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Page 3: Table Of Contents
THEORY OF OPERATION ..... 22 Speed ........47 EVF Refresh ......87 MYSTERIUM® Sensor....22 Step Print ......47 Setup ......... 88 MYSTERIUM X® Sensor ... 22 Interval ........47 Preferences ......88 Image Processing ...... 23 Burst Type ......47 Maintenance ......97 Audio Recording ......
Page 4 Preview HD-SDI ....134 User Profile ......125 HDMI ........134 Export User Profile ....125 Rear of Camera ....... 135 RED ONE® Operation Guide Camera Build 30 Version 30.6.12 January 6, 2011 Build 30 v30.6.12 © 2007-2011 RED.COM INC.
Page 5: Disclaimer
DISCLAIMER RED® has made every effort to provide clear and accurate information in this Operation Guide, which is provided solely for the user’s information. While thought to be accurate, the information in this document is provided strictly “as is” and RED will not be held responsible for issues arising from typographical errors or user’s interpretation of the language used herein that is different from that intended by RED.
Page 6: Australia And New Zealand Statement
AUSTRALIA AND NEW ZEALAND STATEMENT Attention: This is a Class A product. In a domestic environment this product may cause radio interference in which case the user may be required to take adequate measures. JAPAN STATEMENTS EUROPEAN UNION COMPLIANCE STATEMENTS Red declares that the equipment described in this document has been tested and is in conformance with the requirements of the European Council EMC Directive 2004/108/EC, Low Voltage Directive 2006/95/EC, RoHS Directive 2002/95/EC and...
Page 7: Before You Start
BEFORE YOU START Congratulations on your purchase of a RED ONE camera. This operation guide covers cameras equipped with MYSTERIUM® and MYSTERIUM X® sensors. Please read the safety instructions, then carefully un- pack the camera body any accessories. If there is any physical damage or missing components for your camera body and any accessories, please file a support ticket at www.RED.com/support.
Page 8 Maintain sufficient ventilation - DO NOT block any ventilation openings or obstruct cooling fan airflow. CAUTION: The RED ONE camera ventilation openings require a minimum .40” (1cm) clearance be- tween the camera and any objects. Ventilation should not be impeded by any objects blocking or partially covering the ventilation openings.
Page 9 CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To dis- connect 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. •...
Page 10: Camera Controls, Connectors And Displays
Figure 1 – Left Front Camera Controls A PL Lens 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 11: Rear Of Camera
An SD Memory Card slot (D) is located below User Key 2, which supports most SD Cards of up to 1GB capacity. It is not possible to store video or audio data to the card SD card, however it may be used for camera firmware upgrades and to store USER PROFILE LOOK...
Page 12 User Menus Select UNDO / Alternate Action Sensor Menu System Menu Audio / Video Menu Record Start / Stop EXIT Menu Record/Ready (OK) LED LCD Display Joystick Figure 3 – Rear Center Camera Controls On the rear of the camera, several buttons surround a daylight readable LCD status display (J). To the left of the status display are three (3) User Menu buttons (A), which by default provide direct access to the following menus: •...
Page 13: Joystick Operation
Below the LCD status display are the Joystick (E), Exit (D), Undo / Alternate Action (F) and RECORD buttons, plus the SENSOR (B), AUDIO / VIDEO (C) and SYSTEM (G) menu buttons. The camera control menus are logically grouped under these last three buttons to provide streamlined camera operations. The status display reports key camera status values, and is complimented by two LED’s (I): the REC LED provides record status (illuminates Red when recording), while the OK LED indicates the camera is ready for operation (illuminates Green when ready).
Page 14: Power On / Off Switch
POWER ON / OFF SWITCH Power on/off switch (A) is located on the lower rear of the camera. Press once to power up/power down the camera. Power ON / Off Switch Figure 4 – Rear Lower Camera Controls Build 30 v30.6.12 ©...
Page 15: Camera Connectors
CAMERA CONNECTORS RIGHT SIDE OF CAMERA This section describes the physical connectors on the RED ONE camera body. For detailed description and operation refer to APPENDIX D: INPUT/OUTPUT CONNECTORS. Headphone USB Slave Program HD-SDI (A) Audio Out Program HD-SDI (B) Timecode Audio In Ch 1 –...
Page 16: Rear Of Camera
NOTE: Cameras shipped prior to Sept 15th 2008, may have an earlier revision of the audio board and no S4/i pins installed in the P/L mount. Contact RED customer service about appropriate audio cables to use with these systems, and hardware upgrade options. REAR OF CAMERA Aux Power / GPIO A Camera Power 11.5 –...
Page 17: Camera Displays
CAMERA DISPLAYS The LCD status display mounted at the rear of the RED ONE camera provides a snapshot of the camera setup. RED LCD, RED EVF and BOMB EVF monitors are factory preset digital displays. There are no saturation, peaking or contrast adjustments as found on analog monitors to correct color reproduction.
Page 18: Red Evf
• The fixed function button (located closest to the focus ring) selects 1:1 FOCUS CHECK (Image Zoom) mode. When selected this shows the central region of the MYSTERIUM sensor in native 4K resolution. NOTE: This function is not available during RECORD.
Page 19: Bomb Evf
BOMB EVF™ – Figure 10 BOMB EVF The BOMB EVF comprises the following components: A. High-resolution color display: Provides a 1280 pixel x 784-pixel resolution progressive scan color im- age equivalent to viewing a 17” reference color monitor from a distance of approximately 3’ 3” (1 m). NOTE: The BOMB EVF can display either the upper 784 lines or lower 784 rows of the 1280 x 848 pixel viewfinder output.
Page 20: Red Lcd
• Default setting of USER KEY 3 is COLOR (turns FALSE COLOR - EXPOSURE On/Off). • Default setting of USER KEY 4 is VIEW RAW (toggles the VIEW between REDColor and RAW). • USER KEY 3 and 4 can be programmed. Refer to SYSTEM MENU CONTROLS > PREFERENCES >...
Page 21: External Hd-Sdi Or Hdmi Monitors
