Red Digital Cinema Red One 17.0 Operation Guide

Apr 30 2009 Copyright RED Digital Cinema

RED ONE™ CAMERA: OPERATIONS GUIDE

(Firmware Build 17, Version 3.4.1)

Sections: Page

1. Before You Start 3

2. Camera Assembly 6

3. Physical Controls 8

4. Theory of Operation 12

5. Basic Operation 19

6. Sensor Menu Controls 26

7. Audio Video Menu Controls 34

8. System Menu Controls 42

Appendix A. Upgrading camera firmware 63

Appendix B. Digital Media Management 65

Appendix C: Input and Output Connectors 69

Appendix D: Post Production 79

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DISCLAIMER

RED has made every effort to provide clear and accurate information in this Operations Guide, which is provided solely for the user’s information. While thought to be accurate, the information in this document is provided strictly “as is” and RED will not be held responsible for issues arising from typographical errors or user’s interpretation of the language used herein that is different from that intended by RED. All safety and general information is subject to change as a result of changes in local, federal or other applicable laws.

RED reserves the right to revise this Operations Guide and make changes from time to time in the content hereof without obligation to notify any person of such revisions or changes. In no event shall RED, its employees or authorized agents be liable to you for any damages or losses, direct or indirect, arising from the use of any technical or operational information contained in this document.

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Apr 30 2009 Copyright RED Digital Cinema

1. Before you start.

Congratulations on your purchase of a RED ONE™ camera. Please read the attached safety instructions, then carefully unpack the camera body any accessories. If there is any physical damage to your camera or accessories, please file a support ticket at www.red.com/support.

RED ONE™ ™ Digital Cinema

IMPORTANT INFORMATION—READ BEFORE USING YOUR CAMERA

GENERAL USE.

DO NOT MODIFY OR DISMANTLE: Do not attempt to open your camera, lens or other acces-

sory as doing so may expose you to electric shock and serious injury. There are no userserviceable parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED authorized service facility, will void the Limited Warranty. Users are not permitted to make design changes or otherwise modify the operation of the camera, lenses or other accessories, without the express written approval of RED Digital Cinema.

STORAGE: Store in a protected, level and ventilated place. Avoid exposure to temperature extremes, damp, severe vibration, strong magnetic fields, direct sunlight or local heat sources during storage. Remove any batteries from the camera before storage.

Note that storing batteries fully charged or in high temperature conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.

The recommended storage and usage temperatures for your camera, lenses and other accessories are:

Operating range: 0C to +40C (32F to 104F)

Storage range: -20C to +50C (-4F to 122F)

If there are any performance issues with your camera or accessories within this operating range, please file a support ticket on www.red.com/support.

MOISTURE: Avoid exposing your camera to moisture. The unit is not waterproof, so contact with water could cause permanent damage to the unit as well as electric shock and serious injury to the user. Do not use the camera in the rain or under other conditions with high moisture and immediately remove the power source if exposed to moisture.

AVOID SHOCK: Do not expose your camera to excessive vibration or impact. Be careful not to drop your camera. Internal mechanisms may be damaged by severe shock. Mechanical alignment of optical elements may be affected by excessive vibration.

CLEANING: When cleaning your camera, remember that it is not waterproof and moisture can damage electronic circuitry. Do not rinse or immerse any element of the camera, lens or other accessory, keep them dry at all times. Do not use soaps, detergents, ammonia, alkaline cleaners, and abrasive cleaning compounds or solvents. These substances may damage lens coatings and electronic circuitry.

LASER BEAMS.

Avoid imaging of laser beams as they may cause damage to the sensor.

BATTERY.

Lithium Ion batteries may be subject to special handling requirements pursuant to federal and local laws. Please refer to specific shipping instructions included with your battery regarding proper transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries must be in accordance with local environmental regulations. For example, California law requires that all rechargeable batteries must be recycled by an authorized recycle center.

ELECTROMAGNETIC INTERFERENCE.

The use of devices using radio or other communication waves may result in the malfunction or interference with the unit and/or with audio and video signals.

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FCC RULES.

This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules. These limits are designed to proved reasonable protection against harmful interference when the equipment is operated in a commercial environment.

This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause interference, in which case, the user will be responsible for correcting the interference at the user’s own expense.

2. Camera Assembly

Connect the power cable from the Battery Plate, RED-CHARGER or AC Power Adaptor to the DC input on the rear of the camera body.

