IronFilm

This is actually a great point. Maybe Nikon hopes to have more leverage in sensor negotiations with Sony or anyone else.

A few years ago, Nikon was talking about a 1inch sensor they developed which was absolutely class leading. Wat above and beyond anything else in the 1inch sensor space, and better than many FullFrame sensors. And then, like the mythical Organic Sensor of Panasonic, it vanished into thin air.
Sony seems to be the RED of the Image Sensor world. I am guessing they have way too many patents regarding sensors, and they and a few others prevent anyone else from creating something absolutely crazy.
I mentioned this, because its curious how such promising sensors, that should be in modern cinema cameras, never really come to fruition. RED has been bullying the industry on RAW video, and a few others on sensor and hardware development? 
 
https://nikonrumors.com/2021/02/17/nikon-announced-the-development-of-a-new-1-inch-17-84mp-stacked-cmos-4k-1000-fps-sensor.aspx/
 

It is economy of scale, baby!
I see nothing mysterious in this. Nikon just before the move to mirroless was almost given up for dead (it had just lost a very important piece of its business in lithography of electronic components). Now it's out of the picture, but I don't think its Z line has changed things all that much.
So in a very high-tech market with a very small (declining) number of units sold, it is increasingly difficult to find the funds for the necessary technological investments. Sony has a diversified business and can rely on revenues and technologies from so many other markets.
Red in my opinion did not fare any better. It remained a mystery to me how such a small company could make a living in this industry. Where was it getting the money for technology investments. By the way, in Europe Red was getting progressively gnawed off the market by Arri.
So big fish eat little fish. It's a win-win deal for both of them even while keeping their respective brands separate.
The exchange of technologies will be there. Even without fantasy Red by Nikon stickers or the like.
Nikon acquires several patents and technology (raw and global shutter) and enters the cinema market.
Red accesses Nikon's technology and more of its production capacity.
If in a few years we essentially have a Nikon camera inside a Red cube marked Red no one will ever know. Then of course there are a whole series of probable ripple effects in the patent war and on trade agreements with other brands.

Theoretically I agree, but in practice no box cameras have built the required ecosystem of accessories to create compact camcorder ergonomics. The two missing pieces are are the side handle, and the monitor. There are plenty of "dumb" side handles, but to match camcorder ergonomics it needs lots of buttons. The FS7 handle with its multiple function buttons, joystick, etc. is a starting point. There are very few good monitor options under 5", and you need bulky batteries or lots of cables. By that time you've got a cinema rig.
We could really do with some more open standards for camera controls, video, and audio. Lots of vendor lock these days in terms of accessories.

Gee, I hope you never discover what the sports bureaucracy in other sports get up to.... 
Name a Top 10 finisher (not just in the TdF but any Grand Tour, or heck, even any of the Classics) from that era who you're certain wasn't ever taking drugs?
I feel as a fan to be stressing and worrying over who was or wasn't is a futile exercise. Just enjoy the racing for what it is. (and got to admit, the racing during that era was a lot better!)
I never said that. 
Oh sure, and Óscar Pereiro has never had any doping allegation scandals around him! /s 😅😂🤣 If you fully believe he's totally clean then I have a bridge in Brooklyn to sell 😉
This proves the point about how totally different Lance Armstrong has been treated, as a scapegoat and a punching bag for the entire world's media (not just cycling media) to beat up upon. 
(just to be clear btw, I'm no great fan of Lance Armstrong specifically! In fact his existence kinda annoyed me back then, as Armstrong prevented my favorite rider from winning any more TdF titles!! If not for Lance, then I think he'd have gone on to win even more titles than Lance did. Oh well)
(also just to be clear: yes, what he did is wrong. It's wrong to dope. But when you consider the broader context, I find it impossible to get as super hyped up furiously mad about it as so many others seem to be. It's merely disappointing, not some kind of greatest scandal since Watergate) 

I think I know the reason, why Nikon bought Red. I'm very sure they did it just to piss this guy off. He sounds like someone just cut his mullet off. 😊 I like Mike. But seeing and especially hearing him was hillarious. "I am pissed."😂 He just bought an Epic btw.
 

