RE D O NE Digit al Ci ne ma Ca mera Oper atio ns G ui de Build 14 (V ersi o n 2.0.3) Sections: Page 1. Before You Start 2 2. Camera Assembly 4 3. Physical Controls 6 4. Theory of Operation 10 5. Basic Operation 17 6. Sensor Menu Controls 24 7. Audio Video Menu Controls 31 8. System Menu Controls 37 9. Upgrading camera firmware 50 10.
1. Be fore yo u s tart. Congratulations on your purchase of a RED ONE camera. Carefully unpack the camera body and any accessories, and visit www.red.com/register to register ownership of your camera. Registration will help us assist you in providing camera ownership records to insurance and police authorities in the event of camera loss or theft. RED ONE Digital Cinema Camera The RED ONE camera ships as standard with a PL mount.
A wide range of options and accessories are available to customize your RED ONE camera. The Basic Production Pack includes a top bracket and top handle, base plate and two 19mm rods, an adjustable grip handle, a combination shoulder pad/wedge plate adaptor, V mount battery plate, and a digital magazine cradle.
2. Ca mera Ass e mbl y The RED RAIL BASE PLATE, TOP BRACKET, and HANDLES are attached to the camera body using ! - 20 hex screws. A HEX driver is supplied with the camera. The rails and shoulder pad/wedge plate adapter slide into the base plate. The RED CRADLE, which holds a RED DRIVE and the V mount battery plate, attaches to the Universal Rail mount plate using a hex screw. This is mounted to the camera using 19mm rods.
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 at the top of the lens. Note: Matching pins are not currently installed in the RED P/L mount. Attach matte box and motors, and any auxiliary power cables required to power these items.
3. P hy si cal Co ntrol s This section describes the physical controls on the RED ONE camera body. A. PL Lens Mount B. Record C. User Keys 1 and 2 A PL mount is provided as standard with the RED ONE camera. The mount is compatible with the majority of S35mm, 35mm and S16mm cinematography lenses; and with B4 lenses via the optional B4 to PL converter. The PL mount may include an S4/i interface.
A Headphone B Dual Link HD-SDI (A) C Dual Link HD-SDI (B) D HDMI Out E Preview HD-SDI F Video Genlock G USB-2 (peripheral) H USB-2 (computer) I 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.
A User Menu A. B. C B Status Display C Tally & Ready Lamp D Sensor Menu Key E EXIT Key F UNDO key G Record Start / Stop H Joystick I A/V Menu Key J System Menu Key On the rear of the camera, several buttons surround a daylight readable status display. To the left of the status display are three Quick Menu buttons, A, B and C, which directly access Exposure, Shutter Speed and Color Temp (White Balance) menus.
A Power On/Off switch B Aux Power / GPIO A C Aux Power / GPIO B D Camera 11.5 - 17V D.C Input E e-SATA Interface (to RED-DRIVE or RED-RAM magazine) Underneath the status display key group are the Power On/Off switch (top left) two 4 pin 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 power to accessories such as range finders or compact lens motors.
4. Theory of Operation The RED ONE Digital Cinema camera provides high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm, 35mm and Super16mm. The camera is supplied as standard with a PL mount, and may be configured with 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm offset studio and 15mm lightweight rods are also available.
A udio Pro ce ssi ng Line input analog audio received via the min-XLR inputs is immediately digitized at 24 bit per sample at a 48KHz sample rate. Microphone level audio inputs are routed via an adjustable gain pre-amplifier before digitization, no gain adjustment is available for Line level inputs. Reference Line Input level (0dB) is 0.775v.
HDMI (DVI): 1280 x 848 resolution 4:2:2 video output with Surround View, frame guides and safe action / title overlays, waveforms, and camera status and operation menus on the HDMI port. This signal is compatible with most DVI equipped SXGA computer monitors. * PREVIEW (720p) 1280 x 720 resolution 4:2:2 video output (720p 50.00 or 720p 59.94 Hz) with Surround View, frame guides and safe action / title overlays on HDMI and HD-SDI ports.
- 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 and FOCUS check, a 2x image magnify function, complimented by a selectable waveform based focus assist meter.
Di gita l Maga zi nes REDCODE RAW compressed video, time code and other metadata, may be recorded to onboard or attached digital media devices including RED FLASH CF – An internal reader/writer that utilizes high speed Compact Flash media. RED-DRIVE – A hard disk memory based Digital Magazine of up to 320GB capacity. RED-RAM – A solid-state flash memory based Digital Magazine of up to 64GB capacity. Either type of Digital Magazine may be connected to a computer via FireWire or USB-2.
