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Red Digital Cinema Red One 17.0 Operation Guide

1. REDCODE RAW compressed video time code audio and metadata may be recorded to on board or attached digital media devices including Apr 30 2009 Copyright RED Digital Cinema RED FLASH RED record speed verified 8GB or 16GB Compact Flash cards RED DRIVE A hard disk media based Digital Magazine of 320GB capacity RED RAM A solid state flash media based Digital Magazine of 128GB capacity Note Digital Magazines may be directly connected to a computer via FireWire or USB 2 Each clip is recorded with a unique clip name and with all the appropriate elements of the clip REDCODE RAW files and QuickTime Reference files placed in a clip folder RDC A011_05013M RDM May 1 2008 12 18 AM Folder LJ A011_C001_05015C RDC May 1 2008 12 18 AM Folder A011_C002_050167 RDC May 1 2008 12 18 AM Folder A011_C002_050167_001 R3D May 1 2008 12 20 AM 2 GB RED RAW R3D A011_C002_050167_002 R3D May 1 2008 12 21 AM 549 4 MB RED RAW R3D A011_C002_050167_F mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_H mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_M mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_P mov May 1 2008 12 21 AM 64 KB Quick Movie I A011_C003_05016A RDC May 1 2008 12 21 AM Folder All clips are in turn placed in a root directory RDM The root directory folder contains all the clips recorded on that specific piece of dig
2. Note Use Open Gate with caution Due to the doubling of sensor frame rate relative to capture rate the following operational restrictions should be noted Open Gate is not available in Varispeed or Ramp modes Open Gate is not available for 50 00 or 59 94 Project Frame Rates Video Genlock may not be available when operating in Open Gate 360 degree shutter is not available when operating in Open Gate Note When deselecting Open Gate mode it is normal to observe up to a 3 second dis ruption in the RED EVF display Audio This sub menu allows microphone input levels to be adjusted via a high quality pre amplifier INPUTLEVEL 32dBD CH 1 MIC CH 2 MIC CH 3 LINE CH 4 LINE 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 Microphone Range 10dB to 54dB Default value is 382dB Line OdB or 10dB Default value is OdB Note Input level range on cameras shipped prior to Sept 15 2008 is 20dB to 54dB Line input levels may not be adjusted on these cameras unless the audio board is upgraded AO Copyright RED Digital Cinema Apr 30 2009 Microphone Input Levels Recorded levels are affected by the gain setting of the microphone input preamplifier For example at 20 dB the microphone input level equivalent
3. 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 l 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 Note It is not necessary to exit Playback mode prior to the next recording To exit play back mode either press the RECORD key or press the EXIT key to the left of the joystick When in playback all cursors will be disabled and the camera provides a clean feed of the re corded video signal at 1280 x 720 resolution on the Preview HD SDI and HDMI outputs Depending on the capture frame rate pull down will be added to create a standard 1280 x 720 progressive scan 59 94Hz or 50 00 Hz high definition video signal At this time there is no em bedded SMPTE timecode on either the Preview HD SDI or HDMI outputs however they both include 4 independent channels of 24 bit 48KHz audio Note If PLAYBACK MODE preference is set to 1080p HD Preview HD SDI and HDMI out puts switch 1920 x 1080p progressive scan 10 bit 4 2 2 at 23 98 24 00 25 00 or 29 97 fps Note If PLAYBACK LOOK preference is set to CLIP the color adjust metadata will be read from the recorded clip If CAMERA the metadata used are the current camera settings Apr
4. Contact RED technical support for details of available Drive Interface cable lengths Note The Drive Interface and D C Power Input connectors use the same connector shell size It is very important you do not try to force a 16 pin Drive Interface cable into the 6 pin D C Power connector or 6 pin D C Power cable into the 16 pin Drive Interface connector Apr 30 2009 Copyright RED Digital Cinema 69 Auxiliary Power Outputs The camera provides two auxiliary power output connectors on its back panel Each output sup plies un regulated 11 5 to 17V battery pass through power between pins 1 and 4 Maximum sustained current draw is 1 5 Amp per output These power output pins are over current pro tected and are only activated by the camera on boot up If the over current circuits trip power cycle the camera to re activate the outputs Mating connector LEMO FGG 0B 304 CLAD42Z 0 View into camera Auxiliary Power Output connector Pin Signal Description GROUND Auxiliary power return Camera Ground Input Trigger Tally VOUT Auxiliary power output Functions of the GPI and GPO pins 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 Record Com pleted This preset is suitable for animation or motion control applications To activate a GPI trigger mom
5. 7U AR BR Connect the camera Genlock input to the ACL202CT VIDEO WORD output using a BNC cable Pin Signal Description Direction GENLOCK SMPTE 274M 2005 Tri level Sync Shield Screen GROUND Cameraground o o Genlock Input Signal Program Dual link HD SDI Two DIN 1 0 2 3 connectors labeled HD SDI support progressive scan HD Program signals 76 Copyright RED Digital Cinema Apr 30 2009 Pin Signal Description Direction HD SDI SMPTE 292M HD SDI Out Shield Screen GROUND Camera ground Program HD SDI Output each connector In record the Program output provides two independent outputs of 1280 x 720p 10 bit 4 2 2 progressive scan video at 59 94 or 50 00 Hz In playback if PLAYBACK is set to 720p the Program output provides two independent outputs of 1280 x 720p 10 bit 4 2 2 progressive scan video at 59 94 or 50 00 Hz If PLAYBACK is set to 1080p the Program output provides a 1920 x 1080p 10 bit 4 4 4 RGB progressive scan video signal at 23 98 24 00 25 00 or 29 97 HZ Note the Program HD SDI output provides 4 channels of embedded audio plus timecode Note When in Varispeed the Program output will be blanked Note RED ONE outputs progressive scan video it does not support 1080PsF format Note If an ANMORPHIC record mode has been selected 2K ANA 3K ANA 4K ANA the video visible on the Program HD SDI output has been stretched 2 1 to illustrate the final 2 40 1 aspect ratio of the final i
6. CENTER V faction V TITLE Cursors enables Center Safe Action Safe Title and Image Center cursors Cursor Enables disables image center cursor Action Enables disables guide Style may be specified as a corner marker or a rectangle Title Enables disables User guide Style may be specified as a corner marker or a rectangle User Action press to program a custom Safe Action area Area may be adjusted for width height and center offset User Action values may be saved in USER PREFERENCE files Width Adjusts the width of the guide Maximum width of the guide is 1280 pixels Height Adjusts the height of the guide Maximum height of the guide is 720 pixels Note The camera will display the aspect ratio of the guide based on these two values 50 Copyright RED Digital Cinema Apr 30 2009 User defined Safe Action Reticle Vertical Offset 0 99 54 Aspect Ratio 1 76 1082 px X POSN Adjusts the horizontal center position of the guide Y POSN Adjusts the vertical center position of the guide Set Press SET to save these parameters to non volatile memory and exist this menu User Title enables the user to program a custom Safe Title area Operation is the same as for USER ACTION areas See above description Preview This sub menu selects the operating mode of the HD Preview output PVW OUTPUT VIDEO 720p SS FRAME GUIDE PREVIEW TEST SIGNAL HD SDI EVF REFRESH If only one of either a RED EVF or
7. G and B channels have 1 of their pixels at maximum clip value the corresponding channel clip light will illuminate 38 Copyright RED Digital Cinema Apr 30 2009 Assists allows the operator to choose a signal analysis waveform Selections include Wave form Exposure RGB Parade Histogram Focus Assist and Focus Overlay lf 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 waveform 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 lf 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 lf Focus Assist or Focus Overlay is selected a full screen width red rectangular box will ap pear 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 dis play Focus Assist or overlaid in the lower section of the active video Focus Overlay Zebras To adjust Zebras highlight the
8. monitor path image processing uses custom REDspace tonal response curve REC709 monitor path image processing uses SMPTE REC 709 tonal response curve RAW monitor path image represents the RAW sensor data bypassing the color matrix Video Menu The four available submenus are LOOK COLOR GAIN and TONE Note Color and Gain and Tone values used by the monitor path are stored as metadata for use in REDCODE RAW compatible image processing applications They can be used to visualize a specific color look but do not affect the REDCODE RAW recorded data LOOK menu IMPORT EXPORT The LOOK menu permits Video Gain and Tone values to be exported or imported to an SD Card Look RLK files may be read by another camera but not RED ALERT or RED CINE Clear Resets the settings for Color Gain and Tone menu parameters to their default values 34 Copyright RED Digital Cinema Apr 30 2009 Import The current settings for Color and Gain parameters will be overwritten by the values stored on the SD Card The available LOOK files will be listed in alphabetical order e g PROFILE_1 PROFILE_2 MAGENTA_TINT Export The current settings for Color and Gain parameters are stored to the SD Card The camera generates a file name of the format PROFILE_ RLK Note you may edit LOOK filenames on a computer but do not change its extension RLK or the camera will not recognize it Restrict file names to 12 characters Co
9. tained in this document 2 Copyright RED Digital Cinema Apr 30 2009 1 Before you start Congratulations on your purchase of a RED ONE camera Please read the attached safety instructions then carefully unpack the camera body any accessories If there is any physical damage to your camera or accessories please file a support ticket at RED ONE Digital Cinema IMPORTANT INFORMATION READ BEFORE USING YOUR CAMERA GENERAL USE DO NOT MODIFY OR DISMANTLE Do not attempt to open your camera lens or other acces sory aS doing so may expose you to electric shock and serious injury There are no user serviceable parts inside Alteration or repairs made to the camera lens or other accessory ex cept by a RED authorized service facility will void the Limited Warranty Users are not permit ted to make design changes or otherwise modify the operation of the camera lenses or other accessories without the express written approval of RED Digital Cinema STORAGE Store in a protected level and ventilated place Avoid exposure to temperature ex tremes damp severe vibration strong magnetic fields direct sunlight or local heat sources during storage Remove any batteries from the camera before storage Apr 30 2009 Copyright RED Digital Cinema 3 Note that storing batteries fully charged or in high temperature conditions may permanently reduce the life of the battery Available battery capacity may also be temporarily lessened a
10. 2K 2 1 60 fps 60 fps 60 fps 60fps 2K 16 9 60 fps 60 fps 60 fps 60fps 3K 2 1 50 fps 60 fps 60 fps 60 fps 3K 16 9 30 fps 50 fps 50 fps 50 fps 4K 2 1 25 fos 30 fps 30 fps 30 fps 4K HD 25 fos 30 fps 30 fps 30 fps 4K 16 9 25 fps 30 fps 30 fps 30 fps REDCODE 36 RED 8GB CF RED 16GB CFRED DRIVE RED RAM 2K 2 1 60 fps 60 fps 60 fps 60fps 2K 16 9 60 fps 60 fps 60 fps 60fps 3K 2 1 30 fps 30 fps 50 fps 50 fps 3K 16 9 30 fps 30 fps 50 fps 50 fps 4K 2 1 25 fps 30 fps 30 fps 30 fps 4K HD 25 fps 30 fps 30 fps 4K 16 9 25 fps 25 fps 25 fps Note Frame rates of 30 and 60 should be read as 29 97 and 59 94 respectively RESOLUTION TIME BASE RESOLUTION QUALITY VALID SETTINGS 4K 2 1 Note Valid combinations of Quality Resolution and Time Base are indicated by the phrase VALID SETTINGS If this is crossed through it indicates the media is too slow to record that combination of resolution project frame rate and quality 46 Copyright RED Digital Cinema Apr 30 2009 Note An individual project should only use one Time Base as it defines the frame rate used for timecode and editing To vary the capture frame rate above or below the base frame rate defined by the project s time base enable VARISPEED in the SHUTTER menu Timecode select to change displayed timecode track force Jam sync or reset camera clock VPIAMSYNC _ OUTPUT _ cross DISPLAY TIMEZONE Jam Sync instructs the camera t
11. 30 2009 Copyright RED Digital Cinema 23 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 to correct color reproduction Monitor outputs on the RED ONE camera are set up for REC 709 gamma and color space 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 the RED EVF use the rotary encoder To assist with exposure all monitor outputs can display either a dual Zebra pattern or a False Color exposure meter overlaid on the video In addition the RED EVF and RED LCD outputs can display a RGB histogram exposure stop lights and RAW sensor data exposure meter RED LCD Controls The top of the RED LCD provides two round and two triangular keys On the left is User Key 5 whose function can be defined the USER KEY preferences menu The two triangular keys in the center are used to increase or decrease backlight intensity The key on the right switches the display between Video plus Frame Guides and Menus to Video plus Frame Guides only RED EVF Controls The RED EVF comprises the following components high resolution color display focus ring rotary encoder switch two user definable and one fixed function button The color display provides a 1280 pixel x 848 pixel resolution progressive scan color image equivalent to viewing
