The Red One

The Red One

In the spring of 2008, Vidéomtl successfully launched the RED ONE camera on the rental market.

The arrival of the RED ONE had been preceded by huge expectations in the industry, even fantastic speculation about what it did, what it should do, what it might do, what it would be able to do… in sum, each of us, I think, was in a hurry to announce an opinion!

Some 10 months later, we know a lot more about it, of course, and we can affirm that we were both wrong and right!

RED ONE is a funny thing: a “work in progress” in terms of ergonomics, the sturdiness of the mechanical components and the non-conformity of the audio and video outputs, as well as the central software, which has undergone significant progress in the last few months.

As to electronics and information processing, the most recent upgrades have made the on-board computer a full-power tool which keeps its promises of reliability and flexibility: multiplication of formats; visualization channels in RAW, REC709 and REDspace; slow-motion and speed ramping effects; enhanced mastery of high contrasts; digital noise reduction and definite audio improvements. RED ONE’s functions have reached maturity.

It is certain that RED ONE produces more digital noise under Tungsten light than in “blue” light (daylight, HMI, etc.), as RAW is less sensitive to the blue spectrum than to the red and infrared spectrum. Because of this, RED ONE is calibrated at 5600 Kelvin, unlike most HD cameras and camcorders, which are calibrated at 3200 K.

It is surprising to note that RAW is not as flexible as had been thought: already at 500 ASA it is possible to see significant image degradation in terms of exposure latitude and digital noise: it is really made for exposure at 320 ASA. Advice to directors of photography: plan ahead for your night scenes and your “low-key” shots: 320 ASA!!!

And what's more: of the three monitoring channels, REDspace is the least reliable, improperly raising the “blacks”; the 4K Super35 sensor is resized to Super16 format in 2K, which is awkward in terms of cinematic depth of field and the correspondence of lenses when “slow-motion” and “speed ramping” effects are desired while shooting in 4K; the electronic shutter performs better in 2K, producing fewer “strobing” effects; the relevance of the use of the Bayer mask and the high rate of compression of about 12: 1 (REDCODE28) and 9: 1 (REDCODE36); etc.

We must also specify that the RED ONE is rather sensitive to extreme temperatures and that it is necessary to be very careful with it to make it operate at 40°C or -30°C.

But look at the result: superb cinematographic 12 million pixel images with a definition that would have been unimaginable scarcely a year ago: 4K is beyond HD, it’s HYPER-HD; a Super35 sensor that permits the use of well-regarded lenses and a narrative depth of field; a flexibility of acquisition formats without equal in the industry; affinity with the existing peripherals; a remarkably simple workflow both on the set and in post-production; and an amazing “slow-motion” effect at 120fps, immediately viewable on the spot! This is the ideal tool for televised series, advertising, documentaries and video clips; for big ambitions at a very reasonable cost.

And then there is something magical about being a part of the revolutionary RED ONE phenomenon: it’s much more than a “good advertising campaign”! As an owner and lessor of RED ONE, Videomtl wanted to participate in its development: in terms of ergonomics and sturdiness, we had to change the handle system, including the visor support, which was, shall we say, clumsy! In addition, Tribor Design and Vidéomtl collaborated to produce a new control box encompassing all audio and video input connectors, so that they can be controlled, configured and adjusted without having to touch the camera’s tedious menu, thus enhancing the sturdiness of all the connectors and making certain operations much easier. This innovation also permits better remote control of the camera in a crane situation, for example, using a DVI connection. In the near future, all RED ONE cameras will be equipped with this feature. At Videomtl, our RED ONE cameras are mechanically reliable and ergonomically viable.

In brief, we were all right: the RED ONE arrived on the market in a less than perfect state, and surmounting the technological challenges seemed impossible to the most pessimistic and too far off to the most optimistic: but we were all wrong, because one year later, it can be said that RED ONE delivers the goods beautifully!!!

As we say in RED speak: To be continued…