The RED-LCD and RED--EVF viewfinder may be mounted to the camera body using a short or extended length RED ARM. Attach the RED ARM to the camera body using the shorter threaded screw. There are attachment points on the camera body and on the RED RAIL TOP BRACKET. Then attach the end of the arm with the circular locking ring to the RED-LCD or RED-EVF.

Finally connect the cable from the camera body to the RED-LCD or RED-EVF. Carefully align the red dots on the socket and plug, and push firmly to establish contact.

Attaching the RED-LCD or RED-EVF

The RED-LCD and RED-EVF cables are interchangeable; but the outputs are not. The RED-EVF should be connected to the upper output; a RED-LCD should be connected to the lower output.

If using RED-DRIVE, place it into the RED-CRADLE and secure it with the four thumbscrews. Then connect the RED e-SATA cable to the RED-DRIVE™ and to the e-SATA input on the rear of the camera body. (In normal operation use the right angle connector to mate to the RED-DRIVE, and the straight connector to mate to the camera)

Remove the lens cap and mount the PL lens you wish to use. The lens will have four metal tabs with cutouts for the registration pin in the mount. If using S4/i compatible lenses the data pins should be oriented to 12 o’clock when mounting the lens in order to establish communication.

Attach matte box and motors, and any auxiliary power cables required to power these items.

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Insert the digital media, such as RED-FLASH 8GB or 16GB compact flash (CF) card, or connect a RED-DRIVE™ hard disk drive, or RED-RAM™ flash drive via the RED custom e-SATA cable.

Inserting a Compact Flash card

Attach a RED-BRICK 140 battery using the v-mount battery plate, or connect an AC Power Adaptor or a RED-CHARGER to the DC input on the rear of the camera body. Now adjust the balance of the camera. The RED CRADLE/Universal Rail mount unit slides on 19mm rods so you can adjust the distance to the camera back. Find the position that best offsets the weight of the lens.

Finally tighten the butterfly locks to maintain that position. The shoulder pad/wedge plate adaptor is also designed to slide within the RED RAIL base plate until you lock it in place. You won’t need to remove it to mount the camera on a tripod.

Power up.

Press the On/Off switch to power the camera. The rear status display will illuminate, and after approximately 60 seconds it will display the camera PIN, firmware build and firmware version.

The P.I.N is a unique product identification number in the format ABC_123_XYZ. This code is included in the metadata recorded with each image. The PIN provides RED with tracking data for customer service and assistance in authenticating legal ownership of the camera.

When the camera is ready for use, the lower LED to the right of the status display turns green.

3. Physical Controls and Connectors

This section describes the physical controls and connectors on the RED ONE™ camera body.

A. PL Lens Mount B. Record C. User Keys 1 and 2

A PL mount is provided as standard with the RED ONE™ camera. The mount is compatible with the majority of S35mm, 35mm and S16mm cinematography lenses. In addition, broadcast B4 mount lenses may be used if the camera is equipped with the optional B4 to PL mount optical converter.

The PL mount includes a 4-pin S4/i data interface. This allows the camera to gather lens metadata from lenses supplied by RED and Cooke Optics. Ltd, using the S4/i protocol.

On the left side of the camera body are a RECORD key and two User Keys. User Key 1 is preassigned to AUTO WB and User Key 2 is pre-assigned to 1:1 FOCUS CHECK, however these assignments can be changed in the KEYMAP preferences menu.

A SD Memory Card slot is located below this group of keys, 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 and LOOK files.

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A Headphone B Program HD-SDI (A) C Program HD-SDI (B)

D HDMI Out E Preview HD-SDI F Video Genlock

G USB-2 (peripheral) H USB-2 (computer) I Audio Monitor

J Timecode K Audio Ch 1 – 4 (1-2 Upper Left - Right, 3-4 Lower Left - Right)

L RED-EVF M RED-LCD N Aux / RS232

The right side of the camera contains all the video, audio and time code inputs and outputs.

From top left to bottom right, these comprise a 3.5mm stereo headphone jack, and four DIN

1.0/2.3 video connectors that support Program HD-SDI, Preview HD-SDI and Video Genlock.

