I have watched this so many times and am still blown away by your shots! This is the difinitive video anyone wanting to watch what the gemini can do in the wilds of the world reality massive props you Pedro! Now im determined to get the ranger gemini! lol
Thanks Tony. I completely see it here but have checked other footage, even that same footage but from a couple of original clips and it's not there. Thanks again, dude.
Although a lot of these shots seemed to be free of noise. A lot of the shadows seemed to be boosted very high. mostly towards the end, a lot of the shots have almost no contrast.
Daymian Mejia hi Daymian. That’s the look the director of the documentary and I chose for this documentary. You may not like it but it’s an aesthetic decision. The Red Gemini gives you lot of room to grade the look you are looking for. This is one of them. Thanks for the comment.
Hi Rakesh. I will suggest to test it yourself. For this project here I've worked 800 for normal 3200 for low light but, in other projects, with other optics, I used different ISOs.
Hello there. Unfortunately I don't do tutorials. Keep pretty busy with shootings. (64 so far this 2018) So I wish I have free time to do that kind of things. If it's your first RED I recommend the REDucate course because these cameras are great when you know where their sweet spot is. You really need to know how to set them and operate to get all the juice out of them. Thanks for you comment and good luck!!
Hi Pedro, thanks for sharing! The Gemini seems a workhorse cam. A question about lenses, can you spot a difference between the Sigma 18-35 ART and the cine version in terms of image quality? And my question also extends to, do you need to crop the sensor to 4k to avoid vignetting or do you need to close to 24mm? I tested the 18-35ART with the helium and got some geometric distortion and vignette, for me the hard part was the vignette, what is your experience. Thanks, cheers!
Jorge Dourado thanks for your message. Both cine and Art versions are optically equal since their glass components are the same. Both image quality should be the same too. On the Gemini’s sensor there is a little vignette at 18mm at 5K. Of course since it’s a little bit bigger than S-35 but you can get rid of it at 20mm. I really liked the combination of both camera and lenses. 👍🏼
This really very great. I love the shots on the Nepali streets, very immersive. May I ask how did you record audio in your shots? And also if you were using tripod/monopod in the street shots or all are handheld with stabilization? Thank you I will follow your work!
Thanks for your compliments. The audio comes from the internal mic on the Gemini. Pretty good, huh? And regarding camera, it’s just handheld. No sticks, no gimbal, no easyrig or support at all. 🙌🏼
@@pedrodelguy4911 Thank you so much! your work is very inspiring. Makes me want to go out and shoot on our local busy streets. One last question, did you have any filters on your lenses?
Red's products need to have built-in sensor stabilization for hand-held. The cinema style image quality is amazing, but if you're not on sticks then the gitters are nearly as bad as a DSLR.
Watched for the second time. Really like your work. I'm thinking about buying Gemini. Do you recon it's perfect for MTV and commercial filming? I was thinking about buying Canon C500 II, but Red's image quality is way better. Love the look.
Hi Daniel. Thanks for your post. I’m happy you liked my work. To be honest, I haven’t worked with the Canon cameras that much. Only once or twice and I had ok results. The Gemini has been with me since Jun18 and I’ve put it through lots of adventures. Two very challenging documentaries, 20 music videos, more than 25 commercials and many miscellaneous videos. All I can say, I’ve had great results. I think I’ve learnt how to get what I’m looking for out or this red while understanding the importance of lighting, camera settings and... The glass. Choosing each setup following light conditions (or, even better, lighting your own) and choosing the best settings make a big difference. Also, the results with a 25K lens, won’t be the same as the picture quality that a 1.5K lens can render. The postproduction process is also key but, in order to have more freedom in post you need to deliver the best possible footage from the camera. Cheers!
onboardcamera_it this is a RED Gemini with a CMOS sensor Super 35 (30.72 x 18 mm). It is a little bit bigger than regular S35 because it’s prepared to work with Anamorphic lenses at 4:3 to be desqueeze. When using the Tokina at 11mm you might get a little vignetting which you can fix in post but, for our shooting, we didn’t have that problem. Maybe you are thinking about the Mostro which is the only FF camera RED has on the market today.
