RED One 14.0 - 2008 Owner's manual

Feb 07 2008 Copyright RED Digital Cinema

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RED ONE Digital Cinema Camera

Operations Guide Build 14

(Version 2.0.3)

Sections: Page

1. Before You Start 2

2. Camera Assembly 4

3. Physical Controls 6

4. Theory of Operation 10

5. Basic Operation 17

6. Sensor Menu Controls 24

7. Audio Video Menu Controls 31

8. System Menu Controls 37

9. Upgrading camera firmware 50

10. Digital Media Management 52

Appendix A: Post Production 56

Appendix B: Power and Timecode I/O 60

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1. Before you start.

Congratulations on your purchase of a RED ONE camera.

Carefully unpack the camera body and any accessories, and visit www.red.com/register to

register ownership of your camera. Registration will help us assist you in providing camera

ownership records to insurance and police authorities in the event of camera loss or theft.

RED ONE Digital Cinema Camera

The RED ONE camera ships as standard with a PL mount. To protect against dust and other

contaminants entering the optical path, ensure that the lens cap is used at all times when a

lens is not mounted on the camera. Additional mounts and adaptors are available for use

with non-PL mount lenses. Please visit www.red.com/contactus for additional information.

Operational hints and information about specific camera applications can be found on our

web site www.red.com/support at the on-line community www.reduser.net.

If you have a technical problem, or receive a camera damaged in shipment, please log on to

our service web site at www.red.com/support or call +1.949.206.7900 for the support team.

Feb 07 2008 Copyright RED Digital Cinema

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A wide range of options and accessories are available to customize your RED ONE camera.

The Basic Production Pack includes a top bracket and top handle, base plate and two 19mm

rods, an adjustable grip handle, a combination shoulder pad/wedge plate adaptor, V mount

battery plate, and a digital magazine cradle.

RED ONE camera with Basic Production Package (battery, RED-DRIVE & lens not included)

The distance from the digital magazine cradle to the camera back may be adjusted to counter

balance the weight of the lens. In addition the shoulder pad/wedge plate adaptor can slide

against the base plate and be locked in position. The adaptor includes wedge plate mounting

holes, so there is no need to remove this component between on-the shoulder and tripod ap-

plications. Additional rods, brackets and grips may be added to the Basic Production Pack to

configure the camera to a wide variety of studio and field production applications.

The RED ONE Power Pack includes two 140Wh batteries, RED CHARGER and an auxiliary

power cable. When connected to a 120V/240V AC power source, the charger sequentially

fast charges two batteries, or supplies the camera with 100W @13.8V regulated DC power.

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2. Camera Assembly

The RED RAIL BASE PLATE, TOP BRACKET, and HANDLES are attached to the camera body

using ! - 20 hex screws. A HEX driver is supplied with the camera. The rails and shoulder

pad/wedge plate adapter slide into the base plate. The RED CRADLE, which holds a RED

DRIVE and the V mount battery plate, attaches to the Universal Rail mount plate using a hex

screw. This is mounted to the camera using 19mm rods.

If using RED-DRIVE, plate it into the RED-CRADLE and secure it with the four thumbscrews. Then

connect the RED e-SATA cable to the RED-DRIVE and to the e-SATA input on the rear of the

camera body. Connect the power cable from the battery plate adapter to the DC input on the

rear of the camera body.

The RED-LCD and RED--EVF viewfinder are mounted to the camera body using a RED ARM. At-

tach the RED ARM to the camera body using the shorter threaded screw. There are attachment

points on the camera body or on the RED RAIL TOP BRACKET. Attach the other threaded end

of the arm to the RED-LCD or RED-EVF.

Then connect the cable from the camera body to the RED-LCD or RED-EVF. Carefully align the

red dots on the socket and plug, and push firmly to establish contact.

Attaching the RED-LCD or RED-EVF

The RED-LCD and RED-EVF cables are interchangeable; but the outputs are not. The RED-EVF

should be connected to the upper output; a RED-LCD should be connected to the lower output.

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Remove the lens cap and mount the PL lens you wish to use. The lens will have four metal tabs

with cutouts for the registration pin in the mount. If using S4/i compatible lenses the data pins

should be at the top of the lens.

Note: Matching pins are not currently installed in the RED P/L mount.

Attach matte box and motors, and any auxiliary power cables required to power these items.

Insert the digital media, such as RED 8GB compact flash (CF) card, or connect a RED-DRIVE via

the supplied custom e-SATA cable.

