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Was this guy responsible for the genius idea of putting a CFE card inside Red mini mag and charge 10x?

In good light the X4 is just on another planet compared to the 1 inch. Is not apple to apple as is the same location, mount but different time of the year but still I could never get such details from the 1 inch or the R. Just look at the mountains in the background and the detail on me.... Unprocessed screen grab from 8k 30, 200 mbits, sharpening low Processed X4 Processed 1 inch from 5.7 30 I will compare also in low light, but for a first quick look I feel they both look similarly bad 😉

The first thing I checked? ....and the last thing I checked. I've posted practically the same thing on every one of these releases, but the principle remains. If you crop in to the image, like 99.99% of shots will be, then the resolution doesn't matter, the bitrate does. 8K at 200Mbps cropped to a 90 degree FOV (about a 24mm lens) is 2K at around 12Mbps.

My prediction is: 1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line... 2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently. 3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop. Summary: Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve. I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard. Nothing else makes any sense to me. But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

I just sold my trusted 2 years old 1 inch 360 (I still have 2 normal 1 inch + dual lens) and ordered the X4 for the same price. From the paid "reviews" it seems that the X4 has more details and less artifacts, the biggest issue I have with the 1 inch but without trying myself I don't trust to much these reviews. Lowlight I think they are all quite bad and not really usable, already skiing on north faces in shade in Alaska the 1 inch breaks apart compared to south faces in sunshine. 1 inch sun vs shade: The X4 is 20% lighter, smaller and better weatherproof so if it turns out to really deliver a bit better detail and less artifacts, I'm happy. I will let you know if it is really an improvement or not over the 1 inch. Ideally, they should do a X4 Pro with 8k and 2x 1 inch.... let's hope it comes in the future.

What the... HECK???? That makes no sense at all, unless they're planning to just let RED slowly die?? But when I read the article myself, I see it in a completely different manner: 1) will take time to integrate Nikon and RED together, might be years. There is a lot to do! So with all the other stuff on their plate, perhaps a Z Mount Cinema Camera won't be the first thing out the gate, maybe it will be one more cycle down the road. (maybe they want to make a BIG impact with it when they release it? Have awesome AF with RED) 2) they want to keep their loyal RED customers happy during these turbulent times, so "for now" they'll reassure them by keeping RF mount There is a very cool mod for a Fujifilm camera however: https://www.newsshooter.com/2024/04/16/old-fast-glass-ofg-custom-65-rehoused-fujifilm-gfx-100-ii-cinema-camera/

Doubtful. Antiquated cultural practices aside, Nikon didn't need Red to create a lower tiered cinema camera. They bought a patent and a brand. A brand with a VERY loyal following in the lower tier and a loyal user base in the higher tier, Hollywood, cinematography world. If they aren't, at all, interested in the brand, then they spent hundred of millions of dollars for a patent. Red doesn't make lower tiered cameras, but they can help each other. If Nikon eventually dismantles the Red brand, it won't be in 2 years. Maybe in a decade after they gain the trust and reputation with the Red loyal user base and the Hollywood cinematography community. I do think the Komodo could bridge the gap between Red and Nikon, though... with the OG Komodo being more Nikon with a new composite, user friendly design and the Komodo X staying truer to the Red brand. But I think Nikon will use a "powered by Red" moniker, or something like that, in their higher tiered MILCs.

Panasonic is the easiest of those. The Varicam has been used on a bunch of stuff. https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/shot_on/ As far as Canon... https://shotonwhat.com/cameras/canon-eos-c500-camera https://shotonwhat.com/cameras/canon-eos-c300-camera Keep in mind that the C500 series and C300 series weren't the A camera on most/all of the things listed, but neither was the RED on several of the films that you called out. I doubt that Fuji cameras have been used on a lot of major Hollywood productions. To the best of my knowledge, Fuji don't make ANY cinema cameras. I'd be shocked, though, if Fuji's excellent cinema lenses hadn't made their way into at least a handful. Anyway. Take a deep breath. In the end, it doesn't matter even a little bit to any of us if NIkon retire the RED brand - not unless you own stock in Nikon and are worried about it would do to your investment. 😉 FWIW, the most typical/obvious thing here is that Nikon will continue to operate RED as a separate business unit for a time, likely attaching Nikon to the RED name somehow - "RED by Nikon" or "Nikon RED" or something like that. Eventually, the integration will get tighter and current RED engineers will be replaced by Nikon engineers and the naming will change - "The Nikon RED Z1" or something like that. Eventually, RED will look just like any other business unit of Nikon, but continue to make cinema-focused cameras and nobody will care much about whether they keep or lose the name.

