FREQUENTLY ASKED QUESTIONS
What are quicktime reference files?
Quicktime Reference Files are not self contained movies, they are referencing the actual source footage through an "on the fly" wavelet extraction and played through Quicktime player using our Redcode plugin. Reference files have the ability to extract up to Half of the source file's image data, so if you were to shoot in 4K 2:1 and view the H quality reference file in Quicktime you would be seeing a 2K version of your source footage. Quicktime Reference Files contain 4:4:4 color sampling, a REC709 color space which is the standard for HD video and a 2.2 REC709 Gamma Space.
The H quality Reference File is always accessing HALF of the source image data (R3D file)
The M quality Reference File is always accessing HALF of the H quality reference file (so if you shot 4K 2:1 the M quality Ref File would be 1024x512).
The P quality or PROXY Reference File is always accessing HALF of the M quality Ref File (so if you shot 4K 2:1 the P quality Ref File would be 512x256).
Reference Quicktime Movies are useful for offline editing of RED ONE material as they do not require any render time, however, you ...
What are the minimum system requirements for editing?
Intel 2.0 dual core or better
ATI graphics card is ideal however I have run tests on NVIDIA in the new MBP and MacPro and it seems to work fine.
OSX 10.4 or newer.
7200 RPM Hard Drive
Intel 2.0 dual core or better
NOTE: you can use AMD processors but they need to be MODERN AMD, which would have to be a fairly recent release as I believe they are behind just a bit on Intels.
NVIDIA graphics card, this is important on the PC as ATI cards are known to cause conflicts. 8600GT or better will work.
XP with SP2
7200 RPM Hard Drive.
Can I use REDCINE and RED ALERT on my Mac G5?
All RED Software (including REDCINE and RED ALERT) for Macintosh are only compatible with INTEL Macintosh.
Do REDCINE and RED ALERT come with the camera and how much are they?
REDCINE and RED ALERT are downloads available on the RED.COM website support page. They are universally available for download at no charge.
What are REDCINE and RED ALERT?
REDCINE and RED ALERT are software programs that act as telecine "film to video" converters, converting the REDCODE RAW data into RGB video, providing basic one light image processing and color correction. REDCINE is available for both Mac and PC Intel based computer platforms, while RED ALERT is Intel Mac OS only. To add to its ability to adjust Color Temperature, Saturation, Contrast, Brightness, and RGB gain, RED ALERT also offers the ability to generate QuickTime proxies from the RED ONE's R3D RAW files. While offering even more image control with R3D files, REDCINE can crop, resize and reposition footage, as well as offering a much more advanced option list of compression and export file choices.
Can I play back footage on the RED ONE?
The RED ONE provides full playback in camera with audio available through the headphone jack.
Does the RED ONE have a built in microphone?
Although the RED ONE has no internal microphone, it does provide 4 separate Mini-XLR connectors.
Does the RED ONE record audio?
The RED ONE offers four discreet channels of audio recording.
Is there a Standard Definition output on the RED ONE?
The RED ONE offers no standard definition output.
Can I get 1080P out of the camera directly?
1080P is available as a playback output only, through the HD-SDI Dual Port and HDMI port.
What resolution are the outputs on a RED ONE?
The EVF video output is 1280 x 720 Progressive, the LCD video output is 1024 x 600. 720P can be tapped from the HDMI and HD-SDI ports, while HD-SDI Dual Port and HDMI will provide 1080P output in playback only.
Are the buttons on the RED ONE user-definable?
Build 16 has offered the ability to custom define many of the control buttons on the RED One. These include the two user buttons on the side of the camera, as well as the ABC buttons to the left of the rear display. Two additional user buttons on the EVF as well as one button on the LCD can also be defined.
What is the focal length ratio, relative to 35mm, of each format?
Given 35mm 36mm x 24mm = 1.0X RED 4K 22.2mm x 12.6mm = 1.62X RED 3K 16.65mm x 9.36mm = 2.16X RED 2K 11.1mm x 6.24mm = 3.24X
What is scaled vs. windowed?
