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Now nikon gets to be the patent troll. Red will probably get to pretend to remain a company for 2 years and then nikon will probably fire the entire workforce, and we get to hear about “the constantly changing landscape of media” in some press release justifying the gutting of the company.

First finished piece using the FS7, first live band video. This was a bit of a nightmare, to be honest, but it taught me 4 very valuable lessons for next time: 1. Get to the venue before the soundcheck. Set up and crucially... 2. Get the band to do a run-through of the song you're covering, ideally with the stage lighting as it will be later. 3. Get a second static view that you can just leave rolling. 4. During the gig, start rolling and don't stop until the end. You can probably guess from the above that my major problem wit this piece was lack of coverage, which is why some of the cutaways don't quite fit. Having said all that, it was a great experience and the band are happy; so on to the next one!

Oh, I've imagined all kinds of things for it, but in the spirit of this type of camera itself (i.e. practicality), I don't expect to ever see them realized. I don't think they sell enough units to have multiple models in this space, so I doubt the XF400/XF405 will ever get direct similar-size replacement; the XF605 seems to be the replacement for both the XF405 and the bigger XF705. Raw and global shutter would probably land flat on their face in terms of attracting the buyers of these types of cameras, who probably would be more interested in better battery life, better stabe, a longer and wider focal range, streaming and broadcast hookups, etc.

News today https://www.nikon.com/company/news/2024/0307_01.html

Gerald just dropped a video talking about how he has discovered that camera overheating tests are almost completely unreliable. TLDR; he tested the same camera in the same environment with the same settings, and got results ranging between 55 minutes and 8.5 hours. Here's the video, which talks about it in much much greater detail: I think this pretty much means that camera overheating is an un-testable risk for any camera without a fan. This is because: The tester probably didn't tell you what ambient temp they tested at The tester definitely didn't tell you what airflow and ventilation was present The tester probably didn't test all the modes you will use The manufacturer might update firmware after the testing and completely invalidate the data The test won't have been in the situation you're recording in and, lastly, in case you're still with me... The test is probably a random number generator anyway I think that overheating is now officially the camera boogyman. Sceptical of overheating in general? I've personally missed moments when my iPhone overheated........and that's a camera that no-one has identified as having a thermal management problem.

I just hope Nikon pulls the reins in a bit on Red's tacticool/bro marketing. It's 2024, we don't need any more RAPTORKILLERXXXXTREME NOW WITH BOMB-MAGZ being put out there.

what else would you call it?

you don't have to, your value judgement is irrelevant. the fact is that nikon now gets to control red's patent, and now gets to decide who gets to use "compressed raw" on their terms: either we get more more cameras with internal raw from other companies, where nikon will be profiting from the income of licenses (imo unlikely) or nothing changes. instead of red going after other companies in court, it's going to be nikon, and thus having another source of income by claiming damages (imo more likely) this was red's business model after all. nikon probably doesn't care all that much about making products or entering the cinema market. my prediction is that red as a brand, as well as their cameras will cease to exist in a few years. nikon will probably keep making hybrids with a focus on photography, and i doubt that any of the red tech will trickle down. why would it after all? Who's going to buy a nikon branded camcorder in a world where sony dominates the market? reds are kinda dead in the european high end rental market, why would nikon even start? here's a value judgement from me: lol

Nikon use intoPIX's TicoRAW for high-efficiency encoding of raw stills and raw video. It's a different algorithm from what RED is using. RED's patent has been suggested to be invalid anyway, as RED demonstrated it in a camera more than one year before applying for the patent (which was Nikon's counter-argument when RED sued them and so the case was settled outside of court, which also happened with Jinni Tech who used a similar argument). I doubt very much Nikon bought RED for the patents but simply to get a foothold in the higher-end video camera market.

All good points @kye - and thanks for taking the time to watch. I did, in fact, go for a loose shaky style in the actual shooting as I thought it would suit the style and the song - and I made it even looser with some zooms and pans added in post. This was very much an experiment - I was mainly there to do stills (which in part led to my not having prepped as much as I should have done). Overall I'm satisfied that it's worth me doing some more of these but - as you say - I need to do some deep background on the genre as well!

No it’s not well respected by post. Thats myth. I’m going to guess you aren’t in post at a high end facility. Nobody I’ve met likes or prefers REDCODE over other raw codecs. Owner operators who own red cameras are the only ones who talk like this. It’s a high bit depth raw codec and that’s all it has going for it. It’s actually not that efficient. ProRes plays back faster. ProRes RAW plays back faster. BRAW plays back faster. Why do you think they sold stupid things like RedRocket? Most high end post output of RED didn’t use REDs own cards for final render because the debayer looked better with the internal decodes of the native app. It was the first conceptually raw codec(maybe depends what you think of Cineform) but it’s not efficient at all in playback. Thats why they moved to DCT. As the resolution went up, playback gets harder and harder with Wavelet.

Why? You planning a moon mission? Just trolling 😉

Unless it had the original Cinema DNG ratios that Blackmagic Cameras had (3:1 5:1 8:1 12:1). Despite the huge compressions, those should still be superior to H.264 and H.265 based codecs.

