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

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy! I include an image of the point that was failing

To be fair, I vaguely remember the OP stating at some point that he/she likes to have discussions about gear. And let's be honest, this forum is primarily a gear forum. Perhaps the OP should mention that this discussion isn't necessarily about a decision he's currently planning on making and instead it's about learning and gathering information. With that said, @kye has a fair point. These cameras are only tools for creative endeavors. These cameras will not make the film or color grade your film or make your film good. At the end of the day, story is king. I would suggest to the OP that they take some time and go back and look what people were creating when the DSLR revolution began. Look at t2i and GH2 videos to see what was possible with limited resolution, DR and resources.

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking: ...and this interview with Jill on John Wick and other films where they even talk about specific shots etc: Lots of info out there if you search and go looking for it 🙂

I want one!

Here's my recommendation for SOOC shooting - Sony AX100. As Dave says "Sony AX100 looks better than your camera". Just look at the nice contrast, saturation, and above all... skintones! and in mixed lighting no less! Good luck getting that with a "better" camera - they all have far too much DR to give you a punchy image from their 709 LUTs or profiles.

If you stare at them for hours and hours then you start to notice differences and they start to look normal. That's how all the YT "cinematic" content now looks nothing like cinema. I just watched Kill Bill 1 again, and yeah, it might as well be a different universe... When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

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 😉

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) 😜

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.

I believe it only offers a S35 crop. Due to the compression methods from the 6K sensor, some say that the S35 crop is superior... but I didn't buy a FF camera to shoot in S35. And the difference is probably minimal and I don't care about minimal. But as usual, I'm probably the weirdo here, because I still prefer good 1080p over run of the mill 4K. For instance, I mentioned earlier that I think some lenses shine with certain cameras. After thorough testing, most lenses look pretty good in 4K. By that I mean, most vintage lenses have a certain level of sharpness that is good enough due to the 4K. In fact, I think vintage lenses help to tame the sharpness... resolution of 4K. Now with my 5D3/ML Raw, some of those same lenses just don't work. But with a more modern lens, the image looks really good, in my opinion better than the FP. Here's a shot from the 5D3 with the older non-Art Sigma 50mm 1.4... And here are a couple shots of the Takumar on the 5D3... Obviously, they're different shots so in some ways they're incomparable... And here's a B&W shot with the Tak on the 5D3 that's a lot more interesting... So what's my point... I have way more options than I need and B&W makes everything look cooler. That is all.

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face. Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier. (Not to mention Resolve 19 - which changes the space entirely!)

It’s not just because the B&W makes it ‘arty’. The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series. The acting is great. The cinematography IMO is superb. I have zero criticisms of it and that is rare for me.

One of the reasons that people are getting frustrated is that you're "asking basic questions," but then basically ignoring a lot of the answers. It's like you keep asking what saw makes the best cabinets. When people tell you that you need more than a saw, you start asking people to compare brands of saws. Which cameras has the best color and in-camera noise reduction? All of them. Also, none of them. Go to NAB and ask 100 people on the floor. Every one of them will be completely correct. Every one of them will be completely incorrect. How do you know? Ask almost any of the others. It is also a bit frustrating that you are asking questions that seem like you are trying to choose which camera to buy and after you receive a bunch of answers, you shift your focus and start asking again. If you want somebody to yell at you about which camera has the best colors, go to YouTube. There are dozens of people shouting about how the camera that they bought is the best camera ever. Then just try to ignore the other videos from all the people saying it's the worst camera ever. Heck, there are already dozens of videos just about the Pyxis talking about how it's the best camera released in years or the most ho-hum camera announcement so far this year. Bonus: almost none of the people with those videos has even seen a Pyxis in person, much less actually shot with one.

Same! The color really brought us into a different/alternate universe!

I just realized - I did come to the wrong forum. I just assumed this was a wider community than what actually is. Many view themselves as filmmakers. I do not, I’m sure there’s other forums/places to chat just about equipment etc and not ruffle weathers of those who see themselves as “filmmakers”.

