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RED ONE CAMERA: OPERATIONS GUIDE Companion - CH 3 Physical Controls - by Will Wagner
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RED Camera Physical Controls and Connectors

We're starting to get in to the guts of the operation now.

I will not focus on the PL Lenses and S4/i data interface for a very simply reason - they are the ballywick of the DP or Camera Operator.  The great thing about the RED One™ is that the chip approximates the size of 35mm film - allowing the DP true freedom to use film lenses and get that nice DOF.  We will talk about ASA and T stops later when we talk about the operation of the camera.  For now its enough to know that you can think about lenses on the RED One™ the same way you think about them on an Arri or Panavision.

Record Button, User 1 and User 2

On the left side of the camera body are a RECORD key and two User Keys. User Key 1 is pre-assigned to AUTO WB and User Key 2 is pre-assigned to 1:1 FOCUS CHECK, however these assignments can be changed in the KEYMAP preferences menu.
There will be greater explanation of white-balancing, and the Focus Check later.  It is important to note that when the manual is talking about user buttons 1 and 2 they are referring to these 2 buttons on the left side of the body.  We'll also get in to re-mapping the keys later.  This can be very handy.  There is a record button here as well for the 1st AC.
The Memory card located below these buttons is only for metadata - it is not used for capture of footage.

Right Side of the Camera

This is where you will plug in most of your camera cables and audio/video outs and Timecode cable.  There are lots of connectors and standards in play on this side so lets just jump right in and get it over with. 

The right side of the camera contains all the video, audio and time code inputs and outputs.
From top left to bottom right, these comprise a 3.5mm stereo headphone jack, and four DIN 1.0/2.3 video connectors that support Program HD-SDI, Preview HD-SDI and Video Genlock.
Next is an HDMI output, a USB-2 “master” port for USB peripheral devices, a USB-2 “slave” port to connect the camera to another camera or computer based controller, a 5-pin mini-XLR audio output, a 5-pin timecode input/output and four three-pin mini-XLR audio inputs. Finally there are two 16-pin push lock LEMO connectors that provide video, communications and power for a RED-EVF and RED-LCD, and a 10-pin push lock LEMO connector supporting the Aux/RS232 port that can interface to a variety of B4 lenses and lens motor control devices. One 6-inch length DIN 1.0 / 2.3 to BNC video adaptor cable and one 9-inch length 3 pin mini-XLR to mini-XLR cable plus a mini-XLR to full size XLR adaptor are provided with the camera.
  • 3.5mm stereo headphone - standard small headphone jack to listen to on-board audio.
  • 4 Din 1.0/2.3 video connections - those are like mini-bnc cables.  They are a major pain in the tookas to work with.  Many cameras that you rent will already have a 3rd party adapter to convert to regular BNC cables, so if you don't see those little plugs, and instead there are BNC ports at the left rear of the body - be happy.  If you own a One and have not made this upgrade, I strongly encourage it with all due haste.  The manual goes in to more detail on each of the monitoring solutions later - so we'll till then to get in to more detail.
  • HDMI Output - plug in an HDMI montor for viewing.
  • USB-2 Master and Slave Ports - these are used for computer control of the camera and their use is far beyond the scope of this document - its enough to know they are not used under normal circumstances.
  • Four 5-pin mini-XLR audo out - an adapter comes with the camera to make this full-sized XLR.  You will need them.
  • 5-pin Timecode - this is a standard LEMO timecode cable connection.  Your sound guy should already have one if he has a slate. Again, we will touch on this more later when we discuss the different workflows for the camera, but if you are used to jamming the slate for a film camera - then you will do the same thing here.
  • RS232 - used to interface to lenses and motor control units.
  • LCD, EVF - these ports are not interchangeable.

Rear of the Camera

Back here is where you will make most of your adjustments to the operation of the camera.  I find it easiest to look at the  external LCD while controlling the menu from here.  There is some information that is best gotten from this screen, but most of the time the bigger LCD will be easier.  Also, for anyone skipping arround - let me point out that the two objects directly to the right of the lcd on the rear of the camera - are just lights.  They are NOT buttons.

There are, however, lots of buttons and a joystick.  We'll save the discussion of these for the next chapter - Operation.  It is worth noting here however, that the three buttons running down the Left side of the lcd on the rear of the camera are User Menu Buttons 3,4, and 5.  They come pre-programmed - but can easily be reprogrammed to any menu by pressing and holding the button for a few seconds.

Aux Power 1 and 2, Camera Power, Drive Cable, and Power Button.

  •  Aux Power - as mentioned in the setup - it is better to get your power from a pigtail from the battery or other source than to pull off the camera.  If you need to do so for small loads here are the specs from the manual:

    Each Auxiliary Power / GPIO connector can supply 1.75 amps of unregulated 11.5 – 17V DC to
    accessories such as range finders or low power lens motors. The upper connector provides a
    GPI trigger (user programmable but defaulted to Record Start / Stop) and a Record Tally output.
    The lower connector provides a GPI trigger (user programmable but defaulted to Single Frame
    Record) and a Frame Recorded Tally output.
  • Camera Power - plug in the camera power from the battery or other source.
  • Power Button - the big black button to turn the camera on or off.  If you are powering up off of AC then you should wait till you see the green light on the AC unit before trying to power the camera.  If the green status light on the charger lights, then goes out - press the power button twice.
  • e-SATA Interface (to RED-DRIVE or RED-RAM digital magazine) - eSATA is a bandwidth standard for cables.  It means that a cable must be capable of carrying x amount of data - or to use a term we've already discussed a little - data rate.  The eSATA standard is fast enough to carry the REDCODE RAW data from the camera body to the drive.  RED-RAM is not in use as of this writing.  It will go live with Build 18.  RED-RAM will basically offer all the speed of hard-drives with the solid state functionality of flashcards.  Basically the same concept as firmware but much faster and more reusable.


 Chapter Summary

Another easy one. Brace yourself though - that was the calm before the storm.


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