IronFilm

Indeed there is!  They were smart to choose the Z Cam EVF for it so they won't need a separate wireless transmitter (though there will be a bit of lag with the Ninja in-between).
That one's been discussed here, I think.  Should fit in a niche somewhere, though with DSMC2 VV cameras selling and renting at pretty reasonable prices, I'm not sure what that niche might be.  😅

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) 😜

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

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/ 
 

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/ 
 

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. 

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. 

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.

A film-making version of the 'No-one ever got fired for buying IBM' (computers) situation 🙂
I do wonder if some of that is driven by fear of jobs disappearing (despite the availability of much lower cost tools - e.g. cameras and editing software - having hugely expanded the overall 'moving image' production market).

Indeed. I did not put that very well...
What I meant was that as someone invested in Nikon bodies and adapted Tamron E Mount lenses, I could easily go either way, ie, all in on Sony or Nikon.
At this point in time, ie, 2024, I'm not planning on it however.
My season has already started up and 3 jobs in, my conclusion so far is that I have zero reason (or desire) to switch from L Mount for my video needs as it just works, with my S1H now set up as a static 'camcorder' and my S5ii on run & gun.
The Zf is a beaut and so is the Z6ii with battery grip, both for stills.
The only thing re. the latter set up is I much prefer the ergos of the Z6ii with battery grip, but ideally with the capability of the Zf...
I would also prefer to only have one unit in the stills role and not two.
As soon as the Z6iii appears, I think it's a done deal for me.
The rumors (ha, if you can trust them) are 6k but obviously no mention other than some very recent speculation and hype over RED raw, but I'd take it at launch or firmware update or even never as this for me, at least initially, would be a photo-centric camera.
6k raw has more appeal to me than 8k for sure, just as the smaller/lighter Z6 format (even with grip) for me trumps Z9. But we shall see...

Well I guess Sony is already doing that with Sony RX10, RX100 and even the RX0 have slog!!
So yes, it would be good if Nikon does this too, make it very easy to mix and match together the full range of cameras in a professional workflow. 
 

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.

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".

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??

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

Agreed. It's probably feasible to swap mounts between Pyxis models, but voids the warranty. BM probably manufactures the models exactly the same, with just that part different. Conceivably, they have some annoying firmware difference to prevent electronics from working, but that would be so difficult for them to manage for FW updates.

Wow, what a set of releases! The Resolve 19 presentation was pretty amazing. The audio panning tool in particular looked pretty sweet. Overall, I find the Fairlight tab to be rather unusable. Compared to Reaper, it's much harder to see large projects particularly compared to Reaper's amazing keyframe visualization and track parenting. So I'm probably going to stick with Reaper for large audio projects.
And then on the visual side, a whole slew of AI based tools that look like a lot of fun. Some of the tracking tools looked pretty great, as do the new color plugins.
Ursa Cine looks like a pretty sweet camera. I like the USB EVF solving both power and data at once, without proprietary connectors. I wish/hope that there can be an open standard for it, so other manufacturers can make interchangeable EVFs in that system. I can't say I'm that enthusiastic about the data rates required for 12k, but I guess it's the future. The footage looks good in any case. I'm glad they switched back to a larger, 5" 1080p screen, up from the rather smaller and lower res one on the UMP models. The screen on the old Ursa Mini 4K was nice to use. I'm a little confused on the media drives. I can't tell if they are off the shelf, user-replaceable M.2 cards (that's how it looks) or something more proprietary (which is what Grant Petty implied verbally). I'm intrigued by the USB ports along the right side, for "3rd party accessories".
The Pyxis looks alright. I'm a little disappointed that they kept the 6k sensor from the previous camera, but it's what I expected. Keeping the accessory ecosystem from the Ursa Cine is great. I love the interchangeable side panel. For $3k, I don't think I would buy it over the Z Cam F6, with the main points being higher frame rate, H.265 options, interchangeable lens mount with eND option, and builtin wireless monitoring. I think the points in BM's favor are the screen, physical buttons, XLR connector, color, SDI, and timecode. Of those, color is the only one that I really care about and I don't know if it's that much better to justify the other cons.

The Pyxis looks good. No mention of global shutter so probably has rolling shutter of some amount.
The thing I'm intrigued by is the USB-C EVF. I find out now this has already been out but I wasn't aware of it. Can it be hacked so it can accept HDMI and used on other cameras?
 

Oh, hey!  They finally released a box camera.  Pyxis 6K which uses the same sensor, apparently, as their full frame BMPCC.  Pyxis is compatible with the Ursa accessories including the USB EVF.
Does this mean I'm actually going to want a Black Magic camera for the first time since the original BMCC?  It might.  Let's see the price...

Anddddd there's the box camera!

Oh, posted too soon.  They're also going to release an Ursa cine with a new 17K VV sensor around the end of the year.  That's even more resolution than the GFX 100 has in photo mode.  Same pixel size as the 12K version - just stretched out to 65mm wide.

Ursa Cine looks like a huge upgrade over UM12K - and priced to match.  $15k for the base package.
They kept 12K, but went full frame.  It has much better DR and even though they didn't mention it (or if they did, I missed it), RS looked pretty good in their example footage.  Media is up to 16 lanes of NVMe.  I think Grant mentioned that the camera will come with an 8TB module which is made up of 4 separate drives (each with 4 lanes of NVMe).  The camera also has 10gE for output.
As far as why there's a USB-C on the front, it's actually for the EVF which connects by a single cable.