Also, the TV and movie industry makes heavy use of Canon DSLR kit for their work.
It’s an interesting acquisition, and I wish them luck. The rub will be cultural clash. I don’t know anything about RED’s culture, but I know a bit about Nikon’s. They are … less-than-flexible. Culture clash has been the fly in the ointment, for most of Nikon’s partnerships.
What Canon bodies are you thinking of? Something like R5 or C70?
Sony has held the crown for the best auto-focusing system for a long time now which for content creators can be very important. Canon is also pretty good, but Sony really has gone all in making sure their system works really well for many scenarios.(People, animals, face and eye tracking.) Lumix's auto-focus system is passable and only if the lens itself works well with it.
Personally I use a mixture of Sony and Canon lenses on a Sony A7S III along with a Sony A7R IV. I used to have a Lumix S1H that I loved the image rendering, but buying lenses for L-Mount was difficult since it is such a new mount. I would love to use Canon exclusively since their button layouts are far superior to Sony's absolute mess.
FWIW, my wife shoots Sony after moving from Canon, and I have a Lumix S5ii and GH5.
Source: Managing 150PB+ of customers video content.
Canon has almost no presence in the professional market.
I realize that my information is dated. Also, the company that I worked for, directly competed with Canon, and it's likely that Canon's influence may have been overstated.
Sony is big and gaining more traction by the day. RED is very popular, Personally I know an equal number of filmmakers with RED and Sony. Arri is the premium brand. Canon is almost exclusively used in documentary these days, they had their moment with the 5DMK2 years about but squandered it. Sad really.
It also brought the high contrast and saturated look baked in as a very unfriendly in post MP4 format. It also tried to sell a photo camera to a video world where the body form factor and external device connectivity was a joke. Professionals HATE all of that. Canon instead released the 100 - 700 series "cine" style bodies that were all primarily still shooting some form of MP4. It was all again a slap in the face with the added bonus of much higher price tags.
Canon has consistently told the market it doesn't understand it, and will just do what it wants
The only people that shot Canon in our market were a few that shoot time lapse.
Even after reading other people's comments, this statement is absolutely mind boggling to not respond to it.
> Also, the TV and movie industry makes heavy use of Canon DSLR kit for their work.
I'm going to need citations for this claim. Nobody in the TV/movie industry likes the DSLR workflows. The record format is shite. The form factor of the camera is shite. The photo lenses with a maximum rotation of 90° for pulling focus from one end to the other is absolute shite. The DSLR movement was a godsend for prosumers and the wedding photographer being taxed with also capturing video.
I just felt like being a bit of a pedant, by pointing out your unnecessary, unkind, and inflammatory comment. I took it exactly the way that you intended. You admit that you read the comments, but made the decision to post this, anyway (sack dance).
There's a better than even chance that we would actually find a lot in common, but I guess that's not to be. I also happen to have a fairly unique perspective, here. Not everything that I wrote was wrong.
Have a great day!
However, from what I see, Canon is filling a very specific niche and they're good at it. RED is the same.
So, it will not level the big three "capability" wise, but Nikon will have a hand (and feet) in cine market, which will provide them great feedback, development avenues and some cash hopefully.
So, they'll be able to compete in one way or another.
They’ve never shown an interest in competing outside of that.