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RED EPIC
OPERATION GUIDE
EPIC-M & EPIC-X
/
BUILD V4.0
RED.COM
RED EPIC OPERATION GUIDE
TABLE OF CONTENTS
BACKPACK QUICKPLATE (SHORT) 42
RED DSMC TI PL MOUNT + LENS 95
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 2
RED EPIC OPERATION GUIDE
MIC-1, MIC-2 (MICROPHONE AUDIO)
REEL NO. / SLATE (CAMERA ID) /
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 3
RED EPIC OPERATION GUIDE
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 4
RED EPIC OPERATION GUIDE
DISCLAIMER
RED ® has made every effort to provide clear and accurate information in this Operation Guide, which is provided solely for the user’s information. While thought to be accurate, the information in this document is provided strictly “as is” and RED will not be held responsible for issues arising from typographical errors or user’s interpretation of the language used herein that is different from that intended by RED. All safety and general information is subject to change as a result of changes in local, federal or other applicable laws.
RED reserves the right to revise this Operation Guide and make changes from time to time in the content hereof without obligation to notify any person of such revisions or changes. In no event shall RED, its employees or authorized agents be liable to you for any damages or losses, direct or indirect, arising from the use of any technical or operational information contained in this document.
For comments or questions specifically about the Operations Guide content, please send a detailed message to [email protected]
.
COPYRIGHT NOTICE
COPYRIGHT © 2013 RED.COM, INC.
All trademarks, trade names, logos, icons, images, written material, code, and product names used in association with the accompanying product are the copyrights, trademarks or other intellectual property owned and controlled exclusively by RED.COM, INC.
TRADEMARK DISCLAIMER
All other company, brand and product names are trademarks or registered trademarks of their respective holders. RED has no affiliation to, is not associated or sponsored with, and has no express rights in thirdparty trademarks. MAC ® and QuickTime ® are registered trademarks of Apple, Inc. Intel ® is the registered trademark of Intel Corporation. Windows ® , Microsoft Windows ® and Windows Vista ® are the registered trademarks of Microsoft Corporation. AVID ® is a registered trademark of Avid Technology, Inc. NUKE is a trademark of The Foundry Visionmongers Ltd. Torx ® is a registered trademark of Textron, Inc. Canon ® and
EOS ® are registered trademarks of Canon Kabushiki Kaisha Corporation.
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RED EPIC OPERATION GUIDE
COMPLIANCE
INDUSTRIAL CANADA EMISSION COMPLIANCE
STATEMENTS
This device complies with Industry Canada license-exempt RSS standards RSS 139 and RSS 210. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device.
This Class B digital apparatus complies with Canadian ICES-003.
Le présent appareil est conforme aux CNR d'Industrie Canada applicables aux appareils radio exempts de licence. L'exploitation est autorisée aux deux conditions suivantes : (1) l'appareil ne doit pas produire de brouillage, et (2) l'utilisateur de l'appareil doit accepter tout brouillage radioélectrique subi, même si le brouillage est susceptible d'en compromettre le fonctionnement.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
FEDERAL COMMUNICATIONS COMMISSION (FCC)
STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
In order to maintain compliance with FCC regulations, shielded cables must be used with this equipment.
Operation with non-approved equipment or unshielded cables is likely to result in interference to radio and
TV reception. The user is cautioned that changes and modifications made to the equipment without the approval of manufacturer could void the users authority to operate this equipment.
Note: This device complies with Part 15 of the FCC Rules
Operations subjected to the following two conditions (1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including that may cause undesirable interference.
Caution: Exposure to Radio Frequency Radiation.
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RED EPIC OPERATION GUIDE
The device shall be used in such a manner that the potential for human contact is minimized
This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment . This equipment should be installed and operated with a minimum distance of 20cm between the radiator and your body.
Caution: Regulations of the FCC and FAA prohibit airborne operation of radio-frequency wireless devices because there signals could interfere with critical aircraft instruments.
Caution: If the device is changes or modified without permission from RED, the user may void his or her authority to operate the equipment.
AUSTRALIA AND NEW ZEALAND STATEMENT
RED declares that the radio equipment described in this document comply with the following international standards.
IEC 60065 - Product Safety
ETSI EN 300 328 - Technical requirement for radio equipment
RED declares digital devices described in this document comply with the following Australian and New
Zealand standards.
AS/NZS CISPR 22 – Electromagnetic Interference
AS/NZS 61000.3.2– Power Line Harmonics
AS/NZS 61000.3.3 – Power Line Flicker
JAPAN STATEMENTS
This is a Class B product based on the standard of the Voluntary Control Council for
Interference (VCCI) for information technology equipment. If this equipment is used near a radio or television receiver in a domestic environment, it may cause radio interference. Install and use the equipment according to the instruction manual.
EUROPEAN UNION COMPLIANCE STATEMENTS
RED declares that the radio equipment described in this document comply with the
R&TTE Directive (1999/5/EC) issued by the Commission of the European Community.
Compliance with this directive implies conformity to the following European Norms (in brackets are the equivalent international standards).
EN 60065 (IEC 60065) – Product Safety
ETSI EN 300 328 Technical requirement for radio equipment
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RED EPIC OPERATION GUIDE
ETSI EN 301 489 General EMC requirements for radio equipment .
Information
Products with the CE marking comply with the EMC Directive (2004/108/EC) and the Low Voltage Directive
(2006/95/EC) issued by the Commission of the European Community. Compliance with these directives implies conformity to the following European Product Family Standards.
EN 55022 (CISPR 22) – Electromagnetic Interference
EN 55024-1 (CISPR 24) – Electromagnetic Immunity
EN 61000-3-2 (IEC610000-3-2) – Power Line Harmonics
EN 61000-3-3 (IEC610000) – Power Line Flicker
EN 60065 (IEC60065) – Product Safety
Usage Restrictions for Products that Incorporate REDlink
Products that fall into this category are denoted by inclusion of the Class 2 identifier symbol (exclamation mark in a circle) accompanying the CE Mark on the products regulatory label, example below:
France
Usage Restrictions - Geographic Area Where Restriction Applies : France
For mainland France
2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use
2.400 -2.454 GHz (Channels 1-10) authorized for outdoor use
Restrictions d'utilisation - Zone géographique où les restrictions s'appliquent : France
Pour la France métropolitaine
2.400 - 2.4835 GHz (Canaux 1 à 16) autorisé en usage intérieur
2.400 -2.454 GHz (canaux 1 à 10) autorisé en usage extérieur
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RED EPIC OPERATION GUIDE
Norway
This subsection does not apply for the geographical area within a radius of 20 km from the centre of Ny-
Ålesund
Dette gjelder ikke for det geografiske området innenfor en radius av 20 km fra sentrum av Ny-Ålesund
The Waste Electrical and Electronic Equipment (WEEE) mark applies only to countries within the European Union (EU) and Norway. This symbol on the product and accompanying documents means that used electrical and electronic products should not be mixed with general household waste. For proper treatment, recovery and recycling, please take this product to designated collection points where it will be accepted free of charge. Alternatively, in some countries you may be able to return your products to your local retailer upon purchase of an equivalent new product.
Disposing of this product correctly will help save valuable resources and prevent any potential negative effects on human health and the environment, which could otherwise arise from inappropriate waste handling. Please contact your local authority for further details of your nearest designated collection point.
Penalties may be applicable for incorrect disposal of this waste, in accordance with you national legislation.
For business users in the European Union, if you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information.
Responsible party:
RED Digital Cinema ®
34 Parker
Irvine, CA 92618
USA
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RED EPIC OPERATION GUIDE
BEFORE YOU START
Congratulations on your purchase of a RED DSMC ® Digital Still and Motion Camera.
Please read the attached safety instructions, and only then unpack the camera body and any accessories. If there is any physical damage or missing components for either your camera body or any accessories, please file a support ticket at https://support.red.com/home .
RED EPIC Digital
Still and Motion
Camera
IMPORTANT SAFETY INSTRUCTIONS
READ BEFORE USING YOUR CAMERA
A. Heed all cautions and warnings in these instructions.
B. Read these instructions before operating the camera and accessories.
C. Follow these instructions while operating the camera and accessories.
D. Keep these instructions with the camera and accessories at all times.
E. DO NOT attempt to modify, dismantle or open your camera, lens or other accessory as doing so may expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED authorized service facility, will void the Limited Warranty. Users are not permitted to make design changes or otherwise modify the operation of the camera, lenses or other accessories, without the express written approval of RED
DIGITAL CINEMA.
F. Only use attachments/accessories specified by RED.
G. Install camera and accessories in accordance with the manufacturer’s instructions.
H. Avoid imaging of laser beams as they may cause damage to the sensor.
I. DO NOT use the camera or accessories near water. Avoid exposing your camera to moisture. The unit is not waterproof, so contact with water could cause permanent damage to the unit as well as electric shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with high moisture without appropriate protection, and immediately remove power source if camera or accessories are exposed to moisture.
WARNING: To reduce the risk of fire or electric shock, do not expose the camera or accessories to rain or moisture.
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RED EPIC OPERATION GUIDE
J. DO NOT expose your camera to excessive vibration or impact (shock). Be careful not to drop your camera. Internal mechanisms may be damaged by severe shock. Mechanical alignment of optical elements may be affected by excessive vibration.
K. ELECTROMAGNETIC INTERFERENCE: The use of devices using radio or other communication waves may result in the malfunction or interference with the unit and/or with audio and video signals.
L. Clean only using a dry cloth. When cleaning your camera, remember that it is not waterproof and moisture can damage electronic circuitry. DO NOT rinse or immerse any element of the camera, lens or other accessory, keep them dry at all times. DO NOT use soaps, detergents, ammonia, alkaline cleaners, and abrasive cleaning compounds or solvents. These substances may damage lens coatings and electronic circuitry.
M. Maintain sufficient ventilation - DO NOT block any ventilation openings or obstruct cooling fan airflow.
CAUTION: Proper camera ventilation requires a minimum 1/2” (1,25cm) clearance between the camera ventilation openings and external surfaces. Verify that objects that can block the fan intake and exhaust ports do not impede airflow. Failure to permit adequate airflow may result in overheating of the camera, degraded operation and in extreme situations, damage to the camera.
N. DO NOT operate or store near any heat sources such as radiators, heat registers, stoves, or any other apparatus that produce heat. Store in a protected, level and ventilated place. Avoid exposure to temperature extremes, damp, severe vibration, strong magnetic fields, direct sunlight or local heat sources during storage. Remove any batteries from the camera before storage. Recommended storage and usage temperatures for your camera, lenses and other accessories are:
Operating range: 0 °C to +40°C (32°F to 104°F)
Storage range: -20 °C to +50°C (-4°F to 122°F)
If there are any performance issues with your camera or accessories when operating within this temperature range, please file a support ticket on https://support.red.com/home .
O. The Side Handle, Side SSD Module, Rear Modules and Lens Mount are NOT HOT SWAPPABLE – meaning you cannot remove or install them while the camera is powered on. Before installing or removing any of these accessories, you MUST power down the camera. Failure to do so may result in damage to the accessory and / or camera brain that will not be covered under warranty.
P. Do not bypass the third prong of the grounding-type plug on the power cord of the AC Power Adapter. A grounding-type plug has two blades and a third “grounding” prong. The third prong is provided for your safety. A grounding-type plug shall be connected to an outlet with a protective earthen connection. If the grounding-type plug does not fit into your outlet, do not attempt to modify the plug or outlet, consult a qualified electrician.
Q. Protect all power cords from being pinched, walked on or driven over by a vehicle. Replace any power cords suspected of sustaining damage due to crushing or other forms physical damage.
CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To disconnect all power from the AC Power Adapter, unplug the power cord plug from the wall outlet. During use, the power cord plug should remain easily accessible at all times.
R. Lithium Ion batteries may be subject to special handling requirements pursuant to federal and local laws.
Please refer to specific shipping instructions included with your battery regarding proper transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries must be in accordance with local environmental regulations. For example, California law requires that all rechargeable batteries must be recycled by an authorized recycle center. Storing batteries fully charged or in high temperature, conditions may permanently reduce the life of the battery. Available battery capacity may also be temporarily lessened after storage in low temperature conditions.
WARNING: Do not expose the battery to excessive heat.
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RED EPIC OPERATION GUIDE
WARNING: Danger of explosion if an incorrect battery is charged with the RED Charger or is used to power the camera and accessories. Replace only with the same or equivalent type battery.
CAUTION: Refer all service and repair to qualified RED service personnel. To reduce the risk of electric shock, and damage to the camera or accessories, DO NOT attempt to perform any servicing other than any procedures that are recommended in the operating instructions.
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RED EPIC OPERATION GUIDE
THEORY OF OPERATION
The RED family of Digital Still and Motion Cameras (DSMC) provide high performance digital imaging over a wide range of frame rates and optical formats including Super 35mm / APS-H. The RED DSMC camera is supplied as standard with a PL mount, and may be configured with mounts and 19 mm rods to accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm offset studio and 15mm lightweight rods are also available.
In addition to compatibility with the majority of existing PL mount cinematography lenses; a select range of
Super 35mm PL mount prime and zoom lenses are available from RED.
Other lens mounts, including the DSMC Canon mount are available, permitting the use of Canon EF and EF-
S photographic lenses. The Canon mount can report lens iris, focus and zoom data when mated to an appropriate lens. In addition, iris and manual or auto-focus settings may be controlled from the camera.
Lens mounts may be exchanged in the field, however it is highly recommended that this be performed in a dust-free environment, as the optical path will be exposed to the elements during this process.
MYSTERIUM X
®
SENSOR
The MYSTERIUM X sensor has been specifically designed for use with the RED DSMC camera, and in the
EPIC provides variable frame rate imaging at up to 120 fps at 5K resolution, and up to 400 fps at 1K WS resolution.
Native color balance for the MYSTERIUM X sensor is 5,000 KELVIN, but it may be electronically compensated for any color temperature in the range 1,700 to 10,000 KELVIN. White balance preset values include Tungsten (3200K) and Daylight (5600K) light sources. The camera may also calculate a color neutralizing White Balance value on demand by imaging on a standard white or 18% grey card.
The MYSTERIUM X sensor includes high precision analog to digital conversion, capable of delivering up to
13.5 stops of dynamic range with daylight light sources over a camera sensitivity rating of 320-800 ISO. In
HDR mode, dynamic range can be extended to approximately 18 stops.
IMAGE PROCESSING
The digital image received from the sensor is formatted as a pixel defect corrected (but in all other aspects unprocessed) 16-bit per pixel RAW data frame.
Each RAW frame or sequence of RAW frames in a clip is compressed using proprietary wavelet based
REDCODE ® RAW compression, then stored to a digital media Magazine such as REDMAG™ 1.8” SSD.
When recorded, the RAW data is independent of any RGB domain color processing such as ISO, White
Balance or other RGB color space adjustments made by the camera operator. These parameters are saved with the RAW data as reference METADATA; i.e. color is not burned into the recorded RAW data.
This recording technique permits RGB color processing choices to be deferred to post-production or to be adjusted in the field to help a director visualize alternative color treatments, without affecting the recorded
RAW data’s image quality or dynamic range.
The camera’s monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel
RGB 4:4:4 video signal. This signal may be modified using ISO, White Balance or other RGB color space
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RED EPIC OPERATION GUIDE adjustments as desired by the operator, and is then scaled and gamma corrected to provide VIEWFINDER,
HD-SDI and HDMI monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.
Frame guides and other camera data may be added as desired by the user to one or more of the outputs.
NOTE: The supplied REDCINE-X® PRO application software can create and export .RMD “color look” files which may then be imported as camera monitor path color processing PRESETs. This information is stored as reference metadata, so that this color processing choice can be the default value used in Post-
production. Refer to PRESETS MENU for details on how to import and apply .RMD file metadata.
HDRX™
HDRx is an option for extending dynamic range up to 6 stops over the base Dynamic Range offered by the camera. When enabled HDRx simultaneously shoots two images of identical resolution and frame rate - a normally exposed primary track (A-track), and an underexposed secondary track (X-track) whose exposure value reflects the additional stops of highlight protection desired.
For example, if you select an HDR value of +2 and your primary track exposure is 1/48th sec, the secondary track exposure will be 2 stops under, or 1/192 sec. The ISO and Aperture remain the same for both exposures.
During acquisition and recording, the two tracks are "motion-conjoined", meaning there is no gap in time between the two exposures. This is very important to note because if they were traditional alternating exposures, there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both tracks (A & X) are stored in a single .R3D
® file.
Since there are two exposures in HDRx mode, the camera is recording double the amount of frames each second. For example, when shooting at 24fps, the camera is recording two 24fps tracks, which is the data rate equivalent of 48fps; however after combining the A and X tracks in post-production you will see only one 24fps blended image sequence.
HDRx provides multiple options for exploitation in post-production.
Blend the two tracks in post tools like REDCINE-X, Storm or any other application that supports the SDK to create Magic Motion™. This blending of the two tracks comes with a slider so you can decide just how much of each track you want to use. A preview window shows you the combined result of your selection, or you can view each track individually.
Combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the motion of a traditional camera with full motion blur. This is a tool created by The Foundry that uses a new motion estimation algorithm designed specifically for HDRx. The shorter exposure (sharper image) is blended to match the motion blur of the normal exposure. Again, a preview window shows the combined result of your selection, or you can view each track individually.
Use the X-track data for motion tracking, then combine the X-track with the A-track, or just motion stabilize the A-track using the motion analysis data extracted from the X-track.
Exporting to EXR file format will give you a multi-view EXR with both exposures (like a stereo EXR).
NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of dynamic range just as if you had not enabled HDRx. For this reason, we encourage the A-track exposure to be
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RED EPIC OPERATION GUIDE
"normal" as it provides the most options. If you are tempted to shoot "over-under", you are then fully committed to using HDRx and your post-production options are reduced.
NOTE: When recording in HDRx mode the camera records twice as many frames per second so the maximum frame rate or minimum REDCODE ratio, and the maximum record time on your media will be cut in half.
NOTE: HDRx mode can be used with sensor syncing.
MAGIC MOTION™
Shooting at 24fps and with an 180 degree (1/48th) shutter on a film or digital camera may create an optical illusion we are familiar with, however it is not really the way the eye sees motion. To understand this, ask someone to stand in front of you and swing their arm over their head from one side to the other. What you would observe in the recording is a constant motion blur until the arm stopped. What your eye sees though is both motion blur AND a sharper reference to the arm and hand all along the motion path. "Magic Motion" provides such a combination of motion blur (A-track) and a sharper reference (X-track), with the bonus of extreme dynamic range not available with any other motion capture camera system.
AUDIO RECORDING
The RED DSMC camera can record up to two discreet channels of microphone level uncompressed 24-bit,
48 KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO I/O
Module), that are synchronized with video and timecode to a REDMAG 1.8” SSD digital media Magazine.
Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the desired audio reference / recording level and maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the
Graphical User Interface. Meter range is –36dBu to +20dBu (-56dBFS to 0dBFS) with audio input type, reference level and audio input clipping indicators.
Audio monitor output options include a 2-channel headphone output on the camera Brain and 2-channel line level analog outputs from the optional PRO I/O Module, plus 2-channel and 4-channel 24-bit 48KHz uncompressed digital audio embedded in the HD-SDI and HDMI outputs.
MICROPHONE LEVEL ANALOG INPUTS
The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain setting of the camera’s pre-amplifier. Available pre-amplifier range is+30dB to +60dB. The camera operator should choose a Gain value that aligns the input signal to the 0dBu reference line drawn on the camera’s
Audio Level Meter (or the 0VU reference line if operating at that level).
This setting provides up to 30dB of input signal headroom above reference 0dBu level before clipping (up to
26dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
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RED EPIC OPERATION GUIDE
LINE LEVEL ANALOG INPUTS
The recording level of a Line input is affected only by the signal provided by the field production sound mixer or other external line level source. The sound mixer operator should choose a mixer output level that aligns a reference tone signal to the 0dBu (-20dBFS) reference mark drawn on the camera’s Audio Level
Meter, or if using 0VU as reference level, a mixer output level that aligns a reference tone signal to the 0VU
(-16dBFS) reference mark.
This setting provides up to 24dB of input signal headroom above reference 0dBu level before clipping (up to
20dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
VIDEO MONITORING OUTPUTS
In its default configuration, the RED DSMC camera can simultaneously support one VIEWFINDER output
(suitable for use by a BOMB EVF ® , or RED LCD) plus one PROGRAM output and one PREVIEW output
(suitable for use by HDMI or HD-SDI monitors). The various monitor outputs can support a set of overlay graphics including camera GUI, timecode, clip name and framing guides; the specific overlay graphics for each type of output is user configurable.
The default VIEWFINDER output is the EVF / LCD connector located on the front face of the Side SSD
Module. If neither of these is connected, the VIEWFINDER output can be transferred to either the HDMI output or the HD-SDI output of the camera Brain.
All monitors are able to display a variety of features, including:
Surround View™, which is an additional look around area, visible outside of the recorded image.
Frame Guides, showing common film presentation and television aspects such as 2.40:1 and 16:9.
Focus, aided by high display resolution, 1:1 Focus Check function and False Color overlay.
Exposure, aided by dual Zebras, False Color overlay, RAW “Traffic Lights” and RGB histogram.
System information including current frame rate, ISO rating, shutter speed, color temperature, record resolution, record quality, clip name, timecode value and the remaining battery and media capacity.
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RED EPIC OPERATION GUIDE
BOMB EVF
The BOMB EVFs are high-definition, lightweight viewfinders that align quality performance with compact form factor.
For applications where use of an attached RED EVF or RED LCD is not desired – for example when working on a crane – the VIEWFINDER / MENU output can be transferred to the HD-SDI or HDMI outputs, supporting remote camera monitoring up to 200 ft away.
RED TOUCH LCD
The RED TOUCH LCD pixel progressive scan color displays allow you to view your image and navigate through menu settings using touchscreen functionality.
For applications where use of an attached RED EVF or RED LCD is not desired – for example when working on a crane – the VIEWFINDER / MENU output can be transferred to the HD-SDI or HDMI outputs, supporting remote camera monitoring up to 200 ft away.
NOTE: Do NOT use the RED LCD as a handle to lift or carry the DSMC. Damage to the RED LCD or other components of the DSMC system caused by using the RED LCD as a handle is not covered under warranty.
NOTE: The RED LCD swivel axis has a total range of adjustment of approximately 360Ëš (180Ëš clockwise or counterclockwise from the nominal “rear-facing” display orientation). The range of adjustment for the tilt axis is approximately 180Ëš. At the end of the adjustment range are internal “hard stops” for both axes. Once the swivel or tilt hard stops have been reached, IMMEDIATELY STOP APPLYING FORCE TO THE LCD.
Continuing to apply force after reaching the internal stops may damage the friction hinge. Damage to the
RED LCD or other components of the DSMC system caused by using excessive force to rotate the RED LCD is not covered under warranty.
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HD-SDI
A 720p or 1080p progressive scan output suitable for monitoring or recording to an external VTR or DDR device. May be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.
HDMI
A 720p or 1080p progressive scan output suitable for monitoring via a PC monitor or most HDTV displays.
Example of HDMI Monitor Output in
MENUS Mode
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RED EPIC OPERATION GUIDE
REDMOTE
®
REDMOTE is a camera control unit for RED’s family of DSMC cameras that attaches to the rear of the camera Brain or rearmost expansion module. REDMOTE may also be detached from the camera or rearmost module and provide wireless remote control of the camera over proprietary REDlink™ protocol.
Whether attached or operating via wireless, REDMOTE supports all controls necessary to operate the camera, including Record Start / Stop, Shutter Speed, White Balance, ISO and programmable User Keys. A color LCD displays critical camera parameters, including media and battery capacity, timecode and clip name, lens data and exposure information.
REDMOTE LCD Display
REDMOTE includes a rechargeable Li-Ion battery, which automatically re-charges when attached to the camera or rearmost module. It may also be re-charged by connecting to a USB 2.0 based power source such as a laptop PC or cell phone charger. Under typical operating conditions, REDMOTE should operate for up to 8 hours without requiring a re-charge and support a wireless communication range of approximately 50 ft.
DIGITAL MAGAZINE (MEDIA)
REDCODE RAW compressed MOTION clips and STILL images; time code, multi-channel audio and metadata may be recorded to a REDMAG 1.8” SSD magazine of 48GB, 64GB, 128GB, 256GB, or 512GB capacity.
Each clip is recorded with a unique name in a clip folder with the extension .RDC. This folder contains all appropriate information describing the clip, including one or more REDCODE RAW .R3D files and all color
The individual clip folders are placed into a magazine folder (i.e. root directory) on the digital media. This magazine folder has the extension .RDM. As this folder contains all the recorded clips; copying all clips recorded on the SSD to other media may be performed by a drag and drop operation on the .RDM folder.
NOTE: When using a RED STATION in conjunction with a 512GB REDMAG, an AC Power Adaptor will be required for offload. The RED STATION may not function properly when powered by a USB or Firewire cable.
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RED EPIC OPERATION GUIDE
Typical Magazine
Folder and Clip
Structure
For additional information about digital magazines, refer to APPENDIX B: MANAGING DIGITAL MEDIA.
METADATA
RED’s family of DSMC cameras record the Metadata, which is data for each frame of the recording:
Clip Name
Time Code
Date and GMT
Lens and shutter speed / angle parameters
Audio configuration
Firmware version # media serial #
LTC user bits (3 32-bit word reg-dump from ISP) s4i static data s4i dynamic data
GMT time/data
RGB curves shadow control
Luma curve
Lens name, brand, ID, near focus, far focus
Camera Network Name
Production Name
Director Name
DP Name
Copyright
Unit
Camera Name
Location
Scene
Take
Accelerometer Data
Gyro Data
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RED EPIC OPERATION GUIDE
CLIP NAMING CONVENTIONS
When you press RECORD, the camera automatically creates a unique name for the CLIP being recorded to the REDMAG 1.8” SSD media. The format of this name is:
Camera Letter + Reel Number + Month + Day e.g. A001_C002_0502**.RDC
Where: A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 02, and the digits * * are two random characters generated by the camera to prevent any possibility of duplicate names being created.
So a three Clip sequence of Clip Folders within a Magazine Folder on Camera A would look like this:
A001_C001_0502**.RDC A001_C002_0502**.RDC A001_C003_0502**.RDC
M ULTI CA ME RA S HOO TS
The scheme provides flexibility to uniquely identify Clips from different cameras on a multi-camera shoot.
For example three cameras, slated as camera A, camera B, and camera C respectively, can generate these easily recognizable clips on their respective digital media Magazines.
A001_C001_0502**.RDC B001_C001_0502**.RDC C001_C001_0502**.RDC
3 D (S TEREO ) CAM E RA S HO OTS
The scheme also allows unique identification of Clips from left and right eye cameras on a stereo shoot.
For example two cameras, both slated as Camera S, can generate these easily recognizable clips on their respective digital media Magazines.
S001_L001_0502**.RDC S001_R001_0502**.RDC
For more information, refer to APPENDIX H: 3D SETUP / OPERATION.
SMPTE TIMECODE
Time Code (TC) is a SMPTE timecode track that synchronizes to the camera’s high precision internal clock, or if operated in Jam Sync mode, references to an externally supplied SMPTE master timecode signal. TC is a sequential code that is continuous from frame to frame, but is discontinuous from clip to clip.
Edge Code (EC) is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame recorded to the digital media. It is a sequential code that is continuous from frame to frame and also continuous from clip to clip. EC is equivalent to RUN RECORD commonly found on broadcast cameras.
Irrespective of the timecode mode selected, once recording starts the camera’s timecode counter will update at the same instantaneous frame rate as the recording. This ensures that a valid SMPTE timecode value is created for every frame in the clip, eliminating any timecode count jumps that could affect playback or editing.
If operating in Jam Sync mode referenced to an external timecode source, the clip’s master time reference point is the first frame of the recorded clip.
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RED EPIC OPERATION GUIDE
POWER CONSUMPTION
The camera draws approximately 60 watts when recording in 5K resolution, 24fps MOVIE mode. The camera is cooled by convection from the camera body assisted by a fan contained in a sealed air duct.
Under typical operating conditions, a REDVOLT ® battery will run the camera and accessories for about 30 minutes and a REDVOLT ® XL battery will run the camera and accessories for about 90 minutes.
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RED EPIC OPERATION GUIDE
CAMERA OPERATIONAL CONTROLS
This section describes the available operational controls on the RED DSMC camera Brain, Side SSD Module,
Side Handle and REDMOTE accessories.
BRAIN
A
B
C
EPIC BRAIN
A. Power Status LED
B. Power/Record Button
C. Record Status LED
Power Status LED
Power/Record Button
Record Status LED
Both LEDs
Indicates Power Status:
LED Red = Power Present, Camera OFF
LED Yellow = Power Present, Camera Booting
LED Green = Power Present, Camera ON
LED Green Blinking = Power Present, Running on Battery
LED Yellow Blinking = Power Present, 5-10 Minutes of Battery Time
Left
LED Red Blinking = Power Present, Less than 5 Minues of Battery
Time Left
Powers Camera Up / Down and Indicates Record Stop / Start
Indicates Record Status:
LED Off = No Media Present
LED Green = Ready to Record
LED Red Constant = Recording
LED Red Slow Blink = Recording, 25% Media Left
LED Red Fast Blink = Recording, 5% Media Left
LED Yellow = Finalizing
Indicates Camera Status:
Both LEDs Green Blink = Firmware Update in Progress
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SIDE SSD MODULE
A
E
B
C
D
Side SSD Module
A. SSD Slot
B. S-SSD User Key 1
C. S-SSD User Key 2
D. Focus/Record Button
E. Media Indicator
REAR
SSD Slot
S-SSD User Key 1
S-SSD User Key 2
S-SSD User Key 1 + 2
Focus/Record Button
Media Indicator LED
FRONT
Slot for REDMAG 1.8” SSD Digital Media Magazine
Initiates User Defined Camera Function. Undefined by Default
Initiates User Defined Camera Function. Undefined by Default
The specific function of pressing these keys may be programmed by the user.
