RED ONE™ CAMERA: OPERATIONS GUIDE (Firmware Build 17, Version 3.4.1) Sections: Page 1. Before You Start 3 2. Camera Assembly 6 3. Physical Controls 8 4. Theory of Operation 12 5. Basic Operation 19 6. Sensor Menu Controls 26 7. Audio Video Menu Controls 34 8. System Menu Controls 42 Appendix A. Upgrading camera firmware 63 Appendix B.
--------------------------------DISCLAIMER RED has made every effort to provide clear and accurate information in this Operations Guide, which is provided solely for the user’s information. While thought to be accurate, the 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.
1. Before you start. Congratulations on your purchase of a RED ONE™ camera. Please read the attached safety instructions, then carefully unpack the camera body any accessories. If there is any physical damage to your camera or accessories, please file a support ticket at www.red.com/support. RED ONE™ ™ Digital Cinema IMPORTANT INFORMATION—READ BEFORE USING YOUR CAMERA GENERAL USE.
Note that storing batteries fully charged or in high temperature conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.
FCC RULES. This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules. These limits are designed to proved reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications.
2. Camera Assembly Connect the power cable from the Battery Plate, RED-CHARGER or AC Power Adaptor to the DC input on the rear of the camera body. The RED-LCD and RED--EVF viewfinder may be mounted to the camera body using a short or extended length RED ARM. Attach the RED ARM to the camera body using the shorter threaded screw. There are attachment points on the camera body and on the RED RAIL TOP BRACKET. Then attach the end of the arm with the circular locking ring to the RED-LCD or RED-EVF.
Insert the digital media, such as RED-FLASH 8GB or 16GB compact flash (CF) card, or connect a RED-DRIVE™ hard disk drive, or RED-RAM™ flash drive via the RED custom e-SATA cable. Inserting a Compact Flash card Attach a RED-BRICK 140 battery using the v-mount battery plate, or connect an AC Power Adaptor or a RED-CHARGER to the DC input on the rear of the camera body. Now adjust the balance of the camera.
3. Physical Controls and Connectors This section describes the physical controls and connectors on the RED ONE™ camera body. A. PL Lens Mount B. Record C. User Keys 1 and 2 A PL mount is provided as standard with the RED ONE™ camera. The mount is compatible with the majority of S35mm, 35mm and S16mm cinematography lenses. In addition, broadcast B4 mount lenses may be used if the camera is equipped with the optional B4 to PL mount optical converter. The PL mount includes a 4-pin S4/i data interface.
A Headphone B Program HD-SDI (A) C Program 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 Menus select B Status Display C Record & Ready tallies D Sensor menu E EXIT menu F UNDO / alternate action G Record Start / Stop H Joystick I Audio / Video menu J System menu On the rear of the camera, several buttons surround a daylight readable LCD status display. To the left of the status display are three User Menu buttons, which normally provide direct access Sensitivity, Shutter and Color Temperature 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™ digital magazine) Underneath the status display key group are the Power On/Off switch (top left) two 4 pin Auxiliary Power / GPIO outputs, 6 pin camera system POWER input and a 16 pin DRIVE interface. Each Auxiliary Power / GPIO connector can supply 1.75 amps of unregulated 11.5 – 17V DC to accessories such as range finders or low power lens motors.
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.
Images can be stored on a high-speed Compact Flash, RED-DRIVE™ or RED-RAM™ media. The camera’s monitoring path converts 12-bit RAW sensor data white balanced 10-bit 1280 x 720 pixel RGB 4:4:4 video. This signal may be modified using ISO, white balance or other RGB color space adjustments and provides monitor feeds for the RED-EVF, RED-LCD, Preview HDSDI and HDMI outputs.
not present, full GUI overlay support is automatically enabled on HD-SDI and HDMI outputs. RED-EVF: 1280 x 848 resolution RGB 4:4:4 progressive video display with Surround View, frame guides and safe action / title overlays, zebra and false color exposure overlays, waveforms, camera status and operation menus.
- Surround View, which is an additional visible area outside the actual recorded image. - Frame guidelines show common film presentation and television formats such as 2.40:1 and 1.85:1, picture center, and/or television aspect ratios such as 16:9, 14:9 and 4:3. - Focus is aided by the high resolution of the displays, 1:1 Focus Check function, and two user selectable waveform based focus assist meters. - Exposure is aided by dual zebras a false color meter and Luma and RGB histograms.
