Film Technology & VFX

Revolutionary: Blackmagic Goes 4K with S35 Global Shutter Sensor for $4K, and a Pocket Cinema Camera for $1K!


Blackmagic Production Camera 4K

Compact 4K camera with large super-35 sensor, global shutter, Ultra HD and 4K support, built-in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProRes recording, Thunderbolt and EF lens compatibility, Includes DaVinci Resolve and UltraScopes.

Blackmagic Pocket Cinema Camera

Ultra-portable super-16 digital cinema camera with super wide 13 stops of dynamic range. Super 16 sized 1080p HD sensor, built in SD card reader, High resolution LCD, ProRes and Lossless CinemaDNG RAW recording, Active Micro Four Thirds lens compatibility, Micro HDMI monitoring with Overlays.

This is what Robert Hardy over at NoFilmSchool had to say:

There are some really significant bits in this photo, the largest of which are the full-size sensor and the considerable upgrade in terms of resolution. Plus, a global shutter on a camera in this price-range is absolutely unheard of, the nearest competitor likely being the F55. I’m also highly intrigued by the phrase, “Compressed CinemaDNG RAW” recording. If Blackmagic has managed to considerably shrink the size of their DNG RAW frames, this camera will likely prove a much more affordable option for shooting RAW due to the amount saved on data storage. Overall, this camera looks to be a serious production tool with serious production features.

The Pocket Cinema Camera looks to be another interesting release. At a price that competes with low-end DSLR’s, and with cheap SD cards as a recording medium, the camera is well-positioned to be the perfect entry level cinema camera for folks who couldn’t quite afford the original BMCC. Not to mention that it has some seriously potential as a crash cam on higher end productions. Lastly, there will be an official announcement tomorrow regarding these cameras (and NFS will have awesome coverage of it, of course), so keep your eyes wide open and your ears peeled, because it’s sure to be an exciting day.

I agree with Robert, highly intrigued by the phrase, “Compressed CinemaDNG RAW” recording. In my opinion, if they have solved this problem and came up with a more manageable storage format similar to Cineform RAW then I think this could make the camera winner in terms of affordability. With that being said it is easy to get carried away in all the Blackmagic Camera hype so please keep in mind the camera's practical limitations as well.

Anyway, for those of you who follow the camera scene please let me know what you  think about these new developments?


Blackmagic on the takeover new cams Super 35 4K production and s16 pocket cam – filmbot

KineRAW-MINI - 2K RAW Super 35mm Camera for Just Over $3,000


First, check out some new photos of the camera (thanks to Cinescopophilia for the heads-up):

Recently the camera world has been pumping out one new innovation after the other. So, along with the Black Cinema Camera and the Digital Bolex there is another camera in the same space. The Chinese company KineRaw just recently started shipping their KineRAW Super 35mm edition within China. In addition, now they have begun taking pre-orders for their more compact version, the KinRaw-Mini 2K RAW, which has the identical sensor as it's larger sibling. It is missing out on a few features like dual SDD card slots and Cineform. However, they have a couple of different versions which may fill those gaps.

Here are the specs on the camera:

Super 35mm CMOS Sensor 12-bit Uncompressed CinemaDNG (Cineform is optional to a recorder they don’t make yet) 2048 x 1080 // 1920 x 1080 // 1280 x 720 One 2.5″ SSD Slot ISO: 80-10,240 — Base of ISO 800 Dynamic Range: 11.5 Stops (up to 13 stops in log) Electronic Canon or Interchangeable Kinefinity Mount Monitoring: 720p with 2 HDMI Outputs No Fan or Phantom Power Audio Optional Handgrip with Battery Power Consumption: 8-10 Watts No On-board Monitor or LCD

Posted via: No Film School

Visual Effects Supervisor of ‘Moon’: Interview with Gavin Rothery on Career Influences and the Making of 'Moon'



One of my favorite sci-fi movies of late has to be Moon by Duncan Jones (2009). I found the film absolutely fascinating especially considering it was Duncan's first effort. However, what I find more fascinating from a filmmaker perspective was how the movie came into to being. This is where Gavin Rothery the VFX supervisor for 'Moon' comes into to play. As I understand from watching behind the scenes footage, reading material on the internet, and this very informative interview, Gavin had a very big role to play. Just as the famous Syd Mead, brought to life Ridley Scott's ideas for Blade Runner so did Gavin for Duncan. In the interview Gavin also openly traces the relationships, connections, and career influences that brought 'Moon' into development. This interview underscores the importance of choosing your focus, hard work, and most of all how essential collaboration is in the film industry. However, I believe it is your focus that provides the branch for everything else to grow on.

