting is most useful when the ambient temperature is below 60 F 15 C In si lent mode
20. FRAMERATE TIME END RATE Time When Ramp is enabled this value specifies the transition time to be used by the cam era between the start Frame Rate and the End frame Rate Default value is 5 seconds END RATE f sms E VARISPEED RAMP FRAMERATE TIME END RATE End Rate When Ramp is enabled this value specifies the final ending speed of the ramp in frames per second When a ramp transition has been completed the camera will continue to record at the End Rate until the end of the Recording Note When in Varispeed modes the camera maintains the last exposure time selected unless the requested frame rate requires a shorter exposure time to provide a constant exposure If a variable exposure is required set the Shutter Mode to Relative this is a fixed angle setting Timelapse The Timelapse menu supports single frame image capture and step frame recording under the control of an internal Intervalometer side RECORD key or an external GPI trigger TRIGGER MODE f ONE SHOT VJ ENABLE STEP PRINT INTERVAL Enable After making any adjustments in the timelase menu check the Enable box to enter these values and enable the Timelapse record mode The UI indicates by changing the top left frame rate display from fps to TL and the lower right audio level display to TIMELAPSE Feb 07 2008 Copyright RED Digital Cinema 29 Trigger Mode Specifies if the camera is to use a fixed Interval of time or wait for a side record command
21. RAW at 23 98 fps Press the Joystick to confirm or select Cancel to return to the main camera status display If the format operation is confirmed the camera responds with the following message Formatting INTERNAL EXTERNAL digital magazine Once completed the following screen will appear Magazine format and configuration completed successfully The INTERNAL digital magazine is now ready for use Press the Joystick one last time to acknowledge the format process is complete and the cam era will then clear the system menus from the monitor screens Formatting a 8GB CF card takes about 10 seconds formatting a 320GB RED DRIVE magazine takes about 50 seconds Note Media formatted on camera will generate create a directory name in the format Camera Letter Reel Number Year Month Day e g A001_070512 etc Reformatting previously used media Re formatting a previously used CF card or RED DRIVE magazine follows a similar procedure except that the camera provides the following modified warning Feb 07 2008 Copyright RED Digital Cinema 53 The INTERNAL is formatted for 4K2 1 REDCODE RAW at 23 98 fps This magazine is NOT empty it contains 6 clips These clips will be PERMANENTLY DELETED Press the Joystick to confirm or select Cancel to return to the main camera status display Erasing media on a Macintosh personal computer On a Macintosh computer connect the CF card via a CF card reader or the RED DRIVE via a F
22. RE TIMECODE V QT PROXIES When checked the camera will create QuickTime reference movies at the completion of each clip record These movies are placed in the same clip folder While the reference movies are being created the camera reports POST in the status display You will not be able to record until the QuickTime proxies have been created Monitor The monitor menu provides controls for the framing guides and test patterns FRAME GUIDE ACTIVE E TEST SIGNAL EVF REFRESH Selections are FRAME GUIDE ACTIVE TEST SIGNAL HD SDI and EVF REFRESH Frame Guide This sub menu provides a selection of film frame guides and television safe action and safe title guides Frame guide elections are recorded in metadata Feb 07 2008 Copyright RED Digital Cinema 41 24 vs a320 FRAME GUIDE FRAME GUIDE M ENABLE PROTECT M ENABLE CURSORS Frame Guide select one of these aspect ratios 2 40 1 1 85 1 16 9 and 4 3 for the frame guides The color can be set to White Black Blue Yellow or Red for maximum visibility over the scene you are shooting TV SAFE GUIDE _ 16 9 FRAME GUIDE M ENABLE PROTECT M ENABLE CURSORS Protect displays a television safe area with16 9 14 9 or 4 3 aspect ratio The color of the safe area indicator can be set to White Black Blue Yellow or Red for maximum visibility over the scene you are shooting CURSOR S Center Action _ FRAME GUIDE M ENABLE PROTECT ENABLE CURSORS
23. RED ONE Digital Cinema Camera Operations Guide Build 14 Version 2 0 3 Sections 1 Before You Start 2 Camera Assembly 3 Physical Controls Aa Theory of Operation Or Basic Operation 6 Sensor Menu Controls 7 Audio Video Menu Controls System Menu Controls Upgrading camera firmware 10 Digital Media Management Appendix A Post Production Appendix B Power and Timecode I O Feb 07 2008 Copyright RED Digital Cinema Page 17 24 31 37 50 52 56 60 1 Before you start Congratulations on your purchase of a RED ONE camera Carefully unpack the camera body and any accessories and visit to register ownership of your camera Registration will help us assist you in providing camera ownership records to insurance and police authorities in the event of camera loss or theft RED ONE Digital Cinema Camera The RED ONE camera ships as standard with a PL mount To protect against dust and other contaminants entering the optical path ensure that the lens cap is used at all times when a lens is not mounted on the camera Additional mounts and adaptors are available for use with non PL mount lenses Please visit for additional information Operational hints and information about specific camera applications can be found on our web site at the on line community If you have a technical problem or receive a camera damaged in shipment please log on to our service web site at www red com supp
24. White Balance and Shutter Speed Access to Sensor A V and System menus Menu Off and Undo keys The joystick is a multi axis controller to navigate the camera menus Record Stop Start key The five buttons above the display are used for playback control From left to right the keys are Clip Start Previous Clip Play Reverse Clip Play Pause Fast Fwd and Clip End Next Clip Feb 07 2008 Copyright RED Digital Cinema 17 Status Display The status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup The elements include 01 00 00 00 Timecode Status reports current timecode value clip name or system messages ASA Value reports current exposure index Project Frame Rate report the project frame rate 24 00 fps in this example Timecode reports timecode lock status White Balance reports current color temperature Media reports remaining media capacity in Battery reports remaining battery capacity or connection to AC power Shutter Speed reports current exposure time Format reports video recording format 4K in this example The timecode value reported may be Edge Code or Time Code as selected by the user 18 Copyright RED Digital Cinema Feb 07 2008 Setting up a project Before recording the camera must be instructed to follow a Record Quality Frame Rate and Resolution These values are set in the PROJECT sub menu located in the SYSTEM menu 1 Press the SYSTEM menu key then
25. a Feb 07 2008 KEYMAP this menu permits selected menus or functions to be mapped to camera keys VfSIDE RECORD V USER 1 V USER 2 At this time the Key Map function can be used to enable or disable the Side Record User 1 Auto WB and User 1 Magnify function keys The default setting for each is Enabled GPIO this menu permits selected menus or functions to be mapped to camera keys FUNCTION RECORD vi INPUT A M INPUT B POLARITY This menu permits the function of GPI A and B defined as either Record triggers a normal video and audio record start stop Burst triggers a one shot or burst mode timelapse recording Ramp triggers a variable frame rate ramp speed change For GPI A the factory default is Record and for GPI B factory default is Burst Polarity selects the Polarity sub menu SIGNAL ACTE HI GPIO IN 1 GPIO IN 2 GPIO OUT 1 GPIO OUT 1 This menu permits the signal polarity of GPI A and B and GPO A and B to be defined as ei ther Active LO or Active HI Selection is independent for each GPI input and GPO output For GPI signals Active LO is the default which means the GPI command will be activated on a high to low edge of an external control pulse Set to Active HI to use a low to high edge For GPO signals Active HI is the default which means the GPO tally output will be high when in normal burst or ramp record modes and low when not Set to Active LO to reverse this Feb 07 2008 Copyright R