RED-FLASH: RED record speed verified 8GB or 16GB Compact Flash cards. RED-DRIVE: A hard disk media based Digital Magazine of 320GB capacity. RED-RAM™: A solid-state flash media based Digital Magazine of 128GB capacity. Note: Digital Magazines may be directly connected to a computer via FireWire or USB-2. Each clip is recorded with a unique clip name and with all the appropriate elements of the clip – REDCODE™ RAW files and QuickTime Reference files placed in a clip folder (.
E.g. A001_C002_0502A6.RDC Where: A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 02 And A6 is a two digit alphanumeric random number generated by the camera. This 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**.
When in Varispeed or Timelapse recording modes, the timecode counters are updated at the same frame rate as the recording. This means valid SMPTE timecode is created without count jumps that would affect clip playback or editing. If using an external timecode source with Jam Sync enabled, the clip’s master time reference point is the first frame of the recorded clip. When in Loop Record mode, the Edge Code will become discontinuous between clips, because frames copied into the cache memory are discarded.
5. Basic Operation This section describes the basic controls of the RED ONE™ camera and how to initiate a project. Control System and Status Display Command inputs to the camera are made from the rear status display and associated buttons. A - Quick Access Access to Exposure, White Balance and Shutter Speed B - Menu Access Access to Sensor, Video and System menus C - Menu Control Exit and Undo keys D - Joystick The joystick is a multi-axis controller used to navigate camera menus.
Status Display 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 reports the project frame rate, 24.
Setting up a project. Before recording, the camera must be instructed to follow a Record Quality, Frame Rate and Resolution. These values are set in the PROJECT sub menu located in the SYSTEM menu. 1. Press the SYSTEM menu key, then PROJECT. This highlights the PROJECT sub-menu 2. Push the joystick right, then press to enter the CONFIGURE menu to set the QUALITY Quality. Choose between REDCODE™ 28 and REDCODE™ 36. Default is REDCODE™ 36.
Recording Check that you have a RED-DRIVE™ attached, or Compact Flash card inserted in the camera. To initiate a recording, press either RECORD button. Press once to begin recording and again to stop recording. The camera will automatically create a file name for every clip recorded on the digital magazine or media. REDCODE™ RAW data recordings store the Color Temperature and Exposure (ISO) and any RGB color processing values you use in the monitor path as metadata.
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 1 x, 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 to correct color reproduction. Monitor outputs on the RED ONE™ camera are set up for REC 709 gamma and color space. Image intensity can be adjusted to compensate for ambient lighting conditions. For the REDLCD, use the Up / Down keys on top of the display. For the RED-EVF use the rotary encoder.
The rotary encoder / switch may be used to adjust a variety of parameters. These include the EVF Intensity, but also camera parameters such as Ch1 Audio Level or Ch 2 Audio Level, and Shutter speed, Varispeed frame rate and ISO setting. To activate this control, push the switch once. Rotate the switch until the white selection box overlays the parameter you wish to adjust. Then press the switch to lock that selection in.
6. Sensor Menu Controls This section describes how to set sensor specific menu parameters including Sensitivity, Shutter Speed, Color Temperature, Varispeed and Timelapse. To access these functions, press the SENSOR menu key or one of the direct access keys to the left of the status display. Note: Sensitivity and Color Temperature metadata values are stored as metadata and are also used to modify the RED-LCD, RED-EVF, Preview HD-SDI and HDMI monitor outputs.
Tint Color Temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging. To compensate for any residual colorcast, the TINT parameter can adjust the RGB color balance with a compensating Magenta - Green color component. Note: Pressing Auto WB calculates a new Tint value. This is maintained if the Color Temp is adjusted via the Manual WB parameter. If you select the Tungsten or Daylight presets, Tint will be reset to zero, which is the default value.
Note: If operating in Relative or Syncro modes, the shutter speed is reported in yellow text. Note: If the operator requests a shutter speed (angle) that is outside the capability of the camera in that mode, the actual shutter speed (angle) used will be reported in red text. Shutter Speed When operating in Normal mode, the Shutter Speed value used by the camera is fixed, i.e. it is independent of the image capture rate. This is opposite from a mechanically shutter camera.
