Earlier this year, Daniel and Andrew Zox shot an amazing music video that combines footage from the Digital Bolex D16 and a more expensive camera. The video premiered at the UN for International Day of the Girl on October 10th. We were very excited by the finished project, and asked Daniel to share his process of shooting and matching two cameras in very different price ranges. Can you tell which camera is which? Read on to find out more about the shoot and the choices Daniel and Andrew made.
Okay, I’ll begin how I’ll end this post:
D16? I’m sold.
I’ve had the camera since April, yet I’ve only shot trivialities (mostly low light): fruit on a table; a buddy drinking a beer; my cats – lots of cat shots; my toddler wreaking havoc pretty much anywhere there’s space to discover, assess, and rip apart in a hummingbird’s blink; and my wife’s vociferous proteststo put down the camera and block the lil’ demon’s pathway of destruction:
We’re going to do a number of blog posts on the topic of integrating D16 footage into your post workflow to break in the “Help Desk” coming soon to our website, which you can find above the navigation bar.
Our first post is an in depth look at grading CinemaDNG files from the Digital Bolex to avoid some of the color space issues users have encountered. The post, based on a paper called “Grading beautiful film-like skin tones and images with the Digital Bolex D16 using proper color grading techniques,” is authored by our forum users Kurt Lancaster, James Fleming, and Eddie Barton. Continue reading “Guest Post: Normalizing the D16 Color Space” »
Since we announced our fixed aperture Kish/Bolex lenses two years ago, many people have had questions. Are they hard to light for? Are they really usable in different lighting environments? How do these lenses really hold up against the expensive professional lenses already on the market?
We visited Hot Rod Cameras to find out.
On Friday No Film School published an article about the Kish/Bolex lenses that included a the above teaser image for today’s post. The graphic is a comparison chart featuring eight shots, each taken under the same lighting setup and with the same F stop. Three shots were taken with each of our three Kish/Bolex Series 1 Primes, three were taken with expensive cinema primes from major manufacturers, and two were taken with a popular DSLR zoom lens at multiple focal lengths.
All of the lenses were set to F4 and the cameras set equidistant at fixed positions to the subject. The lighting was checked with a light meter and consistent through the test.
Since performing these tests two week ago, we’ve shown the teaser graphic to a number of professionals at rental houses and who work on set in the camera department. The question was simple: point out which lenses are ours and which lenses are the “professional” usual suspects. Or put another way, can you actually tell which lens costs $400 and which one costs $4,000?
Everyone we talked to was unable to pick out the Kish/Bolex lenses. Were you able to? Check out the key below and find out. Continue reading “Kish/Bolex Lens Comparison and M43 Tests” »
As we announced on our monthly Ustream 2 weeks ago, we are super excited to begin accepting submissions for our Digital Bolex Grant for Women Cinematographers, presented by Hive Lighting today. Specifically, applications open at 11:59PM PST.
Premiere-level sponsor Hot Rod Cameras will host also an informational session and kickoff party at their location in Hollywood in early October, so keep an eye on this post for announcement of that date.
The response I got to my initial post about the grant was overwhelming (in a good way!) I expected to get a handful of emails, and instead wound up with hundreds and hundreds of inquiries, which just strengthens my belief that there are a TON of women out there who want to get into this field but don’t have the resources to break in. Continue reading “Women Cinematographers Grant Opens Applications!” »