Red Epic EPIC-M BUILD V3.3 Operation Manual

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Summary of Contents for Red Epic EPIC-M BUILD V3.3

Page 2: Table Of Contents
Metadata ......17 FIRST TIME USE – SETTING + Lens ......... 91 Clip Naming Conventions ......18 UP YOUR RED EPIC ....61 DSMC Canon Mount + Attach Power Source ....61 Lens ........92 SMPTE Timecode ....19 Presets Menu ......93 Power Consumption ....19...
Page 3 ID) / Camera Position ..220 Audio Format ......179 Channel Setup ......179 Connecting Cameras....221 Operation ....... 222 Source Selection ....179 RED EPIC Operation Guide ® EPIC-M / EPIC-X Version 3.3, Rev-B 2 2 2 2 COPYRIGHT © 2012 RED.com, Inc.
Page 4: Disclaimer
DISCLAIMER ® 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.
Page 5: Compliance
COMPLIANCE INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS This device complies with Industry Canada license-exempt RSS standards RSS 139 and RSS 210. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device.
Page 6: Australia And New Zealand Statement
Operations subjected to the following two conditions (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including that may cause undesirable interference. Caution: Exposure to Radio Frequency Radiation. The device shall be used in such a manner that the potential for human contact is minimized This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment.
Page 7: European Union Compliance Statements
EUROPEAN UNION COMPLIANCE STATEMENTS RED declares that the radio equipment described in this document comply with the R&TTE Directive (1999/5/EC) issued by the Commission of the European Community. Compliance with this directive implies conformity to the following European Norms (in brackets are the equivalent international standards).
Page 8 France Usage Restrictions - Geographic Area Where Restriction Applies : France For mainland France • 2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use • 2.400 -2.454 GHz (Channels 1-10) authorized for outdoor use Restrictions d'utilisation - Zone géographique où les restrictions s'appliquent : France Pour la France métropolitaine •...
Page 9: Before You Start
Please read the attached safety instructions, and only then unpack the camera body and any accessories. If there is any physical damage or missing components for either your camera body or any accessories, please file a support ticket at www.RED.com/support. RED EPIC Digital Still and Motion Camera IMPORTANT SAFETY INSTRUCTIONS READ BEFORE USING YOUR CAMERA A.
Page 10 shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with high moisture without appropriate protection, and immediately remove power source if camera or accessories are exposed to moisture. WARNING: To reduce the risk of fire or electric shock, do not expose the camera or accessories to rain or moisture.
Page 11 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. R.
Page 12: Theory Of Operation
THEORY OF OPERATION The RED family of Digital Still and Motion Cameras (DSMC) provide high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm / APS-H. The RED DSMC camera is supplied as standard with a PL mount, and may be configured with mounts and 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems.
Page 13: Hdrx
This recording technique permits RGB color processing choices to be deferred to post-production or to be adjusted in the field to help a director visualize alternative color treatments, without affecting the recorded RAW data’s image quality or dynamic range. The camera’s monitoring path converts RAW sensor data to a white balanced 12-bit depth 2048 x 1080 pixel RGB 4:4:4 video signal.
Page 14: Magic Motion
• Exporting to EXR file format will give you a multi-view EXR with both exposures (like a stereo EXR). NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of dynamic range just as if you had not enabled HDRx. For this reason, we encourage the A-track exposure to be "normal"...
Page 15: Line Level Analog Inputs
LINE LEVEL ANALOG INPUTS The recording level of a Line input is affected only by the signal provided by the field production sound mixer or other external line level source. The sound mixer operator should choose a mixer output level that aligns a reference tone signal to the 0dBu (-20dBFS) reference mark drawn on the camera’s Audio Level Meter, or if using 0VU as reference level, a mixer output level that aligns a reference tone signal to the 0VU (-16dBFS) reference mark.
Page 16: Hd-Sdi
HD-SDI A 720p or 1080p progressive scan output suitable for monitoring or recording to an external VTR or DDR device. May be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data. HDMI A 720p or 1080p progressive scan output suitable for monitoring via a PC monitor or most HDTV displays. Example of HDMI Monitor Output in MENUS mode.
Page 17: Red Lcd / Bomb Evf Redmote
REDMOTE ® REDMOTE is a camera control unit for RED’s family of DSMC cameras that attaches to the rear of the camera Brain or rearmost expansion module. REDMOTE may also be detached from the camera or rearmost module and provide wireless remote control of the camera over proprietary REDlink™ protocol. Whether attached or operating via wireless, REDMOTE supports all controls necessary to operate the camera, including Record Start / Stop, Shutter Speed, White Balance, ISO and programmable User Keys.
Page 18: Metadata
Typical Magazine Folder and clip structure For additional information about digital magazines, refer to APPENDIX B: MANAGING DIGITAL MEDIA. METADATA RED’s family of DSMC cameras record the Metadata, which is data for each frame of the recording: • • • Clip Name s4i dynamic data Copyright...
Page 19: Clip Naming Conventions
CLIP NAMING CONVENTIONS When you press RECORD, the camera automatically creates a unique name for the CLIP being recorded to the REDMAG 1.8” SSD media. The format of this name is: Camera Letter + Reel Number + Month + Day e.g.
Page 20: Smpte Timecode
MULTI CAMERA SHOOTS The scheme provides flexibility to uniquely identify Clips from different cameras on a multi-camera shoot. For example three cameras, slated as camera A, camera B, and camera C respectively, can generate these easily recognizable clips on their respective digital media Magazines. A001_C001_0502**.RDC B001_C001_0502**.RDC C001_C001_0502**.RDC...
Page 21: Brain
BRAIN Power Status LED Power / Record Button Record Status LED Power / Record Button / Status LEDs • Power / Record Button: Powers camera Up / Down and initiates Record Stop / Start • Power Status LED: Indicates Power status: o LED Red = Power Present, Camera OFF o LED Yellow = Power present, Camera Booting o LED Green = Power present, Camera ON...
Page 22: Side Ssd Module
o LED Red Constant = Recording o LED Red Slow Blink = Recording, 25% Media Left o LED Red Fast Blink = Recording, 5% Media Left o LED Yellow = Finalizing • Both LEDs: Indicates camera status: o Both LEDs Green Blink = firmware update in Progress SIDE SSD MODULE REAR FRONT...
Page 23 • User Key 1 + User Key 2 : Press both keys to Eject (unmount) REDMAG 1.8” SSD Magazine. • Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record. • Media Indicator LED: Indicates status of media: o LED Off = No Media o LED Green = Ready to Record o LED Red Constant = Recording...
Page 24: Side Handle
SIDE HANDLE Battery Release LCD Menu Keys Focus / Record Button LCD Display Adjustment Ring LCD Backlight Button RED Side Handle Controls - Top • Battery Door Release Button: Releases Side Handle battery door to permit battery exchange. • Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record. •...
Page 25: Front
FRONT Stills / Movie Slider Side Handle Controls - Front • Stills / Movie Slider: Selects between STILLS and MOVIE modes of operation. NOTE: This switch is not active at this time. Default camera operation is MOVIE COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 26: Rear
REAR RED Side Handle Controls - Rear MENU Button User Keys A-D Rocker Switch System Keys 1- 3 Navigation Group Thumbwheel Lock • Menu Button: Press to access / camera setup menus. • Rocker Switch: Increases or decreases selected value based on parameter selected in USER KEYs. 955-0002_v3.3, Rev-B COPYRIGHT ©...
Page 27 • Navigation Group: Allows navigation through camera menus, selection of camera parameter for adjustment, and adjustment of selected camera parameter. Side Handle Navigation Group Scroll Wheel Direction Keys Enter Button o Scroll Wheel: Selects and adjusts camera parameter value. o Direction Keys: Navigates camera menus and may select parameter for adjustment. o Enter Button: Confirms selected parameter value adjustment.
Page 28: Installation / Removal
INSTALLATION / REMOVAL WARNING: THE SIDE HANDLE IS NOT HOT SWAPPABLE - MEANING YOU CANNOT REMOVE OR INSTALL WHILE THE CAMERA IS POWERED ON. BEFORE INSTALLING OR REMOVING THE SIDE HANDLE, YOU MUST POWER DOWN THE CAMERA. FAILURE TO DO SO MAY RESULT IN DAMAGE TO THE SIDE HANDLE AND / OR CAMERA BRAIN THAT IS NOT COVERED BY WARRANTY.
Page 29 To remove the side handle: 1. Power down the camera if necessary. 2. Rotate the thumbscrew downwards until detached from camera body. Disengage lip from top of camera brain. Rotate side handle upwards to remove. Rotate thumbscrew downwards until loose. 3.
Page 30: Dsmc Modules
DSMC MODULES PRO I/O MODULE The PRO I/O MODULE provides a central hub for professional audio and video input/output connections that compliment Brain input/output connections. • Dual Auxiliary Power outputs support low power peripheral devices such script light and range finder •...
Page 31: Rear Ssd Module
REAR MODULE The Rear SSD Module secures onto the back of the DSMC brain to serve as a rear location for recording onto 1.8" REDMAG SSD media. QUAD BATTERY MODULE • The QUAD MATTERY MODULE holds up to 4 REDVOLTs or 2 REDVOLT-XLs •...
Page 32: Dual Battery Module
DUAL BATTERY MODULE • The DUAL BATTERY MODULE holds up to 2 REDVOLTs • Batteries may be hot swapped Dual Battery Module – Shown with REDVOLT batteries Installed 955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