Inserting a Compact Flash card

Attach a RED-BRICK 140 battery, or connect to a RED-CHARGER using the supplied cable.

Now adjust the balance of the camera. The RED CRADLE/Universal Rail mount unit slides on

19mm rods so you can adjust the distance to the camera back. Find the position that best offsets

the weight of the lens. Finally tighten the butterfly locks to maintain that position. The shoulder

pad/wedge plate adaptor is also designed to slide within the RED RAIL base plate until you

lock it in place. You don’t need to remove it to mount the camera on a tripod.

Press the On/Off switch to power the camera. The rear status display will illuminate, and after

approximately 60 seconds it will display the camera PIN, firmware build and firmware version.

The P.I.N: is a unique product identification code in the format ABC_123_XYZ. This code is in-

cluded in the metadata recorded with each image. The PIN provides tracking data for customer

service and assistance in authenticating legal ownership of the camera.

When the camera is ready for use, the lower LED to the right of the status display turns green.

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3. Physical Controls

This section describes the physical controls on the RED ONE camera body.

A. PL Lens Mount B. Record C. User Keys 1 and 2

A PL mount is provided as standard with the RED ONE camera. The mount is compatible with

the majority of S35mm, 35mm and S16mm cinematography lenses; and with B4 lenses via

the optional B4 to PL converter. The PL mount may include an S4/i interface. If installed, this

interface permits the camera to communicate with various lenses from RED Digital Cinema,

Cooke Optics. Ltd and other lens manufacturers supporting the S4/i protocols.

On the left side of the camera body are a RECORD key and two User Keys. The two User Keys

are pre-assigned to AUTO WB and FOCUS checks functions. If desired, these keys may be dis-

abled in the SYSTEM / KEYMAP sub menu to prevent accidental use.

An SD Memory card slot is provided below this group of keys, and may be used for camera

setup storage and software upgrades. A blank 512MB SD card is provided with the camera.

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A Headphone B Dual Link HD-SDI (A) C Dual Link HD-SDI (B)

D HDMI Out E Preview HD-SDI F Video Genlock

G USB-2 (peripheral) H USB-2 (computer) I Audio Monitor

J Timecode K Audio Ch 1 – 4 (1-2 Upper Left - Right, 3-4 Lower Left - Right)

L RED-EVF M RED-LCD N Aux / RS232

The right side of the camera contains all the video, audio and time code inputs and outputs.

From top left to bottom right, these comprise a 3.5mm stereo headphone jack, and four DIN

1.0/2.3 video connectors that support dual link HD-SDI, Preview HD-SDI and Video Genlock.

Next an HDMI output, a USB-2 type A port for USB peripherals, and a USB-2 type B port to

connect the camera to a computer, a 5-pin mini-XLR stereo audio output and 5-pin LEMO

timecode input/output. Four three-pin mini-XLR audio inputs make up the next group. Finally

there are three LEMO connectors that provide video and power for the RED-EVF and RED-

LCD, and an Aux/RS232 port that can interface to a variety of lens motors or controllers.

A 6-inch length DIN 1.0 / 2.3 to BNC video adaptor cable and an 9 inch length mini-XLR to

mini-XLR cable and XLR to mini-XLR adaptor are provided with the camera. Additional cables

and adaptors may be ordered from the on-line store at this address www.red.com/store

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A User Menu A. B. C B Status Display C Tally & Ready Lamp

D Sensor Menu Key E EXIT Key F UNDO key

G Record Start / Stop H Joystick I A/V Menu Key

J System Menu Key

On the rear of the camera, several buttons surround a daylight readable status display.

To the left of the status display are three Quick Menu buttons, A, B and C, which directly access

Exposure, Shutter Speed and Color Temp (White Balance) menus. Below the status display are

the Joystick, Sensor Menu, Video Menu, System menu, Exit, Undo and RECORD buttons.

The status display reports key camera status values, and is complimented by two LED’s: the red

LED provides a record tally, while the green LED indicates the camera is ready for operation.

The five buttons above the display are used for playback control. From left to right, the keys are

Clip Start / Previous Clip, Play Reverse, Clip Play/Pause, Fast Fwd and Clip End / Next Clip.