Pos t Pr od uc tio n Compressed REDCODE RAW images may be post processed using RED ALERT! or REDCINE applications. These applications convert RAW sensor data to RGB video, and correct white balance, exposure, tonal response and color timing. The processed footage may then be exported to a variety of industry standard file formats for use in postproduction.
Ti me co de As each recording is made, the RED ONE camera records two independent timecode tracks. Edge Code is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame of each piece of digital media. It is a sequential code that is continuous from frame to frame and also between clips. Edge Code is also equivalent to RUN RECORD on a video camcorder.
5. Basic Operation This section describes the basic controls of the RED-ONE camera and how to initiate a project. Co ntrol Sy ste m a nd Sta tus Dis pla y Command inputs to the camera are made from the rear status display and associated buttons. A – Quick Access Access to Exposure, White Balance and Shutter Speed B – Menu Access Access to Sensor, A/V and System menus C – Menu Control Menu Off and Undo keys D - Joystick The joystick is a multi-axis controller to navigate the camera menus.
Sta tus Di spla y The status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup. The elements include – Timecode / Status reports current timecode value, clip name or system messages* ASA Value reports current exposure index Project Frame Rate report the project frame rate, 24.
Sett i ng up a proje ct. 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 the PROJECT key. This highlights the PROJECT sub-menu 2. Push the joystick right, then press to enter the CONFIGURE menu to set the QUALITY Q uali ty. Choose between REDCODE 28 or REDCODE 36. Default is REDCODE 28.
Rec ordi ng Check that you have a RED-DRIVE attached, or Compact Flash card inserted in the camera. To initiate a recording, press either RECORD button. Press once to begin recording and again to stop recording. The camera will automatically create a file name for every clip recorded on the digital magazine or media. REDCODE RAW recordings store the Color Temperature and Exposure (ASA) values you enter as metadata. This metadata is used to color balance the viewfinder and other monitor outputs.
Playback Playback of recorded clips is available on-camera using the Transport Control Keys. The I> 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 playback, this key acts as a Play/Pause toggle. The >> key permits the Clip to be played back at higher speeds. Each press of this key cycles clip playback between 2 x, 8 x and 32 x speed playback.
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 for correct color reproduction. All monitor outputs on the RED ONE camera provide REC 709 standard color and gamma. Image intensity can be adjusted to compensate for ambient lighting conditions. For the REDLCD, use the Up / Down keys on top of the display. For RED-EVF use the rotary encoder.
The User Key closest to the focus ring selects IMAGE MAGNIFY mode. This magnifies the central region of the subject image in the monitor path, but leaves the record path unaffected. The upper center User Key turns COLOR TOOLS (monochrome or false color) On/Off and the lower center User Key turns the METER (e.g. WAVEFORM or FOCUS ASSIST) On/Off.
6. SENSOR MENU Controls This section describes how to set sensor specific menu parameters including Exposure, Shutter Speed, Color Temperature, Varispeed and Timelapse. Press the SENSOR menu key at the bottom left of the status display or a direct access key on the left of the status display. Note: When recording RAW, Exposure and Color Temperature values are stored as metadata for use in REDCODE RAW compatible NLE and image processing applications.
Ti nt 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: Pres si ng A ut o WB cal c ulat es a ne w Ti nt val ue. This i s mai ntai ne d if t he Co lor Te mp is a dj ust ed via the Ma nual W B par a met er.
Shutter Spee d When operating in the default (Nor mal ) mode, the S hutter Spee d values are absolute and independent of the capture frame rate. This means as Shutter Speed decreases, more light falls on the sensor, increasing exposure and motion blur on any objects moving within the frame. As Shutter Speed increases less light falls on the sensor, decreasing exposure and motion blur on objects moving within the frame.
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 Co nvert an A ng le t o a n E q ui val ent S hutt er Sp eed Equivalent Shutter = 1 / ( Project Frame Rate x 360 / Angle ) e.g. = 1/ (24 x 360 / 180 ) = (8640 / 180) = 1 / 48 Degrees Shutter Degrees Shutter 270 1/32 72 1/120 180 1/48 45 1/192 172.8 1/50 22.5 1/348 144 1/60 11 1/696 90 1/96 8.
Note: In Varispeed modes timecode is written to digital media at a rate equal to the instantaneous capture rate. This ensures that the recorded REDCODE RAW data has valid and sequentially incrementing timecode for use by non-linear editing devices. Note: In Varispeed, the frame rate display turns yellow, the audio panel reports VARISPEED. Vari spee d: Before recording, enable this function by checking the V aris peed checkbox.
