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This is why 16mm was so pivotal in the French New Wave movement, and in the birth of independent filmmaking more broadly.
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They could be used in a wider variety of shooting scenarios, and were more conducive to indie filmmakers – including those shooting guerrilla style. The cameras were smaller, lighter and more mobile. The other consideration is practicality.īack in the film days, the reason 16mm was so enticing was because of the freedom it created. And that is really a shame!Īs a workaround, you can shoot in a Super 16mm (equivalent) crop mode on an Arri or RED camera, but that just solves the aesthetic issue. So as of right now in 2020, there are no new cinema cameras being manufactured that have native 16mm sensors. Unfortunately, both cameras are no longer in production.ĭigital Bolex of course shut down years ago and Blackmagic has since released updated Pocket Cameras – in 4K and 6K flavors – which make huge technical improvements, but no longer feature a true 16mm sensor. Both cameras (in large part due to their fantastic sensors) deliver really organic/filmic images, with a depth of field and FOV consistent with true 16mm motion picture film. I’ve shot multiple projects on both the Digital Bolex and Pocket Camera and have always been blown away by the results. Instead, their aim was to deliver gorgeous cinematic images with a smaller (but also more adaptable) Super 16mm sized sensor.įor filmmakers like myself who love 16mm film, this was a dream. Unlike virtually every other cinema camera out there, the Digital Bolex and Pocket Camera never chased the large sensor trend. I have long been a huge fan of the Super 16 look, and there were only really ever two cameras that could scratch that itch: The Digital Bolex and Blackmagic’s original Pocket Cinema Camera. Sometimes the best camera for the job is the one you already own… Even if it’s 6 years old, only shoots 1080p and has since been replaced by newer iterations.
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