This is one of the things which kept me away from Red.
That's the beauty of Arri. You invest and know you are done for a while and will get ROI.
now shipping RED Epic-w GEMINI - dual ISO, low light capable camera :0
- Thread starter starcentral
- Start date
That's the beauty of Arri. You invest and know you are done for a while and will get ROI.
Steven Abrams
Member
Yeah its just conversion gain. I've played with it myself. I could have written 'analog conversion gain' but it didn't really add to the point I was trying to make and I didn't want my post to end up a novel like yours. In context, compared to the suggestion that the gemini is just shifting the dynamic range down with some noise reduction I would still distinguish either approach as analog gain (since it's gain in the analog domain) versus a digital push with noise reduction. That's the core concept, it's gain before the ADC and not what the poster was suggesting.
Been a Red user for 6 years and counting, from Epic MX, Dragon, and now Weapon Helium. Here are some photos- Frame grabs- starting from MX (racing ones) to Epic Dragon and Weapon Helium. All of these stack up wonderfully until this day. The footages I have from 2012 look like they were shot today in most of the newer high end cameras from competitors. We go back to shots as far back as 2012 for some international campaigns and they intercut wonderfully with the ones shot today.
What Red provides is options. Upgrade paths. Only recently have competitors started to follow this strategy. Its one of the things that kept me with Red and happy with the system. Cannot recommend them enough. Even now, a couple of times have been working with a Scarlet W for certain jobs, and footage coming from it looks as good as my Epic Dragon material. For a lot less. Its truly incredible bang for the buck.
As for the Gemini, I genuinely think this is a "giant killer". This is probably the most focused Cinema Camera Red has done these couple of years. Its focus is not on being a DSMC (digital stills and Motion Camera) but a full on Digital Cinema Camera. The Resolution is the ideal for 4K cinema, with the advantage of bigger pixels, better dynamic range and low light, and the right size for most of current Motion Picture standards. I am on 8K Weapon Helium right now and have placed money for the Monstro upgrade, but if I was looking for a camera today (without being invested on a system and with 30K) I wouldn't blink and go for the Gemini.
https://www.flickr.com/photos/126716363@N06/
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You totally, absolutely, 100% miss the point.
The F35 was launched basically with the Red One, so it's what 10 years old now? The F35 images not only keep up with any high end camera today but beats most of them too. Alexa is also from 2009! Still the industry standard.
The point is you buy an Arri and you are done. With Red, the people who hire you based on the camera go, so you don't have the latest from Red? Ok, won't hire you. Will find somebody who has Monstro, Helium or whatever. This basically obligates you to upgrade if you want to stay in the game. With Arri you basically always have the latest. The image has been the same since the first Alexa, because it was so great back then that competitors still have not fully caught up. Do it once and do it right is my opinion.
Run&Gun
Veteran
Depends on the market segment. Feature films and national commercials, no. Equipment owned doesn't matter. The "middle", yes, equipment owned can most definetly affect hiring decisions. I've received phone calls just because I owned a certain model camera and it got me in that particular door. I've also been on the other side, where I've seen guys shooting (and seen the end product) and I'd wager lots of money that they were there because they had a certain camera, too.
hscully
Veteran
The best thing about owning a RED is definitely Redcode RAW. As they improve the color science and post processing it accrues to all cameras. Like Bob said, check out IPP2. It improves color overall, the quality and usable information in highlights and vastly simplified post for me. I don’t get to load it into my Scarlet Dragon but I get a tremendous improvement in picture quality. Everybody gets it. No charge.
I dont understand your reasoning. So you’re saying the type of client that demands the latest Red camera would be happy with a F35? Or an old Alexa?
Current standards for most high quality end productions demand 4k, thats why Alexas had to change to offer an uprezzed 4k option, and sony came with many other cameras after the f35. I can say that my 5k Epic Material from 2012 is still relevant today and accepted as current by most uhd broadcasters. And Dragon. And Scarlet W. And Helium. Can you say the same from the F35 and Each early Alexas? Obviously old content mastered in 2K is survived as “legacy” and uprezzed. But its outdated.
To each his own i guess. Happy with my business and my reds!
NorBro
Major Contributor
They might have done it...$1,999.
Some interesting specs...a global shutter variant in the future, 10-bit, H.265, CFast, etc.
https://www.43rumors.com/this-is-th...four-thirds-camera-that-records-4k-at-120fps/
niki
Active member
....I agree with Sergio new tech is great for clients...but I also agree with Stratos....in my case I bought a film camera which lead to much higher end work for me and later a c300 and a red scarlet w for other jobs...I think one of the things that isn't mentioned much is the used marketplace and how it keeps pace with the newer tech
TubEfingers
Well-known member
This is interesting - I have an EVA1, so if I use Dual ISO set to native am I more vulnerable to exposure clipping/blowout?
I noticed some unexpected clipping when shooting on a bright day last weekend, I thought I was being pretty conservative so was surprised.
Do you have any info related to this you can link?