When shooting with the RED One, one is always benefited in shooting at 4K, which offers the highest legacy resolution possible, as well as offering the user the option of choosing a lower resolution finish with all the DOF control of full sensor recording. When choosing 2K or 3K acquisition, the RED sensor is "windowed", that is to say, a smaller area of the sensor is used, creating less selective focus, but having the advantage of allowing higher frame rates and longer recording times.
Shooting 2K "scaled" means that the 4K area of the sensor is sampled and downrezed, or scaled, to 2K to enable a 2K recording with 4K DOF (depth of field). Scaled capture is not available on the RED One. Because scaling is processor intensive, requiring full sensor scan and de-interpolation, there is no frame rate increase with scaled technology. The beauty of shooting 4K originals is the ability to scale in post to any res necessary, 3K, 2K, 1080P, 720P, all with 4K DOF.
What is the area of coverage for 2K, 3K, and 4K?
4K recording utilizes the full sensor, a 22.2mm x 12.6mm area, 3K uses a smaller windowed area at 16.65mm x 9.36mm area, and 2K uses an 11.1mm x 6.24mm portion of the sensor.
What is the sensor size of a RED ONE?
The RED ONE sensor is an APS-C sized sensor, similar in size to those used in DSLR still digital cameras, as well the same area as Super 35 film. Sensor dimensions are 24.4mm x 13.7mm.
Can I do time lapse or stop frame animation with the RED ONE?
The RED ONE has a built-in intervalometer and the ability to capture single frame by automatic control, record button or GPI trigger.
Can I record SD, 720P or 1080P on a RED ONE?
The RED ONE does not natively record SD and HD footage. The beauty of the R3D files that the RED ONE creates is that, regardless of the acquisition resolution, the clips can be scaled down to 1080P, 720P or even SD in the editing process, while maintaining the depth of field created by the larger sensor.
What resolution choices do I have with a RED ONE?
Frame Size Resolution
4K 2:1 4096x2048
4K 16:9 4096x2304
3K 2:1 3072x1536
3K 16:9 3072x1728
2K 2:1 2048x1024
2K 16:9 2048x1152
Anamorphic 1.2:1 2764x2304
What are the maximum frame rates for CF card and RAID in 4K, 3K and 2K?
As of Build 15, the maximum frame rates allowable on flash and drive are as follows:
REDCODE 28 RED FLASH RED DRIVE
2K 2:1 113 fps 120 fps
2K 16:9 100 fps 100 fps
3K 2:1 50 fps 60 fps
3K 16:9 36 fps 50 fps
4K 2:1 25 fps 30 fps
4K 16:9 25 fps 30 fps
REDCODE 36 RED FLASH RED DRIVE
2K 2:1 89 fps 120 fps
2K 16:9 79 fps 100 fps
3K 2:1 36 fps 50 fps
3K 16:9 30 fps 36 fps
4K 2:1 n/a 25 fps
Can I use 3rd party CF cards?
RED strongly recommends the use of RED branded 8GB cards. RED has tested virtually all high speed 8GB cards and put their name on the best performance product. Due to the tremendous amount of data being written to these cards, it is only the very highest speed cards that can handle the data stream. RED is currently testing 16GB cards and will only sign off when the card meets our stringent requirements.
What are the differences between the memory/recording options RED offers?
The RED ONE camera currently offers 2 solutions for recording.
First, and recommended as the most reliable, bullet-proof and dependable solution, is recording directly to compact flash, using the RED CF Module, an internal recording solution that adds $500 to the cost of the body. This solution is so viable that RED builds every body with this option in place. In addition to providing the best recording solution, it also allows the best method for uploading firmware builds for the camera. Recording times for a RED 8GB CF card run between 4 and 5 minutes, depending on resolution and compression, roughly the equivalent of a 400' film reel.
The second solution is the RED DRIVE (RAID) which comprises two 160GB drives in a RAID 0 configuration. This solution provides roughly 3 hours of 4K record time.
What is REDCODE 28 vs. REDCODE 36?
Although it is tempting to ascribe MB/sec. to the two compression choices, they simply represent a rough value to the compression, which varies as a function of the image complexity and detail. Traditional shooting would be well suited to REDCODE 28, while REDCODE 36, using less compression, would be beneficial for high detail or complex scenes. It's also important to note that these figures are megaBYTES per second, not megaBITS per second. As an example, HDV is a format that provides 25Mb/sec (megabits per second) while the RED ONE runs, as a default 4K, at roughly 28 MB/sec (megabytes per second), which is equivalent to 224 Mb/sec. (megabits per second), almost 10 times the amount of information as HDV.
