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Red One Mysterium Operation Manual

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  • Page 2: Table Of Contents

    Recording ........34 Volume Left ......71 MYSTERIUM® Sensor....8 Playback........35 Volume Right ......71 MYSTERIUM X® Sensor ....8 Back Focus Adjustment ....36 Mix .......... 71 Image Processing ......9 SYSTEM MENU CONTROLS ..72 Audio Recording ......9 SENSOR MENU CONTROLS ..
  • Page 3 Export User Profile ....127 CONFIGURATION ......140 Import User Profile ....128 Preparation ......... 140 RED ONE® Operation Guide MYSTERIUM® & MYSTERIUM X® Build 31 Version 31.6.16 November 28, 2011 Build 31 v31.6.16 © 2007-2011 RED.COM INC. NOVEMBER 28, 2011...

  • Page 4: 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 5: 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 6: 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 7 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 8 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 9: 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 10: 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 REDCODE™...

  • Page 11: 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 12: Red Evf / Bomb Evf / Red Lcd

    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 13: 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 14: Master / Slave Camera Configuration

    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, pro- ject and clip management information, Edge code, Time code, date and GMT, lens parameters, audio set- tings and any video image processing information.
  • Page 15 CONFIGURATION. 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. It is a sequential code that is continuous from frame to frame and also between clips. Edge Code is equivalent to RUN RECORD as used on broadcast cameras.

  • Page 16: Power Consumption

    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 17: 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 18: 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 19 User Menus Select UNDO / Alternate Action Sensor Menu System Menu Audio / Video Menu Record Start / Stop EXIT Menu Record/Ready (OK) LED Joystick LCD Display 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 20: 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 (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 21: 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 31 v31.6.16 ©...

  • Page 22: 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 23: 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 24: 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 and RED EVF monitors are factory preset digital displays. There are no saturation, peaking or contrast adjustments as found on analog monitors to correct color reproduction.

  • Page 25: 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 26: Bomb Evf

    BOMB EVF – Figure 9 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 27: Red Lcd

    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 SYSTEM MENU CONTROLS > MONITOR >...

  • Page 28: Red Lcd / Red Evf

    NOTE: The internal test signals cannot be recorded; they are provided to align external video re- corders or monitors connected to the camera via the HD-SDI or HDMI ports. RED LCD / RED EVF / HD-SDI / HDMI DISPLAY ELEMENTS The following is a general representation of elements displayed on RED LCD, RED EVF and external moni- tor outputs (HD-SDI, HDMI).
  • Page 29 • • Master / Slave Indicator: Indicates camera as Raw Level Meter: Current sensor RAW peak Master (M) or Slave (S) when cameras are con- exposure levels nected together • Raw Clip Meter: Current sensor RAW clipping • Shutter Speed: Current exposure time status •...

  • Page 30: 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 31: Operating Camera Using

    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 32: First Time Use - Setting Up

    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 33: Connecting Media

    CONNECTING MEDIA Insert the CF card with the manufacturer’s label facing outward (away from camera body). Push the CF firmly into the CF slot, but without using excessive force to prevent damage. 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.

  • Page 34: Project Setup

    PROJECT SETUP Push the SYSTEM menu button. Using the joystick, highlight PROJECT. Push joystick in or down to select PROJECT. Using the joystick, highlight CONFIGURE. Push joystick in or down to select. 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 35: Time Base

    TIME BASE Selecting TIME BASE will highlight the upper right hand menu item and give you the following fps options: • • • 23.98 25.00 50.00 • • • 24.00 29.97 59.94 1. To view options, twist joystick. 2. Choose desired time base. 3.

  • Page 36: Playback

    Digital media should be treated with equal care as exposed film or a videotape master. We recommend storing digital media that contains your footage in a secure location and backing up the data on another digital media, such as data tape or a hard disk drive. Each clip is recorded to the digital media in a separate folder and with a unique clip name.

  • Page 37: Back Focus Adjustment

    BACK FOCUS ADJUSTMENT 1. Level the camera on a stable surface or tripod. 2. Set a focus chart at a medium distance from the camera. (5 to 10 feet) 3. Attach a medium length prime lens to the camera, (50 to 75mm) and set the lens focus to match the appropriate distance the camera is away from the chart.
  • Page 38 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 39: 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 31 v31.6.16 ©...