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

I'm just wondering why you were posting a random YT video. If I posted a new thread with every video I liked then the place would just look like my YT viewing history and not a forum where discussions can happen and people can share knowledge etc. I don't know what experiences you had in high school, but I've been an adult a long time and I've become fond of talking to people. I really don't know what you were trying to say? What point were you trying to make? Maybe if you actually typed something then there might be some communication....? There are all sorts of interesting things in that video, so the discussion could be a good one. Let's all leave high school behind and try and discuss things like adults 🙂

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)? We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video. When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

DR of course is not world leading.... In less-than-ideal light is not great, but I would say better than the 1 inch that is surprising. You can see from the motion blur that probably it was 1/60 or less (no ND of course), but still some details in me and the bike.. Compared to 1 inch: In quality is definitely a big step forward, I honestly did not expect this much. I think a combination of more pixel, double bitrate and improvement in processing made it possible. Here an iPhone 15 Pro Max 4k screen grab....

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.

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.

I agree on the focus on the influencer kids. In terms of if Nikon should let RED die, that's a tough call. They could retain the R&D benefits of the RED team (which is likely to have a very very different internal culture to the rest of Nikon and would be best kept separated) but without the RED guys talking directly to folks in Hollywood their ability to do R&D would be drastically reduced. RED definitely are a minor player, but they're not without any contacts.

I've never used AF. Most shoots there are 2 people on camera, so someone pulls focus with a wireless unit. And I can pull focus for myself if not. Any log format that is supported by Resolve's color is ideal. I haven't used everything out there so I'm not going to try to give brand generalizations. Honestly the NX1 was the camera that gave me the best results SOOC, but I can't recommend a discontinued series from 10 years ago. The S5 works really well for me now. The XT3 was great, but if I recall correctly there were issues with FLog in Resolve for a while, so I almost always used HLG and was happy with it. I haven't shot with any modern blackmagic cameras, but I from what I see in other people's footage, they have the best color with their end-to-end color management. Again, that's not personal experience. If you need to get good Rec709 color SOOC I'm not the best reference, as everything I've ever shot has had time for coloring. Another factor that maybe I should state explicitly is that Resolve is the only color software that I like. Assuming you're using a decently nice camera with color management, good software will speed up the color process more than the difference between Sony FX6 and Canon C70.

I hope they enable using the 6K Pocket EVF with the USB-C EVF port. From what I've seen it connects to the Pockets with USB anyways. Would be a nice affordable alternative to the new EVF. A side screen for menus/settings is fine, but having it be 4" seems unnecessary, at least if the body is bigger than it has to be to accommodate it. Hopefully there is a way to easily switch it on/off so it's not sucking battery all the time. I'd much prefer the camera be cheaper and smaller, with maybe a 2" screen for menus, and then they sell a separate 4" monitor with some buttons on it (like a C200 or FS/FX screen), with some 1/4-20's for mounting hardware, that connects to that USB-C EVF port. Or maybe leave the buttons off so it can be cheaper, then refresh the Video Assists and let them have the controls. The new Micro Panel looks nice.

In my experience, the internet has a very skewed view of which brands offer the best colour science. Millions of folks on the internet will tell you that Canon has the best colour, and recently Fuji is in the game with their film emulation presets, but I think this is just confirmation bias in action. All manufacturers have very high quality colour. Even Sony, who used to have the most "accurate" colour and looked very unappealing, have turned it around and now have pretty nice colour. The other great myth is that great colour comes from the camera, it doesn't. Great colour comes from production design, lighting, and colour grading. Here is a thread where I show that it's the work in post that makes the images pop. After reading your recent posts and threads about one aspect of cameras or other, I have some bad news for you... you can't buy good images. Good images come from skill, not equipment. Great images come from skill and large amounts of hard work.

Maybe. It would be a bit silly though - the brand recognition was part of the value of the company. BM is having a difficult time breaking into the cinema ecosystem despite having brand recognition for Resolve, so Nikon buying one of the "big three" brands that was being actively used by Hollywood, and then putting it in a drawer seems a bit counter productive.