Next is an HDMI output, a USB-2 “master” port for USB peripheral devices, a USB-2 “slave” port to connect the camera to another camera or computer based controller, a 5-pin mini-XLR audio output, a 5-pin timecode input/output and four three-pin mini-XLR audio inputs. Finally there are two 16-pin push lock LEMO connectors that provide video, communications and power for a RED-EVF and RED-LCD, and a 10-pin push lock LEMO connector supporting the Aux/RS232 port that can interface to a variety of B4 lenses and lens motor control devices.

One 6-inch length DIN 1.0 / 2.3 to BNC video adaptor cable and one 9-inch length 3 pin miniXLR to mini-XLR cable plus a mini-XLR to full size XLR adaptor are provided with the camera.

Additional video and audio adaptor cables may be ordered online at www.red.com/store

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.

A User Menus select B Status Display C Record & Ready tallies

D Sensor menu E EXIT menu F UNDO / alternate action

G Record Start / Stop H Joystick I Audio / Video menu

J System menu

On the rear of the camera, several buttons surround a daylight readable LCD status display.

To the left of the status display are three User Menu buttons, which normally provide direct access Sensitivity, Shutter and Color Temperature menus. However the specific function of these keys may be re-programmed by the user, if desired, to provide quick access to other functions.

Below the LCD status display are the Joystick, and Exit, Undo / alternate action and RECORD buttons, plus the Sensor, Audio / Video and System 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: the red LED provides a record tally, while the green LED indicates the camera is ready for operation.

The five buttons above the LCD display control clip playback. From left to right, the keys are Clip Start / Previous Clip, Play Reverse, Clip Play / Pause, Fast Fwd and Clip End / Next Clip.

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A Power On/Off switch B Aux Power / GPIO A

C Aux Power / GPIO B D Camera 11.5 - 17V D.C Input

E e-SATA Interface (to RED-DRIVE™ or RED-RAM™ digital magazine)

Underneath the status display key group are the Power On/Off switch (top left) two 4 pin Auxiliary Power / GPIO outputs, 6 pin camera system POWER input and a 16 pin DRIVE interface.

Each Auxiliary Power / GPIO connector can supply 1.75 amps of unregulated 11.5 – 17V DC to accessories such as range finders or low power lens motors. The upper connector provides a GPI trigger (user programmable but defaulted to Record Start / Stop) and a Record Tally output. The lower connector provides a GPI trigger (user programmable but defaulted to Single Frame Record) and a Frame Recorded Tally output.

The DRIVE interface supplies power and data over e-SATA protocols to record REDCODE™ (TM) RAW compressed video data, metadata and audio to RED-DRIVE™ or RED-RAM™ digital media.

Power Up.

To power the camera up from a RED BRICK battery, press the power on/off switch once.

To power the camera up from a RED-CHARGER, connect it via the supplied power cable. Plug the RED-CHARGER into an AC power source and switch it on. After the green LED illuminates on the RED-CHARGER, the camera can be powered on by pressing its On/Off switch.

To power the camera down, press the power on/off switch once.

Note: After power down, is recommended that you wait approximately 10 seconds after the camera’s green status LED goes off before powering the camera up again. If the green LED on the charger lights but then goes out, press the camera power On/ Off switch twice.

4. Theory of Operation

The RED ONE™ ™ Digital Cinema camera provides high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm, 35mm and Super16mm. The camera is supplied as standard with a PL mount, and may be configured with 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm offset studio and 15mm lightweight rods are also available.

In addition to compatibility with existing PL mount cinematography lenses; a select range of S35/35mm format PL mount prime and zoom lenses are available from RED Digital Cinema.

Other lens mounts, including Canon FD, and Nikon F are available from RED and 3rd parties, permitting the use of Nikkor and Canon photographic lenses. To use these mounts the PL mount must be removed. It is recommended that this should be done only in a dust-free environment, as the sensor and optical path will be exposed to the elements during this process.

A B4 mount to PL mount adaptor is also available to permit use of 2/3” HD lenses on the RED ONE™ camera. The optical coverage it provides is equivalent to S16 mm. Hence, the maximum recording resolution with these lenses will be 2K RAW. (2048 x 1152 pixel progressive scan)

MYSTERIUM™ Sensor

The MYSTERIUM™ sensor has been specifically designed for use with the RED ONE™ camera, and provides variable frame rate imaging over 1- 60fps in 4K or 3K resolution, and 1120fps in 2K resolution record modes.

Native color balance for the MYSTERIUM™ sensor is 5,000 degrees Kelvin, but may be electronically compensated for any color temperature in the range 1,700 to 10,000 Kelvin. White Balance presets are available for Tungsten (3200K) and Daylight (5600K) lighting; the camera may also calculate a color neutralizing White Balance value using a standard white card technique.