Over on Nikon Rumors, a commentator posted this summary:
http://disq.us/p/2y0773n 
 
Doubt it, that would be a big waste of the $$$$ they spent to buy RED. 

The biggest thing for me, using it, is the realisation that a huge proportion of the features we pay extra for in hybrid cameras are really just workarounds for the problems caused by using a completely inappropriate form factor for shooting video.

Wow thanks@PannySVHS! Never thought my stuff would be brought up here.
The S5IIX, to be honest I haven't been shooting much this year so not a ton of time with it yet, but a bit of a mixed bag so far. Love the new AF, the intraframe codecs are nice to have as my stuff has so much motion in it. Other than that it's mostly the same as my S1, which was/is great (other than the AF). On the negative side, my X has had a problem with looseness and glitching in the mic jack since I got it. Wasn't bad at first as I customized my cage to put a little bit of pressure on the plug, which worked for a while, but now it's gotten worse and I have it boxed up to go to Panasonic for repair. I'm not a fan of the new processing for the linear profiles, I shoot entirely in V-Log so it actually doesn't affect me, but... gross, looks like cellphone footage. I'm eagerly awaiting the S1Hii or S1X or whatever comes next, but they'd better fix that processing.
The piece you posted was almost entirely Cine-D, a couple of V-Log L shots from when there was that "hack" to install it on the GH4 for free- and I'm glad I didn't just pony up for the official upgrade, because I couldn't get around banding in the sky (you can really see this in the shot at 0:17, and it's not just YouTube's compression), would have been a waste of money. For post I just used the Leeming Cine-D LUT, and then his "Rich Velvet" Quickie (look) LUT, pulled back a bit. I liked the density and saturation this gave me, reminded me of some HVX200/HPX170 stuff that I'd seen years ago. Past that just some selective Neat-ing and a bit of unsharp mask. I appreciate you noting the detailed/not oversharp look, that's what I've always gone for.
Lenses, for fisheyes the GH4 had a cheap "manybrand" (Samyang/Bower/Rokinon etc) 8mm f3.5, on a 0.64x Metabones BMCC booster that the shutter would crash into if triggered so I had to remember to WB with a different lens. Then on the G85 I had the native-mount manybrand 7.5mm f3.5, much easier to work with, smaller/lighter/cheaper/sharper, but not as wide of a FOV. The booster/8mm shots are the ones with the slight vignetting in the corners. For regular lenses it was about half adapted Minolta MD/MC stuff, no booster as I couldn't find an affordable one that didn't flare/blue dot like crazy, and half Nikkors on a Metabones 0.71x booster. No Panasonic lenses as I couldn't get good results with manual focus or AF.
Thanks @kye, the truth is that I really struggle with editing and rely heavily on beat/music/rhythm for structure and flow. So that means a lot. The B-roll shots are actually a bit sparser in this piece than usual, this is a reaction on my part to so many other video profiles of female rollerbladers often being padded out with too much slo-mo, B-roll, and second/third angles of tricks, usually to cover for a lack of clips of actual tricks. Chynna is arguably the best in the world at this style of skating so I wanted this to be a bit more "all killer no filler"- 35 tricks in 4 minutes- typically the better men in the sport will have about 25-35 tricks in this length, while the aforementioned female pieces have 15-20, plus plenty of slomo of them tying their hair up and putting their skates/helmets on 😄

What high profile professional sport does not have drug taking?
The only reason cycling gets so much flack is because they're a hell of a lot more transparently open about it & the media actually talks about it.
Which it would be good if other sports & the media did this too! Had more open transparency and discussion. (for instance, have you ever heard of Mohamed Katir? Or the Chinese female distance runners of the 1990s?) 
Which is what the sport of cycling is. 
(especially in that era) 
You're proving my point here. You can't give out all the wins to anybody else but Lance Armstrong, thus it is utterly farcical to remove it from him when you've got no remotely good options whatsoever to replace him with. 

