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Nikon to acquire RED

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Re: Nikon to acquire RED

#81

Post by foobarian »

robertlagrant wrote: post #40
jajko wrote: post #35

Earlier quoted context omitted.

Not maybe, movies are simply shot in different ways, people expect different things. Nothing in this world is static. Now its perfectly fine to dislike 'modern' approach, but in digital era that has absolutely nothing to do with some lens/sensor combo and everything how director decides given scene or whole movie should 'feel'.

Yeah Netflix definitely has a directing "style" across lots of its shows. Two things I've noticed are lots of shaky-cam shot as though someone's spying on the scene, when it's just the camera; and often a top down view from high up with loads of detail to showcase some visually impressive event, in mild slow-mo.

When the hammer is invented, of course you will be eager to solve problems that look like nails. I feel like this happened after quadcopters got good.

Re: Nikon to acquire RED

#82

Post by geodel »

atoav wrote: post #49
hef19898 wrote: post #38

Earlier quoted context omitted.

As a photographer I know next to nothing about film, let alone cinema. Hence the question, is ARRI gear really as good as people say, and as expensive?

The thing about ARRI is, yeah their gear is expensive, but it is just an incredible combination of good design and stellar engineering. Their cameras are surprisingly straightforward to use, definitely easier than a RED or Sony (with their "every-surface-needs-to-be-covered-in-buttons-but-few-are-where-you-would-expect-them"-mentality). Their light gear is just stellar. I have seen ARRI HMI lamps that took 40 years o…

> Generally my experience is that a lot of the price of high end gear goes towards reliability, this is true for most other fields of tech as well.

Great point. I have this in non-professional settings the first question people ask is why this stuff is so expensive. Because if things work with little bit of fidgeting that's good enough.

Re: Nikon to acquire RED

#83

Post by rpmisms »

weebull wrote: post #74
atoav wrote: post #32

Earlier quoted context omitted.

Red cameras are overhyped, but picture quality is not the issue. It is very likely that what you describe is more due stylistic differences in lighting, color grading and editing than due to the camera itself — coming from someone who professionally had to match colors on films shot on multiple different cameras on more than one occasion. Reliability is the main reason why Red cameras are overhyped, but you get good…

Red were kinda the Tesla of the film camera world. New name, new tech, new price point, fashionable branding Vs existing long established players. Thing is ARRI pivoted and covered the new tech pretty well, and had the existing business links into the rental market allowed them to continue unflustered. Red got the layman hype because they seemed to make high quality available to more people at an achievable (but stil…

RED does have a nice image pipeline, and some neat stuff like the Komodo. Wish I still had the spare change to get one.

Re: Nikon to acquire RED

#84

Post by replwoacause »

justforasingle wrote: post #24

Pretty interesting. If you look on netflix approved camera list[0] there are none from Nikon. Personally I think RED cameras are overhyped and are a major reason most netflix shows all look and feel the same. I don't think its the colour grading or lenses - its something about the camera itself that just feels shit and doesn't give me the same access to a scene the same way something like sony's HDVS from 30 years ag…

Has anyone done an analysis into what gives Netflix shows that strange look? It is uncanny valley like for me, so I avoid them altogether. I assumed it must be a blend of camera choice, lighting, and post-processing, and its just awful.

Re: Nikon to acquire RED

#85

Post by ancientworldnow »

ChrisMarshallNY wrote: post #33
dylan604 wrote: post #19

Earlier quoted context omitted.

This will level the field? If you think Canon's cine options are equal to Red maybe it levels it. However, I think this tilts the field away from Canon to Nikon's favor while leaning more toward Sony as well than Canon. Maybe Canon can tilt it back in their favor if they were to buy Alexa.

Canon absolutely owns the video market, in many ways. Different context from RED, but you see Canon DSLR video cameras everywhere , especially consumer-level stuff, like streamcasters. Most videos you see, by semipro influencers, and whatnot, are recorded on Canon kit. Also, the TV and movie industry makes heavy use of Canon DSLR kit for their work. It’s an interesting acquisition, and I wish them luck. The rub will…

I'm a colorist with over a decade experience in the industry. I work on about one hundred projects a year (film/tv/commercial/music video) and about 1-2% are canon (dslrs or otherwise). 70% are Arri, 20% Sony (either Venice or FX line), and the remainder are red.