Feb 07 2008 Copyright RED Digital Cinema

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A Power On/Off switch B Aux Power / GPIO A

C Aux Power / GPIO B D Camera 11.5 - 17V D.C Input

E e-SATA Interface (to RED-DRIVE or RED-RAM magazine)

Underneath the status display key group are the Power On/Off switch (top left) two 4 pin Aux-

iliary Power /GPIO outputs, 6 pin camera system POWER input and a 16 pin DRIVE interface.

Each Auxiliary Power / GPIO connector can supply 1.75 amps of unregulated 11.5 – 17V DC

power to accessories such as range finders or compact lens motors. In addition, the upper con-

nector provides a GPI trigger for Record Start / Stop and an In-Record tally output. The lower

connector provides a GPI trigger for Single Frame Record and a Frame Recorded tally output.

The DRIVE interface utilizes standard e-SATA protocols, and supplies power and data to record

REDCODE RAW compressed video data plus audio to RED-DRIVE or RED-RAM digital media.

To power the camera up from a RED BRICK battery, press the power on/off switch once.

To power the camera up from a RED-CHARGER, connect it via the supplied power cable. Plug

the RED-CHARGER into an AC power source and switch it on. After the green LED illuminates

on the RED-CHARGER, the camera can be powered on by pressing its On/Off switch.

To power the camera down, press the power on/off switch once.

Note: After power down, is recommended that you wait 5 seconds after the

camera’s green status LED goes off before powering the camera up again.

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4. Theory of Operation

The RED ONE Digital Cinema camera provides high performance digital imaging over a wide

range of frame rates and optical formats including Super 35mm, 35mm and Super16mm. The

camera is supplied as standard with a PL mount, and may be configured with 19 mm rods to

accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors

for 15mm offset studio and 15mm lightweight rods are also available.

In addition to compatibility with existing PL mount cinematography lenses; a select range of

S35/35mm format PL mount prime and zoom lenses are available from RED Digital Cinema.

Other lens mounts, including Canon FD, and Nikon F will be available from RED and 3

rd

par-

ties, permitting the use of Nikkor and Canon photographic lenses. To use these mounts the PL

mount must be removed. This should be done in a dust-free environment, as the camera’s op-

tical path will be exposed to the elements.

A B4 mount to PL mount adaptor is also available to permit use of 2/3” HD lenses on the RED

ONE camera. The optical coverage is provided is equivalent to S16 mm. Hence, the maximum

recording resolution with these lenses will be 2K RAW.

Mysterium™ Sensor

The Mysterium™ sensor has been specifically designed for use with the RED ONE camera,

and provides variable frame rate imaging over 1- 60fps (1-120fps in 2K windowed mode).

Mysterium is color balanced for 5,000 degrees Kelvin, but may be electronically compen-

sated for operation at any color temperature in the range 1,700 to 10,000 Kelvin. White

Balance presets at 3200K and 5600K are available for Tungsten and Daylight lighting.

Mysterium includes an integrated 12bit resolution analog to digital converter for each pixel,

and is capable of delivering up to 66dB dynamic range (11 stops) when operating at the de-

fault Exposure Index of 320 ASA.

Image Processing

The data received from the Mysterium sensor is formatted as unprocessed 12 bit RAW data,

(pixel defect corrected but not color processed) a technique common to digital photography.

RAW data may be recorded in-camera using wavelet based compression (REDCODE RAW)

to compact flash, hard disk drive or flash drive media.

The RAW output data of the sensor is also converted to white balanced RGB 4:4:4 monitor

video that conforms to the SMPTE/EBU REC709 color gamut. It may be lightly color proc-

essed to illustrate a “look”, and feeds the RED-EVF, RED-LCD, HD-SDI and HDMI outputs.

Feb 07 2008 Copyright RED Digital Cinema

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Audio Processing

Line input analog audio received via the min-XLR inputs is immediately digitized at 24 bit per

sample at a 48KHz sample rate. Microphone level audio inputs are routed via an adjustable

gain pre-amplifier before digitization, no gain adjustment is available for Line level inputs.

Reference Line Input level (0dB) is 0.775v. Microphones with an output sensitivity ranging

between -30dB and -60dB can be accommodated by the pre-amplifier, which provides user

adjustable amplification over the range of +22dB to +54dB with minimal signal degradation.

Due to the significantly higher precision and dynamic range of 24 bit sampling, input stage

limiters or AGC’s are not provided by the RED-ONE camera. The digitized audio data

can be considered as high dynamic range RAW sound information that is com-

plimentary to the high dynamic range RAW video infor mation.