Syncro: When operating in this mode, the Shutter Speed values may be proportionately reduced or extended to tune exposure time to a precise value. Range 10 – 90. Default 50. E.g. Setting Syncro to 53 with a 1/60th sec shutter is equal to 1/56.6 sec exposure time. Phase: provides a delay relative to the start of the frame for the exposure time. Phase may be adjusted over the range - 45 to + 45 degrees. Default value is 0.
Varispeed The Varispeed menu supports Variable Frame Rate recording at speeds faster or slower than the Project Frame Rate and Frame Rate Ramping. Varispeed recordings can be initiated by pressing the Record key, or by GPI trigger. Note: In all Varispeed modes, audio recording is disabled. Note: In Varispeed modes timecode is written to digital media at a rate equal to the instantaneous capture rate.
Framerate: enables the user to choose any single frame rate.
Time: When Ramp is enabled, this value specifies the transition time to be used by the camera between the (start) Frame Rate and the End (frame) Rate. Default value is 5 seconds. End Rate: When Ramp is enabled, this value specifies the final (ending) speed of the ramp in frames per second. When a ramp transition has been completed, the camera will continue to record at the End Rate until the end of the Recording.
Speed: Specifies the shutter speed to be used during Timelapse. This control is the same as is available in the Shutter menu, but it provides access to additional shutter speeds that may be used in Timelapse recording. The additional exposure time presets are 1/2, 1/3 1/4, 1/6, 1/8, 1/12, 1/16 second. Step Print: Specifies the number of times each single frame captured in Timelapse mode is to be recorded to the digital media. Available range is 1 to 10 frames. Default value is 1 frame.
7. Audio / Video Menu Controls This section describes monitor path parameters such as viewfinder, and RGB color and gains. These parameters are accessed from the VIDEO menu access key. Available sub menus include VIEW, VIDEO, VIEWFINDER, AUDIO and HEADPHONE VIEW The VIEW sub menu allows the user to choose the mode of monitor path image processing. The default selection is REDspace. REDspace: monitor path image processing uses custom REDspace tonal response curve.
Import: The current settings for Color and Gain parameters will be overwritten by the values stored on the SD Card. The available LOOK files will be listed in alphabetical order, e.g. PROFILE_1 PROFILE_2 MAGENTA_TINT Export: The current settings for Color and Gain parameters are stored to the SD Card. The camera generates a file name of the format PROFILE_**.RLK Note: you may edit LOOK filenames on a computer, but do not change its extension (.RLK) or the camera will not recognize it.
Blue Gain: adjusts the gain of the BLUE channel only. Range is 0.0 (no Blue) to +4.0 Green Gain: adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to +4.0 TONE menu The TONE sub-menu allows a Tonal Response Curve to be overlaid on the video monitor path. The curves parameter values are stored in metadata, and may be visualized in RED Alert!™ post-production software as Curve data. Curve: This checkbox enables the Tonal Response Curve. Default setting is enabled.
This image reflects the following mapping relative to stops of exposure and 0 - 108 IRE. Note the green and pink bars that allow quick exposure setup for 18% ND and skin tones. This is the corresponding white balanced but otherwise unprocessed, source image – 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. Edge Highlight With Edge Highlight selected, items that are in focus are outlined in red over monochrome. Analysis Menu Meter: allows the operator to choose an “always on” signal analysis. Selections include Spot Meter, Luma Histogram, RGB Histogram and MONO (RGB without color) Histogram.
Assists: allows the operator to choose a signal analysis waveform. Selections include Waveform Exposure, RGB Parade Histogram, Focus Assist and Focus Overlay. If Waveform is selected, a color-coded waveform illustrates the exposure values using the full width of the lower section of the camera display. As exposure reaches maximum, waveform color changes to yellow and then red. At minimum exposure, the waveform color changes to light blue then dark blue.
Dark Detail: allows the RED-EVF to view addition information (detail) in dark areas of a scene, or in dimly illuminated nighttime scenes. Default setting is ON, and 1% 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.