By default, press both keys to Eject (Unmount) REDMAG 1.8” SSD
Magazine
Touch for Auto Focus, Fully Depress to Start or Stop Record
Indicates Status of Media:
LED Off = No Media
LED Green = Ready to Record
LED Red Constant = Recording
LED Red Slow Blink = Recording, 25% Media Left
LED Red Fast Blink = Recording, 5% Media Left
LED Yellow = Finalizing
LED Yellow Blinking = Media Access (Format etc…)
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RED EPIC OPERATION GUIDE
SIDE HANDLE
TOP
B
A
C
E
D F
Side Handle - Top
A. Battery Release
B. Focus/Record Button
C. SH Rotary Front
D. SH User Keys 1-4
E. LCD Display
F. LCD Backlight Button
Battery Door Release
Button
Focus/Record Button
Adjustment Ring
SH User Keys 1-4
LCD Display
LCD Backlight Button
Releases Side Handle battery door to permit battery exchange
Touch for Auto Focus, fully depress to Start or Stop Record
Selects and adjusts camera parameter values. Similar to the scroll wheel on the navigation group. Can assign different functions to clockwise and counter-clockwise directions
The specific functions for each key are defined by the LCD screen.
Defaults are:
1 = ISO
2 = F-Stop
3 = Shutter Speed
4 = Color Temperature
Displays key camera parameter values
Enables LCD backlight
NOTE: Side Handle (SH) controls can be locked/unlocked by holding the 1 and 4 buttons simultaneously.
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FRONT
A
Side Handle – Front
A. Stills/Movie Switch
Stills/Movie Switch The specific function of this switch may be programmed by the user.
Default settings are as follows:
STILLS = Change focus mode to Still
Movie = Changes focus mode to Movie/Motion
The DSMC has two AF modes: one for stills and one for movies/motion. In Stills mode, you can select a specific AF setting, and then go to Movie/Motion mode and change your AF setting. By default, the
Stills/Movie Switch toggles between these two AF settings.
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REAR
A
B C
E
F
Menu Button
Rocker Switch
D
Navigation Group
SH User Keys A-D
SH User Keys 5-7
Thumbwheel Lock
Side Handle – Rear
A. Menu Button
B. Rocker Switch
C. Navigation Group
D. SH User Keys A-D
E. SH User Keys 5-7
F. Thumbwheel Lock
Press to access / camera setup menus
The specific function of these keys may be programmed by the user.
Default Settings are as follows:
Rocker Switch+ = Opens Iris
Rocker Switch - = Closes Iris
Allows navigation through camera menus, selection of camera parameter for adjustment and adjustment of selected camera parameter
The specific function of these keys may be programmed by the user.
Default settings are as follows:
User Key A = Toggles Focus Assist indicator
User Key B = Performs White Balance calculation
User Key C = Toggles False Color > 1:1 Magnify
User Key D = Toggles False Color > Exposure Check
Function is defined by System Firmware:
User Key 5 = Toggles False Color > Exposure Check
User Key 6 = Disabled
User Key 7 = Eject Media
Locks Side Handle in position on camera
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NAVIGATION GROUP
C
A
B
Side Handle Navigation Group
A. Scroll Wheel
B. Direction Keys
C. Enter Button
Scroll Wheel
Direction Keys
Enter Button
Selects and adjusts camera parameter value
Navigates camera menus and may select parameter for adjustment
Confirms selected parameter value adjustment
INSTALLATION / REMOVAL
WARNING: The Side Handle is NOT hot swappable - meaning you cannot remove or install while the camera is powered on. Before installing or removing the Side HANDLE, you MUST power down the camera. Failure to do so may result in damage to the Side Handle and / or camera brain that is not covered by warranty.
To install the side handle:
1. Power down the camera if necessary.
2. Remove the brain side plate (if installed) by removing the single screw located at the bottom.
3. Rotate upwards to disengage lip at top of side plate from camera brain.
Remove Screw and Rotate Side Plate Upwards to Remove
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4. Insert the lip at the top of the side handle into the area where the lip from the side plate was installed.
Insert Lip into Top of Camera Brain
Press Side Handle Flush Against Camera Brain
Rotate Thumbwheel Upwards Until Tight
5. Rotate side handle down flush along side of camera brain.
6. Rotate thumbscrew upwards until tight. Ensure side handle is secure to camera brain. You may have to apply steady pressure to get the screw started.
To remove the side handle:
1. Power down the camera if necessary.
2. Rotate the thumbscrew downwards until detached from camera body.
Rotate Thumbwheel Downwards Until Loose
Rotate Side Handle Upwards to Remove
Disengage Lip from Top of Camera Brain
3. Rotate upwards and pull down to disengage lip at top of side handle from camera brain.
4. Remove side handle from camera.
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RED EPIC OPERATION GUIDE
DSMC MODULES
PRO I/O MODULE
The PRO I/O MODULE brings together the essential I/O connections into one module, providing a central hub for professional audio and video components.
Centralized ports make it easy to manage connections and cables
LCD/EVF port allows you to connect an additional RED LCD or EVF
Customize triggers and interface with third-party GPIO and RS232 control devices using RED Pro I/O cables
Attach an additional DSMC module or a REDMOTE to the back of the PRO I/O MODULE for additional expansion
Internal cooling system maintains appropriate operating temperature
Pro I/O Module
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RED EPIC OPERATION GUIDE
REAR SSD MODULE
The Rear SSD Module secures onto the back of the DSMC brain to serve as a rear location for recording onto 1.8" REDMAG SSD media.
Rear SSD Module
QUAD BATTERY MODULE
The QUAD BATTERY MODULE holds up to 4 REDVOLTs or 2 REDVOLT-XLs
Batteries may be hot swapped
Quad Battery Module
Shown with REDVOLT Batteries
Installed
Battery Eject Button
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DUAL BATTERY MODULE
The DUAL BATTERY MODULE holds up to 2 REDVOLTs
Batteries may be hot swapped
Dual Battery Module
Shown with REDVOLT Batteries
Installed
MODULE INSTALLATION / REMOVAL
To install a DSMC Module to the camera, an Adaptor Plate must be purchased separately. The following procedure details installation of the Adaptor Plate and DSMC Module.
Install the Adapter Plate
1. Power down the camera.
2. Remove the REDMOTE.
3. Place the adapter plate over the v-mount on the rear of the camera brain.
Place the Adaptor Plate Over the V-Mount on the Rear of the Camera Brain
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4. Using a T-20 Torx, lightly tighten the four screws. Do not over tighten.
Tighten Four Screws Do Not Over Tighten
5. Tighten the screws again in a cross pattern until tight.
4 1
2 3
Tighten Screws Again in a Cross Pattern Until Tight
4 1
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ATTACHING THE DSMC MODULE
WARNING: DSMC Modules are NOT hot swappable - meaning you cannot remove or install while the camera is powered on. Before installing or removing a Module, you MUST power down the camera. Failure to do so may result in damage to the Module and / or camera brain that is not covered by warranty.
Quad Battery Module shown.
1. Insert the lip at the top of the module into the recess at the top of the adaptor plate.
Insert Lip at Top of Adaptor Plate
Rotate Module Down Until Flush with Adaptor
2. Rotate module down flush with the rear of the adaptor plate.
Apply Steady Pressure
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3. While applying steady pressure to hold the module against the adaptor plate, use a T-20 Torx screwdriver to rotate the lock on the adapter plate clockwise to secure the module.
Press Module Flush with Adaptor
Rotate Lock Clockwise Until Red Dot Lines Up with
Lock Icon
4. Installation is now complete.
To remove the DSMC Module and Adaptor Plate:
1. Power down the camera.
2. Use a T-20 Torx screwdriver to rotate the lock on the adapter plate to the Unlock position.
3. Rotate the module upwards and down to disengage lip at top of battery from adaptor plate.
4. Remove module from adapter plate.
5. Use a T-20 to loosen the screws attaching the adaptor plate the camera brain.
6. Remove the adaptor plate from the camera brain.
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RED EPIC OPERATION GUIDE
REDMOTE
This section describes the physical controls on the REDMOTE. For complete details on REDMOTE control,
refer to APPENDIX G: REDMOTE OPERATION.
IMPORTANT: For your REDMOTE to operate with this camera build version, ensure your REDMOTE has
been upgraded to the latest firmware. Refer to UPGRADE REDMOTE FIRMWARE.
A
B
E
C
D
G
F
H
J
I
K
L
M
N
REDMOTE
A. Still/Motion Slider
B. Release Button (L)
C. Record LED
D. Power LED
E. Rocker Switch
F. User Keys A-D
G. MENU Button
H. Soft Menu Keys 1-3
I. Navigation Group
J. Focus/Record Button
K. Soft Menu Keys 4-8
L. Power/Lock Slider
M. Release Button (L)
N. USB Connector
Still/Motion Slider
Release Button (L)
Record LED
Power LED
Rocker Switch
User Keys A-D
MENU Button
Soft Menu Keys 1-3
Navigation Group
Focus/Record Button
Soft Menu Keys 4-8
Allows selection of STILLS or MOVIE operational modes
Provides continuous adjustment of parameter specified in USER KEYS menu
Press to initiate camera functions as defined in USER KEY menu.
Default settings are as follows:
User Key A = Toggles Focus Assist Indicator
User Key B = Toggles False Color > RAW Check
User Key C = Toggles False Color > 1:1 Magnify
User Key D = Toggles False Color > Exposure Check
Press to access / camera setup menus
Function is defined on the LCD screen. For more information, refer to
APPENDIX G: REDMOTE OPERATION.
Allows navigation through camera menus, selection of camera parameter and adjustment of selected camera parameter
Touch for Auto Focus, fully depress to Start or Stop Record
For more information, refer to APPENDIX G: REDMOTE OPERATION.
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Power/Lock Slider
Release Button (L)
USB Connector
Slide and hold down for two seconds to power up / down REDMOTE and / or cameras. Slide up to lock keys
NAVIGATION GROUP
C
A
B
REDMOTE Navigation Group
A. Scroll Wheel
B. Direction Keys
C. Enter Button
DISPLAYS
BOMB EVF AND BOMB EVF (OLED)
BOMB EVF is a high-definition, lightweight viewfinder that aligns quality performance with compact form factor.
Resolution: 1280 (wide) x 784 (high) full-color
Contrast Ratio: 1000:1 typical
Available diopter range: +2.0 to -5.0.I
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RED EPIC OPERATION GUIDE
A
B
C
BOMB EVF
A. Focus Ring
B. Talley Light
C. Brightness Controls
RED BOMB EVF (OLED) brings advanced OLED technology into the field, providing truer blacks and more color accurate images
Resolution: 1280 (wide) x 1024 (high) full-color
Contrast Ratio: > 1000:1 typical
Available diopter range: +2.0 to -5.0.I.I
A
B
C
BOMB EVF
A. Focus Ring
B. Talley Light
C. Brightness Controls
NOTE: The specific function of EVF user keys (B/C) may be programmed by the user.
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RED EPIC OPERATION GUIDE
TOUCHSCREEN LCD
RED offers two touchscreen LCDs, a five-inch model with 800 X 400 resolution and a nine-inch with 1280 X
784. Both feature 4:4:4 progressive scan. You can navigate the DSMC menus and adjust camera paramters by directly touching icons on the touchscreen LCD screen. Gestures supported include:
Tap: Tap on an icon to bring up a quick adjustment display.
Double-Tap: If the monitor is in Clean mode, changes to Menus mode.
Hold: Touch and hold on an icon to bring up an advanced interface display.
Slide: When a menu or drop-down menu is open, touch and slide to increment a value.
Pinch: Touch with two fingers, then open or close to magnify or normalize the video image. By default, this gesture is disabled.
A
B
C
Touchscreen LCD – 5” LCD Shown
A. User Key 1 1:1 Magnify
B. Backlight Adjust
C. User Key 2 Exposure Check
NOTE: Default functions shown. All keys may be programmed by the user.
CAUTION: When do not use the threaded holes when mounting the display to a RED camera brain. Doing so may damage the camera or the display.
Do Not Use Threaded Holes to
Mount LCD to the Camera
NOTE: Do NOT use the RED LCD as a handle to lift or carry the DSMC. Damage to the RED LCD or other components of the DSMC system caused by using the RED LCD as a handle are not covered under warranty.
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RED EPIC OPERATION GUIDE
NOTE: The RED LCD swivel axis has a total range of adjustment of approximately 360Ëš (180Ëš clockwise or counterclockwise from the nominal “rear-facing” display orientation). The range of adjustment for the tilt axis is approximately 180Ëš. At the end of the adjustment range are internal “hard stops” for both axes. Once the swivel or tilt hard stops have been reached, IMMEDIATELY STOP APPLYING FORCE TO THE LCD.
Continuing to apply force after reaching the internal stops may damage the friction hinge. Damage to the
RED LCD or other components of the DSMC system caused by using excessive force to rotate the RED LCD is not covered under warranty.
BASIC OPERATION
This section describes basic operation, starting from power up, Viewfinder layout and Menu navigation.
WARNING: The Side Handle, Side SSD Module, rear modules and Lens Mount are NOT HOT SWAPPABLE – meaning you cannot remove or install them while the camera is powered on. Before installing or removing any of these accessories, you MUST power down the camera. Failure to do so may result in damage to the accessory and / or camera brain that will not be covered under warranty.
Power draw is prioritized as follows when multiple power sources are available to the camera.
1. DC (Voltage) or Brick (%)
2. Battery Module batteries
3. Side Handle battery
POWER SOURCES
SIDE HANDLE
The optional Side Handle accepts one REDVOLT.
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Side Handle Battery Compartment
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QUAD BATTERY MODULE
The optional QUAD BATTERY MODULE accepts up to four REDVOLT or up to two REDVOLT XL batteries, which can power the camera and typical accessories.
Quad Battery Module
REDVOLT AND REDVOLT XL
REDVOLT and REVOLT XL
NOTE: When multiple batteries are installed in the Quad Battery Module, the power management circuit will select the lowest charged battery to supply power to the camera. On depletion, a battery may be ejected from the Quad Battery Module for re-charging, and a new charged battery may be inserted in its place. i.e. batteries may be hot swapped, there is no need for the operator to power down the camera to replace a
REDVOLT battery when using the Quad Battery Module.
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RED EPIC OPERATION GUIDE
BACKPACK QUICKPLATE AND BACKPACK QUICKPLATE
(SHORT)
The optional BACKPACK QUICKPLATE and BACKPACK QUICKPLATE (SHORT) attach to the back of the
BACKPACK BASE PLATE to provide a compact RED BRICK configuration for your DSMC.
NOTE: BACKPACK BASE PLATE is required for use of the BACKPACK QUICKPLATE and the BACKPACK
QUICKPLATE (SHORT).
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REDBRICK
Backpack Quickplate
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RED EPIC OPERATION GUIDE
BACKPACK QUICKPLATE CONNECTORS
The BACKPACK QUICKPLATE has one D-tap connector for auxiliary accessories (70W max).
PIN
1
2
DESCRIPTION
Ground
+12VDC
DTAP Connector
BACKPACK QUICKPLATE (SHORT) CONNECTORS
The BACKPACK QUICKPLATE (SHORT) has two auxiliary connectors that provide a maximum combined output of 3.8 A. For example, if you’re pulling 2.0A out of one port, you can pull up to 1.8A out of the other port.
When connecting a cable to an auxiliary connector, align the key and red mark on the auxiliary connector with the corresponding key on the cable connector.
PIN
1
2
DESCRIPTION
Ground
+12VDC
Auxiliary Connectors
INSTALL BACKPACK QUICKPLATE AND REDBRICK
Both the BACKPACK QUICKPLATE and BACKPACK QUICKPLATE (SHORT) are installed using the same quick and easy procedure described below.
1. Ensure that the BACKPACK BASE PLATE is properly attached to your DSMC with the four M4 mounting screws.
2. Turn the BACKPACK BASE PLATE wingnut counter-clockwise by 2-3 turns.
3. Slide the BACKPACK QUICKPLATE dovetail into the BACKPACK BASE PLATE, so that the V-Mount on the BACKPACK QUICKPLATE is facing away from the DSMC.
4. Secure the BACKPACK QUICKPLATE by turning the BACKPACK BASE PLATE wingnut clockwise until it stops turning (do not over tighten).
5. Slide the RED BRICK onto the back of the BACKPACK QUICKPLATE so that it fits into the V-Mount on the back of the BACKPACK QUICKPLATE.
NOTE: You may not hear a click when the RED BRICK is fully connected.
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6. Connect the BACKPACK QUICKPLATE LEMO connector into the DSMC DC IN connector.
7. When you’re ready to remove the REDBRICK, simply press the release button [the release button is black on the BACKPACK QUICKPLATE and is red on the BACKPACK QUICKPLATE (SHORT)] on the side of the
BACKPACK QUICKPLATE.
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AC POWER ADAPTOR - (DSMC)
AC Power Adaptor (DSMC)
When powering the DSMC with the A/C Power Adaptor, you can see the incoming voltage and source (DC) on the lower part of the screen. You can also see the power information in the POWER status menu.
Power Details
In use, an LED on the Quad Battery Module will flash to show the battery currently powering the camera.
Current battery LED indicates status as follow:
LED Off = No Battery
LED Constant Green = Battery Not used but Charged
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LED Green Blinking = Battery Used
LED Yellow Blinking = Battery has 10 minutes of run time remaining
LED Red Blinking = Battery has 5 minutes of run time remaining
LED Constant Red = Battery Discharged
Remaining batteries will have a steady LED on module.
When current battery reaches 4% charge, the battery module will automatically switch over to another battery, by default the LOWEST charge capacity battery of the remaining batteries installed in the Module.
Battery location and status are displayed in the lower UI. In this case RM B1 (Rear Module, Bay 1).
Battery location and status are also displayed on REDMOTE. In this case RM B3 (Rear Module, Bay 3).
Power Status on REDMOTE
The POWER menu also shows all installed batteries and their state of charge.
COPYRIGHT © 2013 RED.COM, INC
Power Menu
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EXTERNAL DC POWER
RED DSMC Cameras accept input voltages between 11.5V - 17V D.C and can draw a maximum current of 12
Amps.
An appropriate 150W supply with DC output rated at 15V 10A such as AC Power Adapter P/N 740-0019 available from RED DIGITAL CINEMA.
RED Charger. For RED Charger you must use 2B-to-1B Power Adapter Cable P/N 790-0138.
RED BRICK ® 140Wh batteries may be used with Backpack Quickplate, RED Quickplate, Battery Belt Clip, or RED Cradle via 2B-to-1B Power Adapter Cable P/N 790-0138.
4-pin XLR DC power sources may be used with the camera via adaptor cable P/N 790-0164.
POWER UP
Locate the camera’s Power / Record button on the right face of the Brain.
NOTE: This button also serves as a Record Start / Stop button once the camera is powered up.
A
B
C
EPIC BRAIN
A. Power Status LED
B. Power/Record Button
C. Record Status LED
When an appropriate power source is connected to the Brain, the Power Status LED will illuminate Red. If it is illuminated, depress and then release the Power / Record button. The Power Status LED will initially go out and within 5 seconds illuminate Orange to confirm the camera is powering up, then it will illuminate
Green, confirming the camera is powered up and ready to use.
If a formatted REDMAG 1.8” SSD is attached to the Brain, once powered up the Media Status LED will illuminate Green. If this LED is not illuminated, verify a formatted REDMAG 1.8” SSD is inserted into the Side
SSD Module and / or format the SSD if it has not previously been formatted on the camera.
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NOTE: Once powered up, if the Power Status LED illuminates Red, it indicates low remaining battery capacity and a battery exchange or switch over to external DC power is recommended.
POWER DOWN
The camera can be powered down in two ways:
Using REDMOTE or Side Handle Menu controls, or via Touch Screen LCD icons. For more information,
Depress and continue to hold the Power / Record button in its fully depressed position until the
INITIATING CAMERA SHUTDOWN shows on the display.
After Power Down, the Power Status LED will illuminate Red, if an appropriate power source is available.
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GRAPHICAL USER INTERFACE AND NAVIGATION
RED LCD/TOUCHSCREEN LCD, BOMB EVF, EXTERNAL
MONITORS
The following is a general description of the structure of the camera’s Graphical User Interface (GUI) which overlays the video monitor signal on the Viewfinder output(s) of the camera.
QUALITY
LENS INFO
ISO F-STOP SHUTTER WHITE BALANCE RESOLUTION
LENS INFO
FRAME GUIDE
PICTURE CENTER / SPOT FOCUS
NEXT CLIP
FILENAME
TEMPERATURE
CALIBRATION
CHANGE
HDRx
HISTOGRAM
FALSE COLOR
TC
REDMOTE
LAN
RESOLUTION /
PROJECT
FRAME RATE /
QUALITY
RAW NOISE
LEVEL BAR
RAW CLIP
LEVEL BAR
RAW CLIP
METER DROP
MAGNIFY
GENLOCK
RIG
SHUTTER SYNC
MEDIA
SOURCE /
TIMECODE
POWER
SOURCE / STATUS
AUDIO METER
The display elements include:
Audio Meter: Audio input selection and levels
Cal:T/E: Indicator of relative change in sensor temperature and exposure since your last calibration
Clip Level Bar: Relative number of RAW pixels near clip
Clip Meter: RGB sensor RAW clipping status
Cursors: Reference cursors – Safe Action /
Safe Title, Picture Center, Grid Overlay
Drop: Indicates if any frames were dropped
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RED EPIC OPERATION GUIDE during recording of the clip
F Stop: Functional when optional mount and
Noise Level Bar: Relative number of RAW pixels in noise lens are installed
False Color Mode: Displays false color overlay mode
Frame Guide: Record or Projection area
Playback ICON : In the upper Left corner on the touchscreen LCD - Accesses the Playback
Function
Frame Rate: Current frame capture rate
Genlock: Indicates presence of valid Genlock signal / HD-SDI sync to genlock
HDR Mode: Displays HDRx mode status
Power: Indicates D.C supply voltage or % of remaining battery capacity Including current supply voltage
Project Frame Rate: Current project TIME
BASE
Histogram: RGB Histogram.
ISO Rating: Camera sensitivity
LAN: Indicates communication via Ethernet connection
Quality: REDCODE setting
Resolution Record Resolution
RIG: Indicates 3D rig metadata is present
RM: Indicates communication to REDMOTE
Lens Info: Lens information when using specific Canon or Cooke lenses.
Shutter Speed: Exposure Time (or Degrees)
Shutter Sync: Indicates sensor shutter sync
Magnify: Tallies 1:1 if magnify is selected
Media Status: Media location and remaining media capacity in % status
TC: Indicates presence of valid SMPTE
Menu ICON : In the upper Right corner on timecode signal and Jam Sync status
Temperature: Displays camera sensor and the touchscreen LCD - Opens the Secondary
Menus
Next Clip Filename: Filename of the clip that will be shot next core temperature in that order (xx/xxC)
Timecode: Current timecode value
White Balance: Color Temperature
The GUI is broken down into the following three main sections: the Upper Status Row, the Live Action Area, and the Lower Status Row. On VIEWFINDER output(s), all three sections are visible, on PREVIEW outputs only the Live Action Area and associated graphic overlays are visible. On PROGRAM outputs, none of the graphic overlays are visible, i.e. a PROGRAM output is defined to be a CLEAN FEED output.
UPPER STATUS ROW
Provides immediate feedback on the most critical image composition parameter settings, including (from
Left to Right):
Playback Access (Touchscreen)
Current frame capture rate
ISO Rating
Shutter Speed (or Shutter Angle)
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White Balance
Record Resolution
Record Quality
Secondary Menus Access (Touchscreen)
Whichever parameter is underlined with a red bar may be immediately adjusted by pressing ENTER in the
Navigation Group of the Side Handle or REDMOTE, then using the Scroll Wheel to change the value of that parameter. To confirm the parameter change press ENTER a second time.
NOTE: Shutter angle is displayed in Absolute mode by default, as indicated by Yellow text.
If the red bar is not on the parameter you wish to change, first use the Scroll Wheel to position the red bar under that parameter, then press ENTER, adjust with the Scroll Wheel and press ENTER a second time to confirm the value change.
In the above GUI example, the Scroll Wheel has been used to move the red cursor to the Shutter Speed parameter; and the ENTER key has been pressed. This reveals the Parameter Adjust Widow. Adjust the value using the Scroll Wheel and then press ENTER to confirm the value change, then close the sub-menu.
LIVE ACTION AREA
Contains the recorded image area plus Surround View™ look around area, plus overlays for Frame Guide,
Safe Action / Safe Title and the current Clip Name and Timecode values. Each overlay may be color coded in one of 5 colors to maximize the contrast between the guide(s) and scene being captured.
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LOWER STATUS ROW
The Lower Status Row provides feedback on key systems level camera values, including:
Clip Settings
Exposure (Histogram)
Temperature, Power &
I CO N BE HA VIO R
Sync
Media Status
Power Status
Audio Levels
CAL:T/E
T or E Green - No change in sensor temperature or exposure from the levels recorded during calibration
T or E Yellow - Slight change in sensor temperature or exposure from the levels recorded during calibration
T or E Red - Significant change in sensor temperature or exposure from the levels recorded during calibration
The - and + indicate whether the sensor temperature or exposure has decreased or increased
NOTE: The T and E change colors independently of each other.
TC
TC Gray - No analog time code is currently detected
TC Red - Analog time code is being detected, but the use of it is not enabled
TC Green - Analog time code is being used to jam the time of day time code. TC will revert to gray if the signal is no longer detected
GEN
GEN Gray - No genlock signal is currently detected, or the presented signal cannot crosslock to project
(24.00 fps vs. 23.98 fps)
GEN Red - During process of sync, or if genlock is lost while recording
GEN Green - A genlock signal matching the current HD-SDI monitor rate has been locked to it
GEN Yellow - When timing is cross-locking to compatible but not matching monitor rate. i.e. genlock =
24.00, HD-SDI monitor rate = 25.00
NOTE: 3D operation should not be done if GEN is yellow. This is a warning that genlock source settings and camera settings are not aligned. Phasing of the sync between cameras cannot be guaranteed when GEN is yellow.
SYNC
SYNC Gray - The sensor sync mode is not Genlock
SYNC Red - The sensor sync mode is Genlock, but it is not locked to any genlock signal, or genlock or
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SYNC Green - A genlock signal compatible with the HD-SDI monitor rate has been locked to and the sensor timing is also locked to it
P O WE R S TA TUS
If powering camera through DC power, the current voltage will be displayed. If using batteries, the remaining battery time displays.
If using a REDBRICK or similar external battery to power the camera through DC IN, power status displays the current supply voltage available from the battery. Supply voltage decreases as battery is discharged, the displayed text is color coded as follows:
Green = 12.0 V and up Yellow = 11.9 – 11.8 V Red = 11.7 – 11.6 V
NOTE: The camera will automatically power down if supply voltage drops to 11.5 Volts.
If using a REDVOLT battery in the Side Handle or Battery Module to power the camera, power status displays the location of the power source (example: SH: Side Handle; RM: Rear Module) and reports the remaining battery capacity and the displayed text is color coded as follows:
Green: >10 minutes Yellow: 5-10 minutes Red: <5 minutes
If using a RED BRICK battery connected to DC IN, power status displays BRICK and reports the % of remaining battery capacity and the displayed text is color coded as follows:
Green: >10 minutes Yellow: 5-10 minutes Red: <5 minutes
RA W CLI P ME TER
The RAW Clip meter looks a traffic light style meter and indicates if either of the Red, Blue or
Green channels of the RAW sensor data are clipping. This meter is unaffected by White
Balance, ISO, VIEW or LOOK settings and therefore represents a true measurement of the exposure levels of the sensor at all times.
RA W NOI SE LE VEL BA R
The RAW noise bar displays the amount of pixels in the image that are in noise. For example, if the bar is about 1/8 of the total height, this would indicate approximately 1/8 of the total pixels in the image are at an exposure level at risk of displaying noise when pushed at higher ISO or FLUT values in post-production.
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RA W CLI P LEV E L BA R
The RAW clip level bar displays the amount of pixels in the image that are clipping. For example, if the bar is about 1/4 of the total height, this would indicate approximately 1/8 of the total pixels in the image are at an exposure level at risk of clipping and may not be recoverable by lowering ISO or FLUT values in postproduction.
SIDE HANDLE
Side Handle LCD Display
As you navigate and adjust settings on the camera (main menu settings only), they will be reflected on the
Side Handle LCD display.