Just as linear response RAW video data is converted to REC 709 for metering, the linear re-

sponse audio data is converted to Log Base 10 data for metering. A color coded 4 channel

audio meter is provided in the lower section of the camera GUI. This information is visible in

the RED-EVF, RED-LCD and HDMI (DVI) monitor outputs.

The goal for optimal quality recording is to place the audio reference level at an appropriate

location in the digital range, providing sufficient headroom above the reference level to pre-

vent clipping, while maintaining the sound quality of lower volume sources such as dialog.

A 0dB reference voltage level of 0.775V provides approximately 8dB of headroom above

reference. Microphone pre-amplifier gains should be adjusted accordingly (i.e. 8dB lower)

e.g. With an Azden SGM X1 microphone rated at -41dB sensitivity, set the mi-

crophone pre-amplifier to (41 – 9) = 32dB for optimal recorded signal quality.

Monitoring Outputs

The RED ONE camera supports a variety of monitoring options.

RED-EVF: 1280 x 848 resolution RGB 4:4:4 progressive video display with Surround View,

frame guides and safe action / title overlays, zebra and false color exposure overlays, wave-

forms, camera status and operation menus.

RED-LCD: 1024 x 600 resolution RGB 4:4:4 progressive video display with Surround View,

frame guides and safe action / title overlays, zebra and false color exposure overlays, wave-

forms, camera status and operation menus.

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HDMI (DVI): 1280 x 848 resolution 4:2:2 video output with Surround View, frame guides

and safe action / title overlays, waveforms, and camera status and operation menus on the

HDMI port. This signal is compatible with most DVI equipped SXGA computer monitors. *

PREVIEW (720p) 1280 x 720 resolution 4:2:2 video output (720p 50.00 or 720p 59.94 Hz)

with Surround View, frame guides and safe action / title overlays on HDMI and HD-SDI ports.

EVF+PVW: Provides both a full 1280 x 848 resolution RGB 4:4:4 progressive display to the

RED-EVF and a1280 x 720 resolution 4:2:2 video output to the HDMI and HD-SDI ports.

Note: Only one monitor choices can be selected. PREVIEW (720p) is the default. To activate

RED-EVF, RED-LCD, HDMI (DVI) or EVF+PVW options select that monitor output as follows –

Press the SYSTEM menu key, and then push the joystick right to highlight MONITOR.

Press the joystick in, and then push the joystick to the right to highlight ACTIVE

Rotate the joystick to select RED-EVF, RED-LCD, HDMI (DVI) or EVF + PVW as the new active

monitor output.

Press the EXIT key to return to the main camera menu. The monitor setting will be held in

camera memory. Once it is set it will not need to be re-set when power cycling the camera.

*Note: RED has tested Dell 1708FP (1280 x 1024) and the LG L206W (1680 x 1050) PC

monitors with an HDMI to DVI adaptor cable. You should test for PC monitor compatibility.

RED-LCD and RED-EVF

The optional RED-LCD and RED-EVF are specialized video monitors that may be attached to

the camera body, and provide a variety of tools to assist framing, focus and exposure.

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- Surround View, which is an additional visible area outside the actual recorded image.

- Frame guidelines show common film presentation and television formats such as 2.40:1

and 1.85:1, picture center, and/or television aspect ratios such as 16:9, 14:9 and 4:3.

- Focus is aided by the high resolution of the displays and FOCUS check, a 2x image

magnify function, complimented by a selectable waveform based focus assist meter.

- Dual zebra, false color meter and a selection of histograms assist optimal exposure.

System information including instantaneous frame rate, exposure index, shutter speed, color

temperature, recording format, clip name, timecode, battery and media remaining is pro-

vided in the LCD/EVF monitor outputs, and the rear status display on the camera back. For

applications when a RED-LCD or RED-EVF are not desired – for example when working on a

crane – the Surround View video, frame guides, and exposure overlays are also available on

the Preview HD-SDI output, for remote camera monitoring up to 200 ft away.

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Digital Magazines

REDCODE RAW compressed video, time code and other metadata, may be recorded to on-

board or attached digital media devices including -

RED FLASH CF – An internal reader/writer that utilizes high speed Compact Flash media.

RED-DRIVE – A hard disk memory based Digital Magazine of up to 320GB capacity.

RED-RAM – A solid-state flash memory based Digital Magazine of up to 64GB capacity.

Either type of Digital Magazine may be connected to a computer via FireWire or USB-2.

