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

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

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).

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.

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.

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.