May 7, 2014

The Most Gorgeous Footage Yet from the Digital Bolex D16 Camera

As the final D16 cameras ship to Kickstarter backers this week, the team over at Digital Bolex has announced that international shipping is now possible. They've also got a promotional video shot on, and for, the D16, which shows off some of the beautiful analog aesthetic that the team was going for when they first launched their crowdfunding campaign back in 2012. The promo has some of the best-looking footage I've seen out of the camera to date, and really shows off what's possible when it's put into use on a full production. The D16 was also featured in an episode of GLEE that just aired. Check out both videos below.

It was directed by Elle Schneider and shot by Sergio Arguello:

The Digital Bolex D16 cinema camera, originally funded on Kickstarter, puts truly cinematic quality within the price range of any independent filmmaker. Shot on the D16, this promotional spot was then projected at the Downtown Independent in Downtown Los Angeles and recaptured on the big screen to show the cast enjoying the footage they had shot the previous day on set.

Something that gives the D16 a unique look over many current cameras is the Super 16mm-sized CCD sensor inside, which processes images in a different way than the CMOS sensors inside pretty much every camera on the market, including DSLRs and higher-end cinema cameras. I've always been partial to the way CCD sensors produce images and the way they render motion, which is partly due to the global shutter that does not suffer from any image skew. It also doesn't hurt that you've got 12-bit RAW files to work with in post.

The camera was also used to shoot part of the GLEE episode "Old Dog, New Tricks" on FOX, and was shown in the episode:

https://www.youtube.com/watch?v=KrlVShxwxtc

Digital Bolex also has a number of new items available in the store, so check out the links below for more information.

Links:

Your Comment

118 Comments

I'm a big fan of what I've seen from this camera so far. I think it fits a really interesting niche in the indie filmmaking community and I really like the image that comes from it. I personally wish they would try to do a 4K version down the road, but the 2K version is still phenomenal. It's too bad this camera got swept up in comparisons to the BMCC.

May 7, 2014 at 2:19AM, Edited September 4, 11:56AM

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Coty

They will, when / if there will be new 4K capable CCD sensor. So far Aaton and Dalsa shat themselves big time trying to match what CMOS sensors can do with ultra high res.

May 7, 2014 at 11:12PM, Edited September 4, 11:56AM

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Natt

4k is overrated and very much not needed.

May 8, 2014 at 4:22AM, Edited September 4, 11:56AM

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Zach Ginnever

Hey Joe and Coty,
Thanks for your kind words!
We are really happy with our first official promo shot on a production camera!
Glee was really fun, and many more professional shoots are using it now!

May 7, 2014 at 2:25AM, Edited September 4, 11:56AM

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I can't wait to see what else gets made with it. Quick question: I know you guys have said that your operation, for now, is still growing and I know that there are more ins and outs than I could probably keep track of, but is a 4K option still a possibility down the road? Some of the comments you and Elle have made lately make it seem like that's something you're not really interested in doing. I hate to sound like the guy banging the 4K drum, it's just that for my personal needs as a shooter 4K is something I'm going to need down the road and the D16 has, for the most part, the main features I want in a camera.

May 7, 2014 at 2:32AM, Edited September 4, 11:56AM

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Coty

We would consider it, but do you know of a 4K CCD?
And it would probably have to be S35 at that point right?
That kind of defeats a lot of the things we are going for right now.
So it is a possibility. I have some ideas, but figuring out the right approach is tricky.

May 7, 2014 at 2:37AM, Edited September 4, 11:56AM

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Yeah, I was thinking it would come down to the right sensor. Just glad to hear it's not something that's been written off. Good luck with the D16 Pro!

May 7, 2014 at 2:39AM, Edited September 4, 11:56AM

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Coty

Would it have to be a CCD? Would a global-shutter CMOS sensor be acceptable?

May 7, 2014 at 7:47AM, Edited September 4, 11:56AM

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Tzedekh

CCDs use a special manufacturing process to create the ability to transport charge across the chip without distortion. This process leads to very high-quality sensors in terms of fidelity and light sensitivity. CMOS chips, on the other hand, use traditional manufacturing processes to create the chip -- the same processes used to make most microprocessors. Because of the manufacturing differences, there have been some noticeable differences between CCD and CMOS sensors.

