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Red One


Imran Naqvi
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It's actually pretty light. It's lighter than a 435. There aren't any covers for the connectors on the side or at least this camera didn't have any with it. As far as the power goes does anyone really think that the manufacturers would standardize anything??? The power is a 5 pin Lemo and it's 12 volts. I'm supposed to be gettting the manual sent to me. If you'd like to know the pin outs let me know and when I find out what they are I'll let you know.

 

Jon

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Quoting from the RED message boards:

 

The connector used for power input is an FGG.2B.306.CLAD**Z

 

The right angle version would be FHG.2B.306.CLAD**Z

 

The ** is a function of the cable diameter you use and the Z indicates that it is a version which accepts a LEMO bend relief. The bend relief part number also depends on the cable diameter that you use.

 

Pin out is -

 

1 + V Batt

2 + V Batt

3 - V Batt

4 - V Batt

5 Not used (I2C bus to RED BRICK)

6 Not used (I2C bus to RED BRICK)

 

Min / Max voltages permitted 11.5V - 17.5V

 

Note: It is NOT recommended to modify existing 4 pin XLR based broadcast battery chargers / A.C power adaptors for use with the RED-ONE as the current draw may be significantly higher than many broadcast D.C power outputs are designed to support. The RED CHARGER has been specifically designed to operate as an A.C to D.C power source for the RED ONE camera.

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How about the run cable...?

 

Again, quoting the RED boards... I haven't tested these myself, but they sound pretty standard. Looks like Run/Stop is the same 12 pin Hirose as most ENG cameras.

 

Hirose Part HR10A-10P-12P

1. Return switch

2. Record "VTR Start/Stop"

3. Ground

4. AT-MA

5. ID-CO

6. Regulated 12v

7. IP-B

8. AT-RE

9. EXT-ANS

10. Zoom position feedback

11. nc

12. nc

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Actually the run cable that we used looked like an 8 pin lemo (I didn't pull it and count the pins). I wasn't too worried because the tech said that he would get me the manual so I could make some cables for myself. There might be some other connector on the camera that you can use to run and stop the camera but I know for sure that there aren't any Hirose connectors on the camera.

 

Jon

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  • 2 weeks later...

Hi All,

 

I was very fortunate to evaluate the first RED One camera (Serial# 22) to be delivered to Australia!

 

I have written a review on my expreiences with the camera (and the *tiny* zoom RED have on offer):-

 

Review

 

I only had limited time so the review mostly covers the setting up of the RED with Steadicam, I hope everyone finds it informative.

 

More recently I had the RED on my rig to film a mock TVC to demonstrate the camera's abilities, hopefully I can get some pics and details up on that soon as well! Needless to say the camera was great to fly :D

 

Please feel free to ask any questions.

 

Cheers

Richard

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Another Red Camera usage....I too had the opportunity to use the Red for an indy film the other day. We were strapped for time so I didn't get a chance to put it in the AR, but considering the size and balance of the camera it seemed very feasible. Only a few of the output connectors were functioning, and there was no eyepiece. At one point, the camera (rolled out) and a large red "X" appeared on the monitor with a friendly reminder that the card was full. We had a down converter which I powered off the sled as there was no appropriate cable to connect to the camera. Running the camera was a push of one of the buttons, a remote activation opportunity in still in the works. The video output connector are something I'm not familiar with, I assumed they would be BNC but were not. The cables from the camera were connected to a break out box that was BNC. If the photos posted, you can see a quick "ugly" rigging that was more "function as fast as can be" not "pretty as can be".

 

The image from the RED was fantastic....I'm sure it will be a great option for cameramen in the future...

 

J "Buzz" Moyer

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It looks like I have a shoot next week with the first RED camera that's arrived on our shores so far,with a set of superspeeds. I've done some enquiring, and apparently ours has a standard V-lock battery plate on it, so can get away with just using a regular Sony/IDX battery kit with it. Not got that far yet with video connections and downconversion, but will post full details here next week if all goes according to plan, should be fascinating.

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Hey all,

I had the opportunity to be the first steadi-guy in Canada to use the Red One way back in September on a music video for a DP friend of mine who received two of the first 50 (actually 51) Reds that were released.

 

Here's a link for the spot: http://www.seanwainsteim.com/_/bornruffians_hummingbird.html

 

At the time of shoot (I think the third week of September '07) the camera system was pretty much barebones. A viewfinder wasn't available from Red and either was the 'cage' that they highlight on their website, so this meant the only option for lowmode was the poorman's post flip and fortunately the camera does function properly upside down (the Arri D-20 doesn't).