26. able speed recordings will be displayed at the Project Frame Rate Timecode select to change displayed timecode track force Jam sync or reset camera clock v JAM SYNC DISPLAY _ TIMEZONE Jam Sync instructs the camera to replace its internal Time of Day value with external time code read from the 5pin LEMO connector This value is updated at the first frame of each re cording provided a valid external timecode source is present If the external source is not present the camera auto increments the timecode until the external source is re connected Display lets the operator select whether Edge Code or Time Code is displayed in the status displays This selection also determines which of the two recorded timecode tracks will be used in the QuickTime reference movies and will be embedded in the HD SDI outputs FORMAT TIME CODE _ JAM SYNC DISPLAY _ TIMEZONE AO Copyright RED Digital Cinema Feb 07 2008 If Edge Code is selected E precedes the value shown in the status display If Time Code is selected T precedes the value shown in the status display Default setting is Time Code Timezone Applies a time offset to the SET CLOCK value established for the camera GMT OFFSET 8 0hours _ JAM SYNC DISPLAY J TIMEZONE If camera date and Time are set to GMT and then set TIMEZONE to 8 for West Coast US Pacific time etc Or set to local time and then set the TIMEZONE value to 0 QT Proxies CONFIGU
27. e lower LED to the right of the status display turns green Feb 07 2008 Copyright RED Digital Cinema 5 3 Physical Controls This section describes the physical controls on the RED ONE camera body A PL Lens Mount B Record C User Keys 1 and 2 A PL mount is provided as standard with the RED ONE camera The mount is compatible with the majority of S35mm 35mm and S16mm cinematography lenses and with B4 lenses via the optional B4 to PL converter The PL mount may include an S4 i interface If installed this interface permits the camera to communicate with various lenses from RED Digital Cinema Cooke Optics Ltd and other lens manufacturers supporting the S4 i protocols On the left side of the camera body are a RECORD key and two User Keys The two User Keys are pre assigned to AUTO WB and FOCUS checks functions If desired these keys may be dis abled in the SYSTEM KEYMAP sub menu to prevent accidental use An SD Memory card slot is provided below this group of keys and may be used for camera setup storage and software upgrades A blank 512MB SD card is provided with the camera 6 Copyright RED Digital Cinema Feb 07 2008 A i gt A Headphone B Dual Link HD SDI A C Dual Link HD SDI B D HDMI Out E Preview HD SDI F Video Genlock G USB 2 peripheral H USB 2 computer Audio Monitor J Timecode K Audio Ch 1 4 1 2 Upper Left Right 3 4 Lower Left Right L RED EVF M RED LCD N Aux RS232 The righ
28. e may then be ex ported to a variety of industry standard file formats for use in postproduction File Naming Conventions As each recording is made the RED ONE camera calculates a Clip Number starting at clip 001 for each new piece of digital media The Clip Number and Slate data are combined to create the Clip Name identifying each recording In a similar manner any time digital media is formatted by the camera a unique camera ID letter and Reel Number are assigned to that media This allows each clip to be uniquely identified even operating in a multi camera shoot e g for each clip a Clip Name is created using the structure AOO01_C001_070828 RDC Where A camera A 001 reel 001 C001 clip 001 07 2007 and 0828 Aug 28 Three cameras identified as A B and C can therefore have individually recognizable clips A001_C001_070828 RDC B001_C001_070828 RDC and C001_C001_070828 RDC A single camera identified as A can have individually recognizable reel numbers such as A001_C001_070828 RDC A002_C001_070828 RDC and A003_C001_070828 RDC Under normal operation the reel number continues to increment each time a new piece of digital media is mounted by the camera up to a maximum value of 999 However the reel number may be manually reset to 001 or other value for example at the start of each day A001_C001_070829 RDC and then force to 1 for AO01_C001_070830 RDC SET CAMERA ID CAMERA _ FORCE REEL Using the same technique virt
29. ector provides 500mA regulated 12V power to motorized 2 3 B4 mount lenses The two inputs labeled SW1 and SW2 are GPI switches that activate Record Start Stop and last recorded Clip Playback respectively They may be triggered by a standard B4 lens or by a lens motor controller such as Preston MDR 2 using an appropriate adaptor cable Note DO NOT attempt to power a cinema lens motor from this connector Depending on your current requirement power from an Auxiliary Power output or D Tap connector on the V Plate Mating connector LEMO FHG 1B 310 CLAD62Z right angle View into camera Lens RS232 connector Signal Description Direction Regulated 12V output 500mA max Playback Clip switch closure Record Clip switch closure Oooo hn O Note pins 2 and 8 are reserved for future use as RS232 transmit and receive signals 62 Copyright RED Digital Cinema Feb 07 2008 Line Microphone Audio Inputs The camera includes four microphone line inputs Each is a three pin mini XLR connector C2 B View Into Mic Line Audio Input 3 pin Mini XLR Pin Signal Description Direction Camera ground Mic Line input 48V phantom power In out Mic Line input 48V phantom power In out Microphone Line Input Signals Line Audio Output The camera includes a 5 pin mini XLR audio line output connector Description Direction Microphone Line Input Connectors Headphone Audio Output The camera includes a 3 5mm
30. ed by telecine transfer to a non linear video editor RAW data has a wide dynamic range and color space so you can freely change the white point white balance of the footage adjust exposure and alter highlight and shadow tonality when in post production This flexibility allows the camera operator to focus on composition The camera records unprocessed sensor data using REDCODE RAW compression to a CF card or RED DRIVE digital magazine Data is then transferred from the digital media via FireWire or USB 2 to a Macintosh OSX workstation running RED ALERT or REDCINE software or a Win dows XP workstation running REDCIINE software If you are using CF media copy the clips onto the workstation s hard drive If you are recording to a RED DRIVE it can be directly mounted as an external drive using FireWire if desired which eliminates the media copy step In film processing terms RED ALERT and REDCINE act as an integrated laboratory telecine and one light color corrector They convert recorded REDCODE RAW data to RGB video and provide basic one light image processing and color correction Using REDCINE footage can also be cropped resized or repositioned These functions lessen the amount of time required for color correction or re framing of shots after the final cut has been completed RED ALERT can generate QuickTime reference movies suitable for use in dailies applications and export a sequence of 2K or 4K resolution RGB image files a
31. ed is defined by Shutter Speed but modified by Syncro setting Relative Shutter Speed is defined by Shutter Speed but modified by the capture fps SHUTTER SPEED 1 48 sec__ _ GENLOCK SYNCRO PHASE Feb 07 2008 Copyright RED Digital Cinema 25 Shutter Speed When operating in the default Normal mode the Shutter Speed values are absolute and independent of the capture frame rate This means as Shutter Speed decreases more light falls on the sensor increasing exposure and motion blur on any objects moving within the frame As Shutter Speed increases less light falls on the sensor decreasing exposure and motion blur on objects moving within the frame Speed Exposure times presets include 1 24 1 25 1 30 1 32 1 33 1 40 1 48 1 50 1 60 1 96 1 100 1 120 1 125 1 192 1 200 1 250 1 384 1 400 1 500 1 696 1 800 1 1 000 1 1 200 1 2 000 sec When operating at 23 98 or 24 00fps these equal common shutter angles of 1 32nd 270 deg 1 96 90 1 48 180 1 192 A5 1 60 144 1 384 22 5 Relative When operating in this mode the Shutter Speed values are proportionately re duced or extended to correspond to changes in the instantaneous capture frame rate This mode is analogous to use of a fixed shutter angle on a film camera e g Enabling Relative mode with 1 48 sec shutter at 24fps will mean 1 96 sec for 48fps and 1 16 sec for 8fps This achieves the same visual result as setting a180 degree shutter Syncro Wh
