4K recording utilizes the full sensor, a 22.2mm x 12.6mm area, 3K uses a smaller windowed area at 16.65mm x 9.36mm area, and 2K uses an 11.1mm x 6.24mm portion of the sensor.

The RED ONE sensor is an APS-C sized sensor, similar in size to those used in DSLR still digital cameras, as well the same area as Super 35 film. Sensor dimensions are 24.4mm x 13.7mm.

The RED ONE has a built-in intervalometer and the ability to capture single frame by automatic control, record button or GPI trigger.

The RED ONE does not natively record SD and HD footage. The beauty of the R3D files that the RED ONE creates is that, regardless of the acquisition resolution, the clips can be scaled down to 1080P, 720P or even SD in the editing process, while maintaining the depth of field created by the larger sensor.

Although it is tempting to ascribe MB/sec. to the three compression choices, they simply represent a rough value to the compression, which varies as a function of the image complexity and detail. Traditional shooting would be well suited to REDCODE 28, while REDCODE 36 or REDCODE 42, using less compression, would be beneficial for high detail or complex scenes. It's also important to note that these figures are megaBYTES per second, not megaBITS per second. As an example, HDV is a format that provides 25Mb/sec (megabits per second) while the RED ONE runs, as a default 4K, at roughly 28 MB/sec (megabytes per second), which is equivalent to 224 Mb/sec. (megabits per second), almost 10 times the amount of information as HDV.

There are three compression settings on the RED ONE, REDCODE 28, REDCODE 36 and REDCODE 42.

REDCODE is the magic codec that compresses 4K RED RAW into a manageable file size that can be recorded on any media from a compact flash card to a spinning drive. Without REDCODE, a 4K 24 fps information stream approaches two gigabytes per second.

RED has engineered the RED ONE to be capable of extraordinary performance, thanks to its sophisticated FPGA design. Although more expensive in nature to build, the system allows for re-programming, which allows capabilities to be added through firmware builds. With each build, the RED ONE becomes more feature-rich and exceeds the abilities originally imagined for it.

With the implementation of Build 21, the current Release Build, RED has exceeded the expectations of what people thought the RED One was capable of, bringing a lower compression codec (REDCODE 42) and a higher 4.5K Wide Screen recording capability. Adding new color science, exposure control and a long list of features and capabilities, the RED One continues to evolve, with each release becoming a more formidable tool. Future builds will continue to fine tune, increase performance and solve new challenges, while always being free of charge and part of the experience for the RED ONE owner.

Shooting RAW differs from traditional video recording in that recording a video signal requires adjusting color temperature, exposure, gain, sharpening, knee, toe, pedestal and black levels prior to processing the signal. In a RAW capture, all this information can be addressed after the recording is made. The sensor simply captures what it sees and all processing takes place in post, offering the ability to make all adjustments for the perfect picture in the editing process. Exposure, in the form of shutter and iris, is the only finite adjustment that need be made, at time of capture, to obtain the correct image.

One of the most unusual facets of the RED ONE is the fact that it captures information, unprocessed, off of a Bayer Pattern CMOS sensor. This raw data is simply all the information that the sensor is able to "see", comprising all color information in a single channel, and is not processed. Identical to the way a DSLR still camera captures a RAW file, this enables the user to adjust parameters after the fact, as color, gain and sharpening can all be done post capture.

When the camera boots up, it displays the firmware build and serial number.

When you become a registered owner of a RED ONE camera, you are given a user name and password to allow you to download firmware.

RED provides free downloads of Firmware Builds to all registered owners on its Customer Support page at red.com. The download is then placed on a CF or SD card and placed in the camera. Upon booting, the camera's display will acknowledge the recognition of a new build on the inserted media and cue the user to accept or deny.

RED does not offer a Canon lens mount option at this time.

There are several manufacturers on the market offering Canon mount adaptors. Be sure to contact RED Customer Service before adapting your RED camera to verify that the mount does not void your RED warranty.

RED values the support of third party manufacturers and welcomes the addition of many products hitting the market to join the RED Revolution. Although we don't authorize or put our "seal of approval" on all accessories, we certainly encourage the creative process that generates new items that we haven't even thought of. The ultimate decision of purchase is left to the consumer.

The RED Brick battery rated at 140Wh will provide 2 hours of camera on-time, whether in standby or record mode. The V-lock system that we provide is an industry standard allowing the use of other manufacturer's cells, although not allowing the camera-intelligent features of remaining time/battery status that the RED Brick offers.

The HDMI port would be recommended for any other manufacturer's LCD product. The RED ONE does not offer a standard definition monitor port.

Because of the varying standards of the "consumer based" HDMI protocol, not all computer monitors and televisions can accommodate the 1280 x 720 signal. Currently, the following monitors have been tested and recommended by REDUSERS as offering full screen display and menus:

• Westinghouse L2410NM
• HP w2007
• Sony KDL26S3000 26"
• Dell 2405
• Gateway FHD2400 24"

The RED ONE, as of Build 15, offers all outputs enabled, supporting a RED EVF, RED LCD, (3) HD-SDI outputs and one HDMI output simultaneously, with two of these outputs supporting full GUI overlay graphics. Default for GUI (menus) is RED EVF and RED LCD. If either monitoring option is not present, GUI overlay is available to the HD-SDI or HDMI outputs. So, the GUI overlay can only be sent to two monitoring options at a time.

The cables for the LCD and EVF are interchangeable, however, their respective connectors on the camera are not, each providing a different output. The Drive cable is not compatible with either monitor.

The resolution of the RED EVF is 1280 x 848.

The resolution of the RED LCD is 1024 x 600.

Yes, the RED ONE provides 2 GPIO trigger interfaces.

Yes, the RED ONE supplies 48V phantom power.

RED is compatible with both self powered microphones as well as mics requiring 48V phantom power. It is recommended that the microphone has an output sensitivity ranging between -30db and -60db.

The only RED lens with a viable front filter thread is the 18-50, which uses a 72mm diameter filter (inset in front lens barrel). The 50-150 and 300 do not have standard filter threads. The 300 does accept 43mm filters in a filter holder in the rear of the lens. The front diameter (for mounting pro shades or matte boxes) for the 18-50 and 50-150 is 114mm. The front diameter of the 300mm is 117mm.

The adaptor necessary for attaching a 2/3" lens to a RED ONE is available from RED as the PL to B4 Mount adaptor. It requires shooting in 2K as the lens coverage is insufficient to cover the 4K sensor. Power is available from the camera via the Auxiliary/Lens Port connector which provides a 500mA 12V supply.

The i-pins were enabled on Build 17 to operate with S4/i enabled hardware.

RED has taken upon itself to offer optics that are as revolutionary as the camera they attach to, both in price and performance. To achieve this end, RED has searched the world for the best partners to meet this goal. Suffice to say, when RED puts their name on a lens, it is a design specific to RED and not available from anyone else. It is more the rule than the exception that camera companies in the rarified world of Digital Cinema, be it HD, 2K or 4K, go to the experts in optical design and sources are always held in confidence.

RED has developed an industry revolution by introducing an adjustable PL mount, forever eliminating mount shimming to achieve accurate back focus.