TABLE OF CONTENTS DISCLAIMER ..................................... 3 Copyright Notice............................ 3 Trademark Disclaimer .................... 3 Compliance.................................... 3 Industrial Canada Emission Compliance Statements ................................ 3 Federal Communications Commission (FCC) Statement.................................. 3 Australia and New Zealand Statement .................... 4 Japan Statements .....................
Upgrade Procedure ................... 115 APPENDIX B: MANAGING DIGITAL MEDIA............................. 118 Media types ............................... 118 Formatting Media ...................... 118 Re-formatting Media .................. 121 Media Capacity Remaining Status ........................................ 122 Remove Media from Camera (Unmount) .................................. 122 Procedure A .......................... 123 Procedure B .......................... 123 Procedure C ..................
DISCLAIMER RED® has made every effort to provide clear and accurate information in this Operation Guide, which is provided solely for the user’s information. While thought to be accurate, the information 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 different from that intended by RED.
AUSTRALIA AND NEW ZEALAND STATEMENT Attention: This is a Class A product. In a domestic environment this product may cause radio interference in which case the user may be required to take adequate measures.
BEFORE YOU START Congratulations on your purchase of a RED ONE camera. This operation guide covers cameras equipped with MYSTERIUM® and MYSTERIUM X® sensors. Please read the safety instructions, then carefully unpack the camera body any accessories. If there is any physical damage or missing components for your camera body and any accessories, please file a support ticket at www.RED.com/support.
• Avoid imaging of laser beams as they may cause damage to the sensor. • DO NOT use the camera or accessories near water. 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 the camera in the rain or under other conditions with high moisture and immediately remove the power source if exposed to moisture.
CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To disconnect all power from the AC Power Adapter, unplug the power cord plug from the wall outlet. During use, the power cord plug should remain easily accessible at all times. • Lithium Ion 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.
THEORY OF OPERATION The RED ONE Digital Cinema camera provides high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm, 35mm and Super16mm. The camera is supplied as standard with a PL mount, and may be configured with 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm offset studio and 15mm lightweight rods are also available.
IMAGE PROCESSING The digital images received from the MYSTERIUM or MYSTERIUM X sensors are formatted as pixel defect corrected (but not color processed) RAW data - similar to digital RAW stills cameras. The sequence of RAW images received from the sensor is compressed using proprietary 12-bit REDCODE™ RAW compression. The REDCODE RAW data recorded is independent of the RGB signal monitored in the monitoring path.
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.
4. Twist joystick to select MENUS (DVI) or VIDEO (720p) in the PVW OUTPUT box above the EVF REFRESH box - default is VIDEO (720p). 5. To set selection and exit the menu, push the EXIT button or move the joystick up two times (x2). The Preview Output setting will be held in camera memory. Once it is set it will not need to be re-set when power cycling the camera.
• Enabling first / disabling last audio channel • Entering and exiting MAGNIFY (Image Zoom) RECORD INDICATOR When recording, the RED ONE camera provides a variety of record indications (tallies): - Timecode, normally displayed in white colored text, will turn Red - A small Red dot will appear in the top left corner of any video monitoring outputs (RED LCD, etc…) - The REC LED on the rear of the camera will turn Red - If using an EVF, the LED on the front will turn Red when the Tally is set to TAL
MASTER / SLAVE CAMERA CONFIGURATION Master / Slave configuration is used to connect 2 cameras together for shooting 3D footage. For complete information on connecting and operating cameras in a master / slave configuration, refer to APPENDIX E: MASTER / SLAVE CAMERA CONFIGURATION. DIGITAL MAGAZINES REDCODE RAW compressed video, time code, audio and metadata may be recorded to on-board or attached digital media devices including: REDFLASH : RED speed verified Compact Flash cards of 8 or 16GB capacity.
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 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 B001_C001_0502**.RDC C001_C001_0502**.
POWER CONSUMPTION A Mysterium sensor based RED ONE camera draws approximately 75 Watts (with MYSTERIUM X sensor approximately 80 Watts) in a typical accessory configuration. At this power consumption a RED-BRICK 140Wh battery will run the camera for about 90 minutes. The camera is normally cooled by passive convection from the camera body, assisted as required by a fan. Build 31 v31.6.16 Beta JUNE 22, 2011 © 2007-2011 RED.COM INC.
CAMERA CONTROLS, CONNECTORS AND DISPLAYS This section describes the physical controls, connectors and displays on the RED ONE camera body. CAMERA CONTROLS LEFT FRONT OF CAMERA This section describes the physical controls on the RED ONE camera body. B C A D A PL Lens Mount Cover B Record Button C User Keys 1 and 2 D SD Memory Card Figure 1 – Left Front Camera Controls A PL Lens mount is provided as standard with the RED ONE camera.
An SD Memory Card slot (D) is located below User Key 2, 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. REAR OF CAMERA A B C E D A Clip Start / Previous Clip C Clip Play / Pause B Play Reverse D Fast Forward E Clip End / Next Clip Figure 2 – Rear Upper Playback Camera Controls A. Cues the Clip to its Start Frame.
A J I B D E F C H G A User Menus Select F UNDO / Alternate Action B Sensor Menu G System Menu C Audio / Video Menu H Record Start / Stop D EXIT Menu I Record/Ready (OK) LED E Joystick J LCD Display Figure 3 – Rear Center Camera Controls On the rear of the camera, several buttons surround a daylight readable LCD status display (J).
Below the LCD status display are the Joystick (E), Exit (D), Undo / Alternate Action (F) and RECORD (H) buttons, plus the SENSOR (B), AUDIO (C) and SYSTEM (G) menu buttons. The camera control menus are logically grouped under these last three buttons to provide streamlined camera operations.
POWER ON / OFF SWITCH Power on/off switch (A) is located on the lower rear of the camera. Press once to power up/power down the camera. A A Power ON / Off Switch Figure 4 – Rear Lower Camera Controls 20 Build 31 v31.6.16 Beta © 2007-2011 RED.COM INC.
CAMERA CONNECTORS RIGHT SIDE OF CAMERA This section describes the physical connectors on the RED ONE camera body. For detailed description and operation refer to APPENDIX D: INPUT/OUTPUT CONNECTORS.
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 to use with these systems, and hardware upgrade options. REAR OF CAMERA D A B C A Aux Power / GPIO A C Camera Power 11.
CAMERA DISPLAYS The LCD status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup. 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 REDcolor gamma and color space. Image intensity can be adjusted to compensate for ambient lighting conditions.
RED EVF D F E B C A Figure 9 – RED EVF The RED EVF comprises the following components: A. High-resolution color display: Provides a 1280 pixel x 848-pixel resolution progressive scan color image equivalent to viewing a 17” reference color monitor from a distance of approximately 4 ft. B. Focus ring: May be adjusted for optimal subject focus for your eye. Available diopter range is +1.5 to 2.0. C. Rotary encoder/switch: Used to adjust a variety of parameters.
BOMB EVF A D B C Figure 9 – BOMB EVF The BOMB EVF comprises the following components: A. High-resolution color display: Provides a 1280 pixel x 784-pixel resolution progressive scan color image equivalent to viewing a 17” reference color monitor from a distance of approximately 3’ 3” (1 m). NOTE: The BOMB EVF can display either the upper 784 lines or lower 784 rows of the 1280 x 848 pixel viewfinder output. To toggle between these two options, simultaneously press both User Key 3 and User Key 4.
