Download
Share
Print this page
  1. Manuals
  2. Brands
  3. Red Epic Manuals
  4. Camcorder
  5. RED ONE
  6. Operation manual

Red Epic Red One Operation Manual

Red one camera
Hide thumbs

Advertisement

Quick Links

Download this manual
Sections:
1. Before You Start
2. Camera Assembly
3. Physical Controls
4. Theory of Operation
5. Basic Operation
6. Sensor Menu Controls
7. Audio Video Menu Controls
8. System Menu Controls
Appendix A. Upgrading camera firmware
Appendix B. Digital Media Management
Appendix C: Input and Output Connectors
Appendix D: Post Production
Nov 27 2008
RED ONE™ CAMERA: OPERATIONS GUIDE
(Firmware Build 17, Version 3.4.1)
Copyright RED Digital Cinema
Page
2
3
5
9
16
23
31
39
60
62
66
75
1

Advertisement

loading

Summary of Contents for Red Epic Red One

  • Page 1 RED ONE™ CAMERA: OPERATIONS GUIDE (Firmware Build 17, Version 3.4.1) Sections: Page 1. Before You Start 2. Camera Assembly 3. Physical Controls 4. Theory of Operation 5. Basic Operation 6. Sensor Menu Controls 7. Audio Video Menu Controls 8. System Menu Controls Appendix A.
  • Page 2 RED ONE Digital Cinema Camera The RED ONE camera ships with a PL mount. To protect against dust or other contaminants entering the optical path, ensure the lens cap is used at all times a lens is not mounted to the camera.
  • Page 3 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.
  • Page 4 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.
  • Page 5 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.
  • Page 6 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...
  • Page 7 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 ac- cess Sensitivity, Shutter and Color Temperature menus.
  • Page 8 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.
  • Page 9 2K RAW. (2048 x 1152 pixel progressive scan) Mysterium™ Sensor The Mysterium™ sensor has been specifically designed for use with the RED ONE camera, and provides variable frame rate imaging over 1- 60fps in 4K or 3K resolution, and 1-120fps in 2K resolution record modes.
  • Page 10 SDI and HDMI outputs. Audio Recording The RED ONE includes four channels of analog audio input as well as a headphone monitor and balanced analog audio output. Digitized audio is available on the HDM, Preview HD-SDI and Program HD-SDI outputs.
  • Page 11 PROGRAM HD-SDI: When in record mode, these connectors provide two extra copies of the HD-SDI PREVIEW signal. When in playback mode, these connectors provide a dual-link 10-bit RGB 4:4:4 video signal. PREVIEW HD-SDI: 1280 x 720 resolution 10-bit 4:2:2 video output (720p 50.00 /59.94 Hz). PREVIEW HDMI: 1280 x 720 resolution 10-bit 4:2:2 video output (720p 50.00 /59.94 Hz).
  • Page 12 System information including instantaneous frame rate, sensitivity, shutter speed, color tem- perature, recording format, clip name, timecode, battery and media remaining is provided in the RED-LCD or RED-EVF monitor outputs, and the rear status display on the camera back. For applications where a RED-LCD or RED-EVF are not desired – for example working on a crane –...
  • Page 13 Record Indication On record, the RED ONE camera provides a variety of record tallies. Timecode, normally dis- played in white colored text, will turn red, and a small red dot will appear in the top left corner of the video monitoring outputs.
  • Page 14 A001_C001_0502**.RDC and then force to 1 to create A001_C001_0503**.RDC SMPTE Timecode As each recording is made, the RED ONE camera records two independent timecode tracks. Edge Code is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame of each piece of digital media.
  • Page 15 Charge times may be significantly longer if using another V lock compatible battery charger. Note: V lock batteries from other manufacturers may be used with the RED ONE camera provided that they meet minimum current and voltage draw requirements. In general, avoid batteries rated at less than 7Ah and 90Wh.
  • Page 16 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.
  • Page 17 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, 24.00 fps in this example...
  • Page 18 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.
  • Page 19 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.
  • Page 20 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 play- back, this key acts as a Play/Pause toggle.
  • Page 21 Monitor outputs on the RED ONE camera are set up for REC 709 gamma and color space. Image intensity can be adjusted to compensate for ambient lighting conditions. For the RED- LCD, use the Up / Down keys on top of the display.
  • Page 22 USER KEY preferences menu. Using external HD-SDI or HDMI monitors. To aid external monitor alignment, the RED ONE camera provides a range of test signals in- cluding SMPTE Bars, Back and White Fields, Luma and Chroma Ramps, and a Chip Chart.

