Red One Digital Cinema Camera User manual

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RED-ONE Digital Cinema Camera
Operations Guide - Build 16 V3.2.5
Sections: Page
1. Before You Start 2
2. Camera Assembly 3
3. Physical Controls 5
4. Theory of Operation 9
5. Basic Operation 17
6. Sensor Menu Controls 24
7. Audio Video Menu Controls 33
8. System Menu Controls 41
Appendix A. Upgrading camera firmware 59
Appendix B. Digital Media Management 61
Appendix C: Input and Output Connectors 65
Appendix D: Post Production Overview 72

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1. Before you start.
Congratulations on your purchase of the RED-ONE camera. Carefully unpack the camera
body and any accessories. We recommend that you read this section before proceeding.
RED-ONE Digital Cinema Camera
The RED-ONE camera ships with a PL mount. To protect against dust or other contaminants
entering the optical path, ensure the lens cap is used at all times a lens is not mounted to the
camera. Additional lens mounts and adaptors are available for use with non-PL mount lenses.
In addition to capturing12-bit resolution digital RAW images, the RED-ONE camera supports
four channels of 24-bit audio. The RAW images may be captured at a variety of frame rates,
including single frame (still), timed interval (animation) and continuous image (video) modes.
Irrespective of capture mode, the visual quality of each still frame in a RED-ONE digital image
sequence is comparable to an image captured by a 12 mega-pixel RAW digital stills camera.
On-line operational support can be found at www.reduser.net
Contact our service web site at www.red/support or call +1.949.206.7900

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2. Camera Assembly
Connect the power cable from the RED-BRICK v-mount battery plate, RED-CHARGER or RED
AC adaptor to the DC input on the rear of the camera body.
The RED-LCD and RED--EVF viewfinder are mounted to the camera body using a RED ARM. At-
tach 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. Attach the other longer end
of the arm (with the circular locking ring) to a mounting hole in the RED-LCD or RED-EVF.
Now 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 at the top of the lens. Note: The matching S4/I pins are not currently in-
stalled in the RED P/L mount.

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Attach matte box and motors, and any auxiliary power cables required to power these items.
Insert the digital media, such as RED-FLASH 8GB compact flash (CF) card, or connect a RED-
DRIVE via the supplied custom e-SATA cable.
Inserting a Compact Flash card
Attach a RED-BRICK 140 battery using the v-mount battery plate, or connect a RED-CHARGER
using its supplied cable. 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 adap-
tor 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.
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.

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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; and broadcast style B4
mount lenses via the optional B4 to PL mount optical converter. The PL mount may include an
S4/i interface. If installed, this interface permits the camera gather lens metadata from lenses
from RED Digital Cinema and Cooke Optics. Ltd, which support the S4/i protocol.
On the left side of the camera body are a RECORD key and User Keys 1 and 2. User Key 1 is
pre-assigned to AUTO WB and User Key 2 is pre-assigned to FOCUS check, however these
functions can be changed in the KEYMAP preferences menu.
A SD Memory Card slot is provided below this group of keys. This may be used for camera
LOOK storage and software upgrades. A blank 512MB SD card is provided with the camera.

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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 type A port for USB peripheral devices a USB-2 type B port
to connect the camera to a computer, a 5-pin mini-XLR audio output, a 5-pin timecode in-
put/output and four three-pin mini-XLR audio inputs. Finally there are three push lock LEMO
connectors that provide video, communications and power for the RED-EVF and RED-LCD,
and an Aux/RS232 port that can interface to a variety of lens motors and control devices.
One 6-inch length DIN 1.0 / 2.3 to BNC video adaptor cable and one 9-inch length 3 pin
mini-XLR to full-size XLR adaptor cable are provided with the camera. Due to the specific re-
quirements of the RED-ONE camera, use of non-RED adaptor cables is not recommended.
Additional video and audio adaptor cables may be ordered online at www.red.com/store

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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 ac-
cess 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 Aux-
iliary 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
power to accessories such as range finders or compact lens motors. In addition, the upper con-
nector provides a GPI trigger for Record Start / Stop and a Record Tally output. The lower con-
nector provides a GPI trigger for Single Frame Record and a Frame Recorded Tally output.
The DRIVE interface utilizes standard e-SATA protocols, and supplies power and data to record
REDCODE RAW compressed video data plus audio to RED-DRIVE or RED-RAM digital media.
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 5 seconds after the
camera’s green status LED goes off before powering the camera up again.

