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FYI, I've started a GitHub project to create a repository for sensor readout speeds of all cameras, for both stills and video, using a standardized measurement method that involves a $17 USD Arduino board. The project's homepage is: https://github.com/horshack-dpreview/RollingShutter The project has a link to the current database, a primer about rolling shutter artifacts, source code, and collection details for those who would like to contribute their camera's images to be measured and added to the database. Direct link to current results: https://horshack-dpreview.github.io/RollingShutter/

Announcements like this are just wonderful... All it took was a pair of press-releases and all of a sudden dozens of people with no training or experience instantly turn into patent attorneys and corporate lawyers specialising in mergers and acquisitions and market strategists etc, and not only that, they also instantly gained insider knowledge about market caps, sales figures, product strategies, etc, and just when you'd think that it couldn't get any better they also become R&D experts in both hardware and software design! With a shift so radical in capability, even the hardened skeptic must believe there is a higher power involved.

I think if we look at the Komodo which is around the price of a C70, uses RF mount and has AF, it gives us basis to speculate that future entry level RED cams with Nikon tech and Asian manufacturing could venture out of the high-end cine market and compete with Canon & Sony C/FX line. And reverse wise Nikon high-end cams will benefit from Redcode and other ciné savoir-faire like color science, anamorphic support, open gate etc.. it also finally gives Nikon users an upgrade path to a cine line and creates a more viable ecosystem. That is great news for consumers and further increases my desire to switch to Nikon.

People keep talking about the patent, but I really don't think it is the reason behind the purchase at all. Nikon wants to get into the video/cinema market. Their recent releases are evidence of that. They have very little chance though of getting a foothold in the market on their own. Purchasing RED, even though it lags behind ARRI and probably even Sony, makes a lot more sense than creating something on their own from scratch that will likely fail. Major blockbusters and shows are filmed using RED cameras. Tons of independent films are shot on RED cameras. It has a loyal user base. Those are reasons enough for any company looking to get into the cinema/video market to purchase them instead of starting from scratch. Will it work? Who knows, but it's a better building block than what they had to work with. Better to own the company whose camera was used to film blockbusters like Guardians of the Galaxy and Aquaman than to release a cinema camera that will see minimal adoption,

At least all the armchair camera engineers go quiet for a while

I agree, the sensor speed is what it is. However there is a moderate amount of variability in the readout speeds posted online, owing to differences in methodology. I'm looking to avoid that variability in this repository of measurements.

Nice! I have my own database of rolling shutter values that I can get to you. The one column I would add to the table is the ratio of the rolling shutter to the frame rate. That value normalizes the skew per frame.

Same for a lot of us, ie, more idle chat and musing than anything. Some folks immediately think that because you have an interest in such things, you are unhappy with your current situation and simply believe ‘The Next Thing’ will fix all your issues. I don’t think that is so much the case here where a lot of our musings are more, “if I was not invested in X, I might be looking at Y or Z” and nothing wrong with that in my book! And ultimately it’s all harmless!

This might be premature. Red has a bunch of newer raw/compression related patents which are "continuation" of the old patents or merge a few of the old patents in a new one. E.g., 10531098 (issued 2020), 11076164 (issued 2021), 11503294 (issued 2022), 11818351 (issued 2023), etc. I have no knowledge of the legal implications of these, but won't be surprised one bit if they actually extend the in-camera raw compression monopoly.

Hi, the X-H2s Film Simulation LUT pack is finally finished, see the demo video here: Product details: https://colorizer.net/index.php?op=xh2s The F-Log implementation on the X-H2s is slightly different from that of the X-H2/X-T5/X100VI, but the difference is very small, so you might be able to use this pack on those bodies as well. If you send me clips I can apply all the LUTs just to make sure. (I only have access to an X-H2s at the moment.) I also added extra LUTs to the X-T3 LUT pack: - Classic Neg - Nostalgic Neg - Eterna Bleach Bypass This is a free addition to anyone who purchased this LUT pack before. Product details: https://colorizer.net/index.php?op=xt3 About the future: I invested a lot of time into the original EOS R to create Fuji Filmsims for C-Log but I faced many technical difficulties I could not solve. The thing is it reacts very differently to changes in light compared to the Fuji and the resulting LUTs were only precise in very specific lighting conditions. I also have an R6II in the house so I might focus on that body instead, maybe that's a better match for what I'm trying to do here. I also have an S5IIx with me, we'll see what I can do with that camera, I'm very curious about the realtime LUT feature.

