I have always said its the right tool for the right job. Personally for the type of work I do, the Helium is great, commercials and controlled enviroments makes sense. However I will use it on high end docos too and its great if rigged correctly. However the low light isnt all that great so some light is normally needed.
Essentially it’s a A7s 3 with far superior color science higher dynamic range higher resolution better raw capabilities. But I use that analogy all the time for sure !
I did the same but with the weapon helium...it was a big mistake... First of all the Gemini sensor vignette with wide super 35 lenses for example with ultra prime. Cuz the sensor it’s slightly larger then a super 35. The bigger scam is that this sensor is not really a low light sensor if compared with Sony Venice or panasonic varicam... I dotn mention BM cuz are not pro camera but yes the poket 4k is way better in low light.. I’m sorry to say that Gemini is a scam.
You can shoot 5k hd and get that 16x9 5k resolution that should fix your scaling issues in post as well as the vignetting. Best black shading is a 2 capture 48/38 in standard and in low light mode. Some of the issues people have with R3D in general is that they are not using the machine properly. I just upgraded from Dragon X 6k dsmc2 to gemini and everything in this video is true. You have to calibrate R3DS properly to get best image and process it correctly in post. Gemini in lowlight beats everything I've ever used. Not only in noise pattern but color, skin tone, and raw workflow.
@@JohnnytheCameraGuy obviously if i crop the sensor ill not have vignette anymore but that's doesn't change the fact that it's vignetting at full resolution with a 16mm which is ridiculous. Regarding shadow calibration, you assuming i'm not using at the camera correctly make me smile. Having said that, when i read that gemini is a low light beast i understand you really have not much experience with real low light cameras. So please share a link here of a file you have shot with the gemini iso 3200 in a real low light condition, like a dark street at night. Let's see if it's without noise, I challenge you! :D
Wanted to switch to Gemini too but I upgraded to Helium DSMC2 from the EpicW instead. Used the Gemini once and that lowlight was not as I expected it. If I ever need low light, i‘ll rent a a7sii and slap on a recorder. 8K and cropping in is key for my work. The only thing clients want in post is getting closer to they’re product. Never had a client that said „oh that shot is to noisy.“ I even like the grain on the Helium because of the high pixel count of the sensor the noise is super small an looks almost like grain instead of ugly digital noise. I think it really depends on what you shoot. Gemini is just not for me.
@@JohnnytheCameraGuy would you mind explaining what "Best black shading is a 2 capture 48/38 in standard and in low light mode" means for me please? Just wanting to learn more. Thanks!
Gemini a scam? Bro, you need to know what you’re talking about before you troll. You’re naive with your low light comment. I own Monstro, Gemini and Komodo, and the Gemini is one of the best low light options that RED offers… again, what **RED** offers; he was not comparing it to other camera manufacturers here. Yes, Sony has better low light capabilities as those cameras are full-frame, and has a higher second base ISO sensitivity compared to the Gemini. So anyone with a level-head would choose a Venice 2, FX6, FX3 over the Gemini for super low-light scenarios. But when it comes to other REDs, this was and still remains one of the better low-light options. Also, you’re shooting RAW - there is no internal noise reduction going on in-cameras with RAW capture. All of the other Sony cameras generally have internal noise reduction cleaning up the imagine in-camera, so it looks noise-free right out-of-the-box. You do realize you have to use noise reduction inside your ending software / NLE to get rid of some of that left over RAW noise, right? I have a feeling you didn’t consider that. As for the vignetting in the corners, there are lenses that work just fine with this sensor; it was also designed to optimize anamorphic shooting too. Just because the Gemini didn’t work for your specific use case, and specific lenses, doesn’t it make it a scam at all.
Super helpful, no BS to the point ! Thanks for sharing your thoughts on it.
Great content, keep it up!
It’d help if you’d showed images of what you talk about. Great informative video 😊
in case you want to shoot 120 fps - gemini still 5k - helium has to crop in 5k, and now you have the same window like gemini in 3k
Yo! THE ED-209 - where did you get it?
did you change the whole body or send it in for upgrade sensor?
I sold my helium and purchased a barely used Gemini only had about 8 hours of use. I was tired of waiting for the upgrade process was taking months.
