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Gemini looks way better than the komodo

wtf?

Do you kno what part it is ?

@@KowabungaProd spare part 17 Battery Compartment

I actually got the Gemini with 5 hours on it and monitor and everything for 17k which was a value of 35k at the time

@@nightmarechronicles8 thank you for your reply 💓

@@ozzozz3529 of course thank you for watching my video 🙏

Native dual iso is 800 and 3200 for low light

That ones tricky because they are both very different cameras. Red scarlet pros: Cheap to buy second hand Great image Great low light Many compression options Looks more legit on set when built Modular design Multiple frame rate options Good low light Cons: Old camera Not requested by brain often Heavy Lots of set up time Drains batteries Komodo pros: Cheap to buy but hard to get a hold of Popular camera lots of buzz 🐝 Super light easy to run and gun Easy set up Great fir gimbal work Great for drones Cons: Hard to find Has its bugs App does not work well Doesn’t have many frame rate options Poor slo mo performance You just gotta ask yourself do you want a camera that does slo mo and has many frame rate options. If so the scarlet is for you. Or do you want the new hot camera that is super light and easy to travel with but Frame rate options isn’t a big deal. I hope this helped I’m going to make a Komodo vs Gemini video soon Overall you have to ask yourself what

@@ArtLA Thank you very much for answering me

For sure hope it helped !

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.

It is possible just need to have high compression and a fast hard drive. Or make proxy files

@@ArtLA Thank you

Hey thank you for the watch :) lots more content to come !

@@ArtLA Just one quick question: there is a anamorphic mode in comodo right? If yes, how is watching/monitoring streched the footage on that small display?

@@VirtuosityToniLekic so as far as I know they haven’t updated the Komodo to work with anamorphic just yet it’s still on the way. You don’t really want to use the tiny monitor unless it’s all you have. It is useable but for anamorphic I can see it being really hard to see.

@@ArtLA oh I see, thanks a lot! best komodo review on the YT! 💪

@@VirtuosityToniLekic aww thanks man I appreciate that 🙏

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

Lol Iv never had anyone say that 🤣

One thing I found super interesting about the camera is that it’s super clean very little noise. It does very well in low light Situations. I find it extremely clean in low light even cleaner then the Gemini. I haven’t pushed the iso past 1200 but so far to me it’s the cleanest image Iv seen on any red.

@@ArtLA Amazing, thanks for the reply!

I think it helps to get your clients excited about the gear. They always want the newest toys and if they can brag about some new camera or drone they will get extra excited for the shoot. I always try to be in a position where I don’t have to tell my Clients no if they ask about a new tech.

Which batteries are the right ones? Since the Tilta V-Mount adapter isn't RED approved, it shouldn't be able to communicate percentage and time remaining, just voltage... At least for now. I'm hoping Tilta will come out with a different version that has RED's official approval.

Yeah, I can't stand reviews that don't do their research. There are plenty of batteries out there that look excellent with the Komodo.

Lol was using the other orbiter to shine a red glow on the side of my face 😅 agreed tho haha

there's my new fav lights :-)

Thanks man! Yea I’m excited to see how they implement the new tech into dsmc3 !

Yea they both look amazing it’s hard to decide which one to pick. I didn’t see any comparisons online so I figured I’d make one. Thanks for the feedback!

For sure I see where your coming form. The whole appeal to me with the Komodo isn’t exactly it as a stand alone camera but the size and the R3D capabilities makes it the perfect b cam. The Ursa 12k is huge and Heavy not really meant for running and gunning the same way the Komodo is. The ursa 12k is a great camera don’t get me wrong but the Komodo has a very specific market. The brand name unfortunately does bring in clients as it’s a household name at this point. Like I said I get where your coming from but I think people looking at the komodo aren’t looking at the ursa and visa Versa there two completely different cameras. Thank you for commenting though you bring up a lot of good points.

@@ArtLA I agree with the name Cache the RED brand brings with it. Although, I would argue the image coming from the URSA Mini Pro 12K camera is actually superior in many ways, BMD simply does not have anywhere near the client appeal that RED has. If you invest in a RED camera, then you stand a good chance of getting a certain amount of clients just on this basis alone (Which may well justify the extra premium of your investment). When most people think of a RED camera, then they're usually visualizing a studio camera like the URSA is, but not a little agile cube, like the Komodo is. Ironicly, at the overall price point of the Komodo, the C.O.E. will keep it out of the hands of the market RED intended it to enter.