  • Page 23: Sensor Menu Controls

    6. SENSOR MENU Controls This section describes how to set sensor specific menu parameters including Sensitivity, Shut- ter Speed, Color Temperature, Varispeed and Timelapse. To access these functions, press the SENSOR menu key or one of the direct access keys to the left of the status display. 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.
  • Page 24 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.
  • Page 25 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.
  • Page 26 Syncro: When operating in this mode, the Shutter Speed values may be proportionately re- duced or extended to tune exposure time to a precise value. Range 10 – 90. Default 50. E.g. Setting Syncro to 53 with a 1/60 sec shutter is equal to 1/56.6 sec exposure time. Phase: provides a delay relative to the start of the frame for the exposure time.
  • Page 27 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 instantane- ous capture rate.
  • Page 28 Framerate: enables the user to choose any single frame rate. Minimum frame rate is 1 fps; maximum frame rate is a function of REDCODE setting, record resolution and media type: REDCODE 28 RED 8GB CF RED 16GB CF RED DRIVE RED RAM 2K 2:1 100 fps...
  • Page 29 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.
  • Page 30 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.
  • Page 31 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.
  • Page 32 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.
  • Page 33 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.
  • Page 34 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, 1/48 sec shutter and no filtering.
  • Page 35 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”...
  • Page 36 Assists: allows the operator to choose a signal analysis waveform. Selections include Wave- form 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.
  • Page 37 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.
  • Page 38 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.
  • Page 39 8. System Menu Controls This section describes the various controls available to configure the camera. These parame- ters are accessed from the SYSTEM menu key, located 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 –...
  • Page 40 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.
  • Page 41 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.
  • Page 42 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.
  • Page 43 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...
  • Page 44 Note: Valid combinations of Quality, Resolution and Time Base are indicated by the phrase VALID SETTINGS. If this is crossed through, it indicates the media is too slow to record that combination of resolution, project frame rate and quality. Note: An individual project should only use one Time Base, as it defines the frame rate used for timecode and editing.
  • Page 45 Cross Gen: activates 29.97 from 23.98 fps time code sync. The RED-ONE camera will gener- ate a 23.98 Time Code signal for use with the camera’s 23.98 fps recording, and also gener- ates a synchronized 29.97 fps Time Code signal for use by an external device, available as an output from the 5-pin timecode I/O connector.
  • Page 46 Monitor The monitor menu provides controls for the framing guides and test patterns. 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 PREF- ERENCE, thereby permitting the camera guides to be fully customized for any application.
  • Page 47 Protect: displays film projection safe areas with 1.85 or 2.40 aspect ratios and television safe areas with 16:9, 14:9 or 4:3 aspect ratios, or User Areas. Safe area color can be set to White, Black, Blue, Yellow or Red for maximum color contrast with the scene you are shooting. PROGRAM allows the use to program the specific PROTECT areas to be used.
  • Page 48 Height: Adjusts the height of the guide. Maximum height of the guide is 720 pixels. Note: The camera will display the aspect ratio of the guide based on these two values. X POSN: Adjusts the horizontal center position of the guide. Y POSN: Adjusts the vertical center position of the guide.
  • Page 49 Available test signals include: SMPTE Bars, Black Field, White Field, Luma Ramp, Chroma Ramp, Chip Chart and Focus Pattern. The RED ONE test signals are not recordable, they are provided to help align external video monitors connected via the HD-SDI or HDMI outputs.
  • Page 50 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.
  • Page 51 The default mode is FIXED, which uses 2:3 or other appropriate pull down as required to dis- play images at a fixed frequency of 59.94 Hz (or 50Hz) at 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.
  • Page 52 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.
  • Page 53 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...
  • Page 54 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.

  • Page 55: Maintenance

    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.
  • Page 56 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.
  • Page 57 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.
  • Page 58 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.
  • Page 59 Check the S4/i box to enable communication between the RED ONE and an S4/i compatible lens, and to enable recording of the lens data as metadata in the RED ONE .R3D files. To enable the display of Focus / Zoom / Iris data from the S4/i lens, also check the LENS DATA checkbox located in SYSTEM / SETUP / PREFERENCES / DISPLAY menu.

  • Page 60: Appendix A: Upgrading Camera Firmware

    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.
  • Page 61 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.

  • Page 62: Appendix B: Managing Digital Media

    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.
  • Page 63 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 RED-DRIVE or RED-RAM magazine to the e-SATA port via the 16 pin e-SATA cable provided.
  • Page 64 Reformatting previously used media Re-formatting a previously used CF card or RED-DRIVE or RED-RAM magazine follows a simi- lar 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.
  • Page 65 Removing Media. Media should be un-mounted prior to removal from the camera. This ensures power is re- moved from the digital media and any open data files are closed. Removing a CF card or disconnecting a RED-DRIVE or RED-RAM without first un-mounting it will not physically damage the media, however it does increase the risk of file corruption, so it’s good operational practice to un-mount the media if possible before removing / disconnecting.

