New to the RED ONE? Ask here.

[Nicholas Lee-Shield]

Thanks Adam! I thought as much. Thanks for the help! You don't happen to know where i can find the RedLogfilm setting on the camera menu at all do you? Or is it something you change in Redcinepro which i can do.

Thanks!

 

[ericyoung]

Redcode 36 is actually totally fine for 90% of shots & saves media capacity if you're tight for media space. Use RC42 for shots with large amounts of moving detail e.g. wide shots of trees blowing in the wind, sun glinting on sea waves, wide shots of brick walls, panning/tilting shots of detailed textures, etc.

 

[Adam Montville]

Thanks Adam! I thought as much. Thanks for the help! You don't happen to know where i can find the RedLogfilm setting on the camera menu at all do you? Or is it something you change in Redcinepro which i can do.

Thanks!

I don't own a Red One anymore, and when I did, I exclusively used RC3/RG3 for viewing / Raw View. Sorry about not being able to get that question.

(I've moved to a Scarlet Dragon)

 

[egon touste]

Redcode 36 is actually totally fine for 90% of shots & saves media capacity if you're tight for media space. Use RC42 for shots with large amounts of moving detail e.g. wide shots of trees blowing in the wind, sun glinting on sea waves, wide shots of brick walls, panning/tilting shots of detailed textures, etc.

redcode 28 is absolutely fine for 95% of shots.. however, dense vegetation, and especially bark (and leaves can get a little mushy) can benefit fron rc36 nd rc42 .. especially if pulling stills .. but is not essential for moving images IMO

..yorkshire moreland or similar..rc36/42 is essential IMO.. wide panoramic shots of nature benefit from higher redcode..but its not essential

if you are on a low budget, and harddisk is a little sparse.. rc28 all the time is fine..

 

[Nicholas Lee-Shield]

I don't own a Red One anymore, and when I did, I exclusively used RC3/RG3 for viewing / Raw View. Sorry about not being able to get that question.

(I've moved to a Scarlet Dragon)

Thanks again Adam, i think i'm doing alright using RED GAMMA 3 at the moment and then converting it to REDLOGFILM in REDCINEPRO. Again, your knowledge is much appreciated!

 

[Nicholas Lee-Shield]

redcode 28 is absolutely fine for 95% of shots.. however, dense vegetation, and especially bark (and leaves can get a little mushy) can benefit fron rc36 nd rc42 .. especially if pulling stills .. but is not essential for moving images IMO

..yorkshire moreland or similar..rc36/42 is essential IMO.. wide panoramic shots of nature benefit from higher redcode..but its not essential

if you are on a low budget, and harddisk is a little sparse.. rc28 all the time is fine..

Hi Egon,

I've heard that this is the case. Thankfully i have plenty of space, what with the hard drive and several media cards, so i should be ok shooting in either 38 or 42. Thanks for the insight though!
Regards
Nick

 

[egon touste]

Thanks again Adam, i think i'm doing alright using RED GAMMA 3 at the moment and then converting it to REDLOGFILM in REDCINEPRO. Again, your knowledge is much appreciated!

..obviously, when you say "convert".. you actually just mean "re-interpret" .. these settings are not burned into the files..unless viewing in one or the other changes the way you expose etc.. its all just meta data..

 

[Zeno Groenewegen]

RED One menu setup problems

RED One menu setup problems

A few RED One problems here.

Problem 1 :

Suddenly the menu on the Red One is not visible anymore. I can acces the settings by looking at the LCD screen. Previously i could see the red tabs with submenus
on my monitor. Now they are gone somehow. For example when i put it on Colour Temp. I see the word "Colour temp" on the monitor but not the submenus's like
"auto wb, tungsten, dayligh, manual" etc.

Problem 2:

When i change my ISO nothing happens. Weather i set it to 200 or 1600 nothing changes.

Problem 2:

Audio input, the only input that seems to work is channel 1, no signal input on 2-4, also changing from mic to line does not work

Thanks for your help

 

[T_Freundlich]

A few RED One problems here.

Problem 1 :

Suddenly the menu on the Red One is not visible anymore. I can acces the settings by looking at the LCD screen. Previously i could see the red tabs with submenus
on my monitor. Now they are gone somehow. For example when i put it on Colour Temp. I see the word "Colour temp" on the monitor but not the submenus's like
"auto wb, tungsten, dayligh, manual" etc.

Problem 2:

When i change my ISO nothing happens. Weather i set it to 200 or 1600 nothing changes.

Problem 2:

Audio input, the only input that seems to work is channel 1, no signal input on 2-4, also changing from mic to line does not work

Thanks for your help

Hi,

1 - is your monitor one of Red's own, or connected to the HD-SDI or HDMI outputs? If the latter, check the monitor settings under System -> Monitor

2 - are you sure you're not monitoring in Raw mode? Video -> View

3 - do you have recording enabled for the other channels? System -> Sound -> Rec enable

Cheers!

 

[Zeno Groenewegen]

Thanks so much Thomas! The original RED monitor had a button in the right top, pushing that brought the menu back and you were right on points 2 & 3. Problem solved!

