Davide DB

I absolutely agree. You buy and close a competitor company but this is not the case with Red. The whole deal only makes sense if they keep the Red brand which is their gateway to cinema.

Exactly what I was looking for. It's a shame there's not a more recent stat. Thank you

I was looking for market share data on cinema cameras but only found financial data. Instead I would be curious to know what percentage Arri, Red, Canon, Sony, Pana share of film productions. Some time ago I had seen a similar statistic restricted to Oscar films but I can't find it again.

But why, did you imagine something different? But really? There will be a mix of technologies and Nikon puts one foot, or rather two, into the cinema market. Which is the whole point of the operation.

the amount of noise in these videos and its ugliness is staggering. Especially the second one. There is no info on the ISO value but it must be exaggerated.

The subscription model is the ultimate suck of suck and yet it continues to spread like a virus. It's not hard for me to imagine, it's now a classic for the products of our photographer cousins. Adobe is absolute evil. GoPro is very close to it and I would not be surprised if this model is proposed as a complement to smartphones and computational photography that will probably rely more and more on A.I. Until the A.I. bubble bursts there will be money to pay for power to the huge datacenters, after which users will have to pay for their own little games. https://locusmag.com/2023/12/commentary-cory-doctorow-what-kind-of-bubble-is-ai/ How much does a little "free" game like Insta Ace Pro's WARP AI cost in energy terms?

From the article: Then I saw the patents registered. But does the fact that it is under the auspices of the JPEG consortium mean that the implementation is free without cost?

yes few messages ago

could you elaborate on this?

My signature in another forum is: "your new gear will not make you produce any better art than you already do" Maybe it was something someone wrote here years ago. I only i could remember, I would credit him

hahahaha

Yes it's my fault. I was confusing S1R with S1H. What I meant to say is that Pana will be coming out to market with a flagship model quite some time after its competitors set the standard of what to expect from a hybrid camera today. So it's tough for Panasonic to catch up and maybe to add to that. A7S4 seems to be behind the corner. Of course, mine are just musings at the bar with a beer in front of me. I have my GH5M2 and I'm just waiting for this blessed GH7 to come out to change the camera. PDAF is too important for my underwater and wildlife shooting. Panasonic seems to have bad timing in switching from CAF to PDAF in all its lines. I would have already picked up a G9II if it weren't for the fact that an underwater housing costs 4500 euros so I'm taking my feet easy on upgrades.

Well I hope these are not the features of the future Lumix FF flagship. The specifications for the video look very basic. 8K@30p 10 bit but only 4:2:0 internally.

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.

I don't know exactly. Here some comments from the author https://waterpixels.net/forums/topic/715-fight-crab-rough-box-crabs-fighting-away-in-east-bali-lumix-lx10/