The display elements include:
Frame Rate: Image capture rate
ISO Rating: Camera sensitivity
Power: Camera power status (DC Shown)
Quality: REDCODE setting
Resolution: Recording Resolution
Shutter Speed: Exposure Time (or Degrees)
White Balance: Color Temp
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REDMOTE
REDMOTE Display
The display elements include:
Battery Indicator: Displays battery life or charge status (shown) of REDMOTE
Camera ID: Displays camera ID (DEFAULT shown)
Clip Filename: Filename of the clip that will be shot
Clip Meter: RGB sensor RAW clipping status
False Color Mode: Displays false color overlay mode
Frame Rate: Current frame capture rate
Genlock: Indicates presence of valid Genlock signal / HD-SDI sync to genlock
HDR Mode: Displays HDRx mode status
Histogram: RGB Histogram
ISO Rating: Camera sensitivity
LAN: Indicates communication via Ethernet connection
Magnify: Tallies 1:1 if magnify is selected
Media Status: Media location and remaining media capacity in %
Power: Indicates D.C supply voltage or % of remaining battery capacity Including current supply voltage
Project Frame Rate: Current project TIME
BASE
Quality: REDCODE setting
Resolution Recording Resolution
RIG: Indicates 3D rig metadata is present
Shutter Speed: Exposure Time (or Degrees)
Shutter Sync: Indicates sensor shutter sync status
TC: Indicates presence of valid SMPTE timecode signal
Timecode: Current timecode value
White Balance: Color Temp
Wireless Status: Displays signal strength when connected wirelessly
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NAVIGATING MENUS
The primary method to navigate Menus is via the Scroll Wheel on the REDMOTE or Side Handle. Press Enter to open the menu, and then rotate the Scroll Wheel clockwise to move right, counter clockwise to move left.
However, the Left and Right direction Navigation Keys (REDMOTE or Side Handle) or Adjustment Ring (Side
Handle) may also be used for this purpose.
The Up Navigation Key selects the Advanced Settings menu when pressed (if parameter has an Advanced
Settings menu).
As an example, position the Cursor under the Shutter Speed (24FPS) icon and press the UP Direction Key to access advanced adjustment values for Shutter Speed.
USING TOUCHSCREEN LCD
If operating a Touchscreen LCD, camera menu navigation may be made through finger gestures.
To adjust a parameter value, simply touch it, and then swipe the finger left / right to adjust its value.
To access an advanced parameter settings display, press and hold down on the parameter icon.
Touch anywhere outside the overlay windows to enter the value changes and to hide the sub-menus.
To enter the Secondary Menus, touch the MENU icon
To return to the Main Menus, touch the MENU icon again.
To access the Playback function, touch the arrow.
.
To exit the Playback function, touch the circle.
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TOUCHSCREEN SHORTCUTS
The bottom portion of the touchscreen contains shortcuts to the most-used camera screens.
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ACCESSING SOFT KEYS
User-programmable Soft Keys A-D and 1-4 may be accessed by tapping the left or right regions of the touchscreen. Programming soft keys is explained later in the manual.
Soft Key without Labels
Soft Key with Labels
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POWER DOWN
NOTE: Camera will automatically power down if supply voltage drops to 11.5 Volts.
POWER MENU
1. Select the MENU icon in the right corner of the Upper Status Bar to reveal the Secondary Menus.
2. Select POWER.
3. Select SHUTDOWN.
4. The camera will immediately power down.
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LOCK / UNLOCK TOUCHSCREEN OPRERATION
LOCK
To lock out the touchscreen operation, touch and hold the MENU icon until the LOCK icon displays; indicating the touchscreen has been locked out. When locked, the main menu will be displayed.
UNLOCK
To unlock out the touchscreen and allow normal operation, touch and hold the LOCK icon until the
MENU icon displays; indicating the touchscreen has been unlocked.
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FIRST TIME USE – SETTING UP YOUR RED EPIC
ATTACH POWER SOURCE
If a REDVOLT battery is installed in the Side Handle and DC power is connect through the DC IN connector, the DC IN power supply has priority and will power the camera instead of the battery.
BATTERY
Connect a RED battery to the camera in one of the following ways:
SIDE HANDLE
Attach a Side Handle and insert a REDVOLT battery.
I NSTA LL
A
C
B
Press Battery Door Release Button (A)
Open Battery Door (B)
Press Upwards on Retainer (C)
Insert a REDVOLT Battery Until it is Fully Seated and Retainer (C) Clicks into Place
1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C).
4. Insert a REDVOLT battery until it is fully seated and retainer (C) clicks into place.
5. Close battery door.
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RE MO VE
1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C) to release battery.
4. Remove battery from side handle.
QUAD BATTERY MODULE
Attach a Quad Battery Module and insert one or more REDVOLT batteries.
INSTALL
Insert battery into desired location and press until a click is heard and battery is seated.
REMOVE
B
A
Remove
Battery
1. Press the battery eject button (A) for desired battery.
2. When battery pops out, remove battery from battery module (B).
RED BRICK
Attach to the camera using a V-Plate and 2B-to-1B Power Adapter Cable P/N 790-0138 to the DC IN connector.
DC POWER
Connect a DC power source to the camera in one of the following ways:
Plug the RED AC Power Adapter into AC power, and the LEMO connector to the DC IN connector.
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Plug the RED CHARGER into AC power, and the LEMO connector to the DC IN connector via 2B-to-1B
Power Adapter Cable P/N 790-0138.
Plug a 12V XLR based power source into the DC IN connector via adaptor cable P/N 790-0164.
NOTE: The maximum sustainable power load of the DSMC AC Power Adapter is 150W (15V@10A). The output of the adapter is over current protected, and will shut down if an excess load condition occurs. If the output trips for any reason, remove any external loads from the camera, such as lights, motors etc, turn off the Adapter and repeat the above procedure.
POWER UP
Locate the camera’s Power ON / OFF button on the right face of the Brain. If the Power Status LED is illuminated Red, depress and then release the Power / Record button. If not illuminated, check your battery charge status or external power source cable connection. Once powered up the Power Status LED will illuminate Green, confirming the camera is ready to use.
PREPARING TO RECORD
Before each days recording, the camera should be prepared as follows:
Physically set-up camera as desired.
Verify camera is using the latest firmware version at https://support.red.com/home and if appropriate,
upgrade the camera firmware. Refer to APPENDIX A: UPGRADING CAMERA FIRMWARE.
Insert a blank (or previously used but erasable) REDMAG 1.8” SSD and format it.
Perform a BLACK SHADING CALIBRATION of the Sensor.
Check your PROJECT SETTINGS (Time Base, Record Resolution, Record Quality, etc.).
Frame, focus and record.
CONNECT AND FORMAT MEDIA
Identify a REDMAG 1.8” 48GB, 64GB, 128GB, 256GB, or 512GB SSD that has not previously been recorded to, or is not a camera master and may therefore be erased and re-used. Aligned the RED logo of the SSD to the outside, and then push the SSD firmly, but without excessive force, into the slot in the Side SSD Module.
NOTE: When fully inserted, the SSD media protrudes slightly from the SSD slot.
When SSD media is inserted into the camera, the camera will recognize if the media is unformatted:
On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays NONE with three dashes below “---“).
On REDMOTE, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays
NONE with three dashes below “---“).
On the Side Handle, NA will be displayed (same as if no media is present).
To format the media select SECONDARY MENUS > MEDIA > FORMAT MEDIA.
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When FORMAT is selected, a FORMAT dialog box will appear allowing you to add Camera Identity and 3D
Position properties when formatting. When desired options are set, select FORMAT.
NOTE: If any clips will be erased on the attached media, you will be informed of the number.
PERFORM A BLACK SHADING CALIBRATION
Refer to CALIBRATION for complete details for performing a Black Shading Calibration.
ADJUST PROJECT SETTINGS
TIME BASE
The project TIME BASE defines the rate at which the footage will be played back. When changing the project frame-rate, the sensor frame-rate will default to the project rate, but may be over-ridden using the sensor frame-rate controls.
Multiple projects with differing time bases may be stored on a media cartridge (SSD).
To adjust the project TIME BASE, press the MENU button on the Side Handle or REDMOTE. Then use the
Scroll Wheel or Direction Keys to navigate to SETTINGS > PROJECT > TIME BASE and press ENTER. Adjust to the desired value using the Scroll Wheel and press ENTER once more to confirm.
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If using a Touch Screen, select SECONDARY MENUS > SETTINGS > PROJECT > TIME BASE. Adjust by sliding your finger up / down or tapping on the desired value, and then press anywhere else on the touch screen to confirm.
The following TIME BASES are currently available:
23.98 fps
24.00 fps
25.00 fps
29.97 fps
RECORD RESOLUTION
47.96 fps
48.00 fps
50.00 fps
59.94 fps
To adjust Record Resolution, navigate the Cursor to the RESOLUTION icon in the Upper Status Row and press the Navigation Group ENTER key. Adjust to the desired value using the Scroll Wheel and press ENTER a second time to confirm.
If using a Touch Screen, press the RESOLUTION ICON, adjust RESOLUTION by sliding your finger left / right, or tap on the desired resolution, and then press anywhere else on the touch screen to confirm.
The following Recording Resolutions are currently available:
RESOLUTION
5K
5K HD
5K 2:1
5K WS
5K ANA
4K
4K WS
4K HD
DESCRIPTION
5K RAW
5K RAW HD
5K RAW 2:1
5K RAW Wide Screen - 2.4:1
5K RAW 1.2:1 Anamorphic 2x
4K RAW
4K RAW Wide Screen - 2.4:1
4K RAW HD
RESOLUTION
3K
3K WS
3K HD
2K
2K HD
2K WS
1K HD
1K WS
DESCRIPTION
3K RAW
3K Wide Screen - 2.4:1
3K RAW HD
2K RAW
2K RAW HD
2K RAW Wide Screen - 2.4:1
1K RAW HD
1K Wide Screen - 2.4:1
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RECORD QUALITY (REDCODE)
Allows adjustment of REDCODE settings.
Range is 3:1 to 18:1
Default is 8:1
Use the scroll ribbon to select a target REDCODE compression ratio.
The camera will automatically select the closest REDCODE to the desired target.
The display will always show the "current" compression ratio being used by the camera.
If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the camera is unable to achieve the target compression ratio, it will be displayed in yellow.
The current compression ratio will automatically be re-calculated when changes are made to Resolution,
FPS, HDRX Mode, Media, or Target REDCODE.
CAMERA ID (SLATE)
If operating on a multi-camera production, enter a different Camera ID for each camera; otherwise skip this step; the camera is ready to shoot.
The Camera ID is set when the media is formatted.
RECORDING
Ensure a formatted REDMAG 1.8” SSD is inserted in the camera’s Side SSD Module, then fully depress any one of the RECORD buttons located on the Brain, Side SSD Module, Side Handle or REDMOTE.
Fully depress again to stop recording. The camera will automatically create a unique and sequential file name for each clip recorded on the SSD based on the Camera’s I.D set in the MEDIA menu.
REDCODE RAW data recordings store the Color Temperature and Exposure (ISO) and any RGB color processing values you use in the monitor path as metadata. This metadata is used in REDCINE-X or other post-production software as initial white balance, exposure and color correction points however, you are free to change these values at any time when you process the RAW footage.
Time Code and Edge Code values used by the camera are Non Drop Frame (NDF); Drop Frame (DF) is not supported. Audio is captured uncompressed at 24-bit resolution, 48KHz sample rate per channel.
Digital media such as REDMAG 1.8” SSDs are very robust, but should be treated with equal care as exposed film or a videotape master. We recommend storing digital media that contains your footage in a secure location and backing up the data to a digital archival media, such as data tape or hard disk drive.
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RECORD INDICATOR
When recording, the RED DSMC camera provides a variety of record indications (tallies):
Timecode, normally displayed in white colored text, will be displayed in red colored text.
A small Red dot will appear in the top right corner of the VIEWFINDER output(s).
The REC LED on the right side of the camera Brain will illuminate Red.
REDMOTE upper LED will illuminate Red, and the Timecode will turn Red.
If using a BOMB-EVF, the LED on the front will illuminate Red if Tally is enabled
SMPTE-RP188 timecode VITC-2 HANC metadata record flag will be enabled on HD-SDI outputs.
If enabled in the USER KEYS menu, the GPO trigger output in the CNTL connector will pulse.
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PLAYBACK
Playback is available on the RED DSMC Camera by going to SECONDARY MENUS > SETTINGS >
PLAYBACK or by touching the Playback arrow icon in the upper Left corner of the GUI.
The Playback function will display.
For complete details, go to PLAYBACK.
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MENU CONTROLS
Displayed in the Upper Display Group of the VIEWFINDER output(s), are FRAMERATE (FPS), EXPOSURE
(ISO), _._ (F/Stop), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE). These parameters are adjustable directly through this screen. When using the touchscreen, directly to the right of these parameters is the MENU icon which when pressed will take you to the secondary camera set up menus.
ADJUSTMENTS
BASIC SETTING ADJUSTMENTS
SIDE HANDLE / REDMOTE
The MENU button can be used to ENTER the secondary menus, as well as CANCEL inside lists and for navigating back up menus.
Navigate to the desired setting using the NAVIGATION GROUP direction keys and press ENTER.
Use the Scroll Wheel or Adjustment Ring to increase or decrease the parameter value.
When the desired value has been selected, press ENTER to set.
BA SI C A DJ US TME NTS US ING SI DE HA NDLE O NLY
Although not recommended, the Side Handle can be used stand alone to make basic adjustments to FPS,
ISO, Shutter Speed, Resolution and REDCODE located on the Main Menu screen. Use the Navigation Group to make these adjustments while watching the cursor placement under the desired setting on the side handle
LCD. When desired setting is selected, press the Enter button to access, then use the Scroll Wheel,
Directional Pad or Adjustment Ring to make changes. When done, press the Enter button again to set the changed parameter. The MENU button can be used to ENTER the secondary menus, as well as CANCEL inside lists and for navigating back up menus.
TOUCHSCREEN
The MENU ICON can be used to ENTER the secondary menus, as well as CANCEL inside lists and for navigating back up menus.
Touch the desired parameter for adjustment.
Slide your finger across the screen to scroll through the available parameter values.
When desired the parameter value has been selected, touch anywhere in the screen area to set.
To close an alpha numeric keypad when entering information directly, tap anywhere on the screen outside the keypad.
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ADVANCED SETTING MENUS
At this time, only FRAMERATE, F-STOP, SHUTTER SPEED and WHITE BALANCE on the MAIN MENU have advanced settings.
SIDE HANDLE / REDMOTE
1. Navigate to the desired setting using the NAVIGATION GROUP direction keys and then press the UP directional key.
2. Use the direction keys to navigate to the desired parameter adjustment field and press ENTER to confirm.
3. Use the Scroll Wheel to adjust the selected parameter value.
4. When desired selection is made, press the MENU button to set.
TOUCHSCREEN
1. Press and hold the desired parameter to gain access to advanced setting adjustments.
2. Press the field - a keypad type menu may appear to allow adjustments.
3. Press the desired parameter settings to adjust.
4. When desired selection is made, press anywhere in the screen area to set and exit the advanced settings submenu.
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MAIN MENU
Available options under the MAIN MENU are FRAMERATE (FPS), ISO (SENSITIVITY), F STOP, 1/SEC
(EXPOSURE), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE).
FPS
FPS is used to select an image capture frame rate that differs from the Project’s TIME BASE frame rate.
The default is 24 fps (or the selected Project TIME BASE frame rate if not 23.98 or 24.00 fps).
Ranges are as follows:
NOTE: All frame rates in the table below are based on a 23.98 TIME BASE at 8:1 compression.
FORMAT
5K
5K HD
5K 2:1
5K WS
5K ANA
4K
4K HD
4K WS
1
1
1
FRAME RATE (FPS)
MIN MAX
1 96
1
1
1
1
96
100
120
96
120
120
152
FORMAT
3K
3K HD
3K WS
2K
2K HD
2K WS
1K HD
1K WS
1
1
1
1
1
1
1
FRAME RATE (FPS)
MIN MAX
1 159
159
200
239
239
301
356
399
VARISPEED
When a frame rate other than the current TIME BASE has been selected, the FPS text will turn Yellow and
VARISPEED will be shown where the Audio Meter is normally displayed at the lower right of the display.
NOTE: Audio is not recorded in VARISPEED mode.
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BASIC SETTINGS
Provides quick selection of the most common frame rates.
ADVANCED SETTINGS
When selected a numerical keypad will appear allowing the desired VARISPEED Framerate to be entered in 1 fps increments. Maximum frame rate is a function of RECORD RESOLUTION and REDCODE settings.
Granularity is 0.001 FPS.
A keypad is available for direct numeric entry of the VARISPEED FPS value. Touch the value bounded by the
+ and – labels to bring up, press outside the keypad to confirm the value.
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ISO (SENSITIVITY)
Adjusts the camera’s ISO rating. The sensitivity value is adjustable in 1/3rd stop increments. When the ISO rating is adjusted, the camera logs the change as metadata and the monitor path reacts accordingly. Higher
ISO values lead to brighter images in the monitor path, and vice versa.
Range is ISO 250 – 12800
Default is ISO 800
F STOP
Aperture controls the depth of field of the subject imaged by the camera, and in combination with the shutter speed / angle setting controls the amount of light falling on the sensor. i.e. exposure. Increasing the F stop to a higher number reduces exposure as well as increases the depth of field, decreasing the F stop to a lower number increases the exposure and decreases the depth of field. You can chose either 1/3 or 1/4 stops.
RED DSMC Ti PL Mount Installed
When a lens equipped with Cooke’s S4/i system is attached to the DSMC Ti PL Mount, the camera will display the current aperture (F stop) of the attached lens.
DSMC Canon Mount Installed
This menu will appear when a DSMC Canon Mount is installed and a Canon EF or EF-S Lens or equivalent is attached (a Non-Canon EF or EF-S Lens may not function as smoothly or accurately). Adjusts the aperture (F stop) of the attached lens.
The attached lens for the example shown is a Canon EF 24-70mm.
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BASIC SETTINGS
Allows adjustment of the aperture (F stop) of the attached lens. The range will vary depending on the attached lens.
ADVANCED SETTINGS
When selected, the advanced settings menu allows fine control over the f-stop value under APERTURE and focal distance under FOCUS.
A PE RTURE (F STO P)
Provides the ability to enter the F stop value directly.
Range depends on attached lens.
Default depends on attached lens.
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FO CUS
Provides the ability to enter the focal distance directly.
Range depends on attached lens.
Default depends on attached lens.
EXPOSURE
BASIC SETTINGS
Adjusts the exposure of each frame captured by the MYSTERIUM X sensor. Shutter speed presets are provided for all common speeds (and shutter angles) for 24 / 25 fps and 50 / 60 fps project frame rates.
Decreasing Shutter Speed increases the amount of time over which light falls on the sensor, increasing exposure and motion blur on any objects moving within the frame. Increasing Shutter Speed shortens the amount of time over which light falls on the sensor, decreasing exposure and motion blur on objects moving within the frame.
Range is 1/24 th sec – 1/8000 th sec - Slowest available speed is 1 second per frame / frame rate, so for 24 fps it is 1/24 th sec.
Default is 1/48 th Sec.
If the camera is able to achieve the desired target exposure, it will be displayed in white. If the camera is unable to achieve the target exposure, it will be displayed in yellow.
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ADVANCED SETTINGS
When selected, the advanced settings menu allows fine control over the Exposure value, and permits entry in any of the three following common units – EXPOSURE (Shutter Speed), INTEGRATION TIME or ABSOLUTE
ANGLE (Shutter Angle).
EXPOSURE (SPEED)
Provides the ability to enter the Exposure value as a Shutter Speed (1/xx sec).
Range is 2 – 1/8000 th Sec - Slowest available speed is 1/frame rate, so for 24 fps it is 1/24 th Sec.
Default is 1/48 th Sec.
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INTEGRATION TIME
Provides the ability to enter the Exposure value as a Shutter Integration Time (xx milliseconds).
Range is 0.125 to 41.708 mS (milliseconds)
Default is 20.833 MS
ABSOLUTE ANGLE
Provides the ability to enter the Exposure value as a Shutter Angle (xx Degrees).
Range is 1.000 to 360.000 Degrees
Default is 180.0 Degrees
As you adjust any of these three parameters, the camera will automatically calculate the equivalent value in
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Convert Shutter Speed to Absolute Angle (for 24 FPS)
Equivalent Degrees = (Shutter Speed x Frame Rate x 360)
E.g. = (1/48 x 24 x 360) = (8640/48) = 180
SHUTTER
1/32
1/48
1/50
1/60
1/96
DEGREES
270
180
172.8
144
90
SHUTTER
1/120
1/192
1/348
1/696
1/1000
Convert Absolute Angles to Shutter Speed (for 24 FPS)
Equivalent Shutter = 1 / (Frame Rate x 360 / Angle)
E.g. = 1/ (24 x 360/180) = 1/ (8640/180) = 1/48
DEGREES
270
180
172.8
144
90
SHUTTER
1/32
1/48
1/50
1/60
1/96
WHITE BALANCE
DEGREES
72
45
22.5
11
8.6
DEGREES
72
45
22.5
11
8.6
SHUTTER
1/120
1/192
1/348
1/696
1/1000
BASIC SETTINGS
Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN.
Range is 1,700 K to 10,000 K.
Default is 5600K.
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ADVANCED SETTINGS
When selected, allows additional adjustment of the White Balance. Available options are PRESET, COLOR
TEMP, TINT, and CALCULATE WHITE BALANCE. Press APPLY PRESET for settings to take effect.
PRESET
Available preset options are:
Shade: Preset to 9,000K
Cloudy: Preset to 7,500K
Daylight: Preset to 5,600K
Flash: Preset to 5,500K
Fluorescent: Preset to 4,500K
Tungsten: Preset to 3,200K
Incandescent: Preset to 2,800K
COLOR TEMP
Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN. Default is 5600K.
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TINT
Color Temperature calculations assume a pure light source that may not be true in the specific scene the camera is imaging. To compensate for any residual colorcast, the TINT parameter can adjust the RGB color balance with a compensating Magenta - Green color component. Default is 0.000. When selected, a secondary keypad will appear allowing you to enter the desired Tint value directly.
NOTE: Selecting Calc White Balance calculates a new Tint value. This is maintained if the Color Temp is adjusted via the Color Temp parameter. If you select ANY presets, Tint will be reset to zero, which is the default value.
CALC WHITE BALANCE
The Calc White Balance function analyzes the central 25% of the image visible in the monitor to calculate a
Color Temperature that will render a white object as white.
To use Calc White Balance function, place a White or Gray object under the ambient light, select the Calc
White Balance function and then press the Calc White Balance function box. Calc White Balance is also assigned to a User Key on the REDMOTE and Side Handle as a factory default setting.
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RESOLUTION
Allows adjustment of resolution.
Default is 5K 2:1
FORMAT
1K WS
1K HD
2K WS
2K HD
2K
3K HD
3K WS
3K
4K HD
4K WS
4K
5K ANA
5K WS
5K 2:1
5K HD
5K
DIMENSIONS (PIXELS)
WIDTH HEIGHT
1280
1280
2048
1920
480
720
854
1080
2048
2880
3072
3072
3840
4096
4096
3296
5120
5120
4800
5120
1080
1620
1284
1620
2160
1708
2160
2700
2160
2560
2700
2700
DIMENSIONS (MM)
WIDTH HEIGHT
6.91
6.91
11.06
10.37
2.59
3.89
4.61
5.83
11.06
15.55
16.59
16.59
20.74
22.12
22.12
17.80
27.65
27.65
25.92
27.65
5.83
8.75
6.93
8.75
11.66
9.22
11.66
14.58
11.66
13.82
14.58
14.58
17.98
18.75
23.79
23.96
25.01
23.01
30.01
DIAGONAL
7.38
7.93
11.98
11.90
12.50
17.84
30.91
29.74
31.26
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REDCODE
Allows adjustment of REDCODE settings.
Range is 3:1 to 18:1
Default is 8:1
Use the scroll ribbon to select a target REDCODE compression ratio.
The camera will automatically select the closest REDCODE to the desired target.
The display will always show the "current" compression ratio being used by the camera.
If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the camera is unable to achieve the target compression ratio, it will be displayed in yellow.
The current compression ratio will automatically be re-calculated when changes are made to Resolution,
FPS, HDRX Mode, Media, or Target REDCODE.
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REDCODE OPTIONS FOR VARIOUS FRAME RATES
Minimum frame rate is 1 sec per frame; maximum frame rate is a function of REDCODE setting and record resolution.
NOTE: The REDCODE and frame rate capabilities in the table below are based on recording to a 128GB
REDMAG.
FRAME RATE (FPS)
2K
2K
HD
2K
WS
1K
HD
1K
WS
4K
4K
HD
4K
WS
3K
3K
HD
3K
WS
5K
5K
HD
5K
2:1
5K
WS
5K
ANA
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
4:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
4:1
RC
4:1
RC
3:1
RC
6:1
RC
6:1
RC
6:1
RC
5:1
RC
5:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
5:1
RC
5:1
RC
5:1
RC
7:1
RC
6:1
RC
6:1
RC
4:1
RC
4:1
RC
3:1
RC
7:1
RC
6:1
RC
5:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
9:1
RC
8:1
RC
8:1
RC
12:1
RC
11:1
RC
11:1
RC
4:1
RC
3:1
RC
3:1
RC
6:1
RC
5:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
8:1
RC
7:1
RC
7:1
RC
10:1
RC
9:1
RC
9:1
RC
4:1
RC
3:1
RC
3:1
RC
6:1
RC
5:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
8:1
RC
7:1
RC
6:1
RC
9:1
RC
9:1
RC
9:1
RC
3:1
RC
3:1
RC
3:1
RC
5:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
6:1
RC
6:1
RC
5:1
RC
8:1
RC
8:1
RC
8:1
RC
5:1
RC
4:1
RC
3:1
RC
8:1
RC
7:1
RC
5:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
12:1
RC
12:1
RC
12:1
RC
10:1
RC
9:1
RC
8:1
-
-
RC
12:1
RC
10:1
-
RC
5:1
RC
4:1
RC
3:1
RC
9:1
RC
8:1
RC
7:1
RC
5:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
-
-
-
-
-
RC
12:1
-
RC
6:1
RC
5:1
RC
3:1
RC
10:1
RC
10:1
RC
8:1
RC
6:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
-
-
-
-
-
RC
10:1
RC
8:1
RC
7:1
RC
6:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
RC
7:1
RC
4:1
RC
4:1
RC
3:1
RC
3:1
RC
3:1
-
-
RC
5:1
RC
5:1
RC
4:1
RC
3:1
RC
3:1
-
-
-
-
-
-
-
RC
5:1
RC
3:1
RC
3:1
-
RC
6:1
RC
4:1
RC
3:1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
RC
7:1
RC
4:1
RC
3:1
-
-
-
RC
4:1
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SECONDARY MENUS
Press the Menu button on the REDMOTE / Side Handle or touch the MENU icon on the LCD to access the Secondary Menus.
Available options in this menu screen are HDR, FOCUS, PRESETS, MEDIA, SETTINGS, and POWER.
EXPOSURE is not implemented at this time.
HDR MENU
Available options are HDR OFF, HDRx and STOPS.
NOTE: HDR mode cannot be modified when in Magnify 1:1 mode.
HDR ON / OFF
By default, HDRx is OFF (HDR button is illuminated Blue). In the Lower Status Group of the Viewfinder screen, the HDR text is Gray, indicating HDRx is inactive.
To turn HDRx on, navigate to the HDRx button using the Navigation Group and press ENTER, or from the touchscreen directly touch the HDRx button. In the Lower Status Group of the Viewfinder screen, the HDR text will turn White, indicating HDRx is active.
STOPS
To adjust the STOPS parameter, select the Stops box and use the UP / DOWN arrows to adjust.
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Range is 1 to 6.
Default is 2.
FOCUS MENU
The Focus Menu is used to enable and select Focus parameters including MODE, ZONES, and ENHANCED
A/F.
MODE
MANUAL FOCUS
You can select either MANUAL or CONFIRM. The default is MANUAL.
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M ANUA L
When selected, all focus operations are manual.
CO NFI RM
Enables the Center or Spot focus target square. This mode provides additional focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision manual focus.
AUTO FOCUS
NOTE: The following menus will ONLY appear if a DSMC Canon Mount is installed with a Canon or Sigma lens attached.
With a DSMC Canon Mount installed and a supported lens attached, available options become MANUAL,
CONFIRM, SINGLE, CONTINUOUS, TOUCH TRACK, and RACK. Default is MANUAL.
All settings except MANUAL place a single target square on the screen (depending on the ZONES selection) that indicates where the image is in focus.
Pressing the designated button for spot focus (REDMOTE / Side Handle button A default) will cycle you through each Focus Mode option in order as you press the button repeatedly.
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Performance of Auto Focus may be reduced under the following conditions:
The subject is dark or distant.
There is inadequate contrast between the subject and background.
The scene has reflective highlights.
The subject is backlit.
There is inadequate surface contrast/detail inside the window.
NOTE: Edge Mode can be used for additional assistance in these conditions. Refer to EDGE.
M ANUA L
When selected, all focus operations are manual.
CO NFI RM
Enables the Center or Spot focus target square. This mode provides additional focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision manual focus.
S I NG LE
A Focus / Record Button half-press performs single-shot AF. Optimized for rapid focus even under lowcontrast conditions. Works with both Center and Spot Zones.
CO NTI NUO US
Once engaged with half-press, will attempt to keep objects in AF window in focus. Works best with good lighting and contrast. Works with both Center and Spot Zones.
TO UCH TRA CK
Dynamically updating positionable AF using touchscreen. Works with Spot Zone only. Keep AF Spot on subject while moving across frame, will continuously focus on spot.
RA CK
For quickly selecting two focus points and executing rack focus between them. Focus points are selected using the Touchscreen. Shutter half-press executes rack movement. Works with Spot Zone only.