Microphone Input Levels Recorded levels are affected by the gain setting of the microphone input preamplifier. For example: at +20 dB the microphone input level equivalent to Full Scale is -7 dBu (0.36 Volts RMS) at +54 dB the microphone input level equivalent to Full Scale is -36 dBu (0.013 Volts RMS). Line Input Levels Recorded levels follow the level of the incoming signal when Gain is set to 0dB. At 0dB, the input level equivalent to Full Scale is +18 dBu (6.5 Volts RMS).
8. 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. Sound Menu This menu provides audio channel configuration and management. This sub-menu allows each audio channel to be enabled, to do so press REC ENABLE Once enabled, an input type may be selected – either Line or Microphone.
Pre-record: enables a continuous loop recording of definable duration (10 or 30 seconds) that permits continuous video and audio capture “before the event” i.e. before RECORD is pressed. When enabled, pre-record starts recording 1-second chunks of video and audio to the digital magazine. At the end of the selected pre-record period, the first chunk is overwritten. If the RECORD button is pressed while in pre-record, pre-record mode is terminated and a normal record is enabled.
Unmount: select to un-mount digital media from the RED ONE™ camera in a failsafe manner. The camera operating system will ensure that all files are closed, hard disk heads (if present) are parked, and CF card or RED-DRIVE™ magazine is properly powered down. Format: select to format digital media. The camera will warn that “all data will be erased”, and formatting require that a sequence of confirm commands are made before proceeding.
Project Menu The project menu sets the operating parameters the camera will use for a given project. Selections are SLATE, CONFIGURE, TIMECODE and QT PROXIES Slate lets the operator identify the specific camera used for the project. Combined with reel numbers and clip numbers assigned by the camera, all clips recorded on the digital media may be uniquely identified, simplifying post-production and media archiving workflows.
The maximum available time base supported by each media type for each resolution is - REDCODE™ 28 RED 8GB CF RED 16GB CF RED-DRIVE RED-RAM 2K 2:1 60 fps 60 fps 60 fps 60fps 2K 16:9 60 fps 60 fps 60 fps 60fps 3K 2:1 50 fps 60 fps 60 fps 60 fps 3K 16:9 30 fps 50 fps 50 fps 50 fps 4K 2:1 25 fps 30 fps 30 fps 30 fps 4K HD 25 fps 30 fps 30 fps 30 fps 4K 16:9 25 fps 30 fps 30 fps 30 fps REDCODE™ 36 RED 8GB CF RED 16GB CF RED-DRIVE RED-RAM 2K 2:1 60 fps 60 fps 60 fps 6
Note: An individual project should only use one Time Base, as it defines the frame rate used for timecode and editing. To vary the capture frame rate above or below the base frame rate defined by the project’s time base, enable VARISPEED in the SHUTTER menu. Timecode: select to change displayed timecode track, force Jam sync or reset camera clock. Jam Sync: instructs the camera to replace its internal Time of Day value with external timecode read from the 5pin LEMO connector.
Display: lets the operator select whether Edge Code or Time Code is displayed in the status displays. This selection also determines which of the two recorded timecode tracks will be used in the QuickTime reference movies, and the primary timecode track in HD-SDI outputs. 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.
Selections are FRAME GUIDE, ACTIVE, TEST SIGNAL, HD-SDI and EVF REFRESH 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: displays film projection areas with 1.85 or 2.40 aspect ratios and television display areas with 16:9 or 4:3 aspect ratios.
PROGRAM allows the use to program the specific PROTECT areas to be used. Press the PROGRAM key to access the sub menu. Press Cursors to enable Center, Safe Action or Safe Title cursors. Press User Action or User Title to program new User Action or Title areas. Cursors: enables Center, Safe Action, Safe Title and Image Center cursors. Cursor: Enables / disables image center cursor. Action: Enables / disables guide. Style may be specified as a corner marker or a rectangle.
X POSN: Adjusts the horizontal center position of the guide. Y POSN: Adjusts the vertical center position of the guide. Set: Press SET to save these parameters to non-volatile memory and exist this menu. User Title: enables the user to program a custom Safe Title area. Operation is the same as for USER ACTION areas. See above description. Preview This sub-menu selects the operating mode of the HD Preview output.
audio. The HDMI output is compatible with HDMI equipped 720p and 1080p HDTV monitors. As a user choice, the HDMI (but not the three HD-SDI outputs) can support a 1280 x 848 pixel output with Surround View, frame guides and safe action / title overlays, waveforms, and camera status and operation menus. This signal is compatible with most DVI equipped SXGA computer monitors, but is not compatible with HDMI equipped 720p or 1080p HDTV displays.