 

[Sean Tierney]

Just wanted to voice that this thread was fantastic, finally being able to buy a red one with all proper attachments this was huge for me to be able to have most if not all my remaining questions answered.

 

[Glenn Borland]

Greetings, new to this whole cinema medium, but with lots of experience in photography (Nikons)
My questions are as follows: Besides Being Lighter, having shorter boot time, having a "smart" mount and having more accessories more compatible with Epic, what advantages does a Scarlet MX pose over an R1MX?
I would like to mount a minimally configured Red (Scarlet or One) to an Unmanned Aerial System (UAS/Drone) for aerial cinematography. as mentioned earlier my experience is with Nikon cameras, so all of my Glass is Nikon Full Frame. right now Scarlets are out of my price range. Fortunately I won't even be in a position to buy till January, will Scarlets come down in price much between now and then? Budget is 7K. what would you do? this is mostly a hobby with the possibility of occasional professional work (concerts, and fights) weight isn't a big deal to me (as long as it's under 18 or 20 Lbs) I already have a UAS that will carry a minimally configured Red One MX. if there is anything i have left out please feel free to ask, thank you in advance!

 

[daniel dayani]

hey there fellas,

new to the red One MX... that said, i know theres so many things and issues brought up about the weight ergonomics and aethsteics of the camera, but I'm more interested in ANY issues with performance. how does this camera *with the news firmware available* act up. is it buggy, smooth, in between? is it really only suitable for indoors and onset with lots of lighting? My prod. company does sketch work in natural light... I've been working with a black magic pocket so i understand limitations to a camera. thank you !!

 

[T_Freundlich]

hey there fellas,

new to the red One MX... that said, i know theres so many things and issues brought up about the weight ergonomics and aethsteics of the camera, but I'm more interested in ANY issues with performance. how does this camera *with the news firmware available* act up. is it buggy, smooth, in between? is it really only suitable for indoors and onset with lots of lighting? My prod. company does sketch work in natural light... I've been working with a black magic pocket so i understand limitations to a camera. thank you !!

Hi Daniel,

Personally, I think the weight issue on the R1MX is vastly exaggerated, as once you load up the camera with all your extras, the difference in weight won't be much compared to a DSMC or DSMC2 system... but let's not beat that horse any further :smiley: and to answer your question -

- the stories of Red One bugginess are pretty much ancient history related to the early builds. The new(est) firware version including v32 are very reliable. My experience has been that maybe once in 50 hours of camera time you might run into some kind of issue that requires a reboot - not bad IMO.

- the camera's "base" sensitivity is generally accepted to be ISO 800. Personally, I find this to be a bit optimistic, as at least the Red 5.6" LCD seems to show things as brighter and less noisy than they really are. So I often rate the camera at ISO 640 or 500 to force a bit more light on the sensor and get less noise in the shadows. Then again, it depends on the shooting scenario - I shoot a lot of performance captures indoors in low-ish tungsten light so I tend to have more issues with under- than overexposure. If you shoot in bright outdoor conditions, you might be more concerned with highlights blowing out, so might even opt to expose for a higher ISO than 800. But all this is in the realm of hifi details that you can explore later - if you never changed the ISO from 800 you certainly wouldn't go far wrong.

- related to the above is the fact that the blue channel of the sensor data will be the noisiest, so if you are shooting tungsten balance in lowish light the image can get noisy as you will need to add more blue to the signal in post to neutralize the color balance. So the "native" color temperature of the camera is daylight, but if you have a decent exposure with enough light there's absolutely nothing wrong with tungsten either.

- the raw capture will give you a lot of latitude to push and pull material if the exposure is a bit off, if it's well exposed you might even get away with 2 to 3 stops' worth of tweaking in post. But this assumes you have a properly exposed image to start with. Raw is not magic so if there is not enough light on the sensor to begin with, it can't work miracles for you. If you shoot mostly natural light, you should have no problem with getting a beautiful exposure.

- as a detail, the high-speed 2K / 3K framerates will look quite different from the full-frame normal speed modes (a lot softer and grainier - especially 2K at 100+fps). It can be a beautiful look but might not match up that well with 4K normal-speed shots. But as long as you don't expect it to look like shots from a Phantom Flex 4K you can get some cool results at the higher 2K/3K speeds.

- and one more comment as you mention coming from a BMPCC - the important thing to realize about the R1(MX) is that it's a cinema camera designed to work in a full production infrastructure, operated by a crew of 2 to 4 people. Hence, many of the "basic" features required for run-and-gun shooting are not there (basically auto everything). You can certainly operate the R1MX solo no problem but it's good to keep in mind the general use it's designed for is a bit different.

But all in all, this is a great camera for eliminating any remaining excuses from your work - if the result isn't great, it's definitely not the camera. :wink5: The camera still kicks a lot of ass so make sure your filmmaking does too. Have fun!

 

[daniel dayani]

thank you Thomas, what a badass response. excited to shoot with it!

 

[Felix Mueller]

Trying to achieve a speedbooster like this for RED ONE MX:
https://www.reduser.net/forum/showthread.php?162915-Speed-Booster-OLPF-Caddy-3D-Print
Is the OLPF removable?