12. 30 fps 30 fps 30 fps REDCODE 36 RED 8GB CF RED 16GB CFRED DRIVE RED RAM 2K 2 1 75 fps 100 fps 120 fps 120 fps 2K 16 9 75 fps 90 fps 100 fps 100 fps 3K 2 1 30 fps 48 fps 60 fps 60 fps 3K 16 9 30 fps 40 fps 50 fps 50 fps 4K 2 1 25 fps 30 fps 30 fps 30 fps 4K HD 25 fps 30 fps 30 fps 4K 16 9 25 fps 30 fps 30 fps Copyright RED Digital Cinema 31 DURATION 50sec __ VARISPEED __ RAMP FRAMERATE TIME END RATE Time When Ramp is enabled this value specifies the transition time to be used by the camera between the start Frame Rate and the End frame Rate Default value is 5 seconds END RATE __ 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 ONE SHOT MEN STEP PRINT INTERVAL Enable After making
13. 61 PREFERENCES MAINTENANCE SET CLOCK WRITE LOG REMOTE WRITE LOG select to write camera s LOG file to CF card or RED DRIVE magazine The LOG file is a diagnostic tool that can assist RED with camera troubleshooting After capture upload the LOG file to the RED customer service team contactable at www red com support PREFERENCES MAINTENANCE SET CLOCK WRITE LOG REMOTE REMOTE This menu provides access to controls that specify the operation of the remote ports on the camera At this time there is a single selection S4 I S4 i MZE Check the S4 i box to enable communication between the RED ONE and an S4 i compatible lens and to enable recording of the lens data as metadata in the RED ONE R3D files To enable the display of Focus Zoom Iris data from the S4 i lens also check the LENS DATA checkbox located in SYSTEM SETUP PREFERENCES DISPLAY menu Note S4 i communications requires appropriate hardware to be present in the camera body and P L lens mount Cameras shipped prior to Sept 15 2008 will require a factory installed hardware upgrade to enable this function 62 Copyright RED Digital Cinema Apr 30 2009 Appendix A 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 Gui
14. FRAME GUIDE ACTIVE VI TEST SIGNAL HD SDI EVF REFRESH To enable disable a test signal check the box Available test signals include SMPTE Bars Black Field White Field Loma Ramp Chroma Ramp Chip Chart and Focus Pattern The RED ONE test signals are not recordable they are provided to help align external video monitors connected via the HD SDI or HDMI outputs 52 Copyright RED Digital Cinema Apr 30 2009 SMPTE Bars with Pluge HD SDI Sets the1280 x 720p HD SDI and HDMI monitor signal update rate to 50 00 or 59 94 Hz FRAME RATE E 5934n T FRAME GUIDE ACTIVE E TEST SIGNAL HD SDI EVF REFRESH The default is 59 94 720p 59 94 If in Europe you may wish to select 50 00 720p 50 00 HDMI The camera includes a standard HDMI connector on its right side panel This output provides a HDTV compatible 1280 x 720 video signal or P C monitor compatible 1280 x 848 pixel signal Note If the PLAYBACK resolution is set to 1080p in the PLAYBACK menu the HDMI output is 1280 x 720 pixels when in preview and record but switches to 1920 x 1080 pixels in playback EVF Refresh FIXED am FRAME GUIDE PREVIEW __ TEST SIGNAL l EVF REFRESH EVF Refresh permits the operator to select the display refresh rate used by the RED EVF Apr 30 2009 Copyright RED Digital Cinema 53 The default mode is FIXED which uses 2 3 or other appropriate pull down as required to dis play images at a fixed frequency of 59 94 Hz or 50Hz at
15. RED LCD are present the HD SDI and HDMI outputs will support Surround View frame guides and safe action title overlays waveforms overlaid on a 1280 x 720 pixel video signal Both of theses outputs include up to 4 channels of 24 bit 48KHz Apr 30 2009 Copyright RED Digital Cinema 51 audio The HDMI output is compatible with HDMI equipped 720p and 1080p HDTV monitors As a user choice the HDMI but not the three HD SDI outputs can support a 1280 x 848 pixel output with Surround View frame guides and safe action title overlays waveforms and cam era status and operation menus This signal is compatible with most DVI equipped SXGA com puter monitors but is not compatible with HDMI equipped 720p or 1080p HDTV displays If both a RED EVF and RED LCD are present the HD SDI and HDMI outputs will be forced to 1280 x 720 with Surround View irrespective of the Preview Output parameter setting Note The video format of the HD SDI Preview output will also be affected by the HD SDI refresh rate and PLAYBACK resolution selections described elsewhere in this guide PVW OUTPUT MENUS DVI FRAME GUIDE PREVIEW TEST SIGNAL HD SDI EVF REFRESH To select between 720p and 848p output options select VIDEO 720p or MENUS DVI The default is VIDEO 720p The Preview output setting will be held in camera memory Test Signal Permits the video monitor outputs to be replaced with a video test pattern TEST SIGNAL f SMPTE Bars
16. ZEBRA label and then push the joystick CONFIGURE 1 7 VENABLE 1 CONFIGURE2 7 _ ENABLE 2 Zebras enables and adjusts the upper and lower values for two independent Zebra indicators One zebra may be used for highlight exposure and the other for mid tone or shadows LOWER 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 0 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 Ze bras overlap Zebra 1 has display priority Apr 30 2009 Copyright RED Digital Cinema 39 DARK DETAIL 2 _ COLOR METERS ZEBRAS VJ DARK DETAIL _ OPEN GATE 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 1 _ COLOR METERS ZEBRAS _ DARK DETAIL f f 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
17. applications Subject Product Type Camera Serial Number s E 1 3 5 7 52 MB s 1 3 5 4 65 MB Release History Including other systems Release History Including other systems 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 download 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 Up grade 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 un mount 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 Apr 30 2009 Copyright RED Digital Cinema 63 A software update is available for your system Would you like to upgrade Upgrade Later Press the joy
18. audio hardware Cam eras shipped prior to Sept 15 2008 and not yet upgraded to Rev B were supplied with Rev A audio hardware with the following operational restrictions For maximum output signal quality only use high impedance headphones USB 2 Master This port is currently not enabled Apr 30 2009 Copyright RED Digital Cinema 75 USB 2 Slave This port is currently not enabled Genlock Input A single DIN 1 0 2 3 coaxial connector accepts a Tri Level Sync signal for video genlocking When operating at 23 98 24 00 25 00 or 29 97 Project Time Bases set the genlock signal gen erator to SMPTE 274 progressive scan format at the same frame rate as the project TIME BASE Do not use PsF or interlaced signals Using an Ambient ACL202CT set dip switches as follows D down U up R right L left Note After changing any of the above dip switch settings power cycle the ACL202CT unit Frame Rate 23 98 fps 1D 2U 3D 4D 5U 6U 7U AR BR 24 00 fps 1D 2U 3U 4D 5U 6U 7U AR BR 25 00 fps 1U 2U 3U 4D 5U 6U 7U AR BR 29 97 fps 1D 2D 3U 4D 5U 6U 7U AR BR When operating at 50 00 or 59 94 Project Time Bases set the genlock signal generator to SMPTE 296 progressive scan format at the same frame rate as the project TIME BASE Using an Ambient ACL202CT set dip switches as follows D down U up R right L left Frame Rate 50 00 fps settings not verified at this time 59 94 fps 1D 2D 3U 4U 5U 6D
19. available Signal to Noise Ra tio for the resulting 24 bit digital recording Microphone Level Inputs The recorded signal levels of Microphone inputs are affected by the sensitivity of the microphone and the Input Level setting Range is 10dB to 54dB with a default value of 32dB The cam era operator should choose an Input Level that aligns the input signal to the reference line drawn vertically through the camera s PPM indicating OdBu This setting supports a guaranteed minimum of 18dB of input signal headroom above reference plus the maximum available Signal to Noise Ratio for the resulting 24 bit digital recording Video Monitoring Outputs In its default configuration the RED ONE camera can simultaneously support a RED EVF RED LCD 3 HD SDI outputs and one HDMI output with two of these outputs supporting full GUI overlay graphics Default setting for GUI support is RED EVF and RED LCD However if either one of these is Apr 30 2009 Copyright RED Digital Cinema 13 not present full GUI overlay support is automatically enabled on HD SDI and HDMI outputs 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
20. color exposure overlays wave forms camera status and operation menus PROGRAM HD SDI When in record mode these connectors provide two extra copies of the HD SDI PREVIEW signal When in playback mode these connectors provide a dual link 10 bit RGB 4 4 4 video signal PREVIEW HD SDI 1280 x 720 resolution 10 bit 4 2 2 video output 720p 50 00 59 94 Hz PREVIEW HDMI 1280 x 720 resolution 10 bit 4 2 2 video output 720p 50 00 59 94 Hz Note If a RED EVF or RED LCD is connected the PREVIEW HD SDI and HDMI outputs will provide Surround View frame guides safe action title and timecode clip name If both RED EVF and RED LCD are connected these outputs only support Surround View Note Only if a RED EVF or RED LCD is connected the HDMI output can also support a 1280 x 848 resolution video output with Surround View frame guides safe action title timecode clip name waveform and camera status and operation menu overlays This signal should be compatible with the majority of DVI based SXGA computer monitors To select between these modes press the SYSTEM menu key and then MONITOR PVW OUTPUT VIDEO 720p FRAME GUIDE PREVIEW TEST SIGNAL HD SDI EVF REFRESH Press the joystick in and then push the joystick to the right to highlight PREVIEW Rotate the joystick to select VIDEO 720p or MENUS DVI The default is VIDEO 720p Press the EXIT key to return to the main camera menu The Preview Output setting will
21. frame guides and safe action and safe title guides User definable safe action and safe title guides may be saved as a USER PREF ERENCE thereby permitting the camera guides to be fully customized for any application 48 lt lt 5000 Fe sla Ve are S FRAME GUIDE FRAME GUIDE V ENABLE PROTECT V ENABLE CURSORS Frame Guide displays film projection areas with 1 85 or 2 40 aspect ratios and television dis play areas with 16 9 or 4 3 aspect ratios Frame Guide color can be set to White Black Blue Yellow or Red for maximum color contrast with the scene you are shooting FRAME GUIDE 24 CAA FRAME GUIDE V ENABLE PROTECT V ENABLE PROGRAM Protect displays film projection safe areas with 1 85 or 2 40 aspect ratios and television safe areas with 16 9 14 9 or 4 3 aspect ratios or User Areas Safe area color can be set to White Black Blue Yellow or Red for maximum color contrast with the scene you are shooting Apr 30 2009 Copyright RED Digital Cinema 49 SAFETY GUIDE USER AREAS a FRAME GUIDE V ENABLE PROTECT V ENABLE PROGRAM PROGRAM allows the use to program the specific PROTECT areas to be used FRAME GUIDE V ENABLE PROTECT V ENABLE PROGRAM 5 Press the PROGRAM key to access the sub menu CURSORS USER ACTION USER TITLE Press Cursors to enable Center Safe Action or Safe Title cursors Press User Action or User Title to program new User Action or Title areas CORNERS V
22. number helps avoid duplicate file names if two cameras are inadvertently named A on the same set Three cameras identified as A B and C can therefore have individually recognizable clips A001_C001_0502 RDC BO01_C001_0502 RDC C001_C001_0502 RDC A single camera identified as A can have individually recognizable reel numbers such as A001_C001_0502 RDC A002_C001_0502 RDC and A003_C001_0502 RDC A single camera identified as A can have individually recognizable clip numbers such as A001_C001_0502 RDC A002_C002_0502 RDC and A003_C003_0502 RDC Note Even if the same Reel number and or camera name are reused the use of the two character random files generated non duplicate file names such as A001_C001_0502A6 RDC A001_C001_050267 RDC and A001_C001_0502F8 RDC Under normal operation the reel number increments each time the camera formats a new piece of digital media up to a maximum value of 999 However the reel number may be manu ally reset at any time to OO1or other desired value A001 _C001_0502 RDC and then force to 1 to create A001 C001 _0503 RDC SMPTE 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 equivalent to RUN RECORD as used on broadc
23. prior to Unmount Data Integrity Risk Copying Media When copying media it is recommended that you drag the complete RDM folder on the digital magazine to the archive storage media This copies all the media and metadata files You won t need to copy the log and magazine profile files but if you do so it will do no harm 68 Copyright RED Digital Cinema Apr 30 2009 Appendix C Input and Output Connectors 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 Signal Description VBATT Power input 11 5 to 17VDC GROUND Power Return Camera Ground SCL_BATT Battery pack I2C bus clock 6 SDA_BATT Battery pack 12C bus bi directional data WARNING It is very important that both pairs of VBATT and GROUND pins are wired up DO NOT fabricate power cables with just one each of VBATT and GROUND pins wired as this will cause damage to the camera s power supply this is not covered by Warranty Drive Interface The Drive Interface is a custom e SATA and power connection for RED DRIVE and RED RAM media Due to the requirement for absolute data integrity that requires custom cable construction the pin out of this interface is not published