Rack mode remembers the last Center or Spot position and focus setting as the first rack point. A second rack point needs to be defined by moving the spot window to the desired second location. If the spot window is not moved, a shutter half-press will only cause the lens to execute a single AF adjustment on the original Spot. On the other hand, when two rack points have already been defined, the rack point can be updated by moving the spot to a new location. This will replace the rack point that is not in focus at that moment.
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ZONES
Available options are CENTER and SPOT. Default is CENTER. This control allows selection of the boxes used to indicate objects in/out of focus.
CENTER
Provides a large target square for focus. When objects located in the target are in focus, the square is
Yellow or Green. When objects located in the square are out of focus, the square is Red.
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SPOT
Provides a small target for precise focus (similar to Center focus, only smaller). When objects located in the target are in focus, the target is Yellow or Green. When objects located in the target are out of focus, the target is Red.
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S PO T FO CUS I NDI CA TO R
Moving
The spot focus square can be moved around the screen.
Touchscreen
Press and hold the Touchscreen on the location you wish to relocate the Spot Focus window. While pressing on the touchscreen, you can drag and reposition the focus target.
Side Handle / REDMOTE
1. Navigate to the focus menu.
2. Press the down arrow on the Navigation Group.
3. The spot focus square line weight will increase and the Red cursor under FOCUS will dim slightly.
4. Use the directional arrows to move the Spot Focus square to the desired location.
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5. Press the ENTER button.
6. To exit, Press the MENU button.
Resizing
The spot focus square can be resized using the Navigational Wheel or the Touchscreen.
Touchscreen
Each double-tap the Spot window will step through the three possible window sizes. After reaching the largest size, the sequence will restart with the window at the smallest size.
Side Handle / REDMOTE
After following Steps 1-3 in the instructions for Spot window repositioning (see above), simply rotate the
Scroll Wheel to cycle through the three possible window sizes. Press MENU to exit.
ENHANCED A/F
Enhanced A/F has an auto-focus algorithm that offers better performance and improved visual indicators when in Confirm mode. After you select the ENHANCED A/F checkbox, all monitors that are currently set to
Overlay or Menus mode will be dedicated to only using the Enhanced A/F feature. Each monitor using
Enhanced A/F will be in Clean mode (no overlay) with a set resolution of 720p and update frequency of 60
Hz. (You cannot select a frequency other than 60 Hz at this time.) You will no longer have control over these monitors until you disable the Enhanced A/F feature.
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CONFIRM INDICATORS
You can select any of the following CONFIRM INDICATORS when using Enhanced A/F: NONE, CIRCLE, BAR, and PIE.
NOTE: You must be in Confirm mode in order to see the confirm indicators on the screen.
NO NE
A square target displays, and operates just like the target square in Confirm mode
When objects located in the target are in focus, the target is Yellow or Green. When objects located in the target are out of focus, the target is Red.
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CI RCLE
A yellow circle displays around a square target. When objects located in the square target are in focus, the target is Yellow or Green, and the yellow circle is almost the same size as the square. When objects located in the target are out of focus, the square target is Red, and the yellow circle gets bigger.
BA R
A bar target displays. When objects located in the target are in focus, the target is Yellow or Green, and the vertical bar on the right side is filled up. When objects located in the target are out of focus, the bar target is
Red and the vertical bar on the left side is almost empty.
P IE
A pie target displays. When objects located in the target are in focus, the pie target is Yellow or Green, and
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Red and the line around the curve is almost empty.
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LENS INFORMATION DISPLAY
RED DSMC TI PL MOUNT + LENS
When a RED DSMC Ti PL Mount is installed and a Lens equipped with Cooke’s S4/i system (or equivalent is attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors.
The focal length and focal distance values and range will vary depending on the attached lens. When the focal length or focal distance of the lens is manipulated, the current values are displayed.
DSMC CANON MOUNT + LENS
When a DSMC Canon Mount is installed, and a Canon EF or EF-S Lens or equivalent is attached, the Focal
Length and Focal Distance is displayed on the LCD, EVF and external monitors. When AF is set to Manual or
Confirm mode, the focus distance displays as a pair of Near - Far distances. When it is in AF mode, a single estimated Focus distance is displayed.
The focal length and focal distance values and range will vary depending on the attached lens. When the focal length of the lens is manipulated, the current value is displayed under Focal Length. The Focal
Distance can be changed under MAIN MENU > -.- (F-STOP) > ADVANCED SETTINGS.
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EXPOSURE MENU
Not implemented at this time.
PRESETS MENU
CAMERA PRESETS
Camera Presets are used to store and recall camera setup information such as LOOKs, key mappings, I/O configuration, etc.
Your RED DSMC camera has a number of factory-installed presets.
APPLYING A PRESET
1. Select PRESETS from the secondary menus
2. Select the desired preset from the selection ribbon
3. Press APPLY button
4. Use the selection ribbon to select
Custom presets may be created to store groups of camera settings. For example; White Balance and ISO settings for a particular shooting location can be captured as a preset and easily recalled later.
Presets can also be saved on an SSD and applied to other RED DSMC cameras.
CREATING A PRESET
1. Select PRESETS from the secondary menus
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2. Select CREATE and enter a name for the new preset
3. Press OK on keyboard to save the preset name
4. Copy the desired settings from the left box of the interface to the right box using the select one (-->) or
All -> button
5. Select and press CREATE button (upper right corner of the screen)
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6. The preset has been created and is now stored on the camera.
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SHARING PRESETS
Presets may be shared between RED DSMC cameras using SSD media.
Camera to Camera
Camera to Multiple Cameras
Select PRESETS from the secondary menu:
Select Presets from Secondary Menu
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CO PY P RE SE TS FRO M CAM E RA TO SS D
1. Use scroll ribbon to select desired preset in camera box
2. Use --> button to add the preset to the SSD box
CO PY P RE SE TS FRO M SS D TO CAM E RA
1. Use scroll ribbon to select desired preset in SSD box
2. Use <-- button to add the preset to the Camera box
3. The following window will appear
4. Select YES to copy the preset to the camera and apply the setting
5. Select No to copy the preset to the camera without applying the settings
LOOKS PRESETS
Look Presets allows you to save the specific color, image, white balance, and detail settings to be used for other projects. As looks are created, they will be displayed alphabetically.
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Looks Presets
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For detailed information on LOOKs, see the REDCINE-X Operation Guide, available on RED.com
AUTO PRESETS
The Auto Presets function allows you to specify pre-selected presets on Startup and for Preview and
Playback
MEDIA MENU
The Media Menu is used to format media (SSD) prior to use on the camera as well as to Eject (unmount) the media prior to removal from the camera. Available options when selected are SELECT MEDIA, FORMAT
MEDIA, EJECT MEDIA, and UTILITIES.
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IMPORTANT: Media MUST be ejected from the camera before removal to prevent corruption and/or loss of data on media.
SELECT MEDIA
Allows you to select the Media location to be used by the camera. Default is the Side SSD (S-SSD) Module.
FORMAT MEDIA
When selected, a new dialog box will appear allowing you to add properties to the media highlighted in the
Current Media box when formatting. Available options are REEL NO, CAM ID, CAM POS, and FORMAT to format the media with the values entered.
NOTE: If clips are present on the media, you will be informed of how many clips will be erased when you format the media.
REEL NO.
When selected a keypad will appear allowing you to enter a value between 1 and 999.
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CAMERA ID (SLATE)
Identifies the camera with a letter A through Z. Default is A.
CAMERA POS (POSITION)
Identifies the camera position as Right, Left or Center. Default is Center.
EDGE TIMECODE START
Users may manually enter an Edge Timecode value (seldom used).
FORMAT
When selected, formats the media and adds the selected properties.
During formatting, the camera will display “Formatting” with a Green status bar. REDMOTE will also display this message.
When formatting is complete, camera will display “The magazine was successfully re-formatted. The digital magazine is ready for immediate use. REDMOTE will also display this message.
EJECT MEDIA
When selected will Eject (unmount) the media highlighted in the Select Media box.
When ejected, camera will display “Media Ejected Successfully”. REDMOTE will also display this message.
UTILITIES
Options are SECURE FORMAT.
SECURE FORMAT
Secure Format is a low-level format the rebuilds the SSD file system. It should only be used if the performance of the SSD is in question.
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NOTE: If clips are present on the media, you will be informed of how many clips will be erased when you secure format the media.
SETTINGS MENU
This section describes the various secondary controls available to configure the camera. Menu options are
DISPLAY LOOK, PROJECT, AUDIO, RECORDING, SETUP, MAINTENANCE, and PLAYBACK.
DISPLAY
Available options are TOOLS, ZEBRA, MONITOR CONTROL, MODES, GUIDES, and TEST SIGNALS.
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TOOLS
The Tools menu permits the operator to adjust the GUI elements displayed on the Viewfinder output(s)
Available options are NONE, EXPOSURE, FOCUS, VIDEO, EDGE, MAGNIFY, and RAW. The Dialog is available by either going to SETTINGS > DISPLAY > TOOLS or simply clicking on the histogram in the lower left.
NO NE
Turns off any of the display modes in the Lower Status Group.
E XP OS URE
This will show areas of under exposure (Purple) or over exposure (Red) on top of a monochrome image. The color is based on RAW data so over/under exposure refers to data actually close to clipping in the sensor.
When selected, the icon “E√” will be displayed in the Lower Status Group.
The EXPOSURE meter’s color bands provide the following information:
Purple
Red
Minimum Exposure
Maximum Exposure
Between minimum and maximum exposure values, the image is displayed as a monochrome image.
In the image, Purple areas represent sensor exposure levels that are likely to be noisy if gained up in postproduction. Red areas represent sensor exposure levels that are at clipping.
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NOTE: As EXPOSURE meters sensor RAW information, it is not affected by any RGB domain adjustments - such as ISO rating, FLUT, White Balance, Video Gain or other LOOK information.
NOTE: Because the RAW data represents a wider color space than RGB, provided that the Red (clip) color is not present in EXPOSURE view, even if Red (clip) color is present in VIDEO view, the apparently clipped
RGB highlights can be recovered in post-production by adjustment of ISO, FLUT or changing the KNEE and
WHITE values of the CURVE box.
FO CUS
This will emphasize edges in the image without changing brightness/image content so it is easier to judge if the image is in focus. By adjusting your lens zoom and focus you can see which objects are coming into and
will be displayed in the Lower Status Group.
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V I DE O
VIDEO displays a multi-color color overlay that allows you to check the video level of the RGB monitor path
(calibrated to the SMPTE test signal) and any outputs driven from that path - such as HD-SDI and HDMI.
When selected, the icon “V
Purple represents Super-Black, Dark Blue represents Black, Teal represents deep shadow, Green represents
18% Gray, Pink represents Skin Tone, Straw represents White, and Yellow, Orange and RED represent various degrees of signal clipping in RGB space.
By adjusting ISO, FLUT and Shadow while looking at VIDEO check, the operator can ensure that Black,
White and 18% Gray values conform to the desired levels on the HD-SDI and /or HDMI outputs.
The VIDEO bands provide the following information:
At all other values, the monochrome image displayed represents the luminance value of the ISO adjusted image.
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E DGE
EDGE displays a color overlay that outlines the edges of objects in an outline mode. By adjusting your lens
be displayed in the Lower Status
Group.
WARNING: This will potentially interfere with recordings done via HDMI/HD-SDI in "Clean" Mode!
M AG NI FY
Magnify displays the central region of the sensor in 1:1 pixel resolution. When enabled, the 1:1 text in the
Lower Status Group will change to Green and you will see the AF Window and the magnified region.
The AF Window determines the center point of the magnified 1:1 region. If you have a lens or lens mount that isn’t capable of autofocus with the DSMC, use Confirm mode to turn on the AF Window.
The AF Window cannot zoom in on any areas close to the edge of the screen and the size of the AF Window depends on the monitor screen.
If in Magnify mode, when the Record button is pressed, the system will automatically exit this mode. When using a touchscreen, you can also perform this function by pinching your fingers together and apart.
NOTE: HDR mode cannot be modified when in Magnify 1:1 mode.
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NOTE: When in magnify mode, you will not be able to adjust frame rate or resolution. These options will be Grayed out.
RA W
RAW displays the image at a standardized ISO 320 without any look customization. When selected, the word
“RAW” displays in the Histogram in the Lower Status Bar.
ZEBRA
Zebras enable and adjust the upper and lower values for two independent Zebra indicators. One zebra may be used for highlight exposure, and the other for mid tone or shadows. Zebras will be visible when in 1:1 zoom. By default, Zebra 1 and 2 are disabled.
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Z E BRA 1
To enable, select ZEBRA 1 check box. Areas of the image exposed within these ranges will be indicated by crosshatched overlays at - 45 degrees relative to vertical. Zebra 1 is shown in the image below.
High IRE
Change the desired setting between 93 and 109 (default is 108).
Low IRE
Change the desired setting between 75 and 107 (default is 99).
Z E BRA 2
To enable, select ZEBRA 2 check box. Areas of the image exposed within these ranges will be indicated by crosshatched overlays at + 45 degrees relative to vertical. Zebra 2 is shown in the image below.
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High IRE
Change the desired setting between 1 and 99 (default is 47).
Low IRE
Change the desired setting between 0 and 84 (default is 44).
MONITOR CONTROL
M O NI TO R
Configure the settings for each of your monitors.
Mode
Determines what information you want displayed on your monitor. The following modes exist, but the availability of each mode changes dynamically based on other settings:
Menus: The menus display.
Overlay: The overlay displays (you can select different overlays from the Overlay drop-down menu).
Clean: Only the video displays, you do not see any menus or overlay items.
Mirror: Mirrors another screen at the same resolution. You cannot mirror a screen that is set to Clean.
A maximum of 4 screens can be assigned at a mode other than Clean given time. After assigned 4 screens to anything other than Clean, your remaining options will only be Clean or Mirror.
Overlay
Select which overlay you want on the monitor. You can choose any of the RED overlays (NONE, OVERVIEW,
STANDARD) or one of your own custom overlays.
Resolution and Frequency
You can change the monitor resolution and frequency. The selection of each setting will be filtered by the camera to prevent selection of an integer output frequency when a non-integer Project Frame Rate has been
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Each monitoring output can support the following resolutions (the camera will filter the available selections):
720 p
1080 p
Each monitoring output can support the following frequencies (the camera will filter the available selections):
23.98 Hz
25.00 Hz
29.97 Hz
30.00 Hz
For changes to take effect, the camera MUST be restarted.
50.00 Hz
59.94 Hz
60.00 Hz
AUTO
Tools
Select the TOOLS checkbox to enable the false color modes (the color modes are available in SETTINGS >
TOOLS) on the monitor.
Flip/Mirror UI
When the FLIP/MIRROR UI check box is selected, the overlay and menus are upside down (rotated 180°) on your monitor. This setting doesn’t change how your footage is captured; you will only see the difference on the monitor.
Flip Video
When the FLIP VIDEO check box is selected, the video footage is upside down and mirrored (not rotated) on your monitor. This setting doesn’t change how your footage is captured; you will only see the difference on the monitor.
Framed Overlay
The video display is scaled down on the monitor so that the overlay items fit outside of the video area rather than over it.
O V ERLAY
You can create custom overlays that include specific items and icons. Overlays can be stored on the camera or transferred to SSD, so that you can build a library of overlays or quickly copy an overlay from one camera to another via SSD.
1. Go to SETTINGS > DISPLAY > MONITOR CONTROL > OVERLAY.
2. Click CREATE.
3. Enter a name for the overlay and click OK.
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4. Click one of the soft keys to add an icon to that area of the screen.
5. Select the icon or item that you want to add, and click ADD.
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6. Add all of the icons and items to the overlay. Please note that you can only go 3 rows deep.
7. After setting up your overlay, select CREATE.
8. The new overlay displays in the CAMERA list. You can save your overlays to an SSD and build a library of overlays.
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P RI O RI TY
The monitor priority determines the priority in which the monitors will become the control surface. You can also choose for the system to automatically assign Menu mode to the highest priority active monitor.
NOTE: There can only be one control surface active at any given time.
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BRI GHTNE S S
You can control the brightness of each of your LCDs and EVFs. Slide to the right for a brighter display; slide to the left for a dimmer display.
G E STURE S
These options apply ONLY to the Touchscreen LCD.
Pinch to Magnify
When selected, you can use two fingers to pinch inward OR slide apart to enable Focus Zoom. To return to normal view, use two fingers to pinch inward OR slide apart.
Double-Click Right 25% to Record
When selected, the right 25% of the screen can be double-tapped to start and double-tapped again to stop recording.
Double-Click Left 25% to Start AF
When selected, the left 25% of the screen can be double-tapped to start the Auto focus when compatible
lenses are used. For a list of compatible lenses, go to APPENDIX D: on page 187.
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MODES
Available screen display mode adjustments are EXPOSURE, SHUTTER MODE, APERTURE, FOCUS
DISTANCE, REMAINING POWER, VU METER SOURCE, HISTOGRAM, and LOOKAROUND.
E XP OS URE
Selects GUI display of Shutter Exposure on Main screen as Time (1/xx sec) or Angle (Degrees). Default is
Time. Time is shown below.
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S HUTTE R
Enables one of two shutter timing (duration) modes: Absolute or Relative.
Absolute: In Absolute mode, the shutter time is maintained when changing the framerate (which will change the angle), and the shutter speed displays in White text. Absolute is the default mode.
Relative: In Relative mode, the shutter angle is maintained when changing the framerate (which will change the time), and the shutter speed displays in Yellow text.
NOTE: If the operator requests a shutter speed that is outside the capability of the camera, the camera will automatically limit them when a limiting parameter changes.
A PE RTURE
Selects GUI display of f/stop as 1/4 f Stop or 1/3 f Stop. Default is 1/3.
FO CA L DIS TA NCE
Allows you to set the Lens Info to display in Metric or Imperial measurements. Default is Imperial.
GUIDES
This sub-menu provides a selection of frame guides and safe action and safe title guides. User definable frame, safe action, and safe title guides may be saved as a user preference, thereby permitting the camera guides to be fully customized for any application. Available options are Size, Line Style, Color and
Transparency.
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M O DE
Available options are Off, Full, 4:3, 16:9, 1.85:1, 1.9:1, 2.4:1, User and Absolute.
S CALE
Available range is 0-100%
O FFSE T X /Y
Available range is 0-100%
A PPE ARANCE
Line Style: You can choose the following line styles: Solid, Dashed, or Bracket
Color: Sets the frame guideline color to White, Gray, Teal, Purple, Yellow, Green, Blue, Red, or Black.
Select the color that provides maximum color contrast with the scene you are shooting. Default is White
Opacity: Sets the frame guide opacity. Available options are 0%, 25%, 50%, 75% and 100%.
RE LA TI V E TO FRA ME G UI DE
Check box allows Action and Title Guides to be sized and positioned relative to the Frame Guide or to the recording area.
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G E NE RA L TA B
Center
Controls the position of the center marker
Can be relative to the recording area or any of the guides
Color and opacity are selectable
Grid
Controls the location and appearance of the 1/3 grid
Can be relative to the recording area or any of the guides
Color and opacity are selectable
Shading
Shades the screen outside of the selected area
Can be relative to the recording area or any of the guides
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Color and opacity are selectable
TEST SIGNALS
Permits the video monitor outputs to be replaced with a video test pattern. Available test patterns are CHIP
CHART, SMPTE BARS, and LUMA RAMP. You can also enable AUDIO TONE.
To enable a desired test signal, select the desired test signal box. To exit the test signal, tap the touchscreen one time or press the Enter or Menu button on the Side Handle or REDMOTE.
Chip Chart
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SMPTE Bars with Pluge Pulse
Luma Ramp
NOTE: RED DSMC test signals are not recordable, they are provided to help align external video monitors connected via the HD-SDI or HDMI outputs.
LOOK
The LOOK menu permits adjustment of COLOR, GAIN, FLUT ® , and CURVE metadata values. These parameters will affect the look of the monitor path, but do not affect the actual REDCODE RAW data being recorded.
COLOR
The Color sub-menu permits adjustment of SATURATION, CONTRAST, and BRIGHTNESS.
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S A TURA TI O N
Adjusts color saturation. Range is 0.0 (monochrome) to +3.8 (super color). Default is 1.0.
CO NTRAS T
Adjusts the overall contrast of the image. Range is -1.0 (flat) to +1.0 (max contrast). Default is 0.0.
BRI GHTNE S S
Adjusts brightness without crushing highlights. Available range is – 10.0 to +10.0. Default is 0.0.
GAIN
The GAIN sub-menu permits adjustment of RED GAIN, BLUE GAIN and GREEN GAIN.
RE D
Adjusts the gain of the RED channel only. Range is 0.0 (no Red) to 10.0. Default is 1.0.
BLUE
Adjusts the gain of the BLUE channel only. Range is 0.0 (no Blue) to 10.0. Default is 1.0.
G REE N
Adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to 10.0. Default is 1.0.
FLUT
The FLUT sub-menu permits adjustment of FLUT, EXPOSURE COMPENSATION and SHADOW.
FLUT
FLUT (Floating Point Lookup Table) adjusts mid-range tone values. Range -8.0 to +8.0. Default is 0.0.
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Adjusts exposure compensation. Available exposure range is –7.0 to +7.0. Default is 0.0.
S HADO W
Shadow adjusts the toe value of the FLUT or in other words, the tone near Black. Range is -2.0 to +2.0.
Default is 0.0. Increasing the Shadow value raises the video level of near Blacks. Lowering the Shadow value crushes the video level of near Blacks.
CURVES
The curves dialog box allows the user to set define curves for Luminance, and the red, green, and blue channels.
COLOR/GAMMA
The COLOR/GAMMA sub-menu permits adjustment of the monitor output Color Space and Gamma curves.
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PROJECT
The project menu sets the operating parameters the camera will use for a given project. Options available are TIME BASE and TIME CODE.
TIME BASE
Sets the TIME BASE (fps) to be used for the project - the primary acquisition frame rate, time code count and playback and editing frame rate. Setting is displayed in the lower left corner of VIEWFINDER output(s).
The following TIME BASES are currently available:
23.98 fps
24.00 fps
The default is 23.98.
25.00 fps
29.97 fps
47.96 fps
48.00 fps
50.00 fps
59.94 fps
TIME CODE
Options are EXTERNAL TC and INTERNAL USER-PROVIDED TC.
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TIM E CO DE DI SPLA Y
Time Code Display allows you to choose between Time of Day (TOD) and Edge display. In TOD mode, the time runs continually. With edge display, the time code starts and stops coincident with recording.
TIM E CO DE SO URCE
Selects the TIME CODE source to be used. Available options are USER PROVIDED, EXTERNAL: BRAIN, and
EXTERNAL: REAR MODULE.
TIME CODE SOURCE
User Provided (Internal)
External: Brain
External: Rear Module
MODE
Real Time Clock (RTC)
Set Manually
Varies by device
Varies by device
COMMENTS
When selected the camera uses the cameras Real Time Clock as the time code counter source (snapshot of the RTC.)
When selected allows the user to define a custom value as the time code counter seed.
The three numerical boxes below allow you to set hours, minutes and seconds (in that order).
Uses the time code from an external device connected to an input on the camera brain
Uses the time code from an external device connected to an input on a rear module such as the RED PRO I/O MODULE
Time Code and HANC data
The time code displayed becomes the primary time code HANC data while the other time code is sent as secondary.
SLATE
When selected, a new dialog box will appear allowing you to add properties to the media highlighted in the
Current Media box when formatting. Available options are CAM ID, CAM POS and SET to set the values entered.
Auto-Incrementing Take
If there is a value entered in the Scene box, the camera will automatically increment the take number every time the camera starts and stops recording.
NOTE: The scene name is limited to eight characters.
Scene Information
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Camera Information
Project Information
Auto Slate Information
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SYSTEM STATUS
Selecting System Status from the Project menu displays key project information.
AUDIO
The AUDIO menu lets you configure the audio subsystem. Sub-menus available are AUDIO and AUDIO
CHANNELS.
AUDIO CONTROL
Audio channel level inputs are displayed in the lower section of the screen. When audio is enabled, the circle next to CH1, CH2 etc… will be Green and the box around the signal will be highlighted.
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P RE-A MP
Allows you to adjust pre-amplifier levels. Range 30 to 60 dB.
HEA DPHO NE
Allows you to adjust levels for headphones that you plug into the DSMC brain. Range -28 to -0 dB.
CAM MI X, REA R M IX, A ND M O NI TO R MI X
Cam Mix (Camera Mix): Controls audio for the camera.
Rear: Controls audio for any rear module, such as the PRO I/O MODULE.
Monitor: Controls audio for all monitors that provide audio.
Audio tracks may be assigned to the Left, Middle, or Right side of a stereo mix.
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AUDIO CHANNELS
Allows selection of audio inputs and operational modes.
I NP UT
Available inputs are CH 1/2 and CH 3/4.
NOTE: For cameras not equipped with a PRO I/O MODULE, options are CH 1/2.
Source
Audio is always recorded at channel pairs. Each of the two channel pairs can be assigned to one of the following sources:
None
Camera Analog Microphone Input (Cam Analog)
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Pro I/O Analog Microphone/Line In Input (Pro I/O Analog)
Pro I/O AES A or AES B Digital Input (Pro I/O AES A)
NOTE: For cameras not equipped with a PRO I/O MODULE, options are NONE or CAM ANALOG.
Mode
The following camera input modes are available: BALANCED MICROPHONE, UNBALANCED MICROPHONE.
If you’re using the PRO-I/O MODULE, these additional modes are also available: LINE IN 0 DBU and LINE IN
0 VU.
Link
Enables linkage between Channel Gain controls.
RECORDING
This menu lets you select and configure different recording modes. Tabs available are MODE, FRAME
PROCESSING, and PRE-RECORD.
MODE
You can select the following recording modes: CONTINUOUS RECORD, INTERNAL TIMELAPSE TIMER,
EXTERNAL FRAME TRIGGER, SPEED RAMP MODE, and EXTERNAL RECORD ONLY.
CO NTI NUO US RECO RD
Normal recording mode. You can limit each recording to a specific amount of frames.
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I NTE RNA L TI ME LA PS E TIM E R A ND EX TERNA L FRAM E TRI GG E R
These timelapse modes allow you to set the recording to end at a predefined frame limit by configuring the
Limit Recording to fields. You can also set a specific amount of frames to be captured during an interval between 1-3,599 seconds (in Internal Timelapse Timer mode) or during a pulse of the trigger (in External
Frame Trigger mode).
In Internal Timelapse Timer mode, the trigger is the REC key or any key that is programmed to start recording. In External Frame Trigger mode, the trigger is any key that is mapped to the action RECORD:
EXTERNAL FRAME TRIGGER.
For example, in Internal Timelapse Timer mode, you can choose to record a total amount of 1000 frames, and take 1 frame every 4.67 seconds. After you’ve recorded 1000 frames (which will take 4,670.00 seconds), the recording process will stop.
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While recording in this mode, you can see how many frames you’ve recorded out of the total amount of frames on the overlay.
S PE E D RA MP MODE
This mode lets you program the framerate to transition to a target framerate during an interval.
1. Set the recording to end at a predefined frame limit by configuring the Limit Recording to fields
(optional).
2. Set the TARGET framerate.
3. Set the DURATION. This is how long it will take the camera to transition from your current framerate to the target framerate.
4. Program a key to start the speed ramp (SETTINGS > SETUP > KEYS > RECORD: START SPEED RAMP).
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5. Start recording.
6. When you are ready to start the speed ramp, press the key that you’ve mapped to RECORD: START
SPEED RAMP.
The framerate transitions to your target framerate during the duration you set up. After you reach your target framerate, the camera continues to record at that framerate until you stop recording.
NOTE: Your camera may automatically change your exposure setting during the speed ramp process due to the changes in framerate.
E X TE RNA L RECORD ONLY
This defeats recording onto the Brain's SSD but continues to flag "REC START / STOP" in the HD-SDI HANC metadata, so an external recorder can be remotely START / STOPPED by the Brain via the REC key(s).
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FRAME PROCESSING
You can select the following frame processing settings: NO FRAME PROCESSING, FRAME SUMMING,
FRAME AVERAGING.
NO FRAM E P RO CE S SI NG
Normal frame processing mode. The FRAMES TO PROCESS selection will not affect your recording.
FRAM E S UMM ING
The Frame Summing setting takes the number of specified frames, combines them into 1 frame, and adds together the exposure time for each of the original frames. Frame summing results in a final image that is brighter and possibly blurrier than any of the original frames. You can use frame summing to achieve the effect of long-exposure.
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For example, if you select 16 as your FRAMES TO PROCESS value, and set your exposure to 1/48 sec, your resulting image will have a new exposure value of 1/3 sec (16 x 1/48).
NOTE: When you’re in preview mode, you will not see frame summing take effect. Once you start recording, you will be able to see the brightened image. You may have to experiment with your exposure and frame summing settings before you achieve the brightness and effect you want.
FRAM E A V E RAGING
The Frame Averaging setting takes the number of specified frames, combines them into 1 frame, and averages the exposure time for each of the original frames. You can use frame averaging to achieve the effect of long-exposure along with the benefits of reduced noise. However, frame averaging does affect motion blur characteristics.
For example, if you select 16 as your FRAMES TO PROCESS value, and set your exposure to 1/48 sec, your resulting image will still have the exposure value of 1/48 sec along with the effect of long-exposure.
NOTE: When you’re in preview mode, you will not see frame averaging take effect. Once you start recording, you will be able to see the altered image. You may have to experiment with your exposure and frame averaging settings before you achieve the effect you want.
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PRE-RECORD
When enabled, the Pre-Record setting continuously captures a cache of footage before you start recording.
