Kish/Bolex Lenses on Sale Today

Those of you who have followed our progress since Kickstarter know that as soon as our campaign ended, we surveyed all of our backers to ask what accessories they were most interested in, and overwhelmingly the winner was lenses.

After 2 years in development, our Digital Bolex/Kish Optics Series 1 Primes are now available to order through our online store.

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Digital Bolex Kish Lenses on Sale Starting 9/15

Those of you who tuned in to our UStream this morning got the first look at a number of big announcements from us that we’re very excited about:

  • Setting a date for our Women Cinematographers Grant (applications open Sept 22)
  • Offering the user manual for download next week via our website
  • Distribution to retailers in Germany (and later Europe) via KSM Distribution
  • Cutting camera ship time from 8-12 weeks to 2-4 weeks

You’ll be hearing more about each of these announcements in the coming weeks, but what we’re most happy to announce is that after two years of design, we’re releasing our first set of Kish lenses for sale on September 15th.

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Guest Post: Jeff Gatesman, DP of PASSPORT

Actress Julie Marie Hassett with the Digital Bolex

Actress Julie Marie Hassett with the Digital Bolex

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” »

Guest Post: Bert Kish, editor of Netflix’s HEMLOCK GROVE

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:

Shooting 'Paul Quarrinton - life in music' documentary with a PD150, many moons ago.

Shooting ‘Paul Quarrinton – life in music’ documentary with a PD150, many moons ago.

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DB x Etheria Film Night!

Still from JOB INTERVIEW, winner of the Etheria 2014 Best Film award.

Still from Julia Walter’s JOB INTERVIEW, winner of the Etheria 2014 Best Film award.

This Saturday we were pleased to award a Digital Bolex rental package to the Best Film and Audience Award winners of the 4th annual Etheria Film Night, held at the Egyptian Theater in the heart of Hollywood.

Etheria is a film festival that showcases the best short sci-fi, horror, action, fantasy, and thriller films directed by women each year, and many of these films have already played at dozens of festivals like Sundance and Palm Springs. I was honored to be a judge at the festival, and Joe and I were both floored by the quality of the films selected this year.

Women filmmakers often face smaller budgets and tougher hurdles while launching their film careers, and as a result there are very few women who get the chance to direct genre films, whose stunts, car chases, special makeup, and spooky practical effects can be difficult to execute without access to resources, so Etheria is a much-needed festival whose mission we’re proud to support. As fans of independent cinema and new filmmakers, we were very glad to do what we could to help these women get their fantastic work into the public eye. It was especially exciting that the slate featured a film by Gigi Saul Guerrero, whose short DEAD CROSSING we saw at NFFTY in 2012.

Awards for 2014 went to AFI DWW graduate Sarah Doyle, audience award winner for her film YOU, ME, & HER (trailer below), and German director Julia Walter won Best Film for her calculated thriller JOB INTERVIEW. We were excited to sponsor the event alongside Birns & Sawyer, MovieMaker Magazine, and others interested in helping underrepresented filmmakers share their stories. Proceeds from the event benefited Reel Grrls, a Seattle-based organization that teachers girls and teens how to make films.

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