JulioD

I’m talking about to offload. a CFe card would go into a USB-C reader right? not the card. Not in the camera. In the reader.

I think it can also offload over wifi. More useful if not needing to be hard connected. I suspect the slower speed wouldn’t be noticed much either. I think they’re planning. Magazine with dual CFe cards aren’t they? 10Ge surely is faster than a CFe card over usb-c ? most dits have ssd local raids in my experience.

Yeah that's my understanding too, with the ethernet connection. Why else do a 10G on the camera I guess?

Well I’m assuming a DIT on a three camera shoot will appreciate it. pretty sure they are doing a CFe dual card magazine too.

Ahh but good for offload speeds right?

But they’ve never ever supported it? It’s not like they stopped supporting it. They never have and now they’re saying they aren’t working on it?

They have a corrosive culture that comes from him as a founder. Having him return after doing some token penalty time is farcical. What has changed since he left? Nothing. Meanwhile their stock is still not trading because of serious (criminal?) accounting issues where they lied about sales volumes. The whistleblower was fired for raising it and that case is still going. They are awful

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.

PDAF isn’t owned by Sony. Dual gain sensors are on some canon cameras and some Blackmagic sensors too. https://www.canon-europe.com/pro/stories/dgo-sensor-explained/

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

Yes you can by doing a minor tweak and then applying for a new patent. Pharma companies do this all the time just changing the delivery method for the same drug. I don’t agree with the practice, but it’s naive to think this patent runs out when the new one RED just posted sounds awfully similar. “A 2018 study by Robin Feldman, a professor at the University of California Hastings College of the Law in San Francisco, found that 78 percent of new drug patents between 2005 and 2015 were for existing drugs.” https://undark.org/2021/06/16/how-patent-extensions-keep-some-drug-costs-high/

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/

Ooohhhh remember when RED did this?? https://www.engadget.com/2018-02-13-foxconn-red-8k-cameras.html and it turned out to be…nothing? This whole synergy making things better cheaper is just corporate BS

No way is Nikon making a Burano type camera. Nothing will change at either company. A few years from now RED fold from stagnation or gets bought back by the owners and re-launches.

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.

There is nothing special about REDCODE. It was sold for a long time as some special mojo. It not even wavelet anymore. It’s been DCT based since Komodo. Like ProRes and BRAW. They will keep N-RAW because it’s their own “brand” and now they own the IP. It’s not like REDCODE is better. It’s all the same. They don’t need REDCODE and they don’t need to licence it either.

That’s what I’m saying. Nikon bought RED so they can do N-RAW and stop their competitors from using internal RAW. win win

I doubt we see REDCODE on a Nikon. But I bet this is why we have N-RAW. And that’s all this is.

@Jedi Master https://ymcinema.com/2022/12/01/red-digital-cinema-filed-another-patent-related-to-compressed-raw/ Probably helped seal the deal. This is a common technique to extend patent IP

@Jedi Master RED already re-upped their patent. This is about Nikon owning the IP that locks out their main competitors, which is not RED. But now Nikon control who gets to license it.

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

8 bit 420 can be just fine as long as you don’t want to do anything to it later grade wise. As long as you’re happy with what comes out of the camera then you won’t SEE much of a difference. you will definitely SEE the difference between 8bit and 10bit if you try to match two cameras that look different of if the WB is off or has some lighting hue you don’t like. Basically anytime you want to grade or manipulate the image it is very brittle and won’t handle much correction. 10 bit will.

Perverse. AI images over deliver in this situation. https://www.hollywoodreporter.com/movies/movie-news/willy-wonka-event-uk-chocolate-experience-meth-lab-1235837133/?fbclid=IwAR1S4lRs2eTLuenEEGro-pOVC1BNUteDcNJ_AQYMinJmgFe1GCRU49eNALI_aem_ASDqmkSsZecQEbJvnJb6b7eJ9ftjr6U3ZFS23kqlN2eNEXUKvv9sfDvgFIOAkrHGi74

The second one. They are barely keeping the doors open. Thats in LA, Atlanta has been a busier town for a few years but it’s a pretty interesting data point.

Having worked in Atlanta and for Perry, I’d suggest the “reason” is a convenient excuse. Production was already heading towards a slump BEFORE the recent strike and is staring down the barrel of another strike. All of the streamers are struggling to make money. They are green lighting less content. I was talking to an LA based Panavision sales rep a couple of days ago and they they said for them production was about 15-20% of what it was 18 months ago. Production has slumped. Strikes have and continue to menace. Not a good time to throw down on a studio. AI was more like the icing on the cake. Perry is just blaming this on a decision he would have made anyway.