C. Two (2) programmable USER KEY 3 and 4 buttons. When looking from the front of the BOMB EVF, USER KEY 3 is on the right and USER KEY 4 is on the left. • Default setting of USER KEY 3 is COLOR (turns FALSE COLOR - EXPOSURE On/Off). • Default setting of USER KEY 4 is VIEW RAW (toggles the VIEW between REDColor and RAW). • USER KEY 3 and 4 can be programmed. Refer to SYSTEM MENU CONTROLS > PREFERENCES > KEY-MAP. D. Tally Light: Illuminates during recording.
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. RED LCD / RED EVF / HD-SDI / HDMI DISPLAY ELEMENTS The following is a general representation of elements displayed on RED LCD, RED EVF and external monitor outputs (HD-SDI, HDMI).
• Master / Slave Indicator: Indicates camera as Master (M) or Slave (S) when cameras are connected together • Shutter Speed: Current exposure time • • Raw Level Meter: Current sensor RAW peak exposure levels • Raw Clip Meter: Current sensor RAW clipping status White Balance: Current color temp • • Cursors: Reference cursors – Safe Action, Safe Title, Picture Center Raw Noise Level Bar: Relative area of pixels in noise at the sensor • • Frame Guide: Film projection area Raw Clip Level Bar: R
BASIC OPERATION This section describes powering up/down and basic controls of the RED ONE camera and how to initiate a project. POWER UP / DOWN Power is supplied to the camera via a RED-BRICK battery (connected through a RED BATTERY PLATE, RED QUICKPLATE or RED CRADLE) or RED CHARGER connected to the POWER connector located at the rear of the camera. - To power the camera up (turn on); push the power on/off switch once. - To power the camera down (turn off); push the power on/off switch once.
OPERATING CAMERA USING RED CHARGER 1. Plug the RED CHARGER into an AC power source between (120 – 240V). 2. Plug one end of the supplied 6-pin power cable into the AUX power output connector of the charger. 3. Plug the other end of the power cable into the POWER connector on the rear of the camera. 4. Turn on the charger. 5. When the LED above the RED CHARGER AUX power output connector turns green, you can turn on the camera. Refer to POWER UP / DOWN.
5. Leave the battery to charge for the appropriate time as shown in the table (assuming battery is completely discharged). Charging RED-BRICK 140Wh using RED CHARGER Charge Amount% (Minutes) 80 (120) 100 (210) 6. Unplug the battery when the LED becomes steady Green and/or all the LEDs illuminate on the battery LED array. FIRST TIME USE - SETTING UP YOUR RED ONE Before recording, the camera must be set up properly. 1. Physically set-up camera as desired. 2. Download the latest camera firmware from www.
CONNECTING MEDIA Insert the CF card with the manufacturer’s label facing outward (away from camera body). Push the CF firmly into the CF slot, but without using excessive force to prevent damage. Or insert the REDMAG with RED facing outward (away from camera body). Push the REDMAG firmly into the Side SSD slot, but without using excessive force to prevent damage.
PROJECT SETUP 1. Push the SYSTEM menu button. 2. Using the joystick, highlight PROJECT. Push joystick in or down to select PROJECT. 3. Using the joystick, highlight CONFIGURE. Push joystick in or down to select. 4. CONFIGURE menu will be displayed. 5. Select each item to set up your project using the joystick. Push joystick in or down to enter.
TIME BASE Selecting TIME BASE will highlight the upper right hand menu item and give you the following fps options: • 23.98 • 25.00 • 50.00 • 24.00 • 29.97 • 59.94 1. To view options, twist joystick. 2. Choose desired time base. 3. Push joystick in or down to set the selected time base. NOTE: The time base establishes the base frame rate for a project, and so should not be adjusted. Use Varispeed if shooting above or below this base frame rate for slow motion effects.
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.
BACK FOCUS ADJUSTMENT 1. Level the camera on a stable surface or tripod. 2. Set a focus chart at a medium distance from the camera. (5 to 10 feet) 3. Attach a medium length prime lens to the camera, (50 to 75mm) and set the lens focus to match the appropriate distance the camera is away from the chart. 4. Using a 5/32” Allen wrench, loosen the two (2) screws on the focus ring near the front of the camera. 5. Adjust the camera focus ring until the focus chart is in focus.
6. Allow for an even amount of play on both sides of the lens focus marker. There should be a depth of field range of several inches, so it is best to allow for good focus on either side of the exact distance marker. 7. Tighten the camera focus ring screws, and retest focus. Screws should be tightened to approx. 22.22 In-Lb of Torque. Some shifting may occur while tightening the focus ring. 8.
SENSOR MENU CONTROLS This section describes how to set sensor specific menu parameters including Sensitivity, Shutter Speed, Color Temperature, Varispeed and Time-lapse. To access the Sensor main menu push the SENSOR menu button on the rear of the camera. To enter the available sub-menus, use the joystick to highlight the desired selection and push joystick in or down.
COLOR TEMP The Color Temperature sub-menu 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. AUTO WB The Automatic White Balance (AUTO WB) 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.
TRIM SINGLE CAMERA CONFIGURATION 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. To adjust: Select TINT and twist joystick to change the highlighted TINT box to the desired setting. Range is -100 to 100, default is 0 NOTE: Pushing AUTO WB calculates a new Tint value.
S TINT (SLAVE CAMERA TINT TRIM) Only used when in Master / Slave configuration, S TINT provides a trim (offset) to the programmed or calculated TINT value of the Slave camera. This permits a difference in light color tint between direct and reflected light paths of a beam split mirror to be compensated by trimming the monitor path output of the Slave camera.
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. GENLOCK References shutter scan start time (phase) to an external Tri-Level Sync genlock signal. For 3D and multicamera, permits scan time and scan phase of all cameras to be matched.
MODE Enables one of three following shutter modes: Normal, Syncro, or Relative. Default selection is Normal. For additional information, see SPEED section. 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. To adjust: Select MODE and twist joystick to change the highlighted SHUTTER MODE box to the desired setting.
When operating at 23.98 or 24.00fps, these equal common shutter angles of: Shutter Degrees Shutter Degrees 1/32 270 1/96 90 1/48 180 1/192 45 1/60 144 1/384 22.5 When operating in Relative 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.
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 To Convert an Angle to an Equivalent Shutter Speed: Equivalent Shutter = 1 / (Frame Rate x 360 / Angle) E.g.
VARISPEED Before recording, enable this function by placing a checkmark in the Varispeed checkbox. To select: Use joystick to highlight VARISPEED checkbox. Push in or down on joystick to place checkmark in VARISPEED checkbox. RAMP Enables a speed ramp; a transition over Time from the Frame Rate to an End Rate. 1. To select and adjust, use joystick to highlight RAMP checkbox. 2. Push joystick in or down to place checkmark in RAMP checkbox.
