For RED EPIC ond SCARLET cameras equipped with the Mysterium X SensorRed Epic and Scarlet Quick Reference Guide introduction: eee eed sheets, quick reference cards, and general information eee ee eee era atta et ee ae Red owners, shooters, and others to use to help understand how to operate and get the most out of the cameras. Distribute this document freely, but not eee ee ee oer ne ed firmware, informotion, and sensors become avaielbe Be eee ee co eyes Qi tel eC Ca) el Roane Peed eee oy eee eno page 4 - Red MX Relative Crop Factors BORA neo WA Serer ed er hi Berea er ey age 8 - Common Motion Picture Aspect Ratios Pee eee eee eee ec Pee eae Cee eo ocd page 12 - Black Shading and Operating Temperature page 13 - Monitoring Overview and LEMO Operation Notes page 14 - Audio, Timecode, and Genlock page 15 - F-Stop & ISO Reference & Flicker Free Shutter Speeds version 1.2 - 12.12.2012Red Epic X/M Data Sheet This data sheet is designed to be a quick reference card for the Epic (both M and X) equipped with the Mysterium X sensor. RED EPIC X/M DATA SHEET REC ING FORMATS AND FRAME SIZEScarlet X Data Sheet SCC ee ee RO ee eee eect Ce Race RED SCARLET X DATA SHEET ATS AND FRAME SIZE ‘Samm fina Adama Hoan ‘oz ‘Stinson “8SLS-X— oldie a Co This is a key to the different Red capture formats. It contains the format name, max fps, resolution, and aspect ratio. I've included both Epic and Scarlet information on the same key; hopefully useful to those using Epic and Re CE Ea RED FORMAT KEY 2012 ean mee hoe OAR en aspect ra 3K 3 iF} 5120x2700 ra fan 1 We 5120x2560 7a 5K HD cys We 4800x2700 78:1(16x9) Ears 73 ye 3296x2700 ern Tar 121 WZ 5120x2160 Petra Ts 121 EY 4096x2160 a) 4k HD 121 30 3840x2160 Prec) 3K 160 rn 3072x1620 1.931 3K HD 160 ry 2880x1620 .78:1(16x9) rY3 PyT) 60 2048x1080 1.921 2K HD 240 60 eT PSrrT) Prue TC) Tava 303 rr) LOTTE?) Petra 1K HD et rr 1280x720 PZ eed) 1k Ws rT) 120 Per Teer er) 2.66:1 * as of beta firmware v3.2.8 released 05/09/2012 aCe eee eed 50% of max fps aboveRed Mysterium X Relative Crop Factors This graphic sets the "relative crop factor” at 5K or 4K. The purpose is to assist the shooter on choosing their desired focal lengths when changing formats to produce a similar field of view from their main recording format. Cae ey Caer enh cence Rk concn ee ee ee ee cee Sete eee een ee ero a tee ea eS SK MAIN CAPTURE FORMAT rts ot Pee Lo “Krall DK Fall 28% 1K WS 4.2 SKU S3x 2K Full ‘tm nm tnm ene Ste ten ot iene: EY iene: Pt tne Et inn. Fit ne Et Senn po dime Ft dm ut Bot ot i on ct Sonm 4 ot in ro a co Hy Stamm ce Stine ty Sete Brus) 3mm a ‘atm pie st} a oun cr) a ttm 1366 Pr ene a ‘atom 166m PT ‘002mm ———te0tme a ‘atone FE 1000mm ——153¢mm 2000 aREDCODE RAW Primer ee eR ea oD A eng co ee ee Re eeu ee ee ne aeREDMAG Record Time (in minutes) This graphic displays the recording times of all currently available recording formats and available RedMag capacities. I've listed the common production RedCode compression ratios from 3:1-12:1. Take note that the 48GB RedMag is Cee eee ene at ae Coe ag ce a baa td TIME (MINUTES) Ss > S12GB) 256GB) 1286B ) ) o < I) ) zs Le)Red MX Format Crop Factors This graphic shows the cropping effect of the different Red recording formats of the Mysterium X sensor. ee S See art ia aCe vACer MACHO MRM ot me Colfer RU ee UU ol eC Me RR CUE em sR ae CU ou cece Se ee ea cee aio) Formats that end in “WS" are approximately 1.37:1, but it depends on the resolution selected Formats that end with “ANA are closer to a 4:3 aspect ratio and intended to be used with anamorphic lenses. Met GOO PICTURE bckdichdl laldhe Fayre (Red Mx Full Frame) NOt Td Pas Dre Ket) Crone ore Berries Feiss cyCrop Factors, Dimensions, and Diagonals Re ua eu Re aC Rm aioe ee eeu RUE oes ee i UR RU mee ae tT RW CG eS een Cee Le Crees [era Pome ea Da eee Aare ry Crerikeneer es Cee Crreres 12.52mm [erence ener meee 2 Ca Rea a) Cone eee MeterTie kre Ma col rool) [One epee eee eee ee eee one eres Peel yr een ence Ce nit mean tener Sure oe end