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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. This should be done in a dust-free environment, as the camera’s op-
tical path will be exposed to the elements.
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 (1-120fps in 2K windowed mode).
Native color balance for the Mysterium sensor is 5,000 degrees Kelvin, but may be electroni-
cally compensated for any color temperature in the range 1,700 to 10,000 Kelvin. White
Balance presets at 3200K and 5600K are available for Tungsten and Daylight lighting.
Mysterium includes integrated 12bit resolution analog to digital conversion for each pixel,
capable of delivering up to 66dB dynamic range (11 stops) when operating at 320 ASA.
Image Processing
Images received from the Mysterium sensor are formatted as pixel defect corrected, but not
color processed, 12-bit RAW data -- similar to data from a high-end digital stills camera. The
sequence of progressive scan RAW images is compressed in-camera using wavelet based
REDCODE, and the compressed image data is stored on a compact flash (CF) card, or on
external e-SATA based digital media. (either a RED-DRIVE or a RED-FLASH magazine)
The RAW sensor data is also converted to a white balanced 10-bit RGB 4:4:4 monitor video
with SMPTE REC 709 color gamut that provides a Program HD-SDI output for external video
recorders, and monitor feeds for the RED-EVF, RED-LCD, Preview HD-SDI and HDMI outputs.

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Audio Recording
The RED ONE includes four channels of analog audio input as well as a headphone monitor
and balanced analog audio output. The camera is supplied with one full size XLR to mini-XLR
adapter cable. The adaptor cable includes components to extended input level compliance.
Note: Due to the specific requirements of the RED-ONE camera, use of non-RED
adaptor cables is not recommended, and is mandatory for phantom power use.
Additional adaptor cables may be ordered online at www.red.com/store
Line level analog audio inputs are immediately digitized at 24 bits per sample at 48KHz
sample rate. Microphone level audio inputs are routed via an adjustable gain pre-amplifier
before digitization; no gain adjustment is available for Line level inputs.
Microphones with an output sensitivity ranging between -30dB and -60dB can be accommo-
dated by the pre-amplifier, which provides user adjustable amplification over the range of
+22dB to +54dB.
For line inputs used with a RED supplied XLR to mini-XLR adaptor cable, full scale (FS) level
will be +18 dBU (6.5 Volts RMS). To achieve 14 dB of input headroom set the nominal input
to a level of +4 dBU (1.3 Volts RMS).
For line inputs used without a RED supplied XLR to mini-XLR adaptor cable, full scale (FS)
level will be +8 dBU (2.0 Volts RMS). To achieve 14 dB of input headroom set the nominal
input to a level of -6 dBU (0.48 Volts RMS).
For microphone inputs used with a RED supplied XLR to mini-XLR adaptor cable, at minimum
pre-amplifier gain (20 dB) full scale (FS) input sensitivity will be -4 dBU (0.48 Volts RMS), and
at maximum pre-amplifier gain (54 dB) full scale (FS) input sensitivity will be -34 dBU (0.015
Volts RMS).
For microphone inputs used without a RED supplied XLR to mini-XLR adaptor cable, at mini-
mum pre-amplifier gain (20 dB) full scale (FS) input sensitivity will be -7 dBU (0.36 Volts
RMS), and at maximum pre-amplifier gain (54 dB) full scale (FS) input sensitivity will be -36
dBU (0.013 Volts RMS).
Live 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 for GUI support is RED-EVF and RED-LCD. If either of these is not present, full GUI
overlay support is automatically enabled on HD-SDI and HDMI outputs.

