Overview

Red One Camera Revolution

PROKIT RED Hire packages allow

• Amazing Resolution: 4K
• 35mm. depth of field
• Beautiful pictures
• Low price: hire film quality cameras for HD prices

All you need to know

Advantage of Red One 4K Camera

• Where HD leaves off, RED One begins
• Most people describe 4K as looking like "grainless 35mm"
• Eliminate the cost of film and processing

Configure the camera to suit your needs

• Record 4K, 3K or 2K
• Record to RED Flash Card or RED Drive
• Full production set up with Viewfinder (EVF), Monitor (LCD), long lens, matte box etc.
• Or go lightweight for shoulder, crane or Steadicam work
• Or use as a stills camera

RAW Files

• Recording video requires adjusting colour temperature, exposure, gain, sharpening, knee, toe, pedestal & black levels before recording the signal
• In a RAW capture, all this information can be addressed after the recording
• Adjust for perfect picture in editing
• Exposure, in the form of Iris and Shutter, is the only finite adjustment needed at the time of capture

REDCODE

• REDCODE is the magic codec that compresses 4K RAW into a manageable file size
• 4-5 minutes of 4K on one RED Flash card
• 2 1/2 hours of 4K on one 320GB RED Drive
• Without REDCODE a 4K, 24fps stream runs as high as 20 GB / min
• Visually lossless

System Menu

• Project - set resolution, frame rate, quality, time code options, camera ID
• Set-up - re-set black levels, fan options, display shutter in angles or speed, restore factory defaults
• Monitor - test signal options, choose overlay options when both EVF and LCD are present
• Sound - record enable, phantom power
• Media - format

Video Menu

• Look - customize the look: change saturation, brightness, colour gain, tone curves, etc. (changes Metadata only)
• Viewfinder - Colour / Black & white, Zebra options, dark detail, edge detail, edge highlight: red = in focus
• Viewfinder - False Colour: a type of exposure meter (yellow/red = overexposed, green = 18% grey, blue = underexposed, purple = no information)
• Audio - adjust gain levels, headphone options

Sensor Menu

• Colour temperature - presets or manual (changes Metadata only)
• Sensitivity - ASA 100 - 2000 (default ASA 320)
• Shutter - Genlock sync, independent of frame rate, vary the shutter speed relative to frame rate
• Varispeed - set maximum frame rate dependent on media and file type, set ramp speed and duration
• Timelapse - interval (1 - 1024 seconds), number of frames, 'one shot' triggered by record button

Workflow

• Transfer from Flash card with CF reader (Firewire 800), or with Firewire / USB-2 cable from the RED Drive
• As well as the RAW footage, the RED One Camera generates 4 Quick Time reference movies that point to the full resolution REDCODE RAW (.R3D) files
• Full, High, Medium and Proxy resolutions permit the REDCODE RAW footage to be displayed and rough cut or edited offline
• Establish a robust and comfortable workflow
• Always make copies of the original RAW files to external drives
• Use www.red.com/support to download free software programs: REDCINE and RED Alert
• They act as telecine "film to video" converters, converting REDCODE RAW data into RGB video
• They allow for basic "one light" image processing and colour correction
• Your adjustments will not affect the source .R3D file

RED Alert

• Adjust colour temperature, saturation, contrast, brightness, and RGB gain
• Generate QuickTime Proxies - apply your first light correction or adjustment settings to the original Proxy, or generate a new Proxy

REDCINE

• Adjust colour, saturation, shadow, contrast, brightness, luminance and RGB gain
• Crop, resize and reposition footage
• More advanced list of compression and export file choices, more viewing options
• Displays Metadata information from the original .R3D file
• Rename and re-organise clips
• Create multiple grades and review

Edit natively...

• Use Log and Transfer within Final Cut Pro to natively edit your .R3D files
• Final Cut Pro will place a 2K Quick Time wrapper around your 4K file
• All colour adjustments can be done in 'Color'
• Much faster than transcoding

...Transcoding

• For Final Cut Pro, v 6.0.2 or later, use ProRes 422, or edit natively
• For film projects, use DSPX files
• For Avid Adrenaline use DNX codec, generating MXF wrapped media
• For Adobe Premiere, no need to transcode, edit natively

Red Camera Full Specifications