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    #81
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    Quote Originally Posted by John Brawley View Post
    Oh cmon.

    I’ve worked in Australia, the UK, many parts of Asia, South America on big and very low budget shows.

    It’s not just some exclusive enclave in Hollywood. Those are universal truths. The scale changes perhaps. But it’s not just Hollywood centric. I’m fact I’d argue Arri are even more dominant in other non US markets.

    JB
    Australia is "first world". In the second and third, the sets are smaller and less refined, the sound is recorded exclusively in post, the shot framing is ... well, let's just say, very Roger Corman'esque, et cetera, et cetera.

    A year or so ago, an FB friend posted an article about "French films not to be missed". Many of them were romantic comedies, a genre that I enjoy. So, I sampled a few of them online. Then looked up whatever info I could and here what I had found. Their budgets are in the $6M-$10M range. The look is fully professional but the sets are a lot smaller, the takes are a lot longer, the shot framing contains far fewer closeups and more medium and wides. Overall, they're much closer in feel to the Hallmark flicks one sees on Lifetime than to a Hollywood theatrical release.

    I also have friends or friends of friends who worked in television in the Soviet and post-Soviet markets. Their budgets were in the "late night TV on Channel 56 in Podunk" range. Some couldn't even tell their news anchors not to wear a blue business suit in front of a blue screen because that's the only business suit their TV anchor had. And they had to rely on an outdated equipment, that didn't even include a teleprompter, so anchors had to read off a typed sheet of paper and look down most of the time. And, of course, they didn't immediately upgrade to ARRI. As recently as 2015-17, BMD Cinema Camera was a preferred choice for many productions. Alexa was solely for the big budget theatrical projects and those presented a minuscule portion of the overall number of aired content hours.

    PS. Bollywood is technically "first world' in terms of the sheer box office volume. Popular movies exceed $10M in gross, which is a huge amount in the country where an average income is $1,800/y in nominal terms. I assume that, if they do use ARRI cameras, they have a solid used selection that are certified by ARRI.


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    #82
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    https://gadgets.ndtv.com/mobiles/new...-pixel-2335411

    Samsung is reportedly working on an ISOCELL 600-megapixel sensor
    Their management did mention some time back that they wanted a 500 MPX sensor, which would give then resolution equal to that of a human eye.

    PS. Why is this in a Nikon thread? Competition.


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    #83
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    The September-October ILC sales rebounded, registering about 1,000,000 units each. The Covid summer was horrid, obviously, so the 2020 total is likely to still be under 5,000,000.


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    #84
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    The dire straits are touring Thailand. Meaning that after 70 years of production in Miyagi, Japan, that plant is closing and Nikon is moving all of its manufacturing to Siam. Much like Olympus did. Much like Yul Brynner did. Let's hope it works out for Nikon as well as for Юлий Борисович.


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    #85
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    Having scanned some rumor sites : Canon is working on high end RF mount models, as well as an APS-C R7. Sony's still have A7 IV as well as A9'ish R5 competitor. Nikon is supposedly working on something in between, kind of an all-rounder with a reasonably high pixel count for both stills and 8K (if implemented). No word on codecs or AF. Both Sony and Canon will likely include fairly high internal recording and top notch AF.

    On the low end, smart phones are upping their pixel count and the periscope zoom range.

    P&S, then MFT are getting squeezed on the low end. With Nikon and Panasonic using Sony sensors, they're likely to get squeezed out of the high.


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    #86
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    Quote Originally Posted by DLD View Post
    With Nikon and Panasonic using Sony sensors, they're likely to get squeezed out of the high.
    I don’t see the connection between using Sony sensors and being squeezed out of the high-end market.

    They use Sony sensors because they’re the best that money can buy and yet reasonably priced. They’ve used other sensors in the past and would again in the future, should anyone beat Sony. Sony sensors are currently a strength, not a weakness.


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    #87
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    My speculation is nikon say 'how much for the A7siii sensor' then sony say.. 'not for sale. we can sell you the sensor out of the nex5 or F707 good deal?'


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    #88
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    It's part of why canon and sony are so well-positioned- theyre the only ones making their own sensors.

    Look at what canon is doing selling sensors - they're not selling anything that could compete with their video cameras. Not yet anyway


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    #89
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    Image sensors have largely become a commodity. There’s generally more risk than benefit to making your own.

    Moreover, ‘Sony’ sensors are made by Sony Imaging & Sensing Solutions, a separate business from the company that makes ‘Sony’ cameras (Sony Electronics Corporation). The former will sell sensors to any customer who pays the price, which is naturally higher for new sensors or exclusive access to a new sensor for a period of time. You’ll note that there have been many occasions when new Sony sensors have been exclusive to non-Sony cameras for a while. Nikon often paid for exclusive access in the SLR days (e.g. the 36-megapixel D800 sensor from early 2012). More recently Fujifilm had exclusive access to the 26-megapixel APS-C sensor. Maybe Sony Electronics Corporation paid for exclusive access to the current high-speed 12-megapixel full-frame sensor, or maybe Nikon wasn’t quite ready to launch a product around it.

    Canon is a little different for historic reasons. They own at least one antique fab they need to use, which is the main reason their sensors lagged in performance for several years (and still do sometimes, e.g. the one in the R6). They’ve also developed a cohesive marketing strategy around rolling their own stuff, dating to their early full-frame CMOS sensors (which had a clear competitive advantage at the time).


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    #90
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    Quote Originally Posted by Samuel Dilworth View Post
    I don’t see the connection between using Sony sensors and being squeezed out of the high-end market...
    Even in a fully competitive automobile market, which is not confined to half a dozen Japanese companies, there are all sort of partnerships and agreements that are only occasionally revealed. For example, Subaru and Toyota combine for a 'sporty" BRZ/F86 model but it's crippled by not having an engine suitable for this style of cars. Subaru is protecting its WRX and Toyota Supra and Camry TRD. Likewise, when Toyota partnered with BMW for Supra (hard top Z4), it only got weakest BMW 3L turbo of 335 HP. The second year, it got a 250 and a 380 but BMW won't give them a twin turbo 500 that went into M4. Maybe some day.

    And Sony, obviously, doesn't want to sell copies of own equipment to its competitors. It seems obvious to me. YYMV.

    Quote Originally Posted by morgan_moore View Post
    My speculation is nikon say 'how much for the A7siii sensor' then sony say.. 'not for sale. we can sell you the sensor out of the nex5 or F707 good deal?'
    A short while ago, I made a post on all the cameras using the Sony 24 MPX full frame sensor - Z6, S1, S1H, A7III, A7c, and Sigma fp. Now, Leica has its own version out. First obvious thing you see - and this is not hidden whatsoever ... you can check specs on any photo retail site - is how the auto focus systems differ. A7III has both contrast detect and phase detect. Most others disabled the phase detect. Sigma has fewer AF points on top of that.

    However, Sony must also play along. Otherwise it'd make no sense for others to keep selling inferior models. This is how collusion works - illegal in the US and the EU - with Sony only offering an 8-bit recording on A7III and even A7c.


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