Canon has almost no presence in the professional market.

Re: Nikon to acquire RED

#86

Post by ensignavenger »

atoav wrote: post #49
hef19898 wrote: post #38

Earlier quoted context omitted.

As a photographer I know next to nothing about film, let alone cinema. Hence the question, is ARRI gear really as good as people say, and as expensive?

The thing about ARRI is, yeah their gear is expensive, but it is just an incredible combination of good design and stellar engineering. Their cameras are surprisingly straightforward to use, definitely easier than a RED or Sony (with their "every-surface-needs-to-be-covered-in-buttons-but-few-are-where-you-would-expect-them"-mentality). Their light gear is just stellar. I have seen ARRI HMI lamps that took 40 years o…

When folks talk about reliability of these cameras, what are we talking about? Like, the camera longevity, or ruggedness? Or like they reliably produce a consistent output, versus producing different results under the same conditions where one would expect consistency?

Re: Nikon to acquire RED

#87

Post by _fat_santa »

atoav wrote: post #32
justforasingle wrote: post #24

Pretty interesting. If you look on netflix approved camera list[0] there are none from Nikon. Personally I think RED cameras are overhyped and are a major reason most netflix shows all look and feel the same. I don't think its the colour grading or lenses - its something about the camera itself that just feels shit and doesn't give me the same access to a scene the same way something like sony's HDVS from 30 years ag…

Red cameras are overhyped, but picture quality is not the issue. It is very likely that what you describe is more due stylistic differences in lighting, color grading and editing than due to the camera itself — coming from someone who professionally had to match colors on films shot on multiple different cameras on more than one occasion. Reliability is the main reason why Red cameras are overhyped, but you get good…

ARRI also has their own "picture style", at least the ARRI Alexa. I remember seeing video on YT where the guy bought a really old ARRI Alexa that was used in Hollywood back in 05 or 06. When they showed some of the footage they took with it, it looked exactly like an mid-2000's big screen movie, I honestly didn't realize those movies even had a "look" until I saw his video.

Re: Nikon to acquire RED

#88

Post by ChrisMarshallNY »

ancientworldnow wrote: post #85
ChrisMarshallNY wrote: post #33

Earlier quoted context omitted.

Canon absolutely owns the video market, in many ways. Different context from RED, but you see Canon DSLR video cameras everywhere , especially consumer-level stuff, like streamcasters. Most videos you see, by semipro influencers, and whatnot, are recorded on Canon kit. Also, the TV and movie industry makes heavy use of Canon DSLR kit for their work. It’s an interesting acquisition, and I wish them luck. The rub will…

I'm a colorist with over a decade experience in the industry. I work on about one hundred projects a year (film/tv/commercial/music video) and about 1-2% are canon (dslrs or otherwise). 70% are Arri, 20% Sony (either Venice or FX line), and the remainder are red. Canon has almost no presence in the professional market.

Good to know.

I realize that my information is dated. Also, the company that I worked for, directly competed with Canon, and it's likely that Canon's influence may have been overstated.

Re: Nikon to acquire RED

#90

Post by herdcall »

oven9342 wrote: post #78
justforasingle wrote: post #24

Pretty interesting. If you look on netflix approved camera list[0] there are none from Nikon. Personally I think RED cameras are overhyped and are a major reason most netflix shows all look and feel the same. I don't think its the colour grading or lenses - its something about the camera itself that just feels shit and doesn't give me the same access to a scene the same way something like sony's HDVS from 30 years ag…

When the camera pans. I find it unnerving. I don’t enjoy watching that pixelated panning. I blame it on the digital recordings. It might probably look better if they recorded it on film but no producer seems to be addressing my whimsical preferences

I think what you're seeing is due to bandwidth limitations: when the picture pans the info changes rapidly and places a bigger demand on the bandwidth, so streamed shows will suffer in quality and show pixelation. If this is what you're seeing, it has nothing to do with the content itself, it will be fine if you watch it directly from disk.
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