Refer to CAMERA CONNECTORS. To aid external monitor alignment, the RED ONE camera provides a range of test signals including SMPTE Bars, Back and White Fields, Luma and Chroma Ramps, and a Chip Chart. Refer to TEST SIGNAL under MONITOR in SYSTEM MENU CONTROLS.
Page 22: Red Lcd / Red Evf / Bomb Evf / Hd-Sdi / Hdmi Display Elements
RED LCD / RED EVF / BOMB EVF / HD-SDI / HDMI DISPLAY ELEMENTS The following is a general representation of elements displayed on RED LCD, RED EVF, BOMB EVF, and external monitor outputs (HD-SDI, HDMI). FRAME RATE ISO RATING GENLOCK JAM SYNC SHUTTER SPEED...
Page 23 • • Timecode: Current timecode value Raw Noise Level Bar: Relative area of pixels in noise at the sensor • Next Clip Filename: Displays the filename of • the next clip that will be shot Raw Clip Level Bar: Relative area of pixels in clipping at the sensor •...
Page 24: Theory Of Operation
A B4 mount to PL mount adaptor is also available to permit use of 2/3” HD lenses on the RED ONE cam- era. The optical coverage it provides is equivalent to S16 mm. Hence, the maximum recording resolution with these lenses will be 2K RAW.
Page 25: Image Processing
IMAGE PROCESSING The digital images received from the MYSTERIUM or MYSTERIUM X sensors are formatted as pixel de- fect corrected (but not color processed) RAW data - similar to digital RAW stills cameras. The sequence of RAW images received from the sensor is compressed using proprietary 12-bit RED- CODE RAW compression.
Page 26: Video Monitoring Outputs
Signal to Noise Ratio for the resulting 24-bit digital recording. VIDEO MONITORING OUTPUTS In its default configuration, the RED ONE camera can simultaneously support a RED EVF, RED LCD, 3 HD-SDI outputs and one HDMI output, with two of these outputs supporting full GUI overlay graphics.
Page 27: Red Lcd, Red Evf And Bomb Evf
4. Twist joystick to select MENUS (DVI) or VIDEO (720p) in the PVW OUTPUT box above the EVF RE- FRESH box - default is VIDEO (720p). 5. To set selection and exit the menu, push the EXIT button or move the joystick up two times (x2). The Preview Output setting will be held in camera memory.
Page 28: Record Indicator
Entering and exiting MAGNIFY (Image Zoom) RECORD INDICATOR When recording, the RED ONE camera provides a variety of record indications (tallies): Timecode, normally displayed in white colored text, will turn Red A small Red dot will appear in the top left corner of any video monitoring outputs (RED LCD, etc…) The REC LED on the rear of the camera will turn Red If using an EVF, the LED on the front will turn Red when the Tally is set to TALENT.
Page 30: Digital Magazines
MEDIA. METADATA RED ONE cameras record Metadata, which is data that describes the precise characteristics of the pic- ture and sound data, in each frame of footage. This may include camera specific setup information, project and clip management information, Edge code, Time code, date and GMT, lens parameters, audio settings and any video image processing information.
Page 31: Smpte Timecode
POWER CONSUMPTION A Mysterium sensor based RED ONE camera draws approximately 75 Watts (with MYSTERIUM X sensor approximately 80 Watts) in a typical accessory configuration. At this power consumption a RED-BRICK 140Wh battery will run the camera for about 90 minutes. The camera is normally cooled by passive con- vection from the camera body, assisted as required by a fan.
Page 32: Basic Operation
BASIC OPERATION This section describes powering up/down and basic controls of the RED ONE camera and how to initiate a project. POWER UP / DOWN Power is supplied to the camera via a RED-BRICK battery (connected through a RED BATTERY PLATE, RED QUICKPLATE or RED CRADLE) or RED CHARGER connected to the POWER connector located at the rear of the camera.
Page 33: Operating Camera Using Red Charger
OPERATING CAMERA USING RED CHARGER 1. Plug the RED CHARGER into an AC power source between (120 – 240V). 2. Plug one end of the supplied 6-pin power cable into the AUX power output connector of the charger. 3. Plug the other end of the power cable into the POWER connector on the rear of the camera. 4.
Page 34: Controls
6. Unplug the battery when the LED becomes steady Green and/or all the LEDs illuminate on the battery LED array. FIRST TIME USE - SETTING UP YOUR RED ONE Before recording, the camera must be set up properly. Physically set-up camera as desired.
Page 35: Project Setup
Or insert the REDMAG with RED facing outward (away from camera body). Push the REDMAG firmly into the Side SSD slot, but without using excessive force to prevent damage. Or attach a RED-DRIVE or RED-RAM magazine to the DRIVE connector (e-SATA port) located on the rear of the camera using the 16-pin e-SATA cable provided.
Page 36: Resolution
CONFIGURE menu will be displayed. Select each item to set up your project using the joystick. Push joystick in or down to enter. RESOLUTION Selecting RESOLUTION will highlight the upper right hand menu item and give you the following options: •...
Page 37: Quality
NOTE: 2K and 3K record resolutions also support 50.00 and 59.94 fps Project Time Bases. QUALITY QUALITY allows you to choose between REDCODE28, 36 and 42. Default quality is REDCODE36. 1. To view options, twist joystick. 2. Choose between REDCODE28, REDCODE36 and REDCODE42. 3.
Page 38: Playback
The Clip folders (.RDC) are held in a root directory (.RDM) on the digital magazine. In each folder there will be one or more REDCODE RAW data files (.R3D) containing RAW sensor data, plus audio and metadata, and four QuickTime reference movies, which allows a QuickTime Player to display the RAW data at _F full, _H high, _M medium or _P proxy resolutions.
Page 39 5. Adjust the camera focus ring until the focus chart is in focus. NOTE: The digital zoom function of the camera can aid with visibility, and may help achieve more accurate results. 6. Allow for an even amount of play on both sides of the lens focus marker. There should be a depth of field range of several inches, so it is best to allow for good focus on either side of the exact distance marker.
Page 40: Sensor Menu Controls
MYSTERIUM Adjustable in 1/3 stop increments from ISO 100 to ISO 2000. Default ISO RATING is ISO 320. MYSTERIUM X Adjustable in 1/3 stop increments from ISO 100 to ISO 6400. Default ISO RATING is ISO 800. Build 30 v30.6.12 ©...