24. s monitoring path converts 12 bit RAW sensor data white balanced 10 bit 1280 x 720 pixel RGB 4 4 4 video This signal may be modified using ISO white balance or other RGB color space adjustments and provides monitor feeds for the RED EVF RED LCD Preview HD SDI and HDMI outputs Audio Recording The RED ONE includes four channels of analog audio input processing Peak Level meter headphone monitor and 2 channel balanced analog audio output Audio is digitized at 24 bit depth and 48KHz and recorded in synchronization with video and timecode to the attached media Digital audio is also embedded in the HDMI Preview and Program HD SDI outputs Line Level and Microphone Level analog audio input signals are routed via a high quality A D and pre amplifier whose gain stage may be controlled using the Input Level control to achieve the desired audio reference recording level Line Level Inputs Line level audio inputs are designed to operate at unity gain OdB Input Level therefore an ap propriate line output level should be established by your field production mixer or other external signal source Reference signal level for Line inputs is OdBu 0 775 volts RMS 20dBFS when operating at OdB Input Level The maximum input signal that can be applied before the onset of input signal clipping is 18dBu 6 5 volts RMS 2dBFS i e this setting supports a guaranteed minimum of 18dB of input signal headroom above reference plus the maximum
25. signal headroom greater than 18dB is desired the operator may choose to use an XLR to mini XLR adaptor cable with 4dB input signal pad available from RED Digital Cinema This will provide a guaranteed minimum of 22dB of input signal headroom above reference however the 24 bit digital recording level will be 4dB lower and so delivers a reduced Signal to Noise Ratio Note If sending the camera a TAPE level line output 10dBu adjust the Input Level to 10dB Microphone Level Audio Inputs The 24 bit digital recording level of each Microphone Level input is affected by the sensitivity of the attached microphone and the Input Level setting applied to each of the audio pre amplifiers Pre amplifier Input Level range is 10dB to 54dB with a default value of 32dB Choose an Input Level that aligns the input signal to the right hand reference line drawn verti cally through the camera s PPM which indicates OdBu This setting provides a guaranteed Apr 30 2009 Copyright RED Digital Cinema 73 minimum of 18dB of input signal headroom above reference in combination with maximum Sig nal to Noise Ratio for the resulting 24 bit digital recording If a signal headroom greater than 18dB is desired the operator may choose to use an XLR to mini XLR adaptor cable with 4dB input signal pad available from RED Digital Cinema If using this cable again choose an Input Level that aligns the input signal to the right hand reference line drawn vertical
26. specifically designed for use with the RED ONE cam era and provides variable frame rate imaging over 1 60fps in 4K or 3K resolution and 1 120fps in 2K resolution record modes Native color balance for the MYSTERIUM sensor is 5 000 degrees Kelvin but may be elec tronically compensated for any color temperature in the range 1 700 to 10 000 Kelvin White Balance presets are available for Tungsten 3200K and Daylight 5600K lighting the camera may also calculate a color neutralizing White Balance value using a standard white card tech nique MYSTERIUM includes integrated 12 bit resolution analog to digital conversion capable of delivering up to 11 stops of dynamic range when operating in daylight at a sensitivity of 320 ISO Image Processing Images received from the MYSTERIUM sensor are formatted as pixel defect corrected but not color processed 12 bit RAW data similar in image quality to a high end digital stills cam era The sequence of 12 bit RAW images received from the sensor is compressed using proprietary wavelet based REDCODE RAW compression The RAW data recorded is independent of the RGB signal monitored from the monitoring path ISO white balance or other RGB color space adjustments made to the monitoring path are not burned into the recorded 12 bit RAW data 12 Copyright RED Digital Cinema Apr 30 2009 Images can be stored on a high speed Compact Flash RED DRIVE or RED RAM media The camera
27. 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 the primary timecode track in HD SDI outputs FORMAT _TIME CODE _ _ JAMSYNC _ OUTPUT _ cross DISPLAY _ TIMEZONE 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 sMo _ JAMSYNC __ OUTPUT _ CROSS DISPLAY fV 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 CONFIGURE 7 TIMECODE V QT PROXIES When checked the camera will create a QuickTime reference movie at the completion of each clip record These movies are placed in the same folder as the R3D file While the movies are being created the camera reports POST in the status display Monitor The monitor menu provides controls for the framing guides and test patterns A8 Copyright RED Digital Cinema Apr 30 2009 FRAME GUIDE ACTIVE 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
28. to Full Scale is 7 dBu 0 36 Volts RMS at 54 dB the microphone input level equivalent to Full Scale is 36 dBu 0 013 Volts RMS Line Input Levels Recorded levels follow the level of the incoming signal when Gain is set to OGB At OdB the input level equivalent to Full Scale is 18 dBu 6 5 Volts RMS To achieve 14 dB of input headroom set the nominal input to 4 dBu 1 3 Volts RMS Note Input Gain may also be set to 10dB if working with consumer line level equipment 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 6dB 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 iL 2R 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 Apr 30 2009 Copyright RED Digital Cinema Al 8 System Menu Controls This section describes the various controls available to configure the camera These parame ters are accessed from the SYSTEM menu key located b
29. 0p Video output is 1920 x 1080 pixels For 4K images the monitored image width corre sponds to 3 840 pixels scaled down to 1920 pixels This signal is available on the HD Preview HD SDI and HDMI HD Program Dual Link HD SDI RED EVF and RED LCD outputs RED EVF and RED LCD will display a 1280 x 720 pixel center cut of the larger 1920 x 1080 image USE SETTINGS CAMERA _ LOOK permits the look used by the camera on playback to be specified CAMERA forces the camera to use current LOOK values to color process recorded RAW data files when played back on camera CLIP forces the camera to use recorded LOOK metadata values to color process recorded RAW data files when played back on camera Apr 30 2009 Copyright RED Digital Cinema 57 DISPLAY This menu permits specific elements of the GUI to be disabled FORMATAS sc vi SHUTTER __ LENSDATA __ EVF MENU V STATUS __ GREY SCALE Selections are SHUTTER LENS DATA EVF MENU STATUS and GREY SCALE Shutter When checked displays frame rate and sensor status on GUI upper edge Also allows the user to choose if camera shutter value is reported in Degrees or 1 Seconds format Note Shutter values are always input in 1 seconds format irrespective of this choice Lens Data When checked displays focus zoom iris data on GUI mid upper edge Also al lows the user to choose if Distance is reported in Feet or Meters EVF Menu When checked displays EVF menus data on left edge o
30. 3 0 6 0 9 1 0 Stops 9 8 18 ND Skin Stops This is the corresponding white balanced but otherwise unprocessed source image captured at late morning at exposure index A320 24fps 1 48 sec shutter and no filtering Apr 30 2009 Copyright RED Digital Cinema 37 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 Edge Highlight With Edge Highlight selected items that are in focus are outlined in red over monochrome Analysis Menu ANALYSIS METER 4 FOCUS ASSIST HUD METER vi ASSISTS Meter allows the operator to choose an always on signal analysis Selections include Spot Meter Luma Histogram RGB Histogram and MONO RGB without color 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 loca tion 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 sec tion of the full camera display If Luma Mono or RGB Histogram is selected a corresponding histogram illustrates the expo sure distribution A Clip Meter like a traffic light but red blue and green compliments the histograms When either of the R
31. 5016A RDC May 1 2008 12 21 AM Folder The Clip folders RDC are held in a root directory RDM on the digital magazine In each folder there will be one or more REDCODE RAW data files R3D containing RAW sensor data plus audio and metadata and four QuickTime reference movies which allows a Quick Time Player to display the RAW data at _F full _H high _M medium or _P proxy resolutions Double click on one of the QuickTime reference movies to see a preview of the R3D file Play back frame rate will depend on the processor speed of your computer If the frame rate is too low select a smaller QuickTime movie Note to operate with QuickTime under Macintosh OSX install the supplied REDCODE RAW plug in available at www red com support Windows is not currently supported 22 Copyright RED Digital Cinema Apr 30 2009 Playback Playback of recorded clips is available on camera using the Transport Control Keys The l 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 1 x 2 x 8 x and 32 x speed playback The lt lt key permits the Clip to be played back in reverse Each press of this key cycles clip play back between 1 x
32. Attach matte box and motors and any auxiliary power cables required to power these items 6 Copyright RED Digital Cinema Apr 30 2009 Insert the digital media such as RED FLASH 8GB or 16GB compact flash CF card or connect a RED DRIVE hard disk drive or RED RAM flash drive via the RED custom e SATA cable remntmrerernte A COMPACTFLASH i I i Inserting a Compact Flash card Attach a RED BRICK 140 battery using the v mount battery plate or connect an AC Power Adaptor or a RED CHARGER to the DC input on the rear of the camera body 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 adap tor is also designed to slide within the RED RAIL base plate until you lock it in place You won t need to remove it to mount the camera on a tripod Power up 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 number in the format ABC_123_ XYZ This code is in cluded in the metadata recorded with each image The PIN provides RED with tracking data for customer service and assistance in authentica
33. ENLOCK SYNCRO PHASE Shutter Speed When operating in Normal mode the Shutter Speed value used by the camera is fixed i e it is independent of the image capture rate This is opposite from a mechanically shutter camera Decreasing Shutter Speed will 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 2 0 deg 1 96 90 1 48 180 1 192 45 1 60 144 1 384 22 5 SHUTTER MODE f RELATIVE __ GENLOCK SYNCRO PHASE Relative When operating in this mode the Shutter Speed values are proportionately reduced 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 mechanically shuttered 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 28 Copyright RED Digital Cinema Apr 30 2009 SPEED ADJUST __ GENLOCK SYNCRO Syncro When operating in th
34. GPIO B D Camera 11 5 17V D C Input E e SATA Interface to RED DRIVE or RED RAM digital magazine Underneath the status display key group are the Power On Off switch top left two 4 pin Auxiliary 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 to accessories such as range finders or low power lens motors The upper connector provides a GPI trigger user programmable but defaulted to Record Start Stop and a Record Tally output The lower connector provides a GPI trigger user programmable but defaulted to Single Frame Record and a Frame Recorded Tally output The DRIVE interface supplies power and data over e SATA protocols to record REDCODE TM RAW compressed video data metadata and audio to RED DRIVE or RED RAM digital media Power Up To power the camera 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 approximately 10 seconds after the camera s green status LED goes off before powering the camera up again If th
35. RED DIGITAL CINEMA CAMERA COMPANY RED ONE CAMERA OPERATIONS GUIDE Firmware Build 17 Version 3 4 1 Sections Page 1 Before You Start 3 2 Camera Assembly 6 3 Physical Controls 8 4 Theory of Operation 12 5 Basic Operation 19 6 Sensor Menu Controls 26 7 Audio Video Menu Controls 34 8 System Menu Controls 42 Appendix A Upgrading camera firmware 63 Appendix B Digital Media Management 65 Appendix C Input and Output Connectors 69 Appendix D Post Production 19 Apr 30 2009 Copyright RED Digital Cinema 1 DISCLAIMER RED has made every effort to provide clear and accurate information in this Operations Guide which is provided solely for the user s information While thought to be accurate the informa tion in this document is provided strictly as is and RED will not be held responsible for issues arising from typographical errors or user s interpretation of the language used herein that is dif ferent from that intended by RED All safety and general information is subject to change as a result of changes in local federal or other applicable laws RED reserves the right to revise this Operations Guide and make changes from time to time in the content hereof without obligation to notify any person of such revisions or changes In no event shall RED its employees or authorized agents be liable to you for any damages or losses direct or indirect arising from the use of any technical or operational information con
