RED ONE – The Camera That Redefined Digital Cinema
A few cameras have the distinction of being a game changer and that’s exactly what happened when RED ONE arrived onto the scene. The arrival of this camera changed the landscape of digital cinema by democratizing 4K and challenging the norm.
The RED ONE made use of an S35mm image plane which enabled it to display a depth of field with a range from 2K to 4.5K resolutions. With the camera, users can capture anywhere from 1 to 120 frames per second (fps) onto a high-speed RED CF or SSD media.
Not only that, the camera also came with interchangeable lens mounts which meant ease of use when prepping for a specific type of shoot. In addition, the RED ONE also continually sent out firmware updates making the device really versatile.
A camera mean for Oscar-winning productions
Ever since it arrived on the scene, the RED ONE has been used to make some of the best films in history. It was introduced as a digital alternative to using 35mm and is responsible for films from Che to The Social Network. Thanks to its ability to shoot 4K images with brilliant quality, the RED ONE has clearly solidified its position as one of the go-to digital cinema cameras. Not just that, its capability of shooting well even in the toughest of environments has made it a reliable digital camera for a lot in the motion picture industry.
Very reliable firmware
The RED ONE has over five years of experience and it has grown into quite the stable machine. Not only is it known for its stability, but it has quite the power to it as well. Thanks to its continuous firmware updates, RED ONE cameras are always kept fresh and improved. With this kind of feature, RED ONE cameras are always able to satisfy high standards of performance.
The RED ONE also has the Mysterium-X sensor and enhanced audio capabilities that have contributed to its longevity in the market, and its success as well. Thanks to an enhancement that has allowed it to reach 4.5K capability, this camera can surely bring out the best in every project.
A 3D-friendly camera
Through a combination of 4K resolution, fluid compatibility and RAW flexibility, the RED ONE is quite the favorite camera to use for features and events in 3D. The RAW files that you get are high in resolution which you can correct for disparities in zoom as well as adjust convergence without damaging image quality.
3D workflow with the device is also a lot easier because of the camera’s ability to preview, export and adjust HIT/VIT for 3D images within REDCINE-X PRO.
A camera with over 5x the detail of HD
The RED ONE has a very powerful 4K sensor that is capable of 13 stops of dynamic range. This is what has distinguished the RED ONE as an alternative to 35mm film, or a counterpart if you will.
The detail, which is 5x more than HD, has set a benchmark when it comes to digital cinema. With high-resolution RAW files, editors, colorists and VFX artists are able to work on large, flexible palettes which make it a whole lot easier for them to composite, grade and finish for theatrical distribution.
With seamless scalability, the RED ONE is quite capable of transitioning from HD, 2K or 4K workflows without losing initial quality.
The RED ONE was a game changer when it first burst into the scene and it continues to be a trusted camera, be it for film production or high-fashion photo shoots.
|SENSOR||14 MEGAPIXEL MYSTERIUM-X™|
|PIXEL ARRAY||5120 (h) x 2700 (v)|
|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|
|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)
Red One Footage