Page 41: Color Temp
COLOR TEMP The Color Temperature sub-menu adjusts the purity of white reproduction of the RGB monitoring paths at different Color Temperatures of ambient light. Factory default is 5,600 degrees Kelvin. AUTO WB The Automatic White Balance (AUTO WB) function allows the camera to calculate a Color Temperature that will render a white object as white.
Page 42: Shutter Menu
SHUTTER MENU Adjusts exposure time of each frame captured by the MYSTERIUM sensor. Shutter speed presets are available for all common speeds (and corresponding angles) at 24 / 25 fps and 50 / 60 fps. Preset shutter speeds may be adjusted using the RELATIVE and SYNCRO shutter parameters.
Page 43: Speed
Normal: Shutter Speed is defined exclusively by the Shutter Speed setting. Syncro: Shutter Speed is defined by Shutter Speed, but modified by Syncro setting. Relative: Shutter Speed is defined by Shutter Speed, but modified by the capture fps. To adjust: Select MODE and twist joystick to change the highlighted SHUTTER MODE box to the desired setting.
Page 44: Syncro
This mode is analogous to use of a fixed shutter angle on a mechanically shuttered camera. E.g. Enabling Relative mode with 1/48 sec shutter at 24fps will mean 1/96 sec for 48fps, and 1/16 for 8fps. This achieves the same visual result as setting a180 degree shutter. NOTE: Prior to recording in Timelapse with extended exposure times (1/ 3 rd sec or longer) it is recommended that a fresh Black Shading routine is performed.
Page 45: Varispeed
To Convert an Angle to an Equivalent Shutter Speed: Equivalent Shutter = 1 / (Frame Rate x 360 / Angle) E.g. = 1/(24 x 360/180) = 1/(8640/180) = 1/48 Degrees Shutter Degrees Shutter 1/32 1/120 1/48 1/192 172.8 1/50 22.5 1/348 1/60 1/696...
Page 46: Frame Rate
4. Twist joystick to change the highlighted TRIGGER box to the desired setting. 5. Move joystick left or right to exit. On-Record: On recording start, the capture frame rate will immediately start transitioning from the Frame Rate to the End Rate. On-Event: On recording start, the capture frame rate starts out at the Frame Rate, the start of the transi- tion to the End Rate occurs only when an external GPI trigger has been received.
Page 47: Time
RED-RAM REDCODE 36 REDFLASH 8GB REDFLASH 16GB RED-DRIVE REDMAG 2K 2:1 75 fps 100 fps 120 fps 120 fps 2K 16:9 75 fps 90 fps 100 fps 100 fps 2K ANA 100 fps 120 fps 120 fps 120 fps 3K 2:1 30 fps 48 fps 50 fps...
Page 48: End Rate
END RATE When Ramp is enabled, this value specifies the final (ending) speed of the ramp in frames per second. When a ramp transition has been completed, the camera will continue to record at the End Rate until the end of the Recording. Range is 1- 25 fps. Default value is 30 fps. NOTE: When in Varispeed modes the camera maintains the last exposure time selected (unless the requested frame rate requires a shorter exposure time) to provide a constant exposure.
Page 49: Speed
SPEED Specifies the shutter speed to be used during Time-lapse. 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 Time-lapse record- ing. Default setting is 1/48 sec. To adjust: Select SPEED and twist joystick to change the highlighted SHUTTER SPEED box to the desired setting.
Page 50 Each successive event uses the next available Edge Code and Time Code value and uses the existing clip name. This results in a complete Time-lapse sequence with a single clip name and correct timecode se- quence. To exit Time-lapse mode, push the RECORD button. Build 30 v30.6.12 ©...
Page 51: View
AUDIO / VIDEO MENU CONTROLS This section describes monitor path parameters such as viewfinder, and RGB color and gains. These pa- rameters are accessed from the VIDEO menu access key. Available sub menus include VIEW, VIDEO, VIEWFINDER, AUDIO and HEADPHONE. To access the AV MENU push the VIDEO menu button on the rear of the camera.
Page 52: Look
LOOK The LOOK menu permits Video, Gain and Tone values to be exported or imported from an SD Card. Look files may be read by another camera, and may be created by the camera or the REDCINE-X application. Push joystick down or in to select desired change. CLEAR Resets the settings for Color, Gain and Tone menu parameters to their default values.
Page 53: Color
COLOR The Color sub-menu selects various image processing parameters that may be applied to the monitor path (SATURATION, EXPOSURE, BRIGHTNESS, CONTRAST, and SHADOW). They do not affect the ac- tual REDCODE RAW data being recorded. To adjust: Select the desired setting and twist joystick to change the highlighted box to the desired setting.
Page 54: Gain
SHADOW Shadow adjusts the toe of the FLUT or in other words, the image near Black. Range is -1.0 to +1.0. De- fault is 0.0. Increasing the shadow value raises the video level of near Blacks. Lowering the shadow de- creases the video level of near Blacks.
Page 55: Tone
TONE The TONE sub-menu allows a Tonal Response Curve to be overlaid on the video monitor path. The curves parameter values are stored in metadata, and may be visualized in REDCINE-X Post-production software as Curve data. CURVE This checkbox enables the Tonal Response Curve. Default setting is enabled. To select: use joystick to highlight ENABLE checkbox and push in or down on joystick to place checkmark in CURVE checkbox.
Page 56: Flut
FLUT FLUT (Floating Point Lookup Table) adjusts mid-range tones up or down from -4.0 to +4.0. Default setting is 0.0. VIEWFINDER MENU This menu permits the operator to adjust operation of the viewfinder (EVF). FALSE COLOR (PREVIOUSLY COLOR) When checked, forces the RED EVF, BOMB (Pro) EVF and RED LCD outputs to one of three false color modes.
Page 57 At all other sensor exposure values, the monochrome image displayed represents the luminance value of the ISO adjusted image. In this image, Purple areas represent sensor exposure levels that are likely to be noisy if gained up in post production. In this image, Red areas represent sensor exposure levels that are at clipping.
Page 58 FOCUS (PREVIOUSLY EDGE HIGHLIGHT) FOCUS displays a Blue color overlay that outlines the edges of objects that are in sharp focus. By adjust- ing your lens zoom and focus you can see which objects are coming into and falling out of focus. When selected, the icon “...