Page 33: Module
MODULE INSTALLATION / REMOVAL To install a DSCM Module to the camera, an Adaptor Plate must be purchased separately. The following procedure details installation of the Adaptor Plate and DSMC Module. Install the Adapter Plate 5. Power down the camera. 6.
Page 35 ATTACHING THE DSMC MODULE WARNING: DSMC Modules are NOT hot swappable - meaning you cannot remove or install while the camera is powered on. Before installing or removing a Module, you MUST power down the camera. Failure to do so may result in damage to the Module and / or camera brain that is not covered by warranty.
Page 36 2. Rotate module down flush with the rear of the adaptor plate. 3. While applying steady pressure to hold the module against the adaptor plate, use a T-20 Torx screwdriver to rotate the lock on the adapter plate clockwise to secure the module. Press Module Flush with Adaptor Rotate Lock Clockwise...
Page 37: Redmote
5. Use a T-20 to loosen the screws attaching the adaptor plate the camera brain. 6. Remove the adaptor plate from the camera brain. REDMOTE This section describes the physical controls on the REDMOTE. For complete details on REDMOTE control, refer to APPENDIX E: REDMOTE OPERATION. IMPORTANT: For your REDMOTE to operate with this camera build version, ensure your REDMOTE has been upgraded to the latest firmware.
Page 38 Default settings for User Function Keys A-D are as follow: User Key A – Toggles Focus Assist Indicator User Key B – Toggles False Color > RAW Check User Key C – Toggles False Color > 1:1 Magnify. User Key D – Toggles False Color > Exposure Check •...
Page 39: Displays
DISPLAYS BOMB EVF AND BOMB EVF (OLED) BOMB EVF is a high-definition, lightweight viewfinder that aligns quality performance with compact form factor. • Resolution: 1280 (wide) x 784 (high) full-color • Contrast Ratio: 1000:1 typical • Available diopter range: +2.0 to -5.0.l Talley Light Focus Ring Brightness Controls...
Page 40: Touchscreen Lcd
TOUCHSCREEN LCD RED offers two touchscreen LCDs, a five-inch model with 800 X 400 resolution and a nine-inch with 1280 X 784. Both feature 4:4:4 progressive scan. The touchscreen LCD allows navigation of camera menus and selection and adjustment of camera parameters by directly touching icons on the screen. Gestures supported include: •...
Page 41: Basic Operation
BASIC OPERATION This section describes basic operation, starting from power up, Viewfinder layout and Menu navigation. WARNING: THE SIDE HANDLE, SIDE SSD MODULE, REAR MODULES AND LENS MOUNT ARE NOT HOT SWAPPABLE – MEANING YOU CANNOT REMOVE OR INSTALL THEM WHILE THE CAMERA IS POWERED ON.
Page 42: Quad Battery Module
QUAD BATTERY MODULE The optional QUAD BATTERY MODULE accepts up to four REDVOLT or up to two REDVOLT XL batteries, which can power the camera and typical accessories. Quad Battery Module REDVOLT AND REDVOLT XL REDVOLT and REDVOLT XL Note: When multiple batteries are installed in the Quad Battery Module, the power management circuit will select the lowest charged battery to supply power to the camera.
Page 43: Backpack Quickplate
BACKPACK QUICKPLATE The optional BACKPACK QUICKPLATE attaches directly to the back of the DSMC BACKPACK to provide a compact REDBRICK configuration for EPIC or SCARLET-X. Note: DSMC BACKPACK is required for use of the BACKPACK QUICKPLATE BACKPACK QUICKPLATE REDBRICK COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 44: Ac Power Adaptor - (Dsmc)
AC POWER ADAPTOR - (DSMC) AC POWER ADAPTOR - (DSMC) When powering from the Module it is called in the lower UI as Rear Module (RM Bx) Bay number on lower UI, and identified as Rear 1-4 in the POWER status menu. In use, an LED on the Quad Battery Module will flash to show the battery currently powering the camera.
Page 45: External Dc Power
Battery location and status are displayed in the lower UI. In this case RM B1 (Rear Module, Bay 1). Battery location and status are also displayed on REDMOTE. In this case RM B3 (Rear Module, Bay 3). The POWER menu also shows all installed batteries and their state of charge. EXTERNAL DC POWER RED DSMC Cameras accept input voltages between 11.5V - 17V D.C and can draw a maximum current of 12 Amps.
Page 46: Power Up
POWER UP Locate the camera’s Power / Record button on the right face of the Brain. NOTE: This button also serves as a Record Start / Stop button once the camera is powered up. Power Status LED Power / Record Button Media Status LED Power / Record Button / Status LEDs When an appropriate power source is connected to the Brain, the Power Status LED will illuminate Red.
Page 47: Power Down
POWER DOWN The camera can be powered down in two ways: 1. Using REDMOTE or Side Handle Menu controls, or via Touch Screen LCD icons. Refer to SECONDARY MENUS > POWER. 2. Depress and continue to hold the Power / Record button in its fully depressed position until the INITIATING CAMERA SHUTDOWN shows on the display.
Page 48: Graphical User Interface And Navigation
GRAPHICAL USER INTERFACE AND NAVIGATION RED LCD/TOUCHSCREEN LCD, BOMB EVF, EXTERNAL MONITORS The following is a general description of the structure of the camera’s Graphical User Interface (GUI) which overlays the video monitor signal on the Viewfinder output(s) of the camera. SHUTTER SPEED WHITE BALANCE ISO RATING...
Page 49 • Frame Guide: Record or Projection area • Playback ICON : In the upper Left corner on the touchscreen LCD - Accesses the • Frame Rate: Current frame capture rate Playback Function • Genlock: Indicates presence of valid • Power: Indicates D.C supply voltage or % of Genlock signal / HD-SDI sync to genlock remaining battery capacity Including current supply voltage...
Page 50 The GUI is broken down into the following three main sections: the Upper Status Row, the Live Action Area, and the Lower Status Row. On VIEWFINDER output(s), all three sections are visible, on PREVIEW outputs only the Live Action Area and associated graphic overlays are visible. On PROGRAM outputs, none of the graphic overlays are visible, i.e.
Page 51 LIVE ACTION AREA Contains the recorded image area plus Surround View™ look around area, plus overlays for Frame Guide, Safe Action / Safe Title and the current Clip Name and Timecode values. Each overlay may be color coded in one of 5 colors to maximize the contrast between the guide(s) and scene being captured. LOWER STATUS ROW The Lower Status Row provides feedback on key systems level camera values, including: •...
Page 52 ICON BEHAVIOR • TC Gray - No analog time code is currently detected • TC Red - Analog time code is being detected, but the use of it is not enabled • TC Green - Analog time code is being used to jam the time of day time code. TC will revert to gray if the signal is no longer detected •...
Page 53 POWER STATUS If powering camera through DC power, the current voltage will be displayed. If using a REDBRICK or similar external battery to power the camera through DC IN, power status displays the current supply voltage available from the battery. Supply voltage decreases as battery is discharged, the displayed text is color coded as follows: •...
Page 54 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.
Page 55: Side Handle
SIDE HANDLE As you navigate and adjust settings on the camera (main menu settings only), they will be reflected on the Side Handle LCD display. The display elements include: • • Frame Rate: Image capture rate Resolution: Recording Resolution • •...
Page 56: Navigating Menus
• • Frame Rate: Current frame capture rate Quality: REDCODE setting • Genlock: Indicates presence of valid • Quality: REDCODE setting Genlock signal / HD-SDI sync to genlock • Resolution Record Resolution • HDR Mode: Displays HDRx mode status • Resolution Recording Resolution •...
Page 57: Using Touchscreen Lcd
USING TOUCHSCREEN LCD If operating a Touchscreen LCD, camera menu navigation may be made through finger gestures. • To adjust a parameter value, simply touch it, and then swipe the finger left / right to adjust its value. • To access an advanced parameter settings display, press and hold down on the parameter icon. •...
Page 59: Accessing Soft Keys
ACCESSING SOFT KEYS User-programmable Soft Keys A-D and 1-4 may be accessed by tapping the left or right regions of the touchscreen. Programming soft keys is explained later in the manual Soft Key with labels Soft Key without labels COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 60: Power Down
POWER DOWN NOTE: Camera will automatically power down if supply voltage drops to 11.5 Volts. POWER MENU 1. Select the MENU icon in the right corner of the Upper Status Bar to reveal the Secondary Menus. 2. Select POWER. 3. Select SHUTDOWN. 4.
Page 61: Touchscreen Opreration
LOCK / UNLOCK TOUCHSCREEN OPRERATION LOCK To lock out the touchscreen operation, touch and hold the MENU icon until the LOCK icon displays; indicating the touchscreen has been locked out. When locked, the main menu will be displayed. UNLOCK To unlock out the touchscreen and allow normal operation, touch and hold the LOCK icon until the MENU icon displays;...
Page 62: First Time Use - Setting Up Your Red Epic
FIRST TIME USE – SETTING UP YOUR RED EPIC ATTACH POWER SOURCE If a REDVOLT battery is installed in the Side Handle and DC power is connect through the DC IN connector, the DC IN power supply has priority and will power the camera instead of the battery.
Page 63: Quad Battery Module
REMOVE 1. Press the battery door release button (A). 2. Open battery door (B). 3. Press upwards on retainer (C) to release battery. 4. Remove battery from side handle. QUAD BATTERY MODULE Attach a Quad Battery Module and insert one or more REDVOLT batteries. INSTALL Insert battery into desired location and press until a click is heard and battery is seated.
Page 64: Red Brick
