EduPortas

Problem is their own 40mm FX came out before the 24mm DX. I'm guessing most Z DX buyers like myself were starved for a small, fast and light lens for our Z50s. Having a 40mm F2 made buying a 24mm F1.7 almost redundant. The 40mm is very good for the price.

There's a huge difference between 12-24 fps. As mentioned here various times a great deal of experimentation was requiered to place the exact number of fps for something to look "right" at 24. 8-12-14-18 look very dreamy for sure yet no quite "right". The other and much higher fps you mentioned from the article look sharper = more real = more prone to danger.

Better than most DSLRs, though.

Nope, not there. I'm referring to high-contrast scenes in the last third of both films. Dialogue heavy, so the camera lingers on the subjects and the noise really becomes apparent. Just watch the films and you'll know what I mean. It's impossible to miss. Great pictures both of them.

No, watch both films. It's jarring and, as I said, you just can't ignore it. "Noise floor", "mosquito noise", "photon entropy". Poteito, potato. Called it how you prefer, it's there.

I don't know, I'm just looking at the final product on screen. Clearly someone in the final edit made a choice and decided to keep all that digital noise after lifting the shadows.

No bro, it's the digital noise that creeps up when you lift the shadows in a violent fashion and all kinds of artifacts show up. Blue dots, green lines, random pixels everywhere, you've seen it.

That's interesting, thanks.

Slow weekend. Watched "Anatomy of a Fall" and "The Zone of Interest" on streaming back-to-back. Both were nominated for a ton of different awards, including this year's Oscars. Now I understand why. They are truly fantastic narratives produced in creative poles other than Hollywood. And yet, I couldn't help but notice that BOTH films feature scenes full of mosquito-noise in the last third of the narrative. You cannot not see it. High contrast scenes in both of them. From extreme shadows to extreme brightness in the same frame. A good amount of time of on-screen mosquito noise, not a second or two. The director just said to the editor "fuck it, lift the shadows as much as you can and we'll show it that way, with all this digital noise. Who the hell cares". Just saying guys. Maybe we're just too close to the trees.

What? No love for Tascam's DSLR recorder? Menus are close to impossible to understand but lots of YT videos out there to make it work.

It's all marketing. There is no such thing as "tech press" in YouTubeland. And even if there were something akin to it, companies would find a way to grease editor's hands, as the auto world has shown. No one in their right mind trusts car magazines anymore. And with good reason. "Ad-mags" I think they call them? Well, the ad-mag for the camera world is now YouTube. Those guys in Tokyo allocate some $$$ for Marketing and they want/need results in their investment. It's just a spreadsheet. But that Excel file has a clear line between Marketing budget and Journalism/Media budget. Two different beasts completely. It's incredibly strange youtubers are asking journalist's rights when they have played the Marketing game for a long time now. Why would they ask the respect journalists command when they have not won that respect in the slightest?

That's true. It also points out to the clear way any of YT personalities can semi-guarantee being objective. "I paid my cash for this thing. Here's what I think about it". Put your money where your mouth is and all that.

You're right friend, but if he intends to buy or rent gear by himself then he'll transform into a "retro gear reviewer" outside the consumerist agenda of big camera brands. I've left him a message in his comments section saying he wants to be treated like a tech journalist when companies like Canon and Panasonic classify his and his collegues chanells in the Marketing department. Those are two very different beasts. Tech journos want to review the product ASAP. Marketing guys want you to be 100% positive with your piece to produce more sales. It's that simple. He didn't play nice with the Marketing guys and they cut him. By their logic that's valid. By youtuber logic it's a travesty.

You better believe Undone will delete that video ASAP. His "career" as a camera reviewer is gone, yes. But I'm 99% sure he's stepping over some legalities the companies that gave him gear stipulated in the small letter of the contracts. Save that video before it's gone baby.

It's neither.

US$85M is a pittance for Nikon. Clearly RED sold their patents and IP to Nikon and little more. No further proof needed that Nikon will integrate RED's tech into their own cameras and Z mount and slowly let current RED owners rot. They have zero incentive to produce a new RED camera with any other mount than their Z flavor, if any. Let ARRI dominate the cinema world and open up that crunchy RED codec to tiny video producers everywhere at an affordable price.

Really interesting stuff from the inside in this interview with Jarred Land. As everyone can see, Nikon and RED have tremendously different working cultures. This only confirms my suspicion Nikon will slowly dismantle the RED brand and absorb them organically

Possibly, but he's seeing first-hand the HUGE shakeup in RED and he decided to cut ties before the sheet hit the fan. That in itself speaks volumes about the new Japanese work-culture that will be enforced sooner rather than later. It's Nikon we're talking about. One of the most, if not THE most, hierarchical imaging company out there.

Yep, the future will bring really interesting things to the video world. Hopefully, with less expensive gear.

They bought RED bc of their tech, not their brand recognition. And the whole lawsuit entanglement, obviously. I HIGHLY doubt they will juggle the Nikon brand with all its complexity AND a cinema line of cameras. That won't look right to investors. Nikon has been ruthless the last couple of years in trimming the fat. They finally made some gains bc the pushed new consumers upstream with the Z-Line. No way they'll let competitors (Canon in particular) use a Red camera with a Canon lens now. That's out the window ASAP. On the contrary: they'll fortify the Z-Line and keep new customers there. It's all about the Z-Line and a new video branch in that ecosystem.

Not likely. Japanese companies are famous for their anti-gaijin philosophy. They don't like foreign company work-cultures. It's not their style of business. RED has some good products but Nikon will always see them as a "lesser" brand, not comparable in pedigree to them or Canon. Give it a two years and they'll dismantle the entire thing or suffer administrative chaos. They'll dump 99.9% of the work force in RED once they show them their big-brain stuff. After that, it's one cut after another to keep their stockholders happy and fortify the Nikon--not RED--brand.

RED wil be integrated and the brand will disappear, friend. Don't be gullible. That's how Japanese companies go about these things. You may like it no, but that's the way it works. NIKON just fortified their brand with some cool video features. They don't NEED Red. Don't believe me? The Chief Design Officer at RED for 18 years just resigned. He knows practically everyone will be let go once Nikon absorbs their tech-savvy and slowly let the RED brand rot. https://www.newsshooter.com/2024/04/16/matthew-tremblay-chief-design-officer-red-digital-cinema-resigns/ As I said, Nikon has a long history as a brand and wants to capitalize on a new market (deep pocket influencers and some cinema buffs).

The plot thickens, my friends. Some Nikon excecs spoke to PetaPixel: https://petapixel.com/2024/04/15/red-will-continue-to-support-canon-rf-but-nikon-is-considering-making-cine-optics/ In summary, they don't see themselves releasing a Nikon Z-mount RED camera in the near future. So the writing is on the wall, IMO. This all but assures they will slowly let RED cinema line dwindle away and introduce new gear with their Z-Mount the tech they adquiered from RED.

Yes, that's true. However RED has been a minor player in the high-stakes Hollywood cinema production for some time. ARRI and Sony seem have an iron fist on that market. If were a Nikon exec I'd forget the Hollywood market altogether and focus 100% on the influencer kids with some new devices to make the brand cool again and throw a bone to the diehard photogs with new and improved video features in their MILCs.

Yep, but there's some precedent. Canon made a serious attempt at these pros with the C-Line. It's trying to do so and seems profitable. But the REAL market is the digital crowd using pro-equipment but posting their content exclusively on social media. Nikon wants a piece of that delicious pie. Their new products could be very un-camera like and cater to this new video market and maybe they'll even catch one or two pros in the process.