The RED ONE camera currently offers 3 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. Introduced concurrently with Build 16 was the 16GB card, doubling the performance in recording time of the 8GB card.

The second solution is the RED DRIVE (RAID) which comprises two 320GB drives in a RAID 0 configuration. This solution provides over 5 hours of 4K/24 fps record time (again, dependent on compression).

The third solution is RED RAM, a Solid State drive technology, offering the combined advantage of shock proof, robust design with long recording time. The current capacity of RED RAM is 128GB, affording over half an hour of 4K/24 ...

RED is both an engineering and design company and we are working, at any given moment, on a variety of new technologies, never resting, always anticipating the next new thing. Often times we can't hold back our own excitement and announce product that is a ways down the line. The ability to monitor the delivery status of all RED items can be followed on our Delivery Schedule page on REDUSER.net at: http://www.reduser.net/forum/showthread.php?t=7253

RED strongly recommends the use of RED branded 8GB and 16GB cards. RED has tested virtually all high speed 8GB cards and put their name on the best performance product, while developing their own 16GB card. 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.

As of November 10th, 2008, the backorder on RED ONE's is fulfilled, so there is no longer a wait to receive your camera. Orders will continue to be made through the red.com order site.

RED literally gets requests daily for sponsorship. Although we would love to be involved with all the great ideas and programs presented us, we have been overwhelmed with simply bringing cameras to market. We have taken orders for over 5000 cameras and have, just recently, fulfilled the backorder.

With new development in the wings, RED's resources continue to be stretched thin, both in manpower and in product. In order to provide the exceptional performance to price ratios that RED has achieved in their revolutionary offerings, our overhead is cut to the bone, eliminating the traditional costs of advertising and promotion. This currently prevents us from offering sponsorship or support for all the great projects and events that are presented us. As the company matures and success brings with it additional resources, we will enjoy giving back to the community in as many ways as we can.

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.

New to the Los Angeles area is REDucation, a series of classes that have received the blessings of RED Digital Cinema. These 3 day classes are currently concentrating on Production and Post Workflow, respectively. In October, November & December of 2009, there were one week long trainings, made up of one 3 day production class and one 3 day post class. Separating these two classes were a Community Day, open to the general public, where 30+ vendors came to show their RED support. For details on REDucation and the upcoming 2010 schedule, go to http://reducation.net/index.html

Without question, the greatest resource for information on the RED ONE is REDUSER.net, a forum created for the RED community. Virtually any question about the RED One, its operation and workflow, is addressed on the reduser site.

Currently, in the Los Angeles area, home to the largest percentage of cameras in the world, there are classes under way, supported by RED, and receiving great feedback as the ultimate learning experience for the RED Revolution. Offered as two separate 3 day courses, Camera Production and Post Workflow, and combined into a one week training program, REDucation offers the best all-around introduction to RED Science. REDucation 2010 Class Schedule and details can be found at: http://reducation.net/index.html

REDCINE-X and RED ALERT are only compatible with INTEL Macintosh and not compatible with Power PC G3, G4 and G5.

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

REDCINE-X 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-X 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-X can batch process, crop, resize and reposition footage, as well as offer a much more advanced option list of compression and export file choices. REDCINE-X is the evolution of RED's original REDCINE program, combining much of the function of REDCINE, REDRushes and RED ALERT!

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.

RED has opened the RED Store at its Southern California Lake Forest facility. At the RED Store is a product specialist who can explain camera function and workflow solutions, while providing a RED One "hands on" experience. Store hours are 9-5, M-F. The store also offers on-site sales of all available non-backordered accessories. Call (949) 206-7900 for additional information.

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.

The RED One camera allows for a variety of capture options. They are as follows:

2K 2:1 2048x1024

2K 16:9 2048x1152

2K Anamorphic 1382x1152   

3K 2:1 3072x1536

3K 16:9 3072x1728

3K Anamorphic 2074x1728

4K 2:1 4096x2048

4K 16:9 4096x2304

4K HD 3840x2160

4K Anamorphic 2764x2304

4.5K 4480x1920

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.

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.