2016 Fearless Filmmaking Slate Announced!

Yesterday, Variety exclusively revealed the films Digital Bolex selected for its second Fearless Filmmaking Showcase at the Slamdance Film Festival.

As mentioned today in Indiewire, The 90-minute slate features the work of fourteen filmmakers from Croatia, Australia, Romania, France, and the USA, including films created at the Résidence Audiovisuelle Francophone in Slon, Romania, and a University of Connecticut thesis that received the Digital Bolex Grant for Women Cinematographers.

We’ve got the scoop on each of the filmmakers and their projects below! Continue reading “2016 Fearless Filmmaking Slate Announced!” »

Digital Bolex #1 on 2015 EOSHD Character and Rendering chart

After compiling their year-end rankings of video cameras available in 2015, the folks over at EOSHD have named the Digital Bolex D16 #1 on their Character and Rendering charts for its high-quality footage, particularly in motion, color, and texture:

The motion cadence of the CCD sensor in the Digital Bolex D16 with global shutter is just extraordinary, like none of the CMOS cameras. It really makes handheld footage look so much better than with a long GOP codec. The difference isn’t small. Then there’s the raw workflow, obviously and the very analogue way it captures light. On both the D16 and 5D Mark II (raw) colour has an extraordinary quality to it.
Also there’s the texture of the image, the grain of the ‘film’. I often try and avoid noisy high ISOs on 99% of cameras I actually love the ISO 1600 of the older 5D Mark II. Why? For black and white that film-like noise grain in raw is just damn sexy. It is the only camera I make noisy on purpose! Everything else goes blotchy.
Now you can say noise in this case is a weakness, a smaller Super 16mm sensor is a weakness. Nope. I don’t think in terms of crop factor with Super 16mm, I think in terms of several decades of beautiful lenses. A crop factor for me is a negative when you crop into a lens not designed for the sensor size you’re using. With Super 16mm lenses there’s no crop, you keep the overall rendering – and on some of these vintage lenses it knocks the socks off many of the newer more clinical high spec full frame lenses*