What is REDCODE?
REDCODE is the magic codec that compresses 4K RED RAW into a manageable file size that can be recorded on any media from a compact flash card to a spinning drive. Without REDCODE, a 4K 24 fps information stream runs as high as 20GB/min.
How does shooting RAW affect my white balance, levels, ASA and exposure?
Shooting RAW differs from traditional video recording in that recording a video signal requires adjusting color temperature, exposure, gain, sharpening, knee, toe, pedestal and black levels prior to processing the signal. In a RAW capture, all this information can be addressed after the recording is made. The sensor simply captures what it sees and all processing takes place in post, offering the ability to make all adjustments for the perfect picture in the editing process. Exposure, in the form of shutter and iris, is the only finite adjustment that need be made, at time of capture, to obtain the correct image.
What is RAW?
One of the most unusual facets of the RED ONE is the fact that it captures information, unprocessed, off of a Bayer Pattern CMOS sensor. This raw data is simply all the information that the sensor is able to "see", comprising all color information in a single channel, and is not processed. Identical to the way a DSLR still camera captures a RAW file, this enables the user to adjust parameters after the fact, as color, gain and sharpening can all be done post capture.
How do I know which Build is on the camera?
When the camera boots up, it displays the firmware build and serial number.
What is a Camera Firmware Build?
RED has engineered the RED ONE to be capable of extraordinary performance, thanks to its sophisticated FPGA design. Although more expensive in nature to build, the system allows for re-programming, which allows capabilities to be added through firmware builds. With each build, the RED ONE becomes more feature-rich and exceeds the abilities originally imagined for it. With the implementation of Build 16, the RED ONE has fulfilled all its promises and then some. Future builds will continue to add features, increase performance and solve new challenges, while always being free of charge and part of the experience for the RED ONE owner.
What size batteries can I use on the RED ONE and what is the running time?
The RED Brick battery rated at 140Wh will provide 2 hours of camera on-time, whether in standby or record mode. The V-lock system that we provide is an industry standard allowing the use of other manufacturer's cells, although not allowing the camera-intelligent features of remaining time/battery status that the RED Brick offers.
Can I use alternative LCDs on the RED ONE?
The HDMI port would be recommended for any other manufacturer's LCD product. The RED ONE does not offer a standard definition monitor port.
Will any HDMI monitor or TV work for monitoring output?
Because of the varying standards of the "consumer based" HDMI protocol, not all computer monitors and televisions can accommodate the 1280 x 720 signal. Currently, the following monitors have been tested and recommended by REDUSERS as offering full screen display and menus:
Sony KDL26S3000 26"
Gateway FHD2400 24"
Why do I see menu information on the LCD and EVF, but not the HDMI output?
The RED ONE, as of Build 15, is all outputs enabled, supporting a RED EVF, RED LCD, (3) HD-SDI outputs and one HDMI output simultaneously, with two of these outputs supporting full GUI overlay graphics. Default for GUI (menus) is RED EVF and RED LCD. If either monitoring option is not present, GUI overlay is available to the HD-SDI or HDMI outputs. So, the GUI overlay can only be sent to two monitoring options at a time.
Can I use a remote to control the camera?
Yes, DECODE provides one GPIO trigger interfaces.
Can I utilize Phantom Power for my mics?
Yes, the RED ONE supplies 48V phantom power.
What types of mics does RED support?
RED is compatible with both self powered microphones as well as mics requiring 48V phantom power. It is recommended that the microphone has an output sensitivity ranging between -30db and -60db.
Do I need an adaptor to attach a 2/3″ lens and can I power the lens?
The adaptor necessary for attaching a 2/3" lens to a RED ONE is available from RED as the PL to B4 Mount adaptor. It requires shooting in 2K as the lens coverage is insufficient to cover the 4K sensor. Power is available from the camera via the Auxiliary/Lens Port connector which provides a 500mA 12V supply.
Do the information pins work on the lenses?