32. en operating in this mode the Shutter Speed values may be proportionately re duced or extended to tune exposure time to a precise value Range 10 90 Default 50 e g Setting Syncro to 53 with a 1 60 sec shutter is equal to 1 56 6 sec exposure time Phase provides a delay relative to the start of the frame for the exposure time Phase may be adjusted over the range 45 to 45 degrees Default value is 0 Note To Convert Shutter Speed to Angle Equivalent Equivalent Degrees Shutter Speed x Project Frame Rate x 360 e g 1 48 x 24 x 360 8640 48 180 26 Copyright RED Digital Cinema Feb 07 2008 Shutter Degrees Shutter Degrees 1 32 270 1 120 72 1 48 180 1 192 45 1 50 172 8 1 348 22 5 1 60 144 1 696 11 1 96 90 1 1000 8 6 Note To Convert an Angle to an Equivalent Shutter Speed Equivalent Shutter 1 Project Frame Rate x 360 Angle e g 1 24x 360 180 8640 180 1 48 Degrees Shutter Degrees Shutter 270 1 32 72 1 120 180 1 48 45 1 192 172 8 1 50 22 5 1 348 144 1 60 11 1 696 90 1 96 8 6 1 1000 Varispeed The Varispeed menu supports Variable Frame Rate recording at speeds faster or slower than the Project Frame Rate and Frame Rate Ramping VariSpeed recordings can be initiated by pressing the Record key or by GPI trigger Note In all Varispeed modes audio recording is disabled Feb 07 2008 Copyright RED Digital Cinema 27 Note In Varispeed modes timecode is written to digital media at a ra
33. erence movies the entire clip will be referenced as trimming will be performed downstream If a single frame is to be exported press Save 4K or 2K DPX or 4K or 2K TIFF If a sequence of frames is desired press Save Sequence 4K or 2K DPX or 4K or 2K TIFF comun n SAVE SEQUENCE 2K DPX SAVE SEQUENCE 4K DPX SAVE SEQUENCE 4K TIFF Feb 07 2008 Copyright RED Digital Cinema 59 Appendix B Power and Timecode I O D C Power Input The power input connector accepts a DC voltage between 11 5 and 17V DC When used with a RED BRICK 140 battery the camera also receives battery status information The power input is protected against reverse polarity connection ESD under voltage and over current Mating connector LEMO FGG 2B 306 CLAD62Z straight 06 DCO View into camera Power Input connector Pin Signal Description VBATT Power input 11 5 to 17VDC eae oe 5 SCL_BATT Battery pack I2C bus clock 6 SDA_BATT Battery pack 12C bus bi directional data Note It is very important that both of the VBATT and VBATT pins are wired up DO NOT fabricate any power cables with just one each of the VBATT and VBATT pins wired up as this can damage the camera power supply assembly Auxiliary Power Outputs The camera provides two auxiliary power output connectors on its back panel Each supplies un regulated 11 5 17V battery pass through power Maximum sustained current draw is 1 Amp per output Outputs are over current
34. gital Cinema 35 Audio This sub menu allows microphone input levels to be adjusted via a high quality pre amplifier INPUT LEVEL 2848 CHANNEL 1 CHANNEL 2 CHANNEL 3 CHANNEL 4 Audio is sampled at 24bits which provides high audio fidelity and wide dynamic range Each microphone input is provided with a pre amplifier that maybe adjusted for optimal level to match different microphone sensitivities and sound pressures Input Level Range 20dB to 54db Default value is 32dB Note Input level adjustment does not apply to line level audio inputs Headphone The sub menu provides controls for headphone output volume channel mixing VOLUME MASTER VOLUME VOLUME LEFT VOLUME RIGHT MIX Master Volume Adjusts the overall headphone volume Range is 18dB to OdB in 1dB steps Default is OdB Volume Left Volume Right Adjusts volume for the left and right sides independently Range is 12dB to 6dB in 1dB steps Default is OdB OUTPUT MIX FR MASTER VOLUME VOLUME LEFT VOLUME RIGHT MIX Mix Selects which audio channels feed the left and right side headphone outputs 1L 2R Feeds channel 1 to the left side channel 2 to the right 3L 4R Feeds channel 3 to the left side channel 4 to the right Quad Mix Feeds channels 1 amp 2 to the left channels 3 amp 4 to the right Note Mix selection also affects the 5pin mini XLR audio line output 36 Copyright RED Digital Cinema Feb 07 2008 8 System Menu Controls This sec
35. gital range providing sufficient headroom above the reference level to pre vent clipping while maintaining the sound quality of lower volume sources such as dialog A OdB reference voltage level of 0 775V provides approximately 8dB of headroom above reference Microphone pre amplifier gains should be adjusted accordingly i e 8dB lower e g With an Azden SGM X1 microphone rated at 41dB sensitivity set the mi crophone pre amplifier to 41 9 32dB for optimal recorded signal quality Monitoring Outputs The RED ONE camera supports a variety of monitoring options RED EVF 1280 x 848 resolution RGB 4 4 4 progressive video display with Surround View frame guides and safe action title overlays zebra and false color exposure overlays wave forms camera status and operation menus RED LCD 1024 x 600 resolution RGB 4 4 4 progressive video display with Surround View frame guides and safe action title overlays zebra and false color exposure overlays wave forms camera status and operation menus Feb 07 2008 Copyright RED Digital Cinema 11 HDMI DVI 1280 x 848 resolution 4 2 2 video output with Surround View frame guides and safe action title overlays waveforms and camera status and operation menus on the HDMI port This signal is compatible with most DVI equipped SXGA computer monitors PREVIEW 720p 1280 x 720 resolution 4 2 2 video output 720p 50 00 or 720p 59 94 Hz with Surround View frame guides and safe acti
36. herwise unprocessed source footage this was captured at late morning at exposure index A320 24fps 1 48 sec shutter and no filtering Note the transition of false color in the clouds indicating clip point was almost reached the light grey chair is exposed at approximately 18 gray and the foliage falls in the shadows Feb 07 2008 Copyright RED Digital Cinema 33 When Edge Highlight is selected the edges of items in focus is outlined ANALYSIS METER 4 FOCUS ASSIST HUD METER ivi ASSISTS Meter allows the operator to choose an always on signal analysis Selections include Spot Meter Luma Histogram and RGB Histogram If Spot Meter is selected a red rectangular box will appear centered on the center cursor of the image The size of this sample box can be adjusted by rotating the Joystick and its lo cation can be adjusted by moving the joystick in X and Y directions Press the joystick to fix the sample box The average IRE value of the pixels in the sample box is shown in the lower section of the full camera display If Luma or RGB Histogram are selected a corresponding histogram illustrates the exposure distribution The histograms are complimented by a Clip Meter that looks like a traffic light but with red blue and green lamps When either of the R G B channels has 2 of their pix els at the maximum clip value then a corresponding light will illuminate Assists allows the operator to choose a signal analysi