As a hard core fan of cycling racing for many years, I'm quite lukewarm over this, don't really care. If you somehow believe Lance Armstrong doesn't deserve the wins, then who does? 2nd place? No. 3rd place? No. 2nd place? No. 4th place? No. 5th place? No. 6th place? No. etc etc etc 
It indisputable that USA Postal during that era was the king at the sport of cycling (well, at least the #1 when it came to TdF wins, which to the casual external viewer is all that seems to matter. Even though the sport of cycling is so so so much more). Just like Red Bull is right now for F1. 
 

Yup, even just a cheap Panasonic GH4 shooting a wide angle can be better than nothing to cut to if you hit a technical hiccup for a couple of seconds / minutes with your main camera.  (edit: or in this case, your A6600, which I just saw you mention)
Another approach is just to shoot afterwards a bunch of random generic B Roll with your main camera, that you can throw into the edit to patch up any holes with. 
Good reason to get a cardellini and other such clamps. 
Ah, you got a Sony FS7 just as "a hobby camera"? 
Amazing, shows how cheap and affordable this older pro Sony camera is getting. 

At least Nikon gets recognized as part of the "Canikon duopoly" (although in the mature mirrorless era, Sony has broken that duopoly). 
But I agree, it seems Nikon got seen as the forgotten poorer stepchild in that duopoly. 
Even though Nikon has produced so very many ground breaking / top tier stills cameras themselves, such as the Nikon D700 / D3 / D800 / D750 / D500 / etc 
 
Good point. Nikon has got a bit of an old fuddy duddy branding of stereotype cameraman photographers. So maybe a little bit of the bold brash youthful branding of RED mixed in could be "a good thing"? 

I just hope Nikon pulls the reins in a bit on Red's tacticool/bro marketing. It's 2024, we don't need any more RAPTORKILLERXXXXTREME NOW WITH BOMB-MAGZ being put out there.

I believe the issue with RED was that many of their high end cameras weren't as reliable as their Sony and Arri counterparts. That's probably one reason for them not absolutely dominating the market despite their early entry. That along with exaggerated figures on dynamic range, shady proprietary hardware including storage which wasn't proprietary, and some other rubbish which made them almost seem shady to many.
Nikon started early with video on a DSLR, and also 4K, but they didn't really pursue the cinema dream. Most of their video efforts seemed half hearted, and they didn't seem interested in creating some seriously competitive cinema cameras, unlike Canon which has explored it in many different ways. Also, Sony has been slowpy eating into almost everyone else markets, from consumer, to prosumer and then the high end cinema market. Nikon has probably wanting to be part of the cinema market (hybrids as well as true cinema cameras), and that's why they got Pico RAW video, among some other cinema features. Though they never really created anything that sedmed like a cinema camera.
RED has provided it ammunition to harass all competition, based on RED's shady patent, and they can go on a kicking rampage while the patent lasts. By which time, hopefully Nikon does make a few worthy Hybrids, and some real cinema cameras.
RED will have better supply chair, much better reliability, faster abd better customer care, superb autofocus, and improved hardware too. Plus they could get great mainstream sensors at much lesser.
The only thing worth buying in RED is its Illegal right to prevent the  competition from having compressed RAW. I wonder if that's enough for Nikon to buy it, unless it was sold at a throwaway price. 

intoPix's web site lists Nikon Z8 and Z9's N-RAW as using TicoRAW for stills and video (Zf doesn't have N-RAW video but does have the corresponding stills compression options HE and HE* which are similar to Z8's and Z9's HE and HE* so we can safely guess it too is TicoRAW).
Nikon's Z9, Z8, and Zf manuals state that they are "powered by intoPIX technology". Z8 and Zf were launched in 2023, so there you have mentions "after 2022". 
Since RED's earlier lawsuit against Jinni Tech was also withdrawn when the latter used the same argument as Nikon did with the same outcome, yet Jinni Tech didn't need to purchase RED the company to reach this outcome, so we can fairly safely assume Nikon's decision to purchase RED is unrelated to the lawsuit. Since Nikon's argument is that the patents are invalid they aren't likely to sue others for infringing those invalid patents. But RED may have other patents or aspects of patents that Nikon may want to use. And very likely they do want to enter the high-end video camera market since some customers won't purchase hybrids without system compatibility with higher-end video cameras.