Although designed to work with RED and Cooke "i" lenses, that feature is not currently enabled.
What type of lens can I put on a RED ONE?
The RED ONE offers a variety of choices when it comes to lens options by virtue of its interchangeable PL lens mount. All PL mount lenses are compatible and capable of covering the full sensor area. With a Canon or Nikon mount adapter (replacing the removable PL mount), one can use traditional Canon and Nikon 35mm still camera lenses and also have full sensor coverage. S16 lenses with PL mounts may also be used, but for use with 2K recording only, as the coverage will be insufficient for full sensor. With RED's PL to B4 Mount adaptor, standard 2/3" video lenses may be used with the RED ONE, also with a 2K windowed sensor.
What is the power consumption of a RED ONE?
The RED ONE draws 75 watts of power and consumes a RED Brick battery (140 Wh.) in approximately 2 hours, this in either standby or recording mode.
What are the advantages of shooting digital vs. film?
Beyond the obvious advantage of cost savings with the elimination of film and processing, both consumable products, it is the benefit of being able to watch dailies immediately, in real time, that make shooting digital such a superior experience. In adding the extraordinarily high quality of 4K capture and at such an affordable price, RED has tipped the scales for the industry.
How do I view 4K?
4K digital cinema files can be film recorded and prints made to be projected using a traditional film projector or the files can be loaded onto a digital recorder and projected using a 4K video projector. RED has announced a new 4K delivery system to be shown for the first time at NAB '08. The 4K proxies can also be viewed as 2K Quicktimes on a high resolution computer monitor.
How does 4K compare to 35mm film?
Most 35 mm film outs that have gone through a scanning process have been scanned at 2K, or one quarter the resolution of 4K. Only extremely high content VFX work is generally scanned as high as 4K. Viewers that see RED footage for the first time either describe the quality as 65 mm film or "grainless 35". More pragmatically, it is the elimination of the cost of film and processing that make the RED ONE so economically attractive, in addition to its extraordinary quality.
Is the RED ONE a video camera?
RED does not record video, which is defined as an RGB signal. Think of the RED ONE as a RAW recording DSLR that shoots as high as 120 fps at 2K (30 fps at 4K). The RED ONE can, however, output converted RGB video to its EVF, LCD, HD SDI and HDMI monitor outputs.
How does the Red One differ from a traditional HD cam?
HD cams come in many flavors, recording anywhere from 720P resolution to as high as 1080P, using anything from a standard definition sensor with interpolation to a true 1920 x 1080 pixel sensor. In the very highest quality HD cams, the RGB signal is not subsampled, offering the best HD quality at 4:4:4 (HDCAM SR). Typically, the chroma is subsampled at 4:2:2 RGB (DVCPRO HD) and 4:2:0 (HDV). Effectively, where HD leaves off, the RED One begins, offering 2K, 3K and 4K recording options. RED uses a sensor measured at 4520 x 2540 pixels, more than 4 times the number of pixels of the very best HD cam and records the signal as a RAW input, similar to a DSLR, with no color subsampling. All information travels in a single channel, as opposed to three separate RGB channels. Where a video camera requires the setting of white balance, color and gain before recording, these are all adjustments that can be made to a RAW recording after the fact, thus making the process of capture all the easier. The greatest benefit to the cinematographer is the fact that the sensor on a RED One is Super 35 sized at 24.4mm x ...
Can the RED One record in Black & White?
The RED One records a RAW signal off of the sensor so the color saturation can be removed in post production. The RED One offers the ability to remove color in-camera in the recording metadata, so that when it is brought into post, the image is in black and white. It is important to note that the REDCODE signal in the camera is RAW and untouched by color or gain adjustment in camera.
What are the physical dimensions of the RED One?
The RED One body only is roughly the size of a bread box, 12.02" tip to tip, 6.34" tall and 5.20" wide.
How much does the RED ONE weigh?
The weight of a RED ONE body is 10lbs. The standard 18-50 RED lens is an additional 2.5 lbs. Fully configured with battery pack, viewfinder, media recorder, matte box, rail system, et al, the RED ONE package can weigh as much as 30 lbs.
What material is the RED One made of?
The RED One body is cast aluminum. No plastic is used in the manufacture of a RED One.