Nikon to acquire RED

Post by [deleted] » Fri, Mar 08, 2024, 3:42 AM UTC

sebben wrote: post #180

MaxPengwing wrote: post #113

Earlier quoted context omitted.

Yes. But No. Red V-Raptor S35 XL has 16.5 stops of dynamic range with 250-12,800 ISO. ARRI Alexa 35 has 17 stops of range with 160-6400 ISO. Both use rolling shutters, both have native ISO of 800. Alexa has better low light noise reduction at higher ISO, but Alexa is sharper and has better dynamic range in low light since it uses 8K to 4K down sampling. The real difference is in the colour straight out of the chip an…

You can’t compare the spec sheets. You need to look at the over and under tests. There is no camera close to the Alexa35 in dynamic range

Post by staticautomatic » Fri, Mar 08, 2024, 4:32 AM UTC

skhr0680 wrote: post #189

Auracle wrote: post #128

Earlier quoted context omitted.

Broncolor is expensive just because they're old and entrenched, and some people are always in the mindset that more expensive must equal better. If reliability is a concern, you can easily buy multiple Godox units of approximately the same specifications (or better) for the same price as one Broncolor.

> If reliability is a concern, you can easily buy multiple Godox units of approximately the same specifications (or better) for the same price as one Broncolor. I got burned enough, once even literally, by cheap Chinese speedlights that I am now a firm subscriber to the philosophy of "buy once, cry once".

Post by kranke155 » Fri, Mar 08, 2024, 10:52 AM UTC

replwoacause wrote: post #84

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.

Post by ensignavenger » Fri, Mar 08, 2024, 2:42 PM UTC

sebben wrote: post #179

ensignavenger wrote: post #86

Earlier quoted context omitted.

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?

I work as a director of photography and own an Alexa Mini. Reliability in this context means that the camera will record and the footage will not be corrupted on the media. Film sets are very rough on equipment and things break all the time. Sometimes one films in very harsh conditions that anre either very cold or very dusty and hot. Often you don’t have the luxury of being able to repeat a moment or you have travel…

Post by strogonoff » Fri, Mar 08, 2024, 3:35 PM UTC

mafuyu wrote: post #177

strogonoff wrote: post #77

Earlier quoted context omitted.

Blackmagic sold their cameras with support for CinemaDNG advertised, and removed that support after the fact, leaving only BRAW that more or less locked you into Resolve. This is a deal breaker for anyone using OSS processing pipeline, since 1) BRAW isn’t lossless, AFAIK and 2) it was impossible and to this day is problematic to convert BRAW to something raw development tools understand (DNG). Luckily, I noticed that…

As a fellow fp enjoyer, I will point out that I believe the fp's CDNG support avoids patent issues by only supporting output to USB drive. RAW video to internal media is where Nikon ran into trouble. It's also a bit of a bummer how terrible the fp's h264 encoder is, but the CDNG makes up for it, I suppose.