RED RAVEN 4.5K BASIC SET

CINE CAMERA > RED
12시간
220,000 (VAT포함)
24시간
220,000 (VAT포함)




























SENSOR TYPE


RED DRAGON 9.9 Megapixel CMOS



EFFECTIVE PIXELS


4608 × 2160



SENSOR SIZE


23.0 mm x 10.8 mm (Diagonal: 25.5 mm)



DYNAMIC RANGE


16.5+ stops



SIGNAL-TO-NOISE-RATIO


80 dB



MAX DATA RATES


Up to 140 MB/s using RED MINI-MAG



MAX FRAME RATES 1


120 fps at 4.5K Full Format (4608 × 2160), 120 fps at 4.5K 2.4:1 (4608 × 1944)
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728)
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296)
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)



PLAYBACK FRAME RATES
(PROJECT TIMEBASE)


23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions


REDCODE SETTINGS
RANGE FROM 2:1 UP TO 22:1 1


3:1 REDCODE for 4.5K Full Format (4608 × 2160) at 24 fps
8:1 REDCODE for 4.5K Full Format (4608 × 2160) at 60 fps
3:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps
7:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps



REDCODE RAW
ACQUISITION FORMATS 2


4.5K Full Format (4608 × 2160), 2.4:1 (4608 × 1944)
4K Full Format (4096 × 2160), 2:1 (4096 × 2048), 2.4:1 (4096 × 1728), UHD 16:9 (3840 × 2160)
3K Full Format (3072 × 1620), 2:1 (3072 × 1536), 2.4:1 (3072 × 1296), 16:9 (2880 × 1620), 3:2 (2880 × 1920)
2K Full Format (2048 × 1080), 2:1 (2048 × 1024), 2.4:1 (2048 × 864), 16:9 (1920 × 1080), 3:2 (1920 × 1280)



APPLE PRORES


422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 60 fps



AVID CODECS 3


DNxHD LB (1920 × 1080) 8-bit up to 60 fps



TYPICAL MAX RECORDING TIME
USING RED MINI-MAG 120GB 5


4.5K Full Format (4608 × 2160) at 24 fps and 11:1 REDCODE: 57 minutes
4.5K Full Format (4608 × 2160) at 60 fps and 14:1 REDCODE: 29 minutes
4.5K 2.4:1 (4608 × 1944) at 120 fps and 15:1 REDCODE: 17 minutes



CONSTRUCTION


Aluminum Alloy



WEIGHT


3.5 lbs (BRAIN with Integrated Media Bay and Canon Lens Mount)



OPERATING TEMPERATURE


0°C to 40°C (32°F to 104°F)



STORAGE TEMPERATURE


–20°C to 50°C (–4°F to 122°F)



RELATIVE HUMIDITY


0% to 85% non-condensing



AUDIO


Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz
Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz



REMOTE CONTROL


Integrated REDLINK WiFi antenna
Ethernet, RS232, and GPI Trigger with DSMC2 expander module



MONITOR OUTPUTS


3G-SDI (HD-SDI) and HDMI with DSMC2 expander module
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio



MONITOR OPTIONS


DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD and DSMC2 RED EVF (OLED) with cable-free connection.
RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable.



REDCINE-X PRO
DELIVERY FORMATS


4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4



VIDEO EDITING SOFTWARE
COMPATIBILITY 4


Adobe Premiere Pro, AVID Media Composer,
DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro



Tech specs reflect both current and projected information. Everything is subject to change.



1. REDCODE values and max frame rates may vary based on selected acquisition format, aspect ratio, project time base, Lookaround setting, and SSD. For more information on available REDCODE compression settings for all formats, see the DSMC Media Operation Guide.

2. For more information on available acquisition formats, see the DSMC Operation Guides.

3. Avid DNxHD/HR Codecs recording support added to DSMC2 firmware v6.3 or later.

4. Third-party non-linear editing (NLE) applications may have limited compatibility with R3D files.

5. Estimated recording times represent averages over the course of a typical recording to REDCODE RAW only with Pre-Record disabled and may vary depending on subject matter. It is always recommended to perform your own tests using typical camera settings and shooting conditions.


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