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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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For anyone looking to do something similar a suitable harvesting product is this Allied Vision industrial camera that uses the same Kodak CCD. They are also long since defunct of course but are available on eBay. https://www.ebay.co.uk/itm/284133056331 I think the price seemingly on the high side is probably reflective of people looking to do a DIY Digital Bolex too but when you consider that a used D16 is not easy to come by and is well north of £5K then for someone determined enough this route is something of a relative bargain. Pi 5 and its eco-system have now matured sufficiently to be able to handle the Allied Vision software in the intervening years so it’s definitely viable as a DIY project. Not trivial of course but viable. -
I am currently taking a good hard look at the V… Not the A7RV that I had, but the more recent V for vanilla, as in none-R, the 33mp one. As a pure stills camera. In a direct comparison between the A7RV I had and the S1Rii that I currently have, bodies only, nothing in it. The Sony has more megapixels which gives more latitude to punch in allowing shorter focal length lenses plus even better (more accurate) AF and is smaller & lighter with battery life and the S1Rii counters with…well with what actually…?? ’Something’ I can’t quite put my finger on… It’s only slightly behind in the above factors and the only thing I can come up with that I prefer over the Sony is, “I prefer using it”. But…and this is the big one and the above confirms it even more, there are quite a few bodies that do what I need them to do, but very few lenses. As things stand, I’m not going to jump immediately, but my primary tool for next year is going to be based on a specific lens, or at least something very much like it and that lens is the Sony 50-150 f2. I can’t quite get past it. It is the perfect outdoor lens for my line of work. Yes I wish it was smaller and lighter but that is it’s only compromise. The cost isn’t because for business use, it’s not that big a deal. But, it’s E Mount only so native on Sony or adapted on Nikon. The more recent A7V beats the A7RV for me as it’s; better in low-light, even faster and more accurate AF and I prefer 33mp when I don’t need to crop so aggressively. There is nothing else from Sony that would work for me as a body. Nikon, I had the ZF and with primes and smaller zooms it’s fine, but with the 50-150 adapted, it would be trash to use, especially as there is no battery grip and I prefer the A7V/S1Rii style fully artic screen. Ditto ZR. And there are reports of banding in certain lighting conditions. If it had a mech shutter and the type of rear LCD I prefer, I’d be all over it. Z8? Could get away with no battery grip and it’s an option… Z9? Prefer it over the Z8 and could be an option… But with both of the latter, there have been reports of this specific lens, the 50-150, not working quite as well as it does natively… And then the final piece of this particular puzzle is the fact that is not a fact but could become a fact, that from within the L Mount alliance, someone pops out a rival lens to the 50-150… No signs but a patent went in a few years ago apparently for a longer focal length to the Sigma 28-45mm f1.8 which was I believe for a 45-90 or very similar. That would do it for me as keep me in the L Mount alliance for all my needs because with the S1Rii I could just about punch in for my needs. So you have 6 months L Mount Alliance to come up with something and it MUST be internal zooming and MUST be f2 or faster and ideally, basically the existing 28-45mm f1.8 in longer focal length such as 45-90 and then we’re good. Because if not, I will almost certainly be chopping in one of my S1Rii’s for either a Sony or a Nikon plus 2 lenses. For video though, all the other (4) bodies and lenses will remain LUMIX/Sigma because as things stand. A. They are unbeatable for my needs. B. The cost to change would be hideous and if that change was sideways at best, what would be the point? The simplest answer to all this is make that fucking lens Sigma. You have 6 months to get it on the market. 7 months at a real push because if there is no sign of it within 4-5 max, I will be jumping ship for all my stills photo needs. -
By Clark Nikolai · Posted
Yeah, it's pretty cool. The fact that Joe Rubinstein was involved is telling. Maybe Joe is thinking of this as an alternative way to have the camera made again. (Just speculation.) The situation is different now than when it was first worked on. Now there are many very good cameras that are affordable for aspiring filmmakers on a budget. (Most don't have the same nice colour and tonality of the Digital Bolex though.) -
By eatstoomuchjam · Posted
The article said he got a total of 4 sensors. I think he's planning less on having two for other filmmakers to test it and more for having two to lend to other filmmakers to use. Unless I misread things, he's not planning to make it a product to sell. Sounds like he's going to make 3 or 4 cameras total. (Which is extremely cool, I love when people do something for reasons other than commercial interest) -
By Clark Nikolai · Posted
The recreation of the Digital Bolex that David Bross (of the Digilog camera app) has been working on is now functioning. He's got help from Joe Rubinstein from the original Digital Bolex company. It sounds like he'll have two of them to be used by filmmakers to test it out. https://www.cined.com/david-bross-digital-bolex-rebuild-reaches-working-prototype-kodak-ccd-raspberry-pi-5-free-loaner-units-planned/
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