Minimum frame rate is 1 fps; maximum frame rate is a function of REDCODE setting (REDCODE 28, REDCODE 36 or REDCODE 42), record resolution and media type: RED-RAM REDCODE 28 REDFLASH 8GB REDFLASH 16GB RED-DRIVE 2K 2:1 100 fps 120 fps 120 fps 120 fps 2K 16:9 100 fps 100 fps 100 fps 100 fps 2K ANA 120 fps 120 fps 120 fps 120 fps 3K 2:1 50 fps 60 fps 60 fps 60 fps 3K 16:9 30 fps 50 fps 50 fps 50 fps 3K ANA 60 fps 60 fps 60 fps 60 fps REDMAG 4K 2:1 25 fps 30 fps 30 fps 30
REDCODE 42 REDFLASH 8GB REDFLASH 16GB RED-DRIVE 2K 2:1 ---- 90 fps 100 fps RED-RAM REDMAG 100 fps 2K 16:9 ---- 75 fps 90 fps 90 fps 2K ANA ---- 90 fps 100 fps 100 fps 3K 2:1 ---- 42 fps 48 fps 48 fps 3K 16:9 ---- 36 fps 42 fps 42 fps 3K ANA ---- 42 fps 48 fps 48 fps 4K 2:1 ---- 25 fps 25 fps 25 fps 4K HD ---- 25 fps 25 fps 25 fps 4K ANA ---- 25 fps 25 fps 25 fps 4.
times, perform a Black Shading calibration again when you revert to shorter exposure times (1/ 4 th sec or shorter) either in Timelapse, Normal or Varispeed modes. ENABLE After making any adjustments in the Time-lapse menu, check the Enable box to enter these values and enable the Time-lapse record mode. The UI indicates by changing the top left frame rate display from fps to TL, and the lower right audio level display to TIMELAPSE. Default is INTERVAL.
STEP PRINT Specifies the number of times each single frame captured in Time-lapse mode is to be recorded to the digital media. Range is 1 to 10 frames. Default setting is 1 frames. To adjust: Select STEP PRINT and twist joystick to change the highlighted NUM FRAMES box to the desired setting (default is 1 frame.) INTERVAL Specifies the number of seconds the camera will wait before the next image is captured. Range is 1 to 1024 seconds. Default setting is 5 sec.
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. Available sub menus include VIEW, VIDEO, VIEWFINDER, AUDIO and HEADPHONE. To access the AV MENU push the VIDEO menu button on the rear of the camera. To enter the available sub-menus, use the joystick to highlight the desired selection and push joystick in or down.
LOOK The LOOK menu permits Video, Gain and Tone values to be exported or imported from an SD Card. Look files may be read by another camera, and may be created by the camera or the REDCINE-X application. Push joystick down or in to select desired change. NOTE: LOOK (.RLK) files created in Build 30 or higher are not compatible with Build 21 or earlier. CLEAR Resets the settings for Color, Gain and Tone menu parameters to their default values.
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. For detailed information on exporting LOOK files, go to APPENDIX C: SAVING LOOK. COLOR The Color sub-menu selects various image processing parameters that may be applied to the monitor path (SATURATION, EXPOSURE, BRIGHTNESS, CONTRAST, and SHADOW). They do not affect the actual REDCODE RAW data being recorded.
CONTRAST Adjusts the overall contrast of the image. Range is -1.00 (flat) to +1.00 (max contrast). Default is 0.00. SHADOW Shadow adjusts the toe of the FLUT or in other words, the image near Black. Range is -1.0 to +1.0. Default is 0.0. Increasing the shadow value raises the video level of near Blacks. Lowering the shadow decreases the video level of near Blacks.
GREEN GAIN Adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to 2.0. Default is 1.0. TONE 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 REDCINE-X Post-production software as Curve data. CURVE This checkbox enables the Tonal Response Curve. Default setting is enabled.
TOE Y Adjust the location of a control point along the Y-axis on the tonal response curve. Label will change based on DEFINE selection. Default setting is 25. FLUT FLUT (Floating Point Lookup Table) adjusts mid-range tones up or down from -4.0 to +4.0. Default setting is 0.0. VIEWFINDER MENU This menu permits the operator to adjust operation of the viewfinder (RED EVF and BOMB EVF). FALSE COLOR (PREVIOUSLY COLOR) When checked, forces the RED EVF and RED LCD outputs to one of three false color modes. 1.
The EXPOSURE meter’s color bands provide the following information: PURPLE Minimum Exposure RED Maximum Exposure At all other sensor exposure values, the monochrome image displayed represents the luminance value of the ISO adjusted image. In this image, Purple areas represent sensor exposure levels that are likely to be noisy if gained up in post production. In this image, Red areas represent sensor exposure levels that are at clipping.
FOCUS (PREVIOUSLY EDGE HIGHLIGHT) FOCUS displays a Blue color overlay that outlines the edges of objects that are in sharp focus. By adjusting your lens zoom and focus you can see which objects are coming into and falling out of focus. When selected, the icon “ √ F” will be displayed at the top of the screen.
At all other values, the monochrome image displayed represents the luminance value of the ISO adjusted image. METER Meters allow the operator to verify camera exposure independently of False Color overlays. Selections include SPOT METER and RGB HIST (a composite of Red Green and Blue). Default is RGB HIST. To adjust: Select METER and twist joystick to change the ANALYSIS METER to the desired setting. Build 31 v31.6.16 Beta JUNE 22, 2011 © 2007-2011 RED.COM INC.
SPOT METER 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 location can be adjusted by moving the joystick in X and Y directions. The speed of movement around the screen will reflect the size of the sample box. Push the joystick to fix the sample box. The average IRE value of the pixels in the sample box is shown in the lower section of the full camera display.
RAW CLIP METER The RAW Clip meter looks a traffic light style meter and indicates if either of the Red, Blue or Green channels of the RAW sensor data are clipping. This meter is unaffected by White Balance, ISO, VIEW or LOOK settings and therefore represents a true measurement of the exposure levels of the sensor at all times. RAW NOISE LEVEL BAR The RAW noise level bar displays the amount of pixels in the image that are in noise.
UNDER AND OVER EXPOSURE EXAMPLE NOTE: It is recommended to use the RED Cambook available at http://www.red.com/store when setting exposure. False Color, Zebras and Histogram/RAW Level and Clip information may be used to judge ideal exposure. The ideal histogram to aim for is "fat" and "right justified", with the RAW Level meter indicating Green, Yellow or Orange and RAW Clip meter not indicating Red, or Blue or Green clip. In the above example the camera is ideally exposed.
In the above example the camera is significantly under exposed. The histogram is piled up to the left, and the RAW Level meter indicates the sensor is exposed at a low level. When the recorded clip is color corrected in post-production, the scene’s highlight information will not be clipped, however the shadow information will probably be displayed with significant noise. ASSISTS Assists allows the operator to choose a signal analysis waveform.
WAVEFORM 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. RGB PARADE 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.
FOCUS ASSIST A full screen width red rectangular box will appear centered on the center cursor of the image. The vertical position of this sample box can be adjusted by rotating the joystick, and its height can be adjusted by moving the joystick left or right. Push the joystick to fix the sample box. The average focus value of the pixels in the sample box are shown in a full width graph restricted to the lower section of the camera display.
When the joystick is pressed, the sample box disappears and the average focus value of the pixels in the sample box are overlaid in the lower section of the active video. ZEBRAS Zebras enable and adjust 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. By default, Zebras Configure 1 and Configure 2 are disabled. CONFIGURE 1 Takes you to ZEBRA 1 sub-menu. Choose between LOW IRE and HI IRE settings.