Each clip is recorded with a unique clip name and placed in a clip folder like this -

Record Indication

On record, the RED ONE camera provides a variety of record tallies. Timecode, normally

displayed in white colored text, will turn red, and a small red dot will appear in the top left

corner of the monitor. The upper LED to the right of the status display screen will turn red,

and if using an EVF, the front LED will also turn red.

If media is not present, the camera will provide a warning as follows – RECORDING ERROR

NO_DIGIMAG. If this warning is displayed, check the physical mounting of the CF card, or

that the RED-DRIVE is attached to the e-SATA port using the supplied 16 pin LEMO cable.

Metadata

RED-ONE cameras record Metadata, which is data that describes the precise characteristics

of the picture and sound data captured in each frame of footage. This may include camera

specific setup information, project and clip management information, Edge code, Time code,

date and location, lens settings, and video and audio processing information.

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Post Production

Compressed REDCODE RAW images may be post processed using RED ALERT! or REDCINE

applications. These applications convert RAW sensor data to RGB video, and correct white

balance, exposure, tonal response and color timing. The processed footage may then be ex-

ported to a variety of industry standard file formats for use in postproduction.

File Naming Conventions

As each recording is made, the RED ONE camera calculates a Clip Number, starting at clip

001 for each new piece of digital media. The Clip Number and Slate data are combined to

create the Clip Name identifying each recording. In a similar manner, any time digital media

is formatted by the camera, a unique camera ID letter and Reel Number are assigned to that

media. This allows each clip to be uniquely identified, even operating in a multi-camera shoot.

e.g. for each clip, a Clip Name is created using the structure: A001_C001_070828.RDC

Where A = camera A, 001 = reel 001, C001 = clip 001, 07 = 2007 and 0828 = Aug 28.

Three cameras identified as A, B and C can therefore have individually recognizable clips

A001_C001_070828.RDC B001_C001_070828.RDC and C001_C001_070828.RDC

A single camera identified as A can have individually recognizable reel numbers, such as

A001_C001_070828.RDC, A002_C001_070828.RDC, and A003_C001_070828.RDC

Under normal operation, the reel number continues to increment each time a new piece of

digital media is mounted by the camera up to a maximum value of 999. However the reel

number may be manually reset to 001 or other value, for example at the start of each day.

A001_C001_070829.RDC and then force to 1 for A001_C001_070830.RDC

Using the same technique, virtual reels can also be created on a single piece of digital media.

A001_C023_070828.RDC and then force to 5 for A005_C024_070829.RDC

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Timecode

As each recording is made, the RED ONE camera records two independent timecode tracks.

Edge Code is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame of

each piece of digital media. It is a sequential code that is continuous from frame to frame and

also between clips. Edge Code is also equivalent to RUN RECORD on a video camcorder.

Time Code is a SMPTE timecode track that records the camera’s clock, or if operated in Jam

Sync mode, records an externally supplied SMPTE master timecode signal. It is therefore a

sequential code that is continuous from frame to frame, but discontinuous between clips.

When in Varispeed or Timelapse recording modes, the timecode counters are updated at the

same frame rate as the recording. This means valid SMPTE timecode is created without count

jumps that would affect clip playback or editing. If using an external timecode source with

Jam Sync enabled, the clip’s master time reference point is the first frame of the recorded clip.

Power consumption

The camera draws approximately 70 watts in a typical configuration. A RED BRICK 140Wh

battery will run the camera and typical accessories for about 90 minutes. The camera is nor-

mally cooled by passive convection from the camera body, assisted as required by a fan.

When using the RED CHARGER, recharge time for a single RED BRICK battery is 200 minutes.

The battery can also be partially charged, to approximately 80% capacity, in 120 minutes.

Charge times may be significantly longer on other V lock compatible battery chargers.

Operating the camera from the RED-CHARGER.

Plug the RED-CHARGER into an AC power source between (120 – 240V). Plug one end of the

supplied 6-pin power cable into the Aux power output of the RED CHARGER and the other end

into the D.C power input of the camera. Now turn on the RED-CHARGER.

When the LED above the charger’s Aux power output turns green, you can turn on the camera.

Note: The maximum sustainable power load of the RED-CHARGER is 100W @13.8V. The out-

put of the charger is over current protected, and will shut down if an excess load condition oc-

curs. If the output trips for any reason, remove any external loads from the camera, such as

lights, motors etc, turn off the RED-CHARGER and repeat the above procedure.

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5. Basic Operation

This section describes the basic controls of the RED-ONE camera and how to initiate a project.