  • Page 66: Appendix C: Input And Output Connectors

    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 View into camera Power Input connector...
  • Page 67 Auxiliary Power Outputs The camera provides two auxiliary power output connectors on its back panel. Each supplies un- regulated +11.5 to 17V battery pass-through power. Maximum sustained current draw is 1.5 Amp per output. The outputs are over-current protected, and are activated by the camera on boot up.
  • Page 68 Pin: Signal Description Direction Ground Camera ground TIMECODE_IN_P Serial timecode input, positive TIMECODE_IN_N Serial timecode input, negative No connect - TIMECODE_OUT Serial timecode output Aux 232 Port The Auxiliary / RS232 port provides up to 500mA of regulated +12V power to motorized 2/3” B4 mount lenses.
  • Page 69 Pin: Signal Description Direction Camera ground RS232 Transmit Data +12V Regulated 12V output, 500mA max. -- Reserved: do not connect - “Record Clip” switch closure -- Reserved: do not connect - “Playback Clip” switch closure RS232 Receive Data -- Reserved: do not connect - -- Reserved: do not connect - Note: Pins 4, 6, 9 and 10 are reserved for future use.
  • Page 70 View Into Mic/Line Audio Input (3-pin Mini-XLR) Pin: Signal Description Direction GROUND Camera ground Mic/Line input (+48V phantom power) Mic/Line input (+48V phantom power) Microphone/Line Input Signals Line Input Levels Recorded levels follow the level of the incoming signal. The input level equivalent to Full Scale is +18 dBu (6.5 Volts RMS). To achieve 14 dB of input headroom set the nominal input to +4 dBu (1.3 Volts RMS).
  • Page 71 Pin: Signal Description Direction LEFT+ Line output, left channel GROUND Camera Ground LEFT- Line output, left channel RIGHT+ Line output, right channel RIGHT- Line output, right channel Line Output Connectors Note: Cameras shipped prior to Sept 15 2008 do not provide Camera Ground on Pin 2 Headphone Audio Output A 3.5mm stereo phone jack provides two channels of adjustable level audio to headphones.
  • Page 72 Genlock Input A single DIN 1.0/2.3 coaxial connector accepts a Tri-Level Sync signal for video genlocking. When operating at 23.98, 24.00, 25.00 or 29.97 Project Time Bases, set the genlock signal gen- erator to SMPTE 274 progressive scan format, at the same frame rate as the project TIME BASE. Do not use PsF or interlaced signals.
  • Page 73 Note: the Program HD-SDI output provides 4 channels of embedded audio plus timecode. Note: When in Varispeed, the Program output will be blanked. Note: RED ONE outputs progressive scan video, it does not support the 1080PsF format. Preview HD-SDI A single DIN 1.0/2.3 connector labeled PVW provides a high definition video preview output.
  • Page 74 HDMI An HDMI Type A connector provides an HDTV compatible 720p video and audio signal, or a DVI / SXGA compatible 1280 x 848 progressive scan video signal, at 50.00 or 59.94 Hz. Selection between these two modes is made in SYSTEM / MONITOR / PREVIEW. The default setting is VIDEO (720p).

  • Page 75: Appendix D: Post Production

    The RED ONE camera records RAW sensor data using wavelet based REDCODE RAW com- pression to a CF card, or RED-DRIVE digital magazine. The compressed RAW data is then trans- ferred from the digital media via FireWire or USB-2 to a Macintosh OSX workstation running RED Alert! or REDCINE, or to a Windows XP workstation running REDCIINE post production software.

  • Page 76: Software Tools

    Render performance of computers will vary based on CPU speed, number of cores and disk speed. The RED ONE camera, RED Alert! and REDCINE offer QuickTime reference movies at _F full, _H half, _M medium and _P proxy resolution. Choose the resolution that is most appropriate to your requirement for playback frame rate on your specific computer.
  • Page 77 4K and 2K resolution via 10-bit DPX or 16-bit TIFF files, or create color corrected Quick- Time reference movies for editing or other uses by applications that use the RED QuickTime Codec. As RED ONE shoots progressive scan images, all QuickTime movies created by RED Alert! will also be progressive scan.
  • Page 78 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.
  • Page 79 4K or 2K resolution 10-bit DPX or 16-bit TIFF files. REDCINE can also render clips as standalone QuickTime movies using specific HD video codecs. As RED ONE shoots progressive scan images, all QuickTime movies created by REDCINE are also progressive scan.