@@pedrodelguy4911 I know very well the image circle of the gemini, I'm a Scarlet-W owner! And I know also the 18-35 sigma is apsc and can't cover the gemini sensor, around 22mm maybe.. But not at 18
just got my Gemini and I must admit I have been watching your videos before making my decision. I love the camera, but I can't reach such a good noise level though, I've black shaded the camera, updated the firmware but footage is un usable over 1600 ISO. Any trick? What am I doing wrong.. Are you using IPP2 for low light? Cheers
Hey Emma. How are you? Thanks for the feedback. I'm super happy, my work helped you taking this decision. Honestly, this is the camera I love the most since I've started this filmmaking adventure at 18 years old (many years ago). To be honest, RED has a few tricks and secrets which are quite personal I would say. Not because you cannot tell or share them but because you will have to find it your on taste as you use it. Sounds weird but that's what happened to me. I've owned Sony for many years while shooting Arri when working on big projects. The reason for this is because of Arri's stability when getting your hands on a rental which you don't know. Red is different. You need to spend time with it and find its sweet spot. At least the one you feel it is. What you are telling me if the right process but, it is very important that you test as much as you can. To reveal the boundaries, the limits of the image. Don't judge the exposure by the image on the screen. Not even a false color from an external monitor. Use the waveform and, first, use a lightmeter to be in control. Call me old school, but by doing this, you will have more control on how the sensor works. And, again... shoot as much as you can. I'm right now shooting another documentary in Brazil. And the reason why I can get almost everything I need from the Gemini, is because I've spent hours, days and weeks shooting with it. Shot tests with charts, with different lenses, with filters, with lights, no lights... I hope this message helps you. Thank for your message.
@@pedrodelguy4911 Thank you so much for this very detailed answer. I can't agree more and coming from a Sony background, I totally understand you mean. I was actually thinking about using a light meter from now on, and now I'm convinced it's the right thing to do. Time to get out there and practice, thanks again and keep producing these beautiful videos!
Hello Albin. I'm happy reading your message. Thank you!!!! Unfortunately, since the images are from a documentary which is not released yet, I'm pretty limited on what I can do with the footage. I guess, in a few months, It will be ok for me to share it.
hey dude, this video motivated me to take the plunge into the gemini, nice work. what format are you shooting on your gemini with those sigma's? ive found the cropping/falloff to be too shitty at 5k with the 18-35 and 50-100
Thanks for your message, I’m glad this video helped you. I have only great things to say about this camera after working with it almost two years. There are two way I face the sensor size issue related to the S35 format. Most of the time I shoot 2:1 or 2.35:1 so, only wider lenses have a little bit of vignette if going 5K. Something it can be fix later on. The other way it to frame thinking on 4K, even 4.5K, you will get the S35 original frame with no vignetting.
It is a matter of perception. Only you can decide where and when to go out and shoot. I’ve taken different cameras to many places; Brazil, Nepal, Cuba, Colombia, Mexico, India, Thailand, Argentina, France, Spain, US, UK... Walked very different neighborhoods. Shot on some scary ones like Rio de Janeiro, Medellín or Mexico City. But the camera always gives me a reason to walk those streets capturing realities. It’s not important which camera, just go outside and shoot. 😀
Footage looks incredibly awesome, but please snap out of the cliche tabela and flute when associating with India or Nepal was India am confusing myself now, hey nice shots man I love it..
vargheese joseph thanks for your compliments on the image. The music was selected by the producers and it’s related to the documentary’s story. It wasn’t chosen randomly. I understand you are maybe tired of this genre associated to Nepal, in this case, but for narrative porpoises, it helps to respect the roots sometimes. Cheers!
This has to be some of the best looking Gemini footage on TH-cam. Really shows the low light capabilities of the camera too. Terrific work!
THANKS!
2:36 is such a great shot!
Working with Red was always a pleasure, but with the new Gemini it has Arri like image if you ask me!
Great Video! :)
I like to think that the quality of the Knight is more important than the quality of the sword. ;-)
@@pedrodelguy4911 That are some wise words!
I got the same opinion. :)
I have watched this so many times and am still blown away by your shots! This is the difinitive video anyone wanting to watch what the gemini can do in the wilds of the world reality massive props you Pedro! Now im determined to get the ranger gemini! lol
Thanks, David!! Your words means a lot to me and everyone involved in this beautiful project. Thanks!!!!!!
Great video and footage. The music is awesome as well
2:13 wow! insane composition. My favorite shot of this edit
Thanks Jake. I'm very happy you enjoyed the video and, specially that shot.
Very nice to see it in real life documentary shooting 😀 Great footage! Thanks for sharing
Thank you!
Wow this clip is amazing! Makes me wanna buy the Gemini
That's very flattering! I appreciate it a lot. Thank you.
Is it possible that you have either a burnt pixel or a dirty sensor? I see on the lower right side of the image a white dot.
Thanks Tony. I completely see it here but have checked other footage, even that same footage but from a couple of original clips and it's not there. Thanks again, dude.
This looks amazing, great work:)
Dauntlessfilms thank you!
Incredible. What sense were you on at 2:36?
Hi Tyler, what exactly do you mean by sense? Sensibility? ISO?
