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New Footage from the Digital Bolex D16 Testing Sunlight & Skin Tones

09.6.13 @ 3:41AM Tags : , , , , ,

Digital Bolex footageWith the little bit of footage we’ve been able to see coming from the Digital Bolex, it’s only natural that we not only want to see more of it, but also maybe a few tests of a wider range of conditions to get a better feeling of what the camera can do. Well, the team over at Digital Bolex has released new footage that tests how the camera performs in sunlight, as well as with skin tones. Though not on the long side, these two tests surely demonstrate the capabilities of the D16. Check out the videos after the jump.


Though the footage from the D16 has been slow to come in, the Digital Bolex team is hard at work fine-tuning and testing their camera. They mention this in their latest blog post:

We are heavily into the testing phase with the camera so we are trying to shoot in some extreme conditions. With the above test we were testing the camera in 107 degree weather! You can see it held up just fine and the footage looks great.

Using vintage C-mount lenses, the Digital Bolex team captured some very interesting and beautiful footage that, at the very least, adds another piece to the D16 puzzle. DB founder Joe Rubenstein made a list of the lenses they used in each shot, which you can check out, as well as the test footage, below:

  • Beach shots: Cosmicar 12.5mm / 1:1.9
  • Bird shot: Som Berthiot 17mm – 70mm zoom / 1:2.4
  • Trees: Angenieux 10mm Retrofocus / 1:1.8
  • Color Chart: Switar 26mm / 1:1.9

Rubinstein also mentions that they’ve shot some motion shots that they plan on posting next week. So, keep an eye out, as I’m sure most of us are curious to see how the Digital Bolex performs.

What are your thoughts on the latest footage from the Digital Bolex? Let us know in the comments below.

Link: Sunlight You Say? — Digital Bolex

[via wolfcrow]

Related Posts

  1. First RAW Footage From D16 Shows That Digital Bolex Means Business
  2. Digital Bolex Releases Massive 10GB of RAW Sample Footage from the D16 Camera
  3. Plethora of Updates on the Digital Bolex Reminds Us That Good Things Come to Those Who Wait

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  • Scott Wild on 09.6.13 @ 3:48AM

    Is it just me or is there loads of chromatic aberration?

  • Interesting glitch between 0:10 / 0:11 of the first video…

  • Cute. Magneta blown out highlights is a nice reminder of the old CCD and CMOS days, but overall I like the look right now and I kinda know I can tweak the raw a little, even sharpen the image a tad bit.

  • Enough is enough with the tests, where is the camera?…

  • The chromatic aberration are probably caused by the lenses, they uses old glasses instead of new ones (witch causes chromatic aberration too, unless you are using master primes or such expensive lenses).

    Shooting raw, the chroma is not a problem to me because you can easily fix it.

    I’m interesting in the way the sensor capture the skin tones (maybe with some more tests) and dinamic range.
    I wanna know also the way it capture the color: does it have color dominace, how much, ecc…?

    I think It would easily become the must-to-have for a lot of indipendent filmmakers instead of HDRSL or BMCC, but there’s a lot to test before.

  • I’m just glad to see footage that’s not of the same girl. Hooray for variety!

    • Thyl Engelhardt on 09.6.13 @ 1:41PM

      Though she already showed up once when the camera was presented….There is a photo with her and Elle in the booth.

  • Nice shot of the stupid Glendale skyline.

  • Wow – it’s really inspiring to see all the progress they are making. I think most people need to remember that they are showing us that process, though – so when the “ugh, purple highlights!” comments come, just remember they are letting us in on the testing and calibration process as they go along – something no other camera company would EVER let you see.

    Can’t wait to see the finished product – I’d seriously consider getting in one the second run of cameras, assuming I could squeeze into a pot in line.

    • I feel the same. I can’t believe that so many people complaining about all those accomplishments….

  • Oh man , those who ordered this camera must be Zen monks.

  • I thought all new cameras were supposed to have big black orbs and ugly blooming in their images? Disappointed. Wish they’d rush this camera to market with false promises like other real upstart camera manufacturers…

  • The Salton Sea!
    Skin tones look nice.

