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Matching Komodo with Gemini disaster

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Carlos Montaner

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A colorist friend is working on a feature and is having a terrible time matching Komodo with Gemini footage.

For an upcoming movieI was thinking about shooting with a Gemini as my A camera and bring my Komodo as B camera but now I have my doubts...does anyone has similar experience?
 
Without frame examples, this is a hard conversation to have.

But you should be able to match Gemini and Komodo fairly easily. Honestly most cameras are pretty easy to match if exposed well. When stressing the image to extremes, that's pretty much where all of this becomes harder.
 
I have intercut z-cam and Gemini seamlessly, I can't imagine komodo being a problem unless they were at radically different isos.


Nick
 
I've been interested in that Cinematch software from the Filmconvert people but I haven't had to seriously match cameras like that. Normally I set white balance by common values unless there's the rare occasion things don't look right for whatever reason. Also we're working with controlled lighting and I know what the temperature of the lights are so that's pretty convenient but I know some people want to calibrate their white balance all the time for somewhat easier grading in post so something like Cinematch would be what I would look at versus tweaking settings back and forth between shots all day.
 
I would like to use the Gemini at 1200-1500 ASA for day interiors and keep the Komodo on a Gimbal. My issue here is that the Komodo is not really a low light camera...
 
Okay, if it’s upcoming production-wise, I have yet to work with a Komodo/Gemini combo myself but if I were, I would think you would simply have to either:

A) Push the Komodo either on set or in post knowing you’ll have to hit it a little harder with Neat Video.
B) Get that Canon speed booster or something similar for the Komodo to punch up the optical brightness a touch.
C) Do both A & B depending on testing
D) Divide cameras on the production depending on the scene (ie. Low light scenes are Gemini-only)

All depends on testing of course, our RED One MX turned out to be brighter at ISO 800 than we thought it would for our upcoming feature and that has some interesting lighting situations for sure and we had to pull only a few rabbits out of our hats for a couple of low light scenes but it all played well!
 
I own both and they intercut very easily for me. So easy it makes me very happy and my clients can not tell which camera is which half the time and if exposed properly Komodo hangs right there even in challenging lighting. I find Komodo needs about a +2 tint towards green to match Gemini as it is more magenta biased and sometimes needs some lifting of shadows to give milkier blacks and less contrast to be more reminiscent of Gemini. I can get them to match in about 2 minutes fairly easily. Post some frames or drop a link to some REDCINEX files and maybe some folks can help out. Definitely shouldn't have an issue here...
 
One of my buddies has the exact same combo, a Gemini and Komodo, and he also edits and I’ve never heard him mention anything about problems matching them up in post.
 
RED GEMINI VS RED KOMODO


Here's an upcoming video, in 2 Days, from Guillaume Cornet
Who does a reasonably good job with Red footage.

Here is a link to his other YouTube videos
https://m.youtube.com/c/GuillaumeCornetfilms/videos

I don't know how in-depth this video will be but it may help you with your dilemma.

He states on his YouTube page for this upcoming video:

"For our 4th day of live q&a, and due to popular demand, we are talking Final Cut pro from start to finish. Feel free to jump in the comments, say hello and ask questions, this is why I do these lives, to interact with you guys!

I know we barely scratched the surface in this stream, we'll go a bit deeper in the next video! Stay tuned!

1:01:59 - My livestream setup"


 
Bastian Meier said:
I did some shots with the Gemini and Komodo combined, and had no problems at all for matching them.
Click to expand...

Same here with Komodo and Dragon-X. Using similar lensing they are nearly indistinguishable, making the two cameras used together a powerful combo with the Dragon living on sticks and/or used for high frame rate, and Komodo as B cam or on a gimbal. I'm very pleased with the setup.

Gemini though...I have seen some tests before between all of the current DSMC2 sensors that did well to highlight color differences, color shifts at high iso etc. What I remember is that Gemini was a bit of an odd man out, maybe due to the dual native gain architecture? Either way, Gemini had more of a different look than Dragon, Helium and Monstro where color was concerned, and that was interesting.
 
We've had no problems matching Gemini and Komodo either - especially if you are charting as you go.

As to their ISO rating, we tend to keep them both at 800 ISO and they seem to have similar (and minima) noise structure.
 
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