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03-18-2012, 09:18 AM   #211
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QuoteOriginally posted by wheezl Quote
Wow. I hope this this actually becomes available. It has the look of something that may never ship but holy wow.

Thanks for that link.
They are shipping the first 100 in august and demo footage is up on vimeo
I did make a mistake with the price though, the first 100 were $2,500 but now they are $3,300 retail
Still good for the price.




03-18-2012, 12:21 PM   #212
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Saw this the other day. Seems like it could be potentially really great, and even a semi game-changer. It was just a matter of time until a RAW digital workflow came to the masses. IF I had the money to spare, I probably would have thrown down for one of the initial 100 units.
03-19-2012, 01:16 AM   #213
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yes, the D-Bolex is definitely much closer to what most indie film-makers want
the K-01 has a very limited codec, unless it's hacked it won't be a big hit: 4:2:0 H.264 at low bitrates is not something to get excited about in 2012
(I wouldn't settle for the small sensor in the D-Bolex either, though)
03-19-2012, 03:50 AM   #214
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QuoteOriginally posted by Samuel H Quote
I wouldn't settle for the small sensor in the D-Bolex either, though
QuoteQuote:
1. Bigger Sensor
I love the S16mm format, I have shot many movies on S16mm film and there are many advantages over 35mm or S35mm. Large sensor is great when you have a good focus puller you can pay $250 a day or more for, but I have seen so many indies, student films, even TV shows where the large sensor creates a noticeable critical focus problem for the crew. Basically the actors ears are in focus more often then their eyes are. ...
[Joe Rubinstein on | DigitalBolex.com ]

03-19-2012, 04:26 AM   #215
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yes, I know; and still I prefer to have the option
you can always close down the lens to get deeper DoF, but getting a good f/1.0 lens for that S16 sensor is not that easy...
on full frame, I would hardly ever shoot wider than f/2.8, and most of the time I would stay at around f/4 - on the D-Bolex (crop factor 2.8x), you get the equivalent DoF of that by shooting f/1.0 and f/1.4

(actually, now I shoot on APS-C, and all my lenses are f/2.8, except the 50mm which is f/1.4, and the 300mm which is f/4, so no, I'm not a crazy shallow DoF fetishist)
03-19-2012, 05:21 AM   #216
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QuoteOriginally posted by Samuel H Quote
yes, the D-Bolex is definitely much closer to what most indie film-makers want
the K-01 has a very limited codec, unless it's hacked it won't be a big hit: 4:2:0 H.264 at low bitrates is not something to get excited about in 2012
(I wouldn't settle for the small sensor in the D-Bolex either, though)
I agree, for less money you could get a FF D800 and also give the 645D a run for it's money in stills.
03-19-2012, 06:32 AM   #217
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I have absolutely no interest in the D800 - I've seen it show some very very very nasty aliasing/moire, most notably here: First test of Nikon D800 uncompressed HDMI output | EOSHD.com
(look at the horizontal lines in the notepad, and notice how they change from green to red, instead of being black; that's a very, very, very bad sign)
(in the short you posted, look at the floor grill at 0:46; if they couldn't get a 100% moire-free short for presenting the camera...)

I still have to see some more tests, but right now I'm leaning towards a 5D3 for my main camera for both stills and video; the secondary one may be another 5D3 if the softness issues are solved, or a rebel if they bring out a new model without aliasing/moire and with extended DR and clean-ish ISO 12800 video

Last edited by Samuel H; 03-19-2012 at 06:37 AM.
03-19-2012, 06:40 AM   #218
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QuoteOriginally posted by Samuel H Quote
you can always close down the lens to get deeper DoF, but getting a good f/1.0 lens for that S16 sensor is not that easy...
on full frame, I would hardly ever shoot wider than f/2.8, and most of the time I would stay at around f/4 - on the D-Bolex (crop factor 2.8x), you get the equivalent DoF of that by shooting f/1.0 and f/1.4
I know the argument and it holds true for still photography.