  • How to tell people are finally sitting up and taking notice of this great camera ?
    A Digital Bolex article and no one used the H word this time !! Excellent stuff.

  • There is pink in the Highlights in the shot of the water which also exists in the Black Magic Cinema Camera. And on the shot with the sunlight you can see some a hint of that. The big question is will it have the same highlight clip problem that the BMCC has when it is shot directly into the sunlight. The shot with the sunlight wad forgiving because that time of the day the sunlight is not that strong in illumination. I would like to see it directly shot at the sun in afternoon time.

  • Aren’t these fairly rare lenses that most shooters won’t have access to on an everyday basis?

    • Nope these are straight off eBay under $200 lenses all of them. I didn’t even clean them well :)

      • I might have spotted the lens dirt, had the image been in 4K. On a curved 55″ OLED preferably. And with new glasses.

        • Hahahaha and you probably will buy one of those, in 10 years ;)

          • Joe, I’ll just have to go work for Sony and demand to be compensated in curved OLED big screens and 4K cameras. (before I receive my giant sack of loot)
            .
            As to CCD vs. CMOS, they may look a bit different at different price points but many of the processing artifacts are/were due to a lower speed/less powerful video engines. As the CPU/GPU power and the related list of software instructions grow, most of those artifacts have been eliminated. The ability to record Raw to an outboard recorder is another step in solving the in-camera processing difficulties.
            .
            The second problem on the low end is the dual nature of the photo-video market where the sensors have to pull double duty. On the high end/pro tier, the “video only” sensors don’t have these same problems (after all, Alexa’s sensor is a CMOS). The new Sony 4K pro-am camcorders are taking a different route entirely, using only the 8.3 MP portion of their larger 18 MP sensors over than the previously in vogue pixel-binning design that produced these digital artifacts in the fist place.
            .
            PS. I was an “early adopter” with HDTV. It took a couple of more years for the US prime time and late night programming to be delivered in 1080i. Prior to that upgrade, I just watched DVD’s. I don’t, however, see myself going into 4K immediately, though I am tempted by the lower priced 2.5K monitors.
            .
            Unless, of course, Sony calls with the offers.

  • It is fascinating that the Digital Bolex release is about to coincide with the new batch of 4K cameras such as the Sony PXW-Z100 featured on NFS recently, and also ties very well with the recent “To 4K or Not to 4K” article by Joe on NFS.
    I believe the colour on Sony is 10 bit 4:2:2, but Digital Bolex is 12 bit 4:4:4, which appeals more to me. I hope the camera hits soon.

  • Is there a global shutter on this camera?
    It’s more interesting than the BMCC’s and I would like to know if there’s rolling shutter (I assume there will be) and if so, I hope we’ll see some examples of handheld footage such as following an actor walking and some rapid camera movements (like following a fight scene), as opposed to the usual dslr/Phillip bloom stuff which is pretty but doesn’t inform on how it’ll work with narrative fiction/ shorts or features.

    • Global Shutter…Some of the footage above was handheld, apparently.

    • marklondon on 09.6.13 @ 7:25PM

      You don’t know how CCD sensors work do you?
      And as for the walking shots, that’s the operator not the camera.
      Re the fight scene, those are shot now with tons of cameras without global shutter. Again, if you know what you’re doing you can minimise it, or even use it to your advantage. The only style that is VERY hard to pull off without a global shutter is the Paul Greengrass “hunter” style: so if that’s what you’re asking about, this cameras CCD should do pretty well.

      • I do know how CCD sensors work, thank you very much. Which is why I enquired as to wether this camera has a global shutter, or not. The shots I suggested are fair examples of testing rolling shutter, should the sensor be otherwise. I’m pretty interested in this cam now I know it has a global shutter. Be interesting to see how it compares to the Black Magic 4k.

  • Anthony Marino on 09.6.13 @ 6:35PM

    Nice to see things coming along, skin looks good but would like to see some diversity. Maybe something challenging the highlights and shadows too. Thanks

    • marklondon on 09.6.13 @ 7:28PM

      I don’t expect this camera to be brilliant with highlights – neither the Genesis or Ikonoskop were fantastic in that area, and the Sony S900 and Panny Varicam were only ok. However, all those CCD cameras made gorgeous images, with terrific colour depth. That’s what I’m expecting.