MYSTERIUM™ includes integrated 12-bit resolution analog to digital conversion, capable of delivering up to 11 stops of dynamic range when operating in daylight at a sensitivity of 320 ISO.

Image Processing

Images received from the MYSTERIUM™ sensor are formatted as pixel defect corrected (but not color processed) 12-bit RAW data - similar in image quality to a high end digital stills camera.

The sequence of 12-bit RAW images received from the sensor is compressed using proprietary wavelet based REDCODE™ RAW compression. The RAW data recorded is independent of the RGB signal monitored from the monitoring path. ISO, white balance or other RGB color space adjustments made to the monitoring path are not burned into the recorded 12-bit RAW data.

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Images can be stored on a high-speed Compact Flash, RED-DRIVE™ or RED-RAM™ media.

The camera’s monitoring path converts 12-bit RAW sensor data white balanced 10-bit 1280 x 720 pixel RGB 4:4:4 video. This signal may be modified using ISO, white balance or other RGB color space adjustments and provides monitor feeds for the RED-EVF, RED-LCD, Preview HDSDI and HDMI outputs.

Audio Recording

The RED ONE™ includes four channels of analog audio input processing, Peak Level meter, headphone monitor and 2-channel balanced analog audio output. Audio is digitized at 24-bit depth and 48KHz and recorded in synchronization with video and timecode to the attached media. Digital audio is also embedded in the HDMI, Preview and Program HD-SDI outputs.

Line Level and Microphone Level analog audio input signals are routed via a high quality A/D and pre-amplifier, whose gain stage may be controlled using the Input Level control to achieve the desired audio reference / recording level.

Line Level Inputs

Line level audio inputs are designed to operate at unity gain (0dB Input Level), therefore an appropriate line output level should be established by your field production mixer or other external signal source.

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. i.e. this setting supports a guaranteed minimum of 18dB of input signal headroom above reference, plus the maximum available Signal to Noise Ratio for the resulting 24-bit digital recording.

Microphone Level Inputs

The recorded signal levels of Microphone inputs are affected by the sensitivity of the microphone and the Input Level setting. Range is +10dB to +54dB, with a default value of +32dB. The camera operator should choose an Input Level that aligns the input signal to the reference line drawn vertically through the camera’s PPM, indicating 0dBu.

This setting supports a guaranteed minimum of 18dB of input signal headroom above reference, plus the maximum available 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.

Default setting for GUI support is RED-EVF and RED-LCD. However, if either one of these is

not present, full GUI overlay support is automatically enabled on HD-SDI and HDMI outputs.

RED-EVF: 1280 x 848 resolution RGB 4:4:4 progressive video display with Surround View, frame guides and safe action / title overlays, zebra and false color exposure overlays, waveforms, camera status and operation menus.

RED-LCD: 1024 x 600 resolution RGB 4:4:4 progressive video display with Surround View, frame guides and safe action / title overlays, zebra and false color exposure overlays, waveforms, camera status and operation menus.

PROGRAM HD-SDI: When in record mode, these connectors provide two extra copies of the HD-SDI PREVIEW signal. When in playback mode, these connectors provide a dual-link 10-bit RGB 4:4:4 video signal.

PREVIEW HD-SDI: 1280 x 720 resolution 10-bit 4:2:2 video output (720p 50.00 /59.94 Hz).

PREVIEW HDMI: 1280 x 720 resolution 10-bit 4:2:2 video output (720p 50.00 /59.94 Hz).

Note: If a RED-EVF or RED-LCD is connected, the PREVIEW HD-SDI and HDMI outputs will provide Surround View, frame guides, safe action / title, and timecode / clip name. If both RED-EVF and RED-LCD are connected, these outputs only support Surround View.

Note: Only if a RED-EVF or RED-LCD is connected, the HDMI output can also support a 1280 x 848 resolution video output with Surround View, frame guides, safe action / title, timecode / clip name, waveform, and camera status and operation menu overlays. This signal should be compatible with the majority of DVI based SXGA+ computer monitors.

To select between these modes, press the SYSTEM menu key, and then MONITOR.

Press the joystick in, and then push the joystick to the right to highlight PREVIEW.