  • Page 40: 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 41: Trim

    TRIM SINGLE CAMERA CONFIGURATION 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. To adjust: Select TINT and twist joystick to change the highlighted TINT box to the desired setting.
  • Page 42 S TINT (SLAVE CAMERA TINT TRIM) Only used when in Master / Slave configuration, S TINT provides a trim (offset) to the programmed or cal- culated TINT value of the Slave camera. This permits a difference in light color tint between direct and re- flected light paths of a beam split mirror to be compensated by trimming the monitor path output of the Slave camera.

  • Page 43: 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 44: Mode

    MODE Enables one of three following shutter modes: Normal, Syncro, or Relative. Default selection is Normal. For additional information, see SPEED section. 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.

  • Page 45: Syncro

    When operating at 23.98 or 24.00fps, these equal common shutter angles of: Shutter Degrees Shutter Degrees 1/32 1/96 1/48 1/192 1/60 1/384 22.5 When operating in Relative mode, the Shutter Speed values are proportionately reduced or extended to correspond to changes in the instantaneous capture frame rate. This mode is analogous to use of a fixed shutter angle on a mechanically shuttered camera.

  • Page 46: Varispeed

    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 47: Varispeed

    VARISPEED Before recording, enable this function by placing a checkmark in the Varispeed checkbox. To select: Use joystick to highlight VARISPEED checkbox. Push in or down on joystick to place checkmark in VARISPEED checkbox. RAMP Enables a speed ramp; a transition over Time from the Frame Rate to an End Rate. 1.
  • Page 48 Minimum frame rate is 1 fps; maximum frame rate is a function of REDCODE setting (REDCODE 28, REDCODE 36 or REDCODE 42), record resolution and media type: RED-RAM REDCODE 28 REDFLASH 8GB REDFLASH 16GB RED-DRIVE REDMAG 2K 2:1 100 fps 120 fps 120 fps 120 fps...

  • Page 49: Time

    RED-RAM REDCODE 42 REDFLASH 8GB REDFLASH 16GB RED-DRIVE REDMAG 2K 2:1 ---- 90 fps 100 fps 100 fps 2K 16:9 ---- 75 fps 90 fps 90 fps 2K ANA ---- 90 fps 100 fps 100 fps 3K 2:1 ---- 42 fps 48 fps 48 fps 3K 16:9...

  • Page 50: Enable

    times, perform a Black Shading calibration again when you revert to shorter exposure times (1/ 4 th sec or shorter) either in Timelapse, Normal or Varispeed modes. ENABLE After making any adjustments in the Time-lapse menu, check the Enable box to enter these values and enable the Time-lapse record mode.

  • Page 51: Step Print

    STEP PRINT Specifies the number of times each single frame captured in Time-lapse mode is to be recorded to the digital media. Range is 1 to 10 frames. Default setting is 1 frames. To adjust: Select STEP PRINT and twist joystick to change the highlighted NUM FRAMES box to the desired setting (default is 1 frame.) INTERVAL Specifies the number of seconds the camera will wait before the next image is captured.

  • Page 52: Audio / Video Menu Controls

    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 53: 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. NOTE: LOOK (.RLK) files created in Build 30 or higher are not compatible with Build 21 or earlier.

  • Page 54: Color

    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. For detailed information on exporting LOOK files, go to APPEN- DIX C: SAVING LOOK. COLOR The Color sub-menu selects various image processing parameters that may be applied to the monitor path (SATURATION, EXPOSURE, BRIGHTNESS, CONTRAST, and SHADOW).

  • Page 55: Gain

    CONTRAST Adjusts the overall contrast of the image. Range is -1.00 (flat) to +1.00 (max contrast). Default is 0.00. 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.

  • Page 56: Tone

    GREEN GAIN Adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to 2.0. Default is 1.0. 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.