37. hysical removal of the CF card or disconnecting the RED DRIVE without first un mounting it will not damage the media but can increases the risk of file corruption especially if data is being recorded In addition auxiliary metadata files cannot be written to the digital media To UNMOUNT the digital media follow this sequence Press and hold the UNDO key and then press the EXIT key When the status indicator displays Safe to Remove and X as media status it is safe to remove the CF card and or disconnect the RED DRIVE magazine 01 00 14 00 A001_C003 Pira nrram 1 Internal Temp Media Power Mag The modest extra step of un mounting the digital media helps recorded clips mount instantly in postproduction Failing to unmount before removing the digital media will not damage the recorded clips themselves but it can increase the risk of corrupting the clip index file Copying Media When copying media it is recommended that the entire contents of the digital magazine are copied to the storage media This ensures that all appropriate media and data are copied Note You don t need to copy the PIN log digital magazine profile and digi tal magdynamic profile files but will also do no harm if you do Feb 07 2008 Copyright RED Digital Cinema 55 Appendix A Post Production RED workflow is quite easy to understand especially if you have experience with photographic RAW image processing or shoot film follow
38. igital Magazine may be connected to a computer via FireWire or USB 2 Each clip is recorded with a unique clip name and placed in a clip folder like this E AOO LT G009T0709 TSR DG Record Indication On record the RED ONE camera provides a variety of record tallies Timecode normally displayed in white colored text will turn red and a small red dot will appear in the top left corner of the monitor The upper LED to the right of the status display screen will turn red and if using an EVF the front LED will also turn red If media is not present the camera will provide a warning as follows RECORDING ERROR NO_DIGIMAG If this warning is displayed check the physical mounting of the CF card or that the RED DRIVE is attached to the e SATA port using the supplied 16 pin LEMO cable Metadata RED ONE cameras record Metadata which is data that describes the precise characteristics of the picture and sound data captured in each frame of footage This may include camera specific setup information project and clip management information Edge code Time code date and location lens settings and video and audio processing information 14 Copyright RED Digital Cinema Feb 07 2008 Post Production Compressed REDCODE RAW images may be post processed using RED ALERT or REDCINE applications These applications convert RAW sensor data to RGB video and correct white balance exposure tonal response and color timing The processed footag
39. ion HD SDI SMPTE 292M HD SDI out ShieldSereen Ground O 0 Capture HD SDI Output each connector HDMI The camera includes a standard HDMI Type A connector on its right side panel This output may provide a HDTV compatible 1280 x 720p or SXGA compatible 1280 x 848p signal 64 Copyright RED Digital Cinema Feb 07 2008
40. ireWire 400 cable Open the Disk Utility application and then select the CF card or RED DRIVE First Aid Erase RAID Restore 93 2 GB ST910021AS Media Laptop Mac To erase a disk or volume select its icon specify a format and name and click Erase EA 7 5 GB Generic STORAG RED_ONE s Erasing a disk erases all data and volumes on a disk leaving the disk empty Erasing a selected volume erases that volume only leaving other volumes on the disk unchanged To securely erase data click Security Options and select an option before clicking Erase To help prevent recovery of deleted files click the Erase Free Space button Volume Format Name RED_ONE Select the Erase tab and choose MS DOS File System as the Volume Format Add a Name if you wish but this is optional Before proceeding double check that this is the CF card or RED DRIVE that you wish to erase and then click on the Erase key When the pop up window ap pears click on the Erase button When the media is erased drag its icon to the trashcan and physically disconnect it When mounting erased media on the camera it will be treated as unformatted media and will follow the same formatting rules as described above 54 Copyright RED Digital Cinema Feb 07 2008 Removing Media It is recommended that media is un mounted prior to physical removal from the camera This ensures that power is removed from the digital media and any open data files are closed P
41. isible area outside the actual recorded image Frame guidelines show common film presentation and television formats such as 2 40 1 and 1 85 1 picture center and or television aspect ratios such as 16 9 14 9 and 4 3 Focus is aided by the high resolution of the displays and FOCUS check a 2x image magnify function complimented by a selectable waveform based focus assist meter Dual zebra false color meter and a selection of histograms assist optimal exposure System information including instantaneous frame rate exposure index shutter speed color temperature recording format clip name timecode battery and media remaining is pro vided in the LCD EVF monitor outputs and the rear status display on the camera back For applications when a RED LCD or RED EVF are not desired for example when working on a crane the Surround View video frame guides and exposure overlays are also available on the Preview HD SDI output for remote camera monitoring up to 200 ft away Feb 07 2008 Copyright RED Digital Cinema 13 Digital Magazines REDCODE RAW compressed video time code and other metadata may be recorded to on board or attached digital media devices including RED FLASH CF An internal reader writer that utilizes high speed Compact Flash media RED DRIVE A hard disk memory based Digital Magazine of up to 320GB capacity RED RAM A solid state flash memory based Digital Magazine of up to 64GB capacity Either type of D
42. itoring in image capture 58 Copyright RED Digital Cinema Feb 07 2008 E Matrix Exposure 0 8 0 00 Saturation e 9 1 00 Contrast 6 _ 0 00 Brightness 8 8 0 00 RED ALERT reads the camera metadata recorded for each parameter Individual values can be changed by dragging the slider or by entering a new numeric value in the box Clicking R will reset the value back to its default setting Clicking M will restore the recorded metadata value R ALL or M ALL will affect all parameters GRADE will revert all values back to those last used in your color grade Presets are available to establish a consistent look across multiple clips or alternative color treatments may be made to the same clip In future looks may be shared with the camera OO S a002_c003_070913_P1 mov The image may be displayed using REC 709 linear or a variety of log color space If Matrix is unchecked and display is set to Linear the data that is drawn on screen represents the native linear response of Mysterium without any color processing or gamma correction applied For most television applications select REC 709 For special effects use Linear For D I use a Log Lile Pav gt o MIEG 0101 4102 16262904 The timeline controls permit the user to play selected clips and mark an IN and an OUT points between which the TIFF or DPX file sequence will be extracted When creating any QuickTime ref
43. ma Apple 140 Amazon eBay Yahoo News 1692 Home Cameras Lenses Accessories Workflow Technology Shot on RED Store Sign In REDUSER NET Community RED FAQs RED ALERT QuickTime Plugin Read REDCODE RAW files perform white balance contrast and one light color correction then export DPX TIFF or QuickTime reference movies for dailies stills extraction and general playback applications Currently available for Macintosh OSX only Play REDCODE RAW movies directly from QuickTime Player or other Quicktime enabled application Requires QuickTime 7 0 or higher e Currently available for Macintosh OSX only Register Your RED Product Other Online Information K We re available monday Y friday 8 00 AM 5 00 PM Pacific Time GMT 8 unless we are gone 1 2 1 0 75 MB Download l J Release History Including other systems 1 2 8 0 67 MB Release History Including other systems Camera Firmware Update the RED ONE camera to the latest feature set including 2K and 4K RAW capture variable speed and time lapse recording Operations Guide The complete guide to RED ONE camera operations including post N production techniques utilizing RED applications Name Email Phone Subject Product Type Camera Serial Number s 1 3 5 4 65 MB Download Re Detail Release History Including other systems 1 3 5 7 52 MB Re Release History Including