36. RED QuickTime Codec Use V3 5 0 or higher for Build 17 footage The RED QuickTime codec permits REDCODE RAW footage to be displayed on Macintosh OSX personal computers running QuickTime Player V7 4 5 or higher YOY A002_C003_070913_P mov l A002_C003_070913 RDC 0 n a a F A002_C003_070913_001 R A002_C003_070913_H mo A002_C003_070913_M mo 3D v v Q A002_C003_070913_P mo v 00 00 41 E 4 o ya a ws i i 3 i i l i Render performance of computers will vary based on CPU speed number of cores and disk speed The RED ONE camera RED Alert and RED CINE offer QuickTime reference mov ies at _F full H half _M medium and _P proxy resolution Choose the resolution that is most appropriate to your requirement for 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 RAW recording must be available on a drive accessible to your computer For remote use conversion to a standalone movie avoids this issue 80 Copyright RED Digital Cinema Apr 30 2009 RED Alert Use V3 5 0 or higher for Build 17 footage RED Alert is available for Intel based Mac OSX computers only In addition to performing white
37. TOOLS monochrome or false color On Off and USER 4 turns the METER e g WAVEFORM or FOCUS ASSIST On Off The functions of USER 3 and USER 4 may be changed if desired in the USER KEY preferences menu 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 Back and White Fields Luma and Chroma Ramps and a Chip Chart Note the internal test signals cannot be recorded they are provided to align external video recorders or monitors connected to the camera via the HD SDI or HDMI ports Apr 30 2009 Copyright RED Digital Cinema 25 6 Sensor Menu Controls This section describes how to set sensor specific menu parameters including Sensitivity Shut ter Speed Color Temperature Varispeed and Timelapse To access these functions press the SENSOR menu key or one of the direct access keys to the left of the status display EXPOSURE COLOR TEMP SHUTTER z VARISPEED TIME LAPSE Note Sensitivity and Color Temperature metadata values are stored as metadata and are also used to modify the RED LCD RED EVF Preview HD SDI and HDMI monitor outputs They do not affect 12 bit REDCODE RAW data recording the stored metadata values may be used by REDCODE RAW compatible NLE and image processing applications if desired Sensitivity SENSITIVITY 150320 SENSITIVITY Sensitivity adjusts the camera s operating sensitivity The default sen
38. W data has a wide dynamic range and color space so you can freely change the white bal ance of the footage adjust exposure and alter highlight and shadow tonality in post production The RED ONE camera records RAW sensor data using wavelet based REDCODE RAW compression to a CF card or RED DRIVE digital magazine The compressed RAW data is then transferred from the digital media via FireWire or USB 2 to a Macintosh OSX workstation running RED Alert or RED CINE or to a Windows XP workstation running REDCIINE post produc tion software These applications do not directly edit or conform the RAW data themselves but prepare the RAW data for editing and conforming by RGB domain post production software applications 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 RED CINE act as an integrated film 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 RED CINE 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 r
39. a 17 reference color monitor from a distance of approximately 4 ft 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 24 Copyright RED Digital Cinema Apr 30 2009 The rotary encoder switch may be used to adjust a variety of parameters These include the EVF Intensity but also camera parameters such as Ch1 Audio Level or Ch 2 Audio Level and Shutter speed Varispeed frame rate and ISO setting To activate this control push the switch once Rotate the switch until the white selection box overlays the parameter you wish to adjust Then press the switch to lock that selection in Rotating clockwise increases the parameter value counterclockwise decreases the parameter value Push the switch once more to lock the parameter and exit the parameter adjust mode INT adjusts EVF backlight display intensity CH1 adjusts Ch 1 microphone audio level CH2 adjusts Ch 2 microphone audio level SHU adjusts Shutter speed VAR adjusts Varispeed frame rate ISO adjusts Sensitivity rating of monitoring OFF EVF control Active Disabled The fixed function button located closest to the focus ring selects 1 1 FOCUS CHECK mode When selected this shows the central region of the MYSTERIUM sensor in native 4K resolu tion Note This function is not available during RECORD The central pair of buttons is User Keys 3 and 4 In their default settings USER 3 turns COLOR
40. a 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 silent mode the fan runs at its minimum speed when in record Black Shading allows the camera to self calibrate sensor output for optimum black levels BLACK SHADING RESTORE UPDATE SW Note before starting a Black Shading calibration ensure that you place a lens cap that blocks all light on your lens Insert a formatted CF card into the camera or attached a formatted RED DRIVE Ideally re format the media before proceeding to ensure suffi cient space is available to perform the record task Note It is very important that no light reaches the sensor If Black Shading is performed without capping the lens the black level calculation will be incorrect To rectify repeat the Black Shading procedure with a lens cap installed Press the BLACK SHADING button and the camera monitoring outputs will report Start Restore Press the START button and the camera monitoring outputs will report You are about to modify the camera s factory calibration You should take this step only w
41. ains number clips Re formatting the magazine will permanently erase these clips Do you wish to format this magazine CANCEL FORMAT Press the Joystick to cancel and return to the main camera display or position the joystick over the FORMAT label and press the joystick to confirm media formatting Erasing media on a Macintosh personal computer On a Macintosh computer connect the CF card via a CF card reader or the RED DRIVE or RED RAM via a standard FireWire 400 800 cable and then open Disk Utility l First Aid Erase RAID Restore 93 2 GB ST910021AS Media meneame n ae a Laptop Mac 1 7 5 GB Generic STORAG e Erasing a disk erases all data and volumes on a disk leaving the disk empty Erasing a RED_ONE selected volume erases that volume only leaving other volumes on the disk unchanged e 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 To erase a disk or volume select its icon specify a format and name and click Erase Volume Format Name RED_ONE Carefully choose the drive from the list and select the Erase tab Then choose MS DOS FAT as the Volume Format You can add a Name if you wish but the camera will overwrite this Now before proceeding double check that this is the CF card or RED DRIVE or RED RAM that you wish to erase and click the Erase key When the pop up window
42. all image capture frame rates This mode minimizes display flicker but will exhibit a 2 3 motion stutter on 24fps images The alternative mode is SYNCED This avoids 2 3 pull down and instead doubles the capture frame rate for example displaying 24fps images at 48Hz 50Hz for 25 00 fps The display may exhibit luminance flicker due to the lower frame update rate but it will not stutter Note When in SYNCED mode EVF display may blank for up to 3 seconds when existing OPEN GATE mode after exiting MAGNIFY mode when in 4K record resolution after changing between certain Varispeed frame rates Setup This menu permits a variety of system maintenance tasks to be accomplished PREFERENCES 5 MAINTENANCE SET CLOCK WRITE LOG REMOTE Selections are PREFERENCES MAINTENANCE SET CLOCK WRITE LOG and REMOTE Preferences permits the user to define system preferences USER PROFILE KEYMAP PLAYBACK DISPLAY Selections are USER PROFILE KEYMAP GPIO PLAYBACK and DISPLAY USER PROFILE provides controls that affect the User Profile Choices are CLEAR IMPORT and EXPORT CLEAR allows a User Profile to be cleared from memory IMPORT allows a User Profile to be read from the SD card EXPORT the current USER PROFILE parameters are stored to the SD Card The camera generates a file name of the format PROFLE_ RPF You may edit USER PROFILE filenames on a computer but do not change its extension RPF or the camera will n
43. amera Ground LEFT Line output left channel Out RIGHT Line output right channel Out RIGHT Line output right channel Out Line Output Connectors 74 Copyright RED Digital Cinema Apr 30 2009 Note The above notes apply to cameras configured with Rev B audio hardware Cam eras shipped prior to Sept 15 2008 and not yet upgraded to Rev B were supplied with Rev A audio hardware with the following operational restrictions The Camera Ground connection on Pin 2 should be considered unreliable floating Headphone Audio Output A 3 5mm stereo phone jack provides two channels of adjustable level audio to headphones Pin Signal Description Direction TIP LEFT Left channel audio Out RING RIGHT Right channel audio Out SLEEVE GND Cameraground Headphone Output Connector The camera s four audio channels may be monitored in pairs either 1L 2Ror3L 4Rora quad mix of 1 3L 2 4R based on the MIX parameter and the Volume adjusted as follows Volume master volume Adjusts headphone volume equally for Left and Right outputs Range is 18dB to OdB in 1dB steps Default is 9dB Volume Left Trims volume for Left output e g Volume 6dB Volume Left 1dB 5dB Range is 12dB to 6dB in 1dB steps Default is OdB Volume Right Trims volume for Right output e g Volume 6dB Volume Right 1dB 7dB Range is 12dB to 6dB in 1dB steps Default is OdB Note The above notes apply to cameras configured with Rev B
44. an 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 if using another V lock compatible battery charger Note V lock batteries from other manufacturers may be used with the RED ONE camera provided that they meet minimum current and voltage draw requirements In general avoid batteries rated at less than 7Ah and 90Wh Battery status is provided in the camera s user interface GUI when using REDBRICK batteries Other battery types will report as D C 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 DC 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 output of the charger is over current protected and will shut down if an excess load condi tion occurs 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 18 Copyright RED Digital Cinema Apr 30 2009 5 Basic Operation This section describes the b
45. any adjustments in the Timelapse menu check the Enable box to enter these values and enable the Timelapse record mode The Ul indicates by changing the top left frame rate display from fps to TL and the lower right audio level display to TIMELAPSE Trigger Mode Specifies if the camera is to use a fixed Interval of time or wait for a side record command or external GPI contact closure to initiate the next frame capture TRIGGER MODE INTERVAL VJ ENABLE STEP PRINT INTERVAL BURST TYPE Interval the camera waits for the period of time defined by the Interval parameter One Shot the camera waits for a side record command or external GPI contact closure The default setting is One Shot 32 Copyright RED Digital Cinema Apr 30 2009 SHUTTER SPEED t 4sec V 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 2 1 3 1 4 1 6 1 8 1 12 1 16 second NUM FRAMES 4frames V 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 to 10 frames Default value is 1 frame PERIOD o Ssec V ENABLE STEP PRINT INTERVAL BURST TYPE Interval Specifies the number of seconds the
46. appears click on the Erase button When the media is erased drag its icon to the trash can and physically disconnect it Apr 30 2009 Copyright RED Digital Cinema 67 Removing Media Media should be un mounted prior to removal from the camera This ensures power is re moved from the digital media and any open data files are closed Removing a CF card or disconnecting a RED DRIVE or RED RAM without first un mounting it will not physically damage the media however it does increase the risk of file cor ruption so it s good operational practice to un mount the media if possible before removing disconnecting To UNMOUNT the digital media follow this sequence Press and hold the UNDO key and then press the EXIT key 01 00 14 00 A001_C003 Temp Media Power Internal METS When the GUI status indicator displays Safe to Remove Media X in the status LCD you may remove the CF card and or disconnect the RED DRIVE magazine Note Un mounting the digital media takes a few seconds protects the integrity of your recorded data and helps clips mount instantly to your workstation once in postproduc tion so it s a recommended habit to develop If you don t un mount the media the cam era will offer a warning your files may not be damaged but you will have been warned Note The camera will respond to physical removal of the media without un mounting with the following warning Media removed