RED BRICK Attach to the camera using a V-Plate and 2B-to-1B Power Adapter Cable P/N 790-0138 to the DC IN connector. DC POWER Connect a DC power source to the camera in one of the following ways: • Plug the RED AC Power Adapter into AC power, and the LEMO connector to the DC IN connector. •...
Page 65: Perform A Black Shading Calibration
NOTE: When fully inserted, the SSD media protrudes slightly from the SSD slot. When SSD media is inserted into the camera, the camera will recognize if the media is unformatted: On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays NONE with three dashes below “---“).
Page 66: Adjust Project Settings
ADJUST PROJECT SETTINGS TIME BASE The project TIME BASE defines the rate at which the footage will be played back. When changing the project frame-rate, the sensor frame-rate will default to the project rate, but may be over-ridden using the sensor frame-rate controls.
Page 67 RECORD RESOLUTION To adjust Record Resolution, navigate the Cursor to the RESOLUTION icon in the Upper Status Row and press the Navigation Group ENTER key. Adjust to the desired value using the Scroll Wheel and press ENTER a second time to confirm. If using a Touch Screen, press the RESOLUTION ICON, adjust RESOLUTION by sliding your finger left / right, or tap on the desired resolution, and then press anywhere else on the touch screen to confirm.
Page 68: Recording
CAMERA ID (SLATE) If operating on a multi-camera production, enter a different Camera ID for each camera; otherwise skip this step; the camera is ready to shoot. The Camera ID is set when the media is formatted. Refer to ADVANCED MENU > MEDIA for details. RECORDING Ensure a formatted REDMAG 1.8”...
Page 69: Playback
If using a BOMB-EVF, the LED on the front will illuminate Red if Tally is enabled SMPTE-RP188 timecode VITC-2 HANC metadata record flag will be enabled on HD-SDI outputs. If enabled in the USER KEYS menu, the GPO trigger output in the CNTL connector will pulse. PLAYBACK Playback is available on the RED DSMC Camera by going to SECONDARY MENUS >...
Page 70: Menu Controls
MENU CONTROLS Displayed in the Upper Display Group of the VIEWFINDER output(s), are FRAMERATE (FPS), EXPOSURE (ISO), _._ (F/Stop), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE). These parameters are adjustable directly through this screen. When using the touchscreen, directly to the right of these parameters is the MENU icon which when pressed will take you to the secondary camera set up menus.
Page 71: Advanced Setting Menus
• To close an alpha numeric keypad when entering information directly, tap anywhere on the screen outside the keypad. ADVANCED SETTING MENUS At this time, only FRAMERATE, F-STOP, SHUTTER SPEED and WHITE BALANCE on the MAIN MENU have advanced settings. SIDE HANDLE / REDMOTE 1.
Page 72: Main Menu
MAIN MENU Available options under the MAIN MENU are FRAMERATE (FPS), ISO (SENSITIVITY), F STOP, 1/SEC (EXPOSURE), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE). FPS is used to to select an image capture frame rate that differs from the Project’s TIME BASE frame rate.
Page 73: Basic Settings
BASIC SETTINGS Provides quick selection of the most common VARISPEED frame rates. ADVANCED SETTINGS When selected a numerical keypad will appear allowing the desired VARISPEED Framerate to be entered in 1 fps increments. Maximum frame rate is a function of RECORD RESOLUTION and REDCODE settings.
Page 74: Iso (Sensitivity)
ISO (SENSITIVITY) Adjusts the camera’s ISO rating. The sensitivity value is adjustable in 1/3 stop increments. When the ISO rating is adjusted, the camera logs the change as metadata and the monitor path reacts accordingly. Higher ISO values lead to brighter images in the monitor path, and vice versa. Range is ISO 250 –...
Page 75 BASIC SETTINGS Allows adjustment of the aperture (F stop) of the attached lens. The range will vary depending on the attached lens. ADVANCED SETTINGS When selected, the advanced settings menu allows fine control over the f-stop value under APERTURE and focal distance under FOCUS. APERTURE (F STOP) Provides the ability to enter the F stop value directly.
Page 76: Exposure
FOCUS Provides the ability to enter the focal distance directly. Range depends on attached lens. Default depends on attached lens. EXPOSURE BASIC SETTINGS Adjusts the exposure of each frame captured by the MYSTERIUM X sensor. Shutter speed presets are provided for all common speeds (and shutter angles) for 24 / 25 fps and 50 / 60 fps project frame rates. Decreasing Shutter Speed increases the amount of time over which light falls on the sensor, increasing exposure and motion blur on any objects moving within the frame.
Page 77: Advanced Settings
ADVANCED SETTINGS When selected, the advanced settings menu allows fine control over the Exposure value, and permits entry in any of the three following common units – EXPOSURE (Shutter Speed), INTEGRATION TIME or ABSOLUTE ANGLE (Shutter Angle). EXPOSURE (SPEED) Provides the ability to enter the Exposure value as a Shutter Speed (1/xx sec). Range is 2 –...
Page 78 INTEGRATION TIME Provides the ability to enter the Exposure value as a Shutter Integration Time (xx milliseconds). Range is 0.125 to 41.708 mS (milliseconds) Default is 20.833 MS ABSOLUTE ANGLE Provides the ability to enter the Exposure value as a Shutter Angle (xx Degrees). Range is 1.000 to 360.000 Degrees Default is 180.0 Degrees As you adjust any of these three parameters, the camera will automatically calculate the equivalent value...
Page 79: White Balance
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 1/120 1/48 1/192 1/50 172.8 1/348 22.5 1/60 1/696 1/96...
Page 80: Advanced Settings
ADVANCED SETTINGS When selected, allows additional adjustment of the White Balance. Available options are PRESET, COLOR TEMP, TINT, and CALCULATE WHITE BALANCE. Press APPLY PRESET for settings to take effect. PRESET Available preset options are: SHADE DAYLIGHT FLOURESCENT INCANDECENT Preset to 9,000K Preset to 5,600K Preset to 4,500K Preset to 2,800K...
Page 81: Resolution
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. Default is 0.000. When selected, a secondary keypad will appear allowing you to enter the desired Tint value directly.
Page 82: Redcode
REDCODE Allows adjustment of REDCODE settings. Range is 3:1 to 18:1 Default is 8:1 Use the scroll ribbon to select a target REDCODE compression ratio. The camera will automatically select the closest REDCODE to the desired target. The display will always show the "current" compression ratio being used by the camera. If the camera is able to achieve the desired target compression ratio, it will be displayed in white.
Page 83: Redcode Options For Various Frame Rates
REDCODE OPTIONS FOR VARIOUS FRAME RATES Minimum frame rate is 1 sec per frame; maximum frame rate is a function of REDCODE setting, and record resolution: FRAMERATE (FPS) 10:1 12:1 12:1 11:1 12:1 11:1 12:1 12:1 10:1 10:1 12:1 10:1 10:1 COPYRIGHT ©...
Page 84: Secondary Menus
FORMAT SECONDARY MENUS Press the Menu button on the REDMOTE / Side Handle or touch the MENU icon on the LCD to access the Secondary Menus. Available options in this menu screen are HDR, FOCUS, PRESETS, MEDIA, SETTINGS, and POWER. EXPOSURE is not implemented at this time.
Page 85: Focus Menu
Range is 1 to 6. Default is 2. FOCUS MENU The Focus Menu is used to enable and select Focus parameters including MODE and ZONES. MODE MANUAL FOCUS To adjust the MODE parameter, select the Menu box and use the UP / DOWN arrows to adjust. Available options are MANUAL and CONFIRM.
Page 86 AUTO FOCUS NOTE: The following menus will ONLY appear if a DSMC Canon Mount is installed with a Canon or Sigma lens attached. With a DSMC Canon Mount installed and a supported lens attached, available options become MANUAL, CONFIRM, SINGLE, CONTINUOUS, TOUCH TRACK, and RACK. Default is MANUAL. All settings except MANUAL place a single square (Center) or a single rectangle (Spot) on the screen (depending on the ZONES selection) that indicate where the image is in focus.
Page 87 MANUAL When selected all focus operations are manual. CONFIRM Enables the Center or Spot focus square for use with manual focus. This mode provides additional focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot window.
Page 88: Dsmc Canon Mount Electronically Supported Lenses
DSMC CANON MOUNT ELECTRONICALLY SUPPORTED LENSES Canon EF 100-400mm f/4.5-5.6L IS Canon EF 70-300mm f/4-5.6 IS USM Canon EF 100mm f/2.0 USM Canon EF 70-300mm f/4.5-5.6 DO IS USM Canon EF 100mm f/2.8L Macro IS USM Canon EF 800mm f/5.6L IS Canon EF 135mm f/2.0L Canon EF 85mm f/1.2L II Canon EF 135mm f/2.8 Soft Focus...
Page 89: Zones
protruding lug on the exterior of the lens body for mounting a supplementary finder, and this lug interferes with the DSMC LEICA-M Mount’s lock ring. Most Leica lenses with focal lengths of less than 50mm will encounter mechanical interference between the rear lens cell and the camera’s front panel.
Page 90 CENTER Provides a large, square target for focus. When objects located in the circle are in focus, the square will be Yellow or Green. When objects located in the square are out of focus, the square will be Red. SPOT Provides a small, square target for precise focus (similar to Center focus, only smaller).
Page 91 1. Navigate to the focus menu. 2. Press the down arrow on the Navigation Group. 3. The spot focus square line weight will increase and the Red cursor under FOCUS will dim slightly. 4. Use the directional arrows to move the Spot Focus square to the desired location. 5.
Page 92: Lens Information Display
Resizing The spot focus square can be resized using the Navigational Wheel or the Touchscreen. Touchscreen Each Double-tap the Spot window will step through the three possible window sizes. After reaching the largest size, the sequence will restart with the window at the smallest size. Side Handle / REDMOTE After following Steps 1, 2, and 3 in the instructions for Spot window repositioning (see above), simply rotate the Scroll Wheel to cycle through the three possible window sizes.
Page 93: Dsmc Canon Mount + Lens
