RED BASICS

Being an equipment rental house for a quarter century, GEAR specializes in considering production needs - the things that your team needs to get through its shoot dates. We recognize that today's post-production process is melding with production and creating an increasing need for on-set editing and image processing. We can help you consider these tasks, and how these processes can be handled most efficiently on location.

Basics

There are two main benefits of this system - RAW image capture, and its ability to use 35mm full frame optics.

 

The RED ONE system is a complete paradigm shift from other video image capture systems, which process all the images in-camera. Red captures raw image sensor information on the digital format of your choice. All image-processing is then accomplished in post-production for maximum flexibility and control via RED's proprietary software.

 

Second, the RED ONE has a 4096x2048 pixel super-35mm sized imager (24.4mm x 13.7mm to be exact), allowing the same shallow depth of field available in film capture. A secondary benefit of this is that the DP can use any 35mm lenses with the RED camera system, as long as the lens mount is available from RED. This opens up a world of possibilities - the use of several decades worth of evolution in the optics industry can at last be used in the video field.

 

The camera can shoot quite a large variety of raster sizes - 2k, 3k, and 4k - with several variations on each. Each variation uses more or less of the image sensor, meaning that these different resolutions are cropped on the sensor - not scaled. This means that if you want to get the full benefit of 35mm optics - the entire angle of view and depth of field of each lens - then you'll want to shoot in one of the 4K modes. An example is below:

 

 

Camera Department Basics

Ordering a RED package is like ordering a film package. Mechanically the RED is similiar to an Arri camera system, so the DP should specify a system similar to an Arri 435 or 535 order, and take into consideration all the usual issues:

How much film stock do you need - how many minutes do you plan to shoot? How much battery power is necessary? Do we need an on-board monitor or additional viewing areas on-set? Will there be Steadicam, dolly, car mount, jib, handheld or other rigging considerations that may require additional equipment? Do we want to work with primes or a zoom lens, or both?


RED-Specific Camera Considerations

MEDIA

GEAR carries both CF Media and RED Drives. 8GB CF cards are included with our base camera package, but 16GB cards are available for extended run times. These cards hold different amounts of footage depending on the shooting mode. In 4K 2:1 mode, an 8GB CF card holds about 4 minutes; 3K, about 6 minutes; 2K, almost 8 minutes. The RED Drive is a 320 GB camera mountable hard drive, which can record over 2 hours of 4K 2:1 footage.

The RED Drive is excellent when shooting long form interviews, Steadicam or other instances where extended run time is important. The drives use more power than the CF cards, weigh more, take longer to transfer and are an additional rental cost. The drives have Firewire 400 and 800 ports, as well as a USB 2.0 port. The CF cards are very reliable, use little power, and add virtually no weight to the camera package, but limit your run time.

 

 

ON SET FILE TRANSFER

Following the analogy of still camera RAW capture, your company will need a computer station to transfer footage at the shoot location, from the RED media to a more permanent home. If you have ever done a shoot with Panasonic's P2 system, this will be a familiar process. If you have never shot without tape or film before, then it may be helpful to think of this computer station as your film changing bag, where you empty out magazines, and prepare them for re-use.

You will likely want a laptop, external hard drives, and of course, a competent technician. This individual does not necessarily have to be an AC - but it's usually a good idea. At any rate this will be the person you trust to transfer your materials to a hard drive for use by your post production facility.

 

 

HEAT

The RED ONE is not a big fan of Texas summertime heat, and precautions need to be taken in order to insure that there are no delays in your shoot schedule. When shooting exteriors, the internal fan should be set to HOT - which means the fan is constantly blowing. You should shade the camera from direct sunlight, especially the lens mount, which is where the most heat collects.

 

 

CAMERA 'LOOKS'

The RED is unlike any other video camera out there - it shoots RAW image data, to be processed later. In this, it is particularly similar to shooting film. Even though it is very sharp, we like to think that the RED's video output is like a film camera's video tap - suitable for composition and general lighting adjustments. Issues pertaining to color balance and exposure can be approximated using on-set monitors, but should be taken with a grain of salt as you would if you were looking at a video tap. The best place to critically check your images will be back at the file transfer station.

That said, you can create a look that fits your project and apply that to the video output of the camera, helping approximate the finished product. In other words, if you want a very contrasty or very soft look on set, it is possible - it's just not set in stone, because your video is going to have to be processed for post-production. Your on-set look CAN be applied in post if you like, but your editor/color artist will likely refine this look considerably in the very controlled and precise confines of an edit suite.

 

 

 

AVAILABLE FRAME RATES

The RED ONE camera's frame rates are directly related to which compression, media, and format you choose. A detailed table of available frame rates cross referenced with media options is available on pages 44 and 45 of the RED Operation Guide.


WEIGHT

The camera body weighs 10 lbs, without any accessories - no power, viewfinder, lens or lens accessories. A typical handheld configuration tends to be around 30 lbs.

 

INFRARED

There have been multiple reports of various IR issues since the release of the RED ONE. The RED ONE is more sensitive to infrared light than most video cameras. After some testing, we recommend the use of an IR cut filter in any situation when your camera team exceeds an ND .6 in the matte box. GEAR carries Schneider's 750nm IR filters for use in the front stage of the matte box.

 

LIGHTING DEPARTMENT

Rating the REDs ASA value seems to be a real source of controversy. Every DP seems to have their own point of view with regards to lighting with the RED. With the advent of the new MX sensor, the cameras sensitivity has become a moot point. Some customers rate the camera at 320 ASA, some rate it at 800 ASA. Since this is more of a creative question, GEAR remains neutral on the issue.

We will be happy to consult with your crew on this issue, and testing is encouraged.

 

SOUND

The RED ONE can record 4 channels of audio internally. While the recorded audio quality is high, the implementation is less than optimal. It is much more difficult to access audio controls on a RED than on any other video camera, and when possible, sound should be recorded separately and post-synced.

The camera has a LEMO 5-Pin time code port, in order to be synced with Sound Devices, Ambient or Denecke sound accessories.


VIDEO ASSIST

The RED ONE outputs HD SDI video only. As of Firmware Build 30.6, the camera will output 720p or 1080i on playback, but during recording outputs 720p only. As a result your video assist technician will need to be able to take the HD SDI input to their system. A down- or cross-converter may be necessary for this, depending on their equipment.

 

 

CATERING

The RED camera really wants you to feed the crew well, or it will become very grouchy!