fromICG Magazine
FromICG MagzineWard reports Red does have “a couple of quirks” in terms of power. For example, if only one battery system is being used, and power is off, it takes eighty seconds to reboot. However, he adds that there is a dual linked battery system, which if included onboard allows the camera to remain powered at all times. “The Red One is certainly no ‘film killer,’” Ward concludes adamantly. “It’s just one more tool in the filmmaker’s arsenal. I think that if budget or time in post is a factor, then the Red is a viable option. For me, it has been a good screwdriver, which means it works properly. If you treat the Red with respect, like you would a film camera, you’ll have success.”
The Red One’s native “neutral” color temperature is designed to be 5000K, oddly in-between the two internationally recognized standards of 3200K (for tungsten light) and 5600K (for daylight). Hsui explained that for best technical results with the Red’s Mysterium chip, cinematographers should use filtration on camera or lights to work at 5000K. While users are shooting with Red cameras at many different color temperatures and correcting their images in post, Hsui noted that such manipulation can introduce noise and compromise latitude (as is true with any digital manipulation) and so he recommends working at the 5000K color temperature the sensor is maximized for in order to get, “cleaner blacks and somewhat better latitude” than might be possible if heavy color correction is required in post.