CCD sensors, as mentioned above, create high-quality, low-noise images. CMOS sensors, traditionally, are more susceptible to noise.
Because each pixel on a CMOS sensor has several transistors located next to it, the light sensitivity of a CMOS chip tends to be lower. Many of the photons hitting the chip hit the transistors instead of the photodiode.
CMOS traditionally consumes little power. Implementing a sensor in CMOS yields a low-power sensor.
CCDs use a process that consumes lots of power. CCDs consume as much as 100 times more power than an equivalent CMOS sensor.
CMOS chips can be fabricated on just about any standard silicon production line, so they tend to be extremely inexpensive compared to CCD sensors.
CCD sensors have been mass produced for a longer period of time, so they are more mature. They tend to have higher quality and more pixels.

Based on these differences, you can see that CCDs tend to be used in cameras that focus on high-quality images with lots of pixels and excellent light sensitivity. CMOS sensors traditionally have lower quality, lower resolution and lower sensitivity. CMOS sensors are just now improving to the point where they reach near parity with CCD devices in some applications. CMOS cameras are usually less expensive and have great battery life.

May 9, 2014 at 12:17AM, Edited September 4, 11:56AM

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blackmagic 4k and Cion's sensor.

May 7, 2014 at 12:27PM, Edited September 4, 11:56AM

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VinceGortho

That's not CCD...

May 7, 2014 at 12:30PM, Edited September 4, 11:56AM

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Brian

But then what's the point?

May 7, 2014 at 1:31PM, Edited September 4, 11:56AM

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Joe,

What made you change your mind that now you are considering 4k? It seemed to be like a four letter word to you before.

May 8, 2014 at 10:43PM, Edited September 4, 11:56AM

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Gene

I never said 4K was bad, just that it "wasn't necessary" for most independent filmmakers.
And I still very very much believe that is true.
I am considering a 4K option, but it would be a "Pro" feature.
Again not necessary for most indies.
Some application, but not necessary for all applications, and not the defining characteristic.

May 9, 2014 at 3:03PM, Edited September 4, 11:56AM

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I hope you can find a way to make 4K work with the specifications you also required in this 2K sensor. Actually, I wish you could make it happen in a 6K sensor. 6K has a fascinating look to it. But of course 6K might raise the cost of the camera up too much. Just getting 4K with your specs would look gorgeous. Doesn't hurt to wish for 6K I guess.

To see what I mean about 6K here's the latest from Mark Toia with his 6K Red. It's a promotional video for Australian restaurants and tourism. Looks like it was a major project: http://vimeo.com/94276293

May 10, 2014 at 7:10AM, Edited September 4, 11:56AM

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Gene

Gene: did you see the gh4 4k promo and short film? It looks awful and this digital bolex footage looks great. I don't think there is really any need for 4k for indie filmmakers right now. It's just a gimmick to flog tvs and consumer grade cameras.

May 10, 2014 at 4:24PM, Edited September 4, 11:56AM

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frear

Those early GH4 promo videos were early units, not final products, with Panasonic lenses. Since then there have been samples from the final units that have been shipped, using other brands of lenses. And they look fantastic.

May 11, 2014 at 12:05AM, Edited September 4, 11:56AM

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Gene

For me one of the big selling points of the D16 is that it is not 4k.

May 7, 2014 at 3:45PM, Edited September 4, 11:56AM

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no 4k

Yes, because we all know people are refusing to watch anything below 4k on the plethora of 4k screens they have around their houses...

May 7, 2014 at 5:45PM, Edited September 4, 11:56AM

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bwhitz

Great image. 4K please :) I would totally snatch one of these ups.

May 7, 2014 at 4:33PM, Edited September 4, 11:56AM

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Richard

BTW, this looks like the ultimate run-and-gun documentary camera. The highlight roll-off is exceptional and very filmic.

May 7, 2014 at 5:06PM, Edited September 4, 11:56AM

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Richard

why do you need 4k? Pretty much everything you see in a movie theater is mastered at 2k and sometimes blown up to 4k on the projector. You can't play back 4k on any mass media, nearly no one owns a 4k screen and you will never see the difference unless you project the size of a theater. With a 4k projector.

May 7, 2014 at 8:21PM, Edited September 4, 11:56AM

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why?

Super-sampled images always look better.

May 7, 2014 at 9:48PM, Edited September 4, 11:56AM

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Richard

Not necessarily. That's something of an internet myth.

There just was an extensive test done here in LA with 4k sampled down to 2k, native 2k and Alexa scaled up to 4k and 4k did not come out on top. There was an interview on this subject with Rodney Charters right on this site.

