Sometimes the best camera for the job is the one you already have…even if it’s 6 years old, only shoots 1080p, and has been replaced by a newer camera.
I’ve been a big fan of the game for a long time Looks like super 16and only two cameras can meet this need: the Digital Bolex and Blackmagic’s original Pocket Cinema Camera.
Unlike nearly all other movie cameras, the Digital Bolex and compact cameras never followed the trend toward larger sensors. Instead, they’re aiming to deliver gorgeous cinematic images using a smaller (but more adaptable) Super 16mm size sensor.
For a filmmaker like me who loves 16mm film, this is a dream.
I’ve shot multiple projects with the Digital Bolex and compact cameras and am always amazed by the results. Both cameras (thanks in large part to their excellent sensors) deliver truly organic/cinematic images, with a depth of field and field of view consistent with true 16mm motion picture film.
Unfortunately, both cameras have been discontinued.
Of course, the Digital Bolex was discontinued a few years ago, and Blackmagic has since released newer compact cameras (4K and 6K versions) that are huge improvements in technology but no longer feature a true 16mm sensor.
Therefore, as of 2020, no new cinema cameras have been produced with native 16mm sensors. This is such a pity!
As a workaround, you can shoot in Super 16mm (equivalent) crop mode on an Arri or RED camera, but this only solves the aesthetic problem. Another consideration is practicality.
What made 16mm so alluring in the film age was the freedom it offered. Cameras are smaller, lighter and more portable. They can be used in a wider range of shooting scenarios and are more beneficial to independent filmmakers – including those who shoot guerrilla style.
This is why 16mm is french new wave movement, and the birth of independent filmmaking more broadly.
The original Blackmagic Pocket Camera certainly evoked an independent spirit. It’s not just about image quality, but also about the creative freedom that small size brings.
So while Arri & RED can help you cover your undertones beautifully by offering a 16mm cut, they can’t help you reduce your footprint (or budget) in the same way.
Currently, I am developing a feature film that I aim to shoot on Super 16mm motion picture stock. This is something I’ve wanted to do for a long time but never really been able to pull the trigger until now.
The film will require some running and gunshot inserts that will be shot on location, guerrilla style. For many of these shots, it would be impractical (or even impossible) to shoot with my camera AliSRIIso I may need to supplement the production with some digital materials.
Ultimately, this need drove me back to the original Blackmagic Pocket Camera. Even though the camera has been around for a long time and has technical limitations, it’s still the most obvious solution for my needs.
Blackmagic’s newer 4K/6K compact cameras are certainly viable contenders, but it’s the organic look of the original Blackmagic compact camera that keeps me coming back to it.
It’s not a question of better or worse, it’s just a question of which tool is best for the job. Having shot quite a bit of film at this point, I feel more confident in achieving a realistic 16mm look with the original compact camera than with its newer counterpart.
Not to mention, the reduced sensor size keeps the camera body noticeably smaller (likely due to the reduced risk of overheating), which is also a key consideration.
Needless to say, clearly newer 4K/6K compact cameras offer a significantly improved user experience, more features, and higher resolution. For many projects, they will be the best choice for obvious reasons.
But the lesson here is that newer isn’t always better. Sometimes the best camera for any given situation is the one we already have. Just because it’s “obsolete” doesn’t mean it’s no longer a viable tool.
I can’t help but wonder how many filmmakers out there are dying to own a current, affordable native Super 16mm digital film camera. Maybe I’m alone…but I certainly hope not.
It feels like the need is definitely there, and if there are any camera manufacturers out there reading this, I highly recommend you consider this possibility.
There is no shortage of digital SLRs and mirrorless cameras equipped with Super 35 or full-frame sensors. These are great tools that fill an important need for many filmmakers… but they don’t fill the gap left by the Digital Bolex and the original Blackmagic Pocket Camera.
If a 16mm digital camera existed today, I would be the first to buy one. But until then, I’ll happily stick with the tool I already have and know it will deliver the results I need. My good old BMPCC!
Are you a fan of the Super 16mm look? What would your ideal 16mm digital camera be like? Please leave a comment below.
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