I have always said its the right tool for the right job. Personally for the type of work I do, the Helium is great, commercials and controlled enviroments makes sense. However I will use it on high end docos too and its great if rigged correctly. However the low light isnt all that great so some light is normally needed.
Amazing video brother ! I love your movie props as well.
Do you think the Gemini beats the Helium in lowlight ?
The Gemini destroys the helium
which image quality is better red emini or komdo ??? if u used both?? thanks
Gemini looks way better than the komodo
Red Gemini is a Sony camera in a red body
Essentially it’s a A7s 3 with far superior color science higher dynamic range higher resolution better raw capabilities. But I use that analogy all the time for sure !
@@ArtLA facts
yeah but different colorspace, sony image is very sharp, digital, for me red gemini is the best like far away in term of look and color
It was The Same Camera
wtf?
I did the same but with the weapon helium...it was a big mistake...
First of all the Gemini sensor vignette with wide super 35 lenses for example with ultra prime. Cuz the sensor it’s slightly larger then a super 35.
The bigger scam is that this sensor is not really a low light sensor if compared with Sony Venice or panasonic varicam... I dotn mention BM cuz are not pro camera but yes the poket 4k is way better in low light..
I’m sorry to say that Gemini is a scam.
You can shoot 5k hd and get that 16x9 5k resolution that should fix your scaling issues in post as well as the vignetting. Best black shading is a 2 capture 48/38 in standard and in low light mode. Some of the issues people have with R3D in general is that they are not using the machine properly. I just upgraded from Dragon X 6k dsmc2 to gemini and everything in this video is true. You have to calibrate R3DS properly to get best image and process it correctly in post. Gemini in lowlight beats everything I've ever used. Not only in noise pattern but color, skin tone, and raw workflow.
@@JohnnytheCameraGuy obviously if i crop the sensor ill not have vignette anymore but that's doesn't change the fact that it's vignetting at full resolution with a 16mm which is ridiculous. Regarding shadow calibration, you assuming i'm not using at the camera correctly make me smile. Having said that, when i read that gemini is a low light beast i understand you really have not much experience with real low light cameras. So please share a link here of a file you have shot with the gemini iso 3200 in a real low light condition, like a dark street at night. Let's see if it's without noise, I challenge you! :D
Wanted to switch to Gemini too but I upgraded to Helium DSMC2 from the EpicW instead. Used the Gemini once and that lowlight was not as I expected it. If I ever need low light, i‘ll rent a a7sii and slap on a recorder. 8K and cropping in is key for my work. The only thing clients want in post is getting closer to they’re product. Never had a client that said „oh that shot is to noisy.“
I even like the grain on the Helium because of the high pixel count of the sensor the noise is super small an looks almost like grain instead of ugly digital noise.
I think it really depends on what you shoot. Gemini is just not for me.
@@JohnnytheCameraGuy would you mind explaining what "Best black shading is a 2 capture 48/38 in standard and in low light mode" means for me please? Just wanting to learn more. Thanks!
Gemini a scam? Bro, you need to know what you’re talking about before you troll. You’re naive with your low light comment. I own Monstro, Gemini and Komodo, and the Gemini is one of the best low light options that RED offers… again, what **RED** offers; he was not comparing it to other camera manufacturers here. Yes, Sony has better low light capabilities as those cameras are full-frame, and has a higher second base ISO sensitivity compared to the Gemini. So anyone with a level-head would choose a Venice 2, FX6, FX3 over the Gemini for super low-light scenarios. But when it comes to other REDs, this was and still remains one of the better low-light options. Also, you’re shooting RAW - there is no internal noise reduction going on in-cameras with RAW capture. All of the other Sony cameras generally have internal noise reduction cleaning up the imagine in-camera, so it looks noise-free right out-of-the-box. You do realize you have to use noise reduction inside your ending software / NLE to get rid of some of that left over RAW noise, right? I have a feeling you didn’t consider that.
As for the vignetting in the corners, there are lenses that work just fine with this sensor; it was also designed to optimize anamorphic shooting too.
Just because the Gemini didn’t work for your specific use case, and specific lenses, doesn’t it make it a scam at all.