RED EXPLAINED
UNBELIEVABLE PICTURE QUALITY
The image quality of the RED ONE surpasses the majority of the competition at the top end of digital cinema and blows away anything in its price bracket. For the first time video is being compared with 35mm.
Typical high end HD cameras have 2.1MP sensors. The RED One delivers 11.4MP and records RAW or 2x over sampled HD in 4:4:4 or 4:2:2. The images can only be described as ultra high definition.
Digital camera comparison:
| Camera | Sensor Size | Recording Format |
|---|---|---|
| RED ONE | 4096 x 2304 | 4K - 4096 x 2304 |
| Panavision Genesis | 5760 x 2160 | HD 1080p - 1920 x 1080 |
| Arri D20 | 2880 by 2160 | HD 1080p - 1920 x 1080 |
| Sony F900 | 1920 x 1080 | HD 1080p - 1920 x 1080 |
| Sony DigiBeta | 980 x 1164 | SD - 720 x 576 |
FLEXIBILITY & VERSITILITY
RED ONE is modular in design and a large range of options & accessories are available to customise and configure it to a wide range of studio and field production applications.
FORMATS AND FRAME RATES
The RED ONE provides high performance digital imaging over a huge variety of frame rates and optical formats. Shoot at 4k (nearly four times the resolution of HD 1080), save your raw files as a digital negative and export just about any format from 720p - S35mm. Frame rates up to 60fps can be achieved at 3K resolution, while 2k or 1080p can be achieved at 120fps.
LENS OPTIONS
With RED One you can get the same depth of field of a 35mm film camera. With the standard PL mount this camera can be configured to accommodate most cinematography lenses from super 35mm, 35mm and 16mm. A B4 to PL adaptor is available to permit the use of 2/3" HD lenses and for those on a tighter budget a Canon EF mount is available to make use of their L series 35mm stills glass.
DYNAMIC RANGE
When operating at the default exposure index of 320ASA the sensor is capable of delivering up to 66dB (11stops) dynamic range. Shooting RAW gives you unparalleled freedom to manipulate images in post.
A DIFFERENT APPROACH
The RED team have taken a very different approach in the development of this camera. Instead of carrying out beta testing behind closed doors and shipping a finished camera that is full of annoying faults, they have invited camera operators and future owners to be part of the testing process and encouraged feedback. As a result of this collaborative process huge strides have been made and the camera is constantly evolving. The fact that even in the early stages of testing this camera has become the tool of choice for many of Hollywoods top cinematographers is testament to the fact that this camera is set to change the industry.
For further details see www.red.com