Rotate the joystick to select VIDEO (720p) or MENUS (DVI). The default is VIDEO (720p)

Press the EXIT key to return to the main camera menu. The Preview Output setting will be held in camera memory. Once it is set it will not need to be re-set when power cycling the camera.

RED-LCD and RED-EVF

The optional RED-LCD and RED-EVF are specialized video monitors, that may be attached to the camera body, and provide a variety of user tools to assist framing, focus and exposure.

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- Surround View, which is an additional visible area outside the actual recorded image.

- Frame guidelines show common film presentation and television formats such as 2.40:1

and 1.85:1, picture center, and/or television aspect ratios such as 16:9, 14:9 and 4:3.

- Focus is aided by the high resolution of the displays, 1:1 Focus Check function, and two

user selectable waveform based focus assist meters.

- Exposure is aided by dual zebras a false color meter and Luma and RGB histograms.

System information including instantaneous frame rate, sensitivity, shutter speed, color temperature, recording format, clip name, timecode, battery and media remaining is provided in the RED-LCD or RED-EVF monitor outputs, and the rear status display on the camera back.

For applications where a RED-LCD or RED-EVF are not desired – for example working on a crane – the Surround View video, frame guides, and exposure overlays are also available on the Preview HD-SDI output, providing remote camera monitoring up to 200 ft away.

Digital Magazines

REDCODE™ RAW compressed video, time code, audio and metadata, may be recorded to onboard or attached digital media devices including -

RED-FLASH: RED record speed verified 8GB or 16GB Compact Flash cards.

RED-DRIVE: A hard disk media based Digital Magazine of 320GB capacity.

RED-RAM™: A solid-state flash media based Digital Magazine of 128GB capacity.

Note: Digital Magazines may be directly connected to a computer via FireWire or USB-2.

Each clip is recorded with a unique clip name and with all the appropriate elements of the clip – REDCODE™ RAW files and QuickTime Reference files placed in a clip folder (.RDC)

All clips are in turn placed in a root directory (.RDM) The root directory (folder) contains all the clips recorded on that specific piece of digital media, so copying of clips from the digital magazine to backup media may be performed by a single drag and drop operation.

Record Indication

On record, the RED ONE™ camera provides a variety of record tallies. Timecode, normally displayed in white colored text, will turn red, and a small red dot will appear in the top left corner of the video monitoring outputs. The upper LED to the right of the status display screen will turn red, and if using an EVF, the front LED will also turn red. If media is not present, the camera will provide a warning as follows – RECORD ERROR NO_DIGIMAG.

Metadata

RED ONE™ cameras record Metadata, which is data that describes the precise characteristics of the picture 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.

Clip Naming Conventions

When you push record, the camera names the clip being recorded on the digital media. The format of the clip name is Camera Letter + Reel Number + Month + Day + ** where ** is a two digit alphanumeric random number generated by the camera for each file

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E.g. A001_C002_0502A6.RDC

Where: A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 02

And A6 is a two digit alphanumeric random number generated by the camera. This number helps avoid duplicate file names if two cameras are inadvertently named A on the same set.

Three cameras identified as A, B and C can therefore have individually recognizable clips

A001_C001_0502**.RDC B001_C001_0502**.RDC C001_C001_0502**.RDC

A single camera identified as A can have individually recognizable reel numbers, such as

A001_C001_0502**.RDC, A002_C001_0502**.RDC, and A003_C001_0502**.RDC

A single camera identified as A can have individually recognizable clip numbers, such as

A001_C001_0502**.RDC, A002_C002_0502**.RDC, and A003_C003_0502**.RDC

Note - Even if the same Reel number and / or camera name are reused, the use of the two character random files generated non-duplicate file names, such as

A001_C001_0502A6.RDC, A001_C001_050267.RDC, and A001_C001_0502F8.RDC

Under normal operation, the reel number increments each time the camera formats a new piece of digital media, up to a maximum value of 999. However the reel number may be manually reset at any time to 001or other desired value.

A001_C001_0502**.RDC and then force to 1 to create A001_C001_0503**.RDC

SMPTE Timecode

As each recording is made, the RED ONE™ camera records two independent timecode tracks.

Edge Code is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame of each piece of digital media. 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.

Time Code is a SMPTE timecode track that syncs to the camera’s clock, or if operated in Jam Sync mode, syncs to an externally supplied SMPTE master timecode signal. It is therefore a sequential code that is continuous from frame to frame, but discontinuous between clips.