44. mits the available choices of frame rates and resolutions to CF cards FRAME RATE 23 98fps RESOLUTION EMANE Framerate allows the user to choose any single frame rate Resolution Choose 4K 3K or 2K or 2 1 variants Use 2K or 2K 2 1 for S16mm B4 lenses Note The maximum Project Frame Rate available for each media type per Resolution is REDCODE 28 CF MEDIA RED DRIVE 2K 2 1 59 94 fps 59 94 fps 2K 16 9 59 94 fps 59 94 fps 3K 2 1 50 00 fps 59 94 fps 3K 16 9 29 97 fps 50 00 fps 4K 2 1 25 00 fps 29 97 fps 4K 16 9 25 00 fps 29 97 fps Feb 07 2008 Copyright RED Digital Cinema 39 REDCODE 36 CF MEDIA RED DRIVE 2K 2 1 59 94 fps 59 94 fps 2K 16 9 59 94 fps 59 94 fps 3K 2 1 29 97 fps 50 00 fps 3K 16 9 29 97 fps 29 97 fps AK 2 1 25 00 fps 25 00 fps AK 16 9 n a 25 00 fps Note Valid combinations of Quality Resolution and Project Frame Rate are indicated by the SETTINGS OK check mark When present the media will be able to execute the requested recording If unchecked the media is too slow Note that a project can only support one Project Frame Rate Changing the Project Frame rate will force a new project and reset the reel number counter This occurs because the Pro ject Frame Rate defines the fundamental time base used for timecode clip playback and edit ing as well as being the primary frame rate for acquisition However variable speed recordings can be made above and below this base frame rate On playback these vari
45. mp White Balance menus Below the status display are the Joystick Sensor Menu Video Menu System menu Exit Undo and RECORD buttons The status display reports key camera status values and is complimented by two LED s the red LED provides a record tally while the green LED indicates the camera is ready for operation The five buttons above the display are used for playback control From left to right the keys are Clip Start Previous Clip Play Reverse Clip Play Pause Fast Fwd and Clip End Next Clip 8 Copyright RED Digital Cinema Feb 07 2008 A Power On Off switch B Aux Power GPIOA C Aux Power GPIO B D Camera 11 5 17V D C Input E e SATA Interface to RED DRIVE or RED RAM magazine Underneath the status display key group are the Power On Off switch top left two 4 pin Aux iliary Power GPIO outputs 6 pin camera system POWER input and a 16 pin DRIVE interface Each Auxiliary Power GPIO connector can supply 1 75 amps of unregulated 11 5 17V DC power to accessories such as range finders or compact lens motors In addition the upper con nector provides a GPI trigger for Record Start Stop and an In Record tally output The lower connector provides a GPI trigger for Single Frame Record and a Frame Recorded tally output The DRIVE interface utilizes standard e SATA protocols and supplies power and data to record REDCODE RAW compressed video data plus audio to RED DRIVE or RED RAM digital media To power the came
46. on title overlays on HDMI and HD SDI ports EVF PVW Provides both a full 1280 x 848 resolution RGB 4 4 4 progressive display to the RED EVF and a1280 x 720 resolution 4 2 2 video output to the HDMI and HD SDI ports Note Only one monitor choices can be selected PREVIEW 720p is the default To activate RED EVF RED LCD HDMI DVI or EVF PVW options select that monitor output as follows Press the SYSTEM menu key and then push the joystick right to highlight MONITOR Active Output RED EVF FRAME GUIDE _ TEST SIGNAL Press the joystick in and then push the joystick to the right to highlight ACTIVE Rotate the joystick to select RED EVF RED LCD HDMI DVI or EVF PVW as the new active monitor output Press the EXIT key to return to the main camera menu The monitor setting will be held in camera memory Once it is set it will not need to be re set when power cycling the camera Note RED has tested Dell 1708FP 1280 x 1024 and the LG L206W 1680 x 1050 PC monitors with an HDMI to DVI adaptor cable You should test for PC monitor compatibility RED LCD and RED EVF The optional RED LCD and RED EVF are specialized video monitors that may be attached to the camera body and provide a variety of tools to assist framing focus and exposure 12 Copyright RED Digital Cinema Feb 07 2008 24 xs a320 l AB e s1000 ANALYSIS METER FOCUS ASSIST INTENSITY iv METER EFFECTS Surround View which is an additional v
47. or external GPI contact closure to initiate the next frame capture Interval the camera waits for the period of time defined by the Interval parameter One Shot the camera to waits for a side record command or external GPI contact closure The default setting is One Shot SHUTTER SPEED _ 1 4sec M ENABLE STEP PRINT INTERVAL Speed Specifies the shutter speed to be used during Timelapse This control is the same as is available in the Shutter menu but it provides access to additional shutter speeds that may be used in Timelapse recording The additional exposure time presets are 1 1 2 1 3 1 4 1 6 1 8 1 12 1 16 second Note In Build 14 shutter speeds below 1 16 sec are not yet implemented NUM FRAMES 4 frames M ENABLE STEP PRINT INTERVAL Step Print Specifies the number of times each single frame captured in timelapse mode is to be recorded to the digital media Available range is 1 10 frames Default value is 1 frame Interval Specifies the number of seconds the camera will wait before the next image is cap tured Range is 1 1024 seconds Default setting is 5 seconds Note When recording in Timelapse mode the RECORD tally lamp will remain illuminated Each successive step print uses the next available Edge Code and Time Code value and uses the existing clip name This results in a complete timelapse sequence with a single clip name and correct timecode sequence To exit Timelapse mode press the RECORD b
48. ort or call 1 949 206 7900 for the support team 2 Copyright RED Digital Cinema Feb 07 2008 A wide range of options and accessories are available to customize your RED ONE camera The Basic Production Pack includes a top bracket and top handle base plate and two 19mm rods an adjustable grip handle a combination shoulder pad wedge plate adaptor V mount battery plate and a digital magazine cradle RED ONE camera with Basic Production Package battery RED DRIVE amp lens not included The distance from the digital magazine cradle to the camera back may be adjusted to counter balance the weight of the lens In addition the shoulder pad wedge plate adaptor can slide against the base plate and be locked in position The adaptor includes wedge plate mounting holes so there is no need to remove this component between on the shoulder and tripod ap plications Additional rods brackets and grips may be added to the Basic Production Pack to configure the camera to a wide variety of studio and field production applications The RED ONE Power Pack includes two 140Wh batteries RED CHARGER and an auxiliary power cable When connected to a 120V 240V AC power source the charger sequentially fast charges two batteries or supplies the camera with 100W 13 8V regulated DC power Feb 07 2008 Copyright RED Digital Cinema 3 2 Camera Assembly The RED RAIL BASE PLATE TOP BRACKET and HANDLES are attached to the camera body using 4 20 hex screws
49. ote Media formatted on camera will generate create a directory name in the format Camera Letter Reel Number Year Month Day e g A001_070512 etc Project Menu The project menu sets the operating parameters the camera will use for a given project CONFIGURE TIMECODE M QT PROXIES Selections are SLATE CONFIGURE TIMECODE and QT PROXIES Slate lets the operator identify the camera and starting reel number for the project so clips recorded on the digital media may be easily identified in post production SET CAMERA ID CAMERA E FORCE REEL Camera is a single letter A Z that provides a unique identifier for the camera in a multi camera production environment The default camera identifier is A When you push record the camera names the clip being recorded on the digital media The format of the clip name is Camera Letter Reel Number Clip Number Year Month Day For example the clip name might be 38 Copyright RED Digital Cinema Feb 07 2008 A001_C001_070828 RDC Where A camera A 001 reel 001 C001 clip 001 07 2007 and 0828 Aug 28 Force Reel is a number from 1 999 Each time a new CF card or RED DRIVE is mounted to the RED ONE camera this number is automatically incremented Default is 1 Configure defines the operation of the camera in a project RESOLUTION 4K 2 4 RESOLUTION FRAME RATE Quality Choose between REDCODE 28 or REDCODE 36 Default is REDCODE 28 Note REDCODE 36 li
