Bedienungsanleitung Red Epic - 4.0 2013 (Seite 15 von 250) (Englisch)

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RED EPIC OPERATION GUIDE

955-0002_v4.0, Rev-A | 15

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

"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 - 4.0 2013 Seite 15

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