Note: Time Code and Edge Code are only output from the 5-pin timecode connector if OUTPUT is enabled in the TIMECODE setup menu, but are always embedded in HD-SDI.

When in Varispeed or Timelapse recording modes, the timecode counters are updated at the same frame rate as the recording. This means valid SMPTE timecode is created without count jumps that would affect clip playback or editing. If using an external timecode source with Jam Sync enabled, the clip’s master time reference point is the first frame of the recorded clip.

When in Loop Record mode, the Edge Code will become discontinuous between clips, because frames copied into the cache memory are discarded. This may lead to problems with applications that assume a continuous timecode sequence. It is therefore recommended that Time Code be selected when operating this recording mode.

Power consumption

The camera draws approximately 75 watts in a typical configuration. A RED-BRICK 140Wh battery will run the camera and typical accessories for about 90 minutes. The camera is normally cooled by passive convection from the camera body, assisted as required by a fan.

When using the RED-CHARGER, recharge time for a single RED-BRICK battery is 200 minutes. The battery can also be partially charged, to approximately 80% capacity, in 120 minutes.

Charge times may be significantly longer if using another V lock compatible battery charger.

Note: V lock batteries from other manufacturers may be used with the RED ONE™ camera provided that they meet minimum current and voltage draw requirements. In general, avoid batteries rated at less than 7Ah and 90Wh. Battery status is provided in the camera’s user interface (GUI) when using REDBRICK batteries. Other battery types will report as “D.C”.

Operating the camera from the RED-CHARGER.

Plug the RED-CHARGER into an AC power source between (120 – 240V). Plug one end of the supplied 6-pin power cable into the Aux power output of the RED CHARGER and the other end into the DC power input of the camera. Now turn on the RED-CHARGER.

When the LED above the charger’s Aux power output turns green, you can turn on the camera.

Note: The maximum sustainable power load of the RED-CHARGER is 100W @13.8V. The output of the charger is over current protected, and will shut down if an excess load condition occurs. If the output trips for any reason, remove any external loads from the camera, such as lights, motors etc, turn off the RED-CHARGER and repeat the above procedure.

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5. Basic Operation

This section describes the basic controls of the RED ONE™ camera and how to initiate a project.

Control System and Status Display

Command inputs to the camera are made from the rear status display and associated buttons.

A - Quick Access Access to Exposure, White Balance and Shutter Speed

B - Menu Access Access to Sensor, Video and System menus

C - Menu Control Exit and Undo keys

D - Joystick The joystick is a multi-axis controller used to navigate camera menus.

E - Record Record Stop / Start key

The five buttons above the display control clip playback. From left to right, the keys are Clip Start / Previous Clip, Play Reverse, Clip Play/Pause, Fast Fwd and Clip End / Next Clip.

Note: Quick Access keys may be re-programmed if desired. Enter the menu that you wish assigned to one of these keys, then press and hold the A, B or C key until the camera reports “ User button A/B/C has been assigned to this menu” Subsequent presses of this key will return the camera to that same menu location.

Status Display

The status display mounted at the rear of the RED ONE™ camera provides a snapshot of the camera setup. The elements include –

Timecode / Status reports current timecode value, clip name or system messages

ASA Value reports current exposure index

Project Frame Rate reports the project frame rate, 24.00 fps in this example

Timecode reports timecode lock status

White Balance reports current color temperature

Media reports remaining media capacity in %

Battery reports remaining battery capacity or connection to AC power

Shutter Speed reports current exposure time

Format reports video recording format, 4K RAW in this example

Note: The timecode value reported is Edge Code or Time Code, as selected by the user in the TIMECODE menu. During recording, the Clip Name is reported in this display field.

Setting up a project.

Before recording, the camera must be instructed to follow a Record Quality, Frame Rate and Resolution. These values are set in the PROJECT sub menu located in the SYSTEM menu.

1. Press the SYSTEM menu key, then PROJECT. This highlights the PROJECT sub-menu

2. Push the joystick right, then press to enter the CONFIGURE menu to set the QUALITY

Quality. Choose between REDCODE™ 28 and REDCODE™ 36. Default is REDCODE™ 36.

Note: Choosing REDCODE™ 36 limits available frame rates and resolutions to CF cards.

Note: Leave MAX box checked, unless recording 4K 16:9 and needing real time decode.

