Afin d'équiper au mieux notre Bolex D16 #49 pour la prise de vue, nous venons d'investir dans un moniteur LCD, qui fait aussi viseur, SmallHD DP4 d'une résolution de 800x480.
Grâce à sa sortie HDMI, il est possible de transférer le signal vidéo vers un autre moniteur pour faciliter le travail de l'assistant caméra.
Celui-ci peut aussi bien être alimenté par la caméra via son entréé XLR 4 pôles que par des batteries Canon LP-E6.
Notre Kit Bolex est maintenant fin prêt pour les tournages à l'épaule.

Test of a series of Vintage lenses to see their inherent qualities and specifications in comparison with each other. Were tested:
Lomo anamorphics 35 (square front), 50 and 75mm T2.5,
Cooke 20-200 T3.1,
Angenieux 25-250 T3.9, with and without a Schneider/Century Optics PL doubler
Nikon 80-200mm T3 (Allstar PL rehousing)
Tokina 11-16mm T2.8 (Duclos PL rehousing)

Song credit : "1959" from the movie Intimate Enemies by Alexandre Desplat

So as to have a measure of comparison, the Lomos were shot in Anamorphic and all the other lenses were shot in WideScreen mode 5K, except for the Angenieux which does not cover and was therefore shot at 4K.
All shots had an identical color setting applied to them in DaVinci Resolve on a DCI WideScreen timeline (2048x858) before being exported in 1920x1080 letterbox.
The camera settings are specified below each shot.
We discovered the aspect ratio was different between the three different formats. 5K 1.22 Ana is 1:2.37 while 5K WS is 1:2.44 and 4K WS is 1:2.39 which matches the DCI specs. So as to have matching sized frames, the top and bottom of the 5K WS images and the sides of the 5K 1.22 Ana image had to be slightly cropped.

Side note: No filters were used. The PL doubler causes a loss of 2 stops and softens the image somewhat like a Soft FX filter (we confirmed this on other lenses). The shot with the Nikon 80-200 has a change in exposure due to an operation error. All other shots were done between T4 and T5.6

These video shows three different ways to develop RAW files from the Digital Bolex D16 in DaVinci Resolve Lite 11.

The best way I've found to flatten the images is tu use BMD color space and gamma.
I've used it to grade my short film "Sleeping with the enemy". You can see it here :
vimeo.com/94800395

But on the Digital Bolex forum, iaremrsir said :

" So I've been fiddling around with Resolve trying to get a better starting point than Rec 709 and ended up getting to Rec 2020. I've created a 3D Input LUT that uses the Rec.709 color space and Linear gamma options in the DNG settings. It converts to the Rec 2020 color space and gamma using the Rec 709 -> CIE XYZ color matrix, then XYZ -> Rec 2020, then it converts to the Rec 2020 gamma. You get a wider color space with a nice gamma to start with. You also don't get the shifted white point that P3D60 gives you."

You can download his LUT here :
mediafire.com/view/is32v3nbzw4s2gn/Rec_709_Linear_to_Rec_2020.cube

So I decided to give it a try.

Camera : Digital Bolex #49
Lense : Tokina 11-16 T2.8 ( Duclos PL rehousing )

A quick look at the D16's menus and how long it takes to format a 512GB disc.

This is a demo of a color correction work done with RED material, graded on Color.