RED ONE:
Introduction:
This camera started a revolution in digital cinema. From its humble beginnings, rising from a smoke cloud of intrigue, labeled a scam and claimed to be impossible technology, the RED ONE has materialized as one of the most significant American inventions of the 21st Century. With over 5 times the resolution of an HD video camera, the RED ONE has earned its rightful place as the successor to 35mm film acquisition. The RED ONE has been responsible for creating thousands of films, from independent to Hollywood blockbuster, as well as a growing impact on the capture of episodic television. In the short span of three years, RED has come to dominate the music video and television commercial landscape, as well. Wherever 35mm film once tread, the RED ONE has emerged, bringing with it the advantages of lower cost, lighter weight, same hour dailies, brilliant workflow and grain less, organic images.
Features:
1) OBSOLESCENCE OBSOLETE:
The RED philosophy – provide a platform that can be upgraded as technology evolves. From its first iteration in the fall of 2007, the RED ONE has grown into a camera that has exceeded even the wildest dreams of those who envisioned its ultimate capabilities. From the very early single digit firmware builds to its current state, the RED ONE has increased its resolution (4K to 4.5K), improved compression (REDCODE 42), boosted dynamic range and low light performance (Mysterium-X) and added dozens and dozens of features. All of these improvements, considered by many to be so significant as to be perceived as a “new” camera, were made available without the customer having to buy a new replacement product. This is the promise RED made at the very beginning. Treat the customer the way we would want to be treated. As each improvement in features is offered through firmware upgrades, the customer enjoys the benefits of new abilities with no added cost. As new accessories are designed, from media drives to finders to advanced support hardware, each item can be added without the need to replace the entire system. This modular approach stands at the core of “Obsolescence Obsolete”.
2) LINE SKIPPING AND PIXEL SHIFTING
Unlike traditional HD cameras, the RED ONE behaves more like a still capture DSLR when it comes to how the image is recorded. The information is captured RAW off of the sensor, unlike the typical HD RGB recording systems used in HD camcorders and HDSLR video cameras. In addition to allowing tremendous creative control of color and exposure after capture, as in a RAW still file, this also makes the process of set up and acquisition simpler, avoiding the chance of incorrect color settings being baked into a recording. No color sub-sampling, no line skipping, no pixel shifting, no up-resing; only the pure capture of 4520 x 2540 pixels RAW, in both motion and still.
3) THE STANDARD TODAY AND TOMORROW:
In an industry that continues to promote the concept that “good enough” is good enough, RED respectfully disagrees. It is shortsighted to think that higher resolution requirements won’t be knocking on the door soon. This has been the success of film, able to adapt to the electronic worlds of standard definition, high definition, 2K and even 4K transfer. But HD video cannot scale to 4K or higher. It is a dead end for future increases in resolution. Enter the RED ONE, up to 4.5K resolution, captured RAW on an S35 sized (24.4 mm x 13.7 mm) sensor, resolving over 5 times the information of HD. And unlike any competitive product, every frame of motion, up to 30 frames per second, is a full 11.48 MP still image. The 2.1 MP RGB processed and baked still frame, captured in HD, pales in comparison. Simply put, that same small RGB file lacks the resolution needed to survive the future.
Configuration:
|
SENSOR |
14 MEGAPIXEL MYSTERIUM-X |
|
PIXEL ARRAY |
5120 (h) x 2700 (v) |
|
S/N RATIO |
66db |
|
DYNAMIC RANGE |
13+ stops |
|
MAX IMAGE AREA |
4480 (h) x 2304 (v) |
|
LENS COVERAGE |
24.2mm (h) x 12.5mm (v) x 27.3 mm (d) |
|
DEPTH OF FIELD |
Equivalent to S35mm (Motion) lens Equivalent to 16mm (Motion) lens in 2K RAW |
|
ACQUISITION FORMATS |
4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1, and Anamorphic 2:1) 3K RAW (16:9, 2:1, and Anamorphic 2:1) 2K RAW (16:9, 2:1, and Anamorphic 2:1) |
|
PROJECT FRAME RATES |
23.98, 24, 25, 29.97 fps @ 4.5K, 4K plus 50, 59.94fps @ 3K, 2K |
|
DELIVERY FORMATS * |
4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4 |
|
MONITOR OUTPUTS |
HD-SDI and HDMI with Frame Guides and Look Around 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio |
|
DIGITAL MEDIA |
REDFLASH (CF) Module : (16GB Media) RED SSD (64GB, 128GB, 256GB Capacity) |
|
REDCODE™ |
12-bit RAW : RC28, 36, 42 Quality Levels 1-30 fps 4.5K, 4K 1-60 fps 3K 1-120 fps 2K |
|
AUDIO |
4 channel, uncompressed, 24 bit, 48KHz. |
|
MONITORING OPTIONS |
RED LCD 5″ Flat Panel Display RED PRO LCD 7″ Flat Panel Display BOMB EVF™ High Definition Viewfinder |
|
REMOTE CONTROL |
USB-2, GPI Trigger |
|
WEIGHT |
10lbs. Body |
|
CONSTRUCTION |
Aluminum Alloy |
|
TEMPERATURE RANGES |
Operating Range: 0˚C to +40˚C (32˚F to 104˚F) Storage Range: -20˚C to +50˚C (-4˚F to 122˚F) |