50. other systems Download Upgrade Procedure Firmware and software identified by a build and version number A higher number reflects a later release The current release is identified on the home page of www red com web site To download click on the desired release s link at ww red com support Before the down load starts you will be prompted to enter your account and password or the camera s P I N Once the firmware is downloaded you will see a new folder on your desktop Open that folder and verify you see a read me file containing installation instructions and a folder called Upgrade Now take either an SD Card or a CF card that has been formatted by the camera and use your computer to copy the folder called Upgrade onto that SD or CF card Finally unmount the SD or CF card from the computer i e drag to the trash can and insert the SD or CF card into its corresponding slot in the camera To initiate the upgrade turn off the camera wait approximately ten seconds and then turn on the camera again If there is valid upgrade firmware on the SD or CF card all monitor outputs will report back 50 Copyright RED Digital Cinema Feb 07 2008 A software update is available for your system Would you like to upgrade Upgrade Later Press the joystick to confirm the upgrade all monitor outputs will report back Performing System Upgrade This may take several minutes Do not power down during this process
51. posure and Color Temperature values are stored as meta data for use in REDCODE RAW compatible NLE and image processing applications The Exposure and Color Temperature values only modify the RED LCD RED EVF Preview HD SDI and HDMI monitor outputs They do not affect the recorded REDCODE RAW video data Exposure 10 10 aS EXPOSURE Exposure Index adjusts the camera s operating sensitivity The default exposure index is ASA 320 adjustable in 1 3 stop increments from ASA 100 to ASA 2000 If the exposure index is adjusted camera metadata logs the change and the monitor path reacts accordingly Color Temperature Color Temp _6100 K_ AUTO WB TUNGSTEN DAYLIGHT MANUAL WB TINT Color Temperature adjusts the purity of white reproduction of the RGB monitoring paths at different Color Temperatures of ambient light Factory default is 5 000 degrees Kelvin Preset values are available for Tungsten 3 200K and Daylight 5 600K The operator may also manually set any other Color Temperature in the range 1 700 to 10 000 degrees Kelvin The Automatic White Balance function allows the camera to calculate a Color Temperature that will render a white object as white AWB mode analyzes the central 25 of the image visible in the monitor To use Auto WB place a white or gray object under the ambient light select the Auto WB parameter and then press the Joystick once If AWB has been assigned via USER KEY menu selection you may also
52. ra s op tical path will be exposed to the elements A B4 mount to PL mount adaptor is also available to permit use of 2 3 HD lenses on the RED ONE camera The optical coverage is provided is equivalent to S16 mm Hence the maximum recording resolution with these lenses will be 2K RAW Mysterium Sensor The Mysterium sensor has been specifically designed for use with the RED ONE camera and provides variable frame rate imaging over 1 60fps 1 120fps in 2K windowed mode Mysterium is color balanced for 5 000 degrees Kelvin but may be electronically compen sated for operation at any color temperature in the range 1 700 to 10 000 Kelvin White Balance presets at 3200K and 5600K are available for Tungsten and Daylight lighting Mysterium includes an integrated 12bit resolution analog to digital converter for each pixel and is capable of delivering up to 66dB dynamic range 11 stops when operating at the de fault Exposure Index of 320 ASA Image Processing The data received from the Mysterium sensor is formatted as unprocessed 12 bit RAW data pixel defect corrected but not color processed a technique common to digital photography RAW data may be recorded in camera using wavelet based compression REDCODE RAW to compact flash hard disk drive or flash drive media The RAW output data of the sensor is also converted to white balanced RGB 4 4 4 monitor video that conforms to the SMPTE EBU REC709 color gamut It may be lightly
53. ra up from a RED BRICK battery press the power on off switch once To power the camera up from a RED CHARGER connect it via the supplied power cable Plug the RED CHARGER into an AC power source and switch it on After the green LED illuminates on the RED CHARGER the camera can be powered on by pressing its On Off switch To power the camera down press the power on off switch once Note After power down is recommended that you wait 5 seconds after the camera s green status LED goes off before powering the camera up again Feb 07 2008 Copyright RED Digital Cinema 9 4 Theory of Operation The RED ONE Digital Cinema camera provides high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm 35mm and Super16mm The camera is supplied as standard with a PL mount and may be configured with 19 mm rods to accommodate most cinematography lenses matte boxes and follow focus systems Adaptors for 15mm offset studio and 15mm lightweight rods are also available In addition to compatibility with existing PL mount cinematography lenses a select range of 35 35mm format PL mount prime and zoom lenses are available from RED Digital Cinema Other lens mounts including Canon FD and Nikon F will be available from RED and 3 par ties permitting the use of Nikkor and Canon photographic lenses To use these mounts the PL mount must be removed This should be done in a dust free environment as the came
54. s One zebra may be used for highlight exposure and the other for mid tone or shadows LOWER IRE HI IRE Zebra 1 default settings are for highlight indication with LOW IRE at 90 and HI IRE at 108 Zebra 2 default settings are for 18 gray indication with LOW IRE at 44 and HI IRE at 47 To use Zebra 2 as a shadow exposure indicator set Zebra 2 LOW IRE to O and HI IRE to 5 This corresponds to Dark and Medium Blue in the False Color Meter Areas of the image exposed within these ranges will be indicated by crosshatched overlays Zebra 1 crosshatch pattern is oriented NW SE and Zebra 2 is oriented NE SW Where the Zebras overlap Zebra 1 has display priority Dark Detail allows the RED EVF to view addition information detail in dark areas of a scene or in dimly illuminated nighttime scenes Default setting is ON and 2 j COLOR METERS ZEBRAS DARK DETAIL v OPEN GATE Open Gate lets the camera preview images at 48Hz 50Hz update rate when operating in 23 98 or 24 00 fps 25 fps Project Frame Rates In record all monitor path images will be viewed at 48Hz but recorded at 23 98 or 24 00 fps viewed at 50Hz recorded at 25 fps Note Open Gate is not available in Varispeed or Ramp record modes Note Open Gate is not available for 29 97 or higher Project Farme Rates Note In Build 14 when deselecting Open Gate mode it is normal to observe 2 to 3 second disruption in the RED EVF display Feb 07 2008 Copyright RED Di
55. s TIFF or DPX files for DI use REDCINE can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and compressed 4 2 2 video formats Provided the appropriate QuickTime codec s are available on the host computer workstation compressed video choices include ProRes DNxHD DV100 and M JPEG QuickTime movies at 1080p or 720p resolution For film out multi media or special effects applications REDCINE may export a sequence of 2K or 4K image files in TIFF Open EXR DPX JPEG or Photoshop PSD file formats Creating 4 2 2 at 1080p or 720p resolution QuickTime movies provides compatibility with the majority of non linear editing systems Depending on the QuickTime movie resolution material may be taken directly to a broadcast delivery videotape format or after the editorial decisions have been made video can be conformed at full image resolution by replacing the lower reso lution edit proxy e g 720p at 8 bit quality with a high resolution 4K 2K or 1080p image file Color grading may be performed during editing or after the final conform The graded show is then output to delivery media film a DCDM digital cinema distribution master or HD master 56 Copyright RED Digital Cinema Feb 07 2008 Software Tools RED Digital Cinema provides a variety of software tools to aid postproduction For proper color rendition using a Macintosh OSX computer your monitor should be set to Adobe 1998 or to SMPTE C display profile If you use
