THE FUTURE’S ORANGE Not for Nikon, as it’s definitely a Red letter day
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor Minhaj Zia Junior sub editor Molly Constanti Editorial director Roger Payne EDITORIAL
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Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
Nikon might not have a long and deep history in the world of filmmaking compared to some manufacturers. But to photographers, it has been one of the best-known brands for more than 60 years – ever since it put a 35mm SLR in the hands of photojournalists with the launch of the F model in 1959. With many of today’s next-generation filmmakers coming from a stills background rather than TV or film school, Nikon has been very important. That includes me. As a former stills shooter, I upheld Nikon as one of the premier brands – certainly in the world of 35mm photography. In my pro career shooting stills, I swapped allegiances between Canon and Nikon several times, usually driven by my employers’ choices. The pair leapfrogged each other in terms of camera technology many times – and often I did the same. I was a confirmed Nikonian when I was tempted to shoot video on DSLR, so ran a separate Canon set-up for movies. Nikon was the first mover into video for its DSLRs with the D90, but Canon took the ball and ran with it. After that, Nikon never really wrestled that mantle back. When Nikon finally got serious about full-frame mirrorless cameras and launched the Z 6 and Z 7, it looked like it was too little, too late. With Canon already in the lead with its video camera tech, hybrid Cinema EOS series and move into full-frame mirrorless – as well as its range of cine lenses – the future looked ominous for Nikon. Then came the Z 9 and Z 8, which are fantastic. But with so many people already wedded to decades of Canon, or even Sony now, it was always going to be tough for Nikon to catch up. But, as has recently been announced, Nikon is the new owner of Red. This means that the company will have access to Red’s incredible cinema know-how, including its patent on compressed Raw files, as well as colour science. And instead of having to buy sensor technology from rivals like Sony – which would never sell its latest advancements – Red could potentially lead with sensors in Nikons. Reds could come with Nikon mounts, and a whole new range of Nikkor cinema glass should surely follow. We could even see a Nikon-branded range of cinema cameras and camcorders using Red tech. Although not impossible, it’s unlikely Nikon will put its name on Red cameras, preferring to have the US brand running as a flagship cinema line. Nobody knows exactly what this will mean to both brands, but from a Nikon standpoint, it has to be a very real lifeline that’s seen the industry sit up and take notice.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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