Thomas Winward of Screenwatch and Gavin talk comics, art, video games, the making of Moon and his upcoming film Archive. It’s always fascinating to hear professionals talk about their craft, and Gavin gives some great insight into the creative process behind the Moon and his relationship with director Duncan Jones.

Posted via: Screenwatch

Watch Opening Scene of Sci-fi Short 'C: 299,792 KM/S' - Old School No CGI or Green Screen



Every now and then you come across a short film that blows you away, this is one of them for me. The story sounds compelling and unique. Also the way it is being created is truly fantastic - with no CGI and no green screen effects. In my opinion if done right these methods will make the budget look far bigger than actually is and the film will age much better over time. For proof look no further than Ridley Scott's Blade Runner (1982) and Kubrick's Space Odyssey 2001 (1968). Also, more recently Ducan Jones has harnessed some of these methods in his debut feature Moon.

This post makes me very exited because I am also passionate about making my debut with a low budget art house science fiction film (my calling card project). My film will be an immersive human centric story in which the science fiction is more of a backdrop than what the story is about. Basically, normal people having to live in a future antagonistic landscape that reveals their humanity for the good or bad. I plan to collaborate with a visual concept artist to flush out my unique visual ideas, defer to old school visual effects sensibilities while limiting CGI, and make grunge a key part of the film. From the perspective of the budget I would like to be known as a filmmaker who can do amazing things with minimal resources. This includes continuing to build my own audience, embracing crowd funding, and producing my film in a foreign country such as Japan if my story calls for it. I would like to put the priority on imagination and audience experience over budget.

C 299,792 km/s (preview) from Seaquark Films on Vimeo.

This film is the story of an idealistic flight officer who hijacks her spaceship during an interplanetary cold war, and attempts to escape our solar system in search of other habitable worlds. However, when a small group of soldiers led by Second Lieutenant Kai provide unexpected resistance, Malleck's master plan is threatened. A compelling sci-fi action/drama about one woman's vision for the next logical step in human development: the leap from interplanetary to interstellar colonization.

They launched a kickstatter campaign that is now fully funded but I am sure that even at this point any funds will be appreciated.

Update - Here is the online release. Enjoy!

C 299,792 km/s from Seaquark Films on Vimeo.

What do you think of using old school effects vs the new CGI techniques?

Posted via: Twitch Film

Happy New Year: A Look Back at Camera Developments in 2012


2012 was a prosperous year for me. I was more organized and effective in my lectures, side projects such as TEDxOsaka 2012 blossomed beyond our wildest dreams, and I managed to make a few films and update my blog on occasion. More than anything I else though I managed to strengthen my relationships with my family, friends, and colleagues.

Entrepreneurial business favors the open mind. It favors people whose optimism drives them to prepare for many possible futures, pretty much purely for the joy of doing so. - Richard Branson

The above quote sums up my attitude going forward for 2013. With that being said, I spent the year preparing for my alternate future in the fimmaking world by following camera news and developments. I could barely keep up, thanks to Moore's Law. For those of you interested in film, cameras, and tech here is the year in brief.

'Pour Some Sugar on Me', not a bad tune to ring in the new year? Anyway, looking forward to 2013, see you on the other side, 'The Maker.'

Happy New Year!

Are Technology Giants Monopolizing Our Future?


The iPad Mini and a number of other product upgrades have just been announced including a new iPad. Apple is riding higher than it has every been and the future seems firmly in their grasps. This particular article offers an interesting perspective on tech giants and that future. The co-writer of this article is a good friend of mine, Marvin Lee who is an Invited Professor in the College of Art & Design at Ewha Womans University (South Korea). We use to work together in Korea back in the day.


Enter Marvin and Eli

In August a federal grand jury in San Jose, California, found that Samsung Electronics Co. had infringed on six patents owned by Apple Inc. Meanwhile, the jury rejected the counter-claims that Apple had violated Samsung’s intellectual property and recommended that Apple be awarded $1.05 billion in damages. It is the third largest award in the history of U.S. patent litigation, a figure that could possibly increase depending on the district court judge’s evaluation of the jury’s findings. The violated patents ranged from design issues to interactive characteristics of Apple’s operating system used in the iPod touch, iPad 2, and the iPhone 3G, 3GS, and iPhone 4.