 

Since the Red doesn't have a built in downconverter, one has to be ordered from a rental house in order to use any video transmitter and unfortunately the one that arrived for our package didn't have the correct cabling to be powered off the camera, so I truly went old school. No transmitter, no digital level and no greenscreen. With the assistance of the bubble wrap that I placed on the face of my TB-6 and some good tape, I had to use the Red's HD LCD as my monitor. I thought going without my digital level would be the hardest part, but unfortunately the Red LCD really only views 'properly' on it's axis and anything off of that is like watching an Andy Warhol film - your guess being about as good as mine. Since the camera body only has one 'out' for it's HD video, we didn't even have the option of running a cable out so the Client/ Director/ DP could see the shot. Since the 'digital mags' - which are really small inserted cards, only last about 4mins at 4K res, footage can be instantly checked once the shooting cards are downloaded in the computer system on set and this is what we were forced to do.

 

I was also very surprised to know that the image capture area in not like that of the Arri D-20 (which has a frame/ picture capture area reminisant of a 35mm 4 perf negative) but more like the Sony F-900s. What I mean by this is the Red's frame is locked down, so what you see on the day is what you get. The picture can't be horizontally adjusted in post and this in my opinion, besides not having a built in downconverter, this is the most disappointing thing about the 4K camera. If the Panasonic HDX-900 has a built in downconverter, why can't the Red?

 

It should also be known that the camera's power source is very sensitive and the 'Red batteries' aren't the greatest. On set, an extra lightly brushed the battery pack on the camera's back and it froze the lcd monitor, requireing the entire system to be properly shut down and re-booted. Five minutes later we were up and shooting again. Computers do funny things when they aren't happy.

 

After looking at the short zoom (which wasn't used) I realized why it is so cheep. It breaths as you zoom in and out.

 

That said, I was very impressed with the camera's picture. For what this system is inteneded to do - Commercails, Music Videos, low budget films and television - I think that this system will assume the HDX200/ lens adapter/ prime lense's marketplace niche and do very well.

 

I don't think I would buy this camera, (who knows what we'll have available in a couple of years from now) but I may look at getting some really good glass to use with it. If you get the opportunity to try the Red One camera system - by all means do! By next Summer the market place will be flooded with them and every no-nothing will be screaming to use them. Hype seems to do wonderful things and apparently so does the Red.

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It looks like I have a shoot next week with the first RED camera that's arrived on our shores so far,with a set of superspeeds. I've done some enquiring, and apparently ours has a standard V-lock battery plate on it, so can get away with just using a regular Sony/IDX battery kit with it. Not got that far yet with video connections and downconversion, but will post full details here next week if all goes according to plan, should be fascinating.

 

Should be no problem. But keep in mind the power draw. The 140Wh, 14.8V, 9.4 Ah power rating for the RED Batteries is far greater than my IDX Power cubes 89Wh, 14.8V, 6.0 Ah. We changed the RED batterys about 4 times during a 7 hour shoot.

 

-Alfeo

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So I flew RED #0043 this past sunday. Prep was not so great. Nothing but proprietary crap every which way. The good things where the PL mount, HD-SDI (BNC adapter), D-Tap and 15mm Rod system standards.

 

You can only power accessories from the D-Tap which means you'll need to fly the battery. But it's not like you'll have the option to power the camera from your sled because there is not a standard power input. Steadicam is now in the works on making them.

 

Only one type of display at a time. Either HD-SDI out using a light weight adapter cable to BNC connector. No down converter, but my rig is HD-SDI wired. So guess who all was around the rig watching my UltraBright 2.

 

Battery mount was this Flash Drive Cradle which was very bulky and awkward. The tech needed to get to the buttons at the rear, so I could just have it hang down close to the camera, which made it a bit difficult to arrange for lowmode.

 

You can not attach your dovetail plate to the RED's bottem rail plate, so you also need the shoulder mount... I would go with the Arri Base plate. We didn't try an Arri plate.

 

PL mount was not properly set, so all the lens marks where off.

 

Not Run/Stop cable yet, Preston is saying three weeks.

 

Also, the Tech has to 'dismount' the flash card in order to load another, not hot swappable. About the time it takes to load a film mag... go figure.

 

I think my config was just in at 23lbs.

 

http://gallery.mac.com/alfeo1#100058/DSC_0...p;bgcolor=black

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