RED President Jarred Land said that “we are pleased to see our RedCode patents withstand another challenge,” adding that RED is still working with Apple to get RedCode on its Metal framework. “It has always been Apple + RED, and this was all part of the process defining how we work together in the future,” he said.

To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future. RED integration with Apple’s METAL framework for realtime R3D playback is coming along well and the work that the two teams are doing together is exceeding expectations. We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.

RED successfully fought back a similar suit from Sony in 2013, so the latest victory could further strengthen the patent. However, the court may have left the door open to another claim, saying Apple’s challenge was “unclear and incomplete.”

RedCode RAW is a video codec that allows you to capture RAW video in much the same way you can capture RAW photos. Apple claimed that RED’s patent was strongly based on two other patents: One pertained to the capture of lossless RAW video at HD, 2K and 4K resolutions, while the other was for a processing technique that allowed for compression of RAW sensor data. Apple argued that since RED’s patent was a combination of two prior patents, its own technology was “unpatentable.”

RED fired back with in-depth responses stating that its work was unique from those patents, and that it had been working on the technology prior to the timeframe that Apple had claimed.

While RAW photography is popular and common on smartphones, RAW video has generally been limited to use by professional filmmakers and video shooters. That’s mainly due to the technical limitations with RAW and not because of the patent. For instance, one minute of 4K RedCode video at 5:1 compression takes up 5.26 GB, while a minute of MP4 video at a typical 150 Mbps takes up 1.13GB. That kind of throughput generates significant heat, so RAW video isn’t really practical for smartphones or small cameras.

As such, this won’t have much of an impact on consumer devices, but it could affect Apple’s ProRes RAW development. As it stands now, companies that make external RAW recorders like Atomos have acquired ProRes RAW licenses from RED, and will likely need to continue to do so. Blackmagic Design, meanwhile, created its own RAW format that doesn’t infringe RED’s patents.

AT&T has maintained that it not only offered CBS an “unprecedented rate increase,” but that the broadcaster wouldn’t let it sell All Access as a separate option and thus give customers the choice of subscribing to basic TV bundles without CBS included. CBS was allegedly trying to turn a free-to-air station into a premium channel while “leaving cable and satellite customers holding the bag.”

To no one’s surprise, CBS has provided a very different version of events. It characterized the blackout as the result of a “long and clear track record” of AT&T using “aggressive tactics” to underpay networks, pointing to recent disputes like those with Nexstar (still ongoing) and Viacom (avoided with a last-minute settlement in March). AT&T’s competitors have agreed to these terms, it added.

CBS is warning that the blackout could last a long time, although we’ve seen how this sort of dispute typically plays out — the two sides vow never to compromise until they suddenly do. As it stands, both have an incentive to reach a deal quickly. The football season gets underway in September, and CBS’ fall season is right around the corner. If there’s no new contract by then, customers may jump ship for other TV providers and channels — and there are plenty of both thanks to internet video.