SMPTE Bars with Pluge HD-SDI Sets the1280 x 720p HD-SDI and HDMI monitor signal update rate to 50.00 or 59.94 Hz. The default is 59.94 (720p 59.94) If in Europe you may wish to select 50.00 (720p/50.00) HDMI The camera includes a standard HDMI connector on its right side panel. This output provides a HDTV compatible 1280 x 720 video signal or P.C monitor compatible 1280 x 848 pixel signal.
The default mode is FIXED, which uses 2:3 or other appropriate pull down as required to display images at a fixed frequency of 59.94 Hz (or 50Hz) at all image capture frame rates. This mode minimizes display flicker, but will exhibit a 2:3 motion stutter on 24fps images. The alternative mode is SYNCED. This avoids 2:3 pull down, and instead doubles the capture frame rate – for example displaying 24fps images at 48Hz (50Hz for 25.00 fps).
KEYMAP selects the Key Map Preferences sub-menu. This menu permits selected menus or functions to be mapped to specific User Keys on the camera body. Side Record: When checked, the side RECORD key is enabled. Default is enabled – Record USER KEYS: When pressed permits USER KEYS 1 thru 5 to be programmed. User-1: When checked USER-1 key is enabled, and its function is defined in the associated list. Default is Enabled - Auto WB. User Key 1 is the upper user key on the camera side.
Timelapse Initiates Timelapse Record Mode Zebra 1 Toggles Zebra 1 On / Off Zebra 2 Toggles Zebra 2 On / Off + Volume 1 Increases volume of Channel 1 (when in microphone mode) - Volume 1 Decreases volume of Channel 1 (when in microphone mode) + Volume 2 Increases volume of Channel 1 (when in microphone mode) - Volume 2 Decreases volume of Channel 1 (when in microphone mode) + ISO Increases camera Sensitivity - ISO Decreases camera Sensitivity + Shutter Increases camera Shutter Speed - Shu
POLARITY selects the Polarity Preferences sub-menu. This menu permits the signal polarity of GPI A and B and GPO A and B to be defined as either – Active LO or Active HI. Selection is independent for each GPI input and GPO output. For GPI signals Active LO is the default, which means the GPI command will be activated on a high to low edge of an external control pulse. Set to Active HI to use a low to high edge.
DISPLAY: This menu permits specific elements of the GUI to be disabled. Selections are – SHUTTER, LENS DATA, EVF MENU, STATUS and GREY SCALE Shutter: When checked, displays frame rate and sensor status on GUI upper edge. Also allows the user to choose if camera shutter value is reported in Degrees or 1/Seconds format. Note: Shutter values are always input in 1/seconds format, irrespective of this choice. Lens Data: When checked displays focus / zoom / iris data on GUI mid-upper edge.
Variable: This setting is most useful when the ambient temperatures is below 50°F/10°C. In variable mode, the fan runs at a continuously variable speed in both preview and record. At low ambient temperatures the fan will run at minimum speed. At higher ambient temperature, the fan will run faster to maintain the camera body within its operating temperature limits. Hot: This setting is most useful when the ambient temperature is between 86°F/32°C and 104°F/40C. In hot mode, the fan runs at its maximum speed.
Press the O.K button, and the camera monitoring outputs will report – Starting Black Shading Calibration The camera will then enter the Record mode, and any camera monitoring outputs will report Calibration: Analyzing Sensor (99) The camera records 100 frames of sensor data that is used to analyze the precise black level of each pixel. This will take about 2 minutes.
Details of the upgrade procedure are provided in the following section of this Guide Set Clock: allows the camera’s real time clock to be adjusted. Set Date and Time to equal GMT, and then set TIMEZONE in the TIMECODE menu to –8 for West Coast US (Pacific) time. Or set to local time, and then set the TIMEZONE value to 0.