Page 59: Meter
At all other values, the monochrome image displayed represents the luminance value of the ISO adjusted image. METER Meters allow the operator to verify camera exposure independently of False Color overlays. Selections include SPOT METER and RGB HIST (a composite of Red Green and Blue). Default is RGB HIST. To adjust: Select METER and twist joystick to change the ANALYSIS METER to the desired setting.
Page 60 SPOT METER A red rectangular box will appear centered on the center cursor of the image. The size of this sample box can be adjusted by rotating the joystick, and its location can be adjusted by moving the joystick in X and Y directions.
Page 61 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 there- fore represents a true measurement of the exposure levels of the sensor at all times.
Page 62 UNDER AND OVER EXPOSURE EXAMPLE False Color, Zebras and Histogram/RAW Level and Clip information may be used to judge ideal exposure. The ideal histogram to aim for is "fat" and "right justified", with the RAW Level meter indicating Green, Yellow or Orange and RAW Clip meter not indicating Red, or Blue or Green clip. In the above example the camera is ideally exposed.
Page 63: Assists
scene’s highlight information will be clipped, although the shadow information can be displayed without significant noise. In the above example the camera is significantly under exposed. The histogram is piled up to the left, and the RAW Level meter indicates the sensor is exposed at a low level. When the recorded clip is color cor- rected in post-production, the scene’s highlight information will not be clipped;...
Page 64: Zebras
RGB PARADE A corresponding histogram illustrates the exposure distribution in the R, G and B channels using the full width of the lower section of the camera display. FOCUS ASSIST / FOCUS OVERLAY A full screen width red rectangular box will appear centered on the center cursor of the image. The vertical position of this sample box can be adjusted by rotating the joystick, and its height can be adjusted by moving the joystick left or right.
Page 65: Dark Detail
ENABLE 1 By selecting this checkbox, settings under CONFIGURE 1 are used. To select: Highlight and push in or down on joystick to place checkmark in ENABLE 1 checkbox. Default is Disabled. CONFIGURE 2 Takes you to ZEBRA 2 sub-menu. Choose between LOW IRE and HI IRE settings. To adjust LO IRE: Select LO IRE and twist joystick to change the LOWER IRE: box to the desired setting between 0 and 84 (default is 44).
Page 66: Open Gate
1. To select and adjust, use joystick to highlight DARK DETAIL checkbox. 2. Push in or down on joystick to place checkmark in DARK DETAIL checkbox (checkmark is default) 3. DARK DETAIL box will highlight to allow you to choose value between 0% and 50% (default is 1%). 4.
Page 67: Line Level Inputs
LINE LEVEL INPUTS Line Level audio inputs are designed to operate at unity gain (0dB), therefore use 0dB and set a 0dbu (- 20dBFS) line level output from the production mixer or other external signal source. Default value is 0dB. +10dB: Select this value to normalize input levels when receiving a TAPE level line input (-10dB).
Page 68: Volume (Master)
VOLUME (MASTER) Adjusts headphone master volume equally for Left and Right outputs. Range is -18dB to 0dB in 1dB steps. Default is -9dB. VOLUME LEFT Trims volume for Left output. E.g. Volume –6dB + Volume Left +1dB = -5dB Range is -12dB to + 6dB in 1dB steps. Default is 0dB. VOLUME RIGHT Trims volume for Right output.
Page 69: System Menu Controls
SYSTEM MENU CONTROLS This section describes the various controls available to configure the camera. These parameters are ac- cessed from the SYSTEM menu key, located below and left of the RECORD button. Options available are SOUND, MEDIA, PROJECT, MONITOR and SETUP. SOUND MENU Sound menu provides output level adjustment, channel configuration and 48V management.
Page 70: 48V Mic
1. Select OUTPUT LEVEL and push in or down on Joystick. 2. VOLUME box will highlight to allow you to choose a volume level between -6.0dB and 6.0dB (default is 0dB). 3. Twist joystick to change the highlighted VOLUME box to the desired setting. 4.
Page 71 and audio to the digital magazine. At the end of the defined pre-record duration, the first chunk of video and audio is overwritten by newer video and audio information. If the RECORD button is pushed while in pre-record, the pre-record mode is terminated and a normal record is enabled.
Page 72: Unmount
Time Code is unaffected. UNMOUNT Select to un-mount digital media from the RED ONE camera in a failsafe manner. The camera operating system will ensure that all files are closed, hard disk heads (if present) are parked, and REDFLASH CF card, REDMAG, RED-DRIVE or RED-RAM magazine is properly powered down.
Page 73: Reset
3. Move Joystick to the left and select FORMAT. If the magazine is not empty, a warning and conforma- tion screen will appear, push FORMAT or CANCEL as appropriate. RESET Select this function if you wish to reset the reel number counter used by the camera to allocate reel num- bers when the media is formatted.
Page 74: Status
STATUS Status menu allows the operator to view the current project settings and save them. If project settings were previously saved, the operator may also recall the desired settings and set the camera to those set- tings to replicate the desired look and feel. VIEW When VIEW is selected, the current project settings for the camera are displayed.
Page 75: Slate
When the project settings are saved successfully to the SD card, the following message will be displayed: RECALL When selected, the operator will be able to load the desired saved project settings. If not project settings have been saved, “None Available” will be displayed as a selection. If project setting are available on the SD card, they will be displayed as selections.
Page 76: Configure
3. Move Joystick up to select and exit. CONFIGURE Configure defines the operation of the camera in a project. RESOLUTION Choose 4.5K, 4K, 3K or 2K resolutions. Do not use 4.5K, 4K or 3K for S16mm/B4 lenses. Default resolu- tion is 4K 2:1. 1.