@@pedrodelguy4911 Sorry typo - Lens! Thanks
ficou linda as imagens, parabéns.
Myparazzo obrigado!
Although a lot of these shots seemed to be free of noise. A lot of the shadows seemed to be boosted very high. mostly towards the end, a lot of the shots have almost no contrast.
Daymian Mejia hi Daymian. That’s the look the director of the documentary and I chose for this documentary. You may not like it but it’s an aesthetic decision. The Red Gemini gives you lot of room to grade the look you are looking for. This is one of them. Thanks for the comment.
Hi, what is the native iso in normal mode and native iso in Low light mode ? And how much can we push the iso safely in low light mode ?
Hi Rakesh. I will suggest to test it yourself. For this project here I've worked 800 for normal 3200 for low light but, in other projects, with other optics, I used different ISOs.
This is awsome!
Thanks OZ! Check out my v1meo channel which has my work. vimeo.com/pedrodelguy
how did you used 18-35 and 11-16 if vignette on your Gemini?
onboardcamera_it I’ve used them many times with no vignette at all. Cheers.
Beautiful work, Pedro. Are you still into film making? Do you have an @IG to connect?
THANKS! Yes, I'll be into filmmaking the rest of my life :) IG: pedro_delguy
could you make a video to show how you've rigged the gemini for doc shooting?
Hello there. Unfortunately I don't do tutorials. Keep pretty busy with shootings. (64 so far this 2018)
So I wish I have free time to do that kind of things. If it's your first RED I recommend the REDucate course because these cameras are great when you know where their sweet spot is. You really need to know how to set them and operate to get all the juice out of them. Thanks for you comment and good luck!!
Can i have the link for the docu pls...
Faiz Izal unfortunately it is not yet finished. You’ll find it in the near future. Stay tuned!! And thanks for the comment.
Hi Pedro, thanks for sharing!
The Gemini seems a workhorse cam.
A question about lenses, can you spot a difference between the Sigma 18-35 ART and the cine version in terms of image quality?
And my question also extends to, do you need to crop the sensor to 4k to avoid vignetting or do you need to close to 24mm?
I tested the 18-35ART with the helium and got some geometric distortion and vignette, for me the hard part was the vignette, what is your experience.
Thanks, cheers!
Jorge Dourado thanks for your message. Both cine and Art versions are optically equal since their glass components are the same. Both image quality should be the same too.
On the Gemini’s sensor there is a little vignette at 18mm at 5K. Of course since it’s a little bit bigger than S-35 but you can get rid of it at 20mm.
I really liked the combination of both camera and lenses.
👍🏼
This really very great. I love the shots on the Nepali streets, very immersive. May I ask how did you record audio in your shots? And also if you were using tripod/monopod in the street shots or all are handheld with stabilization? Thank you I will follow your work!
Thanks for your compliments. The audio comes from the internal mic on the Gemini. Pretty good, huh?
And regarding camera, it’s just handheld. No sticks, no gimbal, no easyrig or support at all.
🙌🏼
@@pedrodelguy4911 Thank you so much! your work is very inspiring. Makes me want to go out and shoot on our local busy streets. One last question, did you have any filters on your lenses?
Red's products need to have built-in sensor stabilization for hand-held. The cinema style image quality is amazing, but if you're not on sticks then the gitters are nearly as bad as a DSLR.
Hi Kyle. Cinema cameras doesn’t have stabilization like they don’t have autofocus. Sometimes that imperfection is exactly what you are looking for.
The biggest con of IBIS is lens flare wobbling when you do any sort of handheld movement. I hate it.
why not used in Nepali flims??
samir pant hello. I don’t understand your question. What do you mean not used in Nepali films?
Watched for the second time. Really like your work. I'm thinking about buying Gemini. Do you recon it's perfect for MTV and commercial filming? I was thinking about buying Canon C500 II, but Red's image quality is way better. Love the look.
Hi Daniel. Thanks for your post. I’m happy you liked my work.
To be honest, I haven’t worked with the Canon cameras that much. Only once or twice and I had ok results.
The Gemini has been with me since Jun18 and I’ve put it through lots of adventures. Two very challenging documentaries, 20 music videos, more than 25 commercials and many miscellaneous videos. All I can say, I’ve had great results. I think I’ve learnt how to get what I’m looking for out or this red while understanding the importance of lighting, camera settings and... The glass. Choosing each setup following light conditions (or, even better, lighting your own) and choosing the best settings make a big difference. Also, the results with a 25K lens, won’t be the same as the picture quality that a 1.5K lens can render.
The postproduction process is also key but, in order to have more freedom in post you need to deliver the best possible footage from the camera.
Cheers!
@@pedrodelguy4911 Hi Pedro. Appreciate for sharing your valuable practical experience. Sounds very exciting. I know what I need now. Thanks.