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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, wave-
forms, 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, wave-
forms, camera status and operation menus.
PREVIEW HD-SDI: 1280 x 720 resolution 4:2:2 video output (720p 50.00 /59.94 Hz).
Note: If only one of either RED-EVF or RED-LCD are connected, this output will also provide
Surround View, frame guides and safe action / title overlays. If a RED-EVF and a RED-LCD
are both physically connected, this output has no overlay except for a 50% opacity grey
shaded frame representing the Surround View area.
PREVIEW HDMI: 1280 x 720 resolution 4:2:2 video output (720p 50.00 /59.94 Hz).
Note: If only one of either RED-EVF or RED-LCD are connected, this output will also provide
Surround View, frame guides and safe action / title overlays. If a RED-EVF and a RED-LCD
are both physically connected, this output has no overlay except for a 50% opacity grey
shaded frame representing the Surround View area.
PROGRAM HD-SDI: provides two extra copies of the HD-SDI PREVIEW signal.
If only one of either a RED-EVF or RED-LCD are present, the 3 HD-SDI outputs and the HDMI
output can support 1280 x 720p video with Surround View, frame guides and safe action /
title overlays.
If only one of either a RED-EVF or RED-LCD are present, the HDMI output (but not the 3 HD-
SDI outputs) can support a 1280 x 848 resolution 4:2:2 video output with Surround View,
frame guides and safe action / title overlays, waveforms, and camera status and operation
menus on the HDMI port. This signal is compatible with most DVI equipped SXGA computer
monitors. *
To select between these modes, press the SYSTEM menu key, and then push the joystick right
to highlight 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)

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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.
*Note: RED has successfully tested the LG L206W (1680 x 1050) PC monitor with an HDMI
to DVI adaptor cable. You should independently test for compatibility with your PC monitor.
Note: If PLAYBACK preference is set to 1080p, in the USER PREFERENCE menu, the following
changes occur when the camera is in playback mode.
- The Preview HD-SDI and HDMI outputs switch to a single copy of a progressive scan 10 bit
4:2:2 1080p signal at 23.98, 24.00, 25.00 or 29.97 fps, based on the recorded clip’s Project
Time Base.
- The Program HD-SDI outputs switches to a single copy of a dual link progressive scan 10 bit
4:4:4 RGB 1080p signal at 23.98, 24.00, 25.00 or 29.97 fps, based on the recorded clip’s
Project Time Base.
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.
-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, 2x image magnify 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.

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System information including instantaneous frame rate, exposure index, shutter speed, color
temperature, recording format, clip name, timecode, battery and media remaining is pro-
vided in the LCD/EVF monitor outputs, and the rear status display on the camera back.
For applications when a RED-LCD or RED-EVF are not desired – for example when working
on a crane – the Surround View video, frame guides, and exposure overlays are also avail-
able 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 on-
board 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 up to 64GB capacity.
Either type of Digital Magazine may be connected to a computer via FireWire or USB-2.

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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 – RECORDING ERROR
NO_DIGIMAG. If this warning is displayed, check the physical mounting of the CF card, or
that the RED-DRIVE is attached to the e-SATA port using the supplied 16 pin LEMO cable.
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.
Post Production
The REDCODE RAW compressed video may be post processed by RED ALERT! or REDCINE
software applications. These applications convert RAW data to RGB video, and correct for
white balance, exposure, tonal response and color timing. Processed footage may then be
exported to a variety of industry standard progressive scan file formats for postproduction.

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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
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.

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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.
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, be-
cause 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 80 watts in a typical configuration. A RED-BRICK 140Wh
battery will run the camera and typical accessories for about 90 minutes. The camera is nor-
mally 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 pro-
vided that they meet minimum current and voltage draw requirements. In general, batteries
rated at less than 7Ah and 90Wh should be avoided. Battery status is only provided in the
camera’s GUI when using RED-BRICK 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 out-
put of the charger is over current protected, and will shut down if an excess load condition oc-
curs. 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. Enter the menu that you wish
to be assigned to one of these keys, then press and hold the A, B or C key until
the camera reports that “ User button A/B/C has been assigned to this menu”
.

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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 in this example
* The timecode value reported will be Edge Code or Time Code, as selected by the user.

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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 the PROJECT key. 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: REDCODE 36 limits the available choices of frame rates and resolutions to CF cards.
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 Frame Rates.
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 Frame Rate 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 (overcrank and undercrank) 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 shoot, you should now enter a Camera
I.D using the SLATE menu; otherwise you are ready to begin shooting.

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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 recordings store the Color Temperature and Exposure (ASA) values you enter
as metadata. This metadata is used to color balance the viewfinder and other monitor outputs.
It is also used in REDALERT! as the initial White Balance point – change it if you wish – when
you process the RAW footage. Timecode generated by the camera is Non Drop Frame.
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 Quick-
Time 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. Typically the preview resolution will be the best
choice for a battery powered laptop computer or older tower configuration model.
Note: to operate with QuickTime under Macintosh OSX, you must install the supplied RED-
CODE RAW plug-in available at www.red.com/support. Windows is not currently supported.