I feel very confident being a reader of this former for the past decade to fully understand every aspect of this acquisition.

I would hope so but possibly/probably too late for me as I don’t have the luxury of waiting to find out as I need to work this year, last year and the year before within the system. I’m not being in any way facetious John as I am sure you will appreciate, but it doesn’t help with most/any manufacturers in this industry who play their cards quite close to their chests before suddenly announcing, “ ta da, our latest lens”. Brand specific strategic planning isn’t always easy when you have such specific needs as I have! Did I make a mistake going L Mount? Kind of, but then there weren’t any other real viable alternatives at that time…but at the same time, any/all could provide what I needed, but it’s really only in the last couple of years that the really niche items that work for me, have come into existence. A long, relatively lightweight and compact at least APSC, but preferably FF fast zoom. Tamron E Mount. Only player on the planet! There’s workarounds of course, but it’s complicated and niggles with every system and combo, but E Mount adapted to Nikon Z is I think, a bit special. For my needs. I’m happy with all my kit for 2024. It is easily the best set up I have ever had. EASILY. Could it be better? On paper spec-wise maybe but not by much and for me going forward and making any changes for 2025 and onward, it would have to be because it is at least; smaller, lighter, even more ergo friendly and without sacrificing any performance…and possibly gaining some. Such as my interest in 60mp+ sensors and 6k 50p internal, because that opens up opportunities to carry less bodies, smaller and lighter lenses, compensating with cropping and pulling stills from video. Leica SL3? In my dreams… The simple reality is the maths doesn’t work even if I had the beans…and a crucial lens is still missing from that line up. S2H could change things, but the glass for me will always be the sticking point for me with L Mount in the future. Or rather the combo of bodies and lenses.

The biggest problem of the camera was not tackled yet - specially for video. Since all the previews are on the "is pre-production, wait for the final review" mantra, battery life was not really mentioned much. They made a newer IBIS, kinda smaller than the previous, hence the power consumption might be lower. But...I had tha X-S10, with the same smaller battery, and it had the worst battery life that I've known. On one instance, I've shot around 45 stills, then recorded around 18 minutes of 4k...one battery gone. For semi-pro use, 4 batteries in a day was almost certain. There is another factor to consider (and it connects to the overheating video from Undone): there are two 4k modes on this camera, as in the X-T5. The "regular" 4k mode is not oversampled - it have some kind of line skipping / pixel binning. The image quality is worse (not VERY worse, but noticeable for trained eyes), but it requires less processing (and probably generetes less heat). The 4k HQ mode is oversampled, and uses a mild crop. All the battery tests for video that I saw used non-HQ 4k video, in this case the battery life does not look so bad. But I could bet that with 4k HQ mode, camera in Boost mode and with IBIS, the battery would be chewed. For the main targeted users, probably will not be a huge issue. But if the intended use for vídeo is a bit more than short takes, probably will be.

Or, maybe (TI guy thinking problem) there is some serious issues with the firmware on the cameras and there are some processes causing memory leaks or going wild.

Astonishing. Interesting times ahead… Have Nikon ever made sunglasses?

It's a great camera. Now, imagine it with global shutter and raw recording.

I added a "zoomy camera" to my quiver in 2019- the Canon XF405. Basically a bit chubbier version of the soccer-mom sized palmcorders being discussed here, with a top handle/XLR box (which comes off). 1" sensor, 25-380mm lens, C-Log3 was added via firmware about a year after which I was happy about. The XF fills a specific role in my kit and does it well- a small-enough-to-always-bring-it cam for three-point-handheld-with-the-EVF shots that need AF and smooth zooming during the shot, in good light, without a need for massive DR or super shallow DOF, in 4K60 to twin SD cards. Resolution is decent in good light, obviously doesn't match say my S5iiX's 6K-to-4K downscale FF mode, but it does look good cut with the 4K60 from APS-C mode on that camera (which is barely oversampled). Of course I would love for it to be 10-bit and intraframe, have more external controls, be better in low-light, EVF could definitely be better, etc etc; but I'm happy with it for the $1800 I paid for it used. The XF605 checks some of those boxes for an upgrade but it's bigger than I want and still too expensive. Maybe in a few years when used prices drop. The HVX/HPX/etc are still so popular with skaters/action-sport folks because they render motion so well (CCD=global shutter), there are workable fisheye adapter options for them, and they're pretty cheap nowadays which is important when your cam is often in physical danger (dropped when filmer falls while follow-filming, or cam gets kicked/hit, etc).

I had a TM700, it was not all brilliant, fan noise was picked up by the mics, and the codecs were not great with quite a bit of compression artifacts noticeable, but was much better than most other options at that time. The form factor though is definitely much better than using a photography camera for video. I moved to a camera because they supported more formats, I wanted 4K but didn't want to drop back to 25P after 50P HD (in PAL land), and no camcorders in that sort of format supported 4K @ modern frame rates, and still don't. Unfortunately there is no money in camcorders anymore for the likes of Sony or Panasonic to invest in the R&D to go into bringing anything new out in that form factor, the mobile phone killed them off. The mobile phone has also killed off a lot of point and shoot cameras. MarkusPix also loves small camcorders for all the reasons discussed here.