DSMC CANON MOUNT + LENS When a DSMC Canon Mount is installed, and a Canon EF or EF-S Lens or equivalent is attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors. When AF is set to Manual or Confirm mode, the focus distance displays as a pair of Near - Far distances.
Page 94: Presets Menu
PRESETS MENU CAMERA PRESETS Camera Presets are used to store and recall camera setup information such as LOOKs, key mappings, I/O configuration, etc. Your RED DSMC camera has a number of factory-installed presets. APPLYING A PRESET • Presets Select from the secondary menus •...
Page 95 • Create Select and enter a name for the new preset using the QWERTY keyboard • Press OK on keyboard to save the preset name • select one Copy the desired settings from the left box of the interface to the right box using the (-->) select all button...
Page 96 SHARING PRESETS Presets may be shared between RED DSMC cameras using SSD media. Camera to camera Camera to multiple cameras Presets Select from the secondary menu: On SSD On Camera 955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
Page 97 COPY PRESETS FROM CAMERA TO SSD • Use scroll ribbon to select desired preset in camera box • Use --> button to add the preset to the SSD box COPY PRESETS FROM SSD TO CAMERA • Use scroll ribbon to select desired preset in SSD box •...
Page 98: Looks Presets
LOOKS PRESETS Look Presets allows you to save the specific color, image, white balance, and detail settings to be used for other projects. As looks are created, they will be displayed alphabetically. For detailed information on LOOKs, see the REDCINE-X Operation Guide, available on RED.com AUTO PRESETS The Auto Presets function allows you to specify pre-selected presets on Startup and for Preview and Playback...
Page 99: Media Menu
MEDIA MENU The Media Menu is used to format media (SSD) prior to use on the camera as well as to Eject (unmount) the media prior to removal from the camera. Available options when selected are SELECT MEDIA, FORMAT MEDIA, EJECT MEDIA, and UTILITIES. IMPORTANT: Media MUST be ejected from the camera before removal to prevent corruption and/or loss of data on media.
Page 100: Eject Media
REEL NO. When selected a keypad will appear allowing you to enter a value between 1 and 999. CAMERA ID (SLATE) Identifies the camera with a letter A through Z. Default is A. CAMERA POS (POSITION) Identifies the camera position as Right, Left or Center. Default is Center. Edge Timecode Start Users may manually enter an Edge Timecode value.
Page 101: Utilities
UTILITIES Options are SECURE FORMAT. SECURE FORMAT Secure Format is a low-level format the rebuilds the SSD file system. It should only be used if the performance of the SSD is in question. NOTE: If clips are present on the media, you will be informed of how many clips will be erased when you secure format the media.
Page 102: Settings Menu
SETTINGS MENU This section describes the various secondary controls available to configure the camera. Menu options are DISPLAY, LOOK, SENSOR, PROJECT, MODES, AUDIO/VIDEO, SETUP, MAINTENANCE, and PLAYBACK. DISPLAY Available options are TOOLS, ZEBRA, OVERLAY, MODES, FRAME GUIDE, AREA GUIDES, and MONITOR.
Page 103 EXPOSURE This will show areas of under exposure (Purple) or over exposure (Red) on top of a monochrome image. The color is based on RAW data so over/under exposure refers to data actually close to clipping in the sensor. When selected, the icon “E√” will be displayed in the Lower Status Group. The EXPOSURE meter’s color bands provide the following information: PURPLE Minimum Exposure...
Page 104 FOCUS This will emphasize edges in the image without changing brightness/image content so it is easier to judge if the image is in 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 in the Lower Status Group.
Page 105 VIDEO VIDEO displays a multi-color color overlay that allows you to check the video level of the RGB monitor path (calibrated to the SMPTE test signal) and any outputs driven from that path - such as HD-SDI and HDMI. When selected, the icon “V√” will be displayed in the Lower Status Group. Purple represents Super-Black, Dark Blue represents Black, Teal represents deep shadow, Green represents 18% Gray, Pink represents Skin Tone, Straw represents White, and Yellow, Orange and RED represent various degrees of signal clipping in RGB space.
Page 106 EDGE EDGE displays a color overlay that outlines the edges of objects in an outline mode. By adjusting your lens zoom and focus you can pinpoint focus. When selected, the icon “F√” will be displayed in the Lower Status Group. WARNING: This will potentially interfere with recordings done via HDMI/HD-SDI in "Clean"...
Page 107 NOTE: When in magnify mode, you will not be able to adjust frame rate or resolution. These options will be Grayed out. RAW displays the image at a standardized ISO 320 without any look customizations. When selected, OFF will be highlighted in the Lower Status Group. ZEBRA Zebras enable and adjust the upper and lower values for two independent Zebra indicators.
Page 108 ZEBRA 1 To enable, select ZEBRA 1 check box. Areas of the image exposed within these ranges will be indicated by crosshatched overlays at - 45 degrees relative to vertical. Zebra 1 is shown in the image below. High IRE Change the desired setting between 93 and 109 (default is 108).
Page 109 Low IRE Change the desired setting between 0 and 84 (default is 44). OVERLAY Allows you to enable and color code graphic overlays visible the on the Viewfinder and Preview outputs. Use check boxes and pull down menus to control appearance of the overlays COPYRIGHT ©...
Page 111 MODES Available GUI display mode adjustments are Exposure, Shutter Mode, Aperture, and Focal Distance. EXPOSURE Selects GUI display of Shutter Exposure on Main screen as Time (1/xx sec) or Angle (Degrees). Default is Time. Angle is shown below. SHUTTER Enables one of two shutter timing (duration) modes: Absolute or Relative. Default selection is Absolute. Absolute Shutter Speed is defined exclusively by the Shutter Speed setting.
Page 112 APERTURE Selects GUI display of f/stop as 1/4 f Stop or 1/3 f Stop. Default is 1/3. FOCAL DISTANCE Allows you to set the Lens Info to display in Metric or Imperial measurements. Default is Imperial. 955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
Page 113 GUIDES This sub-menu provides a selection of frame guides and safe action and safe title guides. User definable frame, 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. Available options are Mode, Scale, Offset X/Y, and Appearance.
Page 114 OFFSET X/Y Available range: -100 to +100% APPEARANCE Controls the line style, color, and opacity of the guides • Line style: Solid, Dashed, or Bracket • Color: Sets the frame guideline color to White, Gray, Teal, Purple, Yellow, Green, Blue, Red, or Black.
Page 115 GENERAL TAB Center • Controls the position of the center marker • Can be relative to the recording area or any of the guides • Color and opacity are selectable Grid • Controls the location and appearance of the 1/3 grid •...
Page 116: Look
MONITOR Allows you to modify brightness of the LCD and EVF parameters through Brightness Control. Also allows options for the LCD touchscreen to be changed through Touch Gestures. BRIGHTNESS CONTROL Slide to the right for a brighter display; slide to the left for a dimmer display. TOUCH GESTURES These options apply ONLY to the Touchscreen LCD.
Page 117 COLOR The Color sub-menu permits adjustment of SATURATION, CONTRAST, and BRIGHTNESS. SATURATION Adjusts color saturation. Range is 0.0 (monochrome) to +3.8 (super color). Default is 1.0. CONTRAST Adjusts the overall contrast of the image. Range is -1.0 (flat) to +1.0 (max contrast). Default is 0.0. BRIGHTNESS Adjusts brightness without crushing highlights.
Page 118 BLUE Adjusts the gain of the BLUE channel only. Range is 0.0 (no Blue) to 10.0. Default is 1.0. GREEN Adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to 10.0. Default is 1.0. FLUT The FLUT sub-menu permits adjustment of FLUT, EXPOSURE COMPENSATION and SHADOW. FLUT FLUT (Floating Point Lookup Table) adjusts mid-range tone values.
Page 119 CURVES The curves dialog box allows the user to set define curves for Luminance, and the red, green, and blue channels. COLOR/GAMMA The COLOR/GAMMA sub-menu permits adjustment of the monitor output Color Space and Gamma curves. Available Color Space Options Available Gama Space Option COPYRIGHT ©...
Page 120: Project
PROJECT The project menu sets the operating parameters the camera will use for a given project. Options available are TIME BASE and TIME CODE. TIME BASE Sets the TIME BASE (fps) to be used for the project - the primary acquisition frame rate, time code count and playback &...
Page 121 TIME CODE TIME CODE DISPLAY Time Code Display allows you to choose between Time of Day (TOD) and Edge display. In TOD mode, the time runs continually. With edge display, the time code starts and stops coincident with recording. TIME CODE SOURCE Selects the TIME CODE source to be used.
Page 122: System Status
SLATE When selected, a new dialog box will appear allowing you to add properties to the media highlighted in the Current Media box when formatting. Available options are CAM ID, CAM POS and SET to set the values entered. Auto-Incrementing Take If there is a value entered in the Scene box, the camera will automatically increment the take number every time the camera starts and stops recording.
Page 123: Audio/Video
AUDIO/VIDEO Menu adjusts AUDIO INPUT, AUDIO OUTPUT, AUDIO CHANNELS, MONITOR CONTROL, and TEST SIGNALS. AUDIO CONTROL Audio channel level inputs are displayed in the lower section of the UI. When audio is enabled the circle next to CH1, CH2 etc… will be Green and the box around the signal will be highlighted. GAIN IN Allows you to adjust levels for audio inputs.
Page 124 VOLUME OUT Allows you to adjust levels for audio outputs. Range -28 to -0 dB, default is -9 dB. CAMERA MIX AND PRO I/O MIX Audio tracks may be assigned to the Left, Middle, or Right side of a stereo mix. 955-0002_v3.3, Rev-B COPYRIGHT ©...