56. s waveform Selections include Wave form Exposure RGB Parade Histogram and Focus Assist If Waveform is selected a color coded waveform illustrates the exposure values using the full width of the lower section of the camera display As exposure reaches maximum wave form color changes to yellow and then red At minimum exposure the waveform color changes to light blue then dark blue These colors match those used in the False Color Meter If RGB Parade is selected a corresponding histogram illustrates the exposure distribution in the R G and B channels using the full width of the lower section of the camera display If Focus Assist or Focus Overlay are selected a full screen width red rectangular box will appear centered on the center cursor of the image The vertical position of this sample box can be adjusted by rotating the Joystick and its height can be adjusted by moving the joystick left or right Press the joystick to fix the sample box The average focus value of the pixels in the sample box are shown in a full width graph restricted to the lower section of the camera display Focus Assist or overlaid in the lower section of the active video Focus Overlay Zebras To adjust Zebras highlight the ZEBRA label and then push the joystick 34 Copyright RED Digital Cinema Feb 07 2008 fe CONFIGURE1 yj ENABLE 1 CONFIGURE 2 E ENABLE 2 Zebras enables and adjusts the upper and lower values for two independent Zebra indica tor
57. t side of the camera contains all the video audio and time code inputs and outputs From top left to bottom right these comprise a 3 5mm stereo headphone jack and four DIN 1 0 2 3 video connectors that support dual link HD SDI Preview HD SDI and Video Genlock Next an HDMI output a USB 2 type A port for USB peripherals and a USB 2 type B port to connect the camera to a computer a 5 pin mini XLR stereo audio output and 5 pin LEMO timecode input output Four three pin mini XLR audio inputs make up the next group Finally there are three LEMO connectors that provide video and power for the RED EVF and RED LCD and an Aux RS232 port that can interface to a variety of lens motors or controllers A 6 inch length DIN 1 0 2 3 to BNC video adaptor cable and an 9 inch length mini XLR to mini XLR cable and XLR to mini XLR adaptor are provided with the camera Additional cables and adaptors may be ordered from the on line store at this address www red com store Feb 07 2008 Copyright RED Digital Cinema 7 01 00 00700 4320 24 3675 Media AC t INT A User Menu A B C B Status Display C Tally amp Ready Lamp D Sensor Menu Key E EXIT Key F UNDO key G Record Start Stop H Joystick A V Menu Key J System Menu Key On the rear of the camera several buttons surround a daylight readable status display To the left of the status display are three Quick Menu buttons A B and C which directly access Exposure Shutter Speed and Color Te
58. tatus screen RED EVF and RED LCD monitors will display the remaining media capacity At 5 remaining capacity the media status box in the EVF or LCD will turn yellow at 3 it will turn red At 2 remaining the camera will cease recording This reserves a small amount of capacity for ancillary data files to be written to the digital media Note Media formatted on camera will generate create a directory name in the format Camera Letter Reel Number Year Month Day e g A001_070512 etc Clips recorded to the media follow a similar naming convention e g A001_C001_07512 etc Media Formatting Media must be formatted prior to using it for recording At this time formatting must be done on the camera Media may be pre formatted erased on a Macintosh OS X or Windows XP personal computer allowing the camera to add the necessary project format data Formatting on camera i Formatting a new Compact Flash card or RED DRIVE magazine Insert the CF card with the manufacturer s label facing outward away from camera body Press the CF firmly into the CF slot but without excessive pressure Or attach the RED DRIVE magazine to the e SATA port via the 16 pin e SATA cable provided The camera will recog nize unformatted media and prompt with a message such as this 52 Copyright RED Digital Cinema Feb 07 2008 An unformatted INTERNAL magazine is attached This magazine is empty Re formatting it will configure its project for 4K2 1 REDCODE
59. te equal to the instantaneous capture rate This ensures that the recorded REDCODE RAW data has valid and sequentially incrementing timecode for use by non linear editing devices Note In Varispeed the frame rate display turns yellow the audio panel reports VARISPEED VJ VARISPEED _ RAMP FRAMERATE END RATE Varispeed Before recording enable this function by checking the Varispeed checkbox TRIGGER ON RECORD M VARISPEED f fRAMP FRAMERATE TIME END RATE Ramp enables a speed ramp a transition over Time from the Frame Rate to an End Rate On Record The ramp will immediately start transitioning from Frame Rate to the End Rate On Event On record the capture frame rate starts out at the Frame Rate and the start of the transition to the End Rate occurs only when an external GPI trigger has been received FRAMERATE 4 fps E VARISPEED RAMP FRAMERATE TIME END RATE Framerate enables the user to choose any single frame rate Minimum frame rate is 1 fps maximum frame rate is a function of REDCODE setting record resolution and media type REDCODE 28 RED FLASH RED DRIVE 2K 2 1 75 fps 75 fps 2K 75 fps 75 fps 3K 2 1 50 fps 60 fps 3K 36 fps 50 fps AK 2 1 25 fps 30 fps AK 25 fps 30 fps 28 Copyright RED Digital Cinema Feb 07 2008 REDCODE 36 RED FLASH RED DRIVE 2K 2 1 75 fps 75 fps 2K 75 fps 75 fps 3K 2 1 36 fps 50 fps 3K 30 fps 36 fps AK 2 1 25 fps 25 fps AK n a 25 fps DURATION 50sec VARISPEED j RAMP
60. the HD Cinema display profile adjust the gamma to 2 2 REDCODE RAW QuickTime Component The REDCODE RAW QuickTime component permits REDCODE RAW footage to be displayed on Macintosh OSX or Windows XP personal computers with QuickTime Player V7 0 or higher A002_C003_070913_P mov A002_C003_070913 RDC Q 0 a a A002_C003_070913_001 R A002_C003_070913_H mo A002_C003_070913_M mo 3D v v a A002_C003_070913_P mo i v QuickTime player The render performance of computers will vary based on CPU speed number of cores and disk speed Therefore the RED ONE camera RED ALERT and REDCINE offer QuickTime reference movies at _H high 2048 x 1152 _M medium 1024 x 576 and _P proxy 512 x 288 resolu tions for 4K and 4K 2 1 RAW recordings and _H high 1024 x 576 _M medium 512 x 288 and _P proxy 256 x 144 resolutions for 2K and 2K 2 1RAW recordings Choose the resolution that is most appropriate to your requirement for resolution or playback frame rate on your specific computer If the footage is to be viewed at distant location e g dailies export the footage as a standalone movie using MPEG 4 or other low bit rate codec Note The QuickTime reference movies work by partially decoding the wavelet data which means that the original 4K or 2K REDCODE RAW recording must be available on a drive ac cessible to your computer For remote use conversion to a standalone movie avoids this issue Feb 07 2008 Copyright RE
