This area is short in the manual, but it touches on some key concepts that are worth exploring a little more deeply.
The RED ONE camera ships with a PL mount. To protect against dust or other contaminants entering the optical path, ensure the lens cap is used at all times a lens is not mounted to the camera. Additional lens mounts and adaptors are available for use with non-PL mount lenses.
This simply refers to the type of fitting on the front of the camera that will accept lenses. The important thing to know here is that you must use lenses with a PL Mount. There are other standards, and there are adapters that you can get to modify your One to accept the other standards. I'm not going to discuss Lenses here - but it is worth noting that the PL Mount is the standard for much of the Film industry and you should not have trouble finding nice 35mm lenses for use on your One.
In addition to capturing 12-bit resolution digital RAW images
The next big idea crammed into this paragraph is the "12-bit resolution digital RAW images." This term is important, and frankly, slightly mis-used here. The 12 bits refers to Color Depth, it is rarely called 12-bit resolution.
Let me rephrase their sentence: The One is capable of shooting up to 4k resolution at 12-bits of color.
Now for the explanation. When one is looking at a still frame of imagery - be it a digital photo or a single frame from moving footage - there are two basic attributes that every image will have:
So, what does 12 bits of color mean? It means that for every pixel being recorded - be it at HD or 4K - the RED One™ is capturing 12 bits of color information on the Red channel, the Green channel and the Blue channel. So in reality - the sensor is capable of registering 40963 or 68,719,476,736 unique colors.
Its important to note that this is light and color data arriving to the sensor - it does not define accurately the final output of the Mysterium™ sensor or REDCODE codec. The sensor actually compressess some colors more than others. We will talk about that later. It is also important to understand that the One uses a single Mysterium™ Sensor that captures all three channels of color on one chip. This is different from the cameras that use 3 separate CCDs.
the RED ONE camera supports four channels of 24-bit audio.
Now that we understand what bits are, we can apply this same concept to the audio. This simply tells us the range of sounds that the One can store in its chips. Again, and much like the visual side - ths does not tell us what frequency that information is being sampled. We will talk about this more later, but a quick example might help put this in context: while we know we can capture a nice range of sounds, if we only sample those sounds 1 time a minute it would not be a very effective recording media. The reality is that the RED One samples at 48 khz which means it is sampling 24 bits of audio data 48000 times a second. This is comparable to basic CDs, good recorders and samplers are capable of 96 and 128 bit depth audio - so if you really care about your audio - you should have a sound guy on-set recording audio seperately.
The RAW images may be captured at a variety of frame rates, including single frame (still), timed interval (animation) and continuous image (video) modes.
The final component to moving pictures is moving pictures. In order to make them move, frames are flashed in front of the lens. The speed at which this happens is called the frame rate. Film uses 24 frames per second as the standard. This was arrived at mostly because of aesthtic decisions. If you wave your hand in front of you face, you will notice blur. The human eye is accustomed to this "motion blur." If you increase the frame rate, you get less blur because the shutter is spinning faster. This is very noticable when you compare the look of a soap opera - shot often on video where there is no shutter - the lcd was on or off - at 59.94 fps - to that of something shot on film. The other extreme is in the early days of film, when cameras were still cranked by hand, slower frame rates like 16 fps, 18fps, and 20fps were tried, and in the interim people have tried to "under-crank" the film to simply use less stock. After over 100 years of experimentation and no reason other than it "looks right" 24 fps is the standard for film.
What's important here is to remember that all those 1s and 0s need to be stored for every pixel of every frame of every second of footage. This is what's known as the DATA RATE. The data rate is the most basic number description of how much storage you will need. In the film world it would be like saying a 400' mag or 1000' mag instead of saying approximately 3 and a half minutes or 11 minutes. We'll get into a greater discussion of data rate when we talk about the codecs.
Well, if you've made it this far I congratulate you. Just because this was the first chapter does not mean this stuff is easy. There's a lot of terminolgy crammed in to that first paragraph, and it makes a great scaffolding upon which we can further the discussion. You should now have a basic understanding of what lenses will fit your camera, 12 bit color depth at HD, 2K or 4K resolution, Data Rates, and a cursory introduction to digital audio.
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Page last modified on Tuesday 05 of May, 2009 23:37:11 EDT