  • Page 57: Flut

    TOE Y Adjust the location of a control point along the Y-axis on the tonal response curve. Label will change based on DEFINE selection. Default setting is 25. FLUT FLUT (Floating Point Lookup Table) adjusts mid-range tones up or down from -4.0 to +4.0. Default setting is 0.0.
  • Page 58 The EXPOSURE meter’s color bands provide the following information: PURPLE Minimum Exposure Maximum Exposure 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.
  • Page 59 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 60: 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 61 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 62 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 63 UNDER AND OVER EXPOSURE EXAMPLE NOTE: It is recommended to use the RED Cambook available at http://www.red.com/store when setting exposure. 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.

  • Page 64: Assists

    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, however the shadow in- formation will probably be displayed with significant noise.
  • Page 65 WAVEFORM A color-coded waveform illustrates the exposure values using the full width of the lower section of the camera display. As exposure reaches maximum, waveform color changes to Yellow and then Red. At minimum exposure, the waveform color changes to Light Blue then Dark Blue. These colors match those used in the False Color Meter.
  • Page 66 FOCUS ASSIST 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 67: Zebras

    When the joystick is pressed, the sample box disappears and the average focus value of the pixels in the sample box are overlaid in the lower section of the active video. ZEBRAS Zebras enable and adjust the upper and lower values for two independent Zebra indicators. One zebra may be used for highlight exposure, and the other for mid tone or shadows.
  • Page 68 To adjust HI IRE: Select HI IRE and twist joystick to change the UPPER IRE: box to the desired setting between 93 and 109 (default is 108). 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.
  • Page 69 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). To adjust HI IRE: Select HI IRE and twist joystick to change the UPPER IRE: box to the desired setting between 1 and 93 (default is 47).

  • Page 70: Intensity (Previously Dark Detail)

    INTENSITY (PREVIOUSLY DARK DETAIL) Intensity allows the intensity of the BOMB EVF to be adjusted. Range is -1.0 to 1.0. Default is 0.0. OPEN GATE 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 71: Line Level Inputs

    4. Move joystick left or right to select and exit. 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 72: 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 73: 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 Sound menu provides output level adjustment, channel configuration and 48V management.

  • Page 74: 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 75 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 76: Unmount

    Timecode 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 77: Reset

    3. Move Joystick to the left and select FORMAT. If the magazine is not empty, a warning and confor- mation 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 78: 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 79: 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 80: Configure

    3. Move Joystick up to select and exit. NOTE: For Master / Slave Configuration information refer to APPENDIX E: MASTER / SLAVE CAM- ERA CONFIGURATION > CLIP NAMING CONVENTIONS > SLATE. CONFIGURE Configure defines the operation of the camera in a project. RESOLUTION Choose 4.5K, 4K, 3K or 2K resolutions.
  • Page 81 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 82 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 REDCODE 28, REDCODE 36 or REDCODE 42.

  • Page 83: 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 84 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 Timecode signal for use with the camera’s 23.98 fps recording, and also generates a synchronized 29.97 fps Timecode signal for use by an external device, available as an output from the 5-pin timecode I/O connector.

  • Page 85: 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. Default is -8.0 hours. 3. Twist joystick to change the highlighted GMT OFFSET box to the desired setting. 4.

  • Page 86: 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 RECORDED, 2.39, 1.85, 4:3, and 16:9.
  • Page 87 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 88 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 89 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 90: Preview

    SET: Push SET to save these parameters to non-volatile memory, exits menu and returns to normal oper- ation. USER TITLE Enables the user to program a custom Safe Title area. Operation is the same as USER ACTION. Refer to the previous procedure for USER ACTION to modify settings.
  • Page 91 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 31 v31.6.16 © 2007-2011 RED.COM INC.

  • Page 92: 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 93: 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. Available options are USER PROFILE, KEYMAP, GPIO, PLAYBACK, and DISPLAY. USER PROFILE User profile permits the camera setup to be saved to or recalled from the SD card.
  • Page 94 When user profile is exported successfully, the following message will be displayed. KEY-MAP Key Map 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. User keys are also referred at as Buttons. SIDE RECORD When checked, the side RECORD key is enabled.
  • Page 95 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 96 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. AUTO WB: Initiates automatic white balance of the camera. MAGNIFY: Performs Image Zoom to aid in adjustments. PRE-RECORD: activates Pre-record.
  • Page 97 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 98 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 99 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 100 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. NOTE: Interaction with the EVF MENU is not supported with the BOMB EVF. If check marked, the UI will only indicate OFF.
  • Page 101 METERS (PREVIOUSLY STATUS) When checked, displays media, exposure and audio status on lower edge of all external monitors. Checked by default. When unchecked, lower edge of all external motors will be blank. Build 31 v31.6.16 © 2007-2011 RED.COM INC. NOVEMBER 28, 2011...