WRITE LOG: select to write camera’s .LOG file to CF card or RED-DRIVE™ magazine. The .LOG file is a diagnostic tool that can assist RED with camera troubleshooting. After capture, upload the .LOG file to the RED customer service team contactable at www.red.com/support REMOTE: This menu provides access to controls that specify the operation of the remote ports on the camera. At this time there is a single selection - S4/I.
Appendix A: Upgrading Camera Firmware RED ONE camera functionality may be upgraded by installing the latest firmware. Log onto www.red.com/support for a complete listing of firmware revisions available for the camera, complementary QuickTime codec, postproduction software, and Operation Guide. Upgrade Procedure Firmware and software identified by a build and version number. A higher number reflects a later release. The current release is identified on the home page of www.red.com web site.
A software update is available for your system Would you like to upgrade? Upgrade Later Press the joystick to confirm the upgrade, and all monitor outputs will report back – Performing System Upgrade This may take several minutes Do not power-down during this process A blue highlight bar will animate on all monitor outputs to indicate an upgrade is in progress. After about 5 minutes, the upgrade will have completed.
Appendix B: Managing Digital Media The RED ONE™ camera supports two types of media - compact flash and hard disk. Compact Flash (CF) media requires a RED-FLASH (CF) module mounted to the left side of the camera body. Hard disk media is housed in a RED-DRIVE™ magazine mounted to the rear of the camera body and connected via a custom16 pin SATA interface cable. RED-FLASH (CF) compact flash media is currently available in 8GB and 16GB capacities.
Formatting on-camera i) Formatting a new Compact Flash card or attach a RED-DRIVE™ or RED-RAM™ magazine. Insert the CF card with the manufacturer’s label facing outward (away from camera body). Press the CF firmly into the CF slot, but without excessive pressure. Or attach the REDDRIVE™ or RED-RAM™ magazine to the e-SATA port via the 16 pin e-SATA cable provided.
Reformatting previously used media Re-formatting a previously used CF card or RED-DRIVE™ or RED-RAM™ magazine follows a similar procedure, except that the camera will provides the following warning. The Digital Magazine is not empty! The magazine currently contains (number) clips. Re-formatting the magazine will permanently erase these clips.
Removing Media. Media should be un-mounted prior to removal from the camera. This ensures power is removed from the digital media and any open data files are closed. Removing a CF card or disconnecting a RED-DRIVE™ or RED-RAM™ without first unmounting it will not physically damage the media, however it does increase the risk of file corruption, so it’s good operational practice to un-mount the media if possible before removing / disconnecting. To UNMOUNT the digital media follow this sequence.
Appendix C: Input and Output Connectors. D.C Power Input The power input connector accepts a DC voltage between +11.5 and +17V DC. When used with a RED-BRICK 140 battery, the camera also receives battery status information. The power input is protected against reverse-polarity connection, ESD, under voltage, and over current. Mating connector LEMO FGG.2B.306.CLAD62Z 5 1 2 6 4 3 View into camera Power Input connector Pin 1 2 3 4 5 6 Signal Description +VBATT Power input, +11.
Auxiliary Power Outputs The camera provides two auxiliary power output connectors 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. Mating connector LEMO FGG.0B.304.
View into camera Timecode connector Pin: 1 2 3 4 5 Signal Ground TIMECODE_IN_P TIMECODE_IN_N TIMECODE_OUT Description Camera ground Serial timecode input, positive Serial timecode input, negative - No connect Serial timecode output Direction In In Out Note: Pin 4 is a no connect. Do not tie to ground. Aux 232 Port The Auxiliary / RS232 port provides up to 500mA of regulated +12V power to motorized 2/3” B4 mount lenses.
Pin: 1 2 3 Signal GND RTX +12V Description Camera ground RS232 Transmit Data Regulated 12V output, 500mA max. Direction -Out Out 4 5 6 7 8 9 SW2 SW1 RRX - -- Reserved: do not connect “Record Clip” switch closure -- Reserved: do not connect “Playback Clip” switch closure RS232 Receive Data -- Reserved: do not connect - In In In - 10 - -- Reserved: do not connect - - Note: Pins 4, 6, 9 and 10 are reserved for future use.