4k down sampled to HD / 2k can look very clinical, brittle and over sharpened. It will do nothing good for your actors.

May 8, 2014 at 12:44AM, Edited September 4, 11:56AM

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why?

I have to disagree. It's engineering and the results depend on how the footage is downrezzed. It could be done in camera or in post. Generally speaking, 4k material transcoded to 2k has less visible noise and a cleaner overall image with greater detail. I've seen crappy conversions on prosumer cameras where the 4k transcoded to HD looked worse than the native HD but this was more to due with the lousy codecs involved.

If you are shooting 4k RAW, their is no reason you should not get a 2k conversion that looks cleaner and sharper.

"4k down sampled to HD / 2k can look very clinical, brittle and over sharpened. "
That's not an inherent flaw of 4k. It has more to do with lens choice, OLPF, lighting, etc. You need to consider those factors when shooting digital of course.

May 8, 2014 at 10:12AM, Edited September 4, 11:56AM

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Richard

"If you are shooting 4k RAW, their is no reason you should not get a 2k conversion that looks cleaner and sharper.

“4k down sampled to HD / 2k can look very clinical, brittle and over sharpened. ”
That’s not an inherent flaw of 4k. It has more to do with lens choice, OLPF, lighting, etc. You need to consider those factors when shooting digital of course."

And that is the problem. Too clean, too sharp. It's an unpleasant image in terms of aestetics.

Even with the 2.8k Alexa and Summilux / Master Prime lenses sharpness can be a problem. Nobody wants to be able to see every pore, wrinkle and the pancake makeup on the talent.

Every director of photography I know is already softening the image with analog or digital diffusion, softer lighting, older lenses etc. I have yet to hear any major ASC / BSC director of photography beg for more resolution. Instead they all want more dynamic range, which will take a hit on 4k sensors, and higher color depth (16bit) for better tonality.

Arri hit the sweet spot with 2.8k. Enough resolution to hold detail in a wide-angle landscape shot, but the sharpness is very controllable when shooting the talent. The big receptors give you 14 stops of range and low noise, which is probably the most important factor in cinematography.

And I can tell you from first hand experience that nobody in post production is looking forward to being forced to make the massive capital investment needed to make 4k work as efficiently as 2k. As it is VFX houses often struggle to handle a big summer block buster at 2k

4k was cooked up by giant electronics manufacturers, like Sony who are trying to boost TV sales that have fallen off a cliff. It's 'the next big thing' concocted by the marketing department, since HD has been widely adapted and sales are down. It's the same trap that the digital still camera business fell in to with the megapixel race.

.

May 8, 2014 at 11:56AM, Edited September 4, 11:56AM

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why?

When was the last time you heard an audience member say that the movie sucked because the images weren't Super-sampled. The audience cares about story -- not sharp pictures of fuzzy ideas. Would "Hurt Locker" and "The Black Swan" been better movies if they had been shot in 65mm instead of Super16???

May 9, 2014 at 3:03AM, Edited September 4, 11:56AM

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c.d.embrey

@c.d.embrey. This discussion is not about what the audience wants. It's about what filmmakers want.

May 9, 2014 at 4:51PM, Edited September 4, 11:56AM

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Richard

Richard,

Making money in your business is not about what the filmmaker wants. It's about what the audience wants. The customer is always right.

Hobbies are for you. Business is for the customer. Hobbies won't put food on your table.

May 10, 2014 at 7:14AM, Edited September 4, 11:56AM

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Gene

Gene: actually the digital bolex has been crafted with the filmmaker in mind not the best way to juice hobbyists (see blackmagic for that). Finally someone building cameras with the right attitude.

May 10, 2014 at 4:26PM, Edited September 4, 11:56AM

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ergo

I didn't say the Digital Bolex is a hobbyist camera.

May 11, 2014 at 12:07AM, Edited September 4, 11:56AM

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Gene

I was saying that not finding what the audience thinks to be of importance is not a good way to approach a business as business is all about the customers.

May 11, 2014 at 12:10AM, Edited September 4, 11:56AM

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Gene

Seems they battled the daylight red channel & magenta weirdness quite hard. Those shots really suffer from it.

Why don't camera manufacturers follow the lead of Arri - they basically said "screw the raw from the sensor" it's not good enough and imposed a highly cinematic and analog look right from the camera through a great sensor, some clever color calibration and some mysterious in cam processing.