Page 77 RED-RAM REDCODE 36 REDFLASH 8GB REDFLASH 16GB RED-DRIVE REDMAG 2K 2:1 60 fps 60 fps 60 fps 60 fps 2K 16:9 60 fps 60 fps 60 fps 60 fps 2K ANA 60 fps 60 fps 60 fps 60 fps 3K 2:1 30 fps 30 fps 50 fps...
Page 79 1. To set time base, select TIME BASE and press in or down on joystick. 2. Twist joystick to change the highlighted TIME BASE box to select between 23.98 and 29.97. 3. Move Joystick right or up to select and exit. QUALITY Quality allows the user to set the project quality at REDCODE28, REDCODE36 or REDCODE42.
Page 80: Timecode
TIMECODE Select to change displayed timecode track, force Jam sync or reset camera clock. JAM SYNC Jam Sync instructs the camera to replace its internal Time of Day value with external timecode read from the 5pin LEMO connector. This value is updated at the first frame of each recording, provided a valid ex- ternal timecode source is present.
Page 81 4. Move joystick left or right to select and exit. GENERATE Cross Gen activates 29.97 from 23.98 fps time code sync. The RED-ONE camera will generate a 23.98 Time Code signal for use with the camera’s 23.98 fps recording, and also generates 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 82: Qt Proxies
1. Push in or down on joystick to place checkmark in TIMEZONE checkbox. 2. GMT OFFSET box will highlight to allow you to choose between -12.0 hours and 14.0 hours. 3. Twist joystick to change the highlighted GMT OFFSET box to the desired setting. 4.
Page 83: Frame Guide
FRAME GUIDE This sub-menu provides a selection of frame guides and safe action and safe title guides. User definable safe action and safe title guides may be saved as a USER PREFERENCE, thereby permitting the camera guides to be fully customized for any application. FRAME GUIDE Options are FULL, 2.40, 1.85, 4:3, and 16:9.
Page 84 1. To select frame guide enable color, push in or down on joystick to place checkmark in ENABLE checkbox. 2. FRAME COLOR box will highlight to allow you to choose the desired color. Default is WHITE. 3. Twist joystick to change the highlighted FRAME COLOR box to the desired setting. 4.
Page 85 CUSTOM (PREVIOUSLY PROGRAM) Custom allows the use to program the specific PROTECT areas to be used. Select CUSTOM to access the CUSTOM sub menu. LOOK AROUND LOOK AROUND allows the OPACITY of the LOOK AROUND area to be set to 0%, 50% and 100%. De- fault value is 50%.
Page 86 TITLE: Enables / disables inner guides. Style may be specified as a corner marker or a rectangle. Default is checked with CORNERS selected. 1. To set ACTION or TITLE, push in or down on joystick to place checkmark in ACTION or TITLE checkbox.
Page 87: Preview
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. SET: Push SET to save these parameters to non-volatile memory, exits menu and returns to normal oper- ation.
Page 88 LUMA RAMP CHROMA RAMP CHIP CHART FOCUS PATTERN NOTE: 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. Build 30 v30.6.12 © 2007-2011 RED.COM INC.
Page 89: Pvw Refresh (Formerly Hd-Sdi)
PVW REFRESH (FORMERLY HD-SDI) Sets the1280 x 720p HD-SDI and HDMI monitor signal update rate to 50.00 or 59.94 Hz. 1. To change frame rate aspect ratio, select PVW REFRESH. 2. FRAME RATE box will highlight to allow you to choose from 50.00 HZ or 59.94 HZ (default is 59.94 (720p 59.94)).
Page 90: Setup
SETUP This menu permits a variety of system maintenance tasks to be accomplished. Options available are PREFERENCES, MAINTENANCE, SET CLOCK, and REMOTE. PREFERENCES Preferences permit the user to define system preferences. USER PROFILE User profile permits the camera setup to be saved to or recalled from the SD card. Choices are CLEAR, IMPORT and EXPORT CLEAR Allows a User Profile to be cleared from camera memory.
Page 91 When user profile is exported successfully, the following message will be displayed. KEY-MAP selects the Key Map Preferences sub-menu. This menu permits selected menus or functions to Key Map be mapped to specific User Keys on the camera body. User keys are also referred at as Buttons. SIDE RECORD When checked, the side RECORD key is enabled.
Page 92 USER-1: User Key 1 is the upper user key (button) on the camera side. Default is AUTO WB. When checked, USER-1 key is enabled, and its function is defined in the associated list. USER-2: User Key 2 is the lower user key (button) on the camera side. Default is MAGNIFY. When checked, USER-2 key is enabled, and its function is defined in the associated list.
Page 93 INPUT A/B Permits the function of GPI A and B to be defined as: RECORD (Default): starts standard mode (video and audio) record. Subsequent trigger stops record. PRE-RECORD: activates Pre-record. Subsequent triggers start / stop record. Refer to SYSTEM MENU CONTROLS >...
Page 94 GPIO IN: ACTIVE_LO is the default, which means the GPIO IN command will be activated on a high to low edge of an external control pulse. Set to ACTIVE_HI to use a low to high edge. GPIO OUT: ACTIVE_HI is the default, which means the GPIO OUT tally output will be high when in nor- mal, burst or ramp record modes, and low when not.
Page 95 LOOK Look permits the look used by the camera on playback to be specified. Default is CLIP. NOTE: When viewing clips recorded on cameras with Build 21 v21.1.0 or later firmware, the camera will playback the clip using the LOOK and VIEW parameters used when the clip was recorded. CAMERA: forces the camera to use current LOOK values to color process recorded RAW data files when played back on-camera.
Page 96 When unchecked, the upper edge of all external motors will be blank. LENS DATA When checked focus / zoom / iris data on all external monitors mid-upper edge will be displayed. Also allows the user to choose if Distance is reported in Feet or Meters. Unchecked by default. 1.
Page 97 EVF MENU When checked, activates the rotary switch on the EVF and displays a Gray “OFF” box on left side of EVF and all external monitors. Unchecked by default. Activating this feature allows adjustment of the following parameters directly using the rotary switch: INT: Adjusts EVF backlight display intensity CH1:...
Page 98 To use the rotary switch to make adjustments: 1. Push the rotary switch once. 2. Rotate the rotary switch until the white selection box overlays the parameter you wish to adjust. 3. Push the switch to lock that selection in. 4.
