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Nikon to acquire RED

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Re: Nikon to acquire RED

#161

Post by emilecantin »

julik wrote: post #158
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…

FWIW "every surface needs to be covered in buttons" is exactly how a Canon person™ once explained to me why they are not a Nikon person. So that checks out wrt this acquisition, at least.

I'm a Nikon person™ because my Canon printer once refused to scan because it was out of yellow... When it came time to buy a DSLR I chose Nikon and honestly I haven't been disappointed.

Re: Nikon to acquire RED

#162

Post by mikeyouse »

rpmisms wrote: post #83
weebull wrote: post #74

Earlier quoted context omitted.

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.

I've seen a handful on my local FB marketplace lately (nowhere near Hollywood or anywhere that you'd expect to see them) but ~$5k for a Epic-X Dragon with a lens.

Re: Nikon to acquire RED

#163

Post by ein0p »

hef19898 wrote: post #160
julik wrote: post #158

Earlier quoted context omitted.

FWIW "every surface needs to be covered in buttons" is exactly how a Canon person™ once explained to me why they are not a Nikon person. So that checks out wrt this acquisition, at least.

The only thing more hilarious than the pointless Canon vs. Nikon quabble are when you throw in Leica shooters into the mix.

Are there any? I think 99.9% of them are Leica “owners” rather than “shooters”. You can’t even properly manually focus on a 60mp sensor with a rangefinder.

Re: Nikon to acquire RED

#164

Post by hef19898 »

lanthade wrote: post #120
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…

I 100% agree on the correlation of price and reliability in the professional video world. My experience is in live event production and while Blackmagic has revolutionized the accessibility of high-quality production it does come with a non-dollar price. I've never had a Ross router, switcher, or other auxiliary gear go down during a show. I have experienced multiple show stopping failures of Blackmagic devices. I on…

After spending my career in supply chain and logistics, I am now at the interface of design and support for complex systems. So, reliability, or rather the full Reliability-Availability-Maintainability-Testability-Supportability, RAMT(S), is really important for my work.

It is quite fascinating, that besides the overall performance and capabilities of a system, pros care about RAMT a lot. Regardless of the field. Nice to see that confirmed, in yet another field I knew next to nothing about.

Re: Nikon to acquire RED

#165

Post by hef19898 »

ein0p wrote: post #163
hef19898 wrote: post #160

Earlier quoted context omitted.

The only thing more hilarious than the pointless Canon vs. Nikon quabble are when you throw in Leica shooters into the mix.

Are there any? I think 99.9% of them are Leica “owners” rather than “shooters”. You can’t even properly manually focus on a 60mp sensor with a rangefinder.

I think we shouldn't go there! ;-)

Re: Nikon to acquire RED

#166

Post by prox »

seanw444 wrote: post #95
kthartic wrote: post #45

Earlier quoted context omitted.

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.

I think it’s called the Netflix look. If you look it up you get several discussions on color grading and other matters.

Re: Nikon to acquire RED

#167

Post by caycep »

_fat_santa wrote: post #87
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…

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.

I suppose this is another illustration of "defaults are powerful"

Re: Nikon to acquire RED

#168

Post by anigbrowl »

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…

Agreed, I hate the way a lot of their stuff looks. It's OK for TV but a lot of their film stuff looks sterile to me. I think that's part of why the Arri digital camera has a lot of fans.

I got my first Nikon camera a few years ago after all previous ones being Canon. At first I was a little taken aback by how things looked slightly smeared when you zoomed into the individual pixels...but I rapidly came to love it. Perhaps their sensors/glass are less 'perfect' but I love more of the pictures I take with it.

Re: Nikon to acquire RED

#170

Post by eschneider »

herdcall wrote: post #90
oven9342 wrote: post #78

Earlier quoted context omitted.

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.

This. Digital video sends a key frame every N frame and deltas in between (well, slightly more complicated...) Lose a frame or two due to bandwidth and you see motion tearing.
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