You can select to have 4-30 seconds (incremented at an interval of 2 seconds) of pre-record time added to your actual footage. When Pre-Record is enabled, you won't miss the start of a shot by being a little slow on the trigger.
To enable Pre-Record, you can do any of the following:
1. Select the ALWAYS TRIGGER PRE-RECORD BEFORE RECORDING check box.
2. Click TRIGGER PRE-RECORD NOW.
3. Map Pre-Record to a key (SETTINGS > SETUP > KEYS > RECORD: START PRE-RECORD).
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SETUP
This menu permits a variety of system setup tasks to be accomplished. Options available are KEYS /
SHORTCUTS, DATE / TIME, NETWORK, SERIAL, REMOTE, GPIO, and SYSTEM.
KEYS
Use Keys function to customize the assignment of DSMC camera controls.
KE Y MAPP ING AND SO FT KEY S
With Key Mapping, you press the key you want to change and follow on-screen instructions to complete the change.
When the Key Mapping tab is highlighted:
1. Press the camera key you want to change.
2. Use the pull down to select the desired function
3. Press menu or a blank area of the touchscreen to save the setting
O P TIO NS
1. Select the desired option
2. Press menu or a blank area of the touchscreen to save the setting
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A DVA NCE D
The advanced tab allows you to set key functions using a series of pull down menus
1. Select Key Source (Brain, REDMOTE, Side SSD, etc.)
2. Select the key you wish to change
3. Select the desired key action
WARNING: Do not remap the navigation keys (Up, Down, Left, Right, Select (Enter), or Menu) on the side handle doing so could render the camera inoperable.
DATE / TIME
This menu allows the user to reset the battery backed up internal clock of the camera. This time value is used as a timestamp on the .R3D files when recording to the RED MAG 1.8” SSD media.
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NOTE: Enter time in 24-hour clock format. i.e. 2:35 pm should be entered as 14:35:00.
COMMUNICATION
Communication Menu allows you to set a unique identification for the camera (or a group of cameras) when operating in command and control communications network. Parameters are NAME, GROUP, TARGET, set a
SERIAL PROTOCOL, ENABLE DHCP, C2C or EXT, IP ADDRESS, NETMASK and GATEWAY. Using the serial port or a direct Ethernet interconnect, two cameras, or one camera and one external device can be connected. If the camera is connected via Ethernet to a hub or router, multiple cameras and devices can communicate to each other.
NAM E
Allows the user to create a unique camera NAME used in network communications
NOTE: The camera name field is limited to 8 characters.
G RO UP
A camera can also be identified as a member of a GROUP of devices. (For example, a group "3DRIG_A" could include two cameras "CAM_A_L" and "CAM_A_R"). The default group is named "DEFAULT". Group names (like camera Names) can be used to uniquely address commands to a specific group of networked cameras. Note: the group name is limited to 8 characters, default name is DEFAULT.
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TA RG E T
Using TARGET the user can specify if this camera can send commands to ALL devices on the network, to
NONE of the devices on the network (meaning the camera will only listen to messages and not originate messages) or to a specific TARGET device - which can either be the NAME of a specific camera or device or a name of a GROUP of cameras or devices.
This structure allows for a lot of flexibility. For example on a multi-rig 3D shoot the user can either send commands to an individual camera (e.g. Set CAM_A_L to 1/48th exposure), to a group of cameras (e.g. Set
"3DRIG_A" to 48 FPS), or to all cameras (e.g. Start Recording on all cameras). It is important to note that with the exception of the NONE setting, all command filtering is happening on the receiver side of the communication link.
S E RIA L P RO TOCO L
The camera can communicate to external devices via RS232 Serial Port and / or the Gigabit Ethernet Port.
This selection allows the user to specify the serial communications PROTOCOL. Available options are:
NONE (default)
ELEMENT TECHNICA
3ALITY SPC 7100
3ALITY SPC 7000
RED Control Protocol
RCP 3D Metadata
NE TWORK
If the Gigabit Ethernet port is used, additional settings are required. Each camera or device requires a unique IP ADDRESS. For simple camera-to-camera communication via Ethernet, both cameras need to be in the same sub-net.
Use the same sub-NETMASK and GATEWAY addresses and the first three groups of the IP address need to be the same.
In the example below, two cameras two cameras are assigned to the group “3D RIG.” Note the IP
Addresses.
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Master
DHCP
If a DHCP-server is available in the communications network the DHCP option can be checked and the camera will obtain an IP Address,
Subnet Mask and Gateway address automatically from the DHCP -server.
C2C
If the camera-to-camera (C2C) check box is checked, changes to the settings on this camera will be sent out via the network as UDP packets as a SET command (Which then sets the property on other cameras). SET commands sent to this camera will not be propagated.
REDMOTE
Slave
EXT
If the EXT check box is checked this camera can be controlled via TCP/IP from an external device.
IP Address
Permits the user to adjust the camera’s static IP address.
Netmask
Permits the user to adjust the Subnet Mask address.
Gateway
Permits the user to adjust the Gateway address.
P AI R RE DMO TE S
A REDMOTE that is docked to the DSMC is automatically paired with the DSMC. The MAC address of a locally attached REDMOTE is displayed in brackets.
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To pair the DSMC with REDMOTEs wirelessly, select SCAN FOR REDMOTES. The DSMC scans for any
REDMOTEs that are turned on with REDlink wireless enabled. The available wireless REDMOTEs appear in the left panel. Use the PAIR and UNPAIR buttons to select and pair/ unpair REDMOTEs.
RE DLI NK CHA NNE L
The REDlink Channel field lets you change the communication channel for the REDLink wireless connection in the event of interference from other wireless devices.
RE DLI NK E NA BLE
Select the REDLINK ENABLE checkbox to allow the DSMC to produce a wireless signal. Deselect the checkbox to disable wireless. Be sure to disable wireless in any setting in which the wireless signal could interfere with other devices, such as in a helicopter.
GPIO / SYNC
S Y NC
Sensor Sync Mode allows the shutter timing (scan start) to be synced to an external signal.
Available options are: Off, Genlock, and MoCo. Default is Off.
Sources include the Brain and the Rear Module. Default is Brain.
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BRAI N GP IO
This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the camera brain. Defaults are
Sync In and Sync Out.
FUNCTION
Sync In
Sync Out
General Purpose In
General Purpose Out
DEFINITION
Accepts an Input Sync signal to control Shutter Start timing
Provides an Output Sync signal to act as a Shutter Start tally.
Accepts an Input Trigger signal to act as a General Purpose Input.
Provides an Output Tally to act as a General Purpose Output tally signal
NOTE: Refer to APPENDIX C: INPUT / OUTPUT CONNECTORS for pin information.
CONNECTOR
SYNC
CTRL
SYNC
CTRL
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P RO I /O GPI O
This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the PRO I/O Module.
NOTE: See the PRO I/O Operation Guide for more information.
SYSTEM
Options are FAN CONTROL and INDICATORS.
FA N CONTROL
Select a fan control mode for your bottom fan. If a top fan is installed, it will activate at a constant speed when necessary.
Adaptive: Select a target temperature and the bottom fan self-adjusts to maintain the selected temperature. The Target Temperature range is 45-70 °C; the default is 55 °C.
Quiet Preview And Record: The bottom fan self-adjusts to maintain the lowest possible noise level in record and standby mode while still cooling the DSMC.
Quiet Record: The bottom fan self-adjusts to maintain the lowest possible noise level in record mode while still cooling the DSMC. The bottom fan speed increases during standby mode to further cool the
DSMC. The increased fan speed during standby mode allows the fan to subsequently run very quietly for
2-3 minutes in record mode before gradually increasing in speed and noise.
Auto: This is the default mode. Select a maximum bottom fan record speed, and the standby mode fan speed self-adjusts accordingly so that enough cooling is provided overall. The default Maximum Record
Speed is 50%; a slower speed setting results in a faster standby mode fan speed, and vice versa.
Manual: Select a speed for the bottom fan in both record and standby modes. The bottom fan selfadjusts to maintain the selected speeds. The range for both Maximum Record Speed and Maximum
Standby Speed is 25-100%; the default Maximum Record Speed is 50% and the default Maximum
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Standby Speed is 75%.
NOTE: All settings are intended as target speeds only; actual fan speeds may at times be higher than specified to satisfy any unmet cooling requirements due to long recording times or high ambient temperatures.
NOTE: If you select a new fan setting, run the DSMC until the core temperature stabilizes, and then perform a black shading calibration.
NOTE: If you’re using a top fan, the top fan may not run immediately after turning on the DSMC, as the top fan runs when the DSMC requires additional cooling power.
P OS T RE CO RD DE LAY
Select the amount of time that it takes for the bottom fan to switch from record to standby mode.
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I NDI CA TO RS
Beep Speaker
Available options are OFF and RECORD/STOP. When RECORD/STOP is selected, an audible beep will be heard when record is started and another when record is stopped.
EVF Tally Light
When checked, enables the Record Tally Red LED on the front of the EVF.
MAINTENANCE
The maintenance menu allows the user to check system status and information, save the camera diagnostic
LOG to attached media, perform a software update, calibrate the sensor, perform a camera self test, and reset system settings to factory defaults.
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SYSTEM INFO
When selected the Viewfinder output(s) will display the camera Model, current firmware Version, installed and camera P.I.N.
SAVE LOG
Select to write camera’s .LOG file to the REDMAG 1.8” SSD. The .LOG file is a diagnostic tool that can assist RED with camera troubleshooting. After capture, upload the .LOG file to the RED customer service team contactable at https://support.red.com/home .
After successfully writing the log file to media, viewfinder output(s) will display LOG SAVE COMPLETED.
REDMOTE will also display this message.
If media is not attached to the camera when attempting to perform a write log request, external monitors will display NO MEDIA ATTACHED.
NOTE: Log files will be stored as *.txt files in the 1.8” SSD root directory.
UPGRADE
NOTE: For more information on the firmware force upgrade procedure, refer to APPENDIX A: UPGRADING
CALIBRATION
Sensor calibration is a process where the camera generates a calibration map to correct for pixel defects and offsets based on current system and environmental settings. This allows you to perform a Black Shading calibration of the MYSTERIUM X sensor two (2) different ways; Default (at 24 FPS @ 1/48 SEC) or using your current FPS/Exposure settings.
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To calibrate the sensor the image needs to be as dark as possible:
At a minimum put a lens cap on the lens (WARNING: Not all lens-caps completely block IR. Lens caps are made to protect the lens, not necessarily to block light.)
Preferably, take off the lens, and use the lens-mount cap provided by RED.
If possible, use a dark room.
Just closing the Iris is NOT sufficient.
Additionally a SSD needs to be inserted in the camera to store the raw images during calibration.
Calibration is required:
If the temperature deviates significantly from the currently used calibration, it is recommended to recalibrate the sensor.
If very long exposure (~longer then 1/24 Sec) is used, it is recommended to recalibrate.
After Calibration with a lens cap on and ISO set to maximum, the sensor should show a uniform noise profile over the whole area without any falloffs on any side. You can check at which temperature/exposure time the currently used calibration was taken on under SETTINGS > MAINTENANCE > SYSTEM STATUS under
Calibration.
Calibration maps will still be available after performing a system restore under SETTINGS > MAINTENANCE
> RESTORE SYSTEM; however the factory calibration map will be reselected.
CURRE NT CA LMA P
Calibration maps are stored in the camera. Due to the nature of the camera, different calibration maps are needed for different situations.
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Factory
This is the calibration map generated during production. This map is always present and selected as default on first use after performing a system restore under SETTINGS > MAINTENANCE > RESTORE SYSTEM.
User HS
The user can select the CURRENT CALMAP. The dialog only shows the calibration maps stored in memory
(FACTORY and USER HS in this case).
BLA CK S HA DI NG ( DE FA ULT)
This option uses fixed settings which are the same used for the factory calibration (around 23 Deg C). After calibration (which takes about 15-20 min), the new map is automatically selected.
BLA CK S HA DI NG ( CURRE NT FPS /E XP OS URE S E TTI NGS)
This option generates a calibration with the currently set frame rate/exposure. This can be used to generate a calibration for long exposures. After calibration (which takes about 15-20 min), the new map is automatically selected.
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BLA CK S HA DI NG P RO CE DURE
The calibration procedures are the same for both BLACK SHADING options.
The calibration procedures are the same for both Black Shading (24 FPS @ 1/48 SEC) and Black Shading
(Current FPS/Exposure) options.
When selected, a screen will appear asking if you wish to proceed with Black Shading calibration. REDMOTE will also display the following messages.
Black Shading calibration procedure:
1. Ensure the sensor is NOT exposed to the calibration light source by installing the lens cap properly.
2. Ensure a properly formatted SSD is attached to the camera and properly formatted.
3. Select OK to perform the Black Shading calibration. The calibration will make 2 passes.
4. A status screen will show progress of the Capturing step. Second pass shown.
5. Once Capturing is complete, a status screen will show progress of the Analyzing step.
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6. Once Analyzing is complete, a status screen will show progress of the Erasing step.
7. Once Erasing is complete, a status screen will show progress of the Programming step.
8. The camera will perform this procedure twice.
9. After Programming, CALIBRATION SUCCESSFUL will be displayed. Select OK to complete Black
Shading calibration.
E XP O RT A ND I MP O RT CA LI BRA TIO N MA PS
You can export and import calibration maps between the camera brain and a memory card. By exporting calibration maps to a memory card, you can build a library of calibration maps that can be used in different settings.
Export calibration map procedure:
1. Go to SETTINGS > CALIBRATION.
2. Click Export current calibration to Media….
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3. Enter a name for the calibration map.
4. Click Create Calibration File.
5. The on-screen display shows a progress bar while it exports the calibration map. The export process takes a few minutes.
6. After exporting, CALIBRATION EXPORT SUCCESS displays on the screen, and your calibration map is saved to your memory card.
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7. Select OK.
Import calibration map procedure:
8. Go to SETTINGS > CALIBRATION.
9. In the Calibration Export/Apply section, select the calibration map you want to use.
10. Select one of the following:
Apply Permanently: The calibration map will be used until you select another calibration map, so even if you shut down your camera, the calibration map will still be applied upon boot up. The import process takes about 6 minutes. Do not shut down your camera during the import process.
Apply Temporarily: The calibration map will be used until you shut down the camera. The import process takes about 30 seconds.
WARNING: Do not shut down your camera during the import process.
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SELF TEST
When selected allows you to perform a self-test for the sensor and LCD Touchscreen.
E NA BLE / DISA BLE S E NS O R TE S T PA TTE RN
When selected enables / disables the sensor test pattern (White Screen). To turn on, select ENABLE
SENSOR TEST PATTERN.
To turn off, select DISABLE SENSOR TEST PATTERN.
E NA BLE / DISA BLE S E NS O R TE S T PA TTE RN
This feature is currently only used during the manufacturing process.
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TO UCHS CRE EN
When selected allows you to perform a touchscreen self-test.
When the touchscreen self-test is on, you can verify all areas of the touch screen respond to touch. Simply touch each box using your finger. The touchscreen responds to the touch and the Green box turns Blue.
To exit the Touchscreen Self-Test:
1. Place your finger on the touchscreen and hold it there until the main screen appears.
2. Press the Enter or Menu button on the Side Handle or REDMOTE.
RESTORE SYSTEM
Restore System permits ALL camera configuration and setup data to be reset to factory default values.
When selected, you will be asked to confirm if you want to delete all settings and restore the factory default settings. After settings are restored, “DEFAULT SETTINGS RESTORED, INITIALIZING RESTART…” Camera will automatically power down and will require you to manually power it up.
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NOTE: User key settings will be reset as well as any other changes from the cameras default settings. The
REDMOTE will also require paring to communicate wirelessly with the camera.
REDISCOVER
Rediscovers all hardware and caches the data for future boot cycles.
When selected, you will be asked to confirm if you want to reset all hardware discovery settings. After settings are reset, “RESET HARDWARE DISCOVERY SUCCESSFUL, INITIALIZING RESTART…” Camera will automatically power down and will require you to manually power it up.
MOTION SENSOR CALIBRATION
The RED DSMC Camera displays data from the accelerometer to help orient the camera. After a firmware upgrade or Factory Restore the motion sensors need to be re-calibrated through the MAINTENANCE >
MOTION SENSOR CALIBRATION menu.
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PLAYBACK
Playback allows you to view clips on media currently attached to the camera. It also allows you to change the look of the playback clips be changing settings available when in playback mode.
Playback controls can be accessed via the touchscreen or by using the navigation group on the DSMC
SIDEHANDLE or REDMOTE.
UPPER CONTROLS
From Left to Right are ISO, WHITE BALANCE, VIEW, PRESETS, MEDIA, SEETINGS, and META. Below the settings is the clip playback status bar.
Exit Playback ICON (Touchscreen)
Select the O on the Left to exit Playback mode.
NOTE: The Menu ICON on the Right does not respond to commands when in Playback mode.
I SO
Allows you to change the ISO in the clip during playback.
WHI TE BA LA NCE
Allows you to change the White Balance in the clip during playback.
Advanced Menu
Opens the advanced White Balance settings without the ability to Calculate.
V IE W
Allows you to select the items to be displayed in the playback window. Available options are CENTER,
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FRAME GUIDE, ACTION GUIDE, and TITLE GUIDE.
P RES E TS
Allows you to apply presets to the clip during playback.
M E DIA
When selected will list all available clips on the attached media.
Apply Image Metadata
When checked, image data such as color, gain, curves, etc. that were recorded with the image will be displayed with the playback image. When unchecked, the “current” playback look settings will be used.
Touchscreen
1. Double-tap the desired clip to open in the playback window.
2. Load will also highlight. You can also select LOAD to load the clip in the player and allow playback.
Side Handle / REDMOTE
1. Select the desired clip to playback and press the ENTER button.
2. Load will highlight. Select LOAD to load the clip in the player and allow playback.
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S E TTI NG S
Available options are DISPLAY, LOOK and RECORD.
Display
Available options under Display are TOOLS and ZEBRA.
Tools
about these options.
Zebra
Allows you to toggle ON/OFF Zebras. Refer to ZEBRA for complete details about these options.
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Look
Allows you to adjust the Color, Gain, FUT, and Curve of the image during playback. Refer to LOOK for
complete details about these options.
Audio
Allows you to control audio.
Setup
Allows you to program keys.
Record (Exit)
When selected will exit playback to the main menu.
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M E TA
Displays current clip META information.
CLIP P LA Y BA CK S TATUS BA R
Displays the progress of the clip during playback.
Touchscreen
When using the touchscreen you can swipe your finger Left or Right to open and allow playback of the previous or next clip on the media.
LO WE R CONTROLS
From Left to Right, PLAYBACK SPEED, IN POINT MARKER, FRAME-BY-FRAME REVERSE, PLAY/PAUSE,
FRAME-BY-FRAME FORWARD, OUT POINT MARKER, PLAY ONCE/LOOP, and PLAYBACK DIRECTION
RE SO LUTI ON / PRO JE CT FRAM E RA TE / QUA LITY
Display clip Resolution, Framerate and Quality (REDCODE). When using the touchscreen, touch the
Resolution, Framerate and Quality (REDCODE) to display the METADATA for the clip.
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HI STOG RA M
Displays the clip histogram. The histogram will change based on any changes made in the Upper Controls.
When using the touchscreen, touch the histogram to display the TOOLS menu.
P LAY BA CK SP EED
Allows you to select x1, x2, x4, x8, or x16 playback speed.
I N / O UT P OI NT M ARKE R
Allows you to set In and Out Points during clip playback. This allows you to playback only a certain portion of the clip as desired. Helps when the clip is rather long and you want to focus on a particular segment. The
In (Red) and Out (Green) points will be displayed in the Clip Playback Status Bar. You can use the navigation group to select the exact location of the In and Out Points if desired.
FRAM E- BY- FRAME RE VE RSE / FORWA RD
Allows you to move through the clip frame-by-frame, going either forward or in reverse.
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P LAY / PA US E
Allows you to play and pause the clip.
P LAY O NCE / LOO P
Allows you to choose to play the clip one time or to loop the clip in the player. Loop is shown below.
P LAY BA CK DI RECTIO N
Allows you to play the clip forward or backwards. Reverse playback is shown.
A DDI TIO NA L CLIP /CAM E RA INFORMA TI O N
Will indicate if clip was recorded in HDRx and current camera power status as well as audio input signals.
POWER
The power menu displays the current power status of all attached power sources as well as allows you to shut down the camera.
POWER STATUS
The power status is displayed for the BRAIN DC IN, SIDE HANDLE, REAR 1, REAR 2, REAR 3, and REAR 4.
The screen displays the voltage of the source or the percentage of the power left, as well as the time left, if applicable.
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SHUTDOWN
Shutdown controls are interlocked to prevent accidental powering down of the camera. For details on the
different ways to power down your RED DSMC Camera, go to POWER DOWN.
1. Enter the Secondary Menu using the touch screen, REDMOTE or Side Handle.
2. Select POWER.
3. Select SHUTDOWN.
4. The camera will immediately power down displaying SHUTTING DOWN…. If a REDMOTE is connected, the same message will display.
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POWER OUT
The Power Out menu shows the status of the power out ports on the PRO I/O MODULE and the +1
ADAPTOR. The statuses are:
N/A: The device is not present.
OK: The power out port is functional.
FAULT: There is a fault. Click RESET to clear the fault.
POWER SAVE
You can select the following power saving options (the default for each is NEVER):
Low Power Preview: The camera uses a lower amount of power after the specified period of inactivity.
Sleep: All monitors turn off and keys will not perform mapped actions after the specified period of inactivity. Touch the screen or press a key to exit Sleep mode.
Auto Shutdown: The camera shuts down after the specified period of activity.
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APPENDIX A: UPGRADING CAMERA FIRMWARE
Your RED DSMC camera functionality may be upgraded by installing the latest firmware.
Camera firmware is identified by Version and SVN number, which will be displayed by the camera on the
LCD display when SYSTEM INFO is selected. A higher number reflects a later release.
Make a habit of frequently visiting https://support.red.com/home to check for later versions of camera firmware, Operations Guide updates, and post-production software.
Your REDMOTE also requires a firmware upgrade. For more information on upgrading your REDMOTE, go to
VERIFY CURRENT CAMERA FIRMWARE
With the camera ON, select SECONDARY MENUS > SETTINGS > MAINTENANCE > SYSTEM INFO.
The camera’s P.I.N. number and current firmware version will be displayed.
UPGRADE PROCEDURE
1. Download current firmware from http://www.RED.com/support .
2. Follow instructions in “read_me…” file.
RESTORE DEFAULT FACTORY SETTINGS
To restore factory default settings, when the camera turned off, press and hold the power button until the fan begins to operate at high speed. This takes approximately fifteen seconds.
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APPENDIX B: MANAGING DIGITAL MEDIA
MEDIA
REDMAG 1.8” SSD is available with capacities of 48GB 64GB, 128GB, 256GB or 512GB. Record duration is dependent on resolution, quality and frame rate, but a 64GB SSD will typically provide 24 minutes of 24fps
5K RAW recording.
On MAC computers with REDCINE-X PRO installed, RED Watchdog will mount the SSD as “READ-ONLY” by default and you cannot write the firmware to the SSD. RED Watchdog is identified by the RED Coin icon located on the Right side of the Menu Bar. Right-click on the icon to enter RED Watchdog settings and change to mount the drive as “READ-WRITE” to allow you to save the firmware to the SSD. Refer to the
REDCINE-X PRO OPERATION GUIDE for complete RED Watchdog instructions and details.
IMPORTANT: After connecting REDMAG 1.8” SSD to the camera and BEFORE recording, you should format the media using the camera (even if formatting was previously performed on a computer). For more
information, go to FORMATTING MEDIA.
NOTE: When using a RED STATION in conjunction with a 512GB REDMAG, power must be supplied to the
RED STATION. It will not function properly using a USB cable as the sole power source.
FORMATTING MEDIA
Media must be formatted prior to using it for recording. Formatting is performed on camera, although media may be erased on a Macintosh OS X personal computer, allowing the camera to just add the necessary project profile and clip log data.
NOTE: Media formatted on-camera will use a name and root volume in the format:
Camera Letter + Reel Number + Month + Day + ** where ** is a two digit alphanumeric random number generated by the camera for each file e.g. A001_0512A6.RDM
Clips recorded to the media follow similar naming conventions
A001_C001_0512A6_001.RDC and A001_C001_0512A6_H.mov etc.
IMPORTANT: Media must always be un-mounted prior to removal or disconnection from the camera. This ensures power is removed from the digital media and any open data files are closed. Failure to do so may
result in lost data or corrupted files. Refer to EJECT MEDIA FROM CAMERA (UNMOUNT).
This procedure outlines the formatting of REDMAG 1.8” SSD media using the RED DSMC camera.
Formatting the SSD media will take about 10 seconds.
1. Insert SSD into camera.
2. Insert the REDMAG 1.8” SSD with the RED logo facing outward (away from camera body). SSD firmly into its slot, but without using excessive force to prevent damage.
3. When SSD media is inserted into the camera, the camera will recognize if the media is unformatted:
4. On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays NONE with three dashes below “---“).
5. On REDMOTE, NONE will be displayed twice (as opposed to when no media is inserted, the GUI displays
NONE with three dashes below “---“).
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6. On the Side Handle, NA will be displayed (same as if no media is present).
7. To format the media select SECONDARY MENUS > MEDIA > FORMAT MEDIA.
8. You will be prompted to set the media and select FORMAT.
9. Viewfinder output(s) will display “FORMATTING”.
10. Once formatting is completed, the Viewfinder output(s) will display “THE MAGAZINE WAS
SUCCESSFULLY FORMATTED THE DIGTAL MAGAZINE IS READY FOR IMMEDIATE USE”.
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MEDIA CAPACITY REMAINING STATUS
The Viewfinder output(s) will display the remaining media capacity in the MEDIA indicator (100% is shown).
At 10%, remaining capacity the media status will turn yellow, at 5% it will turn red. At 2%, remaining the camera will cease recording. This reserves a small amount of capacity for ancillary data to be written to the media.
NOTE: When media is full, the Side SSD LED will flash Red.
EJECT MEDIA FROM CAMERA (UNMOUNT)
IMPORTANT: Media must always be Ejected (un-mounted) prior to removal or disconnection from the camera. This ensures power is removed from the digital media and any open data files are closed. Failure to do so may result in lost data or corrupted files.
Removing an SSD without first un-mounting it will not physically damage the media, however it does increase the risk of file corruption, so it’s good operational practice to un-mount the media if possible before removing or disconnecting.
IMPORTANT: Unmounting the digital media takes a few seconds, protects the integrity of your recorded data and helps clips mount instantly to your workstation once in post-production, so it’s a recommended habit to develop. If you do not un-mount the media the camera will offer a warning – your files may not be damaged, but you will have been warned!
NOTE: The camera will respond to physical removal of the media without un-mounting and display ”MEDIA
REMOVED PRIOR TO UNMOUNT – DATA INTEGRITY RISK”.
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USING REDMOTE / TOUCHSCREEN LCD
1. Go to SECONDARY MENUS > MEDIA
2. Select EJECT MEDIA.
3. When media is ejected, Viewfinder output(s) will display “MEDIA EJECTED SUCCESSFULLY“.
4. Media can now be removed from the camera.
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USING SIDE HANDLE
1. By default, the lower of the three (3) SYSTEM KEYS is set to Eject Media when pressed.
2. When media is ejected, Viewfinder output(s) will display “MEDIA EJECTED SUCCESSFULLY“.
3. Media can now be removed from the camera.
USING SIDE SSD
1. Press both User Keys 1 and 2 at the same time to eject REDMAG 1.8” SSD Media.
2. When media is ejected, Viewfinder output(s) will display “MEDIA EJECTED SUCCESSFULLY“.
3. Media can now be removed from the camera.
COPYING MEDIA
For use when media is connected directly to your computer. When copying media, it is recommended that you drag the complete .RDM folder on the digital magazine to the archive storage media. This copies all the media and metadata files. You will not need to copy the log, magazine profile, or presets files, but if you do so, it will do no harm.
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ERASING MEDIA
NOTE: If the media was formatted using SECURE FORMAT, you cannot erase the media using an external source. Erasing of the media must be performed by formatting on the camera.
MACINTOSH OS X
1. Connect the REDMAG 1.8” SSD via RED STATION REDMAG 1.8".
2. Open the Disk Utility.
3. Carefully choose the drive from the list on the left.
4. Select the Erase tab.
5. Choose MS-DOS (FAT) as the Volume Format. You can add a Name if desired, however the camera will overwrite this.
IMPORTANT: Before performing the next step, double-check that this is the correct SSD that you wish to erase DATA FROM.
6. Select Erase. When the pop up window appears click on the Erase button.
7. When the media is erased, drag its icon to the trashcan and physically disconnect it.
8. The media will need to be formatting by the camera before use. Refer to FORMATTING MEDIA.
WINDOWS
1. Connect the REDMAG 1.8” SSD via RED STATION REDMAG 1.8".
2. Open Windows Explorer (go to my computer icon, right click and select EXPLORE).
3. Double-click on the drive you wish to erase files from.
4. Select all the files on the drive you wish to erase.
IMPORTANT: Before performing the next step, double-check that this is the correct SSD that you wish to erase DATA FROM.
5. Press the “DELETE” key on the keyboard, select FILE > DELETE or right-click on selected file and choose DELETE. When the pop up window appears click YES.