      • Anthony Marino on 09.6.13 @ 11:08PM

        Nice, I’ll take that too Mark. I really like the ikonostop too. Thanks

      • That, if anything, will be their saving grace. Still, this is quickly turning into a 4K universe. Another new smartphone (Samsung’s Note 3) was just announced as having 4K. And, if a smartphone has it, you’ll need a litany of excuses why your pro level camera does not.
        .
        Shaky 4K footage to follow – [http://www.youtube.com/watch?v=YJsbaLKQbaQ]

        • i’ve learned you have to leave a space between each bracket and the link for it to become live

        • I think we’ve seen that litany from a few commenters already. 4K is even in some point and shoots (in bursts) already. It’s beautiful in the Nikon V1. (still hope they use that V1 technology and make a low cost 4K camcorder with it, but I don’t think Nikon is big on camcordings)

          I know a few people don’t want to see this, but, higher K’s are king. 4K even has a short shelf life now that the 6K Red Dragon has footage out that looks better, and more fascinating than any video before. It’s a race to the highest K possible with currently known materials. 16K is possible, theoretically, with currently known materials. It will be fun to watch. I’ve got my popcorn! ;^)

  • The latitude and color rendition do not look good. I think they are going to have a hard time with getting these out the door.

    • That sounds like a wish, could you elaborate please ?

      • I can’t speak for jon apple, but after seeing so much 4K and 6K footage any lower resolution footage than 4K and 6K looks sorta flat. There really has to be some pizaaz to the look of lower resolution cameras to make them go out the door briskly in sales—especially if they have a bit higher price tag. As a commenter said above, there’s even 2 phones now that have 4K video. The horse is out of the barn: it’s become about higher K’s now. I’m sure there is still a big market for 1080p. 2k, 2.5k. 2.7k. 3.5k, etc. There’s still a whole lot of 720p on tv and the internet. So lower resolution is alive and well, with a red blooded heart beat. But higher K’s are where the fascination in video is right now, and where video is heading. How fast it’s heading there….. that’s up to debate.

        • Roald Christesen on 09.8.13 @ 4:32AM

          In some aspects you are right. More K could result in better antialiasing or minimizing of alias signals, may be overall less noise, because noise is distributed better. But i do not like the fact, that modern sensors manipulates signals on chip, i.e. noise reduction. I would like to see more CCD cameras and new generations of CCD sensors, which in my opinion should become faster readouts and higher resolutions, may be in combination with modified CFA patterns. I hope that sensors get there where analogue film has been long time … capture light in a more natural manner, without artifacts caused by grids and numbers.

          • Thyl Engelhardt on 09.9.13 @ 4:37AM

            There seem to be strong physical hurdles to faster read outs, or otherwise, the CCD manufacturers would have implemented this feature, since this is where the strongest competitive pressure comes out of the CMOS field.

        • Thanks Gene. I think the DB makers are pitching the camera as the equivalent of 16mm for fim-makers, but the market can indeed be harsh; I hope it finds a place.

          • The video market seems to be moving fast in the last 5 years. There’s new, exciting improvements displayed at every media conference. The announcement by Black Magic of “4K for $4K” was such a splash. But now that Sony has 4K cameras, w/ lens, for $4.5K and $6.5K, and Panasonic also is coming out with a low priced 4K camera in November, it takes away some of that splash. I do know Black Magic’s image quality will likely be better than those cameras. But what I’m trying to say is technology is moving quickly now. So yeah, the market can be harsh, and demanding. It seems like the video market recently is more demanding.

    • Agreed, looks like shit!

    • footage just looks unimpressive. The ikonoscope camera is CCD and looks great I don’t know what sensor is in there or how the electronics or w/e effect it but its not looking that good. Latitude and color rendition from these clips is not strong. There are just better options in the market place right now for the same price (the BMCC stuff)

      • And this is not a question of resolution…. not in the slightest. the ALEXA is a fantastic camera…honestly we will see about this dragon sensor but right now the best in the market as far creating images that represent the reality we know (IE great color rendition along with good latitude and roll off into shadow and highlight).

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