Page 125 AUDIO CHANNELS Allows selection of audio inputs and operational modes. INPUT Available inputs are CH 1/2 and CH 3/4. NOTE: For cameras not equipped with a PRO I/O module, options are CH 1/2. Source Available options are NONE, CAM ANALOG, PRO I/O ANALOG, PRO I/O AES A, and PRO I/O AES B. NOTE: For cameras not equipped with a PRO I/O module, options are NONE or CAM ANALOG.
Page 126 MONITOR CONTROL RESOLUTION & FREQUENCY This sub-menu allows the monitor outputs settings to be modified. For changes to take effect, the camera MUST be restarted. The following screen resolutions and refresh rates are available: Resolution Frequency (Hz) 24.00 720P 1080P 23.98 25.00 29.97...
Page 127 MONITOR OVERLAY MODES Modes may be assigned to all monitor outputs using this dialog box The following modes are available: Mirror Mirror Brain Menus Preview Clean Overlay Left Eye Right Eye Brain HDMI HD-SDI • • • • • • Brain LCD •...
Page 128 PRIORITY The monitor priority determines the priority in which the monitors will become the control surface. Note: There can only be one control surface active at any given time. TEST SIGNALS Permits the video monitor outputs to be replaced with a video test pattern. Available test patterns are CHIP CHART and SMPTE BARS.
Page 129: Setup
SETUP This menu permits a variety of system setup tasks to be accomplished. Options available are KEYS / SHORTCUTS, DATE / TIME, NETWORK, SERIAL, REMOTE, GPIO, and SYSTEM. KEYS Use Keys function to customize the assignment of DSMC camera controls. KEY MAPPING With Key Mapping, you press the button you want to change and follow on-screen instructions to complete the change.
Page 130 OPTIONS • Select the desired option • Press menu or a blank area of the touchscreen to save the setting SOFT KEYS • Select the desired option • Press menu or a blank area of the touchscreen to save the setting 955-0002_v3.3, Rev-B COPYRIGHT ©...
Page 131 ADVANCED • The advanced tab allows you to set key functions using a series of pull down menus • Select Key Source (Brain, REDMOTE, Side SSD, etc.) • Select the key you wish to change • Select the desired key action WARNING: Do not remap the navigation keys (Up, Down, Left, Right, Select (Enter), or Menu) on the side handle doing so could render the camera inoperable.
Page 132 COMMUNICATION Communication Menu allows you to set a unique identification for the camera (or a group of cameras) when operating in command and control communications network. Parameters are NAME, GROUP, TARGET, set a SERIAL PROTOCOL, ENABLE DHCP, C2C or EXT, IP ADDRESS, NETMASK and GATEWAY.
Page 133 This structure allows for a lot of flexibility. For example on a multi-rig 3D shoot the user can either send commands to an individual camera (e.g. Set CAM_A_L to 1/48th exposure), to a group of cameras (e.g. Set "3DRIG_A" to 48 FPS), or to all cameras (e.g. Start Recording on all cameras). It is important to note that with the exception of the NONE setting, all command filtering is happening on the receiver side of the communication link.
Page 134 NETWORK If the Gigabit Ethernet port is used, additional settings are required. Each camera or device requires a unique IP ADDRESS. For simple camera-to-camera communication via Ethernet, both cameras need to be in the same sub-net. Use the same sub-NETMASK and GATEWAY addresses and the first three groups of the IP address need to be the same.
Page 135 REDMOTE This function is used to pair the camera to a REDMOTE for wireless operation. MANUAL CHANNEL SELECT The Manual Channel Select option allows the user to change the communication channel for the REDLink wireless connection in the event of interference from other wireless devices. Auto (unchecked) will pick the "cleanest"...
Page 136 BRAIN GPIO This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the camera brain. Defaults are Sync In and Sync Out. When General Purpose In is selected, pull-down menus are used to assign actions. FUNCTION DEFINITION CONNECTOR Sync In Accepts an Input Sync signal to control...
Page 137 PRO I/O GPIO This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the Pro I/O Module. Note: See Pro I/O Operating Guide for more information. COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 138 SYSTEM Available options are FAN CONTROL, RECORD SPEED and STANDBY SPEED as well as BEEP SPEAKER and EVF TALLY LIGHT. FAN CONTROL Specifies cooling fan operation. Available options are AUTO and MANUAL. Manual will run the fan at the speeds specified in RECORD SPEED and STANDBY SPEED. Default setting is AUTO. Auto This setting selects VARIABLE speed fan operation in standby based on the camera core temperature.
Page 139 Post Record Delay This is the amount of time the fan will stay in the "record speed" setting before switching back to "standby speed setting." This feature is helpful when shooting with two cameras. Without this feature, as one camera comes out of record, the other could pick up the fan sound as it goes to high speed.
Page 140: Maintenance
RECORDING External Recording Only This defeats recording onto the Brain's SSD but continues to flag "REC START / STOP" in the HD-SDI HANC metadata, so an external recorder can be remotely START / STOPPED by the Brain via the REC key(s) Enable Look Around This shows an additional area outside the area that is bing recorded to the SSD / output from the HD-...
Page 141 SYSTEM INFO When selected the Viewfinder output(s) will display the camera Model, current firmware Version, installed and camera P.I.N. SAVE LOG Select to write camera’s .LOG file to the REDMAG 1.8” SSD. The .LOG file is a diagnostic tool that can assist RED with camera troubleshooting.
Page 142 Black Shading calibration of the MYSTERIUM X sensor two (2) different ways; Default (at 24 FPS @ 1/48 SEC) or using your current FPS/Exposure settings. To calibrate the sensor the image needs to be as dark as possible: • At a minimum put a lens cap on the lens (WARNING: Not all lens-caps completely block IR. They are made to protect the lens, not necessarily to block light...) •...
Page 143 CURRENT CALMAP Calibration maps are stored in the camera. Due to the nature of the camera, different calibration maps are needed for different situations. Factory This is the calibration map generated during production. This map is always present and selected as default on first use after performing a system restore under SETTINGS >...
Page 144 BLACK SHADING PROCEDURE The calibration procedures are the same for both BLACK SHADING options. The calibration procedures are the same for both Black Shading (24 FPS @ 1/48 SEC) and Black Shading (Current FPS/Exposure) options. When selected, a screen will appear asking if you wish to proceed with Black Shading calibration. REDMOTE will also display the following messages.
Page 145 6. Once Analyzing is complete, a status screen will show progress of the Erasing step. 7. Once Erasing is complete, a status screen will show progress of the Programming step. 8. The camera will perform this procedure twice. 9. After Programming, CALIBRATION SUCCESSFUL will be displayed. Select OK to complete Black Shading calibration.
Page 146 RESTORE SYSTEM Restore System permits ALL camera configuration and setup data to be reset to factory default values. When selected, you will be asked to confirm if you want to delete all settings and restore the factory default settings. After settings are restored, “DEFAULT SETTINGS RESTORED, INITIALIZING RESTART…”...
Page 147 MOTION SENSOR CALIBRATION The RED DSMC Camera displays data from the accelerometer to help orient the camera. After a firmware upgrade or Factory Restore the motion sensors need to be re-calibrated through the Maintenance->Motion Calib menu." COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 148: Playback
PLAYBACK Playback allows you to view clips on media currently attached to the camera. It also allows you to change the look of the playback clips be changing settings available when in playback mode. Playback controls can be accessed via the touchscreen or by using the navigation group on the DSMC SIDEHANDLE or REDMOTE.
Page 149 UPPER CONTROLS From Left to Right are ISO, WHITE BALANCE, VIEW, PRESETS, MEDIA, SEETINGS, and META. Below the settings is the clip playback status bar. Exit Playback ICON (Touchscreen) Select the O on the Left to exit Playback mode. NOTE: The Menu ICON on the Right does not respond to commands when in Playback mode. Allows you to change the ISO in the clip during playback.
Page 150 Advanced Menu Opens the advanced White Balance settings without the ability to Calculate. VIEW Allows you to select the items to be displayed in the playback window. Available options are Center, File Name, Time Code, Frame Guide, Action Guide, and Title Guide. 955-0002_v3.3, Rev-B COPYRIGHT ©...
Page 151 PRESETS Allows you to apply presets to the clip during playback. MEDIA When selected will list all available clips on the attached media. Apply Image Metadata When checked, image data such as color, gain, curves, etc. that were recorded with the image will be displayed with the playback image.
Page 152 Touchscreen 1. Double-Tap the desired clip to open in the playback window. 2. Load will also highlight. You can also select LOAD to load the clip in the player and allow playback. Side Handle / REDMOTE 1. Select the desired clip to playback and press the ENTER button. 2.
Page 153 SETTINGS Available options are DISPLAY, LOOK and RECORD. Display Available options under Display are TOOLS and ZEBRA. Tools Allows you to toggle ON/OFF Exposure, Focus, Video, Edge, and RAW. Refer to SETTINGS MENU > DISPLAY > TOOLS for complete details about these options. Zebra Allows you to toggle ON/OFF Zebras.
Page 154 Look Allows you to adjust the Color, Gain, FUT, and Curve of the image during playback. Refer to SETTTINGS MENU > DISPLAY > LOOK for complete details about these options. Record (Exit) When selected will exit playback to the main menu. META Displays current clip META information.