It’s just not how it works. Sony semi sells and DESIGNS sensors. They don’t hold back tech from any customer who is willing to pay. They also do business with Sony direct competitors. They all co-operate a lot more than us consumers realise Think of them as a seperate company to Sony cameras.

Panasonic does tend to implement and do video a bit better in their versions of the cameras than Leica's

why do you think sony owns autofocus, or that nikon licences it from them?

I'm not sure pixel shield PDAF IP is totally owned by Sony, since Nikon has a lot of patents related to that technique. Of course many cross licencing is happening in this industry. Dual gain was invented by Aptina, now part of ONsemi, which doesn't provide sensor for any of Japanese ILC makers, but everybody is using the tech. However if they want to add AF capabilities to RED, I don't think they would use pixel shield technique, cause it degrades image quality a little bit (the shielded pixel has lower S/N ratio than the rest of the pixels). Dual pixel and quad pixel is the way to go. Nikon has some interesting patents about that too. People put too much emphasis on sensor license fees. The fees are not really a big deal. The fab costs is.

Greater resolution comes at the expense of every other spec.

This acquisition caused some discoveries: 1- Some RED users are not mentally well. I mean who on earth glue a camera, which is a tool, to his entire identity? Its insane when you think about that. It may sound judgmental but I feel few of these guys are even closet antivaxxer. 2- People in video making echo chamber have no clue about still camera industry. Example one: they don't know how popular Z8 is. Example two: they don't know a big part of Canon market share is related to its strategy of sticking to the old habit of making cheap cripple hammered bodies. Example three: they don't know how much Nikon is involved in CMOS sensor development. 3- Making "analysis" video about a corporate deal, with almost zero published details, is so easy for some of these YouTubers, that seems "Trust me bro" is not a meme anymore, but a serious way of life!

You are right, they can do a better one, with better sensor tech, better Z mount, better stabilization, better internal codec etc.

The only thing which have kept the church of RED alive is the patent. And the insane mark up on cards, viewfinders, etc. Patent is dead in four years regardless. Also, RED is run like a surf shop which now meets japanese corporate culture. What could go wrong.

This or Jannard had really a short window to cash out his market advantage now .

I also read that Sony was fabbing their new sensors at TSMC, so its most likely a matter of patents, and not so much anything else. These kind of monopolies, in general are bad. I suspect that they are among the reasons for the downfall of many companies that rely on such sensor makers, who restrict patent use (remember the debate, for the longest, that suspected that Panasonic was restricted in its access to PDAF, since it made video powehouses, and that's why we had the terrible Depth-from-Defocus (DFD), for the longest).

This is actually a great point. Maybe Nikon hopes to have more leverage in sensor negotiations with Sony or anyone else.

The biggest thing for me, using it, is the realisation that a huge proportion of the features we pay extra for in hybrid cameras are really just workarounds for the problems caused by using a completely inappropriate form factor for shooting video.

I had clamps galore but there wasn’t a single thing to clamp to! 140 hours, perfect cosmetic condition with Shape arm, 6 batteries and V mount adapter for GBP695 (all but GBP50 of which I covered with trade in). Pretty much my dream camera!

RED extended the patent. This is a common technique used by pharma companies to extend the IP protection. https://ymcinema.com/2022/12/01/red-digital-cinema-filed-another-patent-related-to-compressed-raw/

A few years ago, Nikon was talking about a 1inch sensor they developed which was absolutely class leading. Wat above and beyond anything else in the 1inch sensor space, and better than many FullFrame sensors. And then, like the mythical Organic Sensor of Panasonic, it vanished into thin air. Sony seems to be the RED of the Image Sensor world. I am guessing they have way too many patents regarding sensors, and they and a few others prevent anyone else from creating something absolutely crazy. I mentioned this, because its curious how such promising sensors, that should be in modern cinema cameras, never really come to fruition. RED has been bullying the industry on RAW video, and a few others on sensor and hardware development? https://nikonrumors.com/2021/02/17/nikon-announced-the-development-of-a-new-1-inch-17-84mp-stacked-cmos-4k-1000-fps-sensor.aspx/