The raw I get from my Red cam is already screwed so much by the firmware (color calibrations, fpn fixing and etc) that there are times with no matter how expensive color correction, I can't achieve what I want to achieve and would have to resort to color the image by hand. That's when I rent Arri or at least an F35.

May 7, 2014 at 3:11AM, Edited September 4, 11:56AM

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Stevie

ArriRaw hello, hello anybody home?

May 7, 2014 at 11:22PM, Edited September 4, 11:56AM

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Natt

It's interesting that much of the tests and footage on the Digital Bolex seem to be graded with a sort of retro feel, and of course the body of the camera is all about that...

I'm wondering, is there anything inherent in the raw capture itself that lends itself more toward that look? From what I understand, the camera is basically just a great balance of current tech vs. price in a fun form factor. The noise doesn't look particularly organic to my eye, but then again it doesn't look worse than many other digital cameras either.

In other words- if someone were shooting a 70's period piece and wanted to rent a camera, would the digital bolex be a better option than similarly-priced rigs- and why? :)

Just trying to understand what the camera is and isn't. Thanks in advance!

May 7, 2014 at 4:07AM, Edited September 4, 11:56AM

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It's a camera period. What it is and isn't is up to you. It has 12-bit RAW which is great for pushing the footage in all kinds of direction. The smaller sensor with vintage glass can achieve the "vintage" look easier than other larger sensor cameras but a camera like this shooting 12-bit RAW you have way more options than you think, With a speed booster I would bet 99% of the general viewing audience couldn't tell the difference between this or a red scarlet. There's a multitude of variants that contribute to a certain look a DP might be after, usually the camera is just a small part of it.

May 7, 2014 at 8:26AM, Edited September 4, 11:56AM

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Anthony Marino

This sentence is still filled with a bit of mystery for me: "CCD is rawer, rougher, grainier, yet magical. What’s more the Digital Bolex team have really done justice to the sensor with their colour science and calibration" - http://www.eoshd.com/content/12292/digital-bolex-d16-review-part-1

May 7, 2014 at 11:03AM, Edited September 4, 11:56AM

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I think the global shutter is part of it. It doesn't have any of the jelly look of modern CMOS cameras like BMPCC.

I think also the "retro" look aesthetic is flatter, which jibes nicely with the flatter image from the raw file. It's easy to make it look that way when the image is already quite flat to begin with.

May 7, 2014 at 10:12PM, Edited September 4, 11:56AM

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Good points. BTW, here is a good page breaking down some of the differences with other cameras: http://www.dvinfo.net/article/optical-science/a-short-history-of-camera-... (digital bolex is not on that page)

May 8, 2014 at 2:09AM, Edited September 4, 11:56AM

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Gorgeousadelic image!
Love it!

May 7, 2014 at 4:10AM, Edited September 4, 11:56AM

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pask74

The Glee images don't look especially vintage to me. The colour rendition is just richer/thicker than what I usually see from CMOS, which is a breath of fresh air in the plastic world we live in.
It's a raw camera, so you can make it look the way you want, basically.

May 7, 2014 at 4:12AM, Edited September 4, 11:56AM

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pask74

May 7, 2014 at 4:26AM, Edited September 4, 11:56AM

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Alex Holiday

It's refreshing to see a new camera that has an organic image, and doesn't scream about all it's crazy modern specs.

May 7, 2014 at 7:15AM, Edited September 4, 11:56AM

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+1

May 7, 2014 at 7:44AM, Edited September 4, 11:56AM

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pask74

It seem like a lot of artificial light sources has been added in post. If so, does anybody know which software can be used for such effect?

May 7, 2014 at 7:51AM, Edited September 4, 11:56AM

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Jesper

Just light leaks / film burns dude. You can buy them in packs if you are a sucker or just make them yourself. When a client asks me for that aesthetic my preferred method is:

Remove the lens from the body of the camera. Cover the camera with your hand so no light gets in and hit record. Move your hand around slightly so light starts to slightly creep in. Personally I find that slightly loosening your fingers so the light comes from between them works really well and also having the camera in different places, point at different things adds variation. You can also achieve some pretty cool weird pinhole effects doing this too :) Finally, place the light leak over your footage in a layer above and change the transfer mode to screen or soft light and change opacity to taste. If you want the leak to cut through more then you can colour correct it and also crush the blacks with a curve or levels which will help in not be too washed out. You'll work it out ;)

May 7, 2014 at 8:46AM, Edited September 4, 11:56AM

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If you are talking about our promo, there are no burnouts, flares, or effects added in post. There is no comping at all in fact. We shot those lens flares in camera on the day, and we shot in a real movie theater too. The whole point is it's all in camera :)

Shoot, Edit, Color Correct. As far as I know we didn't even window.

