@BurnetRhoades I'm afraid to make this comment and derail the thread but most of those examples of the blown out window are not a good comparison to the Bolex clip. I can see some outside detail in all your examples but in the Bolex clip, it's completely blown. Nothing. Now I know there's probably 20,000 watts of light being bounced around on the pro clips and who knows, maybe the outside it fake on some of the examples but I've always been able to save a little bit of the outside when I have light on any kind on the inside, even house lights, with my BM cameras.

Once again, I get it, many variables but I think the blown highlights are litter harsher in the Bolex clips than what we're used to with some of these newer cameras.

camera fantasy. Its all i can say for this hipsters.

@cantsin

a Bolex RX lens (which should never be used in front of any other camera than a true 16mm reflex Bolex because its optics are engineered for the camera's internal beam-splitting prism).

Where did you learn about this? I have always used non-reflex Bolexes with lenses straight off the reflex versions (mainly Switar) and never noticed any problem, although what you say sounds plausible.

No, likely a vintage c-mount lens, I agree with Burnet. In the worst case, even a Bolex RX lens (which should never be used in front of any other camera than a true 16mm reflex Bolex because its optics are engineered for the camera's internal beam-splitting prism).

If that was the case, then the test footage would be pretty worthless - except for confirming pleasing color rendering, good sound and strong chroma noise.

But I stand by statement about dynamic range, just having worked in Resolve on a video shot with the BMPC that contained a similar scene, and another one shot directly against the sun before sunset. DR definitely is much better with the Blackmagics.

Without heavy supplementary movie lights there would be no way to not have blown, clipped windows in the above scenario, even on film. If it was a Sony sensor it would look a lot worse.

It's easy enough to see this is a soft lens by how it's handling the massive delta between exterior and interior lighting. Look at the amount of bloom and contamination into all occluding people as they pass in front of the lens. It doesn't have the same quality as what you get with a diffusion filter (which also triggers my gag reflex) but that's definitely a soft lens.

Loaded the frames into Lightroom. Default color is very pleasing out of the box - indeed more "organic" than Blackmagic Cameras with default LUT. The image is soft, which might add to the "pleasing" look. Blues are richer than with Blackmagic cameras (where the blue channel seems to be the weak spot), reds seem to be weaker/tending towards purple.

But the real drawbacks:

• Dynamic range is very limited. Highlights clip hard, although the picture wasn't overexposed - shadows clip, too. With Blackmagic cameras (and negative film stock, for that matter) you'd definitely not get this; I'd say they have 2-3 more f-stops in the highlights with similar exposure.

• Chroma noise is very pronounced, and looks ugly. It's not the fine-grained noise you get with the Blackmagics, but chroma blotches that span several pixels. Noise filtering seems a must (bad news for people working with Resolve Light).

• Unless Bloom worked with a bad or really vintage lens, detail resolution (such as hair) is weak, and the camera probably doesn't resolve true 2K.

Despite the above, this camera might be better suited for non-colorists and amateur/DIY filmmakers than BM because of the default out-of-the-cam 1970s-style 'beauty shot' aesthetic. Sound is quite good, too, except that it's only mono in Bloom's footage.

Now found the download URL for Bloom's raw footage: https://philipbloom.wetransfer.com/downloads/a2361ca610eb3bc6182af7fea9838d5420131228180425/df0c2f (1.74 GB). Am curious to play with it Resolve.

I don't find the clip particularly nice - smeared motion, blown-out highlights on the forehead... But we need to see original DNGs from the camera.

It's just a camera aint it((?) landing in a world of super 8 enthusiasts, as are a lot of cameras now - not a bad thing is it? loads of us about wether we describe ourselves thus or no - viewing blind looks a bit mushy - compared to what's potentially out now, or shortly - slightly less enthusing than a current AP shooting GV's on a 5 year old camcorder, looking at published files ...(bizarrely which were not vetted and fed into some kind of PR suit room- terrible launch footage ?) - compared to what's probably coming next year - 2 years too late? As always only a box, fuck all to do with creativity - raw 4:2:2 etc won't save you if you can't shoot on whatever is in your hand.
Soz as ever bit tiddly just make stuff and wonder how a 3 page conversation can emerge from the teeth included on a "cine" Samyang lens lol - get out and do summat - no-one cares until someone cares.

EDIT as always a bit pissed, just bored of conjecture of real life delivery and online dreaming - nothing wrong with being trusted by multi million endowed producers to deliver their job - do it daily - can you make channel 4, BBC ABC HBO etc millions of new viewers? Good yes then carry on - No? then carry on posting posting in Voldermorts back-slap forum - why not just not go do it? No dis to new guys, but ignore everyone, including this - go fucking make it good because the industry needs you - EosHD knows fook all, hence his arty farty diatribe against - doing "well" , but hey we know fook all - it's all yours - go make some shit and forget the silly bastards not doing anything telling you what to do - dont let them fuck you up as its easy to do !

I would be interested in the cam if the swapped out the sensor for the Panasonic 4K sensor. Maybe they will offer that down the line. Should be an interesting year for higher resolution cams. I hope someone will make a ten terabyte drive as well.

Not sure why I don't want to like this camera. Maybe its because I do like the feature set, but I don't want to pay the price they are offering it at.

I rationalize not seriously considering the D16 by telling myself I will wait for NAB to see if there is a global shutter version of the BMPCC or similar with higher res so I can stabilize and/or crop in post and still deliver HD.

But that's really not fair because I already have a BMPCC. If I did not have a camera, I would seriously consider getting a D16, though the price would still be an obstacle, I would probably find a way to make it work, if I continue to like the footage.

Congratulations Digital Bolex! You really did deliver and I am pleasantly surprised. I hope you surprise us again at NAB, as I will be ready to commit to purchasing a new 1" sensor camera then.