Control System and Status Display

Command inputs to the camera are made from the rear status display and associated buttons.

A – Quick Access Access to Exposure, White Balance and Shutter Speed

B – Menu Access Access to Sensor, A/V and System menus

C – Menu Control Menu Off and Undo keys

D - Joystick The joystick is a multi-axis controller to navigate the camera menus.

E - Record Record Stop / Start key

The five buttons above the display are used for playback control. From left to right, the keys are

Clip Start / Previous Clip, Play Reverse, Clip Play/Pause, Fast Fwd and Clip End / Next Clip.

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Status Display

The status display mounted at the rear of the RED ONE camera provides a snapshot of the

camera setup. The elements include –

Timecode / Status reports current timecode value, clip name or system messages*

ASA Value reports current exposure index

Project Frame Rate report the project frame rate, 24.00 fps in this example

Timecode reports timecode lock status

White Balance reports current color temperature

Media reports remaining media capacity in %

Battery reports remaining battery capacity or connection to AC power

Shutter Speed reports current exposure time

Format reports video recording format, 4K in this example

* The timecode value reported may be Edge Code or Time Code as selected by the user.

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Setting up a project.

Before recording, the camera must be instructed to follow a Record Quality, Frame Rate and

Resolution. These values are set in the PROJECT sub menu located in the SYSTEM menu.

1. Press the SYSTEM menu key, then the PROJECT key. This highlights the PROJECT sub-menu

2. Push the joystick right, then press to enter the CONFIGURE menu to set the QUALITY

Quality. Choose between REDCODE 28 or REDCODE 36. Default is REDCODE 28.

Note: REDCODE 36 limits the available choices of frame rates and resolutions to CF cards.

3. Next select the project FRAME RATE

Frame Rate: Choose between 23.98, 24.00, 25.00 or 29.97fps Project Frame Rates.

Note: 2K recording resolutions also support 50.00 and 59.94 fps Project Frame Rates.

4. Next select the project RESOLUTION

Resolution. Choose 4K, 3K or 2K, or 2:1 variants. Use 2K or 2K 2:1 for S16mm/B4 lenses.

Note: A project can only support one Project Frame Rate as this defines the frame rate to be

used for timecode and for clip playback. It is also the primary frame rate for acquisition, but

variable speed (overcrank and undercrank) recordings can be made above and below this

base frame rate. On playback these recordings will be displayed at the Project Frame Rate

5. Finally, push the joystick left, and press it again to enter the SLATE menu.

- CAMERA Select a letter between A – Z. The default is camera letter is A.

- REEL Select a number between 1 and 999. The default reel number is 1.

After making any adjustments to the SLATE menu, press the EXIT key to exit the menus.

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Recording

Check that you have a RED-DRIVE attached, or Compact Flash card inserted in the camera.

To initiate a recording, press either RECORD button. Press once to begin recording and again

to stop recording. The camera will automatically create a file name for every clip recorded on

the digital magazine or media.

REDCODE RAW recordings store the Color Temperature and Exposure (ASA) values you enter

as metadata. This metadata is used to color balance the viewfinder and other monitor outputs.

It is also used in REDALERT! as the initial White Balance point – change it if you wish – when

you process the RAW footage. Timecode generated by the camera is Non Drop Frame (NDF).

Digital media should be treated with equal care as exposed film or a videotape master. We

recommend storing digital media that contains your footage in a secure location and backing

up the data on another digital media, such as data tape or a hard disk drive.

Each clip is recorded to the digital media in a separate folder and with a unique clip name. To

copy the clip from the digital media to a Macintosh or Windows computer, just drag and drop

its folder to the computer’s storage device. If you open the Clip folder, it will look like this –

There will be one or more REDCODE RAW data files (.R3D) containing RAW sensor data,

plus audio and metadata, and three QuickTime reference movies, which allows a QuickTime

Player to display the recorded RAW data at _H high, _M medium or _P proxy resolutions.

Double click on either of the QuickTime reference movies to see a preview of the .R3D file.

Playback frame rate will depend on the processor speed of your computer. If the frame rate is

too low, select a smaller QuickTime movie. Typically the preview resolution will be the best

choice for a battery powered laptop computer or older tower configuration model.

Note: to operate with QuickTime under Macintosh OSX, you must install the supplied RED-

CODE RAW plug-in available at www.red.com/support QuickTime for Windows is not sup-

ported at this time.

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