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Nikon to acquire RED

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Re: Nikon to acquire RED

#91

Post by neom »

Jim Jannard, truly a brilliant and under discussed entrepreneur, probably because the guy won't let anyone interview him. From what I have managed gathered over the years, the guy is a seriously cool dude who and also a genius.

"The one thing I will say about Jim is, he’s always been one to have a vision,” Takumi concludes. “When you think about people like that, you think about Steve Jobs, Elon Musk — guys like that. I mean obviously, you’re talking about sunglasses and cameras — [Jannard founded Red Digital Cinema in 2005] — but when you have that, really probably the only way to bring it to life is if you have your own hands on it.”

https://www.gearpatrol.com/outdoors/a740060/jim-jannard-oakl...

https://www.oakleyforum.com/guides/oakley-founder-jim-jannar...

Re: Nikon to acquire RED

#92

Post by tiffanyh »

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…

Nikon doesn't do video.

Referencing the Netflix approved vendor list is misleading, because they aren't in the cinematic video business.

Re: Nikon to acquire RED

#93

Post by rangewookie »

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.

this is accurate ^

Sony is big and gaining more traction by the day. RED is very popular, Personally I know an equal number of filmmakers with RED and Sony. Arri is the premium brand. Canon is almost exclusively used in documentary these days, they had their moment with the 5DMK2 years about but squandered it. Sad really.

Re: Nikon to acquire RED

#94

Post by lightedman »

audunw wrote: post #34
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…

Maybe that's nostalgia.. I personally think the clips you shared look awful compared to any modern camera. I seriously doubt the average person notices any difference between RED cameras and any other modern camera with roughly the same properties.

You can tell the difference between RED and other camera makers just by checking the black levels (because RED has horrid IR filtering and so you get a bit of picture greying.)

It's really noticeable when you fire off a DPSS LASER at 532nm. You can see both the IR beam and the converted visible light beam, making the LASER appear a weird green-purple color.

Re: Nikon to acquire RED

#95

Post by seanw444 »

kthartic wrote: post #45
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…

I don't know how old you are, but as a younger millennial these look pretty awful to me (no disrespect). I'm sure nostalgia plays a part. I feel the same way about videos/sci-fi shows from the 2000s - none of the modern stuff quite feels the same. But as another commenter said, I don't think it's the camera itself - it's the stylistic changes in lighting, camera angles, direction, etc. Each decade has a distinct 'fee…

It seems to be too much now to me. Overproduced maybe is the word? Too vibrant of coloration, too much lighting, too much movement. The best way I can put it is that new shows and movies feel "plastic" compared to older stuff.

Re: Nikon to acquire RED

#96

Post by [deleted] »

ensignavenger wrote: post #86
atoav wrote: post #49

Earlier quoted context omitted.

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?

[deleted]

Re: Nikon to acquire RED

#97

Post by formerly_proven »

kamranjon wrote: post #55
7moritz7 wrote: post #25

Earlier quoted context omitted.

Am I reading this right in that Red has somehow managed to patent the idea of compressing 4K RAW footage on device which holds up the whole industry?

It must be a specific implementation because Black Magic has had their own brand of this for years and don’t seem to have been targeted by RED, though I may be out of the loop on something?

Blackmagic raw is actually debayered in the camera, which would avoid RED’s “compress raw video by color plane” patent.

> A drawback of Blackmagic RAW over other RAW formats is that it does a partial de-bayer within the camera. This means that you are not actually working with fully raw data from the camera sensor. According to the Blackmagic website the “noise management, sensor profiling and new edge reconstruction algorithms” are part of the partial de-mosaic.

Re: Nikon to acquire RED

#98

Post by mschuster91 »

ensignavenger wrote: post #86
atoav wrote: post #49

Earlier quoted context omitted.

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?

Speaking for lighting: all of it. ARRI stuff is expensive AF but worth every penny if you have the need for it.

Re: Nikon to acquire RED

#99

Post by onebot »

hef19898 wrote: post #38
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…

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?

ARRI has a specific look and almost perfect directly out of the camera. Compare it to Red or Sony Venice and you see that it is the most appealing. You can make other cameras look like it, but ARRI is just industry standard and produces amazing colors. Their sensor is just fantastic.

Re: Nikon to acquire RED

#100

Post by klodolph »

onebot wrote: post #99
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?

ARRI has a specific look and almost perfect directly out of the camera. Compare it to Red or Sony Venice and you see that it is the most appealing. You can make other cameras look like it, but ARRI is just industry standard and produces amazing colors. Their sensor is just fantastic.

Is it the sensor? I though it was the processing.
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