To adjust HI IRE: Select HI IRE and twist joystick to change the UPPER IRE: box to the desired setting between 93 and 109 (default is 108). ENABLE 1 By selecting this checkbox, settings under CONFIGURE 1 are used. To select: Highlight and push in or down on joystick to place checkmark in ENABLE 1 checkbox. Default is Disabled. Areas of the image exposed within these ranges will be indicated by crosshatched overlays. Zebra 1 is displayed in the image below. CONFIGURE 2 Takes you to ZEBRA 2 sub-menu.
To adjust LO IRE: Select LO IRE and twist joystick to change the LOWER IRE: box to the desired setting between 0 and 84 (default is 44). To adjust HI IRE: Select HI IRE and twist joystick to change the UPPER IRE: box to the desired setting between 1 and 93 (default is 47). ENABLE 2 By selecting this checkbox, settings under CONFIGURE 2 are used. To select: Highlight and push in or down on joystick to place checkmark in ENABLE 2 checkbox. Default is Disabled.
INTENSITY (PREVIOUSLY DARK DETAIL) Intensity allows the intensity of the BOMB EVF to be adjusted. Range is -1.0 to 1.0. Default is 0.0. OPEN GATE Open Gate lets the camera preview images at 48Hz (50Hz) update rate when operating in 23.98 or 24.00 fps (25 fps) Project Frame Rates. In record, all monitor path images will be viewed at 48Hz, but recorded at 23.98 or 24.00 fps (viewed at 50Hz, recorded at 25 fps) NOTE: Use Open Gate with caution.
4. Move joystick left or right to select and exit. LINE LEVEL INPUTS Line Level audio inputs are designed to operate at unity gain (0dB), therefore use 0dB and set a 0dbu (20dBFS) line level output from the production mixer or other external signal source. Default value is 0dB. +10dB: Select this value to normalize input levels when receiving a TAPE level line input (-10dB).
VOLUME (MASTER) Adjusts headphone master volume equally for Left and Right outputs. Range is -18dB to 0dB 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 0dB. 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 0dB. MIX Selects which audio channels feed the left and right side headphone outputs.
SYSTEM MENU CONTROLS This section describes the various controls available to configure the camera. These parameters are accessed from the SYSTEM menu key, located below and left of the RECORD button. Options available are SOUND, MEDIA, PROJECT, MONITOR and SETUP. SOUND Sound menu provides output level adjustment, channel configuration and 48V management. Options available are REC ENABLE, OUTPUT LEVEL and 48V MIC. REC ENABLE Push REC ENABLE to access the channel enable sub-menu.
1. Select OUTPUT LEVEL and push in or down on Joystick. 2. VOLUME box will highlight to allow you to choose a volume level between -6.0dB and 6.0dB (default is 0dB). 3. Twist joystick to change the highlighted VOLUME box to the desired setting. 4. Move joystick left, right or up to select and exit. NOTE: The RED-ONE camera does not provide a reference level Tone Generator.
magazine. At the end of the defined pre-record duration, the first chunk of video and audio is overwritten by newer video and audio information. If the RECORD button is pushed while in pre-record, the pre-record mode is terminated and a normal record is enabled. The timecode value and clip name are carried over between pre-record and record modes. A typical clip folder in this scenario looks as follows: This specific clip includes eleven .
NOTE: When using Pre-Record, the Edge Code written to the digital magazine can become discontinuous between clips, however Timecode is unaffected. 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 REDFLASH CF card, REDMAG, RED-DRIVE or RED-RAM magazine is properly powered down. For detailed instructions, go to APPENDIX B: MANAGING DIGITAL MEDIA.
3. Move Joystick to the left and select FORMAT. If the magazine is not empty, a warning and conformation screen will appear, push FORMAT or CANCEL as appropriate. 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. NOTE: To protect against duplicate magazine and file names, the camera inserts a random two digit alphanumeric number in the file and/or directory names. 1.
STATUS Status menu allows the operator to view the current project settings and save them. If project settings were previously saved, the operator may also recall the desired settings and set the camera to those settings to replicate the desired look and feel. VIEW When VIEW is selected, the current project settings for the camera are displayed. This allows the operator to ensure the desired project settings have been made.
When the project settings are saved successfully to the SD card, the following message will be displayed: RECALL When selected, the operator will be able to load the desired saved project settings. If not project settings have been saved, “None Available” will be displayed as a selection. If project setting are available on the SD card, they will be displayed as selections. SLATE Slate lets the operator identify the specific camera used for the project.
3. Move Joystick up to select and exit. NOTE: For Master / Slave Configuration information refer to APPENDIX E: MASTER / SLAVE CAMERA CONFIGURATION > CLIP NAMING CONVENTIONS > SLATE. CONFIGURE Configure defines the operation of the camera in a project. RESOLUTION Choose 4.5K, 4K, 3K or 2K resolutions. Do not use 4.5K, 4K or 3K for S16mm/B4 lenses. Default resolution is 4K 2:1. 1. To set resolution, select RESOLUTION and press in or down on joystick. 2.
REDCODE 36 REDFLASH 8GB REDFLASH 16GB RED-DRIVE RED-RAM REDMAG 2K 2:1 60 fps 60 fps 60 fps 60 fps 2K 16:9 60 fps 60 fps 60 fps 60 fps 2K ANA 60 fps 60 fps 60 fps 60 fps 3K 2:1 30 fps 30 fps 50 fps 60 fps 3K 16:9 30 fps 30 fps 50 fps 50 fps 3K ANA 50 fps 60 fps 60 fps 60 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 30 fps 4K ANA 25 fps 30 fps 30 fps 30 fps 4.
1. To set time base, select TIME BASE and press in or down on joystick. 2. Twist joystick to change the highlighted TIME BASE box to select between 23.98 and 29.97. 3. Move Joystick right or up to select and exit. QUALITY Quality allows the user to set the project quality at REDCODE 28, REDCODE 36 or REDCODE 42. Default QUALITY setting is REDCODE 36. NOTE: REDCODE 36 and REDCODE 42 will limit maximum frame rate and resolutions available using CF cards. 1.
TIMECODE Select to change displayed timecode track, force Jam sync or reset camera clock. JAM SYNC Jam Sync instructs the camera to replace its internal Time of Day value with external timecode read from the 5pin LEMO connector. This value is updated at the first frame of each recording, provided a valid external timecode source is present. If the external source is not present, the camera auto-increments the timecode until the external source is re-connected. Unchecked by default.
4. Move joystick left or right to select and exit. GENERATE Cross Gen activates 29.97 from 23.98 fps time code sync. The RED-ONE camera will generate a 23.98 Timecode signal for use with the camera’s 23.98 fps recording, and also generates a synchronized 29.97 fps Timecode 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. JAM Cross Jam activates 23.98 from 29.97 fps time code sync. The RED-ONE camera will accept a 29.
1. Push in or down on joystick to place checkmark in TIMEZONE checkbox. 2. GMT OFFSET box will highlight to allow you to choose between -12.0 hours and 14.0 hours. Default is -8.0 hours. 3. Twist joystick to change the highlighted GMT OFFSET box to the desired setting. 4. Move joystick left or up to select and exit. If camera Date and Time are set to GMT, and then set TIMEZONE to -8 for West Coast US (Pacific) time etc. Or set Date and Time to local time, and set the TIMEZONE value to 0.
FRAME GUIDE This sub-menu provides a selection of frame guides and safe action and safe title guides. User definable safe action and safe title guides may be saved as a USER PREFERENCE, thereby permitting the camera guides to be fully customized for any application. FRAME GUIDE Options are RECORDED, 2.39, 1.85, 4:3, and 16:9. Film projection areas are best suited using 1.85 or 2.39 aspect ratios and television display areas using 16:9 or 4:3 aspect ratios. 1.