  • Page 102: Maintenance

    GREY SCALE When checked, displays an 11 step grey scale on right edge of all external monitors. Checked by default. 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 103 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 104 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 perform a Black Shading calibration. After recording Timelapse at extended exposure times, perform a Black Shading calibration again when you revert to shorter exposure times (1/ 4 th sec or shorter) either in Timelapse, Normal or Varispeed modes.
  • Page 105 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 106 4. Restart the camera as instructed. RESTORE Restore permits camera configuration and setup data to be reset to factory default values. NOTE: A reboot of the camera may be necessary to restore defaults. 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.
  • Page 107 SYSTEM Allows all camera configuration parameters to be reset to the factory default values. When selected and reset, the external monitors will display: UPDATE SW Update SW initiates a camera software (firmware) update. For complete, detailed procedure, go to APPENDIX A: UPDATING CAMERA FIRMWARE.

  • Page 108: Setting System Clock

    If external media is not attached to camera when attempting to perform a write log request, external moni- tors will display: SETTING SYSTEM CLOCK Set Clock allows the camera’s real time clock to be adjusted. Select SET CLOCK and push joystick in or down to display SET CLOCK menu.
  • Page 109 MONTH Allows the operator to enter a new value for the monthbetween 1 and 12. Allows the operator to enter a new value for the day between 1 and 31. SET TIME 1. To change time, push in or down on joystick to place checkmark in the desired checkbox. 2.

  • Page 110: Remote

    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 111: Program

    NOTE: S4/i communications requires appropriate hardware to be present in the camera body and P/L lens mount. Cameras shipped prior to Sept 15 2008 will require a factory installed hardware upgrade to enable this function. AUX 232 This setting is reserved for factory use. If selected, the S4/i port will not be active. LENS PORT When active, the check box will automatically be checked by the camera.
  • Page 112 NOTE: When in Master / Slave the Slave camera will use the Master camera's I.D letter. So file names will typically be: A001_L001_0906**.R3D and A001_R001_0906**.R3D respectively (where ** represent the two wildcard characters) HD-SDI Allows you to select between SMPTE (broadcast range) and FULL (full range) code values. Default setting is FULL.
  • Page 113 FLIP H Flips the live or playback image horizontally. FLIP V Flips the live or playback image vertically. FLIP H+V Flips the live or playback image horizontally AND vertically. Build 31 v31.6.16 © 2007-2011 RED.COM INC. NOVEMBER 28, 2011...
  • Page 114 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. TALLY Allows you to select between TALENT and OPERATOR.

  • Page 115: 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 www.RED.com for download and upgrade is shown on the home page of the web site.

  • Page 116: Verify Current Camera Firmware

    PIN and current firmware version will be displayed on the camera’s LCD. UPGRADE PROCEDURE NOTE: MYSTERIUM sensor based cameras may not be downgraded to firmware prior to Build 16, MYSTERIUM X sensor based cameras, prior to Build 30. 1. To download the latest firmware (Build), go to www.RED.com/support.
  • Page 117 3. After downloading the build, you will see the new compressed (zipped) folder on your desktop. 4. Open the new compressed folder and note 2 folders, one for Windows (it will be the same name as the compressed folder) and one for Macintosh OS X (_MACOSX). 5.
  • Page 118 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. NOTE: If the camera does not automatically display the upgrade, to manually upgrade the camera, go to SYSTEM >...

  • Page 119: 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 resolution, 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 120 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 121 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 122: 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. Insert or connect media to camera. Refer to FORMATTING MEDIA. 2. To re-format the media push the menu button. SYSTEM 3. Select MEDIA and press Joystick in or down to enter. Camera LCD will display MEDIA Menu. 4.

  • Page 123: Media Capacity Remaining Status

    8. Once re-formatting is completed camera LCD displays “FORMAT DONE” and all external monitors will display: 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).