47. apture rate This ensures that the recorded REDCODE RAW data has valid and sequen tially incrementing timecode for use by non linear editing devices 48 sec 5000 Note In Varispeed the frame rate display turns yellow the audio panel reports VARISPEED vi VARISPEED RAMP FRAMERATE END RATE Varispeed Before recording enable this function by checking the Varispeed checkbox TRIGGER ON RECORD gt V VARISPEED fRAMP FRAMERATE TIME END RATE Ramp enables a speed ramp a transition over Time from the Frame Rate to an End Rate On Record On recording start the capture frame rate will immediately start transitioning from the Frame Rate to the End Rate On Event On recording start the capture frame rate starts out at the Frame Rate the start of the transition to the End Rate occurs only when an external GPI trigger has been received FRAMERATE 4 fps __ VARISPEED _ RAMP FRAMERATE TIME END RATE 30 Copyright RED Digital Cinema Apr 30 2009 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 8GB CF RED 16GB CFRED DRIVE RED RAM 2K 2 1 100 fps 120 fps 120 fps 120 fps 2K 16 9 100 fps 100 fps 100 fps 100 fps 3K 2 1 50 fps 60 fps 60 fps 60 fps 3K 16 9 30 fps 50 fps 50 fps 50 fps 4K 2 1 25 fos 30 fps 30 fps 30 fps 4K HD 25 fos 30 fps 30 fps 30 fps 4K 16 9 25 fps
48. asic controls of the RED ONE camera and how to initiate a pro ject Control System and Status Display Command inputs to the camera are made from the rear status display and associated buttons 01 00 00 00 4320 tc INT 9 3675 4K VAS RAW A Quick Access Access to Exposure White Balance and Shutter Speed B Menu Access Access to Sensor Video and System menus C Menu Control Exit and Undo keys D Joystick The joystick is a multi axis controller used to navigate camera menus E Record Record Stop Start key The five buttons above the display control clip playback From left to right the keys are Clip Start Previous Clip Play Reverse Clip Play Pause Fast Fwd and Clip End Next Clip Note Quick Access keys may be re programmed if desired Enter the menu that you wish assigned to one of these keys then press and hold the A B or C key until the camera re ports User button A B C has been assigned to this menu Subsequent presses of this key will return the camera to that same menu location Apr 30 2009 Copyright RED Digital Cinema 19 Status Display The status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup The elements include Oh masiebaciebacis Timecode Status reports current timecode value clip name or system messages ASA Value reports current exposure index Project Frame Rate reports the project frame rate 24 00 fps in this example Time
49. ast cameras Time Code is a SMPTE timecode track that syncs to the camera s clock or if operated in Jam Sync mode syncs to an externally supplied SMPTE master timecode signal It is therefore a sequential code that is continuous from frame to frame but discontinuous between clips Note Time Code and Edge Code are only output from the 5 pin timecode connector if OUTPUT is enabled in the TIMECODE setup menu but are always embedded in HD SDI Apr 30 2009 Copyright RED Digital Cinema 17 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 When in Loop Record mode the Edge Code will become discontinuous between clips be cause frames copied into the cache memory are discarded This may lead to problems with applications that assume a continuous timecode sequence It is therefore recommended that Time Code be selected when operating this recording mode Power consumption The camera draws approximately 75 watts in a typical configuration ARED BRICK 140Wh bat tery will run the camera and typical accessories for about 90 minutes The camera is normally cooled by passive convection from the camera body assisted as required by a f
50. balance and one light color correction RED Alert can export a clip at 4K and 2K resolution via 10 bit DPX or 16 bit TIFF files or create color corrected Quick Time reference movies for editing or other uses by applications that use the RED QuickTime Codec As RED ONE shoots progressive scan images all QuickTime movies created by RED Alert will also be progressive scan The upper panel in the display provides information about the levels in the selected clip Expo sure and White Balance may be altered R G and B digital values may be sampled from the im age and a Zebra exposure indicator can be selected D eC standard ER all all 50 500 O Out 1745 Total 1746 RGB 95 v1 2b8 BETA IEN Copyright 2007 RED Digital Cinema E TT RIM M iz R M R i M SAVE SEQUENCE 2K DPX SAVE SEQUENCE 2K TIFF SAVE SEQUENCE 4K DPX SAVE SEQUENCE 4K TIFF a i lt pay gt o 960 __ 01014022 16 26 29 00 A composite RGB histogram is available which appears below the main display area This pro vides a view of the exposure distribution for the Red Green and Blue channels A one light color correction panel permits adjustment of Color Temperature Saturation Contrast Brightness Red Gain Green Gain and Blue Gain These parameters match those available in the RED ONE camera Note The range and resolution of these color correction parameters is greater than those avail able in the camera Ul T
51. be held in camera memory Once it is set it will not need to be re set when power cycling the camera 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 user tools to assist framing focus and exposure 14 Copyright RED Digital Cinema Apr 30 2009 Surround View which is an additional visible 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 1 1 Focus Check function and two user selectable waveform based focus assist meters Exposure is aided by dual zebras a false color meter and Luma and RGB histograms ANALYSIS METER FOCUS ASSIST INTENSITY vi METER EFFECES System information including instantaneous frame rate sensitivity shutter soeed color tem perature recording format clip name timecode battery and media remaining is provided in the RED LCD or RED EVF monitor outputs and the rear status display on the camera back For applications where a RED LCD or RED EVF are not desired for example working ona crane the Surround View video frame guides and exposure overlays are also available on the Preview HD SDI output providing remote camera monitoring up to 200 ft away Digital Magazines oe
52. camera will wait before the next image is cap tured Range is 1 to 1024 seconds Default setting is 5 seconds FRAMES ARE UNIQUE V ENABLE STEP PRINT INTERVAL BURST TYPE Burst Type Specifies the type of burst recording either Repeat or Unique Default is Unique Repeat Specifies that each frame captured during the burst record be repeated That is for each Timelapse event a single frame is repeated N times where N is the Step print value Unique Specifies that each frame captured during the burst record is unique That is for each Timelapse event N frames are captured and recorded where N is the Step print value Note When recording in Timelapse mode the RECORD tally lamp will remain illuminated Each successive event 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 button Apr 30 2009 Copyright RED Digital Cinema 33 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 REDspace VIEWFINDER HEADPHONE Available sub menus include VIEW VIDEO VIEWFINDER AUDIO and HEADPHONE VIEW The VIEW sub menu allows the user to choose the mode of monitor path image processing The default selection is REDspace REDspace
53. code 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 RAW in this example Note The timecode value reported is Edge Code or Time Code as selected by the user in the TIMECODE menu During recording the Clip Name is reported in this display field 20 Copyright RED Digital Cinema Apr 30 2009 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 PROJECT This highlights the PROJECT sub menu CONFIGURE 7 TIMECODE V QT PROXIES 2 Push the joystick right then press to enter the CONFIGURE menu to set the QUALITY RESOLUTION 4K 2 1 co RESOLUTION TIME BASE QUALITY V MAX VALID SETTINGS Quality Choose between REDCODE 28 and REDCODE 36 Default is REDCODE 36 Note Choosing REDCODE 36 limits available frame rates and resolutions to CF cards Note Leave MAX box checked unless recording 4K 16 9 and needing real time decode 3 Next select the project TIME BASE this parameter was formerly known as Frame Rate Time Base Choose between 23 98 24 00 25 00 or 29 97fps The time base establishes the base frame rate fo
54. connector or force fit a 16 pin RED EVF or RED LCD cable into a 10 pin Aux RS232 connector Line Level and Microphone Level Audio Inputs A three pin mini XLR connector is provided for each of the camera s Line Microphone inputs Audio is recorded at 24 bit 48KHz which provides high audio fidelity and wide dynamic range The Line Level and Microphone Level analog audio input signals are routed via a high quality A D and pre amplifier whose gain stage may be controlled using the Input Level control to achieve the desired audio reference recording level 72 Copyright RED Digital Cinema Apr 30 2009 View Into Mic Line Audio Input 8 pin Mini XLR Pin Signal Description Direction GROUND rr Mic Line input 48V phantom power Mic Line input 48V phantom power Microphone Line Input Signals Line Level Audio Inputs Line Level audio inputs are designed to operate at unity gain OdB Input Level therefore an ap propriate line output level should be established by your production mixer or other signal source Reference signal level for Line inputs is OdBu 0 775 volts RMS 20dBFS when operating at OdB Input Level The maximum input signal that can be applied before the onset of input signal clipping is 18dBu 6 5 volts RMS 2dBFS This provides a guaranteed minimum of 18dB of input signal headroom above reference in combination with maximum Signal to Noise Ratio for the resulting 24 bit digital recording If a
55. d if the Color Temp is adjusted via the Manual WB parameter If you select the Tungsten or Daylight presets Tint will be reset to zero which is the default value Shutter Menu Adjusts exposure time of each frame captured by the MYSTERIUM sensor Shutter speed presets are available for all common speeds and corresponding angles at 24 25 fps and 50 60 fps Preset shutter speeds may be adjusted using the RELATIVE and SYNCRO shutter parameters SHUTTER SPEED 1 48 sec V GENLOCK SYNCRO PHASE Genlock references Shutter scan start time phase to an external Tri Level Sync genlock sig nal For 3D and multi camera permits scan time and scan phase of all cameras to be matched SHUTTER MODE f RELATIVE __ GENLOCK SYNCRO PHASE Mode enables one of three following shutter modes Default selection is Normal Normal Shutter Speed is defined exclusively by the Shutter Speed setting Syncro Shutter Speed is defined by Shutter Speed but modified by Syncro setting Relative Shutter Speed is defined by Shutter Speed but modified by the capture fps 24 iv gt 500 Apr 30 2009 Copyright RED Digital Cinema 27 Note If operating in Relative or Syncro modes the shutter speed is reported in yellow text Note If the operator requests a shutter speed angle that is outside the capability of the camera in that mode the actual shutter speed angle used will be reported in red text SHUTTER SPEED 1 48 sec V G
56. de lt e i Dohttp www red com support Q QA Login to Support RedCineBeta RED ROJO Acreage Our Web Site RedCam Central Pink Un TRACE Login TRACE Cinema Apple 140 Amazon eBay Yahoo News 1692 v Home Cameras Lenses Accessories Workflow Technology Shot on RED Store Se gt RED SUPPORT fen ow REDUSER NET Community RED FAQs QuickTime Plugin RED ALERT Play REDCODE RAW movies directly from QuickTime Player or other Quicktime enabled application Requires QuickTime 7 0 or higher Pre then export DPX TIFF or Currently available for Macintosh QuickTime reference movies for ContactUs OSX only dailies stills extraction and general playback applications Currently available for Macintosh OSX only Read REDCODE RAW files perform white balance contrast and one light color correction Other Online Information Register Your RED Product We re available monday W friday 8 00 AM 5 00 PM Pacific Time GMT 8 unless 1 2 1 0 75 MB 1 2 8 0 67 MB we are gone Download 2 Download D Name Release History Including other systems Release History Including other systems Email Camera Firmware Operations Guide Lg Update the RED ONE camera to the The complete guide to RED ONE Phone TE latest feature set including 2K and J camera operations including post 4K RAW capture variable speed D production techniques utilizing RED and time lapse recording
57. deo 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 right 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 Program HD SDI Preview HD SDI and Video Genlock Next is an HDMI output a USB 2 master port for USB peripheral devices a USB 2 slave port to connect the camera to another camera or computer based controller a 5 pin mini XLR audio output a 5 pin timecode input output and four three pin mini XLR audio inputs Finally there are two 16 pin push lock LEMO connectors that provide video communications and power for a RED EVF and RED LCD and a 10 pin push lock LEMO connector supporting the Aux RS232 port that can interface to a variety of B4 lenses and lens motor control devices One 6 inch length DIN 1 0 2 3 to BNC video adaptor cable and one 9 inch length 3 pin mini XLR to mini XLR cable plus a mini XLR to full size XLR adaptor are provided with the camera Additional video and audio adaptor cables may be ordered online at www red com store Note Cameras shipped prior to Sept 15th 2008 may have an earlier revision of the audio board and no S4 i pins installed in the P L mount Contact RED customer service about appropriate audio cables t
