Why Aren't We Talking More About THIS Camera? Ikonoskop A-cam dII

[JAWflyer3]

I'm underwhelmed by the digital bolex...I think DSLR's pretty much fill the niche that the bolex did compared to 35mm back in the day. If you want that sensor size, and raw why not just buy an Ikonskop and start shooting tomorrow?

Plus the resolution of the EVF and video outs are pretty terrible.

because the ikonskop is about 5x the price, shots to overpriced memory units that require overpriced hardware to read, and doesn't have XLR ports. The DBolex has an HD-SDI option I'm told, with XLR inputs, CF card/SSD recording, EF/C/PL mounts, and a price that I can afford after working a couple of gigs. I'm definitely waiting to see how the first batches of cams perform, but if its good, it might be worth investing in.

[David G. Smith]

because the ikonskop is about 5x the price, shots to overpriced memory units that require overpriced hardware to read, and doesn't have XLR ports. The DBolex has an HD-SDI option I'm told, with XLR inputs, CF card/SSD recording, EF/C/PL mounts, and a price that I can afford after working a couple of gigs. I'm definitely waiting to see how the first batches of cams perform, but if its good, it might be worth investing in.

The Digital Bolex is a concept in prototype stages, at best. The Ikonskop is a working camera system available now. Everybody has been looking for the $3000.00 camera that is going to make all of their filmmaking dreams come true ever since Scarlet was announced as 3k for $3K.... And we know how that turned out.

When, or better yet, if Digital Bolex production models are ever delivered, then they can be compared to a working camera system like the Ikonskop. Until then, I think there are prophecy threads about the camera elsewhere.

[TimurCivan]

in the not too distant future you will get 4K for $3000. its inevitable, but the simple fact of the matter is this,features cost money, and its not just in parts, its in software integration, man hours, testing etc....

i bet this is why the 3K3K$ scarlet project got scrapped, and why the Dbolex only has a B/w 640p tap (stock configuration). stuff will always cost money.

[Gillvane]

in the not too distant future you will get 4K for $3000. its inevitable, but the simple fact of the matter is this,features cost money, and its not just in parts, its in software integration, man hours, testing etc....

i bet this is why the 3K3K$ scarlet project got scrapped, and why the Dbolex only has a B/w 640p tap (stock configuration). stuff will always cost money.

The Digital Bolex will not have a lot of things Scarlet or the Ikno A-cam will.

Th Dbolex will be a bare bones camera. No menus, histograms, probably not even any lens control. Plus it uses an off the shelf sensor, no proprietary storage media, probably no proprietary batteries, etc.

Could Red have done this for 3k? I'd be really surprised if they could make the Scarlet, but couldn't produce a camera with almost none of the features the Scarlet has.

The fact is Red didn't fail to make a 3k camera, they didn't want to make a 3k camera. It didn't fit into their modular, proprietary media, proprietary sensor philosophy.

Would you rather shoot with the a-cam than a Bolex? I'm guessing you would. The A-cam will be a more polished shooting experience. Shooting with the Bolex will be very primitive. You may even have to break out a light meter.

Just depends on your budget. The a-cam does make very nice images.

[brunerww]

I have lurked on this thread for a while and have lusted seriously after the A Cam - until the BlackMagic announcement. I think Ikonoskop (along with other companies) will have to seriously reevaluate their pricing models.

I really like Ikonoskop's approach to RAW image capture, partly because it seems that it would be so much easier to shoot with (e.g., a real viewfinder, CCD instead of CMOS) - but at €7700 (over $10,000), I am not able to justify owning one when I can get 12 bit RAW capture via Thunderbolt from a larger sensor for $3000 from the MagicCam.

And for me personally, Vimeo compression notwithstanding, I like the video I have seen from the MagicCam better than the video I have seen from the A Cam. The DR is fabulous on both cams, but the BMC seems (to me) to outresolve the Ikonoskop.

I hope that Ikonoskop (and DBolex) are able to hang in there, because the more competition we have in this space, the better. But for right now, I'll bet there's a lot of consternation up there in Stockholm.

[supergrafx]

I really like Ikonoskop's approach to RAW image capture, partly because it seems that it would be so much easier to shoot with (e.g., a real viewfinder, CCD instead of CMOS) - but at €7700 (over $10,000), I am not able to justify owning one when I can get 12 bit RAW capture via Thunderbolt from a larger sensor for $3000 from the MagicCam.

And for me personally, Vimeo compression notwithstanding, I like the video I have seen from the MagicCam better than the video I have seen from the A Cam. The DR is fabulous on both cams, but the BMC seems (to me) to outresolve the Ikonoskop.

I hope that Ikonoskop (and DBolex) are able to hang in there, because the more competition we have in this space, the better. But for right now, I'll bet there's a lot of consternation up there in Stockholm.

I may be biased owning a DII, but I am not so alarmed by the MagicCam at this point. CMOS sensor w/ the jello effect and the 4/3rd sensor really would inhibit me in how I use my camera as the type of tool I want to use it as. It would make as a great second camera for stationary shots, but I am not that plush in the wallet for extra cameras at this point. And not to sound like some type of purist or "artsy hipster," but I prefer the magic that comes from lenses like the super speeds and ultra 16s that on the wide end, which would most likely vignette on the MagicCam w/ its 4/3rd sensor as the Panasonic GH2 has this same problem when utilizing wider 16mm lenses. There is the Weisscam T 16mm cam that just came out that can shoot up to 350fps I believe which in all due honesty is probably everything the A-Cam DII is, yet with incredible high speed. But I'm guessing from a quote I got from Weisscam about a year ago, that the euro price would amount to around $45,000. I'm sure the digital bolex is what scares Ikonoskop the most, but will just have to see about that since it really is just a security camera in duffel bag at this point. Whatever happens in the future, it is what it is situation. I have "the tool," I need now w/ every feature I want w/ a digital 16mm camera. I will have no regrets either way what happens down the line, be it a digital bolex or a Chinese Kineraw 16mm digital camera. I love the DII as many others do, and although this is besides the point, I take pride that my camera was not mass produced on an assembly line whose workers were being paid cents on the dollar, but built to order by film makers in Sweden, of whom I really respect in the realm of the cinema and documentaries that they produce.

[mad dog]

Hello, I've just shot this music video with the Ikonoskop for the belgian band V.O. (http://www.wearevo.com/).
The music video was directed by Julien Bechara from Playtime Films (Brussels) (http://www.playtimefilms.com/)