RED One

RED One
Name	RED One
Manufacturer	RED Digital Cinema
Introduced	2007
Discontinued	2010s
Sensor	35 mm CMOS
Resolution	4K (up to 4520×2540)
Recording media	REDCODE RAW on RED Drive / CompactFlash
Lens mount	PL mount
Weight	4.0 kg (body only, approximate)

RED One

The RED One is a digital cinema camera produced by RED Digital Cinema that helped catalyze the transition from film to high-resolution digital acquisition in the late 2000s. Announced at NAB Show 2006 and shipping in 2007, the system combined a large 35 mm-class sensor, a modular chassis, and the proprietary REDCODE RAW codec to offer filmmakers an affordable path to 4K image capture. Major productions, independent features, and television series adopted the camera, linking it to festivals such as Sundance Film Festival and box-office releases from studios including Warner Bros. Pictures and 20th Century Fox.

History

The camera was conceived by Jim Jannard, founder of Oakley, Inc., who launched RED Digital Cinema to address perceived gaps left by established manufacturers like ARRI and Panavision. Early public demonstrations at the National Association of Broadcasters and subsequent unveilings at Cinec events generated interest among cinematographers such as David Fincher, Neill Blomkamp, and Peter Jackson, who would later champion digital workflows. The RED One arrived amid contemporaneous efforts by Sony Corporation with the Sony F35 and by Panasonic with the Panavision Genesis, marking a shift exemplified by award-season visibility at Academy Awards ceremonies and debates at the American Society of Cinematographers.

Design and Features

Engineered as a modular system, the RED One featured a 35 mm-sized CMOS sensor designed in collaboration with imaging specialists and implemented alongside the REDCODE RAW codec to enable non-destructive compression and high-dynamic-range capture. The camera employed a PL mount for compatibility with cinema lenses from makers like Cooke Optics, Zeiss, and Angénieux. Ancillary components included a removable RED Drive, LCD monitors, EVFs from SmallHD and Tilta-compatible rigs, and a battery system compatible with Anton/Bauer plates. Networking and post-production workflows leaned on software from Adobe Systems (Adobe Premiere Pro), Autodesk (formerly Autodesk Flame), and color grading systems like DaVinci Resolve by Blackmagic Design.

Models and Variants

Several iterations and accessories extended the platform. The original Mysterium sensor variant was followed by the upgraded Mysterium-X, improving low-light sensitivity and rolling shutter characteristics. Package configurations ranged from a basic "vault" body to fully accessorized studio rigs marketed to cinematographers and rental houses such as Panavision (company) and Arri Rental. Third-party companies like Hawk-Woods and Core SWX produced batteries and power adapters, while manufacturers including Atomos and Blackmagic Design introduced monitor and recorder options that complemented RED outputs. Licensed mounts and firmware updates offered broadened frame rates and recording formats making the platform versatile for both feature films and episodic television produced by studios such as Paramount Pictures and Universal Pictures.

Production and Deployment

Following shipment to early adopters, the RED One saw use on independent productions and high-profile projects alike. Filmmakers used it for principal photography on features screened at Cannes Film Festival and streaming content commissioned by emerging platforms like Netflix. Rental houses incorporated RED Ones into inventories serviced to directors of photography working on commercials for agencies including Wieden+Kennedy and music videos for artists under labels such as Sony Music Entertainment. Post-production facilities in hubs like Hollywood and Shepperton Studios integrated RED workflows, relying on transcoders from The Foundry and finishing tools from Avid Technology for editorial and conform.

Reception and Impact

The RED One was hailed for democratizing access to high-resolution capture, provoking discourse among cinematographers at institutions such as the British Society of Cinematographers. Critics lauded its resolution and RAW pipeline while noting early firmware and hardware teething issues—topics debated in trade outlets like Variety, The Hollywood Reporter, and American Cinematographer. Its market introduction pressured incumbents such as ARRI and Panavision to accelerate digital offerings, and its influence is cited in the eventual industry-wide adoption of 4K and higher resolutions in broadcast standards promulgated by organizations including SMPTE. The camera's role in enabling lower-budget filmmaking tied it to independent movements showcased at festivals including Telluride Film Festival and SXSW.

Technical Specifications

- Sensor: 35 mm-class CMOS (Mysterium / Mysterium-X), proprietary design by RED Digital Cinema engineering teams. - Effective resolution: up to 4520×2540 (commonly referenced as "4K"), with variable aspect ratios used in productions released by Lionsgate and other studios. - Codec: REDCODE RAW, variable compression ratios for offline/online workflows favored by post facilities using Apple Inc. editing suites and Avid Technology systems. - Lens mount: PL mount; compatible optics from Cooke Optics, Zeiss, Angénieux, Canon (company) cine lenses. - Media: RED Drive removable media and CompactFlash support for proxy files; integration with DI suites from Deluxe Entertainment Services Group and color grading with Blackmagic Design. - Power: V-mount / Anton/Bauer systems; third-party suppliers such as Hawk-Woods provided accessories. - Weight & dimensions: modular chassis varying by configuration; typical body weight ~4 kg before accessories used by rental houses like Panavision (company).

Category:Digital cinematography