As a Director of Photography just starting a new project, most times I read the script and have creative meetings with the Director about the look of the film and how to best capture that look. I try to do as much camera/lens testing as possible, have more meetings, and finally come up with a camera package that fits the look of the film as well as the budget. In the case of Passport, as I was reading the script, the only camera that was going through my mind was the Digital Bolex D16. Continue reading “Guest Post: Jeff Gatesman, DP of PASSPORT” »
Back in March of this year, Philip Bloom released a lengthy review of the Digital Bolex in which he concluded that the camera was great fun, had terrific sound, produced filmic images, but he was not exactly sure where it fit in the market place, which in the span of only a few years, was producing affordable cameras that produced fabulous HD images capable of shooting in near pitch black conditions.
When the review came out I was just beginning to wrap out on HEMLOCK GROVE where we had tested the D16 and had used the footage in the latter episodes. The question of where the camera fit in the market place stuck with me because as far as I could see a 2K raw camera with 12 stops of dynamic range capable of using vintage 16mm lenses all for under 4K seemed a very welcome addition to a market saturated with 1080p cameras at a price point filmmakers, a few years earlier, couldn’t dream of. What’s more, from the tests we conducted, the camera worked and worked very well. So, now that HEMLOCK GROVE is on the air, I think the time is right to discuss how we used the camera, and where I think this camera fits into the market. But first, a quick trip back in time: