Jump to content

razz16mm

Members
  • Posts

    1
  • Joined

  • Last visited

Everything posted by razz16mm

  1. I'm an old 16mm film shooter and professional video engineer who has a D16 on order. I have seen some early prototype sample footage from the D16 that I processed and graded projected on a 20' theater sized screen from a $60k 3-chip DLP cinema projector my company was installing for a corporate client. That is where the D16 really comes into its own, producing a seamless rich image with refined color, grayscale reproduction, texture and motion quality that no compressed codec HD video camera anywhere near its price can come close to. At that size all of the typical low end HD camera artifacts like rolling shutter, moire and aliasing stand out like a sore thumb. Compression artifacts like crushed blacks, macro blocking, and images that turn to mush when anything moves look horrid. The BMC's are cheap and do shoot raw and Prores, but they still suffer the same range of low end CMOS artifacts. Prores is just another compressed HD video codec, though better than most. Comparing the D16 to any HD video camera is a futile excercise. It's design target is to be a viable true 2k DCI format compliant digital cinema camera. An affordable direct replacement for an S16mm film camera. That it does extremely well. Better than anything short of a Sony F5 with the 2k OLPF installed shooting raw on an Odyssey 7Q. A week's rental for an F5 raw package will buy you a D16. It is very cheap for what it does. Can't wait to get mine! :) Joe and Elle, the developers of the Digital Bolex, are film makers with deep professional, social, and philosphical connections with the current indie cinema scene. Not the kids running around with $600 DSLR's shooting their latest take on the zombie craze, but serious film makers shooting narrative, documentary and experimental art films who chafe at the frustrations and image quality limitations of HD video cameras. The D16 is made for them.
×
×
  • Create New...