58. down Play Clip causes the selected Clip to play back at normal speed Next Clip cues the selected clip to end If at end cues to beginning of next clip For GPI A the factory default is Record and for GPI B factory default is Timelapse 56 Copyright RED Digital Cinema Apr 30 2009 POLARITY selects the Polarity Preferences sub menu SIGNAL _ACTVEHI 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 either 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 PLAYBACK selects the Playback Video Format sub menu RESOLUTION This menu permits the video format and look used by the camera on playback to be specified MODE permits the video format used by the camera on playback to be specified 720p Video output is 1280 x 720 pixels For 4K images the monitored image width corre sponds to 4 096 pixels scaled down to 1280 pixels This signal is available on the HD Preview HD SDI and HDMI HD Program Dual Link HD SDI RED EVF and RED LCD outputs 108
59. e as Curve data Curve This checkbox enables the Tonal Response Curve Default setting is enabled Define Selects the curve control point to be adjusted Black Toe Center Knee or White Each control point comprises two independent values one each for X and Y axis locations X Adjusts the location of a control point along the X axis on the tonal response curve Y Adjust the location of a control point along the Y axis on the tonal response curve Viewfinder Menu VIEWFINDER HEADPHONE This menu permits the operator to adjust operation of the viewfinder COLOR FALSE COLOR v COLOR METERS ZEBRAS Y 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 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 36 Copyright RED Digital Cinema Apr 30 2009 _ 5000 24 irs a320 AB sec i AY es 01 00 03 1141 A001_C002 Internal 4 YANA Temp Media Power i BEAD Biotita This image reflects the following mapping relative to stops of exposure and 0 108 IRE Note the green and pink bars that allow quick exposure setup for 18 ND and skin tones 7 6 5 4 3 0
60. e green LED on the charger lights but then goes out press the camera power On Off switch twice Apr 30 2009 Copyright RED Digital Cinema 11 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 Adap tors 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 are available from RED and 3 parties permitting the use of Nikkor and Canon photographic lenses To use these mounts the PL mount must be removed It is recommended that this should be done only in a dust free envi ronment as the sensor and optical path will be exposed to the elements during this process 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 it provides is equivalent to S16 mm Hence the maximum recording resolution with these lenses will be 2K RAW 2048 x 1152 pixel progressive scan MYSTERIUM Sensor The MYSTERIUM sensor has been
61. e rate but a RED DRIVE will typically provide 160 min utes of 24fps 4K RAW 280 minutes of 24fps 3K RAW or 640 minutes of 24fps 2K RAW re cording RED RAM media is currently available with a capacity of 128GB Record duration is de pendent on resolution quality and frame rate but a RED RAM will typically provide 64 min utes of 24fos 4K RAW 112 minutes of 24fps 3K RAW or 256 minutes of 24fos 2K RAW re cording During a recording the rear status screen and monitor outputs will display the of remaining media capacity At 10 remaining capacity the media status box will turn yellow at 5 it will turn red At 2 remaining the camera will cease recording This reserves a small amount of capacity for ancillary data to be written to the media Note Media formatted on camera will use a name and root volume in the format Camera Letter Reel Number Month Day where is a two digit alphanumeric random number generated by the camera for each file e g AO01_0512A6 RDM Clips recorded to the media follow similar naming conventions A001_C001_0512A6_001 RDC and AOQ01_C001_0512A6_H mov_ etc Media Formatting Media must be formatted prior to using it for recording Formatting is performed on camera although media may be erased on a Macintosh OS X personal computer allowing the camera to just add the necessary project profile and clip log data Apr 30 2009 Copyright RED Digital Cinema 65 Formatting on camera i Fo
62. eference movies suitable for use in dailies applications and export a sequence of 2K or 4K resolution RGB image files as TIFF or DPX files for DI use RED CINE 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 ef fects applications RED CINE 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 de livery videotape format or after the editorial decisions have been made video can be conformed at full image resolution by replacing the lower resolution edit proxy e g 720p at 8 bit quality with a high resolution 4K 2K or 1080p image file Apr 30 2009 Copyright RED Digital Cinema 79 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 the HD Cinema display profile adjust the gamma to 2 2
63. elow and left of the RECORD button PROJECT gt MONITOR Sound Menu This menu provides audio channel configuration and management REC ENABLE 48V MIC This sub menu allows each audio channel to be enabled to do so press REC ENABLE INPUT TYPE Microphone VJCHANNEL1 __ CHANNEL2 __ CHANNEL3 __ CHANNEL 4 Once enabled an input type may be selected either Line or Microphone E CHANEL 1 E CHANEL 2 z CHANEL 3 _ CHANEL 4 Phantom power may be independently enabled for any inputs selected as Microphone Note the 48V Phantom Power output is disabled each time the camera is power cycled Media Menu This menu provides various media management functions including digital media formatting DURATION iv PRE RECORD UNMOUNT FORMAT CHANGE Selections are PRE RECORD UNMOUNT FORMAT CHANGE and RESET 42 Copyright RED Digital Cinema Apr 30 2009 Pre record enables a continuous loop recording of definable duration 10 or 30 seconds that permits continuous video and audio capture before the event i e before RECORD is pressed When enabled pre record starts recording 1 second chunks of video and audio to the digital magazine At the end of the selected pre record period the first chunk is overwritten If the RECORD button is pressed while in pre record pre record mode is terminated and a normal record is enabled The timecode value and clip name are carried over between modes A typical clip folder
64. entarily short pin 2 to 1 When active the GPO tallies present 3 3 V 0 04 amps maximum between pins 1 and 3 WARNING If creating a GPI trigger cable is very important you do not short pin 4 to pin 3 as this will cause damage to the camera s power supply this is not covered by Warranty Timecode Input Output 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 Pin 5 is time code output Mating connector LEMO FGG 0B 305 CLAD42Z 70 Copyright RED Digital Cinema Apr 30 2009 Oxo elo View into camera Timecode connector Signal Description Direction TIMECODE_IN_P_ Serial timecode input positive e Nocomect O TIMECODE_OUT Serial timecode output Note Pin 4 is a no connect Do not tie to ground IN_ TIMECODE_IN_N_ Serial timecode input negative Aux 232 Port The Auxiliary RS232 port provides up to 500mA of regulated 12V power to motorized 2 3 B4 mount lenses The two inputs labeled SW1 and SW2 are GPI signals that activate Record Start Stop and Playback of the last recorded clip respectively These are typically triggered by the B4 lens or by a 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 yo
65. f camera GUI Status When checked displays media exposure and audio status on GUI lower edge Grey Scale When checked displays an 11 step grey scale on GUI right edge Note Disabling a GUI element disables it on all monitor outputs and disabling the EVF Menu display also disables the EVF menu controls 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 The camera s fan speed can be changed depending on the ambient air temperature and re cording application The default setting is AUTO 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 58 Copyright RED Digital Cinema Apr 30 2009 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 faster to maintain the camera body within its operating temperature 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 precautions may be necessary such as shading the camer
66. fter storage in low temperature conditions The recommended storage and usage temperatures for your camera lenses and other acces sories are Operating range OC to 40C 32F to 104F Storage range 20C to 50C 4F to 122F If there are any performance issues with your camera or accessories within this operating range please file a support ticket on www red com support MOISTURE Avoid exposing your camera to moisture The unit is not waterproof so contact with water could cause permanent damage to the unit as well as electric shock and serious injury to the user Do not use the camera in the rain or under other conditions with high mois ture and immediately remove the power source if exposed to moisture AVOID SHOCK Do not expose your camera to excessive vibration or impact Be careful not to drop your camera Internal mechanisms may be damaged by severe shock Mechanical align ment of optical elements may be affected by excessive vibration CLEANING When cleaning your camera remember that it is not waterproof and moisture can damage electronic circuitry Do not rinse or immerse any element of the camera lens or other accessory keep them dry at all times Do not use soaps detergents ammonia alkaline clean ers and abrasive cleaning compounds or solvents These substances may damage lens coat ings and electronic circuitry LASER BEAMS Avoid imaging of laser beams as they may cause damage to the sensor BATTERY Lithiu
67. he camera will be the last used value the cam era used as the reel number e g if the last used reel number was 56 the change num ber suggested by the camera will also be 56 Reset select this function if you wish to reset the reel number counter used by the camera to allocate reel numbers when the media is formatted Choose any reel number between 1 999 and then press FORMAT If the magazine is not empty a warning and conformation screen will appear press FORMAT or CANCEL as appropriate Note The default reel number offered by the camera will be 1 The camera no longer resets this value each time the Project Time Base formerly Frame Rate is changed With Build 16 firmware the reel number counter must be manually reset at the start of each new project Note To protect against duplicate magazine and file names the camera inserts a ran dom two digit alphanumeric number in the file and or directory names For example if we re use 2 as the digital magazine number reel number In format Camera Letter Reel Number Clip Number Month Day A001_C002_0515A6 RDC is unique compared to A001_C002_0515F4 RDC 44 Copyright RED Digital Cinema Apr 30 2009 Project Menu The project menu sets the operating parameters the camera will use for a given project CONFIGURE TIMECODE V QT PROXIES Selections are SLATE CONFIGURE TIMECODE and QT PROXIES Slate lets the operator identify the specific camera used for the project C
68. he power cable from the Battery Plate RED CHARGER or AC Power Adaptor to the DC input on the rear of the camera body The RED LCD and RED EVF viewfinder may be mounted to the camera body using a short or extended length RED ARM Attach the RED ARM to the camera body using the shorter threaded screw There are attachment points on the camera body and on the RED RAIL TOP BRACKET Then attach the end of the arm with the circular locking ring to the RED LCD or RED EVF Finally 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 If using RED DRIVE place 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 In normal operation use the right angle connector to mate to the RED DRIVE and the straight connector to mate to the camera 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 If using S4 i compatible lenses the data pins should be oriented to 12 o clock when mounting the lens in order to establish communication
69. hen advised to do so by a factory representative Before continuing make sure the lens cap Is securely in place The sensor must remain unexposed to light for the duration of this process O K CANCEL Apr 30 2009 Copyright RED Digital Cinema 59 Press the O K button and the camera monitoring outputs will report Starting Black Shading Calibration The camera will then enter the Record mode and any camera monitoring outputs will report Calibration Analyzing Sensor 99 The camera records 100 frames of sensor data that is used to analyze the precise 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 amp Calibration was successful Please reboot the camera for the new settings to take effect O K Press the joystick and power cycle the camera This completes the Black Shading procedure Restore permits camera configuration and setup data to be reset to factory default values V SYSTEM v LOOK VJ USER RESTORE System Allows all camera configuration parameters to be reset to the factory default values Look Allows all image processing parameters to be reset to the factory default values User Allows all user preference parameters to be reset to the factor
70. his reflects the need for greater range and precision for the controls in post production than for monitoring images during image capture Apr 30 2009 Copyright RED Digital Cinema 81 RED Alert reads the metadata recorded for each color correction parameter by the RED ONE camera Values can be adjusted by dragging the appropriate slider or by entering a new numeric value in its 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 re vert all values back to those last used in your color grade MAO A002_c003_070913_P1 mov TYAO A002_C003_070913_P2 mov AOO A A002_C003_070913_P3 mov Presets may be saved in RED Alert that allow a consistent look to be established across multiple clips or alternative color treatments may be made for the same clip Note Looks may be transferred to the camera by entering RED Alert values into the UI The image may be displayed in a variety of color spaces For most applications select RED space For special effects select Linear and for Digital Intermediates select a Log fi lt puy gt o 964 01 01 4102 ileal The timeline control plays the selected clip and marks IN and an OUT point between which the TIFF or DPX file sequence will be extracted For QuickTime reference movies the entire clip will be referenced as trimming will be performed downst