Page 155 CLIP PLAYBACK STATUS BAR Displays the progress of the clip during playback. Touchscreen When using the touchscreen you can swipe your finger Left or Right to open and allow playback of the previous or next clip on the media. LOWER CONTROLS From Left to Right, PLAYBACK SPEED, IN POINT MARKER, FRAME-BY-FRAME REVERSE, PLAY/PAUSE, FRAME-BY-FRAME FORWARD, OUT POINT MARKER, PLAY ONCE/LOOP, and PLAYBACK DIRECTION...
Page 156 RESOLUTION / PROJECT FRAMERATE / QUALITY Display clip Resolution, Framerate and Quality (REDCODE). When using the touchscreen, touch the Resolution, Framerate and Quality (REDCODE) to display the METADATA for the clip. HISTOGRAM Displays the clip histogram. The histogram will change based on any changes made in the Upper Controls.
Page 157 IN / OUT POINT MARKER Allows you to set In and Out Points during clip playback. This allows you to playback only a certain portion of the clip as desired. Helps when the clip is rather long and you want to focus on a particular segment.
Page 158: Power
PLAYBACK DIRECTION Allows you to play the clip forward or backwards. Reverse playback is shown. ADDITIONAL CLIP/CAMERA INFORMATION Will indicate if clip was recorded in HDRx and current camera power status as well as audio input signals. POWER The power menu displays the current power status of all attached power sources as well as allows you to shutdown the camera.
Page 159: Shutdown
SHUTDOWN Power OFF controls are interlocked to prevent accidental powering down of the camera. For details on the different ways to power down your RED DSMC Camera, refer to BASIC OPERATION > POWER DOWN. 1. Enter the Secondary Menu using the touch screen, REDMOTE or Side Handle. 2.
Page 160: Appendix A: Upgrading Camera Firmware
APPENDIX A: UPGRADING CAMERA FIRMWARE Your RED DSMC camera functionality may be upgraded by installing the latest firmware. Camera firmware is identified by Version and SVN number, which will be displayed by the camera on the LCD display when SYSTEM INFO is selected. A higher number reflects a later release. www.RED.com/support Make a habit of frequently visiting to check for later versions of camera...
Page 161: Appendix B: Managing Digital Media
APPENDIX B: MANAGING DIGITAL MEDIA MEDIA REDMAG 1.8” SSD is available with capacities of 64GB, 128GB, 256GB or 512GB. Record duration is dependent on resolution, quality and frame rate, but a 64GB SSD will typically provide 24 minutes of 24fps 5K RAW recording. On MAC computers with REDCINE-X PRO installed, RED Watchdog will mount the SSD as “READ- ONLY”...
Page 162 2. When SSD media is inserted into the camera, the camera will recognize if the media is unformatted: On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays NONE with three dashes below “---“).
Page 163: Media Capacity Remaining Status
NOTE: If when selecting FORMAT, the display indicates FORMAT FAILED, refer to MEDIA ERRORS. 5. Once formatting is completed, the Viewfinder output(s) will display “THE MAGAZINE WAS SUCCESSFULLY FORMATTED THE DIGTAL MAGAZINE IS READY FOR IMMEDIATE USE”. MEDIA CAPACITY REMAINING STATUS The Viewfinder output(s) will display the remaining media capacity in the MEDIA indicator (100% is shown).
Page 164: Using Redmote / Touchscreen Lcd
USING REDMOTE / TOUCHSCREEN LCD 1. Go to SECONDARY MENUS > MEDIA. 2. Select EJECT MEDIA. 3. When media is ejected, Viewfinder output(s) will display “MEDIA EJECTED SUCCESSFULLY“. 4. Media can now be removed from the camera. 955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
Page 165: Using Side Handle
USING SIDE HANDLE 1. By default, the lower of the three (3) SYSTEM KEYS is set to Eject Media when pressed. 2. When media is ejected, Viewfinder output(s) will display “MEDIA EJECTED SUCCESSFULLY“. 3. Media can now be removed from the camera. USING SIDE SSD 1.
Page 166: Erasing Media
ERASING MEDIA NOTE: If the media was formatted using SECURE FORMAT, you cannot erase the media using an external source. Erasing of the media must be performed by formatting on the camera. MACINTOSH OS X 1. Connect the REDMAG 1.8” SSD via RED STATION REDMAG 1.8". 2.
Page 167: Appendix C: Input / Output Connectors
APPENDIX C: INPUT / OUTPUT CONNECTORS CAMERA BRAIN FRONT MIC-1 3.5mm Audio Jack MIC-2 3.5mm Audio Jack Camera Brain Connectors - Front COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 168: Microphone Audio)
MIC-1, MIC-2 (MICROPHONE AUDIO) Two 3.5mm phone jacks on the front of the brain support two independent channels of balanced or unbalanced microphone level analog audio inputs. Microphone Input Connector SIGNAL DESCRIPTION DIRECTION A (TIP) IN + Mic Input (+48V Phantom Power) B (RING) IN - Mic Input (+48V Phantom Power)
Page 169: Camera Brain Rear
CAMERA BRAIN REAR HD-SDI Headphone SYNC (Video Sync) CTRL (RS232 Control) GIG-E (Ethernet) DC IN (Power Input) HDMI Camera Brain Connectors - Rear COPYRIGHT © 2012 RED.com, Inc. 955-0002_v3.3, Rev- B...
Page 170: Hd-Sdi
HD-SDI A standard 75 Ohm BNC connector provides a broadcast specification high definition video output. SIGNAL DESCRIPTION DIRECTION Center HD-SDI SMPTE-292M HD-SDI Shield/Screen GROUND Camera ground HD-SDI Output The HD-SDI output provides a 720p progressive scan video feed operating at 50.00 or 59.94 Hz or a 1080p 10-bit 4:2:2 progressive scan video feed operating at 23.98, 24.00, 25.00 or 29.97 Hz when in 1.5GHz HD-SDI mode, or a 1080p 10-bit 4:2:2 progressive scan video feed operating at a 50.00 or 59.94 Hz when in 3GHz HD-SDI mode.
Page 171: Headphone
HEADPHONE A 3.5mm stereo jack provides two channels of adjustable level analog audio for monitor headphones. Headphone Output Connector SIGNAL DESCRIPTION DIRECTION A (TIP) LEFT Left channel audio B (RING) RIGHT Right channel audio C (SLEEVE) Camera ground The camera’s four audio channels may be monitored in pairs: either 1L - 2R or 3L - 4 R or as a quad mix of 1+3L –...
Page 172 Note: When GENLOCK is selected as the sensor shutter reference, shutter start timing (SHUTTER PHASE) may still be adjusted. HD-SDI monitor outputs will automatically sync to the external GENLOCK signal as soon as it is detected, there is no need to enable this function. Sensor shutter sync to GENLOCK is only supported with HD-SDI.
Page 173 TRIGGER BUTTON CIRCUIT NOTE: A pre-fabricated SYNC interface cable is available from RED Digital Cinema. • P/N 790-0154 – Video Sync – Camera to 3 BNC – 3 ft. (1m) • White BNC: Shutter Sync / GPI • Yellow BNC: SMPTE Timecode •...
Page 174: Ctrl (Rs232 Control)
CTRL (RS232 CONTROL) A 4-pin LEMO connector supports RS232 remote control for 3D camera communication, and third party metadata ingest applications. The shutter Sync Output signal acts as an immediate response hardware tally of a scan. This is useful for 3D or motion control applications where a slave camera or lighting device needs to be synchronized to a master camera.
Page 175: Gig-E (Ethernet)
GIG-E (ETHERNET) A 9-pin LEMO connector provides a Gigabit Ethernet port for remote camera setup, master / slave camera communication and external metadata ingest. View into Ethernet Interface connector Mating connector: FGG.0B.309.CLAD32Z SIGNAL DESCRIPTION DIRECTION B1_DC + Data Pair C+ B1_DC - Data Pair C- B1_DD+...
Page 176: Dc In (Power Input)
DC IN (POWER INPUT) The 6-pin LEMO connector accepts DC input power between +11.5 V and +17 V DC. Power conditioning provides protection against reverse-polarity connection, ESD, under and over voltage, and over current. View into camera DC IN Power Input connector Mating Connector: LEMO FGJ.1B.306.CWLD72Z SIGNAL...
Page 177: Hdmi Out
HDMI OUT The HDMI output supports an HDTV and PC monitor compatible 10-bit 4:2:2 progressive scan video signal (with embedded audio) at 720p and 1080p resolution. The HDMI output may be specified as a PROGRAM output (clean feed video) or as a PREVIEW output (including SurroundView™...
Page 178: Side Ssd Module
SIDE SSD MODULE REAR FRONT SSD Slot VIEWFINDER (LCD/EVF) Side SSD Module The Side SSD Module mounts to the left side of the camera Brain. On the rear face of this module is a slot for inserting a REDMAG 1.8”SSD digital Magazine. Do not attempt to insert any other media type, or any foreign objects into this slot, as damage to the Side SSD Module and / or the camera Brain may occur.
Page 179: Redmote
REDMOTE This section describes the physical connectors on the REDMOTE. Mini USB Camera Interface REDMOTE Connections The REDMOTE interface connector allows communication between the REDMOTE and the camera Brain or any expansion module. Make sure these contacts are kept clean and free of any contaminants that may interfere with a reliable electrical contact.
Page 180: Appendix D: Audio Subsystem Information
APPENDIX D: AUDIO SUBSYSTEM INFORMATION AUDIO FORMAT The audio format is always either 2 or 4 channels of 24-bit audio data recorded at 48kHz. The audio data is embedded in the R3D file and can be exported from REDCINE-X into separate audio files. CHANNEL SETUP SOURCE SELECTION Audio is always recoded at channel pairs.
Page 181: Channel Modes
CHANNEL MODES The analog sources can be set to different modes to match the incoming audio signals. On the Camera Inputs the following modes are available: BALANCED MICROPHONE Balanced microphone input. Usually used with microphones that provide XLR connectors and have an internal battery.
Page 182: Limiter
LIMITER A limiter can be added to the analog input signal chain that adds about 12dB dynamic headroom to avoid clipping on signal spikes. While it is best practice to use an external audio mixer to control the signal strength the limiter can be used in more dynamic environments where an external mixer is not practical to reduce the risk of clipped audio samples.
Page 183: Peak Meter
PEAK METER The peak meters always show the incoming audio signal, no matter if the channel is recorded or not as long as a source is selected. Actively recorded channels are drawn with a lighter outline and the channel indicator left of the peak meter will be green.