The fact that several legal rulings outside the United States have viewed Samsung’s case more favorably—most recently in the U.K. and Japan—illustrates the complexity of the issues at stake. The ensuing critical debate in the aftermath of the San Jose court battle raised questions about the qualifications of the nine-member jury whose decision came much sooner than anyone had expected. Most critics, however, point fingers at what they view as a malfunctioning patent system in the context of today’s high-speed technological development—where everyone appears to be building on others’ ideas. Richard Posner, one of the most respected judges on the U.S. Court of Appeals, recently opined that patent trials of this kind ought to have been resolved in the Patent and Trademark Office, not in federal court. Legal scholar Robin Feldman argues that Apple’s patent rights should never have been granted in the first place, since they stifle innovation and leave the consumer in a worse situation. Commentators, bloggers, and consumers tend to see the dispute as one that involves either a principle of originality, or, conversely, principles of creativity and free consumer choice. While some argue that Samsung is willfully copying Apple’s painstakingly designed product identity, others suggest that Apple’s legal strategy is simply a way to avoid competing openly in the marketplace. And the drawn-out fight between two of the world’s biggest electronics companies isn’t over. Samsung vows to appeal the verdict, while Apple has already filed claims against other Samsung products that allegedly infringe the company’s patent rights.

Underneath this prolonged legal saga, there is a different set of issues that have barely been addressed in the current debate, which has focused on narrow technicalities and bureaucratic trivialities and has ignored a deeper narrative. In truth, the legal debate about who owns the right to produce rounded square icons or various zoom functions is merely a way of distracting our attention from an endlessly more worrying issue, namely the technological monopolization of the future.

Under the visionary leadership of Steve Jobs, Apple made an incredible comeback in the late 1990s with the official launch of iMac and the 1997 “Think Different” ad campaign. The spoken message of that ad is worth reproducing: “Here’s to the crazy ones. The rebels. The troublemakers. The ones who see things differently. While some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.” The voice-over—accompanying images of Gandhi, Martin Luther King Jr., Amelia Earhart, and Albert Einstein—had a clear message: the future belongs to those who are brave enough to risk changing it.

Technology has always held up the alluring promise of self-control, the ability to master one’s own fate and define the future. The more technologically advanced we are—so the fantasy goes—the more control we have over the contingencies of nature. What essentially defined the late twentieth century was the wild acceleration of this basic fantasy into ever more excessive, private forms, a development that has hardly abated since. During the ’90s, as the world went online—or, as the world disappeared into people’s private spaces—technology intertwined with the everyday lives of individuals to a degree that only a few decades earlier would have seemed like pure science fiction. It’s easy to forget or trivialize the enormous implications of this massive technological revolution—one that tore apart old empires and turned traditional hierarchies upside-down—because we’re essentially still in the midst of it and, instinctively, we know we ain’t seen nothin’ yet.

Apple, perhaps more than any other company, took advantage of this fin de siècle fantasy. It found a way to give voice to a “crazy” consumer desire empowered by radically new technological advancements: a desire to think differently, to seize the future, to design one’s own life—all with the help of Apple products. Before Apple, the technological gadget was primarily perceived as an external object, like the yellow Sony Walkman of the 1980s. The iPod, iPhone, and the iPad all brought us one step closer to an actual bridging of the gap between subject and object.

That such “iGadgets” have evidently failed to attain anything remotely close to an actual unity of subject and object—the old philosophical aim of overcoming that which alienates us from nature—is a secondary issue, one that is forever anticipated through the concept of the annual product and software upgrading. The iPod was, after all, just another MP3 player, perhaps a tad more fancy looking. On the other hand, it was much more than that; inherently, the iPod promised a lot more than what was technologically possible at the time—that is to say, it always anticipated the iPhone, the iPad, and all the products yet to come. The iPod was, in other words, a promise, a sublime fantasy that lured us into believing that the future lay at our fingertips.

As for what’s at our fingertips, one needs to think no further ahead than to the omnipresence of the application, or app, surely the soul of any iGadget. With its app store, Apple established a system that encouraged users to design ingenious solutions to everything—and more. The store at present contains over 500,000 apps ranging in categories from business, travel, news, social networking, entertainment, education, family, sports, fitness, games, music, art, and lifestyle. But regardless of quantity, the seed of a brave new world was planted—that is, the prospect of a future already structured, mapped, decoded, subtitled, interpreted, and re-routed for us. That this world has been drained of surprises, doubt, wrong answers, and false routes is perhaps an inevitable by-product of a fantasy taken to its extreme—but surely not a problem an app might solve, perhaps an app that encourages us to “think different.”

This leads us back to the question: What’s really at stake in the ongoing legal twist between tech giants Apple and Samsung?

