New 12MP sensor featuring global shutter and a frame rate of 300 fps

When it reaches, say, 5,400 x 4,096 and 16 bits (with 100-dB S/N) and a 300-fps maximum frame rate (at 16 bits) -- which shouldn't be too long at this pace -- and it could be manufactured cheaply enough to be included in $1,500 HD SLRs, then it will probably be over for Red. They have great vertical integration of products -- cameras, codecs, peripherals -- but they've recently decided that Red will cater to the "pro" market, which is less price sensitive. Once sensor technology like this filters down to consumer gear, the rest of it will fall into place. Canon, unlike Panasonic and Sony, thus far have announced no large-sensor "digital cinema" camera. An APS-C sensor like this plus a decent codec like 12-bit CineForm RAW would be a killer in a, say, $2K to $3K camera.
 
Tzedekh said:
When it reaches, say, 5,400 x 4,096 and 16 bits (with 100-dB S/N) and a 300-fps maximum frame rate (at 16 bits) -- which shouldn't be too long at this pace -- and it could be manufactured cheaply enough to be included in $1,500 HD SLRs, then it will probably be over for Red. They have great vertical integration of products -- cameras, codecs, peripherals -- but they've recently decided that Red will cater to the "pro" market, which is less price sensitive. Once sensor technology like this filters down to consumer gear, the rest of it will fall into place. Canon, unlike Panasonic and Sony, thus far have announced no large-sensor "digital cinema" camera. An APS-C sensor like this plus a decent codec like 12-bit CineForm RAW would be a killer in a, say, $2K to $3K camera.
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Where you all fail to realize certain things is how technology usually trickles down. It won't be over for anyone, to the extent you discuss as professionals who are not price sensitive will have sensors like this long before it's in 1,500$ DSLR's. That's why cinema equipment is so expensive (ok one of the many reasons). Professionals will pay extra for top performance, high performance new technology. After awhile when it becomes mass produced or more feasibly produced it will hit the larger consumer market.

So how it will kill professional companies is beyond me. They'll be on to the next thing by then. :)
 
When it reaches, say, 5,400 x 4,096 and 16 bits (with 100-dB S/N) and a 300-fps maximum frame rate (at 16 bits) -- which shouldn't be too long at this pace -- and it could be manufactured cheaply enough to be included in $1,500 HD SLRs, then it will probably be over for Red. They have great vertical integration of products -- cameras, codecs, peripherals -- but they've recently decided that Red will cater to the "pro" market, which is less price sensitive. Once sensor technology like this filters down to consumer gear, the rest of it will fall into place. Canon, unlike Panasonic and Sony, thus far have announced no large-sensor "digital cinema" camera. An APS-C sensor like this plus a decent codec like 12-bit CineForm RAW would be a killer in a, say, $2K to $3K camera.​
Click to expand...

Cinema glass is a good tell on how things go when it comes to "professional" usage. You can buy a Nikon 50 F1.8 for 100 bucks....the same thing in a cinema prime is 6000 bucks. You may note that these companies aren't going anywhere. What do I shoot with? The Nikon....what does Paramount use? I'll bet you can guess. I'm also wondering why anyone would think that these advances wouldn't INCLUDE Red/Arri/Sony high-end digital cinema. Either way....there will always be an incarnation of technology for "high-end professional" markets. Not a problem....just a fact.
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I wonder if it could be moded to fit in a 5dmkii or another D-slr. I think that would be pretty unbeatable.
 
Already a number of pros have started using HD SLRs on high-end film shoots and commericals. The number maybe proportionately small, but that's because of well-known factors: wobble/skew, line skipping and pixel binning, artifacts like moire, highly compressed 8-bit codec, suboptimal ergonomics, etc. Yet they are being used. A full-resolution, global-shutter sensor coupled with a decent codec would probably solve at least 90% of these problems. Sure Red, Arri, Sony, and the other high-end manufacturers would have access to this stuff, but if you've Red's diatribes against dSLRs, it's been about the issues that the sensor-codec combination might eliminate. I'm sorry, but if that happened (the tech successfully trickled down to the consumer level), these companies would have to come up with something pretty amazing to justify a premium of tens of thousands. HDR (like Red's HDRx)? Already slated for the CMOSIS chipline? How about 3D? Already filtering down to the consumer level. And as for the expensive-lens analogy, that just doesn't hold. Digital-cinema cameras are mostly solid-state. As Red is proving with its Epic and Scarlet lines, the price pressure is decidedly down (even with such a "burp" as 3K Scarlet nearly doubling in price since being announced). Lenses on the other hand are precision-machined, intricate mechanical products. Their manufacture has gotten more efficient, but they haven't gotten much cheaper.

Sure the big companies will always be around, as long as they adapt or are diversified.
 
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