May 7, 2014 at 1:34PM, Edited September 4, 11:56AM

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I also thought those lens flares were added in post. You were obviously intent on capturing lens flare as it requires work to get that much flare. Was it done with single coating or no coating 16mm lenses? Filters? Aiming light directly at the periphery of the lens?

May 7, 2014 at 2:16PM, Edited September 4, 11:56AM

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Casey

Most of these flares came the old-fashioned way, from shooting at the sun. A few were from aiming at an HMI.

May 7, 2014 at 2:32PM, Edited September 4, 11:56AM

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Elle

Vintage Cooke lenses, not sure the coatings.

May 7, 2014 at 2:53PM, Edited September 4, 11:56AM

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Those flares looked so good I assumed they could only be done in post. Amazing. Beautiful camera and beautiful spot.

May 8, 2014 at 11:39AM, Edited September 4, 11:56AM

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Jeff

Thanks Jeff!
Means a lot coming from you :)

May 8, 2014 at 1:13PM, Edited September 4, 11:56AM

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That's what I thought too, since the flares seem to come in only at very specific angles to the alleged light source. For example, at 0:26 when the camera pans across the redhead girl, the flare hits her face, but then after the camera passes across her to the left - presumably pointing even MORE towards the light source - the flare disappears. It's different than I'm used to seeing, but I can accept that this is a quirk of the 16mm format.

its a very cool, soft flare though. not so circular and "lensy" as flares I get on my fs100 w/canon glass. dig it.

May 7, 2014 at 2:59PM, Edited September 4, 11:56AM

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dv

My apologies Joe and Elle! The flares were that strong they genuinely looked as if they were added in post! If not then super cool :)

Lens Flare Approved *stamp* :P

May 7, 2014 at 9:03PM, Edited September 4, 11:56AM

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In fact sorry - I just noticed you said "If you are talking about our promo...". I was personally referring to the Glee thing. Are you suuuuuure there were no light leaks added in post? If not them blimey gunva - this is one leaky looking mo'f*cker ;)

May 7, 2014 at 9:11PM, Edited September 4, 11:56AM

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Aaaaand withouth the typos:

In fact sorry - I just noticed you said "If you are talking about our promo...". I was personally referring to the Glee thing. Are you suuuuuure there were no light leaks added in post? If not then blimey guvna - this is one leaky looking mo'f*cker ;)

May 7, 2014 at 9:14PM, Edited September 4, 11:56AM

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I am pretty sure they just threw on some light leaks for the Glee shots, probably just to differentiate the two cameras more for narrative purposes.

May 8, 2014 at 5:36AM, Edited September 4, 11:56AM

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Elle

Seeing how Digital Bolex has clearly hired an ad agency to help with product placement and to shoot a glossy spot that was clearly lit to that effect I wanted to see if they were looking for any other consultants. I have very affordable rates ...although clearly they have a serious investor if they can spend the money they are so maybe they don't care about that. ....they are big time now.

May 7, 2014 at 8:32AM, Edited September 4, 11:56AM

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Marketing Consultant

Pardon my bluntness dude but... what the balls are you on about?

May 7, 2014 at 8:49AM, Edited September 4, 11:56AM

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+1

May 7, 2014 at 9:18AM, Edited September 4, 11:56AM

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...I'm just saying they clearly have hired an ad agency or some marketing/publicity firm to help them out here. that is blunt product placement and the spot they made is super glossy and does not provide a way to judge the image at all... any camera with the right talent/budget behind a shoot is going to look great....hence why sometimes even the c300 makes images that look like high production with only like what 11 stops of DR

May 7, 2014 at 11:43AM, Edited September 4, 11:56AM

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Marketing Consultant

We have not hired an ad agency. Elle and I do all the marketing / promotion on our own.

We did hire a commercial DP, commercial editor, and a commercial colorist though. Who were all impressed by the camera / footage btw :)

But no we got on Glee cause Glee called us and wanted it. And we produced this promo for much much much less than you think.

