Davide DB

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? 

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.
 

It would be utterly ridiculous for Nikon to absorb or abolish the Red brand, especially since they aren't natural competitors. They purchased Red for the Redcode patent so they didn't have to license compressed raw from Red or ticoRaw.
It's really that simple.
If they use the Red branding in any future Nikon release, who knows. If they decide to venture into the low tier cinema camera market, it will involve the Komodo and they won't change the name of it other than add Nikon to it somewhere. Maybe... Nikon CineRed Komodo. They won't take the Red name away, they'll just add Nikon. 

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 that this is a huge market and definitely where Nikon should focus their attention, and an N-line of cameras would be a good way to do that, especially if it took advantage of the tech that RED has.
This doesn't really have much to do with RED making products for Hollywood though - that's a different brand making different products for a different market.  
Mass-market car companies do this all the time.  They use their tonnes of cash to buy an unprofitable sports-car company and get their techs to work on making hot hatchback versions of their cars, and perhaps a new premium line of sports cars under the mass-market brand, but they also help the sports-car brand to improve quality control and keep on making new models.  They don't just close down the sports-car brand.
Virtually all sports-car brands are owned by another manufacturer that makes family cars.

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. 

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.

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

If your budget is decent, the Canon R5 is really not much larger to begin with when compared with the Sigma fp, does decent 12-bit raw internally, and has a decent flippy screen.  By the time the fp is rigged to do 12-bit raw (and you add a small grip so you can actually hold the thing!), it’s already about the same size as the R5 (and still has a fixed screen).  It’s one of the reasons I sold my fp and fp-l and kept my R5.  Sometimes I thought about shoving the fp into a small space without a screen to get something, but then I remembered there’s no built-in wifi and by the time you add even the smallest cineeye/hollyland transmitter to it, it’s… about the same size as the R5.  😛

If the new BMMCC 4K can do monitoring over wifi to a phone and can do 12-bit raw to a really small external SSD (like a Sabrent Nano or something), it could work well for that kind of thing.  If not, by the time you add an external screen (even the VL35) and small SSD, you have a kit about the size of an R5 (with worse ergonomics).
(With that said, your computer’s likely to be able to edit raw from the BMMCC a lot more smoothly than from the R5 - my M2 Max is just barely tolerable with R5 stuff in Resolve)
Also, I’d add in (though I haven’t used) a hacked EOS M as an option for a teeny tiny camera that can record raw internally.  From what I remember, it can do some sort of 2.5k, though that might only be in a 2.35 mode or similar.

Dunno what tests those were, but I've shot in all formats on my Z9s, and N-RAW is definitely better than H265. More latitude, less/no NR, less/no sharpening, etc. Not to mention, of course, the freedom to change WB and exposure in Resolve in post.

I doubt it - for example, AFAIK including MPEG/AVC/HEVC in a product requires license fees to be paid to the patent holders (normally via a patent pool licensing organization). As end users we don't usually see those fees directly, because they are paid by the companies selling the products i.e. the fees are included in the purchase price.

intoPIX and Fraunhofer IIS are the two major contributors to the JPEG XS patent pool - https://www.jpegxspool.com/ and https://www.jpegxspool.com/s/JPEG-XS-Patent-Pool-Licensed-Patents-01-Oct-2023.pdf  and https://www.tinynews.be/jpeg-xs-intopix-belgique/
As JPEG XS uses a wavelet transform, there is a reasonable chance TicoRAW uses a wavelet transform in its implementation, especially as JPEG XS has built-in support for RAW Bayer/CFA images - https://en.wikipedia.org/wiki/JPEG_XS#Sensor_compression
But as intoPIX is a developer of video compression technology, TicoRAW unlikely to be "just another branded version of something that someone else wrote."

Jarred Land speaks out about the Nikon buyout here:
The question is.... is he sticking around at the helm, or will Nikon replace him?

Mark my words TicoRAW is a dead dodo
Nikon is all about R3D from now on and it will be on all their cameras in place of N-RAW which is going away.
I don't know if it has already been mentioned earlier in the thread but Adobe has already put on hold support for it.

