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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Whats next RED 2026?

I suppose that Red will continue to work on the AF algorithm. Other than that, they have a camera for every segment. Maybe they will make a premium 12K-16K camera with a bigger sensor, or they'll find a way to finally win the DR war.

Maybe we will see Red sensors in Nikon cameras?
 
Who cares what the end goal of RED cameras. Just remember and accept the fact,"A camera is a tool to create stories and capture moments of someone's vision. To tell stories in a way a storyteller wants to envision their story to be portrait as."
 
I agree even if I would love to see the next Red. With AI face tracking, sensor stabilisation option, dual gain architecture 800 and 12800 iso or dual AD structure on a global shutter 24x36 sensor.
 
The Nikon ZR rumors seem legit. An fx3 style camera with 8K or 6K, good AF, IBIS and Red image quality/r3d makes sense and I'd definitely consider picking one up.
 
Not to express what's probably obvious, Nikon currently and will continue to create Z-Mount Mirrorless cameras that shoot video rather well. RED will continue to make more production minded digital cinema cameras.

If we see more blending of the two worlds, unsure who's branding will behind it, but it wouldn't be a bad move to make a somewhat "FX3-minded" style Nikon body while still making things like Komodo-X, Raptor-X, etc.
 
Phil Holland said:
Not to express what's probably obvious, Nikon currently and will continue to create Z-Mount Mirrorless cameras that shoot video rather well. RED will continue to make more production minded digital cinema cameras.

If we see more blending of the two worlds, unsure who's branding will behind it, but it wouldn't be a bad move to make a somewhat "FX3-minded" style Nikon body while still making things like Komodo-X, Raptor-X, etc.
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I've owned an fx3 and fx30 and they're great grab n' go cameras, as well as b-cams. I would love an fx3 style camera with Red guts to match my Komodo and just toss in a bag and shoot away...
 
Align your camera firmware with your post pipeline by syncing RED’s latest firmware, SDK, and RedCine X versions. Once that’s locked in, work through a small-scale test shoot to verify color science tweaks and metadata handoff. That proactive approach keeps your main projects risk-free
 
I do think a Vista Vision Komodo X is a real possibility. I think it will remain 6k and will likely not have the Raptor’s frame rates but the increased pixel size over the current S35 Komodo X would likely yield better dynamic range.

Will see.

In the meantime the current KX is excellent.

Brian Timmons
 
6k is plenty enough for most project. Considering Komodo as the entry point.
I wouldn't be against a better DR, 6k, VV, Global Shutter, Dual Iso, with every AI AF from Nikon, a stabilised sensor, and the choice of Red Colors or Nikon Colors.
 
Willem Berents said:
Will Red bring a V-raptor S35 Z-mount?
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Yes that would make sense particularly for wildlife filmmaking which is one of the main areas the V-Raptor S35 was meant to address.
Nikon is also well known in wildlife photography so perhaps it should be a no brainer.

I also wonder if RED might eventually make a more broadcast centric S35 V-Raptor with much of the Cinema Broadcast module built in.
It's a good move that RED is looking into expanding into the broadcast area and such a camera would likely be more economical and streamline the hardware a bit if the SMPTE Fiber optic connection and hardware was built into the camera body.

One company I film with uses the AK-PLV100 which is essentially Panasonic's Varicam (or the remnants of that Cinema line) in a broadcast style camera body.
That company would previously use Varicam LTs with a fiber module back (somewhat similar to RED's module albeit without the RAW streaming) but the PLV100 really consolidates the electronics nicely into the body making setup much easier and removing a potential point of failure with the module.
Also balances a bit better when handheld not to mention the lower weight.

I'm not sure if such a camera would be at this year's IBC but perhaps next year's show if not NAB.

We naturally see RED as a cinema brand but they already have the major pieces together to serve the mid to high end broadcast area quite well.
I personally would be quite happy to see such a camera out in the TV/Streaming world.

Given RED's signature industrial design, it would be interesting to see what such a camera would look like.


Brian Timmons
BRITIM/MEDIA
 
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Unsure about the future beyond the previous S35 Raptor. Initially RED's offering of the Raptor XL with the Broadcast Module was available in both VV and S35, but I suspect many who need S35 are shooting VV in a 4K-6K crop. But for those who need 8K S35, no solution beyond the OG S35 Raptor sensor.

I'm more curious about things like the new Nikon 24-70 f/2.8 II and VV coverage, but I didn't convert my Raptor X VVs over as PL is vastly more common in my workflow and I did heavily invest in RF as well a while back.

Beyond all that, a thought to chew on. Though I think RED and Nikon will be "different worlds", I do think future camera bodies will be tied into a wider vision of the entire product lineup.

Nikon has a couple of winning sensors, RED does as well. Lately there's been more iterative releases rather than bleeding edge new technology, likely due to R&D, time, and general cost. The bigger question is if RED or Nikon wants to make something more in the realm of say an FX3 or R5C style body to address that segment.

I'm still curious about larger format and/or higher resolution. With RED's VV format being essentially 41mm wide, if they go larger, I think it would be larger than say the 44mm wide sensor the Fuji Eterna. And that camera is still on track to release this year, though binned 4K, and 10-bit w/ rolling shutter. But people are excited for the body.