May 7, 2014 at 1:37PM, Edited September 4, 11:56AM

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Sorry for the accusation if it can be called that. Either way my point is just that there is some marketing here at play which is not necessarily a bad thing but something people should be aware of course.

if the camera biz doesn't work out you have a nice promo maybe you can be a creative director ha

May 8, 2014 at 6:30PM, Edited September 4, 11:56AM

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Marketing Consultant

if we had the money for a marketing agency we'd have money to have more than string cheese in the office fridge. You can come visit sometime and see that it's not true :(

May 7, 2014 at 1:41PM, Edited September 4, 11:56AM

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Elle

LOL
You're not near a Trader Joe's? Lots of good cheese, at well below investor rates.
Great camera guys! Can't wait to shoot with it.
Cheers

May 8, 2014 at 1:56AM, Edited September 4, 11:56AM

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Charlie

I think they just announced TODAY that there's a TJ opening in downtown. It's kind of a sparse hood.

May 8, 2014 at 5:37AM, Edited September 4, 11:56AM

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Elle

I bet it's goat string cheese.

May 8, 2014 at 11:30AM, Edited September 4, 11:56AM

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Jeff

Sadly, Jeff, it's only Kroger for us simple folk. http://imgur.com/wvp2YMH

May 12, 2014 at 3:48PM, Edited September 4, 11:56AM

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Elle

This video showcases the camera very well as it covers multiple lighting environnements and let us get a very good feel of its colour/texture/movement rendition.

May 8, 2014 at 3:47AM, Edited September 4, 11:56AM

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pask74

I wish I was an ad agency. If I masquerade as one will you pay me like one?

May 7, 2014 at 1:39PM, Edited September 4, 11:56AM

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Elle

Hahahahahaha, No.

May 7, 2014 at 2:55PM, Edited September 4, 11:56AM

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Put on that fake mustache to start with.

May 8, 2014 at 4:28AM, Edited September 4, 11:56AM

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pask74

This thing is covered in a hipster slime that just won't wash off.

May 7, 2014 at 9:36AM, Edited September 4, 11:56AM

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carlos

I don't understand why. I mean sure, the retro style design was a bit unnecessary, but at the end of the day it still performs as advertised. Isn't that the part that matters?

May 7, 2014 at 9:41AM, Edited September 4, 11:56AM

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Coty

Always with the "hipster" nonsense comments. It's a great camera, get over it.

May 7, 2014 at 10:33AM, Edited September 4, 11:56AM

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alex

If you can't see hipster in that promo video maybe you intentionally don't want to see it.

May 9, 2014 at 9:19AM, Edited September 4, 11:56AM

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Gene

i dont think you know what that word means

May 7, 2014 at 2:33PM, Edited September 4, 11:56AM

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john jeffries

What makes the D16 "retro" ? Silver side panels? The duck tail back end ( functional design element)? The handle (functional design element)? It is a thoroughly contemporary modular digital cinema camera body. It has a simple but robust set of professional features and is designed to work with a wide range of contemporary aftermarket camera gear.

May 7, 2014 at 3:05PM, Edited September 4, 11:56AM

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David R.

^ Troll.

May 8, 2014 at 12:04PM, Edited September 4, 11:56AM

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Richard

Can we make it look more cinematic?
Yeah, we can use lens flares and light leaks...a lot.
GREAT!

May 7, 2014 at 10:17AM, Edited September 4, 11:56AM

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Nick

Well the organic look of the camera is a big selling point and showing soft lens flares is part of that.

May 7, 2014 at 2:59PM, Edited September 4, 11:56AM

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The footage looks great - reminds me of my 16mm days - congrats!

May 7, 2014 at 3:15PM, Edited September 4, 11:56AM

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Lance Bachelder

yea people are way too obsessed with meaningless details like "how retro can or can't this camera look??"

This footage looks awesome, as do the lens flares! I have the BMCC and love it but I would love to use this too.

Nice job!

May 7, 2014 at 7:31PM, Edited September 4, 11:56AM

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I love it. Great camera.

May 7, 2014 at 10:48AM, Edited September 4, 11:56AM

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Angelo

I think I recognize the parking lot in the Glee clip. The D16 promo, with excellent casting, makeup and wardrobe and storyline hits all the right marks. Some of the shots I've seen so far remind me of early 1970's TV (Partridge Family/Love American Style/Monkees), while others (my favorites so far) evoke a Mean Streets/Midnight Cowboy/Streets of San Francisco aesthetic. This seems like the perfect camera for film schools.