Page 184: Data Path
DATA PATH The following diagram outlines the data flow in Preview. The only difference in playback is that the data comes from the R3D file and the input channel selection is disabled. HD-SDI/HDMI EMBEDDED AUDIO HDMI/HD-SDI audio output is limited to the first two channels and the channels will be the same between HDMI and HD-SDI.
Page 185: Input Control
INPUT CONTROL The analog gain for the microphone input can be controlled between 15-57 dB. The line input on the Pro I/O the input gain is fixed. OUTPUT CONTROL The headphone output volume can be set individually for each channel. (Or can be linked together as the input gain controls) Additionally, the output of each channel may be muted individually.
Page 186: Digital Mixer
DIGITAL MIXER The digital mixer allows routing each of the 4 channels either to the left, middle or right independently for either the stereo headphone or Pro I/O outputs. Additionally each channel can be enabled/disabled independently in the output mix. As this is a digital mixer each output is normalized to not exceed the output signal range.
Page 187: Appendix E: Default Key Functions
APPENDIX E: DEFAULT KEY FUNCTIONS CAMERA BRAIN FUNCTION FUNCTION Record Half Press Record Half Release Key Disabled- -Key Disabled- Record Full Press Record: Toggle SIDE HANDLE FUNCTION FUNCTION User A Press User B Release AF Mode: Cycle -Key Disabled- User B Press User C Release WB: Auto Calc -Key Disabled-...
Page 188: Display
SIDE SSD MODULE FUNCTION FUNCTION User 1 Press User 1 Release -Key Disabled- -Key Disabled- User 2 Press User 2 Release -Key Disabled- -Key Disabled- User 1+2 Press Record Half Release Eject Media -Key Disabled- Record Half Press AF: Start Record Full Release -Key Disabled- Record Full Press...
Page 189: Appendix F: Redmote Operation
APPENDIX F: REDMOTE OPERATION CONTROL, CONNECTORS AND DISPLAY This section describes the REDMOTE physical controls, connectors and color LCD display. CONTROLS REDMOTE Controls Stills/Motion Switch User Function Keys A-D Menu Buttons 4-8 Release Latch - Left MENU Button Power/Lock Switch Record Status LED Menu Buttons 1-3 Release Latch –...
Page 190 LEDS There are two status LED indicators located above the rockers switch on the left side of the LCD display. The upper LED is used to signal camera readiness and camera record status. • Red – Camera Startup / Camera Recording. The lower LED is used to signal camera readiness and REDMOTE communication status to the camera.
Page 191 REDMOTE Navigation Group Scroll Wheel Direction Keys Enter Button The Navigation Group has three separate operational capabilities. SCROLL WHEEL The Scroll Wheel allows the operator to select and adjust the values of selected camera parameters. DIRECTION KEYS The Direction Keys allows Left / Right / Up / Down navigation thru the camera menus to select a desired parameter for adjustment.
Page 192: Operation
SOFT MENU BUTTONS 4-8 To the right of the LCD are five Soft Menu Buttons. These buttons select a variety of camera status pages. For complete information refer to OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 4-8. Note: In Version 3.x software, Soft Menu Buttons 7 and 8 are undefined. POWER / KEY LOCK SWITCH If the REDMOTE is powered OFF, moving and holding the switch in the down (POWER) direction for 2 seconds will power UP the REDMOTE and if the REDMOTE is powered ON, moving and holding the...
Page 193: Power Up / Down
Note: For illustration only: rear surface of REDMOTE should face towards camera 2. Slide the REDMOTE down until a click is heard which indicates the REDMOTE is securely attached. UNDOCKING 1. Depress the two latch release buttons located on each side of the REDMOTE. 2.
Page 194 POWER UP CONNECTED TO CAMERA If the REDMOTE is physically attached to a camera, when the camera is powered up the REDMOTE will automatically power up along with the camera. NOT CONNECTED TO CAMERA To manually power up the REDMOTE, slide and hold the Power / Key Lock Switch in the down direction for 2 seconds, then release.
Page 195: Recording
RECORDING • To record, press the Red REC (record) button. If media is connected and properly formatted, the upper LED will illuminate Red and the Timecode value displayed in the LCD will change to Red text. To stop recording, press the REC button a second time. After recording to media is completed, the upper LED will go out and the Timecode value displayed in the LCD will change back to White text.
Page 196 CHANGING CAMERA SETTINGS USING CAMERA LCD / EXTERNAL MONITOR AS REFERENCE To adjust a parameter value displayed on the camera’s Upper Status Group, first note the red colored bar (located under 24fps in this example), indicating the currently active parameter for instant adjustment.
Page 197: Operation: Redmote Menus
ADVANCED OPERATION: REDMOTE MENUS SOFT MENU BUTTONS 1-3 Located below the main LCD display are three Soft Menu Buttons, who access advanced function menus identified by text in the LCD directly above the corresponding button. These menus control wireless connection (CONNECT), camera or local menus (REMOTE/LOCAL) and system setup (SETUP). WIRELESS CONNECT: SOFT MENU BUTTON 1 Note: This Button is hidden if REDMOTE is attached to the camera or rear-most camera module.
Page 198 4. Select the desired camera to connect to for REDMOTE wireless operation and press the ENTER button in the Navigation Group. The REDMOTE will connect to the selected camera. 5. Once connected, the REDMOTE will display the key operating parameters of the selected camera. The wireless signal strength will be shown in the lower Right corner of the REDMOTE screen.
Page 199 Note: Once this procedure has occurred once, the REDMOTE will automatically search for the camera each time it is undocked, until the paired camera selection is changed. CANCEL If you wish to exit the CONNECT menu at any time press CANCEL. COPYRIGHT ©...
Page 200 DISCONNECT To stop communicating wirelessly with the camera, select Soft Menu Button 1 Connect, then select DISCONNECT and press the ENTER key in the Navigation Group. RECONNECTING IF SIGNAL IS LOST On loss of wireless communication REDMOTE will scan for the camera it was last paired with. If the REDMOTE is unable to re-connect after 30 seconds, it will enter the manual SCAN menu, follow the procedure outlined about to scan and identify camera(s) that you wish to connect to.
Page 201 OPERATING WITH MULTIPLE CAMERAS FROM A REDMOTE To control more than one camera from a single REDMOTE, first pair the REDMOTE with each camera. After pairing REDMOTE to the desired cameras, press Soft Menu Button 1: CONNECT. Available cameras will be listed. Select the camera you wish to control and press the ENTER button.
Page 202 REMOTE Allows the user to adjust camera settings from REDMOTE, by navigating the camera menus appearing on the VIEWFINDER output of the camera, with summary data only appearing on the REDMOTE LCD LOCAL Allows the user to adjust camera settings from REDMOTE, by navigating camera menus appearing on the REDMOTE LCD, with summary data only appearing on the VIEWFINDER output of the camera.
Page 203 6. Select “Setup Slot” and press the ENTER button. 7. A new Setup window will appear displaying available parameters to display. 8. Select the desired parameter and press the ENTER button. 9. You may now control this parameter directly from the REDMOTE. REDMOTE SETUP: SOFT MENU BUTTON 3 When pressed, SETUP provides the option of forcing the REDLINK wireless link ON or OFF and selecting the following REDMOTE Setup menu.
Page 204 Adjustable parameters include LCD screen brightness; beep speaker Volume and Auto Shutdown time. In the lower section of the display is the MAC address and the current firmware build of the REDMOTE Brightness The BRIGHTNESS control adjusts the LCD backlight intensity. Set value to maximum for daylight visibility, set value lower for nighttime operation or for maximum battery run time when operating in wireless mode.
Page 205: Maintenance
MAINTENANCE INTERNAL BATTERY CHARGE STATUS An icon shows the charge status of the REDMOTE battery in the lower right corner of the LCD. When REDMOTE is operating in wireless mode, the icon indicates current charge capacity. When satisfactory the icon is displayed in Green. When battery charge becomes marginal, the icon turns Yellow.
Page 206 CHARGING CHARGE TIME A fully discharged REDMOTE battery will be fully charged in approximately 6 hours. USING CAMERA While connected to the camera, the REDMOTE will automatically recharge its internal battery. Charge status is indicated by the Green Battery Icon at the top-right of the REDMOTE LCD display screen. A fully discharged REDMOTE battery will be re-charged in approximately 6 hours if connected to a powered camera or a USB based power source such as laptop P.C.
Page 207: Upgrading Redmote Firmware
UPGRADING REDMOTE FIRMWARE The REDMOTE update utility allows you to upgrade the firmware on your REDMOTE. NOTE: After firmware has been upgraded, the REDMOTE must be paired to the camera again. SETUP CONFIGURING REDMOTE CONNECTION WITH COMPUTER (MAC) The first step in upgrading REDMOTE firmware is to establish communication between the MAC and the REDMOTE.
Page 208 NOTE: After entering the IP address as shown above you may not connect during the upgrade procedure. When you go back and check the IP address you see that it is 0.0.0.0 HOWEVER the status of the device is shown as “Connected”. If this is the case, you may need to enter the IP address a second or possibly a third time to make it stick.
Page 209 7. Click “Connect”. When REDMOTE has been established, “Connection to REDMOTE has been achieved” will be displayed. NOTE: If REDMOTE does not connect, verify that the IP address set under CONFIGURING REDMOTE CONNECTION WITH COMPUTER (MAC) has held. If not, enter it again as outlined in the procedure.