REDCODE 36 RED-FLASH RED-DRIVE 2K 2:1 75 fps 75 fps 2K 75 fps 75 fps 3K 2:1 36 fps 50 fps 3K 30 fps 36 fps 4K 2:1 25 fps 25 fps n /a 25 fps 4K Ti me: 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. E nd R ate: When Ramp is enabled, this value specifies the final (ending) speed of the ramp in frames per second.
Trig ger Mod e: 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. Inter val: the camera waits for the period of time defined by the I nt erval parameter. O ne-S hot: the camera to waits for a side record command or external GPI contact closure. The default setting is One-Shot. Spee d: Specifies the shutter speed to be used during Timelapse.
7. AU DI O / VI DE O M EN U Co ntr ols 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 VIDEO, VIEWFINDER, AUDIO and HEADPHONE Vid eo Me nu Note: The RGB Color and Gain values used by the monitor path are stored as metadata for use in REDCODE RAW compatible NLE and image processing applications.
Gai n s ub- me nu 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. Red Gain: adjusts the gain of the RED channel only. Range is 0.0 (no Red) to +4.0 Blue Gain: adjusts the gain of the BLUE channel only. Range is 0.0 (no Blue) to +4.0 Green Gain: adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to +4.
An example of false color metering (from the RED-LCD) is shown below – And the corresponding white balanced but otherwise unprocessed, source footage – this was captured at late morning at exposure index A320, 24fps, 1/48th sec shutter and no filtering. Note the transition of false color in the clouds, indicating clip point was almost reached, the light grey chair is exposed at approximately 18% gray, and the foliage falls in the shadows.
When Edge Highlight is selected the edges of items in focus is outlined. Met er: allows the operator to choose an “always on” signal analysis. Selections include Spot Meter, Luma Histogram and RGB Histogram. If Spo t 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 location can be adjusted by moving the joystick in X and Y directions. Press the joystick to fix the sample box.
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. 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.
A udio: This sub menu allows microphone input levels to be adjusted via a high quality pre-amplifier. Audio is sampled at 24bits, which provides high audio fidelity and wide dynamic range. Each microphone input is provided with a pre-amplifier that maybe adjusted for optimal level to match different microphone sensitivities and sound pressures. Input Level. Range +20dB to +54db Default value is +32dB Note: I np ut le vel ad just me nt do es no t ap ply to li ne le vel a udio i nputs.
8. Sy ste m Me nu Co ntrol s 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. The available sub-menus are SOUND, MEDIA, PROJECT, MONITOR and SETUP So und Me nu This menu provides audio channel configuration and management. The sub-menu available at this time is REC ENABLE Each of the four 24 bit 48KHz sampled audio channels may be independently enabled.
Mag az i ne Me nu This menu provides various media management functions including digital media formatting. U nmo unt: select to un-mount digital media from the RED ONE camera in a failsafe manner. The camera operating system will ensure that all files are closed, hard disk heads (if present) are parked, log files written and CF card or RED-DRIVE magazine is properly powered down. For mat: select to format digital media.
A001_C001_070828.RDC Where: A = camera A, 001 = reel 001, C001 = clip 001, 07 = 2007 and 0828 = Aug 28. Force Reel: is a number from 1 – 999. Each time a new CF card or RED-DRIVE is mounted to the RED ONE camera, this number is automatically incremented. Default is 1. Co nfig ure: defines the operation of the camera in a project. Q uali ty. Choose between REDCODE 28 or REDCODE 36. Default is REDCODE 28. Note: REDCODE 36 limits the available choices of frame rates and resolutions to CF cards.
REDCODE 36 CF MEDIA * RED-DRIVE 2K 2:1 59.94 fps 59.94 fps 2K 16:9 59.94 fps 59.94 fps 3K 2:1 29.97 fps 50.00 fps 3K 16:9 29.97 fps 29.97 fps 4K 2:1 25.00 fps 25.00 fps n/a 25.00 fps 4K 16:9 Note: Va lid co mbi nat io ns of Q ual it y, Re s olutio n a nd Pr oje ct Fr a me Ra te are ind ic ate d b y t he SE TTI NG S OK chec k mar k. Whe n pr ese nt, t he med ia wi ll be able t o exe c ute t he req ue ste d rec ordi ng. If unc he c ked, t he medi a is too slo w.