View Into Mic/Line Audio Input (3-pin Mini-XLR) Pin: 1 2 3 Signal GROUND IN+ IN- Description Camera ground Mic/Line input (+48V phantom power) Mic/Line input (+48V phantom power) Direction -In In Microphone/Line Input Signals Line Level Audio Inputs Line Level audio inputs are designed to operate at unity gain (0dB Input Level), therefore an appropriate line output level should be established by your production mixer or other signal source. Reference signal level for Line inputs is 0dBu / 0.
minimum of 18dB of input signal headroom above reference, in combination with maximum Signal to Noise Ratio for the resulting 24-bit digital recording. If a signal headroom greater than 18dB is desired, the operator may choose to use an XLR to mini-XLR adaptor cable with -4dB input signal pad available from RED Digital Cinema. If using this cable, again choose an Input Level that aligns the input signal to the right hand reference line drawn vertically through the camera’s PPM, which indicates 0dBu.
Note: The above notes apply to cameras configured with Rev B audio hardware. Cameras shipped prior to Sept 15 2008 (and not yet upgraded to Rev B) were supplied with Rev A audio hardware, with the following operational restrictions. - The Camera Ground connection on Pin 2 should be considered unreliable / floating. Headphone Audio Output A 3.5mm stereo phone jack provides two channels of adjustable level audio to headphones.
USB-2 Slave This port is currently not enabled. Genlock Input A single DIN 1.0/2.3 coaxial connector accepts a Tri-Level Sync signal for video genlocking. When operating at 23.98, 24.00, 25.00 or 29.97 Project Time Bases, set the genlock signal generator to SMPTE 274 progressive scan format, at the same frame rate as the project TIME BASE. Do not use PsF or interlaced signals.
Pin: Center Shield/Screen Signal HD-SDI GROUND Description SMPTE-292M HD-SDI Camera ground Direction Out -- Program HD-SDI Output (each connector) In record, the Program output provides two independent outputs of 1280 x 720p 10-bit 4:2:2 progressive scan video, at 59.94 or 50.00 Hz. In playback, if PLAYBACK is set to 720p, the Program output provides two independent outputs of 1280 x 720p 10-bit 4:2:2 progressive scan video, at 59.94 or 50.00 Hz.
If PLAYBACK is set to 1080p, the Preview output provides a 1920 x 1080p 10-bit 4:2:2 progressive scan video signal at 23.98, 24.00, 25.00, or 29.97 Hz. Note: the Preview HD-SDI output provides 4 channels of embedded audio plus timecode. Note: The embedded timecode value is equal to the Time Code value of the recorded frame previewed by the PVW output. I.e. the timecode sequence will be discontinuous. Note: RED ONE™ outputs progressive scan video, it does not support 1080PsF format.
Appendix D: Post Production RED workflow is quite easy to understand, especially if you have had 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.
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. RED QuickTime Codec (Use V3.5.0 or higher for Build 17 footage) The RED QuickTime codec permits REDCODE™ RAW footage to be displayed on Macintosh OSX personal computers running QuickTime Player V7.4.5 or higher.
RED Alert!™ (Use V3.5.0 or higher for Build 17 footage) RED Alert!™ is available for Intel based Mac OSX computers only. In addition to performing white balance and one light color correction, RED Alert!™ can export a clip at 4K and 2K resolution via 10-bit DPX or 16-bit TIFF files, or create color corrected QuickTime reference movies for editing or other uses by applications that use the RED QuickTime Codec.
RED Alert!™ reads the metadata recorded for each color correction parameter by the RED ONE™ camera. Values can be adjusted by dragging the appropriate slider, or by entering a new numeric value in its box. Clicking R will reset the value back to its default setting. Clicking M will restore the recorded metadata value. R ALL or M ALL will affect all parameters, GRADE will revert all values back to those last used in your color grade.
RED-CINE™ (Use V3.1.2 or higher for Build 17 footage) RED-CINE™ is available on Intel based Mac OSX and Windows XP platforms. In addition to performing white balance and one light color correction, RED-CINE™ provides image pan/scan, crop and scaling operations. The application can export either a singe clip, or a sequence of clips, as 4K or 2K resolution 10-bit DPX or 16-bit TIFF files. RED-CINE™ can also render clips as standalone QuickTime movies using specific HD video codecs.
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