May 7, 2014 at 11:31AM, Edited September 4, 11:56AM

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Marc B

No interest in getting into the debates/arguments regarding retro-look, hispters fade, camera for Sunday videographer, sensors, RAW vs etc..
What I question is for whom this kind of advertisement is made? That would define the market the makers are targeting and maybe cut a lot of crap posted in various forums.

In any case, like it or not, what hese people achieved technically, starting basically from scratch, is impressive.

M.

May 7, 2014 at 11:46AM, Edited September 4, 11:56AM

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Mikhail

Every time I see footage from this camera skin tones have the same magenta-reddish kind of feel...
Nice image otherwise.

May 7, 2014 at 12:11PM, Edited September 4, 11:56AM

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demetris

That magenta cast someone not paying attention in the DI....

But I agree that there is a magenta bias with the D16. Most cameras have a green bias, this is the opposite.

May 7, 2014 at 4:27PM, Edited September 4, 11:56AM

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DI

So far, these are the best promos... well done!!!

May 7, 2014 at 12:17PM, Edited September 4, 11:56AM

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PeterF

Girl: look out that wheelchair kids got a gun! (I wont be night-shooting with this)

May 7, 2014 at 12:47PM, Edited September 4, 11:56AM

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VinceGortho

" The Most Gorgeous People In Footage Shot With The Digital Bolex D16 Camera Yet!"

May 7, 2014 at 12:57PM, Edited September 4, 11:56AM

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Connor

Wow! Beatiful image. Really organic! I think DPs will love to use it and intercut with film for those shows that still use it (quite a lot yet).

May 7, 2014 at 4:44PM, Edited September 4, 11:56AM

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Alex Mand

It's a really nice image. I think it looks organic for a digital camera. You could shoot a super looking feature on this. End of.

May 7, 2014 at 6:04PM, Edited September 4, 11:56AM

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ADC

Don't love this camera, but LOVE the images that produces.

May 7, 2014 at 6:23PM, Edited September 4, 11:56AM

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Mr.Floppy

Really excited about this camera. Not only does the design make YOU wanna film something, but so far the quality I have seen so far is fantastic. The clip shown here has a very clean yet vintage quality to it which makes it super watchable.

I'm a Los Angleses native but living and filming in Tokyo. The BMPCC and the 5D are both big deals here in Japan. I personally shoot on the Canon. Really excited to be able to get this in Japan and be the first of my peers to shoot with it. Any idea when it will be available internationally?

May 7, 2014 at 8:16PM, Edited September 4, 11:56AM

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NOW!

May 8, 2014 at 4:34AM, Edited September 4, 11:56AM

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pask74

Fantastic Camera! I Also love it's not 4k!
@Joe Rubinstein: the work you guys are pulling is simply fantastic. Can't wait till it hits the streets of Brazil, AMIRA did their promo here because every DP (to be fair executive producers even more) here is an ALEXA freak nowadays but Brazil did great cinematography in 16mm (City of God and Glauber Rocha In general are 16mm Acquisition).

The only reason I'm not thinking about investing in one right now is that I can't replace the whole FF way of thinking commercially. Meaning i feel it less tolerant to cheap lighting setups and really quick indoor takes, plus i would need to replace a lot of glass. Thing is It is great for Art stuff great for cinematographers to have it around - it is a service to cinematography what you guys are doing.

I wouldn't own one, but i will rent it for sure. BTW if you know where could I in São Paulo with some decent glass and (not ARRI priced) please say so.

Thanks

one more thing: I had never watched glee before and now i just hate it! and i thing that what they did to the beautiful d16 images is a perversion.

Cheers to ye all!

May 7, 2014 at 8:48PM, Edited September 4, 11:56AM

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I hate "Glee".

May 7, 2014 at 9:08PM, Edited September 4, 11:56AM

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DLD

Glee hates "you"

May 8, 2014 at 4:43PM, Edited September 4, 11:56AM

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Mike C

+1 :))
Sorry that's just funny

May 9, 2014 at 3:12PM, Edited September 4, 11:56AM

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Looks gorgeous when exposed correctly.

May 7, 2014 at 11:01PM, Edited September 4, 11:56AM

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Natt

Congratulations on the shipping and positive feedback you're getting. Y'all stuck through a hell of a lot of negativity, much of it unfair and having nothing to do with the camera at all. Happy that you saw this thing through to completion and are sticking with it. That takes integrity and guts. Way to go!

