Nikon to acquire RED

Original Article ↗ Hacker News Discussion ↗

RED’s Role and Reputation

  • Early RED cameras were seen as revolutionary: relatively “cheap” 4K vs six‑figure digital cinema gear; enabled indie and mid‑tier productions.
  • Over time many commenters feel RED lost its edge: ARRI and Sony dominate high‑end work; RED sits in a squeezed middle market.
  • Criticisms:
    • Reliability issues (overheating, software updates, fragile ecosystem).
    • Confusing modular system and expensive accessories/media.
    • Overemphasis on resolution vs dynamic range, workflow, reliability.
  • Others argue image quality is fine; problems are more about reliability, ecosystem, and marketing hype.

Patent and Codec Issues

  • Major focus on RED’s compressed RAW patents, seen by many as harmful “patent trolling” that slowed industry progress.
  • REDCODE is described as essentially JPEG2000 on Bayer data (lossy) with specific pre‑processing; patents target compressing pre‑debayer raw in‑camera.
  • Nikon previously faced a RED lawsuit over N‑RAW; case was dismissed, but some say Nikon ended up licensing.
  • Blackmagic and others reportedly sidestepped patents via partial debayering or different pipelines; ProRes RAW and BRAW are also criticized as proprietary/opaque.

Nikon’s Strategy and Product Line

  • Many see the acquisition as Nikon buying its way into a proper cinema line to compete with Canon and Sony cine systems.
  • Nikon Z8/Z9 already offer strong internal RAW video (8K60 12‑bit), fast readout, and good AF; some fear future bodies may be artificially split from cine features.
  • Others expect Nikon to leverage RED IP for broader RAW licensing and better in‑body RAW, or to monetize patents as a licensing “cash cow.”

Cinema Market Landscape

  • Repeated consensus: ARRI leads high‑end narrative work; Sony is a strong second (Venice/FX line); RED has a niche; Canon is stronger in doc/news/indie than top‑end cinema.
  • Netflix “approved camera” list: many RED and other cine cameras, but no Nikon because Nikon has had no dedicated cine line.

Image Quality, “Netflix Look,” and Style

  • Several argue that modern sensors are broadly capable; differences in final look come mostly from lighting, lenses, grading, and rushed post, not camera brand.
  • “Netflix look” is widely criticized as sterile/samey; attributed to stylistic and workflow constraints, not RED specifically.
  • Some note ARRI’s strength is reliability, dynamic range, and default color pipeline; others emphasize that with expert color work, different cameras can be matched.

Pricing, Market Structure, and Accessibility

  • Debate over whether RED truly made “cinema for the masses”: $17.5k body was revolutionary vs $200k+ rigs, but still far from consumer‑level.
  • High cine prices are linked to low volume, pro‑focused support, and reliability requirements; unlike CPUs/servers, there’s less volume‑driven cost collapse and slower upgrade cycles.
  • Blackmagic and newer brands (e.g., Z‑Cam) are cited as pushing lower‑cost cinema options harder than RED in recent years.