Hey Saied! Manufacturing is a tricky business. We would definitely love to bring the camera back, but right now it doesn't look like it's in the cards. But if things change, we would be happy to bring it back!
The D16 is built specifically for cinema. It has been used as B-cam on major network television shows, and primary or secondary photography on more than 20 narrative and documentary features, a number of which I have been personally involved with. A few of the narrative features shot on D16 that are doing the festival circuit or are out on VOD right now include Retake, #Horror, 6 Love Stories, Auld Lang Syne, Screamers, and Fame Dogs. So there have been a lot of projects shot on the camera longer than 15 minutes. Docs shot partially on D16 include (off the top of my head) Brand: A Second Coming, Lost Soul, Robert Klein Still Can't Stop His Leg, Along for the Ride which just premiered at Venice, and (I'm still confirming) Fire at Sea which is Oscar-nominated.
By our count (and all our data is self-reported by users), there are well over 100 short films out there shot on D16, and many of those have played at venerable places like Venice, Slamdance, Tribeca, Rotterdam, and over a hundred other festivals. One short is currently nominated for a Canadian Academy Award. There have so far been at least 3 Vimeo staff picks shot on D16 you can check out, including 2017 Slamdance pick Ford Clitaurus by MP Cunningham and 2015 Blood Drinker by Holomax.
While you are correct that the Digital Bolex isn't an "everything" camera, if you are primarily interested in shooting narrative or more cinematic documentary, it's a very affordable choice that gives you a wide range of latitude in post and the ability to choose from a century of lenses.
If you're curious to see where films shot on Bolex have played, check out our website: http://www.digitalbolex.com/festivals/
Hey Hubert!Our biggest markets were actually the established professional (ASC members, TV shows, 20+ feature films) and emerging professional crowds both in the US and internationally, as can be seen by the kinds of films made on the camera, and places they premiered (Venice, Tribeca, TIFF, Outfest, etc. so on) BUT neither of those markets cover your "average Joe" mid-level shooter, for whom the camera would never have been practical in the first place with the fully raw workflow.
Hey Stephen! Thanks for the insight here. Out of curiosity, whom were you working with when you were involved in camera design, and what dates?
Yep! I work for DB! I thought the "we" up there would have given it away if it weren't clear. :)
As I posted before, we made some internal changes at the end of 2014 because of the very delays you've brought up, and specifically because of the lateness of the Kish lenses.
As a very young company in 2014, we were just beginning to learn the balancing act between letting eager users know what's coming soon in the pipeline, and finding the right time in the manufacturing process to allow sales to begin, which is a common issue that faces any new/scaling company, and even some larger, more established companies.
Speaking for us, we have made a huge effort since the end of 2014 to curb preemptive announcements, and that is reflected in delivery times and officially posted news in 2015 and 2016, which has gotten more and more accurate. I can confidently say that our products do ship on time, and cameras ship in 7 days or less, but yes, it took a year on the market and some frustration to get there.
While we are pretty transparent about what's coming up in the pipeline firmware-wise, we shy away from hard release dates on new firmware or specific features, because programming and bug-solving takes a sometimes unknowable amount of time. So far we've released 7 free firmware updates and patches in the last 2 years, approximately one every 3 months since the camera was released, and will release the next later this month. We listen very closely to our user base on the forum and the unofficial FB user group, and implement as many new features as we can as fast as we can.
Our user community is a surprisingly positive, insightful, and helpful group, and I suggest anyone interested in shooting raw check it out.
1. Yes. And cameras ship within 1 week, and have since end of 2014. For the last year and a half, all products we have announced (Rubber Skin, Monitor Hood, 1TB camera, etc.) have been released on schedule. In 2013 and 2014, when we were ramping up our production facility, delivery was slow, but we haven't had any issues with delivery times since 2014, as we had some policy changes in December of that year which has lead to much more accurate announcements. We are also required to ship quickly to fulfill orders to our many resellers, including B&H Photo and Adorama.
2. Magenta is gone as of firmware released in February 2016.
3. Yes - I recommend the FB user group where you can ask for many people's experiences. The camera goes up to 800 ISO, which solves many low-light situations (and there is no fixed pattern noise like some other cameras) other situations could be resolved simply by using a faster lens, which are plentifully available in s16mm.
4. Most people use Resolve, a smaller group uses Adobe CC. The software that comes with the camera is for transcoding only.
I can tell Colin, though attempting to be helpful, isn't necessarily on top of what's going on over at DB, so I encourage you to check out the FB user group if you or any other reader is curious about the state of the DB. - L