One of Samsung’s more bizarre arguments against Apple’s lawsuit was that the rectangular iPad shape with rounded corners had in fact been anticipated by Stanley Kubrick in the 1968 film 2001: A Space Odyssey in which astronauts casually use tablet-like devices while eating. It’s tempting to suggest that the full extent of the absurdity of this argument is only truly appreciated when one juxtaposes it with the argument against which it was employed, that is, the existence of an absurd patent. The idea of the iPad was there long before Apple made it theirs; or, rather, the fantasy was there long before any electronic company ever went to court to make it legally theirs. The real questions underlying these current legal battles between the world’s two leading electronic companies are whether such a fantasy can or ought to be monopolized, by whom, and in what format—rectangular or otherwise.

Marvin Lee is an Invited Professor in the College of Art & Design at Ewha Womans University (South Korea). Eli Park Sorensen is an Assistant Professor in the College of Liberal Studies at Seoul National University (South Korea). They are currently writing a book about Samsung, Apple, and the sublime fantasy of technology.

Posted via: The Humanist

Blackmagic Cinema Camera Announces New Passive Micro Four Thirds Lens (MFT) Version


There is no doubt the new Blackmagic Cinema camera is a revolutionary piece of hardware - can't beat the $3,000 price point, 2.5K RAW ability, and the 12 stops of dynamic range! Some have even referred to it as baby Alexa. However, one of the biggest complaints has been the EF only lens mount.

They have just announced a new Micro 4/3 mount, so other lens options will now be possible. Blackmagic has done a wonderful job at responding to customer needs:

IBC 2012, Amsterdam, Netherlands - September 7, 2012 - Blackmagic Design today announced a second model of the Blackmagic Cinema Camera that features passive Micro Four Thirds lens (MFT) mount, so customers now have an even greater choice of lens options when shooting. The new Blackmagic Cinema Camera MFT model supports any Micro Four Thirds with manual iris and focus, and is also easily adapted to other lens mounts such as PL via third party adapters. The ability to use third party adapters to allow other types of lens mount is due to the Micro Four Thirds lens mount being much closer to the image sensor and allowing space for adapters to other lens mounts.

Blackmagic Cinema Camera MFT is identical to the original Blackmagic Cinema Camera model, however does not include lens communication so manual lenses are used. The current model of Blackmagic Cinema Camera will be renamed Blackmagic Cinema Camera EF to let customers easily differentiate between the models.


Also see: John Brawley


A Full Review of the Blackmagic Cinema Camera with Philip Bloom

The new Blackmagic Cinema Camera has been causing quite a stir in the camera world. We have heard lots of news about it and have seen some test footage from their go to cinematographer, John Brawley. However, until now not many other people could actually get their hands on it. The camera is now shipping and slowly getting out into the wild. Below is a some test footage shot by Philip Bloom and his review of the camera follows. He has a lot of great things to say about this dynamic camera that cost $3,000 and shoots 2.5K RAW, however he also lays out the pitfalls such as the 2.3 crop factor and the EF only lens mount.

I think a good way to keep review straight in your mind is to think of things in terms of hardware and firmware. A lot of the quirks he mentions about the camera operation can be fixed through firmware updates that will be forthcoming.

I think a good way to keep review straight in your mind is to think of things in terms of hardware and firmware. A lot of the quirks he mentions about the camera operation can be fixed through firmware updates that will be forthcoming. However, things like sensor size and the internal battery design are things that you have to live with.

Posted via: No Film School

Major Disruption: BlackMagic Design Cinema that Shoots 2.5K Raw for 3K


I know that I am kind of posting this late but BlackMagic Design's new cinema camera has been on my mind since I woke up a couple of weeks ago with their newsletter letter in my inbox. I also heard it stole the show at the NAB conference. In my opinion this is basically the camera that a lot of people in the indie film community have been waiting for. Black Magic Design is introducing a camera that shoots 2.5K raw with 13 stops of dynamic range, also comes with a built in LCD touch screen,  SSD recorder, and a new version of Resolve 9 color correction software. Looks like the only compromise is the sensor size which is the same as a super 16mm camera as oppose to S35mm. With all that being said, I want one as soon as I can afford it. I could see myself using this camera as my work horse for smaller projects such as web commercials and for bigger film projects going with something from the rental market. To be honest a few weeks ago I was pretty excited about the Digital Bolex Camera too but I think for me the winner in this category of camera goes to Black Magic Design due to their established reputation.

Link: BlackMagic Design Cinema Camera

Press Release

LAS VEGAS, Apr 16, 2012 (BUSINESS WIRE) — Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.

Blackmagic Cinema Camera will be demonstrated on the Blackmagic Design NAB 2012 booth at #SL220.

Many current generation video cameras suffer from a “video look” due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still “video” looking images that suffer from highlight and black clipping that limits details. Blackmagic Cinema Camera’s wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.

To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.

Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro Xand Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into Cinema DNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive antialiased fonts.

For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the “slate” appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design that’s very portable.

“This is one of the most exciting products we have ever created and its been a work in progress for a very long time,” said Grant Petty, CEO, Blackmagic Design. “Ever since I was a telecine engineer back in the 1990′s I have wished that video cameras would include features that allowed them to perform creatively similar to film. However current digital cameras are too heavy, way too expensive and need costly accessories to work. We felt there was a need for a camera that delivered these features in a design that’s optimized for professional video shoots, as well as being a compact, elegant design that’s easily affordable. We think we have achieved that!”

Blackmagic Cinema Camera Key Features

  • High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
  • Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
  • Built in SSD allows high bandwidth recording of RAW video and long duration compressed video.
  • Open file formats compatible with popular NLE software such as CinemaDNG 12 bit RAW, Apple ProRes and Avid DNxHD. No custom file formats.
  • Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high-speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power connection.
  • Capacitive touch screen LCD for camera settings and “slate” metadata entry.
  • Compatible with extremely high quality Canon EF and Zeiss ZF lenses.
  • Supports 2.5K and 1080HD resolution capture in 24, 25, 29.97 and 30 fps.
  • Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
  • Includes a full copy of DaVinci Resolve 9.0 color grading software.

Availability and Price

Blackmagic Cinema Camera will be available July 2012 for US$2,995 from Blackmagic Design resellers worldwide.

A Digital Cinema Camera That Shoots 2K Raw for $3300?


This concept is awesome, I heard about it through the NoFilm School website. I immediately clicked on the camera's Kick Starter campaign and I discovered filmmakers making cameras for filmmakers, no bullshit! This is what cinematographer Philip Bloom had to say:

This is one of the most exciting camera concepts I have seen in a long time…a Digital Bolex, shooting 2K raw with a 16mm equivalent sensor recording in DNG, TIFF or JPEG sequences AND with XLR inputs for recording audio...

Digital Bolex D16 Camera creators Elle Schneider and Joe Rubinstein.

The camera parts will be manufactured in China, assembleed in Toronto, delivered through the United states, and overseen by Bolex of Switzerland. Learn more from this interview Philip Bloom conducted with the innovators:

The secret behind this is that it’s actually technologically, electronically, simpler than a 5d Mark III.  Because it doesn’t have any of the stuff in it that does all the compression and everything.  It’s what I’m calling technologically transparent — meaning, it’s lens to sensor, sensor to storage, and the camera really doesn’t affect the image at all [...] I want to make a camera that is as hands off the image as possible.  So it’s more like 16mm film, the way it would be lens straight to film [...] So that’s the goal [...]  Let people play with the raw images that their sensors make.

This is a trailer for the very first short shot on a D16 prototype:

Behind the Scenes of "One Small Step" from Digital Bolex on Vimeo.

Here are the camera specs(the camera looks great if they can pull them off as promised - I definitely want to buy one when the dust settles)

Resolution 2048 x 1152 (Super 16mm mode) + 1920 x 1080 pixels (16mm mode)
Format Adobe Cinema DNG, TIFF, JPEG Image sequences
Colour depth 12 bit – 4:4:4
File size 2 to 3 MB per frame in RAW
Sensor Kodak CCD: 12.85 mm (H) x 9.64 mm (V) – Similar to Super 16mm
Pixel Size 5.5 micron (compared to the 4.3 micron size of many DSLRs)
Framerate up to 32 fps at 2K, 60fps at 720p, 90 fps at 480p
Sound Balanced, 2 channel, 16 bit, 48 kHz via XLR
Viewfinder 320×240, 2.4” diagonal, with Focus Assist
Video out 640 x 480 B&W via ⅛” video jack (HD-SDI avail in separate unit)
Ports ⅛” video, headphone, USB 3.0, Audio XLR (2), 4-PIN XLR
Data Storage Dual CF card slots, SSD (buffer drive)
Power Internal battery, 12V External via 4 pin XLR port
Body Milled steel and hard plastic
Size (body) Approximately 5”H (without pistol grip) by 4”W by 8”D
Size (grip) 5”H by 2”W by 5”D
Lens mount C-mount comes standard; Optional PL, EF, B4
Weight 5lbs
ISO Options 100, 200, 400
Also in the box pistol grip, USB 3.0 cable, internal battery, 4 pin XLR Battery, cable, video cable, transcoder/raw conversion software

For more information check these links out:

[via No Film School]