That’s what I suspect also. Not that I was ever invested or even interested in RED. But I do hope we see the tech become part of Nikon hybrid ASAP and they bring out their own cinema line a la FX3 and FX30 mold. I could go any way right now (as in next year) and that is currently Nikon for stills and Lumix for video, but really want it all with one brand for a variety of reasons. Fortunately, because E Mount adapts almost natively to Z Mount, Nikon and Sony have the highest level of cross compatibility in the hybrid game right now. I’m interested in raw but would rather dip my toe than go all in so if the RED raw became available to certain existing bodies by firmware such as the Z9… Well I am already strongly considering trading 2 ‘lesser’ Nikon Z bodies for a single Z9 and if…if….RED raw came to Z6iii, it would probably be a done deal for me and I’d be all in on Nikon bodies and E Mount glass.

There's some statistics up to 2019 here - https://stephenfollows.com/digital-vs-film-on-hollywood-movies/

Improbable predictions: BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos. What flavor of pizza? It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

Thinking about this more, I think there are three different approaches. The first is to shoot manually and get it perfect every time. Not even the pros do this with completely controlled sets. Colourists say that they're always making small changes to WB on a shot-by-shot basis, even on big budget productions, so this is only mentioned to make sure we understand that we will be dealing with small changes in post. The second is to shoot on a manual WB. This will mean that you're going to get errors in the WB, potentially being quite noticeable, but they're likely to mostly be in the warm/cool Temp direction. The third is to shoot on auto-WB. I've found that, on my Panasonic cameras at least, the WB errors are pretty minor, and the WB is pretty close - even if the lighting is quite variable and I'm taking shots from different angles and in different locations etc. This means that you'll be making only very small corrections, but they could be in the magenta/green Tint axis as well as the warm/cool Temp direction. We're quite sensitive to Tint errors, so this means that adjusting these is a bit more fiddly, and can take some practice, but is perfectly possible. I know that when I shoot I am very likely to completely forget a manually set WB, and will end up shooting a whole evening at 6500K and it'll be so warm it'll look like I shot it through a jar of honey, so I shoot auto-WB and therefore inevitably have to make minor corrections in post but never have to make large ones. Going back to the minor curves that are part of the Look, and how we can't un-do in post because we don't have a complete profile of that camera/look combination, shooting on auto-WB will mean that these get applied to the footage in a place that will likely only be a very small distance from where they should have been if the shot had perfect WB. Obviously this still depends on your camera, the profile, your colour management pipeline, the tools in your software, your skill in applying them, and the weather and position of the stars etc... so this is also something that you would be best testing for yourself too.

Good question. I think the fundamental challenge of making corrections in post is having the tool operate in a colour space that matches the footage as closely as possible. For example, if your footage is in Linear, and you have a node in Linear, and you adjust the Gain wheel (which literally applies gain by doing a simple multiplication) then they match exactly and the result will be a perfect exposure or WB change, just like it was done in camera. If you get your colour management pipeline correct then you can get this practically perfect adjustment for LOG footage too. The challenge comes when the camera records in 709. This is mostly because cameras don't just do a CST from Linear to 709, they apply all sorts of "make it look lovely" sort of small tweaks. When we record in the wrong exposure or WB then these tweaks get applied wrongly. For example, the profile might compress the skintones, and do so by expanding the reds and yellows on either side. If you shoot a clip where the skintones are too yellow then your skintones might get expanded rather than compressed. No CST will un-do all these small tweaks, so you're left with an image that's curved in all the wrong places rather than all the right ones. So, what happens in practice is it comes down to the individual profile you choose (which will have its own unique set of tiny curves that make that look) and your own ability to manipulate it using the right combination of tools to get the most pleasing result. My results vary mostly based on the luck that I had when correcting each individual test image - your results will likely suffer the same variance unless you're a far better colourist than I am. I'd suggest you do your own tests. Either find a spot in the shade on a sunny day, or even better is to do it on a cloudy day. Do a manual WB against a grey card (or piece of white copy paper if you don't have a grey card), then just shoot a clip of yourself (or a volunteer model if you can get one 🙂 ). Then shoot a range of test clips setting the Colour Temp manually. Then just pull them all into post and see which tools seem to work the best for you, and which gives you the more pleasing looks. One thing I did notice was that I had trouble getting the blacks and shadows to be right when the skintones were dialled in, with them tending to be the opposite of the original tint on the image (ie, if the image was warm then the correction ended up with cooler shadows) so with everything else being equal that might be a reason to go warmer so you get a bit of colour separation in the final images.