1. To select frame guide enable color, push in or down on joystick to place checkmark in ENABLE checkbox. 2. FRAME COLOR box will highlight to allow you to choose the desired color. Default is WHITE. 3. Twist joystick to change the highlighted FRAME COLOR box to the desired setting. 4. Move joystick left, right or up to select and exit. SAFETY (PREVIOUSLY PROTECT) Safety displays film projection safe areas with 1.85 or 2.
CUSTOM (PREVIOUSLY PROGRAM) Custom allows the use to program the specific PROTECT areas to be used. Select CUSTOM to access the CUSTOM sub menu. LOOK AROUND LOOK AROUND allows the OPACITY of the LOOK AROUND area to be set to 0%, 50% and 100%. Default value is 50%. CURSORS Enables / disables image cursors. Select Cursors to enable Center, Safe Action or Safe Title cursors. CENTER: Enables / disables image center cursor. Check or uncheck to select. Default is checked.
TITLE: Enables / disables inner guides. Style may be specified as a corner marker or a rectangle. Default is checked with CORNERS selected. 1. To set ACTION or TITLE, push in or down on joystick to place checkmark in ACTION or TITLE checkbox. 2. STYLE box will highlight to allow you to choose between CORNERS or RECTANGLE. 3. Twist joystick to change the highlighted STYLE box to the desired setting. 4. Move joystick left, right or up to select and exit. USER ACTION Push to program a custom Safe Action area.
SET: Push SET to save these parameters to non-volatile memory, exits menu and returns to normal operation. USER TITLE Enables the user to program a custom Safe Title area. Operation is the same as USER ACTION. Refer to the previous procedure for USER ACTION to modify settings. PREVIEW This sub-menu selects the operating mode of the HD Preview output.
To enable/disable a test signal check the box and select the desired test signal to display. Available test signals include the following: SMPTE BARS 1. To set test pattern, push in or down on joystick to place checkmark in TEST SIGNAL checkbox. 2. TEST SIGNAL box will highlight. 3. Twist joystick to change the highlighted TEST SIGNAL box to the desired setting. 4. Move joystick left, right, up or push in to select.
PVW REFRESH (FORMERLY HD-SDI) Sets the1280 x 720p HD-SDI and HDMI monitor signal update rate to 50.00 or 59.94 Hz. 1. To change frame rate aspect ratio, select PVW REFRESH. 2. FRAME RATE box will highlight to allow you to choose from 50.00 HZ or 59.94 HZ (default is 59.94 (720p 59.94)). NOTE: If in Europe you may wish to select 50.00 (720p/50.00). 3. Twist joystick to change the highlighted FRAME RATE box to the desired setting. 4. Move joystick left, right, up or push in to select.
SETUP This menu permits a variety of system maintenance tasks to be accomplished. Options available are PREFERENCES, MAINTENANCE, SET CLOCK, and REMOTE. PREFERENCES Preferences permit the user to define system preferences. Available options are USER PROFILE, KEYMAP, GPIO, PLAYBACK, and DISPLAY. USER PROFILE User profile permits the camera setup to be saved to or recalled from the SD card. Choices are CLEAR, IMPORT and EXPORT CLEAR Allows a User Profile to be cleared from camera memory.
When user profile is exported successfully, the following message will be displayed. KEY-MAP Key Map 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. User keys are also referred at as Buttons. SIDE RECORD When checked, the side RECORD key is enabled. Default is enabled. This is the record button located on the left front side of the camera.
USER-1: User Key 1 is the upper user key (button) on the camera side. Default is AUTO WB. When checked, USER-1 key is enabled, and its function is defined in the associated list. USER-2: User Key 2 is the lower user key (button) on the camera side. Default is MAGNIFY. When checked, USER-2 key is enabled, and its function is defined in the associated list. USER-3: User Key 3 is the upper user key (button) on the RED EVF. Default is COLOR.
INPUT A/B Permits the function of GPI A and B to be defined as: RECORD (Default): Starts standard mode (video and audio) record. Subsequent trigger stops record. AUTO WB: Initiates automatic white balance of the camera. MAGNIFY: Performs Image Zoom to aid in adjustments. PRE-RECORD: activates Pre-record. Subsequent triggers start / stop record. Refer to SYSTEM MENU CONTROLS > MEDIA MENU > PRE-RECORD for complete information. TIMELAPSE: Activates Time-lapse.
GPIO IN: ACTIVE_LO is the default, which means the GPIO IN 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. GPIO OUT: ACTIVE_HI is the default, which means the GPIO OUT 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 Playback selects the Playback Video Format sub-menu.
LOOK Look permits the look used by the camera on playback to be specified. Default is CLIP. NOTE: When viewing clips recorded on cameras with Build 21 v21.1.0 or later firmware, the camera will playback the clip using the LOOK and VIEW parameters used when the clip was recorded. CAMERA: forces the camera to use current LOOK values to color process recorded RAW data files when played back on-camera.
When unchecked, the upper edge of all external motors will be blank. LENS DATA When checked focus / zoom / iris data on all external monitors mid-upper edge will be displayed. Also allows the user to choose if Distance is reported in Feet or Meters. Unchecked by default. 1. To change lens data preferences, push in or down on joystick to place checkmark in the LENS DATA checkbox. 2. UNITS box will highlight. 3. Twist joystick to change the highlighted UNITS box to the desired setting. 4.
EVF MENU When checked, activates the rotary switch on the EVF and displays a Gray “OFF” box on left side of EVF and all external monitors. Unchecked by default. NOTE: Interaction with the EVF MENU is not supported with the BOMB EVF. If check marked, the UI will only indicate OFF.
METERS (PREVIOUSLY STATUS) When checked, displays media, exposure and audio status on lower edge of all external monitors. Checked by default. When unchecked, lower edge of all external motors will be blank. Build 31 v31.6.16 Beta 100 © 2007-2011 RED.COM INC.
GREY SCALE When checked, displays an 11 step grey scale on right edge of all external monitors. Checked by default. MAINTENANCE The maintenance sub-menu defines how the cooling fan behaves, adjusts Black level, resets user settings to factory defaults, and enables software updates. FAN Fan specifies how long the cooling fan operates. The camera's fan speed can be changed depending on the ambient air temperature and recording application. The default setting is AUTO. 1.
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. VARIABLE This setting is most useful when the ambient temperatures are 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.
NOTE: Prior to recording in Timelapse with extended exposure times (1/ 3 rd sec or longer) it is recommended that a fresh Black Shading routine is performed. Ensure the camera is set up in Timelapse at the desired exposure time, then perform a Black Shading calibration. After recording Timelapse at extended exposure times, perform a Black Shading calibration again when you revert to shorter exposure times (1/ 4 th sec or shorter) either in Timelapse, Normal or Varispeed modes. START 1.
6. As the last step in the process the camera will display: 7. Installation of the new data takes about 3 minutes. The camera will confirm process is complete: 8. Select OK and restart the camera as instructed. RESTORE Restore will reset any user defined black shading data to factory default values. 1. Select BLACK SHADING, camera monitoring outputs will display: 2. Select RESTORE, camera monitoring outputs will display: 3. Select OK, camera monitoring outputs will display: Build 31 v31.6.