Page 99: Maintenance
GREY SCALE When checked, displays an 11 step grey scale on right edge of all external monitors. Unchecked by de- fault. MAINTENANCE The maintenance sub-menu defines how the cooling fan behaves, adjusts Black level, resets user settings to factory defaults, and enables software updates. Fan specifies how long the cooling fan operates.
Page 100 AUTO This setting combines VARIABLE speed fan operation while not recording, with SILENT mode when in record. This mode is recommended for extended duration dialog recordings. VARIABLE This setting is most useful when the ambient temperatures are below 50°F/10°C. In variable mode, the fan runs at a continuously variable speed in both preview and record.
Page 101 NOTE: Prior to recording in Timelapse with extended exposure times (1/ 3 rd sec or longer) it is recommended that a fresh Black Shading routine is performed. Ensure the camera is set up in Timelapse at the desired exposure time, then press SYSTEM > SETUP > MAINTENANCE > BLACK SHADING to perform a Black Shading calibration.
Page 102 6. As the last step in the process the camera will display: 7. Installation of the new data takes about 3 minutes. The camera will confirm process is complete: 8. Select OK and restart the camera as instructed. RESTORE Restore will reset any user defined black shading data to factory default values. 1.
Page 103 4. Restart the camera as instructed. BLACK SHADING ERRORS CALIBRATION FAILED - If the CF card or REDMAG installed in the camera is full or is removed during the Black Shading Calibration, the following error will be displayed: If necessary, save media files to computer, reformat CF card or REDMAG and perform the Black Shading Calibration again.
Page 104 UNABLE TO CALIBRATE – If there is no CF card or REDMAG installed in the camera when attempting to perform a Black Shading Calibration, the following error will be displayed: Connect formatted CF card or REDMAG to the camera and perform the Black Shading Calibration again. RESTORE Restore permits camera configuration and setup data to be reset to factory default values.
Page 105 LOOK Allows all image processing parameters to be reset to the factory default values. When selected and reset, the external monitors will display: USER Allows all user preference parameters to be reset to the factory default values. When selected and reset, the external monitors will display: SYSTEM Allows all camera configuration parameters to be reset to the factory default values.
Page 106: Setting System Clock
UPDATE SW Update SW initiates a camera software (firmware) update. For complete, detailed procedure, go to APPENDIX A: UPDATING CAMERA FIRMWARE. WRITE LOG Select to write camera’s .LOG file to the REDFLASH CF card, REDMAG, RED-DRIVE or RED-RAM maga- zine. The .LOG file is a diagnostic tool that can assist RED with camera troubleshooting. After capture, upload the .LOG file to the RED customer service team contactable at www.RED.com/support.
Page 107 NOTE: Current GMT date and time can be found using this web site or equivalent service: http://wwp.greenwichmeantime.com/info/current-time.htm If camera Date and Time are set to GMT, and then set TIMEZONE to –8 for West Coast US (Pacific) time etc. Or set to local time, and set the TIMEZONE value to 0.
Page 108: Remote
2. Box on lower right will highlight. 3. Twist joystick to change the highlighted box to the desired setting. 4. Move Joystick up or push in to set. HOURS Allows the operator to enter new value for hours (24 hour format) between 0 – 23. MINUTES Allows the operator to enter new value for minutes between 0 –...
Page 109: Program
Allows you to select between S4/I and AUX 232 (default is S4/i). S4/i Select S4/i 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. Refer to...
Page 110 VIDEO Allows you to select between NORMAL, FLIP H (Horizontal), FLIP V (Vertical), and FLIP H+V monitor path video orientation. Default setting is NORMAL. Flipping the monitor path video maybe desirable when working with 3D beam splitter rigs, or when the camera is mounted inverted on a crane.
Page 111 FLIP V Flips the live or playback image vertically. FLIP H+V Flips the live or playback image horizontally AND vertically. FEED Allows you to select between MENU and CLEAN output on HD-SDI. Default setting is MENU. MENU Displays camera, clip information and frame guides on the HDMI or HD-SDI outputs. CLEAN DOES NOT display camera, clip information or frame guides on the HDMI or HD-SDI outputs.
Page 112 TALLY Allows you to select between TALENT and OPERATOR. Default setting is TALENT. TALENT When camera is recording, the red LED indicator light on the EVF will illuminate along with the red LED on the rear of the camera. OPERATOR When camera is recording, ONLY the red LED on the rear of the camera will illuminate.
Page 113: Appendix A: Upgrading Camera Firmware
LCD display and all external monitors during power up. Refer to POWER UP / DOWN der BASIC OPERATION. A higher number reflects a later release. The current RED ONE release available for download and upgrade is shown on the home page of the www.RED.com...
Page 114: Verify Current Camera Firmware
VERIFY CURRENT CAMERA FIRMWARE There are 2 ways to verify the current level of firmware installed on the camera. A. During camera boot up when turned on, the current firmware version will be displayed on the cam- era’s LCD, RED EVF, RED LCD and all external monitors. B.
Page 115 2. Click on the desired build link and download to your desktop or directory of your choosing. NOTE: Before the download starts you will be prompted to enter your account and password or the camera’s P.I.N. 3. After downloading the build, you will see the new compressed (zipped) folder on your desktop. 4.
Page 116 12. With the camera OFF, insert the SD/REDMAG/CF card into its corresponding slot on the camera. Connect the USB memory device to the USB port on the side of the camera. 13. Turn the camera ON. 14. If there is valid upgrade firmware (build) version on the SD/REDMAG/CF card or USB memory device, all monitor outputs will display: NOTE: If you choose to upgrade later, the camera will continue to operate on the current firmware version.
Page 117: Appendix B: Managing Digital Media