6. The media will need to be formatting by the camera before use. Refer to FORMATTING MEDIA.
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APPENDIX C: INPUT / OUTPUT CONNECTORS
CAMERA BRAIN FRONT
A B
A
EPIC BRAIN - Front
A. MIC-1 3.5mm Audio Jack
B. MIC-2 3.5mm Audio Jack
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MIC-1, MIC-2 (MICROPHONE AUDIO)
Two 3.5mm phone jacks on the front of the brain support two independent channels of balanced or unbalanced microphone level analog audio inputs.
Microphone Input Connector
C B A
PIN
A (TIP)
B (RING)
C (SLEEVE)
SIGNAL
IN +
IN -
GND
DESCRIPTION
Mic Input (+48V Phantom Power)
Mic Input (+48V Phantom Power)
Camera ground
DIRECTION
In
In
--
Microphone Level analog audio input signals are routed via a high quality pre-amplifier and soft limiter, whose Gain may be controlled using the Input Level control to achieve the desired audio reference / recording level. Microphone inputs support +48V @ 10mA Phantom Power as a user selectable option. If
To assist with reference level setup, the camera provides a color-coded Peak Level Meter in the Graphical
User Interface, with witness marks that indicate 0dBu (-20dbFS) and 0Vu (- 16dBFS) levels.
Peak Level Meter range is –36dBu to +20dBu (-54dBFS to 0dBFS) and provides input clip indication.
NOTE: A pre-fabricated XLR to TRS interface cable, Part Number 790-0229, is available from RED Digital
Cinema.
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CAMERA BRAIN REAR
A
B
G
C D E
F
EPIC BRAIN - Rear
A. HD-SDI
B. Headphone
C. SYNC (Video Sync)
D. CTRL (RS232 Control)
E. GIG-E (Ethernet)
F. DC IN (Power Input)
G. HDMI
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HD-SDI
A standard 75 Ohm BNC connector provides a broadcast specification high definition video output.
PIN
Center
Shield/Screen
SIGNAL
HD-SDI
GROUND
DESCRIPTION
SMPTE-292M HD-SDI
Camera ground
DIRECTION
Out
--
The HD-SDI output provides a 720p progressive scan video feed operating at 50.00 or 59.94 Hz or a 1080p
10-bit 4:2:2 progressive scan video feed operating at 23.98, 24.00, 25.00 or 29.97 Hz when in 1.5GHz HD-
SDI mode, or a 1080p 10-bit 4:2:2 progressive scan video feed operating at a 50.00 or 59.94 Hz when in
3GHz HD-SDI mode.
In addition to video, the HD-SDI output also provides two channels of embedded audio, Time of Day and
Edge timecode, record Tally flag and Clip Name information as SMPTE RP-188 VITC2 HANC metadata.
NOTE: Default setting is PROGRAM.
NOTE: HD-SDI video output is Progressive Scan; it does not support 1080i or 1080PsF modes.
HEADPHONE
A 3.5mm stereo jack provides two channels of adjustable level analog audio for monitor headphones.
Headphone Output Connector
C B A
PIN
A (TIP)
B (RING)
C (SLEEVE)
SIGNAL
LEFT
RIGHT
GND
DESCRIPTION
Left channel audio
Right channel audio
Camera ground
DIRECTION
Out
Out
--
The camera’s four audio channels may be monitored in pairs: either 1L - 2R or 3L - 4 R or as a quad mix of
1+3L – 2+4R based on the MIX parameter. Default is 1L-2R.
Output volume may be adjusted as follows.
Volume: (master volume) Adjusts headphone volume equally for left and right outputs.
Range is -18dB to 0dB in 1dB steps. Default is -9dB.
NOTE: For maximum output signal quality, only use high impedance headphones.
NOTE: In Version 4.x firmware the above selection is not available, the output is set to 1L / 2R.
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SYNC (VIDEO SYNC)
A 4-pin LEMO connector supports shutter synchronization, GPI, timecode and genlock input signals.
The shutter Sync input signal acts as an immediate response hardware trigger to commence a scan. This is useful for motion control and other applications where the camera is driven by a master timing device. When using SYNC as the camera shutter timing reference, fine shutter start time timing (SHUTTER PHASE) is disabled; make any desired timing adjustments at the external SYNC generator.
Alternatively, this input may be used as a GPI (General Purpose Input) trigger, whose function is programmed in the USER KEYS menu. Default function for the GPI trigger is Record Start / Stop.
The SMPTE timecode input provides a frame accurate time stamp for each frame of recorded video. External
TC must be chosen in the Project > Timecode menu. When SMPTE timecode is detected it will align the internal TC value to the external TC signal at every :00 frame crossing of the external TC signal.
The Video Genlock input may be used as a vertical interval reference signal for the sensor and HD-SDI outputs when precise synchronization is required between cameras, such as for 3D and live broadcasts.
NOTE: When GENLOCK is selected as the sensor shutter reference, shutter start timing (SHUTTER PHASE) may still be adjusted. HD-SDI monitor outputs will automatically sync to the external GENLOCK signal as soon as it is detected, there is no need to enable this function. Sensor shutter sync to GENLOCK is only supported with HD-SDI.
View into Camera SYNC (Video Sync) Interface Connector
Mating Connector: FGG.00.304.CLAD27Z
PIN
1
2
3
4
SIGNAL
GROUND
SS/GPI
TIMECODE
GENLOCK
DESCRIPTION
Common Ground
Shutter Sync / GPI Trigger Input
SMPTE unbalanced timecode Input
RS170A Tri-Level Sync Input
NOTE: The Camera Brain’s Shutter Sync / GPI Trigger uses a 3.3 V Schmitt trigger (5 V tolerant). It is not a switch closure circuit. Therefore, it requires current supplied by the trigger source. Both edges of the input signal may be used as a trigger.
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For example, when GPI trigger is used for Record Start / Stop.
Start Record: On Ground to 3.3 V transition
During Record: Hold at 3.3 V
Stop Record:
During Stop:
On 3.3 V to Ground transition
Hold at Ground
TRIGGER BUTTON CIRCUIT
NOTE: A pre-fabricated SYNC interface cable is available from RED Digital Cinema.
P/N 790-0154 – Video Sync – Camera to 3 BNC – 3 ft. (1m)
White BNC:
Yellow BNC:
Green BNC:
Shutter Sync / GPI
SMPTE Timecode
RS170A Genlock
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CTRL (RS232 CONTROL)
A 4-pin LEMO connector supports RS232 remote control for 3D camera communication, and third party metadata ingest applications.
The shutter Sync Output signal acts as an immediate response hardware tally of a scan. This is useful for 3D or motion control applications where a slave camera or lighting device needs to be synchronized to a master camera.
Alternatively, this output pin may be used as a GPO (General Purpose Output) tally, whose function is programmed in the USER KEYS menu. Default function for the General Purpose Output is Record Tally.
View into Camera CTRL (RS232 Control) Interface Connector
Mating Connector: LEMO FGG.00.304.CLAD27Z
PIN
1
2
3
4
SIGNAL
GROUND
232 RX
SS/GPO
232 TX
DESCRIPTION
Common Ground
RS232 RX
Shutter Sync / GPO Output
RS232 TX
NOTE: When active, the GPO tally presents 3.3V @ 0.04 Amps maximum between pins 1 and 3. When used as Sync Out, the rising edge of the pulse indicates start of exposure. When used as a Tally, the rising edge of the pulse indicates start of record, falling edge represents end of record.
NOTE: A pre-fabricated CTRL interface cable is available from RED Digital Cinema.
P/N 790-0152 – RS232 – Camera to DB-9 – 3 ft. (1m)
DB-9 Pin 1: Shutter Sync / GPO
DB-9 Pin 2:
DB-9 Pin 3:
DB-9 Pin 4:
RS232 Tx
RS232 Rx
Ground
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GIG-E (ETHERNET)
A 9-pin LEMO connector provides a Gigabit Ethernet port for remote camera setup, master / slave camera communication and external metadata ingest.
View into Ethernet Interface Connector
Mating Connector: FGG.0B.309.CLAD32Z
6
7
8
9
PIN
1
2
3
4
5
SIGNAL
B1_DC +
B1_DC -
B1_DD+
B1_DD -
B1_DA-
B1_DA+
B1_DB+
B1_DB-
-
DESCRIPTION
Data Pair C+
Data Pair C-
Data Pair D+
Data Pair D-
Data Pair A-
Data Pair A+
Data Pair B+
Data Pair B-
Do Not Connect
--
--
--
--
DIRECTION
--
--
--
--
--
NOTE: Two pre-fabricated Ethernet interface cables are available from RED Digital Cinema.
P/N 790-0163 – Ethernet – Camera to Camera – 3 ft. (1m)
P/N 790-0159 – Ethernet – Camera to RJ45 – 3 ft. (1m)
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DC IN (POWER INPUT)
The 6-pin LEMO connector accepts DC input power between +11.5 V and +17 V DC. Power conditioning provides protection against reverse-polarity connection, ESD, under and over voltage, and over current.
View into DC IN Power Input Connector
Mating Connector: LEMO FGJ.1B.306.CWLD72Z
4
5
6
PIN
1
2
3
SIGNAL
+VBATT
SCL-BATT
GROUND
SCA-BATT
DESCRIPTION
Power input, +11.5 to +17 V DC
Serial Battery Bus Clock
Power Return (Camera Ground)
Serial Battery Bus Data
WARNING: It is very important that both pairs of +VBATT and GROUND pins are wired up. DO NOT fabricate power cables with just one each of +VBATT and GROUND pins wired, as this may cause damage to the camera’s power supply; this is not covered by Warranty.
NOTE: Two pre-fabricated DC Power input cables are available from RED Digital Cinema.
P/N 790-0138 – DC Power – REDBRICK ® QUICKPLATE to Camera – 18 in. (0.5m)
P/N 790-0164 – DC Power – XLR to Camera – 10 ft. (3m)
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HDMI OUT
The HDMI output supports an HDTV and PC monitor compatible 10-bit 4:2:2 progressive scan video signal
(with embedded audio) at 720p and 1080p resolution.
In addition to video data, the HDMI output also provides 4 channels of embedded audio.
NOTE: Default setting is PREVIEW.
NOTE: HDMI video output is Progressive Scan; it does not support 1080i or 1080PsF modes.
SIDE SSD MODULE
B
A
Side SSD Module
REAR FRONT
A
A. SSD Slot
B. Viewfinder (LCD/EVF)
The Side SSD Module mounts to the left side of the camera Brain. On the rear face of this module is a slot for inserting a REDMAG 1.8”SSD digital Magazine. Do not attempt to insert any other media type, or any foreign objects into this slot, as damage to the Side SSD Module and / or the camera Brain may occur.
The VIEWFINDER output Module on the front face of the Side SSD Module provides digital video, communications and power interconnection between the camera and a RED EVF or RED LCD digital display.
Due to the requirement for absolute data integrity this requires a custom cable manufactured by RED, the pin-out of this interface is not published.
NOTE: Pre-fabricated EVF / LCD cables are available from RED Digital Cinema.
P/N 790-0157 – EVF / LCD Cable – Right Angle to Right Angle – 6 in. (0.15m)
P/N 790-0153 – EVF / LCD Cable – Right Angle to Straight – 18 in. (0.5m)
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REDMOTE
This section describes the physical connectors on the REDMOTE.
A
B
REDMOTE
A. Mini USB
B. Camera Interface
The REDMOTE interface connector allows communication between the REDMOTE and the camera Brain or any expansion module. Make sure these contacts are kept clean and free of any contaminants that may interfere with a reliable electrical contact.
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APPENDIX D: SUPPORTED LENSES
DSMC CANON MOUNT ELECTRONICALLY SUPPORTED
LENSES
Canon EF 100-400mm f/4.5-5.6L IS Canon EF 600mm f/4L IS
Canon EF 100mm f/2.0 USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 135mm f/2.0L
Canon EF 135mm f/2.8 Soft Focus
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 180mm f/3.5L Macro
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.8L II
Canon EF 20mm f/2.8 USM
Canon EF 24mm f/1.4L II
Canon EF 24-105mm f/4L IS
Canon EF 24-70mm f/2.8L
Canon EF 24mm f/2.8
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 28mm f/1.8 USM
Canon EF 28mm f/2.8
Canon EF 300mm f/2.8L IS
Canon EF 300mm f/4L IS
Canon EF 35mm f/1.4L
Canon EF 35mm f/2
Canon EF 400mm f/2.8L IS
Canon EF 400mm f/4.0 DO IS
Canon EF 400mm f/5.6L
Canon EF 500mm f/4L IS
Canon EF 50mm f/1.2L
Canon EF 50mm f/1.4 USM
Canon EF 50mm f/2.5 Compact Macro
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS II USM
Canon EF 70-200mm f/4L
Canon EF 70-300mm f/4-5.6 IS USM
Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon EF 800mm f/5.6L IS
Canon EF 85mm f/1.2L II
Canon EF 85mm f/1.8 USM
Canon EF-S 10-22mm f/3.5-4.5 USM
Canon EF-S 17-55mm f/2.8 IS USM
Canon EF-S 18-200mm f/3.5-5.6 IS
Canon EF-S 60mm f/2.8 Macro USM
Sigma 10-20mm f/3.5 EX DC HSM
Sigma 20mm f/1.8 EX DG ASP RF
Sigma 24-70mm f/2.8 IF EX DG HSM
Sigma 50mm f/1.4 EX DG HSM
Sigma 70-200mm f/2.8 EX DG APO Macro
HSM II
Sigma 85mm f/1.4 EX DG HSM
Sigma APO 50-150mm f/2.8 II EX DC APO
HSM
Zeiss Distagon T* 18mm f/3.5
Zeiss Distagon T* 21mm f/2.8
Zeiss Distagon T* 25mm f/2
Zeiss Distagon T* 28mm f/2
Zeiss Distagon T* 35mm f/2
Zeiss Planar 50mm f/1.4 ZE
Zeiss Makro-Planar 50mm f/2
Zeiss Planar T* 85mm f/1.4
Zeiss Makro-Planar 100mm f/2
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DSMC NIKON MOUNT ELECTRONICALLY SUPPORTED
LENSES
AF-S Nikkor 85mm f/1.4 G
AF-S Nikkor 24mm f/1.4 G ED
AF-S Nikkor 14-24mm f/2.8 G ED
AF-S Nikkor 35mm f/1.4 G
AF-S Nikkor 24-70mm f/2.8 G ED
AF-S Nikkor 50mm f/1.4 G
AF-S Nikkor 70-200mm f/2.8 G II ED VR
AF-S Micro-Nikkor 60mm f/2.8 G ED
DSMC LEICA-M MOUNT LENSES
The RED DSMC LEICA-M Mount is compatible with all Leica M-series lenses with focal lengths of 50mm and greater EXCEPT the 50mm f2.0 Dual-Range Summicron. The 50mm Dual-Range Summicron has a protruding lug on the exterior of the lens body for mounting a supplementary finder, and this lug interferes with the
DSMC LEICA-M Mount’s lock ring.
Most Leica lenses with focal lengths of less than 50mm will encounter mechanical interference between the rear lens cell and the camera’s front panel.
NOTE: Attempting to mount Leica lenses of focal lengths of less than 50mm could result in damage to the lens and/or the camera.
A new OLPF frame (included) is required to use the Leica-M mount
Replacement OLPF frame is compatible with all DSMC lens mounts
OLPF frame upgrade may be performed by customer or RED, free of charge
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APPENDIX E: AUDIO SUBSYSTEM INFORMATION
AUDIO FORMAT
The audio format is always either 2 or 4 channels of 24-bit audio data recorded at 48kHz. The audio data is embedded in the R3D file and can be exported from REDCINE-X into separate audio files.
CHANNEL SETUP
The audio channels are set up under SETTINGS > AUDIO > AUDIO CHANNELS. Separate tabs exist to set up the channel 1/2 and channel 3/4 properties.
SOURCE SELECTION
Audio is always recorded at channel pairs. Each of the two channel pairs can be assigned to one of the following sources:
None
Camera Analog Microphone Input (Cam Analog)
Pro I/O Analog Microphone/Line In Input (Pro I/O Analog)
Pro I/O AES A or AES B Digital Input (Pro I/O AES A)
NOTE: AES A can only be assigned to channel 1/2, and AES B can only be assigned to channel 3/4.
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CHANNEL MODES
The analog sources can be set to different modes to match the incoming audio signals. The following camera input modes are available: BALANCED MICROPHONE, UNBALANCED MICROPHONE. If you’re using the PRO-I/O MODULE, these additional modes are also available: LINE IN 0 DBU and LINE IN 0 VU
BALANCED MICROPHONE
Balanced microphone input. Usually used with microphones that provide XLR connectors and have an internal battery. If you select BALANCED, you can enable the 48V Phantom Power.
UNBALANCED MICROPHONE
Unbalanced microphone input with 3.3V bias. This type of input is usually provided by unpowered
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LINE IN 0 DBU
Fixed input gain with limiter settings if limiter is enabled. (Only available with the PRO-I/O MODULE.)
LINE IN 0 VU
Same gain as 0 dBu but different compression/limiter settings if enabled. If no limiter is enabled, Line In 0 dBu and Line In 0 VU behave the same. (Only available with the PRO-I/O MODULE.)
PHANTOM POWER
Audio inputs that are set to BALANCED MICROPHONE input can enable the 48V phantom power on a perchannel basis.
NOTE: Phantom Power is not available on non-upgraded EPIC-M’s and early EPIC-X. If your camera does not allow you to select PHANTOM POWER, please contact your Bomb Squad representative for upgrade information.
LIMITER
A limiter can be added to the analog input signal chain that adds about 12dB dynamic headroom to avoid clipping on signal spikes. While it is best practice to use an external audio mixer to control the signal strength the limiter can be used in more dynamic environments where an external mixer is not practical to reduce the risk of clipped audio samples.
NOTE: The limiter is not available on non-upgraded EPIC-M’s and early EPIC-X. Please contact your Bomb
Squad representative for upgrade information.
AUDIO RECORDING
Audio Recording is enabled if any of the input channel pairs are set to anything other than NONE. For successful audio recording, the following parameters need to be set correctly:
At least one channel pair has a currently present source selected
Input gain is set correctly so that the Peak Meter shows valid data
None of the following modes are enabled:
Varispeed mode (framerate differs from project rate)
Single frame MoCo mode
Timelapse mode
Ramp mode
Single frame stills mode
NOTE: Even if audio is not recorded (in varispeed, single frame, timelapse, or ramp mode), audio will be passed through to the headphones.
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PEAK METER
The peak meters always show the incoming audio signal, no matter if the channel is recorded or not, as long as a source is selected.
Actively recorded channels are drawn with a lighter outline and the channel indicator left of the peak meter will be green.
The peak meters are updated 12 times per second with the maximum signal from the last 1/12 of a second period. In case the input signal exceeds 19dBu the whole bar will be filled with red.
The total range of the peak meter is -36 dB to 20dB. (Values below 0 dB are shown with half resolution) For reference the following markers are supplied on the peak meter: Solid marker at 0 dB, Dashed marker at
4,10,14,18 dB.
Channel 1/2 Enabled for Recording
Channel 1 Around 5dB
Channel 2 Clipping
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DATA PATH
The following diagram outlines the data flow in Preview. The only difference in playback is that the data comes from the R3D file and the input channel selection is disabled.
HD-SDI/HDMI EMBEDDED AUDIO
HDMI/HD-SDI audio output is limited to the first two channels and the channels will be the same between
HDMI and HD-SDI.
AUDIO CONTROL
Audio channel level inputs are displayed in the lower section of the screen. When audio is enabled, the circle next to CH1, CH2 etc… will be Green and the box around the signal will be highlighted.
When setting the levels for Camera, Rear, and Monitor Mix, the VU meter will show the output levels for these ports. The display can be permanently switched to display the audio levels for the output, which is helpful in external recording mode. To toggle the VU Meter Source between input and output, go to
SETTINGS > DISPLAY > MODES.
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P RE-A MP
Allows you to adjust pre-amplifier levels. Range 30 to 60 dB.
HEA DPHO NE
Allows you to adjust levels for headphones that you plug into the DSMC brain. Range -28 to -0 dB.
The headphone output volume can be set individually for each channel. (Or can be linked together as the input gain controls.)
Additionally, the output of each channel may be muted individually.
The signal strength of the line out cannot be controlled and is fixed at -15 dB gain. Line input will pass without gain through the system.
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CAM MI X, REA R M IX, A ND M O NI TO R MI X
Cam Mix (Camera Mix): Controls audio for the camera.
Rear: Controls audio for any rear module, such as the PRO I/O MODULE. The input gain is fixed.
Monitor: Controls audio for all monitors that provide audio.
Audio tracks may be assigned to the Left, Middle, or Right side of a stereo mix.
Additionally each channel can be enabled/disabled independently in the output mix.
As this is a digital mixer, each output is normalized to not exceed the output signal range. This means that if for example 1 channel is passed through to an output and a second channel is mixed into the same output, the level of the first channel will drop to half.
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AUDIO DURING PLAYBACK
During playback the same audio controls for the volume out and the headphone and Pro I/O mixer are available. All channels recorded will be played back.
Audio output will be unmuted automatically when entering playback mode.
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APPENDIX F: DEFAULT KEY FUNCTIONS
CAMERA BRAIN
KEY FUNCTION KEY FUNCTION
Record Half Press
Record Full Press
Key Disabled-
Record: Toggle
Record Half Release
--
-Key Disabled-
--
SIDE HANDLE
KEY
User A Press
User B Press
User C Press
User D Press
User 1 Press
User 2 Press
User 3 Press
User 4 Press
User 5 Press
User 6 Press
User 7 Press
User 1+4 Press
Still Select
Movie Select
Record Half Press
Record Full Press
Backlight Press
Nav Menu Press
Nav North Press
Nav South Press
Nav West Press
Nav East Press
Nav Enter Press
Rocker + Press
Rocker - Press
User A Release
FUNCTION
AF Mode: Cycle
WB: Auto Calc
Magnify: Toggle
Exposure Check: Toggle
Slot: Set ISO
Slot: Set Aperture
Slot: Set Shutter
Slot: Set Color Temp
Exposure Check: Toggle
-Key Disabled-
Eject Media
SH: Toggle Key Lock
Focus Mode: Still
Focus Mode: Motion
AF: Start
Record: Toggle
SH: Toggle Backlight
Navigation: Menu
Navigation: Up
Navigation: Down
Navigation: Right
Navigation: Left
Navigation: Select
Iris: Open
Iris: Close
-Key Disabled-
KEY
User B Release
User C Release
User D Release
User 1 Release
User 2 Release
User 3 Release
User 4 Release
User 5 Release
User 6 Release
User 7 Release
User 1+4 Release
Record Half Release
Record Full Release
Backlight Release
Nav Menu Release
Nav North Release
Nav South Release
Nav East Release
Nav West Release
Nav Enter Release
Rocker + Release
Rocker - Release
Rotary Front CW
Rotary Jog CW
Rotary Front CCW
Rotary Jog CCW
FUNCTION
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
Navigation: CW
Navigation: CW
Navigation: CCW
Navigation: CCW
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SIDE SSD MODULE
KEY
User 1 Press
User 2 Press
User 1+2 Press
Record Half Press
Record Full Press
FUNCTION
-Key Disabled-
-Key Disabled-
Eject Media
AF: Start
Record: Toggle
KEY
User 1 Release
User 2 Release
Record Half Release
Record Full Release
--
REDMOTE
KEY
User A Press
User B Press
User C Press
User D Press
Still Select
Movie Select
Record Half Press
Record Full Press
Nav Menu Press
Nav North Press
Nav South Press
Nav East Press
Nav West Press
FUNCTION
AF Mode: Cycle
RAW Check: Toggle
Magnify: Toggle
Exposure Check: Toggle
Focus Mode: Still
Focus Mode: Motion
AF: Start
Record: Toggle
Navigation: Menu
Navigation: Up
Navigation: Down
Navigation: Right
Navigation: Left
KEY
Nav Enter Press
Rocker + Press
Rocker - Press
Rotary CW
Rotary CCW
User A Release
User B Release
User C Release
User D Release
Record Half Release
Record Full Release
Rocker + Release
Rocker - Release
DISPLAY (BRAIN)
KEY
LCD User 1 Press
LCD User 2 Press
LCD Up Arrow Press
FUNCTION
Magnify: Toggle
Exposure Check: Toggle
Incr. LCD Brightness
KEY
LCD Down Arrow Press
EVF User 1 Press
EVF User 2 Press
FUNCTION
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
--
FUNCTION
Navigation: Select
Iris: Open
Iris: Close
Navigation: CW
Navigation: CCW
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
-Key Disabled-
FUNCTION
Decr. LCD Brightness
Magnify: Toggle
Exposure Check: Toggle
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APPENDIX G: REDMOTE OPERATION
CONTROL, CONNECTORS AND DISPLAY
This section describes the REDMOTE physical controls, connectors and color LCD display.
CONTROLS
A
B
E
C
D
G
F
H
J
I
K
L
M
N
REDMOTE
A. Still/Motion Slider
B. Release Button (L)
C. Record LED
D. Power LED
E. Rocker Switch
F. User Keys A-D
G. MENU Button
H. Soft Menu Keys 1-3
I. Navigation Group
J. Focus/Record Button
K. Soft Menu Keys 4-8
L. Power/Lock Slider
M. Release Button (L)
N. USB Connector
STILL / MOTION SWITCH
D
The STILLS/MOTION toggle switch is used to switch between STILLS operation (DOWN) and MOTION operation (UP). When the toggle switch is set to the MOTION position, all camera settings and defaults are movie specific. When the toggle switch is set to the STILLS position, all camera settings and defaults are stills photography specific.
NOTE: In Version 3.x software the STILLS/MOTION switch is disabled. Default mode is MOTION.
LEDS
I
H
There are two status LED indicators located above the rockers switch on the left side of the LCD display.
The upper LED is used to signal camera readiness and camera record status.
Red – Camera Startup / Camera Recording.
N
J
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The lower LED is used to signal camera readiness and REDMOTE communication status to the camera.
Green – Camera Ready / REDMOTE connected.
Blinking Green – Searching / Establishing communication
ROCKER SWITCH
The function of the ROCKER SWITCH may be assigned by the operator to one of a number of operational controls. Refer to SECONDARY MENUS > SETTINGS > SETUP > KEYS / SHORTCUTS.
USER FUNCTION KEYS
The function of each User Function Key may be assigned by the operator to one of a number of operational controls. Refer to SECONDARY MENUS > SETTINGS > SETUP > KEYS / SHORTCUTS.
Default settings for User Function Keys A-D are as follows:
User Key A – Toggles Auto Focus
User Key B – Toggles View RAW
User Key C – Toggles Focus Check (1:1 Magnify)
User Key D – Toggles Sensor RAW Exposure Check
MENU BUTTON
Below and to the left of the User Keys is the MENU button, press to switch between primary level and secondary level Camera menus. When in Camera menus or REDMOTE menus, press once to exit menus.
SOFT MENU BUTTONS 1-3
Below the LCD are three Soft Menu Buttons, whose specific functions are indicated by the LCD screen. For
complete information refer to ADVANCED OPERATION: REDMOTE MENUS.
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NAVIGATION GROUP
The Navigation Group allows navigation of the camera menus and adjustment of selected parameters.
C
A
B
REDMOTE Navigation Group
A. Scroll Wheel
B. Direction Keys
C. Enter Button
The Navigation Group has three separate operational capabilities.
S CRO LL WHE E L
The Scroll Wheel allows the operator to select and adjust the values of selected camera parameters.
DI RE CTIO N KEY S
The Direction Keys allows Left / Right / Up / Down navigation thru the camera menus to select a desired parameter for adjustment.
E NTE R BUTTON
The Enter button allows confirmation of a parameter adjustment or operational mode selection.
FOCUS AND RECORD BUTTON
Below the Navigation Group is the focus and record button. A half press initiates Auto Focus; a full press initiates Stills capture or starts /stops a Movie recording.
When recording, the upper LED will illuminate Red and the Timecode readout on the REDMOTE LCD will also display in red colored text.
NOTE: In Version 3.x software the frame count of the Timecode is not displayed. This is normal and does not indicate an error.
SOFT MENU BUTTONS 4-8
To the right of the LCD are five Soft Menu Buttons. These buttons select a variety of camera status pages.
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For complete information refer to ADVANCED OPERATION: REDMOTE MENUS.
NOTE: In Version 3.x software, Soft Menu Buttons 7 and 8 are undefined.
POWER / KEY LOCK SWITCH
If the REDMOTE is powered OFF, moving and holding the switch in the down (POWER) direction for 2 seconds will power UP the REDMOTE and if the REDMOTE is powered ON, moving and holding the switch in the down (POWER) direction for 5 seconds will power DOWN the REDMOTE.
Moving the switch to the up (LOCK) position will lockout all REDMOTE buttons to prevent unintentional operation. When in the LOCK position, KEYS LOCKED will be displayed in red text above the SOFT MENU
BUTTONS 1-3 on the REDMOTE LCD display.
USB POWER PORT
The USB port may be used to charge the REDMOTE internal battery from a suitable USB power source.
Refer to USING USB CONNECTOR for complete information.
OPERATION
DOCKING AND UNDOCKING
This section describes how to physically dock / undock the REDMOTE to / from the camera Brain or the back of the rearmost expansion module.