Hmm.. 10G ethernet isn't that fast I guess, but it's all relative. For example if you're shooting the highest quality setting "12K - 12,288 x 8040 Blackmagic RAW 3:1 - 1,194 MB/s" then you'll only be able to pull it off the camera in real-time, but that's not likely to be a situation that most people would be in. If you were shooting in 8K (Blackmagic RAW 3:1 - 533 MB/s) then you can copy it off in double-speed, or 8K 12:1 and 4K 3:1 (~133MB/s) then you're copying at 9x realtime. Of course, most productions are going to be rolling for a lot less time than they're stopped in-between takes, so the DIT can keep pace with offloading the files off the camera throughout the shoot without having to stop the production to swap out media. It is a pretty low-cost way to protect yourself against camera/media failures where you'd lose the contents of the media. It's like that old backup saying.. Two is One and One is NONE!

You said it man, Nikon N3 and N30 are practically a given. That's would place them in a very attractive position for these new "professional content creators".

Yeah that's my understanding too, with the ethernet connection. Why else do a 10G on the camera I guess?

As you were the one that asked for skin tones, was there a specific situation you were thinking of when you asked? I thought your question might be related to your adventures with the GX850 and shooting out in the real-world?

Well I’m assuming a DIT on a three camera shoot will appreciate it. pretty sure they are doing a CFe dual card magazine too.

What a crazy presentation with so many new and big features, but what I took away from it is this: 1) Resolve 19 is awesome. 2) When it comes to cameras, Grant knows what's up:

Thank you so much for this hard work. I'm going to look further into this during my holiday. Yes, some of the images with wrong WB and underexposed would be expected to be trash, but it's nice to know there are some editing techniques that save it a little. In all honesty, I'd probably just go for monochrome or tint if this were to happen to me.

There definitely a newcomers who'd be weighing up their options of what to get, and will now choose this new BMD camera. Less buyers for other systems = lower prices on the secondhand market. Simple Econ101 Also there are lots of people who went with ZCam or old REDs or such, specifically because BMD didn't offer what they wanted. But now BMD does! It's very disappointing it is only one SDI output. Should've been two independent SDI outputs! (or at lead have a second output that is HDMI) As the lack of this will make using this game on set rather restrictive. Am curious what a bag/field mixer/recorder from BMD would be like! Something even better than the Zoom F8n??

I wonder the reasons.... 1) the crash of the media industry lately? Thus less money to spend 2) the economic recession in general? Thus less money to spend 3) the continuing rise of social media? And thus the fall of web forums as the place to be 4) just like with photography, the average affordable video camera out today is already "good enough" for filmmaking? (perhaps the decline we've seen in nerdy discussions about photography, will happen now with filmmaking too) Thus a ground breaking new camera no longer feels the same way as a ground breaking leap forward as before. As honestly, look at what we had before the P4K, it did make the P4K seem like a big deal! For its low price and great features. While today the PYXIS 6K is definitely awesome and at a great low price, but we already have so many similar-ish cameras at similar-ish (or cheaper) prices with similar-ish prices. And a lot of the great things in the PYXIS 6K are not things we necessarily need. It just feels like the leap forward from where the competition was beforehand was bigger with the P4K than it is today with the PYXIS 6K

Given the estimated pricing for the Nexus G1 vs the low pricing and great features of the newly announced Blackmagic camera, then I'd say the Nexus G1 project is surely now dead??

At least not new features for the stuff that's baked into the ASIC. At least in the case of Z Cam, the E2 got so many features through firmware updates that it's basically a different camera now than when it was released. 🙂

Jannard (now 74) retired from RED five years ago - https://h4vuser.net/t/everything-changes/10600 - so I very much doubt he'd want an executive role anyway. I suspect that Nikon saying that Jannard and Land are now 'close advisors' is mostly about trying to reassure RED users that the RED philosophy isn't going to change overnight.

As we always say, the camera, especially these days, is the least important part of the equation. Big camera has always equalled big production, but that is more about perceived industry ‘standards’. It all gets rigged out anyway so the size of these tiny cameras gets hidden.

Hehe, I found it. Well done. Congratulations to you, the director, cast and team! @Emanuel