Capable??

[Mike Mcc]

We do all ot of Outdoor vidoegraphy and are very interested in getting a few Red Ones and when scarlet arrives a few of those also. These are the things we must be able to do with both versions of Red, is Red capable of doing these things and if a accessory is needed to accomplish each goal what would we need. THX in advance.
1) Set internal time code
2) Record internal color bars
3) Record external mics
4) White balance
5) use Fujinon/Canon ENG Lenses
6) Auto iris then to manual
7) Phantom Power
8)add or subtract picture gain.
9) Shoot well in lowlight
10) batteries capable of 4 to 6 hours either 1 or 2 to accomplish this total
11) mount Frezzi camera light
12) mount Senn shotgun
13) mount tripod plate
14)incorporate LTO4 in archiving from Red Raid.
As you can tell we are typically used to the Broadcast shoulder mount cameras but truly understand that if Rec could fit into our productions we wouldnt be able to say we may a bad longtime investment. Long record time 2 or 4K video, truely tapeless with Raid, Avid friendly. THX again

[Brent J. Craig]

I would say yes to all but 2, 6 and 10.

I will let other elaborate, but:

#2 - color bars are irrelevant because you are shooting raw. The camera can display color bars for monitor calibration but not record them.

#6 (and 5) - Red sells a B4 mount adaptor to allow you to use ENG lenses. You will need a custom cable made to supply power/record/review to the eng lens. Since auto iris requires some intelligence in the camera I don't think you could make it work - BUT the Red has about 10 different ways to judge exposure, including stuff you're used to such as Zebras.

#10 - do you have ENG batteries that last 4 hours?!? Red batts last about 90 minutes. There are dual-battery rigs that give you around 3 hours. Your ENG batteries (V-mount or Anton-Bauer with adaptor) will work on the Red.

[Mike Mcc]

Thanks, sounds like Red is a viable option to the ENG shooters. Does anyone know where you can download a spec/ feature document of the Red One??

[Joe Walker]

have u tried:
http://www.red.com/cameras/tech_specs/

[Brent J. Craig]

It certainly is, but know what you are getting into. The Red shoots raw, meaning the footage isn't ready to use as soon as it comes out of the camera. You need to do some processing and transcoding to get it into most workflows.

It also takes some work to make a Red One shoulder-friendly, and it will never be as light as an F900.

On the other hand, you can shoot up to 120fps, and make images that have 4 times the resolution of HD.

Get Specs here http://www.red.com/cameras/

[Jordi Figueras]

Sorry about this, but after 9 months with my Red One I've realized what I expected for: the Red One is a Cinema Camera (as it is stated everywhere it's a "Digital Cinema Camera"). That's just what I was looking for, 'cause I always felt the Cine gear was more friendly to the way I like to work.
I really think a lot of people have the misconception that the Red One is just "another camcorder" like the sonys or panasonics, but it's a whole way closer in terms of work to an Arri camera, for example.
In my experience, the people who is used to work with cine gear gets a really fast hold in using the Red One than those who come from the video world ("where is the autofocus, the gain, etc" "it's has a really shallow depth of field" are some of the comments I've heard from those people).
I don't want to say it's a bad thing, I mean it's positive, but don't expect it to be like all the other ENG cameras... in fact it's not what it's been built for.
I'd say the Scarlet (the cheaper model) is going more to that kind of market?

[David Mullen ASC]

Because you shoot RAW, things like White Balance and Gain are simply metadata, they are not part of the original recording, the balancing and signal pushing happen when you convert and process the footage to viewable RGB or when you do color-correction later.

The speed/sensitivity is similar to other pro video cameras at 0 db, i.e. 320 ASA, but the noise levels and the look of the noise at higher ASA ratings (similar to boosting the gain, just that there is no in-camera analog gain with the Red, just boosting the signal in post) is different with the Red, so you'd want to test to determine if you are happy with the look when you have to use high ASA ratings, especially in tungsten light.

The post image processing from RAW to RGB, and the whole data workflow, is probably the biggest difference between the Red and a tape-based ENG camera. So if you are used to shooting a 1-hour interview on tape and handing it off to the producer at the end of shooting as a finished product (with SMPTE color bars and a broadcast-ready color-balanced Rec 709 recording), think again.

[Steve Gibby]

Mike Mcc,

Beyond its obvious cine-style usage, RED One has been, is now, and will be used widely for non-hardlined EFP (electronic field production), some hardlined EFP, but rarely for ENG (electronic news gathering).

Quick turnaround production like ENG is not RED One's practical strength. EFP programs, especially non-hardlined, rarely have quick turnaround needs, but are rather created in post - thus RED One's raw workflow can dance fine with delayed delivery deadlines.

The new RED DSMC line of cameras should be even much more adaptable to the EFP-style of production you're asking about.

All of your questions and beyond, have been addressed, answered, and discussed at length in the EFP/ENG for RED forum here on RED User. A quick search there will bring you answers to your questions and photos on many threads there of EFP-style setups of RED One.

Check it out: http://205.234.135.241/forum/forumdisplay.php?f=10