RED FAQ

RED's invoices do not show any amounts paid to account, but only the total price of items ordered. Your account representative can send an account balance statement on request.

NAB's bombshell was Scarlet, a 3K masterpiece targeting an under $3K price point. Employing a 2/3" 3K sensor, built in 8X T2.8 Zoom lens that maintains speed through the zoom, 4.8" flip out attached LCD, built in stereo mic, internal removable battery, dual CF card slot recording media, all aluminum body and a few secret features even we aren't talking about yet. Scarlet is the camera everybody will want and Scarlet will change the industry. There will be no reservation system for Scarlet; the day it is introduced is the day you can buy yours. Planned introduction is early 2009. The details on Scarlet's systems are forthcoming, as features will evolve over the next year. We had great input at NAB and Scarlet will reflect much of what we heard on the show floor. We are a company that listens and strives to make what the customer wants. The only ones disappointed will be our competitors.

At NAB '08, RED changed the rules, announcing 5K Epic and a trade-in program that shows the industry how it's supposed to be done. All RED One owners will receive a full 100% credit towards the purchase of Epic, supporting RED's commitment to protecting our customer's investment and making obsolescence obsolete. RED One owners will be given the option of trading up to Epic or, after Epic has begun shipping, having their cameras upgraded to a new 4K Mysterium-X sensor, with cost, schedule and performance to be determined. Epic is the result of what we have learned building the RED One. Achieving a 100 fps rate at 5K is the result of the new Mysterium-X sensor, full sized XLR and BNC connectors response to customer feedback, reduced size and weight the result of improved manufacturing techniques and state of the art components. Epic is the feature film flagship of the RED family, built with a total modular model, allowing for years of future proofing. Epic does not replace RED One. RED One will continue to be the mainstay of the RED family, the greatest value of performance/price. We will continue to evolve the RED One and will stay true to our promise ...

RED literally gets requests daily for sponsorship and support of projects. Although we would love to be involved with all the great ideas and programs presented us, we are currently overwhelmed with simply bringing cameras to market. We have taken orders for over 4000 cameras and are working feverishly to deliver those cameras to the patient reservation holders. We simply don't have "extra" cameras laying around, each and everyone of them made has a home. In time, and as the company transitions from start up to established business, we will have the resources and inventory to be able to support much of the truly deserving projects that are out there. Red's success will insure the community's success.

RED's tech support team is available 24/7 for hardware and firmware-related concerns. For time-critical issues, you can reach RED by phone at 949.206.7900, Monday-Friday from 8am to 5pm PT. After hours by telephone, please leave a voicemail for Technical Support and a Technical Support Representative will be immediately paged. For non time-critical issues you may use the Contact Us webforms on RED.com red.com/contact_us and create a Technical Support Ticket.

For software concerns, please note that REDCINE, RED Alert!, RED Log and Transfer Plugin are all BETA software and community-supported. Support can be found on the REDUSER 4k WORKFLOW forums. RED's internal workflow experts address issues on the 4k forums as much as possible.

RED currently has no provision for will call at the RED facility. In time, and as resources allow, RED will make it possible to take delivery of your camera at our Southern California facility, but currently we do not have the man power to support an on-site retail delivery.

New camera owners are contacted following their camera's delivery and invited to a RED Day boot camp, where camera function, available accessories and edit workflow is explained. These boot camps are by invitation only. Ultimately, as resources allow, RED Headquarters will be open to public visitation in the form of a RED Store, where anyone can come to learn about RED products.

There is no official training program offered at RED currently and RED has no Certification Program in place.

At RED Digital Cinema, we have a customer support team known as the Bomb Squad that is here to help with any questions that you have. RED will help you design your RED ONE purchase to perfectly meet your individual needs. Contact the Bomb Squad.

Currently, programs are popping up all over, hosted by vendors, rental agents, post houses and the community in general, to support the RED ONE's acquisition and editing workflow. RED offers RED Days for new owners, by invitation only, in the form of a boot camp, at RED Headquarters in Lake Forest, Ca.

Without question, the greatest resource for information on the RED ONE is REDUSER.net, a forum created for the RED community.

If you are experiencing any issues with REDCINE, you may want to reinstall it or update it. There is a procedure that must be used in order for the new installation to run properly. First you will want to delete the REDCINE folder from your system (make sure you don't have any projects or snapshots saved there that you wish to keep).
On a Mac you will find the Redcine folder here:

System Hard Drive>Library>Redcine

On a PC you will find it here:

C:\Documents and Settings\All Users\Application Data\REDCINE

Once this folder has been deleted you can download the latest version of Redcine from red.com/support and install it. This procedure should be followed whenever Redcine is reinstalled.

At this point there are 4 applications that can work with Native R3D footage, they are REDCINE, RED Alert, Scratch and Final Cut Pro 6.02 and later. REDCINE and RED Alert are complimentary applications for transcoding footage from the RED ONE camera and also allow for some basic "One Light" color correction and Shot Framing.  REDCINE is cross platform, RED Alert is Intel Mac only. FCP is Mac only and needs to be on an Intel Mac in order to utilize the REDCODE plugin, NOTE FCP only uses the QT reference files which access the RAW R3D files, it does not actually use the Native R3D files to edit with.  Scratch can open and work with Native R3D files.

There is a setting in the Preferences dialogue in Quicktime Player that allows you to avoid the Apple Gamma Correction, which convert all Gamma space to 1.8. By selecting (or sometimes deselecting) this option you can disable this function, there by allowing the correct 2.2 Gamma to be displayed on your monitor.

You can get the Quicktime Reference Files created in camera to play without rendering by simply dragging any RDC folder containing the R3D file and associated QT reference movies into the FCP bin, FCP will not recognize the R3D files but it will recognize the QT reference movies as long as you are using FCP 6.02 or later and have the REDCODE plugin installed on your Intel Mac. FCP will ask if you want to change the sequence settings to match the new media, select yes and that should do it. If you still have a red bar in the Timeline then you will probably need to set the RT setting to Unlimited RT.

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 ...

Mac:
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

PC:
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.

All RED Software (including REDCINE and RED ALERT) for Macintosh are only compatible with INTEL Macintosh.

REDCINE and RED ALERT are downloads available on the RED.COM website support page. They are universally available for download at no charge.

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.

The RED ONE provides full playback in camera with audio available through the headphone jack.

Although the RED ONE has no internal microphone, it does provide 4 separate Mini-XLR connectors.

The RED ONE offers four discreet channels of audio recording.

The RED ONE offers no standard definition output.

1080P is available as a playback output only, through the HD-SDI Dual Port and HDMI port.

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.

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.

(4) Mini-XLR Balanced Audio Inputs (48V Phantom Power) (1) MiniJack Headphone 2 ch Output (1) Audio Monitor 2 ch. Output (1) Timecode In/Out (1) Genlock (1) EVF 1280x848 Video Output (1) LCD 1024x600 Video Output (2) Single 720P/ Dual Link 1080P HD-SDI (1) Preview HD-SDI 720P (1) HDMI Output (1) USB2 (Type A) (1) USB2 (Type B) (1) B4 Lens Power Connector (12V Regulated) (1) Power Input (11.5 - 17V DC) (2) Aux Power Outputs (battery pass-through) 1A & GPIO (1) Drive Connector (eSata & Power)

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

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.