4. Restart the camera as instructed. RESTORE Restore permits camera configuration and setup data to be reset to factory default values. NOTE: A reboot of the camera may be necessary to restore defaults. LOOK Allows all image processing parameters to be reset to the factory default values. When selected and reset, the external monitors will display: USER Allows all user preference parameters to be reset to the factory default values.
SYSTEM Allows all camera configuration parameters to be reset to the factory default values. When selected and reset, the external monitors will display: UPDATE SW Update SW initiates a camera software (firmware) update. For complete, detailed procedure, go to APPENDIX A: UPDATING CAMERA FIRMWARE. WRITE LOG Select to write camera’s .LOG file to the REDFLASH CF card, REDMAG, RED-DRIVE or RED-RAM magazine. The .LOG file is a diagnostic tool that can assist RED with camera troubleshooting.
If external media is not attached to camera when attempting to perform a write log request, external monitors will display: SETTING SYSTEM CLOCK Set Clock allows the camera’s real time clock to be adjusted. Select SET CLOCK and push joystick in or down to display SET CLOCK menu. NOTE: Current GMT date and time can be found using this web site or equivalent service: http://wwp.greenwichmeantime.com/info/current-time.
MONTH Allows the operator to enter a new value for the monthbetween 1 and 12. DAY Allows the operator to enter a new value for the day between 1 and 31. SET TIME 1. To change time, push in or down on joystick to place checkmark in the desired checkbox. 2. Box on lower right will highlight. 3. Twist joystick to change the highlighted box to the desired setting. 4. Move Joystick up or push in to set. HOURS Allows the operator to enter new value for hours (24 hour format) between 0 – 23.
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 pushing this key the camera will require re-boot as displayed. The new parameters will take effect, and be visible as TIME CODE, on completion of the re-boot cycle. REMOTE Used to enable (and reset if necessary) the S4/i Lens Data Port. Controls include REMOTE PORT and LENS PORT check box.
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. AUX 232 This setting is reserved for factory use. If selected, the S4/i port will not be active. LENS PORT When active, the check box will automatically be checked by the camera.
NOTE: When in Master / Slave the Slave camera will use the Master camera's I.D letter. So file names will typically be: A001_L001_0906**.R3D and A001_R001_0906**.R3D respectively (where ** represent the two wildcard characters) HD-SDI Allows you to select between SMPTE (broadcast range) and FULL (full range) code values. Default setting is FULL. VIDEO Allows you to select between NORMAL, FLIP H (Horizontal), FLIP V (Vertical), and FLIP H+V monitor path video orientation. Default setting is NORMAL.
FLIP H Flips the live or playback image horizontally. FLIP V Flips the live or playback image vertically. FLIP H+V Flips the live or playback image horizontally AND vertically. Build 31 v31.6.16 Beta 112 © 2007-2011 RED.COM INC.
FEED Allows you to select between MENU and CLEAN output on HD-SDI. Default setting is MENU. MENU Displays camera, clip information and frame guides on the HDMI or HD-SDI outputs. CLEAN DOES NOT display camera, clip information or frame guides on the HDMI or HD-SDI outputs. TALLY Allows you to select between TALENT and OPERATOR. Default setting is TALENT. TALENT When camera is recording, the red LED indicator light on the EVF will illuminate along with the red LED on the rear of the camera.
APPENDIX A: UPGRADING CAMERA FIRMWARE RED ONE camera functionality may be upgraded by installing the latest firmware. Camera firmware and software are identified by the build and version number. This is displayed by the camera on the LCD display and all external monitors during power up. Refer to POWER UP / DOWN under BASIC OPERATION. A higher number reflects a later release. The current RED ONE release available for download and upgrade is shown on the home page of the www.RED.com web site.
VERIFY CURRENT CAMERA FIRMWARE There are 2 ways to verify the current level of firmware installed on the camera. A. During camera boot up when turned on, the current firmware version will be displayed on the camera’s LCD, RED EVF, RED LCD and all external monitors. B. With the camera ON, press and hold the UNDO button, then press in on the joystick. The camera’s unique PIN and current firmware version will be displayed on the camera’s LCD.
3. After downloading the build, you will see the new compressed (zipped) folder on your desktop. 4. Open the new compressed folder and note 2 folders, one for Windows (it will be the same name as the compressed folder) and one for Macintosh OS X (_MACOSX). 5. Open the folder for your operating system (for Macintosh OS X you will have to open a second folder with the same as the compressed folder) and verify there is a .txt read me file (containing installation instructions), and a “UPGRADE” folder.
14. If there is valid upgrade firmware (build) version on the SD/REDMAG/CF card or USB memory device, all monitor outputs will display: NOTE: If you choose to upgrade later, the camera will continue to operate on the current firmware version. NOTE: If the camera does not automatically display the upgrade, to manually upgrade the camera, go to SYSTEM > SETUP > MAINTENANCE > UPDATE SW and the upgrade will be identified and the upgrade message will be displayed.
APPENDIX B: MANAGING DIGITAL MEDIA The RED ONE camera supports two types of media for recording - compact flash and external hard disk. MEDIA TYPES REDFLASH (CF) compact flash media is available with capacities of 8GB and 16GB. Record duration is dependent on resolution, quality and frame rate, but a 8GB CF card will typically provide 4 minutes of 24fps 4K RAW, 7 minutes of 24fps 3K RAW, or 16 minutes of 24fps 2K RAW recording.
ure to do so may result in lost data or corrupted files. Refer to REMOVE MEDIA FROM CAMERA (UNMOUNT). This procedure outlines the formatting of REDFLASH Compact Flash (CF) cards, REDMAG, RED-DRIVE and RED-RAM magazines using the RED ONE camera. Formatting a REDFLASH CF card, REDMAG or RED-RAM will take about 10 -15 seconds; a RED-DRIVE formats in less than a minute. 1. Insert or connect media to camera. - Insert the CF card with the manufacturer’s label facing outward (away from camera body).
2. When a CF card or REDMAG is inserted into the camera or a RED-DRIVE or RED-RAM magazine is connected, the camera will recognize the media is unformatted and display “DISK UNFORMATTED” in the LCD display and the lower left corner of the external monitors will display “UNFORMATTED”. 3. To format the media push the SYSTEM menu button. 4. Select MEDIA and press Joystick in or down to enter. Camera LCD will display MEDIA Menu. 5. Select FORMAT and press Joystick in or down to enter.
RE-FORMATTING MEDIA Re-formatting a previously used CF card, REDMAG, RED-DRIVE or RED-RAM magazine follows a similar procedure to formatting. 1. Insert or connect media to camera. Refer to FORMATTING MEDIA. 2. To re-format the media push the SYSTEM menu button. 3. Select MEDIA and press Joystick in or down to enter. Camera LCD will display MEDIA Menu. 4. Select FORMAT and press Joystick in or down to enter. Camera LCD will display MAGAZINE FORMAT. 5.
8. Once re-formatting is completed camera LCD displays “FORMAT DONE” and all external monitors will display: 9. Press Joystick in or down to select OK. Camera will return to normal operation. MEDIA CAPACITY REMAINING STATUS During a recording, the rear status screen, and monitor outputs will display the % of remaining media capacity in the MEDIA box (100% is shown). 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.