71. in this scenario looks as follows J A001_C001_0519L7 RDC Today 6 35 PM en Folder A001_C001_0519L7_001 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_002 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_003 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_004 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_005 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_006 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_007 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_008 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_009 R3D Today 6 35 PM 17 9 MB RED RAW R3D A001_C001_0519L7_010 R3D Today 6 35 PM 17 MB RED RAW R3D A001_C001_0519L7_011 R3D Today 6 35 PM 118 4 MB RED RAW R3D A001_C001_0519L7_F mov Today 6 35 PM 64 KB Quick Movie A001_C001_0519L7_H mov Today 6 35 PM 64 KB Quick Movie A001_C001_0519L7_M mov Today 6 35 PM 64 KB Quick Movie A001_C001_0519L7_P mov Today 6 35 PM 64 KB Quick Movie This specific clip includes eleven R3D files the first ten of which correspond to the pre record and the eleventh file corresponds to the normal record period All have the same clip name Note On playback on camera or in the RED Alert RED CINE or any QuickTime ap plication these eleven individual R3D files are seen as a single continuous video clip To enable Pre Record Enter SYSTEM menu then the MEDIA submen
72. is 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 Frame Rate x 360 E g 1 48 x 24 x 360 8640 48 180 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 Frame Rate x 360 Angle E g 1 24x 360 180 1 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 Apr 30 2009 Copyright RED Digital Cinema 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 __ VARISPEED _ RAMP FRAMERATE END RATE Note In all Varispeed modes audio recording is disabled Note In Varispeed modes timecode is written to digital media at a rate equal to the instantane ous c
73. ital media so copying of clips from the digital maga zine to backup media may be performed by a single drag and drop operation 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 cor ner of the video monitoring outputs 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 cam era will provide a warning as follows RECORD ERROR NO_DIGIMAG Metadata RED ONE cameras record Metadata which is data that describes the precise characteristics of the picture and sound data in each frame of footage This may include camera specific setup information project and clip management information Edge code Time code date and GMT lens parameters audio settings and any video image processing information Clip Naming Conventions 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 Month Day where is a two digit alphanumeric random number generated by the camera for each file 16 Copyright RED Digital Cinema Apr 30 2009 E g A001_C002_0502A6 RDC Where A camera A 001 reel 001 C002 clip 002 and 0502 May 02 And A6 is a two digit alphanumeric random number generated by the camera This
74. lor 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 exposure compensation Available exposure range is 2 0 to 4 0 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 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 MASTER RED GAIN BLUE GAIN GREEN GAIN Master adjusts the gain of RED BLUE and GREEN equally Range is 0 0 no Red to 4 0 Red Gain adjusts the gain of the RED channel only Range is 0 0 no Red to 4 0 Apr 30 2009 Copyright RED Digital Cinema 35 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 TONE menu V CURVE DEFINE The TONE sub menu allows a Tonal Response Curve to be overlaid on the video monitor path The curves parameter values are stored in metadata and may be visualized in RED Alert post production softwar
75. ly through the camera s PPM which indicates OdBu This setting provides a guaranteed minimum of 22dB of input signal headroom above reference and correct audio re cord level however the 24 bit digital audio recording will be at a slightly reduced Signal to Noise ratio Note The above notes apply to cameras configured with Rev B audio hardware Cam eras shipped prior to Sept 15 2008 and not yet upgraded to Rev B were supplied with Rev A audio hardware with the following operational restrictions You should always use a RED Digital Cinema XLR to mini XLR adaptor cable which provides a 4dB pad to achieve an appropriate input signal level The 48 V Phantom Power source is automatically disabled on each power cycle Low sensitivity phantom powered microphones may exhibit excessive noise so con sider an external 48V phantom power source or use a dynamic microphone Input Level range for Microphone Inputs is 20dB to 54dB Input Level for Line Level inputs may not be adjusted Line Output Audio A 5 pin mini XLR connector supports two channels of balanced analog audio output The camera s four audio channels may be monitored in user selectable pairs either channels 1 amp 2 or 3 amp 4 ora quad mix of both pairs based on the Headphone MIX parameter Note Maximum output level for the balanced analog audio outputs is 8dBu Pin Signal Description Direction LEFT Line output left channel Out GROUND C
76. m lon batteries may be subject to special handling requirements pursuant to federal and local laws Please refer to specific shipping instructions included with your battery regarding proper transport of your battery Do not handle your battery if it is damaged or leaking Dis posal of batteries must be in accordance with local environmental regulations For example California law requires that all rechargeable batteries must be recycled by an authorized recy cle center ELECTROMAGNETIC INTERFERENCE The use of devices using radio or other communication waves may result in the malfunction or interference with the unit and or with audio and video signals 4 Copyright RED Digital Cinema Apr 30 2009 FCC RULES This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to proved reasonable protec tion against harmful interference when the equipment is operated in a commercial environ ment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio com munications Operation of this equipment in a residential area is likely to cause interference in which case the user will be responsible for correcting the interference at the user s own ex pense Apr 30 2009 Copyright RED Digital Cinema 5 2 Camera Assembly Connect t
77. mage projection The actual recorded image is 1 2 1 aspect Preview HD SDI A single DIN 1 0 2 3 connector labeled PVW provides a high definition video preview output Pin Signal Description Direction HD SDI SMPTE 292M HD SDI Out Shield Screen GROUND Cameraground o o Preview HD SDI Output Note If PREVIEW type is set to MENUS DVI the PVW output is disabled In record the Preview output provides a 1280 x 720p 10 bit 4 2 2 progressive scan video at 59 94 or 50 00 Hz In playback if PLAYBACK is set to 720p the Preview output provides a 1280 x 720p 10 bit 4 2 2 progressive scan video at 59 94 or 50 00 HZ Apr 30 2009 Copyright RED Digital Cinema 77 If PLAYBACK is set to 1080p the Preview output provides a 1920 x 1080p 10 bit 4 2 2 progres sive scan video signal at 23 98 24 00 25 00 or 29 97 Hz Note the Preview HD SDI output provides 4 channels of embedded audio plus timecode Note The embedded timecode value is equal to the Time Code value of the recorded frame previewed by the PVW output I e the timecode sequence will be discontinuous Note RED ONE outputs progressive scan video it does not support 1080PsF format Note If an ANMORPHIC record mode has been selected 2K ANA 3K ANA 4K ANA the video visible on the Preview HD SDI output has been stretched 2 1 to illustrate the final 2 40 1 aspect ratio of the final image projection The actual recorded image is 1 2 1 aspect HDMI An HDMI Type A co
78. n software as initial white balance exposure and color cor rection points i e you can change these if you wish when you process the RAW footage Time Code and Edge Code values used by the camera are Non Drop Frame NDF Drop Frame DF is not supported Audio is captured at 48KHz 24 bit resolution per channel uncompressed 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 Uj AO11_05013M RDM May 1 2008 12 18 AM Folder LJ A011_C001_05015C RDC May 1 2008 12 18 AM Folder A011_C002_050167 RDC May 1 2008 12 18 AM Folder A011_C002_050167_001 R3D May 1 2008 12 20 AM 2 GB RED RAW R3D A011_C002_050167_002 R3D May 1 2008 12 21 AM 549 4 MB RED RAW R3D A011_C002_050167_F mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_H mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_M mov May 1 2008 12 21 AM 64 KB Quick Movie A011_C002_050167_P mov May 1 2008 12 21 AM 64 KB Quick Movie La A011_C003_0
79. nnector provides an HDTV compatible 720p video and audio signal or a DVI SXGA compatible 1280 x 848 progressive scan video signal at 50 00 or 59 94 Hz Selection between these two modes is made in SYSTEM MONITOR PREVIEW The default setting is VIDEO 720p In this mode the HDMI output replicates the HD Preview video output Note In this mode if PLAYBACK is set to 1080p the HDMI output will provide a 1080p 10 bit 4 2 2 progressive scan video signal with 4 channel embedded audio at 23 98 24 00 25 00 or 29 97 Hz when the RED ONE camera is placed into playback The alternative mode is MENUS DVI In this mode the HDMI output is compatible with most DVI based SXGA or higher resolution computer monitors Use is as an external Viewfinder Note This mode is not compatible with PLAYBACK is set to 1080p i e no output is avail able when the RED ONE camera is placed into playback Note If an ANMORPHIC record mode has been selected 2K ANA 3K ANA 4K ANA the video visible on the HDMI output has been stretched 2 1 to illustrate the final 2 40 1 aspect ratio of the final image projection The actual recorded image is 1 2 1 aspect 78 Copyright RED Digital Cinema Apr 30 2009 Appendix D Post Production RED workflow is quite easy to understand especially if you have had experience with photo graphic RAW image processing or shoot 16mm or 35mm film followed by a telecine transfer to a non linear video editor and on line conform RA
80. o 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 pre sent the camera auto increments the timecode until the external source is re connected y JAMSYNC fOUTPUT _ CROSS DISPLAY _ TIMEZONE Time Code Output when un checked timecode is disabled on the 5 pin LEMO timecode I O connector If checked the current Time Code value is provided on the 5 pin LEMO timecode I O connector Time Code is always embedded in HD SDI irrespective of this setting move m y JAMSYNC _ OUTPUT f cross DISPLAY TIMEZONE Cross Jam activates 23 98 from 29 97 fps time code sync The RED ONE camera will accept a 29 97 fps time base external Time Code signal and generate a synchronized 23 98 Time Code signal for use with the camera s 23 98 fps recording Normally used with OUTPUT off MODE GENERATE _ JAMSYNC v OUTPUT RY cross DISPLAY TIMEZONE Cross Gen activates 29 97 from 23 98 fps time code sync The RED ONE camera will gener ate a 23 98 Time Code signal for use with the camera s 23 98 fps recording and also gener ates a synchronized 29 97 fos Time Code signal for use by an external device available as an output from the 5 pin timecode I O connector Normally used with JAM SYNC off Apr 30 2009 Copyright RED Digital Cinema 47 Display lets
81. o use with these systems and hardware upgrade options Apr 30 2009 Copyright RED Digital Cinema 9 01 00 00 00 4320 24 tc INT A User Menus select B Status Display C Record amp Ready tallies D Sensor menu E EXIT menu F UNDO alternate action G Record Start Stop H Joystick Audio Video menu J System menu On the rear of the camera several buttons surround a daylight readable LCD status display To the left of the status display are three User Menu buttons which normally provide direct ac cess Sensitivity Shutter and Color Temperature menus However the specific function of these keys may be re programmed by the user if desired to provide quick access to other functions Below the LCD status display are the Joystick and Exit Undo alternate action and RECORD buttons plus the Sensor Audio Video and System menu buttons The camera control menus are logically grouped under these last three buttons to provide streamlined camera operations 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 LCD display control clip playback From left to right the keys are Clip Start Previous Clip Play Reverse Clip Play Pause Fast Fwd and Clip End Next Clip 10 Copyright RED Digital Cinema Apr 30 2009 A Power On Off switch B Aux Power GPIOA C Aux Power