May 8, 2014 at 4:07AM, Edited September 4, 11:56AM

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I find it hard to use graded footage as a way to judge a camera's image quality. I find it funny to see hipsters roasting mashmallows.

May 8, 2014 at 6:59AM, Edited September 4, 11:56AM

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FabDex

imo we could have released it with little to no grading, the difference is minimal.

May 8, 2014 at 7:15PM, Edited September 4, 11:56AM

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Elle

Looks great. Points for presenting real production quality instead shooting random stuff outside and calling it a "test."

May 8, 2014 at 1:34PM, Edited September 4, 11:56AM

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James

Very promising. Some great shots there.

May 8, 2014 at 2:51PM, Edited September 4, 11:56AM

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This looks like a great camera for low budget feature films. The skintones remind me of the Alexa.

May 8, 2014 at 3:26PM, Edited September 4, 11:56AM

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Peter

Shh! Hasn't anyone told you you can't positively compare any camera to the Alexa? In all seriousness, I completely agree with you.

May 8, 2014 at 3:41PM, Edited September 4, 11:56AM

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Coty

Bolex digital get a very nice film look a bit saturated in color i like this.

Bolex digital should developing an other camera with a chip size corresponding to a anamorphic size with ordinary lens.No need to be 2;39 with scope x2, the bolex have a 1.5 scope how are less tin...
Or you take the frame size of a super 35mm split in 2 and you made the capture chip this side.

For the people how like lens flare you could fake them... I personally hate the lens flare for me it's a defect in the picture if you not using it for the storytelling.

May 8, 2014 at 5:36PM, Edited September 4, 11:56AM

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Pierre Samuel Rioux

Don't you kjust love it...when all these new cameras come out and either whup the big money cams to the side for a fraction of the costs...or hit 'em hard by at least 80-90 perceet?

I love it even more when the monied and credit card dandies here brag about only the RED and ALEXA.

More digital cameras will come out for under 5 grand. They will improve. They will eventually leave ALEXA and RED in the dust.

Having a lotta fun shooting tests with my new BLACKMAGIC URSA. Stretching every penny possible.

MARK11

May 8, 2014 at 6:24PM, Edited September 4, 11:56AM

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MARK11

Looks great Joe & Elle.

If the Scarlet-Dragon isn't available by October, I'll be considering this for my next feature. As more footage is released it becomes an increasingly strong contender in the sub-10K market.

GH4 / A7S don't have raw & rolling shutter isn't so great. Blackmagic 4K wasn't useable for many scenarios...I sold mine & ended up losing on it. Blackmagic 2.5K is risky as A-cam because of moire.

Keep it up...I can't wait to see more.

May 8, 2014 at 7:03PM, Edited September 4, 11:56AM

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I like this footage. It feels almost CMYK. The flare, however, hits you over the head with a sledgehammer in it's subtlety.

May 9, 2014 at 12:51PM, Edited September 4, 11:56AM

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Harry Pray IV

I agree. It is over much. It's good to know you can use it. But in this case it was over much, even a turn off.

May 10, 2014 at 10:24AM, Edited September 4, 11:56AM

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Gene

umm the flare is clearly done in post...

May 10, 2014 at 4:20PM, Edited September 4, 11:56AM

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reaser

The camera manufacturer says it was not added in post:

"Joe Rubinstein on 05.7.14 @ 1:34PM

If you are talking about our promo, there are no burnouts, flares, or effects added in post. There is no comping at all in fact. We shot those lens flares in camera on the day, and we shot in a real movie theater too. The whole point is it’s all in camera :)

Shoot, Edit, Color Correct. As far as I know we didn’t even window."

link to comment:

http://nofilmschool.com/2014/05/gorgeous-footage-super-16mm-digital-bole...

May 11, 2014 at 12:14AM, Edited September 4, 11:56AM

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Gene

"Elle on 05.7.14 @ 2:32PM

Most of these flares came the old-fashioned way, from shooting at the sun. A few were from aiming at an HMI."

http://nofilmschool.com/2014/05/gorgeous-footage-super-16mm-digital-bole...

May 11, 2014 at 12:21AM, Edited September 4, 11:56AM

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Gene

Would an MFT mount be an option?
Why did you decide to go the internal storage route?

July 30, 2014 at 3:33PM, Edited September 4, 11:56AM

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Kirk

where can i hire a d16 from?

August 12, 2014 at 7:23PM, Edited September 4, 11:56AM

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alice