Nikon use intoPIX's TicoRAW  for high-efficiency encoding of raw stills and raw video. It's a different algorithm from what RED is using. RED's patent has been suggested to be invalid anyway, as RED demonstrated it in a camera more than one year before applying for the patent (which was Nikon's counter-argument when RED sued them and so the case was settled outside of court, which also happened with Jinni Tech who used a similar argument). I doubt very much Nikon bought RED for the patents but simply to get a foothold in the higher-end video camera market.
 

No it’s not well respected by post.  Thats myth.  I’m going to guess you aren’t in post at a high end facility.  Nobody I’ve met likes or prefers REDCODE over other raw codecs.
Owner operators who own red cameras are the only ones who talk like this.
It’s a high bit depth raw codec and that’s all it has going for it.  It’s actually not that efficient.  ProRes plays back faster. ProRes RAW plays back faster.  BRAW plays back faster.  Why do you think they sold stupid things like RedRocket?
Most high end post output of RED didn’t use REDs own cards for final render because the debayer looked better with the internal decodes of the native app.
It was the first conceptually raw codec(maybe depends what you think of Cineform) but it’s not efficient at all in playback.  Thats why they moved to DCT. As the resolution went up, playback gets harder and harder with Wavelet.  

I want a Nikon Z6iii RED Phoenix now just because of the name!
But probably too soon…??
The Z6iii must have been in development for a while now and should be appearing fairly soon…
I suppose it’s not unrealistic for them to add another codec at this time, but unless something has been cooking behind the scenes for some time, it’s probably unrealistic?
I am still very interested to see what the Z6iii might be, even if it’s the non RED Phoenix edition as part of my possible wholesale move back to Nikon for both my stills (current platform) and video needs, for 2025.

There is one thing in this acquisition of RED that I am sure of and that is all future Nikon cameras will remain black. Even if they have any kind of badging that reads RED.
Joking aside, I could see a 2 tier camera here: Nikon Black (line) and Nikon Red (line) cameras.
The same bodies, DSLR and box style, but with different levels of tech with Black being more stills/hybrid focused and Red being more video.
 

A loyal customer base and a foothold in Hollywood is a pretty significant reason to purchase RED if a company is looking break into that market. 
With this purchase Nikon leap frogs Canon when it comes to cinema cameras. Not a lot of Hollywood blockbusters filming on Canon cinema cameras, but some of the biggest ones are filmed on RED.

If it was any other company but RED I'd be pretty disappointed to see another company getting bought up. But in this case the only thing that upsets me is that the assholes running RED are all getting PAID. 
Nikon has clearly been trying to get their foot in the door when it comes to video users, so buying RED makes all the sense in the world. Now it just depends on what they do with it. 

There is nothing special about REDCODE.  It was sold for a long time as some special mojo.  
It not even wavelet anymore.  It’s been DCT based since Komodo.  Like ProRes and BRAW.
They will keep N-RAW because it’s their own “brand” and now they own the IP.  It’s not like REDCODE is better.  It’s all the same. They don’t need REDCODE and they don’t need to licence it either. 

Exactly. I don't even know what to think. I wasn't planning any upgrade anytime soon, so I can wait to see how things pan out, but how Canon responds will definitely sway me one way or the other.
Hell, this was so out of left field, that for all I know, Canon could announce they bought Arriflex next week.

I really welcome a Red Powered Nikon FX3/FX30 competitor with Redcode, I would chuck out my FX3/FX30 in a beat!