24fps 4K RAW, 56 minutes of 24fps 3K RAW, or 128 minutes of 24fps 2K RAW recording. REDMAG SSD media requires a RED ONE 1.8” SSD module mounted to the left side of the camera body. RED-DRIVE media is available with capacities of 320GB or 640GB. Record duration is dependent on res- olution, quality and frame rate, but a RED-DRIVE 320GB will typically provide 160 minutes of 24fps 4K RAW, 280 minutes of 24fps 3K RAW, or 640 minutes of 24fps 2K RAW recording.
Page 118 This procedure outlines the formatting of REDFLASH Compact Flash (CF) cards, REDMAG, RED-DRIVE and RED-RAM magazines using the RED ONE camera. Formatting a REDFLASH CF card, REDMAG or RED-RAM will take about 10 -15 seconds; a RED-DRIVE formats in less than a minute.
Page 119 2. When a CF card or REDMAG is inserted into the camera or a RED-DRIVE or RED-RAM magazine is connected, the camera will recognize the media is unformatted and display “DISK UNFORMATTED” in the LCD display and the lower left corner of the external monitors will display “UNFORMATTED”. 3.
Page 120: Re-Formatting Media
RE-FORMATTING MEDIA Re-formatting a previously used CF card, REDMAG, RED-DRIVE or RED-RAM magazine follows a similar procedure to formatting. 1. Insert or connect media to camera. Refer to FORMATTING MEDIA. 2. To re-format the media push the menu button. SYSTEM 3.
Page 121: Media Capacity Remaining Status
9. Press Joystick in or down to select OK. Camera will return to normal operation. MEDIA CAPACITY REMAINING STATUS During a recording, the rear status screen, and monitor outputs will display the % of remaining media ca- pacity in the MEDIA box (100% is shown). At 10% remaining capacity the media status box will turn yellow, at 5% it will turn red.
Page 122: Procedure A
NOTE: The camera will respond to physical removal of the media without un-mounting and display the following warning: UNMOUNTING of digital media can be performed in one of two ways: PROCEDURE A 1. Push and hold the UNDO button. 2. While holding the UNDO button, push the EXIT button. 3.
Page 123: Procedure C
4. Camera LCD will display MEDIA X and the lower left corner of all external monitors will display “SAFE TO REMOVE” in Red text. The White text with the counter and media name at the bottom edge of the display will disappear. You may now remove the CF, REDMAG or disconnect the RED-DRIVE or RED- RAM safely.
Page 124: Erasing Media Using Windows
IMPORTANT: BEFORE PERFORMING THE NEXT STEP, DOUBLECHECK THAT THIS IS THE COR- RECT CF CARD, REDMAG, RED-DRIVE OR RED-RAM THAT YOU WISH TO ERASE DATA FROM. 6. Select Erase. When the pop up window appears click on the Erase button. 7.
Page 125: Media Errors
MEDIA ERRORS INCOMPATIBLE PROJECT/DIGIMAG The following error may be displayed inserting a CF card, REDMAG or connecting a RED-DRIVE or RED- RAM (the camera LCD will display DISK INCOMPATIBLE): When this error is present, the camera will not record and will display the following message at the top of the screen (the camera LCD will display INCOMPATIBLE_DIGMAG): This may be caused by one of the following: •...
Page 126: Appendix C: Saving Look / User Profile
APPENDIX C: SAVING LOOK / USER PROFILE The following information lists the specific camera information stored when saving a LOOK or USER PROFILE file. Before attempting to EXPORT data, ensure that an SD card is inserted into the slot at the right front of the camera.
Page 127: Import Look
When saving LOOK, the following monitor path color correction information is recorded: COLOR menu: Saturation, Exposure, Brightness, Contrast VIDEO menu: Master, Red Gain, Blue Gain, Green Gain TONE menu: Enable, X and Y values for Black, Toe, Center, Knee, and White IMPORT LOOK To import LOOK information, perform the following: 1.
Page 128: Import User Profile
NOTE: If SD Card is not inserted under left front of camera, camera will display: When saving USER PROFILE, the following camera configuration information is recorded: VIEWFINDER menu: Color: Enable and overly type setting Meters: Enable and meter type setting Zebras: Enable and Zebra 1, 2 Hi / Lo settings SOUND menu: Record enable and Line / Mic setting...
Page 129: Appendix D: Input / Output Connectors
APPENDIX D: INPUT / OUTPUT CONNECTORS RIGHT SIDE OF CAMERA Headphone USB-2 (computer) Program HD-SDI (A) Audio Monitor Program HD-SDI (B) Timecode Audio Ch 1 – 4 (1-2 Upper Left Preview HD-SDI - Right, 3-4 Lower Left - Right) Video Genlock RED EVF HDMI Out RED LCD...
Page 130: Aux / Rs232 Port
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 NOTE: Pin 4 is a not used. Do not tie-in to ground. AUX / RS232 PORT The Auxiliary / RS232 port provides up to 500mA of regulated +12V power to motorized 2/3”...
Page 131: Viewfinder (Red Evf) Interface
VIEWFINDER (RED EVF) INTERFACE The RED EVF interface is a custom digital video and power interconnection between the camera and a RED EVF. Due to the requirement for absolute data integrity that requires custom cable construction, the pin-out of this interface is not published. Contact RED technical support for available RED EVF cable lengths.
Page 132 Reference signal level for Line inputs is 0dBu / 0.775 volts RMS / -20dBFS when operating at 0dB Input Level. The maximum input signal that can be applied before the onset of input signal clipping is +18dBu / 6.5 volts RMS / - 2dBFS. This provides a guaranteed minimum of 18dB of input signal headroom above reference, in combination with maximum Signal to Noise Ratio for the resulting 24-bit digital recording.
Page 133: Line Audio Output
LINE AUDIO OUTPUT A 5-pin mini-XLR connector supports two channels of balanced analog audio output. The camera’s four audio channels may be monitored in user selectable pairs (either channels 1 & 2 or 3 & 4 or a quad mix of both pairs) based on the ‘Headphone MIX’ parameter. Line Audio Output Signals (5-pin mini-XLR) Connector Pin: Signal...
Page 134: Usb-2 Master
This port permits the camera to operate as the Slave camera in a Master / Slave camera pair. To establish control, plug the square end of a USB-2 cable into the lower USB port of the RED ONE camera to act as a Slave, and the rectangular end of a USB-2 cable into the upper USB port of the RED ONE camera to act as the Master.
Page 135: Genlock Input