5k FF?
onboardcamera_it this is a RED Gemini with a CMOS sensor Super 35 (30.72 x 18 mm). It is a little bit bigger than regular S35 because it’s prepared to work with Anamorphic lenses at 4:3 to be desqueeze. When using the Tokina at 11mm you might get a little vignetting which you can fix in post but, for our shooting, we didn’t have that problem.
Maybe you are thinking about the Mostro which is the only FF camera RED has on the market today.
@@pedrodelguy4911 I know very well the image circle of the gemini, I'm a Scarlet-W owner! And I know also the 18-35 sigma is apsc and can't cover the gemini sensor, around 22mm maybe.. But not at 18
Perfect!
Eugene Washington Jr. ✨🙌🏼✨
just got my Gemini and I must admit I have been watching your videos before making my decision. I love the camera, but I can't reach such a good noise level though, I've black shaded the camera, updated the firmware but footage is un usable over 1600 ISO. Any trick? What am I doing wrong.. Are you using IPP2 for low light? Cheers
Hey Emma. How are you? Thanks for the feedback. I'm super happy, my work helped you taking this decision. Honestly, this is the camera I love the most since I've started this filmmaking adventure at 18 years old (many years ago). To be honest, RED has a few tricks and secrets which are quite personal I would say. Not because you cannot tell or share them but because you will have to find it your on taste as you use it. Sounds weird but that's what happened to me. I've owned Sony for many years while shooting Arri when working on big projects. The reason for this is because of Arri's stability when getting your hands on a rental which you don't know. Red is different. You need to spend time with it and find its sweet spot. At least the one you feel it is. What you are telling me if the right process but, it is very important that you test as much as you can. To reveal the boundaries, the limits of the image. Don't judge the exposure by the image on the screen. Not even a false color from an external monitor. Use the waveform and, first, use a lightmeter to be in control. Call me old school, but by doing this, you will have more control on how the sensor works. And, again... shoot as much as you can. I'm right now shooting another documentary in Brazil. And the reason why I can get almost everything I need from the Gemini, is because I've spent hours, days and weeks shooting with it. Shot tests with charts, with different lenses, with filters, with lights, no lights... I hope this message helps you. Thank for your message.
@@pedrodelguy4911 Thank you so much for this very detailed answer. I can't agree more and coming from a Sony background, I totally understand you mean. I was actually thinking about using a light meter from now on, and now I'm convinced it's the right thing to do. Time to get out there and practice, thanks again and keep producing these beautiful videos!
Emma and Guillaume Thanks!! Let me know if I can be of more help. Looking forward to see your Gemini adventures. Salud!
Wow! The imagery is so incredibly clean and free of noise. Is it possible to download it somewhere to see it without YT's compression?
Hello Albin. I'm happy reading your message. Thank you!!!! Unfortunately, since the images are from a documentary which is not released yet, I'm pretty limited on what I can do with the footage. I guess, in a few months, It will be ok for me to share it.
hey dude, this video motivated me to take the plunge into the gemini, nice work. what format are you shooting on your gemini with those sigma's? ive found the cropping/falloff to be too shitty at 5k with the 18-35 and 50-100
Thanks for your message, I’m glad this video helped you. I have only great things to say about this camera after working with it almost two years. There are two way I face the sensor size issue related to the S35 format. Most of the time I shoot 2:1 or 2.35:1 so, only wider lenses have a little bit of vignette if going 5K. Something it can be fix later on. The other way it to frame thinking on 4K, even 4.5K, you will get the S35 original frame with no vignetting.
People out there shooting on the streets with red Gemini and I’m here shy to go out with my XT-3😅
It is a matter of perception. Only you can decide where and when to go out and shoot. I’ve taken different cameras to many places; Brazil, Nepal, Cuba, Colombia, Mexico, India, Thailand, Argentina, France, Spain, US, UK... Walked very different neighborhoods. Shot on some scary ones like Rio de Janeiro, Medellín or Mexico City. But the camera always gives me a reason to walk those streets capturing realities.
It’s not important which camera, just go outside and shoot. 😀
Woah!!!
THANKS!
Footage looks incredibly awesome, but please snap out of the cliche tabela and flute when associating with India or Nepal was India am confusing myself now, hey nice shots man I love it..
vargheese joseph thanks for your compliments on the image. The music was selected by the producers and it’s related to the documentary’s story. It wasn’t chosen randomly. I understand you are maybe tired of this genre associated to Nepal, in this case, but for narrative porpoises, it helps to respect the roots sometimes. Cheers!
@@pedrodelguy4911 i agree, maybe you should come down to south india, you ll love it here...jus saying........