82. ombined with reel numbers and clip numbers assigned by the camera all clips recorded on the digital media may be uniquely identified simplifying post production and media archiving workflows SET CAMERA ID 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 E g A001_C001_0515A6 RDC Where A camera A 001 reel 001 C001 clip 001 and 0515 May 15 and AG is a two digit alphanumeric random number generated by the camera This number helps avoid dupli cate file names if two cameras are inadvertently named A on the same project Configure defines the operation of the camera in a project QUALITY _REDCODE36 RESOLUTION TIME BASE QUALITY Quality Choose between REDCODE 28 and REDCODE 36 Default is REDCODE 36 Note REDCODE 36 will limit maximum frame rate and resolutions available using CF cards RESOLUTION azi RESOLUTION TIME BASE QUALITY Time Base allows the user to set the project time base the playback amp editing frame rate Resolution Choose 4K 3K or 2K resolutions Do not use 4K or 3K for S16mm B4 lenses Apr 30 2009 Copyright RED Digital Cinema 45 The maximum available time base supported by each media type for each resolution is REDCODE 28 RED 8GB CF RED 16GB CFRED DRIVE RED RAM
83. ot recognize it Restrict file names to 12 characters 54 Copyright RED Digital Cinema Apr 30 2009 KEYMAP selects the Key Map Preferences sub menu This menu permits selected menus or functions to be mapped to specific User Keys on the camera body VfSIDE RECORD USER KEYS Side Record When checked the side RECORD key is enabled Default is enabled Record FUNCTION _VIEW RAW _ V USER 1 V USER 2 V USER 3 V USER 4 V PUSER 5 USER KEYS When pressed permits USER KEYS 1 thru 5 to be programmed User 1 When checked USER 1 key is enabled and its function is defined in the associated list Default is Enabled Auto WB User Key 1 is the upper user key on the camera side User 2 When checked USER 2 key is enabled and its function is defined in the associated list Default is Enabled Magnify User Key 2 is the lower user key on the camera side User 3 When checked USER 3 key is enabled and its function is defined in the associated list Default is enabled Assist User Key 3 is the upper user key on the RED EVF User 4 When checked USER 4 key is enabled and its function is defined in the associated list Default is enabled Meter User Key 4 is the lower user key on the camera side User 5 When checked USER 5 key is enabled and its function is defined in the associated list Default is enabled Meter User Key 5 is the left hand side key on the RED LCD Available functions that may be allocated to the Use
84. r Keys are Record Initiates camera record start stop Magnify Initiates camera monitor path magnify function Auto WB Initiates camera Auto White Balance Color Toggles the EVF Color selection On Off View RAW Toggles VIEW RAW selection On Off Meter Toggles the EVF Meter Assist selection On Off Ramp Initiates Variable Soeed Ramp Apr 30 2009 Copyright RED Digital Cinema 55 Timelapse Initiates Timelapse Record Mode Zebra 1 Toggles Zebra 1 On Off Zebra 2 Toggles Zebra 2 On Off Volume 1 Increases volume of Channel 1 when in microphone mode Volume 1 Decreases volume of Channel 1 when in microphone mode Volume 2 Increases volume of Channel 1 when in microphone mode Volume 2 Decreases volume of Channel 1 when in microphone mode ISO Increases camera Sensitivity ISO Decreases camera Sensitivity Shutter Increases camera Shutter Speed Shutter Decreases camera Shutter Speed GPIO selects the GPIO Preferences sub menu FUNCTION PLAY CLIP VI INPUT A INPUT B OUTPUT A OUTPUT B POLARITY a yi This menu permits the function of GPI A and B defined as either Record starts standard mode video and audio record Subsequent trigger stops record Pre Record activates Pre record Subsequent triggers start stop record Timelapse activates Timelapse Subsequent trigger activates one shot or burst recording Ramp initiates variable frame rate ramp speed change Shut Down initiates a controlled camera power
85. r a project and so should not be adjusted Use Varispeed if shooting above or below this base frame rate for slow motion effects Note 2K and 3K record resolutions also support 50 00 and 59 94 fps Project Time Bases 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 Time Base 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 over crank and under crank recordings can be made above and below this base frame rate On playback these recordings will be displayed at the Project Frame Rate Note If operating on a multi camera production enter a different Camera I D for each camera using the SLATE menu otherwise skip this step the camera is ready to shoot Apr 30 2009 Copyright RED Digital Cinema 21 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 data recordings store the Color Temperature and Exposure ISO and any RGB color processing values you use in the monitor path as metadata This metadata is used in RED Alert or other post productio
86. ream 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 Se quence 4K or 2K DPX or 4K or 2K TIFF Save ax rr save 2x TF Save SEQUENCE 2x opr E save sequence zx TFF_ SAVE SEQUENCE 4K DPX SAVE SEQUENCE 4K TIFF 82 Copyright RED Digital Cinema Apr 30 2009 RED CINE Use V3 1 2 or higher for Build 17 footage RED CINE is available on Intel based Mac OSX and Windows XP platforms In addition to performing white balance and one light color correction RED CINE provides im age pan scan crop and scaling operations The application can export either a singe clip or a sequence of clips as 4K or 2K resolution 10 bit DPX or 16 bit TIFF files RED CINE can also render clips as standalone QuickTime movies using specific HD video codecs As RED ONE shoots progressive scan images all QuickTime movies created by RED CINE are also pro gressive scan MelumosiArchive DiveRedcine Dems FootagelA06 COS 670514 001 RID 144 I4 4 gt Apr 30 2009 Copyright RED Digital Cinema 83 Copyright C 2009 RED Digital Cinema Inc All rights reserved No part of this document may be reproduced transmitted transcribed or translated into any language in any form without the prior written consent of RED Digital Cinema 84 Copyright RED Digital Cinema Apr 30 2009
87. rmatting anew Compact Flash card or attach a RED DRIVE or RED RAM 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 or RED RAM magazine to the e SATA port via the 16 pin e SATA cable provided The camera will recognize unformatted media and prompt with a message such as this Unformatted and or Media X In the camera GUI display and on the rear LCD Status Display To format the media From the camera back press SYSTEM menu PROJECT gt MONITOR Then press the MEDIA label WRITE LOG UNMOUNT FORMAT CHANGE Then press FORMAT If the media is blank the camera will respond that it is Formatting the Internal External Digital Magazine Once completed the following screen will appear The Magazine was Successfully Re Formatted The digital magazine is ready for immediate use O K Press the Joystick to acknowledge The format process is now complete Formatting a CF card or RED RAM will take about 10 15 seconds a RED DRIVE formats in less than a minute 66 Copyright RED Digital Cinema Apr 30 2009 Reformatting previously used media Re formatting a previously used CF card or RED DRIVE or RED RAM magazine follows a similar procedure except that the camera will provides the following warning The Digital Magazine is not empty The magazine currently cont
88. sitivity value is ISO 320 adjustable in 1 3 stop increments from ISO 100 to ISO 2000 When sensitivity is adjusted the camera metadata logs the change and the monitor path reacts accordingly Color Temperature Color Temp 5000 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 5 600 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 pa rameter and then press the Joystick once Auto WB may also be assigned to a User Key 26 Copyright RED Digital Cinema Apr 30 2009 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 maintaine
89. stick to confirm the upgrade and all monitor outputs will report back Performing System Upgrade This may take several minutes Do not power down during this process A blue highlight bar will animate on all monitor outputs to indicate an upgrade is in progress After about 5 minutes the upgrade will have completed All monitor outputs will report back Upgrade Compete Power cycle the camera to continue Power cycle the camera to return to normal operation During the camera power up process the camera will display the camera P I N and the firmware Build and Version number 64 Copyright RED Digital Cinema Apr 30 2009 Appendix B Managing Digital Media The RED ONE camera supports two types of media compact flash and hard disk Compact Flash CF media requires a 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 SATA interface cable RED FLASH CF compact flash media is currently available in 8GB and 16GB capacities Re cord duration is dependent on resolution quality and frame rate but an 8GB card will typically provide 4 minutes of 24fps 4K RAW 7 minutes of 24fps 3K RAW or 16 minutes of 24fps 2K RAW recording A 16GB card will provide twice this capacity RED DRIVE media is currently available with a capacity of 320GB Record duration is de pendent on resolution quality and fram
90. ting legal ownership of the camera When the camera is ready for use the lower LED to the right of the status display turns green Apr 30 2009 Copyright RED Digital Cinema 7 3 Physical Controls and Connectors This section describes the physical controls and connectors 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 S85mm 35mm and S16mm cinematography lenses In addition broadcast B4 mount lenses may be used if the camera is equipped with the optional B4 to PL mount op tical converter The PL mount includes a 4 pin S4 i data interface This allows the camera to gather lens meta data from lenses supplied by RED and Cooke Optics Ltd using the S4 i protocol On the left side of the camera body are a RECORD key and two User Keys User Key 1 is pre assigned to AUTO WB and User Key 2 is pre assigned to 1 1 FOCUS CHECK however these assignments can be changed in the KEYMAP preferences menu A SD Memory Card slot is located below this group of keys which supports most SD Cards of up to 1GB capacity It is not possible to store video or audio data to the card SD card however it may be used for camera firmware upgrades and to store USER PROFILE and LOOK files 8 Copyright RED Digital Cinema Apr 30 2009 A Headphone B Program HD SDI A C Program HD SDI B D HDMI Out E Preview HD SDI F Vi
91. u VJ PRE RECORD UNMOUNT FORMAT DURATION Check the Pre Record checkbox and select duration of 10 seconds or 30 seconds To commence pre record press both the UNDO key and the RECORD key The camera will commence prerecord indicated by the record tally light and timecode changing to yellow To enter record press the RECORD key This will be indicated by the record tally light and timecode changing to red To terminate pre record press the RECORD key a second time Note When using Pre Record the Edge Code written to the digital magazine can be come discontinuous between clips however Time Code is unaffected Apr 30 2009 Copyright RED Digital Cinema 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 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 Change select this function if you wish to change the reel number allocated by the camera when media is formatted Choose any reel number between 1 999 and then press FORMAT If the magazine is not empty a warning and conformation screen will appear press FORMAT or CANCEL as appropriate Note The default reel number offered by t
92. ur max current requirement extract power from either one of the two Auxiliary Power outputs or the D Tap connector on the battery V Plate Mating connector LEMO FHG 1B 310 CLAD62Z View into camera Auxiliary RS232 connector Apr 30 2009 Copyright RED Digital Cinema 71 Pin Signal Description Direction pt oND Cameraground _ pe RIX RS232TransmitData Out 3 12V___ Regulated 12V output 500mA max Out Reserved donotconnect p 5 SW2___ Record Clip switch closure p68 Reserved donotconnect gt 8 RRX RS232ReceiveData po gt Reserved donotconnect 10 Reserved donotconnect Note Pins 4 6 9 and 10 are reserved for future use RED EVF Interface The RED EVF interface is a custom digital video and power interconnection between the camera and a RED EVF Due to the data integrity nature of this interface the pin out 1s not published Contact RED technical support for details of available RED EVEF cable lengths RED LCD Interface The RED LCD interface is a custom digital video and power interconnection between the camera and a RED LCD Due to the data integrity nature of this interface the pin out is not published Contact RED technical support for details of available RED EVF cable lengths Note The Aux 232 RED EVF and RED LCD connectors use the same shell size Do not at tempt to force fit a 10 pin Aux 232 cable into a 16 pin RED EVF or RED LCD
93. y default values Restore Press the RESTORE key to confirm the above selections Update SW initiates a camera software update 60 Copyright RED Digital Cinema Apr 30 2009 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 real time clock to be adjusted PREFERENCES 5 MAINTENANCE SET CLOCK WRITE LOG REMOTE Set Date and Time to equal GMT and then set TIMEZONE in the TIMECODE menu to 8 for West Coast US Pacific time Or set to local time and then set the TIMEZONE value to 0 GMT MONTH _ YEAR VJ 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 for the month Range 1 12 Day allows the operator to enter a new value for the day Range 0 31 GMT HOUR VJ HOUR _ MINUTE _ 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 minutes 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 ef fect and be visible as TIME CODE on completion of the re boot cycle Apr 30 2009 Copyright RED Digital Cinema

Red Digital Cinema Red One 17.0 Operation Guide

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