oon nee anne enn one (derker| ND fitrotion. While i is possible to color correct the color cost in post, many prefer to.get © more natural and accurate color balence in par eee eee cee eee ee ee ene ne ee ee eee eee Sot ee ne ee een rennet eee ee oe ee eee eee NOTES ON INFRARED PROTECTION Re coer L Tg Se ered ND) CoE Pease ar oe Co No Filter Re CRS] Without IR Protection NE CSCS) RUM 10eMC tal eM lool Mxel aig Power management and consumption efficiency are constantly changing with each new firmware that Red releoses for the Epic and Scarlet cameras. Generally speaking for each watt hour (Wh) you get approximately one minute of running time. For instance, a 60Wh battery can provide power to your camera for approximately 60 minutes or 1 hour. Below are some quick helpers on what the Power Status LED's colors mean, where you can connect external sources, and the types of batteries that can ate te eee acs POWERING THE EPIC AND SCARLET Lia a) Atte PE eee a as Weta 7 pees) Eee reat i Module Con ohana aon) an)Black Shading and Operating Temperature A successful Black Shade Calibration is the key to creating a rich and high quality image from the Mysterium X sensor. Below are few tips on how to properly perform and check your Black Shade Calibration. Also, I've included some notes on operating the camera in extreme temperatures and what to expect it to do in those situations. Se Ss ea I ete set Reese Se Peeters If shooting ot longer exposure times (longer than 1/15h se) nee Oe ed slicing between long end short exposures How to Run a Black Shading Calibration: ~ securely attach the Red lens mount body cap tven the camera on ere ee ety Sn ee ee enero rd Block Shading takes approximately 20 minutes How to Verify @ Successful Black Shade make #ure The body cap or lens eap fe on the camera eta aE LT) Seno See ee eee See eee een ete heen Tre Cu CN ec eee eee ecormreney ee eee nr ee eee er eT eee) Poco ene sre) ee eee eee eee et In extreme stations, ke shooting in broad daylight during @ hot day without eee ee ere eee Coen es Ser eee een ae eee eee 2Monitoring Overview and Lemo Notes Below is « quick overview on Monitoring options for the Red Epic and Scorlet cameras. Cece ee ao) connections and can plug into several different modules. Each module listed below has it’s own Red Display Port. Certain modules allow the use of two Red Displays simultaneously. You can find which modules support that feature as well as the general position to where the display ports are located, which can assist with rigging out your comera. Also, there are a few some notes on the proper operation of the LEMO Connectors that Red cameras use for their displays and power cords. OS ee ee) ta ey a Ee RED TOUCH 5.0" LCD Peeneer Poe Ane) Cac] Rarely} La aad Pree on rs Cee aa Pere Oar ence TeecNC a} ee neaneericl ree CnC Cra conn 13 Loerie nearer Leer LEMO CONNECTORS Fe een core ern ga core Ca eco en eeeAudio, Timecode, and Genlock BU a RR RU ee Ur RUC a eee use of modules. This page covers what type of audio inputs and outputs and the type of connections they use. It also covers the recommended cables to use when feeding external timecode and when syncing cameras via genlock. AUDIO, TIMECODE, AND GENLOCK CB eS AUDIO Erne oe newt Laced] oh ee ee ee HOOD Pei Sarena) TIMECODE Pee arte Ta TTT ee Seen Entered 7) Lt eee eee eeIntermediate F-Stops, ISO & Flicker Free Shutter Speed Reference Below is @ quick reference for intermediete steps in F-Stops and ISO Sensitivities. Also, I've included a quick reference for Flicker Free Shutter Speeds at common operating frame rates for both 60Hz and 50Hz power frequencies. Certain artificial light sources may produce banding or flicker. By shooting at “safe” shutter angles and shutter speeds you can protect yourself from this effect. This is not full proof though. Certain lights may stil flicker if they are failing, are not properly seated, or being effected by Cee Cn ee en ee eee eedcreated, compiled, and maintained by Phil Holland Pee