NOTE: The camera will respond to physical removal of the media without un-mounting and display the following warning: UNMOUNTING of digital media can be performed in one of two ways: PROCEDURE A 1. Push and hold the UNDO button. 2. While holding the UNDO button, push the EXIT button. 3. Camera LCD will display MEDIA X and the lower left corner of the external monitor will display “SAFE TO REMOVE” in Red text. The White text with the counter and media name at the bottom edge of the display will disappear.
4. Camera LCD will display MEDIA X and the lower left corner of all external monitors will display “SAFE TO REMOVE” in Red text. The White text with the counter and media name at the bottom edge of the display will disappear. You may now remove the CF, REDMAG or disconnect the RED-DRIVE or REDRAM safely. 5. Push EXIT button to exit menu. PROCEDURE C Go to SYSTEM MENU CONTROLS > SETUP > PREFERENCES > KEY MAP > USER KEYS and set one of the programmable user keys as a one-touch unmount option.
IMPORTANT: BEFORE PERFORMING THE NEXT STEP, DOUBLECHECK THAT THIS IS THE CORRECT CF CARD, REDMAG, RED-DRIVE OR RED-RAM THAT YOU WISH TO ERASE DATA FROM. 6. Select Erase. When the pop up window appears click on the Erase button. 7. When the media is erased, drag its icon to the trash can and physically disconnect it. 8. The media will need to be formatting by the camera before use. Refer to FORMATTING. ERASING MEDIA USING WINDOWS 1.
APPENDIX C: SAVING LOOK / USER PROFILE The following information lists the specific camera information stored when saving a LOOK or USER PROFILE file. Before attempting to EXPORT data, ensure that an SD card is inserted into the slot at the right front of the camera. LOOK and USER PROFILE information can easily be shared between cameras by IMPORTING data from the SD Card. NOTE: LOOK files may also be created by REDCINE-X. Refer to the REDCINE-X OPERATIONS GUIDE.
When saving LOOK, the following monitor path color correction information is recorded: COLOR menu: Saturation, Exposure, Brightness, Contrast VIDEO menu: Master, Red Gain, Blue Gain, Green Gain TONE menu: Enable, X and Y values for Black, Toe, Center, Knee, and White IMPORT LOOK To import LOOK information, perform the following: 1. Press the VIDEO menu button on the rear of the camera. 2. Select VIDEO menu. 3. Select LOOK menu. 4. Select IMPORT and scroll to the desired file. 5.
NOTE: If SD Card is not inserted under left front of camera, camera will display: When saving USER PROFILE, the following camera configuration information is recorded: VIEWFINDER menu: Color: Enable and overly type setting Meters: Enable and meter type setting Zebras: Enable and Zebra 1, 2 Hi / Lo settings SOUND menu: Record enable and Line / Mic setting KEYMAP menu: Enable and User Key settings GPIO menu: Enable and GPIO settings PLAYBACK menu: Settings DISPLAY menu: Enables and Shutter display
APPENDIX D: INPUT / OUTPUT CONNECTORS RIGHT SIDE OF CAMERA A B D F C K G H E A L I J M N Headphone H USB-2 (computer) B Program HD-SDI (A) I Audio Monitor C Program HD-SDI (B) J Timecode D Preview HD-SDI K Audio Ch 1 – 4 (1-2 Upper Left - Right, 3-4 Lower Left - Right) E Video Genlock L RED EVF E HDMI Out M RED LCD G USB-2 (peripheral) N Aux / RS232 TIMECODE INPUT / OUTPUT This connector supports SMPTE Timecode input and output.
Pin: Signal Description Direction 1 2 Ground TIMECODE_IN_P Camera ground Serial timecode input, positive In 3 4 TIMECODE_IN_N - Serial timecode input, negative - No connect - In - 5 TIMECODE_OUT Serial timecode output Out NOTE: Pin 4 is a not used. Do not tie-in to ground. AUX / RS232 PORT The Auxiliary / RS232 port provides up to 500mA of regulated +12V power to motorized 2/3” B4 mount lenses.
VIEWFINDER (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 requirement for absolute data integrity that requires custom cable construction, the pin-out of this interface is not published. Contact RED technical support for available RED EVF cable lengths. MONITOR (RED LCD) INTERFACE The RED LCD interface is a custom digital video and power interconnection between the camera and a RED LCD.
Reference signal level for Line inputs is 0dBu / 0.775 volts RMS / -20dBFS when operating at 0dB 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.
LINE AUDIO OUTPUT 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 & 2 or 3 & 4 or a quad mix of both pairs) based on the ‘Headphone MIX’ parameter.
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 0dB. 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 0dB. NOTE: The above notes apply to cameras configured with Rev B audio hardware.
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 generator to SMPTE 274 progressive scan format, at the same frame rate as the project TIME BASE. Do not use PsF or interlaced signals.
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 signals at 23.98, 24.00, 25.00, or 29.97 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. 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: HDMI output is not active when PLAYBACK is set to 1080p.i.e. no output is available when the RED-ONE camera is placed into playback.
DC POWER INPUT The POWER input connector (A) 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. 5 1 2 6 4 3 View into camera Power Input connector Mating Connector: LEMO FGG.2B.306.CLAD62Z Pin 1 2 3 4 5 6 Signal Description +VBATT Power input, +11.
AUXILIARY POWER OUTPUTS The camera provides two auxiliary power output connectors (C, D) on its back panel. Each output supplies 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 protected, 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.
APPENDIX E: MASTER / SLAVE CAMERA CONFIGURATION When cameras are connected in the master / slave configuration, the user interface will display M for the Master camera and S for the Slave camera. The slave camera CANNOT initiate recording. The slave camera clip name is forced to use the master camera's I.D. It is not recommended to mix a MYSTERIUM with a MYSTERIUM X camera. Use either both MYSTERIUM or MYSTERIUM X cameras when recording 3-D footage.
CONNECTING After mounting the master and slave cameras in the final configuration, use a USB A to B Device Cable to connect the cameras together. Ensure the cameras are set up as desired and powered down before connecting. The top USB port on the side of the camera defines that camera as the master; the lower USB port on the side of the camera defines that camera as the slave. NOTE: DO NOT connect the same cable to both connectors on the same camera.
Use an external Ambient Clockit! or comparable device to JAM SYNC the cameras as follow: 1. Power down both cameras. 2. Connect cameras as described in CONNECTING. 3. Verify that the time base of the external timecode source matches the timebase of the project to be recorded. 4. Power up both cameras. 5. Through the Master camera UI, enable Jam Sync (this will command the Slave camera as well). Refer to OPERATION.
NOTE: Displays TINT if camera is not in master / slave configuration; displays TINT, S TINT, S WBAL, and S FLUT if cameras are in master / slave configuration. NOTE: S TINT, S WBAL, and S FLUT provide an offset for the slave camera relative to the common TINT, WBAL and FLUT values programmed from the Master camera. This compensates for any colorimetry differences between the transmitted and reflected light paths of an optical beam-splitter.
Slave clips are labeled "R", if Master is set to RIGHT, Master clips are labeled "R" and Slave clips are labeled "L". Under SYSTEM MENU CONTROLS > PROJECT MENU > SLATE > CAMERA, when using Master / Slave camera configuration, the Slave camera is forced to use the Master camera's ID, rather than using its own. NOTE: ****** are wildcard + day + date If Master is LEFT and its camera I.D letter is B, the first clip recorded will be: - Master: B001_L001_******.RDC - Slave: B001_R001_******.