DO CKI NG
1. Place the female V-Mount of the REDMOTE over the male V-Mount of the camera Brian or rearmost module.
For Illustration Only, Rear
Surface of REDMOTE Should
Face Towards Camera
2. Slide the REDMOTE down until a click is heard which indicates the REDMOTE is securely attached.
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UNDO CKING
1. Depress the two latch release buttons located on each side of the REDMOTE.
2. Slide the REDMOTE upward to release from the V-Mount of the camera Brain / rear most module.
3. Remove the REDMOTE.
POWER UP / DOWN
Located on the upper right side of the REDMOTE is the Power / Key Lock Switch (refer to CONTROLS).
POWER UP
CO NNE CTE D TO CAM E RA
If the REDMOTE is physically attached to a camera, when the camera is powered up the REDMOTE will automatically power up along with the camera.
NO T CONNE CTED TO CAM E RA
To manually power up the REDMOTE, slide and hold the Power / Key Lock Switch in the down direction for 2 seconds, then release.
POWER DOWN
US ING CA ME RA
When REDMOTE is connected to the camera and the camera is powered down, the REDMOTE will also power down. When disconnected from the camera, the REDMOTE will not power down with the camera.
US ING REDMO TE
To power down REDMOTE, slide and hold the Power / Key Lock Switch in the down direction for 5 seconds.
Or slide and hold the Power / Key Lock Switch in the down direction momentarily, then release. A screen will display with options to power down the REDMOTE, the Camera, or REDMOTE and Camera together. Select the desired option and press the ENTER key in the REDMOTE Navigation Group.
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NOTE: Wireless mode shown. When docked to camera, SHUTDOWN CAMERA is not displayed.
RECORDING
To record, press the Red REC (record) button. If media is connected and properly formatted, the upper
LED will illuminate Red and the Timecode value displayed in the LCD will change to Red text.
To stop recording, press the REC button a second time. After recording to media is completed, the upper
LED will go out and the Timecode value displayed in the LCD will change back to White text.
NOTE: If media is NOT connected when record is requested, the REDMOTE LCD and camera VIEWFINDER
(MENUS) output will indicate “NO MEDIA ATTACHED”.
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ACCESSING CAMERA CONTROLS / SETTINGS
The Navigation Group is used to navigate through camera menus. Refer to NAVIGATION GROUP. The
camera settings and status are displayed on the REDMOTE LCD. Refer to REDMOTE.
CHANGING CAMERA SETTINGS
US ING CA ME RA LCD / EX TE RNA L MO NI TO R A S REFE RE NCE
To adjust a parameter value displayed on the camera’s Upper Status Group, first note the red colored bar
(located under 24fps in this example), indicating the currently active parameter for instant adjustment.
Use the NAVIGATION GROUP directional pad to move the cursor to a different parameter if desired, then press the ENTER key to select that parameter and use the Scroll Wheel to adjust that parameter’s value. To confirm the change in parameter value and to exit the adjustment menu, press the ENTER button.
To access the camera’s menus, press the MENU button at the lower left. The MENU displays on the EVF,
LCD or external monitors if the LCD and/or EVF are not connected disconnected.
Use the NAV GROUP to make changes to the cameras settings. Use the scroll wheel and directional pad to move the cursor to navigate and make changes to the desired settings. When a desired setting change is made, press the ENTER button or the directional pad UP arrow to exit from that setting.
Exiting Menus to Main Screen
To EXIT from the Secondary Menus and return to the main screen:
Press the MENU button until the main screen is displayed.
US ING REDMO TE LCD S TA ND-A LONE
The LOCAL function of the REDMOTE allows you to adjust the camera settings from the REDMOTE while observing the parameters directly on the REDMOTE LCD as opposed to on the camera LCD or an external
monitor. For complete details refer to ADVANCED OPERATION: REDMOTE MENUS.
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ADVANCED OPERATION: REDMOTE MENUS
SOFT MENU BUTTONS 1-3
Located below the main LCD display are three Soft Menu Buttons, who access advanced function menus identified by text in the LCD directly above the corresponding button. These menus control wireless connection (CONNECT), camera or local menus (REMOTE/LOCAL) and system setup (SETUP).
WI RE LE SS CO NNE CT: SO FT ME NU BUTTO N 1
NOTE: This Button is hidden if REDMOTE is attached to the camera or rear-most camera module.
NOTE: If a REDMOTE has previously been successfully paired with a camera, and the REDMOTE has scanned the wireless network and found that camera, the following operation can be bypassed as the
REDMOTE will auto scan and connect to that camera each time it is powered ON and undocked.
CONNECT REDMOTE TO A PAIRED CAMERA
NOTE: The following procedure assumes the camera has already been paired and named DEFAULT under the camera’s SETTINGS > SETUP >REDMOTE and COMMUNICATION menus.
1. Press CONNECT to initiate a scan by the REDMOTE for available paired cameras in wireless range.
2. If the REDMOTE fails to find a camera it has been paired with the following screen will be displayed.
Select RESCAN and press the ENTER button in the Navigation Group to force a second scan for paired cameras in wireless range. A wireless scan typically takes 20-30 seconds.
3. When REDMOTE finds a camera or cameras it has been paired with in wireless range, the name of the available camera or cameras will be displayed - for example a single camera named DEFAULT.
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4. Select the desired camera to connect to for REDMOTE wireless operation and press the ENTER button in the Navigation Group. The REDMOTE will connect to the selected camera.
5. Once connected, the REDMOTE will display the key operating parameters of the selected camera. The wireless signal strength will be shown in the lower Right corner of the REDMOTE screen.
6. The camera VIEWFINDER monitor output will confirm REDMOTE is wireless connection by displaying RM and a signal strength icon in Green on the Lower Status Group.
NOTE: Once this procedure has occurred once, the REDMOTE will automatically search for the camera each time it is undocked, until the paired camera selection is changed.
CANCEL
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If you wish to exit the CONNECT menu at any time press CANCEL.
DISCONNECT
To stop communicating wirelessly with the camera, select Soft Menu Button 1 Connect, then select
DISCONNECT and press the ENTER key in the Navigation Group.
RE CONNECTI NG I F SI G NA L I S LOS T
On loss of wireless communication REDMOTE will scan for the camera it was last paired with.
If the REDMOTE is unable to re-connect after 30 seconds, it will enter the manual SCAN menu, follow the procedure outlined about to scan and identify camera(s) that you wish to connect to.
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O PE RA TI NG WI TH MULTI P LE CAM E RAS FRO M A RE DM O TE
To control more than one camera from a single REDMOTE, first pair the REDMOTE with each camera. After pairing REDMOTE to the desired cameras, press Soft Menu Button 1: CONNECT. Available cameras will be listed.
Select the camera you wish to control and press the ENTER button. When you want to switch to a different camera, press Soft Menu Button 1: CONNECT again to list available cameras and re-select.
RE DM O TE O R LOCA L ME NUS : SO FT ME NU BUTTO N 2
When selected allows the user to toggle the REDMOTE between REMOTE and LOCAL menus.
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REMOTE
Allows the user to adjust camera settings from REDMOTE, by navigating the camera menus appearing on the
VIEWFINDER output of the camera, with summary data only appearing on the REDMOTE LCD
LOCAL
Allows the user to adjust camera settings from REDMOTE, by navigating camera menus appearing on the
REDMOTE LCD, with summary data only appearing on the VIEWFINDER output of the camera.
CUSTOMIZING LOCAL MENUS
When operating in LOCAL mode, REDMOTE provides the user the option to configure which parameters to display in each of the parameter status windows. You can assign the parameters to one of the 5 pages of information available under Soft Menu Buttons 4-8.
To customize parameters:
1. Ensure camera is ON and wirelessly connected to REDMOTE.
2. If Soft Menu Button 2 reports as REMOTE, press it once so it reports LOCAL.
3. Select the Soft Menu Button page you would like to set the parameter on from the right hand side of the
LCD. Refer to DISPLAY LAYOUT: SOFT MENU BUTTONS 4-8.
4. Use the directional arrows on the Navigational Control to move the Red cursor to the desired location within that page to place the parameter.
5. Now press SETUP: Soft Menu Button 3.
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6. Select “Setup Slot” and press the ENTER button.
7. A new Setup window will appear displaying available parameters to display.
8. Select the desired parameter and press the ENTER button.
9. You may now control this parameter directly from the REDMOTE.
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RE DM O TE S ETUP: SO FT ME NU BUTTO N 3
When pressed, SETUP provides the option of forcing the REDLINK wireless link ON or OFF and selecting the following REDMOTE Setup menu.
Adjustable parameters include LCD screen brightness; beep speaker Volume and Auto Shutdown time. In the lower section of the display is the MAC address and the current firmware build of the REDMOTE
Brightness
The BRIGHTNESS control adjusts the LCD backlight intensity. Set value to maximum for daylight visibility, set value lower for nighttime operation or for maximum battery run time when operating in wireless mode.
Default value is Maximum.
Volume
The VOLUME control adjusts the loudness of the beep speaker. As you adjust this value the REDMOTE will beep the speaker to give an audible confirmation of the selected volume. Default value is Minimum.
Auto Shutdown
The AUTO SHUTDOWN control adjusts the amount of time a REDMOTE will continue to operate when in the wireless mode after no detected activity (i.e. no button presses are detected) before powering down.
Default value is OFF (REDMOTE will operate continuously until manually powered down.)
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DISPLAY LAYOUT: SOFT MENU BUTTONS 4-8
To the right of the LCD are five Soft Menu buttons 4-8. These buttons select between a variety of camera status page layouts.
NOTE: In Version 3.x software, buttons 7 and 8 are undefined.
Menu Button 4
Menu Button 5
Menu Button 6
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Menu Button 7&8
INTERNAL BATTERY
CHARGE STATUS
An icon shows the charge status of the REDMOTE battery in the lower right corner of the LCD.
When REDMOTE is operating in wireless mode, the icon indicates current charge capacity. When satisfactory the icon is displayed in Green. When battery charge becomes marginal, the icon turns Yellow.
When battery charge is critically low, and wireless communication is at risk of being lost the icon turns Red.
The REDMOTE should be re-attached to the camera or rearmost module, or be attached to a suitable USB power source, to recharge the battery before re-attempting wireless operation.
When attached to the camera or rearmost camera module, or external USB power source, this icon will either display solid green, indicating fully charged, or blink, indicating the battery is being charged by the camera or external USB power source.
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BATTERY LIFE
When using the REDMOTE in wireless configuration, the battery will last approximately 8 hours before charging is necessary.
NOTE: When not using the REDMOTE, for maximum battery storage life, use the Power / Lock Switch to power down the REDMOTE completely by pressing down in the power off position and using the displayed menu to shut down the REDMOTE and/or the REDMOTE and camera. If the Power / Lock Switch is pressed down in the power off position and held until the REDMOTE powers down, the battery storage life will be reduced greatly as there will be a slight power draw on the REDMOTE when shut down using this procedure.
CHARGING
CHARGE TIME
A fully discharged REDMOTE battery will be fully charged in approximately 6 hours.
USING CAMERA
While connected to the camera, the REDMOTE will automatically recharge its internal battery. Charge status is indicated by the Green Battery Icon at the top-right of the REDMOTE LCD display screen. A fully discharged REDMOTE battery will be re-charged in approximately 6 hours if connected to a powered camera or a USB based power source such as laptop P.C.
USING USB CONNECTOR
The REDMOTE can be charged by connecting the RED Mini-USB-to-USB cable (790-0230) between
REDMOTE and a computer or a cell phone charger.
NOTE: The REDMOTE can be charged using the Mini-USB connector while connected and controlling a camera wirelessly.
NOTE: If the computer / cable / hub do not provide enough voltage, the REDMOTE will not charge and show an "Error Charging" message.
1. Connect the USB connector to any computer (computer must be ON to charge REDMOTE).
2. Connect the Mini-USB end to the REDMOTE USB Port located on the lower right side (under rubber protective cover).
3. If the REDMOTE is powered down (and paired camera is OFF), the REDMOTE will power UP, display
STARTING UP, display SEARCHING (with flashing Green LED), then settle into IDLE mode.
4. Green battery indicator will blink, indicating REDMOTE is charging.
5. A fully discharged REDMOTE battery will be fully charged in approximately 6 hours.
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UPGRADE REDMOTE FIRMWARE
UPGRADE REDMOTE THROUGH DSMC
When you dock a REDMOTE on the DSMC, the DSMC checks to see if the REDMOTE is running the latest firmware. If the REDMOTE firmware is slightly outdated, you have the option to update the REDMOTE through the DSMC, without having to install updates from a USB. If the REDMOTE firmware is severely outdated, the screen will tell you to install the most recent version from a USB.
UPGRADE REDMOTE (MACINTOSH)
INSTALL REDMOTE UPGRADE UTILITY (MACINTOSH)
The REDMOTE Upgrade Utility allows you to upgrade the firmware on your REDMOTE.
NOTE: After firmware has been upgraded through the REDMOTE Upgrade Utility, the REDMOTE must be paired to the camera again.
1. Download the DSMC_Resources_vX.X.zip file located at https://support.red.com/home .
2. Uncompress the zip file.
3. Open the DSMC_Resources_vX.X folder.
4. Open the REDMOTE_Upgrade_Utility folder.
5. Open the Mac Folder.
6. Open REDMOTE.dmg.
7. Open REDMOTE Upgrade Utility.
8. Proceed to Configure REDMOTE Connection with Computer on 217.
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CONFIGURE REDMOTE CONNECTION WITH COMPUTER
(MACINTOSH)
The next step in upgrading REDMOTE firmware is to establish communication between the computer and the
REDMOTE.
1. Connect a USB to mini-USB cable between the MAC and the USB connector on the REDMOTE.
NOTE: When properly connected to the PC, the battery charge indicator will flash.
2. Go to System Preferences and choose Network.
NOTE: This may open automatically when the REDMOTE is connected.
3. Look for a device called RNDIS/ ...Gadget.
4. Change Configure IPv4 setting to Manually.
5. In the IP Address field, enter 192.168.0.1.
6. In the Subnet Mask field, enter 255.255.255.0.
7. Click Apply.
8. The Status should change to Connected after changes.
NOTE: After entering the IP address as shown above you may not connect during the upgrade procedure. If you go back and check the IP address you see that it is 0.0.0.0 and the status of the device is shown as
Connected, you may need to enter the IP address again.
9. Go back to REDMOTE Upgrade Utility and click on Connect to establish communication with the
REDMOTE.
10. Connection is Established With REDMOTE will be displayed when connected. If the connection is not
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11. Proceed to Upgrade REDMOTE Firmware (Macintosh) on 218.
UPGRADE REDMOTE FIRMWARE (MACINTOSH)
The following information will guide you through proper updating of your REDMOTE firmware.
1. Download and save the REDMOTE_Firmware_vX.X.XX.zip file located at https://support.red.com/home .
NOTE: Always review the read_me_installing_redmote_vX.X.XX instructions contained in the
REDMOTE_Firmware_vX.X.XX.zip file.
2. Uncompress the zip file.
3. Open the REDMOTE_Firmware_vX.X.XX folder.
4. Click Select File in REDMOTE Upgrade Utility.
5. Navigate to the redmote.1.bin file located in the REDMOTE_Firmware_vX.X.XX folder and click Open.
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6. Selected File: redmote.1.bin will then be displayed.
7. Click on Start Upgrade.
8. File Transfer Progress will be displayed.
9. REDMOTE will display Upgrading Firmware… with a Green status bar showing upgrade progress.
REDMOTE will also display UPGRADE during this process. Upgrade process can also be tracked on another display.
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10. Once the File Transfer Status is completed, the REDMOTE Upgrade Utility will display Firmware Upgrade
Successfully Done.
11. Click OK.
12. Click Disconnect to close the REDMOTE Upgrade Utility.
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13. REDMOTE will reboot.
14. REDMOTE will display POWER UP and then SEARCHING once the upgrade has completed.
15. Select [CANCEL].
16. Verify the current REDMOTE firmware Version by selecting SETUP > SETUP SYSTEM.
17. REDMOTE upgrade is complete and you can now attach it to the EPIC Brain.
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NOTE: Pairing of the REDMOTE may not be necessary after upgrading the REDMOTE firmware, however, after upgrading the camera firmware you must pair the REDMOTE again.
UPGRADE REDMOTE (WINDOWS)
INSTALL REDMOTE UPGRADE UTILITY (WINDOWS)
The REDMOTE Upgrade Utility allows you to upgrade the firmware on your REDMOTE.
NOTE: After firmware has been upgraded through the REDMOTE Upgrade Utility, the REDMOTE must be paired to the camera again.
1. Download the DSMC_Resources_vX.X.zip file located at https://support.red.com/home .
2. Uncompress the zip file.
3. Open the DSMC_Resources_vX.X folder.
4. Open the Win folder.
5. Open REDMOTE_upgrade_setup.exe.
6. Click on Extract all.
7. Select a destination and extract files.
8. Click on Extract.
9. Open the DSMC_Resources_vX.X folder.
10. Open the REDMOTE_Upgrade_Utility folder.
11. Open the Win folder.
12. Open the REDMOTE_upgrade_setup.exe.
NOTE: If you receive an error when attempting to install the REDMOTE Upgrade Utility, right click on the setup file and select Run as Administrator to proceed.
13. Select I Agree to the License Agreement.
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14. Select Install REDMOTE Firmware and click Next.
15. Choose location to install the REDMOTE Upgrade Utility and click Next.
16. Select the Start Menu folder you would like to create the shortcut and click Install.
17. Click Close after setup was completed successfully.
18. Proceed to Configure REDMOTE Connection with Computer (Windows) on 223.
CONFIGURE REDMOTE CONNECTION WITH COMPUTER (WINDOWS)
The next step in upgrading REDMOTE firmware is to establish communication between the computer and the
REDMOTE.
1. Connect a USB to mini-USB cable between the PC and the USB connector on the REDMOTE
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2. If connecting for the first time, a RNDIS/Gadget driver will be installed on the system
3. When the driver is installed, the battery charge indicator will flash on the REDMOTE
NOTE: If the REDMOTE will not connect to the PC, please refer to the read_me_installing_redmote_vX.X.XX file in the REDMOTE_Firmware_vX.X.XX folder for manual setup of network connection instructions or contact RED SUPPORT for assistance ( https://support.red.com/home ).
4. Open the REDMOTE_update program from the Start Menu folder you created the shortcut for
5. Click on Connect to establish communication between the REDMOTE and REDMOTE_update
6. Connection is Established With REDMOTE will be displayed when connected. If the connection is not established, then disable all internet connections and try again.
7. Proceed to Upgrade REDMOTE Firmware (Windows) on 224.
UPGRADE REDMOTE FIRMWARE (WINDOWS)
The following information will guide you through proper updating of your REDMOTE firmware.
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1. Download and save the REDMOTE_Firmware_vX.X.XX.zip file located at https://support.red.com/home .
NOTE: Always review the read_me_installing_redmote_vX.X.XX instructions contained in the
REDMOTE_Firmware_vX.X.XX.zip file.
2. Uncompress the zip file.
3. Open the REDMOTE_Firmware_vX.X.XX folder.
4. Click Select File in REDMOTE Upgrade Utility.
5. Navigate to the redmote.1.bin file located in the REDMOTE_Firmware_vX.X.XX folder and click Open.
6. Selected File: redmote.1.bin will then be displayed.
7. Click on Start Upgrade.
8. File Transfer Progress will be displayed.
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9. REDMOTE will display Upgrading Firmware… with a Green status bar showing upgrade progress.
REDMOTE will also display UPGRADE during this process. Upgrade process can also be tracked on another display.
10. Once the File Transfer Status is completed, the REDMOTE Upgrade Utility will display Firmware Upgrade
Successfully Done.
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11. Click OK.
12. Click Disconnect to close the REDMOTE Upgrade Utility.
13. REDMOTE will reboot.
14. REDMOTE will display POWER UP and then SEARCHING once the upgrade has completed.
15. Select [CANCEL].
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16. Verify the current REDMOTE firmware Version by selecting SETUP > SETUP SYSTEM.
17. REDMOTE upgrade is complete and you can now attach it to the EPIC Brain.
NOTE: Pairing of the REDMOTE may not be necessary after upgrading the REDMOTE firmware, however, after upgrading the camera firmware you must pair the REDMOTE again.
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APPENDIX H: 3D SETUP / OPERATION
OVERVIEW
The following information outlines basic procedures to connect two RED DSMC cameras together in a
Master / Slave configuration for 3D operation, operation of cameras in Master / Slave configuration and clip naming conventions for clips recorded on those cameras. The MASTER camera will control only the
METADATA parameters of both cameras. On the SLAVE camera, any other setting outside of these will need to be manually changed before recording.
CAMERA SETUP
Select one camera to be designated as Master and a second to be designated as Slave.
NOTE: Cameras can also be set up in a MASTER / MASTER and SLAVE / SLAVE configuration. To set as
MASTER / MASTER select ALL under TARGET for both cameras. This will allow either camera to make
METADATA changes and control record start/stop of both cameras. To set as SLAVE / SLAVE select NONE under TARGET for both cameras. This allows each camera to control its own METADATA.
MASTER CAMERA
Perform the following steps on the Master camera:
1. Go to SECONDARY MENUS > SETTINGS > SETUP > COMMUNICATION > NAME and give the camera a unique NAME (CAM A, LEFT, etc…).
2. Under TARGET select ALL.
3. Give the camera a unique IP address.
SLAVE CAMERA
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Perform the following steps on the Slave camera:
1. Go to SECONDARY MENUS > SETTINGS > SETUP > COMMUNICATION > NAME and give the camera a unique NAME (CAM B, RIGHT, etc…).
2. Under TARGET select NONE.
3. Give the Slave camera a unique IP address different from the Master.
CLIP NAMING CONVENTIONS
REEL NO. / SLATE (CAMERA ID) / CAMERA POSITION
Before shooting in Master / Slave or Master / Master configuration for a Stereo / 3D production, make sure the Camera Slate (i.e. Reel No. and Cam ID) are set to the same value for both Master and Slave cameras.
Then change the Cam Pos value from the system default of CENTER, to either LEFT or RIGHT to identify the
"left eye" and "right eye" camera in the stereo pair.
The Reel No, Cam ID and Cam Pos can be set when formatting the media or after formatting by using the
SET option. Refer to MEDIA MENU.
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For example, if Master is set to LEFT and Slave is set to RIGHT and both Cam IDs are set to S, the first clip recorded by this stereo camera configuration will be:
Master: S001_L001_0503B6.R3D
Slave: S001_R001_0503R7.R3D
Where 0503 represents 05 March, B6 and R7 are examples of camera generated wildcard characters.
Note: If both Master and Slave cameras are accidentally left in default settings of CENTER and CAM A ID, the clips recorded on each camera will have the same file structure, with the exception of the camera generated wildcard characters which protect against exact file name duplication:
Master: A001_C001_0503B6.R3D
Slave: A001_C001_0503R7.R3D
CONNECTING CAMERAS
1. While still powered up, interconnect the cameras using a Master/Slave GIG-E Cable P/N 790-0163. Plug the cable into the GIG-E connector on the rear of each camera body.
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2. Power down both cameras, then power back up. If properly connected, LAN will illuminate Green on the
UI.
3. Connect a SYNC cable P/N 790-0154 to each camera and connect as to your 3 rd party device.
4. Yellow BNC connector is for SMPTE unbalanced Timecode input.
5. Green BNC connector is for Tri-Level Sync (Genlock) input.
6. White BNC connector is a dual-purpose (Shutter SYNC input or GPI) input.
7. Go to SETTINGS > SETUP > GPIO/SYNC > SYNC MODE and select GENLOCK.
8. Verify the camera’s project frame rate matches the Genlock and Timecode generator(s) framerate(s).
9. When properly connected and synchronized, TC, GEN and SYNC will illuminate Green on the UI.
OPERATION
CHANGING SETTINGS
When changes are made to the Master camera settings, the Slave camera setting will also change, but not in real-time. For example, when you change the Frame Rate on the Master camera, you will not see the change on the Slave camera until you set the Master camera at the new Frame Rate.
Also when making changes to the Secondary menu settings, the Slave camera will not display those changes unless it affects items displayed on the main screen (example: when HDRx is enabled on the Master camera,
HDR will change to HDRx on the Slave camera).
RECORDING
When the power/record button is pressed on the Master camera to start/stop recording, the Slave camera will also start/stop recording.
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POWER DOWN
When the Master camera is powered down using the Secondary Menu > Power, the Slave camera will also power down.
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APPENDIX I: EXPOSURE – USING FALSE COLOR
AND ISO
NOTE: The following section uses a RED ONE camera display to illustrate exposure tools; however, the same principles apply to RED DSMC camera systems.
RED DSMC cameras provide several advanced exposure indication tools. In the following examples, we will show how these tools respond to a reference scene that is under-exposed, over-exposed and then correctly exposed. Each scene will have its unique characteristics so the “correct exposure” is a matter of judgment, balancing the desire to avoid clipping any highlights and also avoiding underexpose of elements in deep shadow – which may therefore be prone to noise when developed in post-production.
The following reference scene includes highlight and shadow elements and was shot at ISO 800.
UNDEREXPOSURE (~ 2 STOPS)
ISO 800
Monitor Output
In the image above it is obvious the camera is under exposed. The initial clues are the monitor is very dark, and the histogram is justified to the left. Also note that red bar at the left edge of the histogram and the vertical color stack to the right of the histogram is only at grey. These indicators are saying a significant amount of the senor’s RAW data is “in the noise” and that the peak level of the sensor’s RAW data is at a very low level – in fact less than halfway.
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ISO 800
False Color:
Exposure
Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where in the image underexposure is taking place. These areas are indicated in purple. It is clear those areas are under the matchbox and coin, and between the bottle and cigar holder.
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ISO 800
False Color: Video
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Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. As the peak white chips on the test chart are showing up in green and the underexpose areas are showing up in dark blue, this says the monitor path video levels are only ranging between 44 IRE and 1 IRE.
Because the scene is under exposed, when the recorded .R3D file is color corrected in post-production, the scene’s highlight information will certainly not be clipped, however the shadow information will probably display with significant noise once pushed to an acceptable brightness.
OVEREXPOSURE (~ 2 STOPS)
ISO 800
Monitor Output
In the image above it is obvious the camera is over exposed. The monitor is very bright and the histogram is justified to the right. Note the red bar at the right edge of the histogram and the vertical color stack to the right of the histogram is showing red plus the three traffic lights to the right of that are all illuminated. These indicators are suggesting that a signification portion of the sensor’s RAW data is “at clip”, and this clipping is occurring on Red, Green and Blue channels.
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ISO 800
False Color:
Exposure
Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where in the image over exposure is taking place. These areas are indicated in red. It is clear those areas are on the highlight on coin, and at the top right edge of the color chip test chart.
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ISO 800
False Color: Video
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Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. As all the white chips on the test chart are Yellow, this suggests that a significant portion of the monitor path video is at the maximum legal 100 IRE value.
Because the scene is over exposed, when the recorded .R3D file is color corrected in post-production, the scene’s highlight information will almost certainly be clipped, however the shadow information will probably display cleanly once pulled back down to an acceptable brightness.
APPROPRIATE EXPOSURE
ISO 800
Monitor Output
In this image, the camera is appropriately exposed for this scene. The monitor is neither very dark nor very bright and the histogram is spread evenly given that there are bright highlights on the coin we wish not to blow out. Note that there is no red bar on either the left or the right edges of the histogram and the vertical color stack to the right of the histogram is at yellow. These indicators suggest that there is no significant amount of the sensor’s RAW data “in the noise” or “at clip”, and that the peak level of the sensor’s RAW data is about 2/3 stop below clipping.
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ISO 800
False Color:
Exposure
Select False Color – Exposure: note the √ E icon in the GUI when active. This mode allows us to visualize where there is under exposure (purple) or over exposure (red) in the image. In this case, there is a very small area of purple under the cracker box, and just a suggestion of red on the highlight on the coin, which suggested that the sensor is appropriately exposed for this scene.
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ISO 800
False Color: Video
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Select False Color – Video: note the √ V icon in the GUI when active. This mode allows us to check the RGB video levels of the scene. The two green squares in the upper right corner of the color chart and green in the background indicate that the scene’s mid grey and skin tone elements, plus peak white and blacks are all at appropriate levels.
Because the scene was well exposed, when the recorded clip is color corrected in post-production, sufficient headroom exists for the scene’s highlight information to be displayed without clipping, and the shadow information can be displayed without significant noise, even if the brightness of the shadow information is pulled up.
ADJUSTING THE ISO RATING
In the following two examples, the image exposed at ISO 800 rating have had the ISO rating adjusted first to
ISO 6400 and then to ISO 100.
NOTE: Although the image and Histogram both adjust to changes in the ISO rating, the sensor RAW meters do not change – they always indicate what is happening at the sensor level and hence where the image is truly in noise or at clipping.
ISO 6400
No Exposure
Adjustment
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ISO 100
No Exposure
Adjustment
In these extreme examples, it is clear that the RGB domain images are respectively very bright and very dark. The histogram data reflects that, however you can also see that the sensor RAW meters are unchanged. The exposure at the sensor at this point in time is the same. If you choose to close the iris to reduce the brightness of the first image you will be reducing exposure at the sensor – this biases exposure in favor of protecting the scene highlight. Alternatively, if you choose to open the iris to increase the brightness of the image of the second image you will be increasing exposure at the sensor – this biases exposure in favor of minimizing noise in the scene shadows.
The technique is similar in principle to re-rating a film stock. With practice, the ISO rating can be used as a tool to assist ideal exposure based on the dynamic range identified within the scene.
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APPENDIX J: POST-PRODUCTION
RED workflow is quite easy to understand, especially if you have experience with photographic RAW image processing, or shoot 16mm or 35mm film followed by a telecine transfer to video for non-linear video editing and on-line conform.
