Thread: So is it true that the Gemini produces a soft picture? Do you regret not going to 8K?

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  1. #131  
    Senior Member rand thompson's Avatar
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    Didn't have shit else to do so tried to "normalize" this .R3D scene as well.




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  2. #132  
    Senior Member luigivaltulini's Avatar
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    I'm running a docu project for REd Bull these days .. Gemini camera.
    A few frames grab ... I'm using Olpf SKin Tone ...
    I like the color of the leather on each other OLPF .. Many do not like it for the noise ..
    But I always have the impression that this makes the images more organic ...
    ehehe maybe I'm going crazy for tiredness ahahaah

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  3. #133  
    Senior Member Nick Morrison's Avatar
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    Quote Originally Posted by luigivaltulini View Post
    I'm running a docu project for REd Bull these days .. Gemini camera.
    A few frames grab ... I'm using Olpf SKin Tone ...
    I like the color of the leather on each other OLPF .. Many do not like it for the noise ..
    But I always have the impression that this makes the images more organic ...
    ehehe maybe I'm going crazy for tiredness ahahaah

    r3d;

    https://drive.google.com/open?id=1We...HbjvXLCKJ7UGq1
    Luigi sometimes I think you are I are on the same page. I've been thinking for a while of how good Gemini must be with a Skintone OLPF.

    Right now all the tests are with Standard.

    But with the extra highlights of Skintone, and the super low noise of Gemini already built in at a sensor level, the total DR may actually creep right up to Alexa. With Standard it was close already, about half a stop difference in highlights yeah? But with Skintone....?
    Nick Morrison
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  4. #134  
    Senior Member rand thompson's Avatar
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    Last edited by rand thompson; 11-10-2018 at 11:28 AM.
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  5. #135  
    Senior Member Nick Morrison's Avatar
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    Quote Originally Posted by luigivaltulini View Post
    I'm running a docu project for REd Bull these days .. Gemini camera.
    A few frames grab ... I'm using Olpf SKin Tone ...
    I like the color of the leather on each other OLPF .. Many do not like it for the noise ..
    But I always have the impression that this makes the images more organic ...
    ehehe maybe I'm going crazy for tiredness ahahaah

    r3d;

    https://drive.google.com/open?id=1We...HbjvXLCKJ7UGq1
    Hey Luigi looked at all your frames, there's def more noise structure on Skintone for sure.
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  6. #136  
    Senior Member Michael Epple's Avatar
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    Quote Originally Posted by Jonathan Pears View Post
    Wanted to share some early 'unfinished and unreleased' images from a color session with the Gemini for a music video that had an adstract twist to it. Can't seem to embed them in my post, so apologies for the clicks. These are also compressed JPEG's, the TIFF exports look amazing but are 65MB a piece :)
    Nice Jonathan. This is the first posting of images I've seen on here that shows softness and subtlety of tones. Most of the stuff on here is so cranked, I can't tell what the sensor actually produces. I like the highlight suppression into the silvery tones, something the older red sensors had a problem with and something I was hoping this sensor would be better at.
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  7. #137  
    Senior Member Blair S. Paulsen's Avatar
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    Hard to judge precisely on my laptop, but Rand's grades above are showing excellent separation between white and near white values.

    Cheers - #19
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  8. #138  
    Senior Member Blair S. Paulsen's Avatar
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    Quote Originally Posted by AndreasOberg View Post
    Interesting Blair. What tools do you use to use Lanczos and Mitchell sharpening?
    /Andreas
    Typically I just use RedCine-X. Everyone has different workflows, but I often create a one light grade in RCX as part of my transcoding pass to DPX, ProRes, DNx, etc for post. I consider this step the digital "raw development" analog to techniques I used in the photochemical process back in the day. Again, everyone has their own way of working.

    For me, authoring the image is a synthesis of choices during capture AND when characterizing the RGB product in raw development. FWIW, when I know there will be a proper finals colorist in the pipeline AND the format requested is robust enough (DPX, TIFF, PR4444XQ, etc) my "one light" is pretty basic - neutralize the blacks, put 18% gray near the middle of the scale, adjust Kelvin/tint, pick a scaling filter that suits the material and adhere to the creative intent of the scene. OTOH, if I'm pretty sure my one light is the only grade that's going to happen then I might address other aspects of the look and try to maintain better consistency.

    IAC, I have had success using scaling filters and mild sharpening to make the picture pop more when desired. YMMV.

    Cheers - #19
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  9. #139  
    Senior Member rand thompson's Avatar
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    Thanks Blair! I graded them in Redcine-X so I never really know how accurate the skintones are and if the color saturations is a little too much without a Vectorscope, I just eyeballed them. I'm trying to ween myself off all of the "secondary" corrections and Power Windows in Resolve and trying to get back to just "primary" corrections.
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  10. #140  
    Senior Member Blair S. Paulsen's Avatar
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    It took me a couple years, but I've gotten pretty comfortable with using the RGB parade instead of a Vectorscope. Part of that process for me, is to sample values in the image that I have a pretty good idea about what they "should" be, do the grade, then re-check the same areas to make sure I haven't done anything stupid that my eye can't distinguish. If the grade needs to be particularly stylized, then it's more about relationships between colors/densities than a scene referred reference check. YMMV.

    Cheers - #19
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