APPENDIX F: EXPOSURE TIPS – USING FALSE COLOR AND ISO Build 30 firmware introduced several new Exposure measuring tools. In the following examples, we will show how these tools respond to a reference scene that is under-exposed, over-exposed and then correctly exposed.
ISO 800 - false color: Exposure Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where in the image underexposure is taking place. These areas are indicated in purple. It’s clear those areas are under the matchbox and coin, and between the bottle and cigar holder. ISO 800 - false color: Video Build 31 v31.6.16 Beta 146 © 2007-2011 RED.COM INC.
Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. As the peak white chips on the test chart are showing up in green and the underexpose areas are showing up in dark blue, this says the monitor path video levels are only ranging between 44 IRE and 1 IRE. Because the scene is under exposed, when the recorded .
ISO 800 - False Color: Exposure Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where in the image over exposure is taking place. These areas are indicated in red. It’s clear those areas are on the highlight on coin, and at the top right edge of the color chip test chart. ISO 800 - False Color: Video Build 31 v31.6.16 Beta 148 © 2007-2011 RED.COM INC.
Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. As all the white chips on the test chart are yellow this suggests that a significant portion of the monitor path video is at the maximum legal 100 IRE value. Because the scene is over exposed, when the recorded .
ISO 800 - False Color: Exposure Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where there is under exposure (purple) or over exposure (red) in the image. In this case there is a very small area of purple under the cracker box, and just a suggestion of red on the highlight on the coin, which suggested that the sensor is appropriately exposed for this scene. ISO 800 - False Color: Video Build 31 v31.6.16 Beta 150 © 2007-2011 RED.COM INC.
Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. The two green squares in the upper right corner of the color chart and green in the background indicate that the scene’s mid grey and skin tone elements, plus peak white and blacks are all at appropriate levels.
ISO 100 - no exposure adjustment In these extreme examples it is clear that the RGB domain images are respectively very bright and very dark. The histogram data reflects that, however you can also see that the sensor RAW meters are unchanged. The exposure at the sensor at this point in time is the same. If you choose to close the iris to reduce the brightness of the first image you will be reducing exposure at the sensor – this biases exposure in favor of protecting the scene highlight.
APPENDIX G: POST PRODUCTION RED workflow is quite easy to understand, especially if you have experience with photographic RAW image processing, or shoot 16mm or 35mm film followed by a telecine transfer to a non-linear video editor and on-line conform. RAW data has a wide dynamic range and color space, so you can freely change the white balance of the footage, adjust exposure and alter highlight and shadow tonality in post-production.
RED QUICKTIMECODEC (Use V3.9.0 or higher for Build 30 footage) NOTE: V3.9.0 is currently not compatible with Build 30 camera color matrix – therefore camera footage should be white balanced before editing or other image processing. The RED QuickTime codec permits REDCODE RAW footage to be displayed on Macintosh OSX personal computers running QuickTime Player V7.4.5 or higher. Render performance of computers will vary based on CPU speed, number of cores and disk speed.
REDCINE-X® REDCINE-X is available on Intel based Mac OSX and Windows XP platforms. In addition to performing white balance and one light color correction, REDCINE-X provides image pan/scan, crop and scaling operations. The application can export either a single clip, or a sequence of clips, as 4K or 2K resolution 10bit DPX or 16-bit TIFF files. REDCINE-X can also render clips as standalone QuickTime movies using specific HD video codecs.
APPENDIX H: POSSIBLE ERRORS, ISSUES AND SOLUTIONS For errors or issues beyond those listed below, please contact support through our web site at www.red.com/support. Camera Shuts Down Upon Movement Battery is not seated properly to the battery plate. Disengage and reengage the RED-BRICK to the BATTERY PLATE. Image Looks Soft Re-adjust back focus and make certain the lens is properly collimated. Refer to BACK FOCUS under BASIC OPERATION.
Error Message: Black Shading - Calibration Failed – Exit Magnify Mode and Try Again. If the camera is in Magnify mode when attempting to perform a Black Shading Calibration, the following error will be displayed: Select OK and exit Magnify mode. Attempt Black Shading again. Error Message: Black Shading – Unable to Calibrate.
Error Message: VALID SETTINGS (Invalid Settings) Establish the maximum PROJECT settings for the media you are using and change the settings accordingly. Refer to BASIC OPERATION > PROJECT SETUP. Error Message: SATA_TRANS_FAULT The camera is detecting a communications fault between the camera and drives (RED-RAM or REDDRIVE). The fault it has detected may or may not be severe enough to cause corruptions on the clips, so it is highly recommended that you review the R3D files.
This may be caused by one of the following: • The camera settings were changed while the media was removed and/or disconnected. • The media was formatted on a different camera with different settings. To resolve this error, connect the CF card, REDMAG or RED-DRIVE /RED-RAM to a computer and save the files from the media to the computer.
RED 18-50mm RED PRO 18-85mm RED PRO 17-50mm RED PRO 300mm RED PRO 18mm NIKON MOUNT 15mm ADAPTER B4 TO PL ADAPTER mysterium & mysterium-x Tm MINI-XLR TO XLR ADAPTER COMPACT LENS CASE RED CAMERA CASE LENS MOUNT ADAPTERS DRIVE CABLE 18 IN / 6 FT RED-DRIVE BODY CAP TITLE: TOP HANDLE EXTENSION TOP HANDLE SIDE HANDLE L/R LCD CABLE 2, 6, 10 FT RED PRO LCD 5.
-100,000 TO 100,000 -100 TO 100 -100 TO 100 CLEAR LOOK NONE AVAIL. IMPORT LOOK EXPORT 50 0° ZEBRAS mysterium® & mysterium x® ® 0 - 100 SENSOR / video MENU MAP TITLE: 0 - 100 BLACK KNEE TOE WHITE CENTER 25 * Will change based on DEFINE selection 25 TOE TONE * TOE Y TONE * TOE X TONE DEFINE ©2010 RED.COM, INC. SHEET 1 OF 3 31.6.
MEDIA 30 SEC = 10 SEC < Disabled > PRE-RECORD UNMOUNT MEDIA UNMOUNT SHORTCUT: Press EXIT + UNDO MICROPHONE = LINE < Disabled > CHANNEL 3 REC ENABLE CHANNEL 3 48V MIC * FORMAT CHANGE * FORMAT MEDIA NONE AVAIL. RECALL STATUS TIMECODE Menu PROJECT mysterium® & mysterium x® ® MICROPHONE < Disabled > CHANNEL 4 23.98 24.00 25.00 29.
MEDIA Menu SOUND Menu KEYMAP Menu USER PROFILE Menu ® ACTIVE_LO ACTIVE_HI ACTIVE_HI GPIO OUT 2 POLARITY mysterium® & mysterium x® RED one ACTIVE_HI ACTIVE_LO ACTIVE_HI ACTIVE_LO ACTIVE_LO ACTIVE_HI ACTIVE_LO ACTIVE_LO ACTIVE_HI GPIO OUT 1 GPIO IN 2 GPIO IN 1 RECORDING PLAYING AUTO WB CUED POLARITY FALSE COLOR POLARITY RAMP MAGNIFY SHUT DOWN PLAY CLIP NEXT CLIP POLARITY PRE-RECORD = AUTO WB TIMELAPSE RECORD RECORDING RECORD RECORD RECORDING GPIO OUTPUT B GPIO OUTPUT A GPIO