The RAW data captured by RED cameras has wide dynamic range and color space, so you can freely change the white balance, adjust exposure and alter highlight and shadow tonality in post-production.
The RED DSMC camera records RAW sensor data using wavelet based REDCODE RAW compression to
REDMAG 1.8” SSD. The compressed RAW data is then transferred from the digital media to a Macintosh
OSX or Windows XP workstation running REDCINE-X PRO post-production software. These applications do not directly edit or conform the RAW data themselves, but prepare the RAW data for editing and conforming by RGB domain post-production software applications.
In film processing terms, REDCINE-X PRO act as an integrated film laboratory, telecine, and one light color corrector. It converts recorded REDCODE RAW data to RGB video, and provides basic one light image processing and color correction. Using REDCINE-X PRO, footage can also be cropped, resized, or repositioned.
REDCINE-X PRO can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and compressed 4:2:2 video formats. For film out, multi-media or special effects applications, REDCINE-X PRO may export a sequence of 2K or 4K image files in TIFF, Open EXR, DPX, JPEG, or Photoshop PSD file formats.
Provided the appropriate QuickTime codecs are available on the host computer workstation, compressed video choices include ProRes, DNxHD, DV100 and M-JPEG QuickTime movies at 1080p or 720p resolution, providing compatibility with the majority of non-linear editing systems.
Depending on the QuickTime movie resolution, material may be taken directly to a broadcast delivery videotape format, or after the editorial decisions have been made, video can be conformed at full image resolution by replacing the lower resolution edit proxy with a high resolution 4K, 2K or 1080p image file.
MONITORING
When using RED Digital Cinema software tools it is recommended your monitor should be set to Adobe
1998, or to SMPTE-C display profile. If you use the HD Cinema display profile, adjust the gamma to 2.2.
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REDCINE-X
®
PRO
REDCINE-X PRO is available for Intel based Mac OSX and Windows XP platforms. The application performing white balance and one light color correction, image pan/scan, crop and scaling operations.
The application can export either a single clip, or a sequence of clips, as 4K or 2K resolution 10-bit DPX or
16-bit TIFF files. REDCINE-X PRO can also render clips into standalone QuickTime movies using a variety of video codecs including H.264, Apple ProRes and Avid DNxHD
REDCINE-X PRO is available for download at https://support.red.com/home . The REDCINE-X PRO
Operation Guide Is included with the download package.
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APPENDIX K: MAINTENANCE
WARNING: DO NOT attempt to modify, dismantle or open your camera, lens or other accessory as doing so may expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED authorized service facility, will void the Limited Warranty.
CLEANING
All RED products are designed for rugged durability, but precision instruments demand proper care. Please note the following care guidelines:
WARNING: DO NOT rinse or immerse any element of the camera, lens or other accessory, keep them dry at all times.
WARNING: DO NOT use soaps, detergents, ammonia, acetone, alkaline cleaners, abrasive cleaning compounds, or solvents. These substances may damage lens coatings and electronic circuitry.
CAMERA AND ACCESSORY EXTERIOR SURFACES
Clean ONLY using a dry cloth. When cleaning your camera and accessories, remember that it is not waterproof and moisture can damage electronic circuitry.
BRAIN
OPTICAL LOW-PASS FILTER (OLPF)
If equipped with an OLPF, use Delkin Devices Digital Duster Kit (P/N DDSS-DUSTER2) or equivalent to clean
OLPF surface.
LCD SCREEN (TOUCHSCREEN / NON-TOUCHSCREEN)
The specialized AR and AS coatings on RED TOUCH LCD displays must be treated with special care to avoid scratching. To help maintain the specialized AR and AS coatings on RED TOUCH LCD displays, the RED
TOUCH LCD comes with a RED Microfiber bag for cleaning and storage. Using it will preserve the superior quality of these coatings. Hand wash and air-dry the RED Microfiber bag regularly.
NOTE: RED’s warranty does not cover any LCD display against scratches or damage due to use of improper chemicals to clean the LCD.
ONLY USE a RED Microfiber bag or equivalent Photographic Solutions PEC*PADs (P/N 05011) and Isopropyl
Alcohol (>95%) or equivalent Pancro Professional Lens Cleaner (P/N PANCROCLN) to clean the screen on
Touchscreen and Non-Touchscreen LCDs.
DO NOT USE any other solvents, chemicals or third party cleaning kits because they have not been tested on RED TOUCH LCD displays and can possibly damage them. Not approved for use on RED TOUCH LCD displays:
Rubbing Alcohol
Isopropyl Alcohol (<90%)
Windex
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Pre-packaged lens cleaner containing any additives, such as detergent, anti-static, fragrance, etc.
For proper cleaning and storage, remember to protect the RED TOUCH LCD by storing it in the RED
Microfiber bag.
EVF
Use Pancro Professional Lens Cleaner (P/N PANCROCLN) and Photographic Solutions PEC*PADs (P/N
05011) or equivalent to clean the viewfinder lens. Ensure your spray the solution onto the pad and not directly onto the lens surface.
REDMOTE SCREEN
Use Pancro Professional Lens Cleaner (P/N PANCROCLN) and Photographic Solutions PEC*PADs (P/N
05011) or equivalent to clean the screen on Touchscreen and Non-Touchscreen LCDs.
LENSES
Use Pancro Professional Lens Cleaner (P/N PANCROCLN) and Photographic Solutions PEC*PADs (P/N
05011) or equivalent to clean the viewfinder lens. Ensure your spray the solution onto the pad and not directly onto the lens surface.
SIDE HANDLE LCD
Use Pancro Professional Lens Cleaner (P/N PANCROCLN) and Photographic Solutions PEC*PADs (P/N
05011) or equivalent to clean the screen on the Side Handle LCD.
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BACK FOCUS ADJUSTMENT
WARNING: There is a Screw-In metal plug installed in the camera body covering the back focus screw. This plug must be removed before performing a back focus adjustment. To remove the plug, use a T-10 Torx
SCREWdriver.
NOTE: To perform this procedure as written, you must have a PL mount and RED Focus™. For more information on using the RED Focus, see the RED Focus Operation Guide.
Back focus is adjusted by turning the back focus adjustment on the top of the camera’s front plate using a
T-10 Torx screwdriver. This screw is indicated by a Siemens Star with an arrow pointing to its location.
Back Focus Adjustment Location
1. Remove the screw-in plug located in the back focus adjustment opening using a T-10 Torx screwdriver.
2. Place the camera on a level, stable surface or mount the camera on a tripod.
3. Install RED Focus to the camera PL mount.
4. Remove the camera lens or sensor cover if equipped.
5. Install RED Focus onto the camera in the position shown.
6. Ensure RED Focus is secured to the camera with the camera lock ring.
RED Focus Properly Installed on Camera
7. Power up the camera.
8. Power up RED Focus.
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NOTE: Remember that RED Focus will AUTOMATICALLY power down after 3 minutes. Press the Red button on the front to power back up.
9. Set the camera to Magnify. Go to SECONDARY MENUS > SETTINGS > DISPLAY > FALSE COLOR >
MAGNIFY.
NOTE: The “Focus” option located under SECONDARY MENUS > SETTINGS > DISPLAY > FALSE COLOR >
FOCUS can serve as a good double-check for proper focus during this procedure.
RED Focus Displayed Image on Camera
10. Insert a T-10 Torx screwdriver into the back focus adjustment screw. The screw is oriented at approximately 80° as shown.
Performing Back Focus Adjustment
11. Carefully and slowly, rotate the back focus adjustment screw to achieve optimum focus.
12. Turning CLOCKWISE moves the sensor forward.
13. Turning COUNTER-CLOCKWISE moves the sensor rearward.
NOTE: The center of the image will never be in perfect focus as the lines are less than 1/3 of a pixel in size.
14. The back focus adjustment mechanism is self-locking, and does not require a supplementary locking screw.
15. Install the screw-in plug in the back focus adjustment opening using a T-10 Torx screwdriver.
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APPENDIX L: TROUBLESHOOTING
NO MEDIA ATTACHED
Displayed if media is not present or not formatted when pressing the record button. Connect media to camera if necessary. If media is already connected, format media and attempt to record again. Refer to
APPENDIX B: MANAGING DIGITAL MEDIA for detailed information.
RECORDING HALTED: RECORD ERROR - SHUTDOWN
Displayed if media removed while recording. DO NOT remove media while camera is recording. Power down the camera, verify the media is inserted properly (inspect connectors for damage), power up and resume recording.
PRESET COULD NOT BE APPLIED
If the preset could not be applied, “Preset Could Not Be Applied” will appear to inform you. Power down camera, power back up and attempt to apply the preset that failed.
CAMERA CANNOT BE PAIRED TO REDMOTE
Ensure REDMOTE display indicates IDLE before attempting to pair the camera to the REDMOTE.
Ensure the REDMOTE is detached from the rear of the camera body and powered on.
Ensure the REDMOTE wireless in turned on.
Ensure camera does not display REDLINK Upgrade Required.
CANNOT SEE MENUS ON LCD TOUCH SCREEN
Double tap the LCD screen to exit clean mode.
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APPENDIX M: TECHNICAL SPECIFICATIONS
TECHNICAL SPECIFICATIONS
SENSOR 14 MEGAPIXEL MYSTERIUM-X™
PIXEL ARRAY 5120 (h) x 2700 (v)
S/N RATIO 66db
DYNAMIC RANGE
MAX IMAGE AREA
LENS COVERAGE
LENS MOUNT
MAX DEPTH OF FIELD
ACQUISITION FORMATS
PROJECT FRAME RATES
DELIVERY FORMATS
PROGRAM OUTPUT
MONITOR OUTPUT
MONITOR/PROGRAM
OUTPUT
DIGITAL MEDIA
13.5 stops, up to 18 stops with HDRx™
5120 (h) x 2700 (v)
27.7mm (h) x 14.6mm (v) x 31.4 mm (d)
DSMC TI PL Mount
DSMC TI Canon Mount
DSMC AL Canon Mount
DSMC AL Leica M Mount
DSMC AL Nikon Mount
DSMC TI Nikon Mount
(all lens mounts sold separately)
Equivalent to S35mm (Motion) / APS-H (Still) lenses
Equivalent to 16mm (Motion) lens in 2K RAW
5K RAW (RAW, 5K 2:1, 5K Wide Screen - 2.4:1, 5K HD and Anamorphic 2:1)
4K RAW (4K, 4K Wide Screen - 2.4:1, 4K HD)
3K RAW (3K, 3K Wide Screen - 2.4:1, 3K HD)
2K RAW (2K, 2K Wide Screen - 2.4:1, 2K HD)
1K RAW (1K Wide Screen - 2.4:1, 1K HD)
1080p (16:9) - via monitor out
720p (16:9) - via monitor out
23.98
24
25
29.97
47.96
48
50
59.97
(all resolutions)
4K: DPX, TIFF, OpenEXR (.RED via RRENCODE PLUGIN)
2K: DPX, TIFF, OpenEXR (.RED via RRENCODE PLUGIN)
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
(all listed delivery format specs are from REDCINE-X PRO)
HD-SDI Clean Feed
2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
HD-SDI and HDMI with Frame Guides and Look Around
2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
HD-SDI and HDMI with Frame Guides and Look Around or Clean Feed
1080p 4:2:2
720p 4:2:2 SMPTE Timecode
HANC Metadata, 24-bit 48Khz Audio
REDMAG (via SIDE SSD MODULE) : (48GB, 64GB, 128GB, 256GB & 512GB Media)
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 249
RED EPIC OPERATION GUIDE
TECHNICAL SPECIFICATIONS
REDCODE™ 12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-96 fps 5K FF
1-100 fps 5K 2:1
1-120 fps 5K WS
1-96 fps 5K HD
1-96 fps 5K ANA
1-120 fps 4K
1-152 fps 4K WS
1-120 fps 4K HD
1-159 fps 3K
1-200 fps 3K WS
1-159 fps 3K HD
1-239 fps 2K
1-301 fps 2K WS
1-239 fps 2K HD
1-399 fps 1K WS
1-356 fps 1K HD
(all listed frame rates are based on a 23.98 time base)
AUDIO
MONITORING OPTIONS
2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
RED LCD 5" Touchscreen Display
RED LCD 9" Touchscreen Display
BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL
WEIGHT
CONSTRUCTION
TEMPERATURE RANGES
REDLINK Wireless, Ethernet, RS232, GPI Trigger
4.5 lbs. (approx.) Body only
Aluminum Alloy
Operating Range: 0ËšC to +40ËšC (32ËšF to 104ËšF)
Storage Range: -20ËšC to +50 ËšC (-4ËšF to 122ËšF)
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 250
RED EPIC OPERATION GUIDE
CAMERA BRAIN DIMENSIONS
FRONT VIEW
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 251
RED EPIC OPERATION GUIDE
SIDE VIEW
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 252
RED EPIC OPERATION GUIDE
TOP VIEW
BOTTOM VIEW
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 253
RED EPIC OPERATION GUIDE
BACK VIEW
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 254
RED EPIC OPERATION GUIDE
APPENDIX N: RESOLUTION CHART
COPYRIGHT © 2013 RED.COM, INC 955-0002_v4.0, REV-C | 255
RED DIGITAL CINEMA
COPYRIGHT© 2013 RED.COM, INC.
All trademarks, trade names, logos, icons, images, written material, code and product names used in association with the accompanying product are the copyrights, trademarks or other intellectual property owned and controlled exclusively by RED.COM, INC.
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Table of contents
- 1 RED EPIC OPERATION GUIDE
- 2 TABLE OF CONTENTS
- 5 DISCLAIMER
- 5 COPYRIGHT NOTICE
- 5 Trademark Disclaimer
- 6 COMPLIANCE
- 6 Industrial Canada Emission Compliance Statements
- 6 Federal Communications Commission (FCC) Statement
- 7 Australia and New Zealand Statement
- 7 Japan Statements
- 7 European Union Compliance Statements
- 10 BEFORE YOU START
- 10 Important Safety Instructions
- 10 READ BEFORE USING YOUR CAMERA
- 13 THEORY OF OPERATION
- 13 MYSTERIUM X® Sensor
- 13 Image Processing
- 14 HDRx™
- 15 Magic Motion™
- 15 Audio Recording
- 15 Microphone Level Analog Inputs
- 16 Line Level Analog Inputs
- 16 Video Monitoring Outputs
- 17 Bomb EVF
- 17 RED TOUCH LCD
- 18 HD-SDI
- 18 HDMI
- 19 REDMOTE®
- 19 Digital Magazine (Media)
- 20 Metadata
- 21 CLIP NAMING CONVENTIONS
- 21 Multi Camera Shoots
- 21 3D (STEREO) CAMERA SHOOTS
- 21 SMPTE Timecode
- 22 Power Consumption
- 23 CAMERA OPERATIONAL CONTROLS
- 23 Brain
- 24 Side SSD Module
- 25 Side Handle
- 25 Top
- 26 Front
- 27 Rear
- 28 Navigation Group
- 28 Installation / Removal
- 30 DSMC Modules
- 30 Pro I/O Module
- 31 Rear SSD Module
- 31 Quad Battery Module
- 32 Dual Battery Module
- 32 Module Installation / Removal
- 34 Attaching the DSMC Module
- 36 REDMOTE
- 37 NAVIGATION GROUP
- 37 Displays
- 37 BOMB EVF and Bomb EVF (OLED)
- 39 Touchscreen LCD
- 40 BASIC OPERATION
- 40 Power Sources
- 40 Side Handle
- 41 Quad Battery Module
- 41 REDVOLT and REDVOLT XL
- 42 BACKPACK QUICKPLATE AND BACKPACK QUICKPLATE (SHORT)
- 43 BACKPACK QUICKPLATE CONNECTORS
- 43 BACKPACK QUICKPLATE (SHORT) CONNECTORS
- 43 Install BACKPACK QUICKPLATE and redbrick
- 45 AC POWER ADAPTOR - (DSMC)
- 47 External DC Power
- 47 Power UP
- 48 POWER DOWN
- 49 Graphical User Interface and Navigation
- 49 RED LCD/Touchscreen LCD, BOMB EVF, External Monitors
- 50 Upper Status Row
- 51 Live Action Area
- 52 Lower Status Row
- 52 ICON Behavior
- 53 Power Status
- 53 RAW Clip Meter
- 53 RAW Noise Level Bar
- 54 RAW Clip Level Bar
- 54 Side Handle
- 55 REDMOTE
- 56 Navigating Menus
- 56 Using Touchscreen LCD
- 57 Touchscreen Shortcuts
- 58 Accessing Soft Keys
- 59 Power Down
- 59 Power Menu
- 60 Lock / Unlock Touchscreen Opreration
- 60 Lock
- 60 Unlock
- 61 FIRST TIME USE – SETTING UP YOUR RED EPIC
- 61 Attach Power Source
- 61 Battery
- 61 Side Handle
- 61 Install
- 62 Remove
- 62 Quad Battery Module
- 62 Install
- 62 Remove
- 62 RED Brick
- 62 DC Power
- 63 Power UP
- 63 Preparing to Record
- 63 Connect and Format Media
- 64 Perform a Black Shading Calibration
- 64 Adjust Project Settings
- 64 Time Base
- 65 Record Resolution
- 66 Record Quality (REDCODE)
- 66 Camera ID (Slate)
- 66 Recording
- 67 Record Indicator
- 68 Playback
- 69 MENU CONTROLS
- 69 Adjustments
- 69 Basic Setting Adjustments
- 69 Side Handle / REDMOTE
- 69 Basic Adjustments Using Side Handle ONLY
- 69 Touchscreen
- 70 Advanced Setting Menus
- 70 Side Handle / REDMOTE
- 70 Touchscreen
- 71 MAIN MENU
- 71 FPS
- 71 Varispeed
- 72 Basic Settings
- 72 Advanced Settings
- 73 ISO (Sensitivity)
- 73 F Stop
- 74 Basic Settings
- 74 Advanced Settings
- 74 Aperture (f stop)
- 75 Focus
- 75 Exposure
- 75 Basic Settings
- 76 Advanced Settings
- 76 Exposure (Speed)
- 77 Integration Time
- 77 Absolute Angle
- 78 White Balance
- 78 Basic Settings
- 79 Advanced Settings
- 79 Preset
- 79 Color Temp
- 80 Tint
- 80 Calc White Balance
- 81 Resolution
- 82 REDcode
- 83 REDcode Options for Various Frame Rates
- 84 SECONDARY MENUS
- 84 HDR Menu
- 84 HDR ON / OFF
- 84 Stops
- 85 Focus Menu
- 85 Mode
- 85 Manual Focus
- 86 Manual
- 86 Confirm
- 86 Auto Focus
- 87 Manual
- 87 Confirm
- 87 Single
- 87 Continuous
- 87 Touch Track
- 87 Rack
- 88 Zones
- 88 Center
- 89 Spot
- 90 Spot Focus Indicator
- 91 Enhanced A/F
- 92 Confirm Indicators
- 92 None
- 93 Circle
- 93 Bar
- 93 Pie
- 95 Lens Information Display
- 95 RED DSMC Ti PL Mount + Lens
- 95 DSMC Canon Mount + Lens
- 96 Exposure Menu
- 96 PRESETS MENU
- 96 Camera Presets
- 96 Applying a Preset
- 96 Creating a Preset
- 99 Sharing Presets
- 100 Copy presets from camera to SSD
- 100 Copy presets from SSD to camera
- 100 Looks Presets
- 101 Auto Presets
- 101 MEDIA MENU
- 102 Select Media
- 102 Format Media
- 102 Reel No.
- 103 Camera ID (Slate)
- 103 Camera Pos (Position)
- 103 Edge Timecode Start
- 103 Format
- 103 Eject Media
- 103 Utilities
- 103 Secure Format
- 104 Settings Menu
- 104 Display
- 105 TOOLS
- 105 None
- 105 Exposure
- 106 Focus
- 107 Video
- 108 EDGE
- 108 Magnify
- 109 RAW
- 109 ZEBRA
- 110 Zebra 1
- 110 Zebra 2
- 111 Monitor Control
- 111 Monitor
- 112 Overlay
- 115 Priority
- 116 Brightness
- 116 Gestures
- 117 Modes
- 117 Exposure
- 118 Shutter
- 118 Aperture
- 118 Focal Distance
- 118 Guides
- 119 MODE
- 119 Scale
- 119 Offset X/Y
- 119 Appearance
- 119 Relative to Frame Guide
- 120 General Tab
- 121 Test Signals
- 122 LOOK
- 122 Color
- 123 Saturation
- 123 Contrast
- 123 Brightness
- 123 Gain
- 123 Red
- 123 Blue
- 123 Green
- 123 FLUT
- 123 FLUT
- 124 Exposure
- 124 Shadow
- 124 Curves
- 124 Color/Gamma
- 125 Project
- 125 Time Base
- 125 Time Code
- 126 Time Code Display
- 126 Time Code Source
- 126 Slate
- 128 System Status
- 128 Audio
- 128 Audio Control
- 129 Pre-Amp
- 129 Headphone
- 129 Cam Mix, Rear Mix, and Monitor Mix
- 130 Audio Channels
- 130 Input
- 131 Recording
- 131 Mode
- 131 Continuous Record
- 132 Internal Timelapse Timer and External Frame Trigger
- 133 Speed Ramp Mode
- 134 External Record Only
- 135 Frame Processing
- 135 No Frame Processing
- 135 Frame Summing
- 136 Frame Averaging
- 137 Pre-Record
- 138 Setup
- 138 Keys
- 138 Key Mapping and Soft Keys
- 138 Options
- 139 Advanced
- 139 Date / Time
- 140 Communication
- 140 Name
- 140 Group
- 141 Target
- 141 Serial Protocol
- 141 Network
- 142 REDMOTE
- 142 Pair REDMOTEs
- 143 REDlink Channel
- 143 REDlink Enable
- 143 GPIO / SYNC
- 143 Sync
- 144 Brain GPIO
- 145 Pro I/O GPIO
- 145 System
- 145 FAN CONTROL
- 146 Post Record Delay
- 147 Indicators
- 147 Maintenance
- 148 System Info
- 148 Save Log
- 148 Upgrade
- 148 CALIBRATION
- 149 Current CalMap
- 150 Black Shading (Default)
- 150 Black Shading (Current FPS/Exposure Settings)
- 151 Black Shading Procedure
- 152 Export and Import Calibration Maps
- 155 Self Test
- 155 Enable / Disable Sensor Test Pattern
- 155 Enable / Disable Sensor Test Pattern
- 156 Touchscreen
- 156 Restore System
- 157 Rediscover
- 159 PLAYBACK
- 159 Upper Controls
- 159 ISO
- 159 White Balance
- 159 View
- 160 Presets
- 160 Media
- 161 Settings
- 163 Meta
- 163 Clip Playback Status Bar
- 163 Lower Controls
- 163 Resolution / Project Framerate / Quality
- 164 Histogram
- 164 Playback Speed
- 164 In / Out Point Marker
- 164 Frame-by-Frame Reverse / Forward
- 165 Play / Pause
- 165 Play Once / Loop
- 165 Playback Direction
- 165 Additional Clip/Camera Information
- 165 POWER
- 165 Power Status
- 166 Shutdown
- 167 Power Out
- 167 Power Save
- 169 APPENDIX A: UPGRADING CAMERA FIRMWARE
- 169 Verify Current Camera Firmware
- 169 Upgrade Procedure
- 169 Restore Default Factory Settings
- 170 APPENDIX B: MANAGING DIGITAL MEDIA
- 170 Media
- 170 FORMATTING MEDIA
- 172 Media Capacity Remaining Status
- 172 EJECT MEDIA FROM CAMERA (UNMOUNT)
- 173 Using REDMOTE / Touchscreen LCD
- 174 Using Side Handle
- 174 Using Side SSD
- 174 Copying Media
- 175 Erasing Media
- 175 Macintosh OS X
- 175 Windows
- 176 APPENDIX C: INPUT / OUTPUT CONNECTORS
- 176 Camera Brain Front
- 177 MIC-1, MIC-2 (Microphone Audio)
- 178 Camera Brain Rear
- 179 HD-SDI
- 179 Headphone
- 180 SYNC (Video Sync)
- 181 Trigger Button Circuit
- 182 CTRL (RS232 Control)
- 183 GIG-E (Ethernet)
- 184 DC IN (Power Input)
- 185 HDMI Out
- 185 Side SSD Module
- 186 REDMOTE
- 187 APPENDIX D: SUPPORTED LENSES
- 187 DSMC Canon Mount Electronically Supported Lenses
- 188 DSMC Nikon Mount Electronically Supported Lenses
- 188 DSMC Leica-M Mount Lenses
- 189 APPENDIX E: AUDIO SUBSYSTEM INFORMATION
- 189 Audio Format
- 189 Channel Setup
- 189 Source Selection
- 190 Channel Modes
- 190 Balanced Microphone
- 190 Unbalanced Microphone
- 191 Line in 0 dBu
- 191 Line In 0 VU
- 191 Phantom Power
- 191 Limiter
- 191 Audio Recording
- 192 Peak Meter
- 193 Data Path
- 193 HD-SDI/HDMI Embedded audio
- 193 Audio Control
- 194 Pre-Amp
- 194 Headphone
- 195 Cam Mix, Rear Mix, and Monitor Mix
- 196 Audio During Playback
- 197 APPENDIX F: DEFAULT KEY FUNCTIONS
- 199 APPENDIX G: REDMOTE OPERATION
- 199 Control, Connectors and Display
- 199 CONTROLS
- 199 Still / Motion Switch
- 199 LEDs
- 200 Rocker Switch
- 200 User Function Keys
- 200 Menu Button
- 200 SOFT Menu Buttons 1-3
- 201 Navigation Group
- 201 Scroll Wheel
- 201 Direction KEYS
- 201 Enter Button
- 201 Focus and Record Button
- 201 Soft Menu Buttons 4-8
- 202 Power / KEY Lock Switch
- 202 USB Power Port
- 202 Operation
- 202 Docking and Undocking
- 202 Docking
- 203 Undocking
- 203 Power Up / Down
- 203 Power UP
- 203 Connected to Camera
- 203 Not Connected to Camera
- 203 Power DOWN
- 203 Using Camera
- 203 Using REDMOTE
- 204 Recording
- 205 Accessing Camera Controls / Settings
- 205 Changing Camera Settings
- 205 Using Camera LCD / External Monitor as Reference
- 205 Using REDMOTE LCD Stand-Alone
- 206 ADVANCED OPERATION: REDMOTE MENUS
- 206 Soft Menu Buttons 1-3
- 206 WIRELESS CONNECT: SOFT MENU BUTTON 1
- 206 Connect REDMOTE to a Paired Camera
- 208 ReconnectING IF Signal is Lost
- 209 Operating WITH Multiple Cameras FROM a REDMOTE
- 209 REDMOTE or LOCAL MENUS: SOFT MENU BUTTON 2
- 212 REDMOTE SETUP: SOFT MENU BUTTON 3
- 213 DISPLAY LAYOUT: SOFT MENU BUTTONS 4-8
- 214 Internal Battery
- 214 Charge Status
- 215 Battery Life
- 215 CHARGING
- 215 CHARGE TIME
- 215 USING CAMERA
- 215 USING USB CONNECTOR
- 216 UPGRADE REDMOTE FIRMWARE
- 216 Upgrade REDMOTE through DSMC
- 216 Upgrade REDMOTE (Macintosh)
- 216 Install REDMOTE Upgrade Utility (Macintosh)
- 217 Configure REDMOTE Connection with Computer (Macintosh)
- 218 Upgrade REDMOTE Firmware (Macintosh)
- 222 Upgrade REDMOTE (Windows)
- 222 INSTALL REDMOTE UPGRADE UTILITY (Windows)
- 223 Configure REDMOTE Connection with Computer (Windows)
- 224 Upgrade REDMOTE Firmware (Windows)
- 229 APPENDIX H: 3D SETUP / OPERATION
- 229 Overview
- 229 Camera Setup
- 229 Master Camera
- 229 SLAVE CAMERA
- 230 Clip Naming Conventions
- 230 Reel No. / Slate (Camera ID) / Camera Position
- 231 Connecting Cameras
- 232 Operation
- 232 Changing Settings
- 232 Recording
- 233 Power Down
- 234 APPENDIX I: EXPOSURE – USING FALSE COLOR AND ISO
- 234 Underexposure (~ 2 stops)
- 236 Overexposure (~ 2 stops)
- 238 Appropriate Exposure
- 240 Adjusting the ISO Rating
- 242 APPENDIX J: POST-PRODUCTION
- 242 Monitoring
- 243 REDCINE-X® PRO
- 244 APPENDIX K: MAINTENANCE
- 244 Cleaning
- 244 Camera And Accessory Exterior Surfaces
- 244 Brain
- 244 Optical Low-Pass Filter (OLPF)
- 244 LCD Screen (Touchscreen / Non-Touchscreen)
- 245 EVF
- 245 REDMOTE Screen
- 245 Lenses
- 245 Side Handle LCD
- 246 Back Focus Adjustment
- 248 APPENDIX L: TROUBLESHOOTING
- 248 No Media Attached
- 248 Recording Halted: Record Error - Shutdown
- 248 Preset Could Not Be Applied
- 248 Camera Cannot Be Paired to REDMOTE
- 248 Cannot See Menus on LCD Touch Screen
- 249 APPENDIX M: TECHNICAL SPECIFICATIONS
- 251 Camera Brain Dimensions
- 251 Front View
- 252 Side View
- 253 Top View
- 253 Bottom View
- 254 Back View
- 255 APPENDIX N: RESOLUTION CHART