What a bunch of non sense from people like you. Nikon has their own tech, the Z9 is superior to the Sony Burano 30k camera!!! They could build a Burano killer tomorrow with the z9 internals, they don't absolutely need RED tech if they wanted to go into the video camera world. But can you show me any of Canon, Panasonic or Fuji with even a tenth of that resumé https://www.red.com/shot-on-red. Please show us, I am sure Canon has be used on the likes of blockbusters like Dr strange, Spiderman, Aquaman, Guardian of the Galaxy, The Suicide SQUAD, The flash and some of the biggest TV shows like the Witcher etc etc. I will wait, to think their are some people who think a company will throw away such a legacy is just dumb. If you don't even know the basic of branding, why Honda who sells Civics, invested billions on an F1 engine, or Renaud doing the same while they sell Clio's. The people from Nikon have said not to expect anything Tomorrow, not because imbecile are going to say they will kill RED, but because it takes time. RED just released a 8k 120fps global shutter camera, vista vision camera. What do you think, they are selling Canon rebel 50, you think release cameras every six months.

Good evening to all !! Here is my very first try with handle hand video with my a7iv using Gyroflow. I didnt go up at shutterspeed like 1/200 like other users said to avoid blur here and there and the results at some cases didnt go well. But for the first time i use it , i thing is a very powerful tool ! So , here is my pride, the Tenere 700 with a recent change in full body exhaust, filter and program. +5.5 horses that didn't spoil us at all! The sound from the camera does not accurately reflect the sound of the exhaust, but what did we do!

I just got mine 1h ago, boy they were fast in delivering. I will go for an MTB ride in 1h and test it out a bit and report back. First thing I did is to set it to 8k 30, highbitrate and sharpens to low.

...or you could just create your own flat/pseudo log transfer characteristic in-camera by adjusting a standard picture profile (e.g. contrast, saturation, highlight/shadow curves) to give you a compromise SOOC/gradable format that fits your needs?

If you want useable SOOC video that looks reasonable when played directly, but which has high DR for grading if you want to, you could try shooting in 10-bit HLG? It's a compromise format that is designed to provide decent looking video on non-HDR displays, and full HDR on HDR-capable displays - see https://en.wikipedia.org/wiki/Hybrid_log–gamma . Note it uses Rec. 2020 colour space/gamut, so the colours will be distorted to some extent on a Rec. 709 display. KnightsFan said: ...and I've also tried grading HLG (from my OM-1) and found it OK. I think Log is better for grading (than HLG), but Log is not very usable as SOOC video (unless you really like watching low-contrast/saturation video!).

For me to upgrade..... Must have: 8k 60 RAW with AF and Aperture control using the internal battery Waveform while recording No time limits Better IBIS for video Face AF within an AF Zone like the R3 Nice to have: Zoom-in while video playback or at least when paused on a frame... why does no C line nor R line have it?!? LUT applied on video playback Better DR Better RS Peaking while in AF mode Sharper 4k 120 4k 120 with audio Less lag wifi video transmission Easier phone-camera connection.... it is a mess at the moment they should copy insta360 approach that always work. I'm dreaming: Dual CFExpress Two USB-C ports USB-C no lag video to iPhone so can be used as a screen without additional HW that make no sense... Low latency bluetooth audio Full HDMI port 32 bit float audio Wireless mic support (RODE or DJI or your Canon developed transmitter) Dual tripod socket, this is so basic not sure why no camera manufactured do this. 4k 240

I agree the lawsuit and the patent for Redcode was probably the driving force, but they didn't spend hundreds of millions of dollars to buy Red solely for the patent. They could have licensed it for 2 decades and developed their own cine line of cameras and lenses for less than that. Other than the RedCode patent... what other tech does Red have? They have an established brand in the high end cinema space and a lower tiered customer base that will pay top dollar to be a part of that brand. Don't get me wrong, I love photographic history and I am a huge fan of Nikon. I own a small set of ai-s lenses and a small set of scalloped ringed non-ai lenses with the "C" coating. They're obviously one of the greatest photographic companies in history with an amazing lineage... in the photographic world. Until very recently, their video capabilities were lacking. It will take a while for them to gel with a lot of cinematographers... they'll just use Arri cameras instead. Then again... I reserve the right to be completely wrong.

It would be utterly ridiculous for Nikon to absorb or abolish the Red brand, especially since they aren't natural competitors. They purchased Red for the Redcode patent so they didn't have to license compressed raw from Red or ticoRaw. It's really that simple. If they use the Red branding in any future Nikon release, who knows. If they decide to venture into the low tier cinema camera market, it will involve the Komodo and they won't change the name of it other than add Nikon to it somewhere. Maybe... Nikon CineRed Komodo. They won't take the Red name away, they'll just add Nikon.

I agree that this is a huge market and definitely where Nikon should focus their attention, and an N-line of cameras would be a good way to do that, especially if it took advantage of the tech that RED has. This doesn't really have much to do with RED making products for Hollywood though - that's a different brand making different products for a different market. Mass-market car companies do this all the time. They use their tonnes of cash to buy an unprofitable sports-car company and get their techs to work on making hot hatchback versions of their cars, and perhaps a new premium line of sports cars under the mass-market brand, but they also help the sports-car brand to improve quality control and keep on making new models. They don't just close down the sports-car brand. Virtually all sports-car brands are owned by another manufacturer that makes family cars.