GENLOCK INPUT A single DIN 1.0/2.3 coaxial connector accepts a Tri-Level Sync signal for video genlocking. When operating at 23.98, 24.00, 25.00 or 29.97 Project Time Bases, set the genlock signal generator to SMPTE 274 progressive scan format, at the same frame rate as the project TIME BASE. Do not use PsF or interlaced signals.
Page 136: Preview Hd-Sdi
NOTE: When in Varispeed, the Program output will be blanked. NOTE: RED ONE outputs progressive scan video, it does not support 1080PsF format. NOTE: If an ANAMORPHIC record mode has been selected (2K ANA, 3K ANA, 4K ANA) the video visible on the Program HD-SDI output has been stretched 2:1 to illustrate the final 2.40:1 aspect ra-...
Page 137: Rear Of Camera
Selection between these two modes is made in SYSTEM > MONITOR > PREVIEW. The default setting is VIDEO (720p). In this mode, the HDMI output replicates the HD Preview video output. The alternative mode is MENUS (DVI). In this mode, the HDMI output is compatible with most DVI based SXGA or higher resolution computer monitors.
Page 138: Dc Power Input
DC POWER INPUT The POWER input connector (A) accepts a DC voltage between +11.5 and +17V DC. When used with a RED-BRICK 140 battery, the camera also receives battery status information. The power input is pro- tected against reverse-polarity connection, ESD, under voltage, and over current. View into camera Power Input connector Mating Connector: LEMO FGG.2B.306.CLAD62Z Signal...
Page 139: Auxiliary Power Outputs
AUXILIARY POWER OUTPUTS The camera provides two auxiliary power output connectors (C, D) on its back panel. Each output sup- plies un-regulated +11.5 to 17V battery pass-through power between pins 1 and 4. Maximum sustained current draw is 1.5 Amp per output. These power output pins are over-current protected, and are only ac- tivated by the camera on boot up.
Page 140: Appendix E: Exposure Tips - Using False Color And Iso
APPENDIX E: EXPOSURE TIPS – USING FALSE COLOR AND As previously explained, Build 30 firmware introduces several new Exposure measuring tools. In the fol- lowing examples, we will show how these tools respond to a reference scene that is under-exposed, over- exposed and then correctly exposed.
Page 141 ISO 800 - false color: Exposure Select False Color – Exposure: note the √ E icon in the GUI when acti v e. This mode allows us to visualize where in the image underexposure is taking place. These areas are indicated in purple. Its clear those areas are under the matchbox and coin, and between the bottle and cigar holder.
Page 142: Overexposure (~ 2 Stops)
Because the scene is under exposed, when the recorded .R3D file is color corrected in post-production, the scene’s highlight information will certainly not be clipped, however the shadow information will proba- bly display with significant noise once pushed to an acceptable brightness. OVEREXPOSURE (~ 2 STOPS) ISO 800 - Monitor Output In the image above it is fairly obvious the camera is over exposed.
Page 143 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. Its clear those areas are on the highlight on coin, and at the top right edge of the color chip test chart.
Page 144: 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 145 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 146: 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 the although the image and Histogram both adjust to changes in the ISO rating, the sensor RAW meters do not change –...
Page 147 brightness of the image of the second image you will be increasing exposure at the sensor – this biases exposure in favor of minimizing noise in the scene shadows. The technique is similar in principle to re-rating a film stock. With practice the ISO rating can be used as a tool to assist ideal exposure based on the dynamic range identified within the scene.
Page 148: Appendix F: Post Production
The RED ONE camera records RAW sensor data using wavelet based REDCODE RAW compression to a CF card, REDMAG, RED-DRIVE, or RED-RAM digital magazine. The compressed RAW data is then trans- ferred from the digital media via FireWire or USB-2 to a Macintosh OSX or Windows XP workstation run- ning REDCINE-X post production software.
Page 149: Red Quicktime Codec
Render performance of computers will vary based on CPU speed, number of cores and disk speed. The RED ONE camera, REDCINE-X offers 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 150: Redcine-X
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. REDCINE-X can also render clips as standalone QuickTime movies using spe- cific HD video codecs. As RED ONE shoots progressive scan images, all QuickTime movies created by REDCINE-X are also progressive scan.
Page 151: Appendix G: Possible Errors, Issues And Solutions
APPENDIX G: POSSIBLE ERRORS, ISSUES AND SOLUTIONS For errors or issues beyond those listed below, please contact support through our web site at www.red.com/support. • Camera shuts down upon movement - Battery is not seated properly to the battery plate. Disen- gage and reengage the RED-BRICK to the BATTERY PLATE.
Page 152 • Error Message: “SATA_TRANS_FAULT” - The camera is detecting a communications fault between the camera and drives (RED-RAM or RED-DRIVE). The fault it has detected may or may not be severe enough to cause corruptions on the clips, so it is highly recommended that you review the R3D files. Try to narrow the fault to a specific RED DRIVE or DRIVE CABLE, and contact RED Support for further troubleshooting at www.red.com/support.
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Red One Mysterium Operation Manual

Disclaimer

Compliance

Before You Start

Camera Controls, Connectors and Displays

Theory of Operation

Basic Operation

Audio / Video Menu

Controls

Sensor Menu Controls

System Menu Controls

Appendix A: Upgrading Camera Firmware

Appendix B: Managing Digital Media

Appendix C: Saving Look / User Profile

Appendix D: Input / Output Connectors

Appendix E: Exposure Tips - Using False Color and Iso

Appendix F: Post Production

Appendix G: Possible Errors, Issues and Solutions

Appendix H: Accessory Options

Appendix I: Menu Maps

Quick Links

Need help?

Questions and answers

Related Manuals for Red One Mysterium

Summary of Contents for Red One Mysterium

Table of Contents