I've been wanting a nice 12K or 16K body that hits the DCI aspect ratio spec. At 8K, Raptor X is still basically king of the market in my mind. Hell, Monstro is still competing with everything and used bodies are going for very little cash.

I'll state that I hope RED supports 3 formats from here on out and for a while. S35, VV, and "more bigger". There's just a lot of ways to do all of this given the lay of the land and state of technology as a whole. Bringing the pixel pitch and design of Raptor X up to 12K nets a 70mm image circle and likely a larger and more power hungry camera with a sensor that at the moment would be extremely costly to manufacture.

That said, there's improvements in the formats we have now that could be made. Higher frame rate would be an interesting possibility, but that gets us into specialty camera territory quickly and unsure if the thermals and battery requirements are worth the squeeze. I do think Raptor with 2X or 3X the frame rate would be welcomed, but unsure if everybody needs that. Perhaps some new pixel design, more DR, etc.

All theory crafting. I suspect we'll see that more mirrorless minded move first from Nikon and/or RED or combination of both. It's the one MIA body-type in their lineup that clearly has sold well. Likely 6K, don't think 4K, though I am more of an R5C 8K man, but we'll see.
 
Phil Holland said:
I'm more curious about things like the new Nikon 24-70 f/2.8 II and VV coverage
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It doesn't cover VV. They made the lightest 24-70 f/2.8 in the world, with internal zoom, while increasing the corner sharpness of an already sharp lens. In optics you have to give something to have all these, and that'll be distortion and vignetting. This lens is well suited for the upcoming FX3 version of Z6III, rather than RED cameras. Using an absolute encoder, with very fast AF motor, makes it "electronically" parfocal, since focus position changes happen so fast that it looks like the focus group of glass elements are moving in sync with zoom group. Releasing cameras that exploit this technology is their priority. Breaking dynamic range world record or crazy pixel density is not.
What I personally like to see is a Z mount FX6 with integrated 5 inch display. The tricky question about this hypothetical camera is the price, since BM is practicing race to the bottom with their recent pricing. Its hard to compete in "12k for $10k" environment.
 
Agree, tricky market and a diverse one. If the goal is to sell the most cameras, well, the answer is clear-ish. RED's done a good job setting the course as well as adapting to a changing market and landscape. It's more of a question of where we go from here.

Komodo I think clearly has been the top selling camera in terms of units, at least from what I can see. Though I do recommend Komodo-X to most if diving in for an entry level RED.

Sony absolutely killed it with the FX6 and it's follow up is hotly anticipated. But it's still selling well. So well, it nuked FX9 sales at launch. And I think Sony learned a lot regarding what "most" of their customer base was after with this particular release. Burano is out there, but very low sales, despite some interesting innovations. Price to performance ratio is a bit off there.

Canon may be coming back, but they have a hefty climb to captivate those who invest in production cameras. C400 is okay really. I'm shocked out of my damn mind they haven't made a R5C is a more production-type body, perhaps a C70-ish series.

I moderately define production cameras as bodies that have the ability to be run all day reliably with a decent power solution like G or V Mount batteries, timecode required, and then we go from there. It's where the clear divide of mirrorless exists, particularly on cameras that overheat and really shouldn't be relied on for serious production work. Pretty much a place where RED and ARRI excel is the reliability department and core functionality of what to expect from a professional tool.

I have reserved thoughts on BMD and their pricing, but the market is there for the cameras they offer. It's been a bumpy road. And I will always credit them for the evolution of Resolve. But they need to put a lot more effort into the body design, reliability, and some QC stuff to crack into bigger production adoption.

Nikon-wise. Big success with the Z9, Z8, Z6, and ZF series. 8K and 6K. I use my Z8 a fair bit, but a lot I'd build on and refine from a camera design standpoint.

The camera industry is a tricky thing as of now. Demand for tools is there in a changing professional world. And demand for sales and profit is required. RED had a radical mentality with a great deal of their releases and weren't tied to industry's pace, and they both received the benefit and criticisms that came with that. I'm OG enough to remember that "nobody needs 4K" and that was before 5K, 6K, or 8K was on the field. But we are now certainly in a place where everybody else understands that 4K is basically the minimum to expect from a motion picture camera at this point.
 
Higher resolution is inevitable. LED walls are everywhere and they're resolution hungry. Their pixel pitch is now 0.7mm, meaning you need 16k image to cover 35ft wide panel. They're using upscaling now, because there is no other choice.
However the problem with state of the art sensors is that they stay wildly expensive if they stay in low volume market. Japanese tend to alleviate this problem with trickle down strategy, as we saw Nikon reused Z9 sensor in cheaper body of Z8 to benefit from higher volume of Z8. But you can't do that with any kind of sensor. It should have features that are also attractive for budget sensitive segment of the market. Assume we have a 12k sensor for our next gen flagship. It would make a huge YouTube buzz if we put that in a cheaper prosumer body used mostly by wedding shooters. But actual wedding shooters won't be super excited about that. Because 12k means larger files, more storage, slower post production, etc. But if the key characteristics of that flagship sensor is DR and low noise, they will be more than happy to acquire that at lower price. I think the same applies to video market. If Ursa's advantage was reliable AF, it would be way more successful.
I'm sure Nikon is testing 10k/12k sensors to see how their lenses behave on that demanding resolution, but their patents shows they're mostly focused on speed, single frame HDR, and AF.
 
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