61. the fan runs at its minimum speed when in record Auto This setting combines VARIABLE speed fan operation while not recording with SILENT mode when in record This mode is recommended for extended duration dialog recordings Black Shading allows the camera to self calibrate the sensor for optimum black levels BLACK SHADING RESTORE UPDATE SW 46 Copyright RED Digital Cinema Feb 07 2008 Note before starting a Black Shading calibration ensure that you place a lens cap that blocks all light on your lens close the lens iris and insert a formatted CF card into the camera or attached a formatted RED DRIVE It is very impor tant that no light reaches the sensor If Black Shading calibration is performed without capping the lens the black level calibration will be incorrect To rec tify repeat the procedure with a lens cap installed Press the BLACK SHADING button the camera monitoring outputs will report Start Restore Press the START button the camera monitoring outputs will report You are about to modify the camera s factory caiibration You should take this step only when advised to do so by a factory representa tive Before continuing make sure the lens cap is securely in place The sensor must remain unexposed to light for the duration of this process Press the O K button the camera monitoring outputs will report Starting Black Shading Calibration The camera will then enter the Record mode and any camera moni
62. tion describes the various controls available to configure the camera These parame ters are accessed from the SYSTEM menu key located below and left of the RECORD button PROJECT gt MONITOR The available sub menus are SOUND MEDIA PROJECT MONITOR and SETUP Sound Menu This menu provides audio channel configuration and management RECENABLE The sub menu available at this time is REC ENABLE INPUT TYPE Microphone v CHANNEL 1 _ CHANNEL 2 eel CHANNEL 3 CHANNEL 4 Each of the four 24 bit 48KHz sampled audio channels may be independently enabled Once enabled an input type may be selected either Line or Microphone Media Menu This menu provides access to media formatting and other aspects of media management MAGAZINE The only sub menu available at this time is REC ENABLE Feb 07 2008 Copyright RED Digital Cinema 37 Magazine Menu This menu provides various media management functions including digital media formatting UNMOUNT FORMAT Unmount select to un mount digital media from the RED ONE camera in a failsafe manner The camera operating system will ensure that all files are closed hard disk heads if present are parked log files written and CF card or RED DRIVE magazine is properly powered down Format select to format digital media The camera will warn that all data will be erased and formatting require that a sequence of confirm commands are made before proceeding N
63. toring outputs will report Calibration Analyzing Sensor 99 The camera records 100 frames of sensor data that is used to analyze the black level of each pixel This will take about 2 minutes After that time the camera will report Black Shading Preparing Merging Calculating Writing Finally the camera will report Black Shading Installing Installation of the new data takes about 3 minutes The camera will then report Black Shading Calibration was successful Please reboot the camera for the new settings to take effect Power cycle the camera This completes the Black Shading calibration procedure Feb 07 2008 Copyright RED Digital Cinema 47 Restore permits camera configuration and setup data to be reset to factory default values M SYSTEM KAREO VJ USER RESTORE System Allows all camera configuration parameters to be reset to factory preset Look Allows all image processing parameters to be reset to factory preset User Allows all user preference parameters to be reset to factory preset Restore Press the RESTORE key to confirm the above selections Update SW initiates a camera software update BLACK SHADING RESTORE UPDATE SW Details of the upgrade procedure are provided in the following section of this Guide Set Clock allows the camera s time and day metadata to be reset PREFERENCES MAINTENANCE SET CLOCK 7 Set Date and Time to equal GMT and then set TIMEZONE in the TIMECODE menu to
64. ual reels can also be created on a single piece of digital media A001_C023_070828 RDC and then force to 5 for AO05_C024_070829 RDC Feb 07 2008 Copyright RED Digital Cinema 15 Timecode As each recording is made the RED ONE camera records two independent timecode tracks Edge Code is a SMPTE timecode track that always starts at 1 00 00 00 on the first frame of each piece of digital media It is a sequential code that is continuous from frame to frame and also between clips Edge Code is also equivalent to RUN RECORD on a video camcorder Time Code is a SMPTE timecode track that records the camera s clock or if operated in Jam Sync mode records an externally supplied SMPTE master timecode signal It is therefore a sequential code that is continuous from frame to frame but discontinuous between clips When in Varispeed or Timelapse recording modes the timecode counters are updated at the same frame rate as the recording This means valid SMPTE timecode is created without count jumps that would affect clip playback or editing If using an external timecode source with Jam Sync enabled the clip s master time reference point is the first frame of the recorded clip Power consumption The camera draws approximately 70 watts in a typical configuration A RED BRICK 140Wh battery will run the camera and typical accessories for about 90 minutes The camera is nor mally cooled by passive convection from the camera body assisted as required b
65. utton 30 Copyright RED Digital Cinema Feb 07 2008 7 AUDIO VIDEO MENU Controls This section describes monitor path parameters such as viewfinder and RGB color and gains These parameters are accessed from the VIDEO menu access key VIEWFINDER lt HEADPHONE Available sub menus include VIDEO VIEWFINDER AUDIO and HEADPHONE Video Menu DETAIL Note The RGB Color and Gain values used by the monitor path are stored as metadata for use in REDCODE RAW compatible NLE and image processing applications They can be used to visualize a specific color look but they do not affect the REDCODE RAW data recorded Color sub menu The Color sub menu selects various image processing parameters that may be applied to the monitor path They do not affect the actual REDCODE RAW data being recorded SATURATION SATURATION EXPOSURE BRIGHTNESS CONTRAST Saturation adjusts color saturation Range is 0 0 monochrome to 2 0 super color Exposure adjusts image exposure Available exposure range is ASA 100 to ASA 2000 Brightness adjusts brightness without crushing highlights Available range is 10 to 10 Contrast adjusts the overall contrast of the image Range is 1 0 flat to 1 0 max contrast Feb 07 2008 Copyright RED Digital Cinema 31 Gain sub menu The Gain sub menu selects various image processing parameters that may be applied to the monitor path They do not affect the actual REDCODE RAW data being recorded
66. y a fan When using the RED CHARGER recharge time for a single RED BRICK battery is 200 minutes The battery can also be partially charged to approximately 80 capacity in 120 minutes Charge times may be significantly longer on other V lock compatible battery chargers Operating the camera from the RED CHARGER Plug the RED CHARGER into an AC power source between 120 240V Plug one end of the supplied 6 pin power cable into the Aux power output of the RED CHARGER and the other end into the D C power input of the camera Now turn on the RED CHARGER When the LED above the charger s Aux power output turns green you can turn on the camera Note The maximum sustainable power load of the RED CHARGER is 100W 13 8V The out put of the charger is over current protected and will shut down if an excess load condition oc curs If the output trips for any reason remove any external loads from the camera such as lights motors etc turn off the RED CHARGER and repeat the above procedure 16 Copyright RED Digital Cinema Feb 07 2008 5 Basic Operation This section describes the basic controls of the RED ONE camera and how to initiate a project Control System and Status Display Command inputs to the camera are made from the rear status display and associated buttons A Quick Access B Menu Access C Menu Control D Joystick E Record 4320 24 sc INT 3675 Media qe 4K 14g ERP oner RAW Access to Exposure

Red Digital Cinema Red One 14.0 Operation Guide

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