3. Next select the project TIME BASE (this parameter was formerly known as Frame Rate)

Time Base: Choose between 23.98, 24.00, 25.00 or 29.97fps. The time base establishes the base frame rate for a project, and so should not be adjusted. Use Varispeed if shooting above or below this base frame rate for slow motion effects.

Note: 2K and 3K record resolutions also support 50.00 and 59.94 fps Project Time Bases.

4. Next select the project RESOLUTION

Resolution. Choose 4K, 3K or 2K, or 2:1 variants. Use 2K or 2K 2:1 for S16mm/B4 lenses.

Note: A project can only support one project Time Base as this defines the frame rate to be used for timecode and for clip playback. It is also the primary frame rate for acquisition, but variable speed (over-crank and under-crank) recordings can be made above and below this base frame rate. On playback these recordings will be displayed at the Project Frame Rate

Note: If operating on a multi-camera production, enter a different Camera I.D for each camera using the SLATE menu; otherwise skip this step; the camera is ready to shoot.

Recording

Check that you have a RED-DRIVE™ attached, or Compact Flash card inserted in the camera. To initiate a recording, press either RECORD button. Press once to begin recording and again to stop recording. The camera will automatically create a file name for every clip recorded on the digital magazine or media.

REDCODE™ RAW data recordings store the Color Temperature and Exposure (ISO) and any RGB color processing values you use in the monitor path as metadata. This metadata is used in RED Alert!™ or other post production software as initial white balance, exposure and color correction points i.e. you can change these if you wish when you process the RAW footage.

Time Code and Edge Code values used by the camera are Non Drop Frame (NDF), Drop Frame (DF) is not supported. Audio is captured at 48KHz 24-bit resolution per channel, uncompressed.

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. To copy the clip from the digital media to a Macintosh or Windows computer, just drag and drop its folder to the computer’s storage device. If you open the Clip folder, it will look like this –

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.

Double click on one of the QuickTime reference movies to see a preview of the .R3D file. Playback frame rate will depend on the processor speed of your computer. If the frame rate is too low, select a smaller QuickTime movie.

Note: to operate with QuickTime under Macintosh OSX, install the supplied REDCODE™ RAW plug-in available at www.red.com/support. Windows is not currently supported.

Playback

Playback of recorded clips is available on-camera using the Transport Control Keys.

The I> key is used to enter PLAYBACK mode, and to initiate playback of the last recorded Clip. Press it once to enter Playback mode, and a second time to start playback. Once in clip playback, this key acts as a Play/Pause toggle.

The >> key permits the Clip to be played back at higher speeds. Each press of this key cycles clip playback between 1 x, 2 x, 8 x and 32 x speed playback.

The << key permits the Clip to be played back in reverse. Each press of this key cycles clip playback between – 1 x, - 2 x and - 8 x speed playback.

The I< key cues the Clip to its Start Frame. If already at the Start Frame, pressing this key again will cue to the Start Frame of the previous clip recorded on the digital media, if one exists.

The >I key cues the Clip to its End Frame. If already at the End Frame, pressing this key again will cue to the Start Frame of the next clip recorded on the digital media, if one exists.

Note: It is not necessary, to exit Playback mode prior to the next recording. To exit playback mode, either press the RECORD key, or press the EXIT key to the left of the joystick.

When in playback, all cursors will be disabled, and the camera provides a clean feed of the recorded video signal at 1280 x 720 resolution on the Preview HD-SDI and HDMI outputs.

Depending on the capture frame rate, pull down will be added to create a standard 1280 x 720 progressive scan 59.94Hz or 50.00 Hz high definition video signal. At this time there is no embedded SMPTE timecode on either the Preview HD-SDI or HDMI outputs, however they both include 4 independent channels of 24-bit 48KHz audio.

Note: If PLAYBACK MODE preference is set to 1080p, HD Preview HD-SDI and HDMI outputs switch 1920 x 1080p progressive scan 10-bit 4:2:2 at 23.98, 24.00, 25.00 or 29.97 fps.

Note: If PLAYBACK LOOK preference is set to CLIP, the color adjust metadata will be read from the recorded clip. If CAMERA, the metadata used are the current camera settings.

Monitoring.

RED-LCD and RED-EVF monitors are factory preset digital displays. There are no saturation, peaking or contrast adjustments as found on analog monitors to correct color reproduction.