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. Ti me z one: Applies a time offset to the SET CLOCK value established for the camera. 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.
Frame G uid e: select one of these aspect ratios 2.40:1, 1.85:1, 16:9 and 4:3 for the frame guides. The color can be set to White, Black, Blue, Yellow or Red for maximum visibility over the scene you are shooting. Prote ct: displays a television safe area with16: 9, 14:9 or 4:3 aspect ratio. The color of the safe area indicator can be set to White, Black, Blue, Yellow or Red for maximum visibility over the scene you are shooting.
Active This sub-menu selects the primary monitoring output of the camera. Output choices include RED-EVF, RED-LCD, PREVIEW and HDMI. The PREVIEW mode places 720p video on both the Preview HD-SDI and HDMI outputs. To use a DVI computer monitor as an external viewfinder, select HDMI. This puts 1280 x 848 progressive scan video equal to the RED-EVF on the HDMI output. Then use a HDMI to DVI cable to connect the monitor. The EVF+PVW mode permits the RED-EVF and PREVIEW modes to operate simultaneously.
E VF Re fres h When capturing images at normal frame rate and 23.98, 24.00 or 25.00 fps Project Frame Rates, refresh permits the operator to select the display refresh rate used by the RED-EVF. The default mode is SYNCED. This avoids use of 2:3 pull down, and instead doubles the capture frame rate to display images at 48Hz (50Hz for 25.00 fps). The display may exhibit increased luminance flicker do to the lower frame update rate, but will not have a 2:3 stutter.
KEY M AP: this menu permits selected menus or functions to be mapped to camera keys. At this time the Key-Map function can be used to enable or disable the Side Record, User-1 (Auto WB) and User-1 (Magnify) function keys. The default setting for each is Enabled. GPI O: this menu permits selected menus or functions to be mapped to camera keys. This menu permits the function of GPI A and B defined as either Record: triggers a normal video and audio record start / stop.
Maintenance This sub-menu defines how the cooling fan behaves, and enables software updates. Fan S ub Me nu: specifies how 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 VARIABLE. Vari able: 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.
Note: bef ore s tarti ng a Bla c k S ha di ng cal ibrati o n, e ns ure t hat yo u pl ac e a le ns cap t hat b lo ck s al l lig ht o n yo ur le ns, cl o se t he le ns iri s, a nd i nsert a for matt ed CF card i nto t he c a mera (or a tta c hed a f ormatt ed R E D- DR I VE ) I t is ver y i mporta nt t hat no l ig ht re ac he s t he se ns or. If Bl ac k S ha di ng cal ibrat io n i s per for med wit ho ut ca ppi ng t he le ns, t he b lac k l evel cali brat io n wi ll be i nc orrec t.
Rest ore: permits camera configuration and setup data to be reset to factory default values. System – Allows all camera configuration parameters to be reset to factory preset. Look – Allows all image processing parameters to be reset to factory preset. User - Allows all user preference parameters to be reset to factory preset. Restore – Press the RESTORE key to confirm the above selections. Upd ate S W: initiates a camera software update.
Hours – allows the operator to enter new value for hours (24 hour format) Range 0 - 23 Minutes – allows the operator to enter new value for seconds. Range 0 - 59 Seconds – allows the operator to enter new value for seconds. Range 0- 59 Set Clock – loads the selected Date and Time parameters into the camera’s system memory. Note: A fter pre ss i ng t hi s k ey t he c a mera will re-b oot.
9. Upgr adi ng Ca mera Fir mware RED-ONE camera functionality may be upgraded by installing the latest firmware. Log onto www.red.com/support for a complete listing of firmware revisions available for the camera, complementary QuickTime codec, postproduction software, and Operation Guide. Upgr ade Pro ced ure 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.
Press the joystick to confirm the upgrade, all monitor outputs will report back - The blue highlight bar will animate to indicate an upgrade is in progress. After about 5 minutes, the upgrade will have completed. All monitor outputs will report back - Power cycle the camera to return to normal operation. At the end of the camera power up process, the camera will display the camera P.I.N plus firmware Build and Version numbers.
10. Ma nagi ng Digit al Med ia The RED-ONE camera currently supports two types of media - compact flash and hard disk. Compact Flash (CF) media requires an optional RED-FLASH (CF) module mounted to the left side of the camera body. Hard disk media is housed in a RED-DRIVE magazine mounted to the rear of the camera body and connected via a custom16 pin interface cable. Co mpa ct Fl as h ( CF) - will be available in a variety of capacities, but at this time is fixed at 8GB.
