Joe-rubinstein-digital-bolex-224x124We just recently talked about some of the changes to the Digital Bolex camera, and it seems that it's shaping up to be a worthy competitor to anything released in the $3,000 and under price range (namely, the Blackmagic Cinema Camera). RAW video is powerful (ask any RED owner), and it was only a matter of time before anyone and everyone would be able to record sensor data straight from the camera. In the video interviews below, Joe Rubinstein and Elle Schneider talk a bit about the current D16 project and what it's like to shoot with the camera. Joe also mentions that this will not be their first camera, and there's a good chance it may be a 4K model down the road.

Thanks to planet5D for posting these interviews from Kurt Lancaster (who is an Associate Professor at the School of Communication at Northern Arizona University and is the author of DSLR Cinema: Crafting the Film Look with Video):

It's clear based on the changes the team has made that this camera has become a serious competitor. While it will be capable of HD-SDI in some way down the road, having an HDMI output with a full 1920 x 1080 will help alleviate some worries that a number of shooters had about the camera. The unlimited mount choice is a huge advantage in this budget range, and if you can get your hands on some Super 16mm or 16mm lenses (which should become more and more plentiful as people move up to larger formats), they will be a perfect match with this camera.

Many will compare the D16 to the Blackmagic Cinema Camera, but as the D16 project changes, they move away from each other in philosophy and customization. One of the big advantages of the Digital Bolex is the ability to use the entire sensor (2336 x 1752) to record real 2X anamorphic, which no other camera under $10,000 is able to do. Blackmagic is looking for disgruntled Canon users who want a RAW camera, and Digital Bolex is looking at a vast range of users, but mainly those who are coming from a 16mm or Super 16mm background and want to recreate that look in a digital space with a RAW workflow.

It will be very interesting to see what new models both of these companies release down the road. It would make sense for Blackmagic to create their own way of mounting any lens imaginable if they do end up releasing a Super 35mm sensor camera. Since Digital Bolex is already doing that, it's safe to say that a future camera (4K or not), will also feature interchangeable mounts. With all of the RAW cameras coming out over the next few years, people will have to make some serious decisions about storage and what footage they absolutely need to hold on to.

Link: Digital Bolex

[via planet5D)