Monitor outputs on the RED ONE™ camera are set up for REC 709 gamma and color space. Image intensity can be adjusted to compensate for ambient lighting conditions. For the REDLCD, use the Up / Down keys on top of the display. For the RED-EVF use the rotary encoder.

To assist with exposure, all monitor outputs can display either a dual Zebra pattern or a False Color exposure meter overlaid on the video. In addition the RED-EVF and RED-LCD outputs can display a RGB histogram, exposure “stop lights” and RAW sensor data exposure meter.

RED-LCD Controls.

The top of the RED-LCD provides two round and two triangular keys. On the left is User Key 5 whose function can be defined the USER KEY preferences menu. The two triangular keys in the center are used to increase or decrease backlight intensity. The key on the right switches the display between Video plus Frame Guides and Menus, to Video plus Frame Guides only.

RED-EVF Controls

The RED-EVF comprises the following components: high-resolution color display, focus ring, rotary encoder / switch, two user definable and one fixed function button.

The color display provides a 1280 pixel x 848-pixel resolution progressive scan color image equivalent to viewing a 17” reference color monitor from a distance of approximately 4 ft.

The focus ring on the viewfinder may be adjusted for optimal subject focus for your eye. The available diopter range is +1.5 to -2.0.

The rotary encoder / switch may be used to adjust a variety of parameters. These include the EVF Intensity, but also camera parameters such as Ch1 Audio Level or Ch 2 Audio Level, and Shutter speed, Varispeed frame rate and ISO setting.

To activate this control, push the switch once. Rotate the switch until the white selection box overlays the parameter you wish to adjust. Then press the switch to lock that selection in.

Rotating clockwise increases the parameter value, counterclockwise decreases the parameter value. Push the switch once more to lock the parameter and exit the parameter adjust mode.

INT adjusts EVF backlight display intensity CH1 adjusts Ch 1 microphone audio level CH2 adjusts Ch 2 microphone audio level SHU adjusts Shutter speed VAR adjusts Varispeed frame rate ISO adjusts Sensitivity rating of monitoring OFF EVF control – Active / Disabled

The fixed function button (located closest to the focus ring) selects 1:1 FOCUS CHECK mode. When selected this shows the central region of the MYSTERIUM™ sensor in native 4K resolution.

Note: This function is not available during RECORD.

The central pair of buttons is User Keys 3 and 4. In their default settings USER 3 turns COLOR TOOLS (monochrome or false color) On/Off, and USER 4 turns the METER (e.g. WAVEFORM or FOCUS ASSIST) On/Off. The functions of USER 3 and USER 4 may be changed if desired in the USER KEY preferences menu.

Using external HD-SDI or HDMI monitors.

To aid external monitor alignment, the RED ONE™ camera provides a range of test signals including SMPTE Bars, Back and White Fields, Luma and Chroma Ramps, and a Chip Chart.

Note: the internal test signals cannot be recorded; they are provided to align external video recorders or monitors connected to the camera via the HD-SDI or HDMI ports.

6. Sensor Menu Controls

This section describes how to set sensor specific menu parameters including Sensitivity, Shutter Speed, Color Temperature, Varispeed and Timelapse. To access these functions, press the SENSOR menu key or one of the direct access keys to the left of the status display.

Note: Sensitivity and Color Temperature metadata values are stored as metadata and are also used to modify the RED-LCD, RED-EVF, Preview HD-SDI and HDMI monitor outputs.

They do not affect 12-bit REDCODE™ RAW data recording, the stored metadata values may be used by REDCODE™ RAW compatible NLE and image processing applications if desired.

Sensitivity

Sensitivity: adjusts the camera’s operating sensitivity. The default sensitivity value is ISO 320,

adjustable in 1/3rd stop increments from ISO 100 to ISO 2000. When sensitivity is adjusted, the camera metadata logs the change and the monitor path reacts accordingly.

Color Temperature

Color Temperature: 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.

Preset values are available for Tungsten (3,200K) and Daylight (5,600K). The operator may also manually set any other Color Temperature in the range 1,700 to 10,000 degrees Kelvin.

The Automatic White Balance function allows the camera to calculate a Color Temperature that will render a white object as white. AWB mode analyzes the central 25% of the image visible in the monitor.

To use Auto WB, place a white or gray object under the ambient light, select the Auto WB parameter and then press the Joystick once. Auto WB may also be assigned to a User Key.

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Red Digital Cinema Red One 17.0 Operation Guide

Specifications and Main Features

Frequently Asked Questions

User Manual