  • Page 124: 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 125: 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 126: 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. Select Erase. When the pop up window appears click on the Erase button. 7. When the media is erased, drag its icon to the trash can and physically disconnect it. 8.

  • Page 127: 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 128: 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 129: 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 130: 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 131: 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 132: 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 133 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 134: 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 135: 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 136: 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 137: 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 138: 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 139: 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 protect- ed 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 140: 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 141: Appendix E: Master / Slave Camera Configuration

    Master camera and S for the Slave camera. The slave camera CANNOT initiate recording. The slave cam- era clip name is forced to use the master camera's I.D. It is not recommended to mix a MYSTERIUM with a MYSTERIUM X camera. Use either both MYSTERIUM or MYSTERIUM X cameras when recording 3-D footage.

  • Page 142: Connecting

    CONNECTING After mounting the master and slave cameras in the final configuration, use a USB A to B Device Cable to connect the cameras together. Ensure the cameras are set up as desired and powered down before con- necting. The top USB port on the side of the camera defines that camera as the master; the lower USB port on the side of the camera defines that camera as the slave.

  • Page 143: Genlock

    Use an external Ambient Clockit! or comparable device to JAM SYNC the cameras as follow: 1. Power down both cameras. 2. Connect cameras as described in CONNECTING. 3. Verify that the time base of the external timecode source matches the timebase of the project to be recorded.

  • Page 144: Formtatting Media

    NOTE: Displays TINT if camera is not in master / slave configuration; displays TINT, S TINT, S WBAL, and S FLUT if cameras are in master / slave configuration. NOTE: S TINT, S WBAL, and S FLUT provide an offset for the slave camera relative to the common TINT, WBAL and FLUT values programmed from the Master camera.

  • Page 145: Clip Naming Conventions

    CLIP NAMING CONVENTIONS CAMERA POSITION / SLATE / CAMERA ID Under SYSTEM MENU CONTROLS > SETUP > PROGRAM > POSITION, when Master is set to CENTER, Master and Slave clips are both labeled "C", if Master is set to LEFT, Master clips are labeled "L" and Slave clips are labeled "R", if Master is set to RIGHT, Master clips are labeled "R"...

  • Page 146: Appendix F: Exposure Tips - Using False Color And Iso

    APPENDIX F: EXPOSURE TIPS – USING FALSE COLOR AND Build 30 firmware introduced several new Exposure measuring tools. In the following examples, we will show how these tools respond to a reference scene that is under-exposed, over-exposed and then cor- rectly exposed.
  • Page 147 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’s clear those areas are under the matchbox and coin, and between the bottle and cigar holder.

  • Page 148: 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 149 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’s clear those areas are on the highlight on coin, and at the top right edge of the color chip test chart.

  • Page 150: Appropriate Exposure

    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 sig- nificant portion of the monitor path video is at the maximum legal 100 IRE value.
  • Page 151 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 152: Adjusting The Iso Rating

    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 153 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 un- changed.

  • Page 154: Appendix G: 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 155: Red Quicktimecodec

    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 156: 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 157: Appendix H: Possible Errors, Issues And Solutions

    APPENDIX H: 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. Disengage and reengage the RED-BRICK to the BAT- TERY PLATE.
  • Page 158 Error Message: Black Shading - Calibration Failed – Exit Magnify Mode and Try Again. If the camera is in Magnify mode when attempting to perform a Black Shading Calibration, the following error will be displayed: Select OK and exit Magnify mode. Attempt Black Shading again. Error Message: Black Shading –...
  • Page 159 Error Message: VALID SETTINGS (Invalid Settings) Establish the maximum PROJECT settings for the media you are using and change the settings accordingly. Refer to BASIC OPERATION > PROJECT SETUP. Error Message: SATA_TRANS_FAULT The camera is detecting a communications fault between the camera and drives (RED-RAM or RED- DRIVE).
  • Page 160 This may be caused by one of the following: • The camera settings were changed while the media was removed and/or disconnected. • The media was formatted on a different camera with different settings. To resolve this error, connect the CF card, REDMAG or RED-DRIVE /RED-RAM to a computer and save the files from the media to the computer.

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