Press the Joystick to confirm, or select Cancel to return to the main camera status display. If the format operation is confirmed, the camera responds with the following message Formatting INTERNAL /EXTERNAL digital magazine Once completed the following screen will appear. Press the Joystick one last time to acknowledge the format process is complete and the camera will then clear the system menus from the monitor screens.
Press the Joystick to confirm, or select Cancel to return to the main camera status display. Eras i ng med ia o n a M ac i nto s h pers o nal c omp uter On a Macintosh computer, connect the CF card via a CF card reader, or the RED-DRIVE via a FireWire 400 cable. Open the Disk Utility application, and then select the CF card or REDDRIVE. Select the Erase tab and choose MS-DOS File System as the Volume Format. Add a Name if you wish, but this is optional.
Re mo vi ng Me dia. It is recommended that media is un-mounted prior to physical removal from the camera. This ensures that power is removed from the digital media and any open data files are closed. Physical removal of the CF card or disconnecting the RED-DRIVE without first un-mounting it will not damage the media, but can increases the risk of file corruption, especially if data is being recorded. In addition, auxiliary metadata files cannot be written to the digital media.
Appendix A: Post Production. RED workflow is quite easy to understand, especially if you have experience with photographic RAW image processing, or shoot film followed by telecine transfer to a non-linear video editor. RAW data has a wide dynamic range and color space, so you can freely change the white point (white balance) of the footage, adjust exposure and alter highlight and shadow tonality when in post-production. This flexibility allows the camera operator to focus on composition.
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. REDCO DE RA W Quick Time Co mpone nt The REDCODE RAW QuickTime component permits REDCODE RAW footage to be displayed on Macintosh OSX or Windows XP personal computers with QuickTime Player V7.0 or higher.
RED ALERT! The RED ALERT application performs white balance and one light color correction and exports 4K and 2K resolution 10 bit DPX and 16 bit TIFF files. RED ALERT also creates color corrected QuickTime reference movies for playback in other applications, such as QuickTime Player, that use the REDCODE RAW QuickTime component described above. The upper panel in the display provides information about the video levels in the selected clip.
RED ALERT! reads the camera metadata recorded for each parameter. Individual values can be changed by dragging the slider, or by entering a new numeric value in the box. Clicking R will reset the value back to its default setting. Clicking M will restore the recorded metadata value. R ALL or M ALL will affect all parameters, GRADE will revert all values back to those last used in your color grade.
Appendix B: Power a nd Ti mec ode I / O. D. C Power I np ut 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 5 1 6 2 (straight) 4 3 Vie w int o c am era Po wer Input c onn ector Pin 1 Signal Description +VBATT Power input, +11.
Pin Signal Description 1 -VOUT Auxiliary power return (Ground) 2 GPI Trigger 3 GPO Tally 4 +VOUT Auxiliary power output, Note: Commencing with Build 10 firmware, Pins 2 and 3 can be used to provide an external Trigger and Tally signal. The function of each GPIO pin can be configured by the operator, however the default setting for the upper connector is Pin 2 = Record Start/Stop and Pin 3 = Record Tally.
Lens / RS232 This connector provides 500mA regulated +12V power to motorized 2/3” B4 mount lenses. The two inputs labeled SW1 and SW2 are GPI switches that activate Record Start / Stop and last recorded Clip Playback respectively. They may be triggered by a standard B4 lens, or by a lens motor controller such as Preston MDR-2 (using an appropriate adaptor cable) Note: DO NOT attempt to power a cinema lens motor from this connector.
Line/ Mi cro pho ne A udio I np ut s The camera includes four microphone/line inputs. Each is a three-pin mini-XLR connector. 2 1 3 View Into Mic/Line Audio Input (3-pin Mini-XLR) Pin: 1 2 3 Signal GND IN+ IN- Description Camera ground Mic/Line input (+48V phantom power) Mic/Line input (+48V phantom power) Direction -In (out) In (out) Microphone/Line Input Signals Line A ud io O utp ut The camera includes a 5-pin mini-XLR audio line output connector.
US B Hos t A standard USB 2.0 Type A receptacle provides a means to connect USB devices to the camera. Refer to the USB specification for mating connectors and pin assignments. US B De vi ce A standard USB 2.0 Type B receptacle provides a means to connect the camera to a USB host – e.g. a P.C. Refer to the USB specification for mating connectors and pin assignments. Ge nlo ck I np ut The camera includes a DIN 1.0/2.3 coaxial connector on its right side panel for Tri-Level Sync.
