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I think it's an interesting idea. Looking at the FX3, I can imagine a sub-Komodo-level hybrid cross-over RED/Nikon camera. It would primarily be a motion-capture-oriented camera, with good enough sensor and motion capturing capabilities to be a legitimate cine and stills quality camera, but...

Thanks for the articles about the Nikon Z6 III. I think it will be interesting to see where and how the future Nikon and RED products cross-over and overlap in terms of price and tech capabilities/features. Even on the high end products, where I'd expect the most clear distinction between...

Damn. Sorry to see DSC Labs close up shop. Commiserations too for the people losing their jobs there. I was thinking just in the last couple of days about getting a smaller version of their 'Handy OneShot Plus' card to use on tighter shots, will definitely do that sooner rather than later...

Here's another video from Thailand showing the Arles 40mm in direct comparison to some other lenses (shot on the RED V-Raptor 8K VV no less), so they must be out there in some form or another. Nice looking lens.

Was curious how the lenses and camera looked, so had a play with the footage the uploaders of this video made available. Haven't looked at any footage from the Canon EOS C70 since this sample footage from the time of its release - Am left with the same impression as before, that shot with...

The way I see it, there are four kinds of cameras when it comes to capturing moving images - Motion picture film cameras. Digital cinema cameras Video cameras Digital stills cameras with video capabilities. If you look at any particular camera you can see which of these four categories it fits...

I'm sure you're already familiar with the exact Firmware Upgrade process, but here it is anyway - VERIFY CURRENT CAMERA FIRMWARE To see the firmware version that is currently installed on your camera, go to Menu > Settings > Maintenance > System Status > Camera Info. A higher number reflects a...

Not sure I totally agree with a lot of that. Blackshading and keeping things in the proper temperature range is important, and I agree that trying to keep your exposures within ISO1600 is a good idea if you want to keep noise under control, but there are different valid reasons for using the...

Sounds like you've got a good grip on the situation. I think you'll be fine as long as you keep what you want to see clearly and without noise properly exposed (you can still darken it down in the grade to look low-lit) and are willing to let everything below that fall into darkness or get...

Here are some shots from a test done using the shutter-angle method mentioned above - It was shot on a Scarlet Dragon that only does 6K at 12fps, so the noise is a bit more erractic than it would be at 24fps. The camera was fitted with the Skin-Tone Highlight OLPF too, so there's also a...

Another fairly easy way to test for noise is to change the shutter angle/speed in-camera per shot instead of the lens aperture. The advantage of doing the test that way is that it eliminates the optical and exposure variables that come with changing the exposure via the lens aperture. You can...

You need to shoot some tests to see for yourself what degree of noise you find acceptable. The easiest one I can think of is to set up or find a controlled lighting and subject situation, set a base or middle f-stop/ISO combination (eg. f/5.6-ISO800), adjust the light to get a normal exposure...

Thanks for confirming that Rand.

Pretty much what Rand said. I'd also add that in RCX you can also save the new RMD by right clicking on the clip in the timeline and selecting 'SAVE RMD' from the drop down list, as well as selecting it via the cog wheel at the top right of the RCX viewer. Would just mention too that while in...

You should be able to edit/grade the BRAW files directly in Resolve, at a 3840x2160 (Ultra HD) or lower timeline resolution, using either of the systems you've linked to above. Based on the performance I've seen while editing/grading the Blackmagic Ursa Cine 12K BRAW sample files that you can...

Thanks for that, some interesting bits of information in there, about how the camera's and lenses work in general, and about Nikon's approach to making them. There must be some amazing conversations, about what to make and how to make it, happening behind the secenes right now at RED and Nikon.

Thanks for that. The information you and the others have been posting here recently, about the Nikon company and cameras, has been helpful in understanding and making sense of this whole acquisition thing.

I can only imagine how complex it would be to integrate RED and Nikon capabilities into each others camera's. Even without knowing all the ins and outs of it, it's mind-boggling to think of all the decisions that would have to be made and things that would have to be worked out, on so many...

Going by what the people actually in charge of and involved in this process are saying and doing, I'm even more optimistic than before that this is going to be a win/win/win situation for Nikon, RED and their customers. It sounds to me like work has already begun on a transfer and developing of...

Checked out the Blackmagic Ursa Cine 12K sample footage - Had to install the latest Resolve beta, then change some project settings and do some other workarounds to keep the program from constantly and reliably crashing every few seconds while grading the 12K BRAW footage. But if they keep...