For video though, you assume that all pixels are read out. Which is probably true for the Kodak 2.8 crop sensor. But not for most dSLR sensors which typically only read out 1/6 of their pixels in video mode (sometimes less, sometimes more). Which makes the 2.8 crop look like 1.1 crop when it comes to light gathering capabilities.

03-19-2012, 07:07 AM   #219
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QuoteOriginally posted by Samuel H Quote
on full frame, I would hardly ever shoot wider than f/2.8, and most of the time I would stay at around f/4 - on the D-Bolex (crop factor 2.8x), you get the equivalent DoF of that by shooting f/1.0 and f/1.4
If only everyone had your restraint, many people will use f/1.4 on full frame because it seems easier than lighting a scene properly.
I was camera op on a 5D MkII feature last year where the director/dop continually insisted on using the Canon 50/1.4 wide open, even for complicated tracking shots. Told him large portions wouldn't be in focus but he didn't seem arsed, but he is now that they're well into post!
03-19-2012, 08:44 AM   #220
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* the 5D3 has clean-ish ISO 25600 in video mode, so if it manages to get that reading only 1/3 of the photosites (which I believe is the case), so be it: as long as I can still shoot f/4 in a night club (which is the only extremely-low-light scenario where I could see myself using a camera), I'm not even going to wonder how awesome it could be if it actually read all photosites

* as I said, I'm currently on APS-C, and all my lenses are f/2.8, except a 50mm f/1.4 and a 300mm f/4 - and even more: I've tested them all to see how much sharpness and bokeh quality is lost by shooting wide open, and I try to keep them slightly closed down (I shot a short recently, and looking at the shot list, nearly all of it was shot at f/3.5 or f/5)
Lens Tests: Sharpness - www.similaar.com
Lens Tests: Bokeh - www.similaar.com
03-19-2012, 09:14 AM   #221
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QuoteOriginally posted by RichyX Quote
If only everyone had your restraint, many people will use f/1.4 on full frame because it seems easier than lighting a scene properly.
I was camera op on a 5D MkII feature last year where the director/dop continually insisted on using the Canon 50/1.4 wide open, even for complicated tracking shots. Told him large portions wouldn't be in focus but he didn't seem arsed, but he is now that they're well into post!

That is some bizarre behavior on the part of your cinematographer. If I had to mAke a wild guess, it would be that he does not shoot a lot of quality projects.
03-19-2012, 06:14 PM   #222
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QuoteOriginally posted by fuent104 Quote
That is some bizarre behavior on the part of your cinematographer. If I had to mAke a wild guess, it would be that he does not shoot a lot of quality projects.
He wasn't a very experience DOP in fairness, more of an effects guy, so directing and shooting it might have been a bit much.
That's how I ended up on the film, to try and make the most of the kit they had, which included the only wide lens being one designed for APS-C...

Given the circumstances the stills I've been sent aren't too bad.
03-26-2012, 03:23 PM   #223
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another nail in the coffin of the K-01 as next cult video camera: What Blog is this?: So close yet so far...
03-26-2012, 04:11 PM   #224
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QuoteOriginally posted by Samuel H Quote
another nail in the coffin of the K-01 as next cult video camera: What Blog is this?: So close yet so far...
That setup belongs to john m flores' who in his last post here said:
QuoteQuote:
Seriously, this manic bashing of the K-01 is really quite sad. We've got new forum members coming into this forum, hoping to share their enthusiasm. Instead, they get repeated criticisms from people who don't like the camera and believe that it's their personal responsibility to call the K-01 a failure and browbeat everyone that disagrees with them. With Pentaxians like this, who needs enemies?

At this point, I've had enough. The bickering on this forum isn't worth my time. Goodbye.
https://www.pentaxforums.com/forums/pentax-k-01-forum/174180-opinions-k-01-ou...ml#post1846876
03-26-2012, 04:58 PM   #225
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The decision on hte part of Pentax's leadership to essentially withdraw from competing in the video market is quite shocking. Like John Flores, I was hoping the K-01 would be the answer to shooting video on Pentax cameras. The "HDMI out during play mode only" feature is, unfortunately, a dealbreaker. This is a shame, considering that the image quality should presumably crush that of cameras such as the T2i.
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