I'll chime in with my usual advice about colour grading.
The simple fact is that colour grading has a much more significant role in getting great looking images than the camera does.  I'll also re-enforce the points above that what you point the camera at is more important than anything else.
When we look at something shot on ARRI or RED or the high end Sony cameras, the reason they look great are 70% the scene, 25% the colour grading and 5% the camera.  I know this is a bold statement, but I stand by it.
Colour grading is the elephant in the room of all online discussions about cameras.  Everyone is looking at sample videos and going "wow, this looks great - I want to get that look without doing any colour grading or work in post at all!" and it's just not true.
If you need more convincing, here are a few things to look at:
The BMPCC 4K can match the Alexa almost perfectly...   So, why don't all P4K videos look as good as Netflix shows?  It's not the camera! The image from the GX85 is more flexible in post than you think...  @John Matthews I haven't forgotten about doing a follow-up with skin-tones in it. Simple colour grading > Camera colour science...  I compare a few examples of the 709 version of some professional grade images with the final colour graded image, and it's pretty obvious that the 709 version looks quite plain - a lot like the images we get when us mere mortals shoot The best film-making advice I ever got was to do with colour grading, but it helped me improve my shooting, editing, sound design, etc etc, the whole lot. Here are a bunch of GX85 shots SOOC that I took in Korea last year..  this just goes to show you that not only is the GX85 a very capable camera, but that it's the subject that you put in front of it that really makes the difference.  Of course, colour grading will elevate these beyond that level. High-end TV shows and movies look nothing like the standard images out of a camera... In this thread I compare some standard images from ARRI with real images from TV shows and movies and it's pretty obvious that not only are the colours significantly changed, the real images aren't sharp and clean like the videos that camera YT seems to idolise.  The goal isn't technical purity, the goal is creativity, and this means taking your sharp and clean images and giving them some character.   I could go on (many will wholeheartedly agree on this!) but long story short...  the camera is a minor part of the journey that the image takes from finding / creating something cool to point it at, to all the work done in post.
Also, learn to edit.  Well edited bad-quality clips are better than boring high-quality images every time.

I don't know what's going on in your world, but I can tell you it doesn't matter how you fiddle the menu on a camera that leads to good shots.
All the real work that happens with a good shot starts outside of the camera.  The camera is honestly one of the LAST things you should fret about.
I swear to God, you can be a better shooter by visiting a museum full of Romanticism Artistic movement paintings.
Study how light affects a scene, and you'll become a more sophisticated videograper that way.
If you can't train yourself to "see light" you're always gonna struggle.
I'm not being flippant here.  It's the cheat-code.  Skip all the tech BS and learn light.  Take a classic art appreciation class.  Learn composition skills.  These are the things that actually make a difference.  Train your eye to be a shooter and a person that can paint with light. 
Sure, you can be a pixel nerd, but that has a low ceiling of accomplishment and, honestly, advanced tech makes those acomplishments not a big deal to begin with.
And look, when you study art, you'll learn more about the human condition along the way, maybe even some philosophy.  Win-win.

You can adapt pretty much adapt anything and everything to Z Mount except L Mount and even convert what are otherwise manual focus Leica lenses to become AF lenses.
OK, regarding the latter, it's not amazing AF, but at least something...though not something that especially interests me and I prefer the native manual focus options for Z that were previously primarily L Mount only, from Voigtlander.
E Mount lenses on Z bodies with an ultra thin adapter is great though! Nikon have a range of 'native' lenses that are essentially rebranded older gen Tamron E Mount lenses, but I prefer the newer gen myself.
 

I think it's because Z-mount has the shortest flange to sensor distance of the common mirrorless mounts. So it's possible to make a (2mm thick!) E-mount to Z-mount adaptor e.g. the Megadap one, but not the other way round.

Would Nikon go to such a small niche market like this, that is PL mount lens. I personally think they envision a Sony like lineup from red in the future. Option one would be to start just above the z9 price bracket with a new Komodo directly in competition with the Sony FX6. A 6k global shutter camera with a video camera form factor with XLR input, timecode etc. but this time it would include Nikon super good autofocus, Stabilization, CFexpress memory, Z mount and if possible internal ND. I don't know if their is enough space for the later. 
This type of camera, will be the type of high volume camera, that Nikon can use to make with little change some Cine like Z mount lens, because lets not forget, while the Z mount are the most adaptable lens mount, the Z lens are the least because of 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 

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.

Same for a lot of us, ie, more idle chat and musing than anything.
Some folks immediately think that because you have an interest in such things, you are unhappy with your current situation and simply believe ‘The Next Thing’ will fix all your issues.
I don’t think that is so much the case here where a lot of our musings are more, “if I was not invested in X, I might be looking at Y or Z” and nothing wrong with that in my book!
And ultimately it’s all harmless!