Page 210 9. Select "Start upgrade". 10. File transfer status will be displayed as a Blue bar. 11. “Updating Firmware” will be displayed with a Green status bar showing upgrade progress. REDMOTE will also display UPGRADE during this process. 955-0002_v3.3, Rev-B COPYRIGHT © 2012 RED.cm, Inc.
Page 211 12. Once the File Transfer Status is completed, the REDMOTE Software Wizard will display “Please Wait and Don’t Unplug – Firmware Upgrade is in Progress on REDMOTE”. 13. After a few more seconds, the REDMOTE Software Wizard will display “Firmware Upgrade Successfully Done”.
Page 212 17. Verify the current REDMOTE firmware version by selecting SETUP > SETUP SYSTEM on the REDMOTE. 18. REDMOTE upgrade is complete. You can now reconnect to the camera. NOTE: Pairing of the REDMOTE may not be necessary after upgrading the REDMOTE firmware, however after upgrading the camera firmware, you must pair the REDMOTE again.
Page 215 10. The program will now install. A progress bar is displayed while installing. When complete, select Close. 11. The REDMOTE Upgrade Utility installation is complete. Upgrading REDMOTE Firmware The following information will guide you through proper upgrading of your REDMOTE firmware on Windows computers using the REDMOTE Upgrade Utility.
Page 216 NOTE: If when connecting, communication is not established quickly, close the Upgrade Utility, open it again and select Connect again. This may have to be repeated a few times until communication is established. 6. When connected, ”Connection is Established with REDMOTE” is displayed. 7.
Page 217 9. The selected file is shown in the window. In this case the selected file is: REDmote.1.bin. 10. After selecting and verifying the correct file for upgrading the REDMOTE, select “Start Upgrade”. 11. During the upgrade, the REDMOTE Software Wizard will display “Please Do Not Unplug” as well as a status bar showing “File transfer progress.”...
Page 218 13. When upgrade is complete, the REDMOTE will automatically reboot and display “REBOOTING” on the screen. 14. The REDMOTE Software Wizard will display “Firmware Upgrade Successfully Done”. 15. Verify the current REDMOTE firmware version by selecting SETUP > SETUP SYSTEM on the REDMOTE.
Page 220: Appendix G: 3D Setup / Operation
APPENDIX G: 3D SETUP / OPERATION OVERVIEW The following information outlines basic procedures to connect two RED DSMC cameras together in a Master / Slave configuration for 3D operation, operation of cameras in Master / Slave configuration and clip naming conventions for clips recorded on those cameras. The MASTER camera will control only the METADATA parameters of both cameras.
Page 221: Slave Camera
SLAVE CAMERA Perform the following steps on the Slave camera: 1. Go to SECONDARY MENUS > SETTINGS > SETUP > COMMUNICATION > NAME and give the camera a unique NAME (CAM B, RIGHT, etc…). 2. Under TARGET select NONE. 3. Give the Slave camera a unique IP address different from the Master. CLIP NAMING CONVENTIONS REEL NO.
Page 222: Connecting Cameras
For example, if Master is set to LEFT and Slave is set to RIGHT and both Cam IDs are set to S, the first clip recorded by this stereo camera configuration will be: Master: S001_L001_0503B6.R3D Slave: S001_R001_0503R7.R3D Where 0503 represents 05 March, B6 and R7 are examples of camera generated wildcard characters. Note: If both Master and Slave cameras are accidentally left in default settings of CENTER and CAM A ID, the clips recorded on each camera will have the same file structure, with the exception of the camera generated wildcard characters which protect against exact file name duplication:...
Page 223: Operation
• Green BNC connector is for Tri-Level Sync (Genlock) input. • White BNC connector is a dual-purpose (Shutter SYNC input or GPI) input. 4. Go to SETTINGS > SETUP > GPIO/SYNC > SYNC MODE and select GENLOCK. 5. Verify the camera’s project frame rate matches the Genlock and Timecode generator(s) framerate(s). 6.
Page 224: Appendix H: Exposure - Using False Color And Iso
APPENDIX H: EXPOSURE – USING FALSE COLOR AND ISO NOTE: The following section uses a RED ONE camera display to illustrate exposure tools; however, the same principles apply to RED DSMC camera systems. RED DSMC cameras provide several advanced exposure indication 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.
Page 225 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 is clear those areas are under the matchbox and coin, and between the bottle and cigar holder.
Page 226: Overexposure (~ 2 Stops)
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.
Page 227 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 is clear those areas are on the highlight on coin, and at the top right edge of the color chip test chart.
Page 228 ISO 800 - False Color: Video 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.
Page 229: Appropriate Exposure
APPROPRIATE EXPOSURE ISO 800 - Monitor Output In this image, the camera is appropriately exposed for this scene. The monitor is neither very dark nor very bright and the histogram is spread evenly given that there are bright highlights on the coin we wish not to blow out.
Page 230 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.
Page 231 ISO 800 - False Color: Video 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.
Page 232: Adjusting The Iso Rating
ADJUSTING THE ISO RATING In the following two examples, the image exposed at ISO 800 rating have had the ISO rating adjusted first to ISO 6400 and then to ISO 100. NOTE: Although the image and Histogram both adjust to changes in the ISO rating, the sensor RAW meters do not change –...
Page 233 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.
Page 234: Appendix I: Post-Production
APPENDIX I: 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 video for non-linear video editing and on-line conform. The RAW data captured by RED cameras has wide dynamic range and color space, so you can freely change the white balance, adjust exposure and alter highlight and shadow tonality in post-production.
Page 235: Redcine-Xpro
REDCINE-X ® REDCINE-X PRO is available for Intel based Mac OSX and Windows XP platforms. The application performing white balance and one light color correction, 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 10-bit DPX or 16-bit TIFF files.
Page 236: Appendix J: Maintenance
APPENDIX J: MAINTENANCE WARNING: DO NOT attempt to modify, dismantle or open your camera, lens or other accessory as doing so may expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED authorized service facility, will void the Limited Warranty.
Page 237: Evf
DO NOT USE any other solvents, chemicals or third party cleaning kits because they have not been tested on RED TOUCH LCD displays and can possibly damage them. Not approved for use on RED TOUCH LCD displays: • Rubbing Alcohol •...
Page 238: Back Focus Adjustment
BACK FOCUS ADJUSTMENT WARNING: THERE IS A SCREW-IN METAL PLUG INSTALLED IN THE CAMERA BODY COVERING THE BACK FOCUS SCREW. THIS PLUG MUST BE REMOVED BEFORE PERFORMING A BACK FOCUS ADJUSTMENT. TO REMOVE THE PLUG, USE A T-10 TORX SCREWDRIVER. NOTE: To perform this procedure as written, you must have a PL mount and RED Focus™.
Page 239 4. Power up the camera. 5. Power up RED Focus. Refer to POWER UP / DOWN. NOTE: Remember that RED Focus will AUTOMATICALLY power down after 3 minutes. Press the Red button on the front to power back up. 6. Set the camera to Magnify. Go to SECONDARY MENUS > SETTINGS > DISPLAY > FALSE COLOR >...
Page 240 8. Carefully and slowly, rotate the back focus adjustment screw to achieve optimum focus. Turning CLOCKWISE moves the sensor forward. Turning COUNTER-CLOCKWISE moves the sensor rearward. NOTE: The center of the image will never be in perfect focus as the lines are less than 1/3 of a pixel in size.
Page 241: Appendix K: Troubleshooting
APPENDIX K: TROUBLESHOOTING NO MEDIA ATTACHED Displayed if media is not present or not formatted when pressing the record button. Connect media to camera if necessary. If media is already connected, format media and attempt to record again. Refer to APPENDIX B: MANAGING DIGITAL MEDIA for detailed information.
Page 242: Appendix L: Technical Specifications
APPENDIX L: TECHNICAL SPECIFICATIONS SENSOR 14 MEGAPIXEL MYSTERIUM-X™ PIXEL ARRAY 5120 (h) x 2700 (v) S/N RATIO 66db DYNAMIC RANGE 13.5 stops, up to 18 stops with HDRx™ MAX IMAGE AREA 5120 (h) x 2700 (v) LENS COVERAGE 27.7mm (h) x 14.6mm (v) x 31.4 mm (d) DEPTH OF FIELD Equivalent to S35mm (Motion) / APS-H (Still) lenses Equivalent to 16mm (Motion) lens in 2K RAW...
Page 253 ® C O P Y R I G H T © 2 0 1 2 R e d D i g i t a l C i n e ma A l l t r a d e ma r k s , t r a d e n a me s , l o g o s , i c o n s , i ma g e s , w r i t t e n ma t e r i a l , c o d e , a n d p r o d u c t n a me s u s e d i n a s s o c i a t i o n w i t h t h e a c c o m p a n y i n g p r o d u c t a r e t h e c o p y r i g h t s , t r a d e m a r k s o r o t h e r i n t e l l e c t u a l p r o p e r t y o w n e d a n d c o n t r o l l e d e x c l u s i v e l y b y R e d D i g i t a l C i n e m a...

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Epic-m Epic-x

Red Epic EPIC-M BUILD V3.3 Operation Manual

Disclaimer

Compliance

Before You Start

Theory of Operation

Camera Operational Controls

Basic Operation

First Time Use - Setting up Your Red Epic

Menu Controls

Main Menu

Secondary Menus

Appendix A: Upgrading Camera Firmware

Appendix B: Managing Digital Media

Appendix C: Input / Output Connectors

APPENDIX D: Audio Subsystem Information

Appendix E: Default Key Functions

Appendix F: Redmote Operation

Appendix G: 3D Setup / Operation

Appendix H: Exposure - Using False Color and Iso

Appendix I: Post-Production

Appendix J: Maintenance

Appendix K: Troubleshooting

Appendix L: Technical Specifications

Appendix M: Resolution Chart

Appendix N: Menu Maps

Quick Links

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Summary of Contents for Red Epic EPIC-M BUILD V3.3