Ikonoskop RAW DII 1st Camera Delivered!

Razz16mm said:
Motion production is not like shooting stills. The 2/3" , 16mm size format is now and likely will remain the most popular professional broadcast production format in the world. For a single general purpose all around production camera it is still my preferred format. It has enough creative flexibility to produce nice shallow depth of field in close ups when needed. It also allows a solo camera operator especially to cover a wide range of dynamic shooting situations, especially in low light conditions, with enough depth of field to reliably focus by eye and follow action with predictable good results. Shallow depth of field is just one tool in the box and certainly not the only defining quality of "cinematic" style.

I added the Blu-Ray of Jacque Tati's classic "Play Time" to my film collection this week. It is a pure example of visual story telling, a satirical social comedy expressed through cinematography as fine art where every element of production design, staging, composition, color, and movement were choreographed down to the last detail like a fine ballet. There was not a shallow focus shot in the entire film.
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I really agree that the 2/3" / 16mm frame size is ideal for lone operator shooting, like ENG or events perhaps, but in narrative film-making, where most people start off on 1/3" DV cameras and can't get that look that the 35mm cameras put out, even when at college shooting on S16, 35mm will always be the goal - rightly or wrongly - it's just what most people want! I've been following Ikonoskop since they started, and love their cameras, but in response to why this camera isn't being hyped like the AF101, Red One, or even the GH1 GH2 5D2 7D etc, that's why I think - most people on some level feel that 16mm is a step back to the "student film" look. I know I do, irrational or not.

And of course, you're also right that short dof is neither a guarantee of greatness nor deep focus a limit to greatness. You're also right that short dof is a lazy approach, but it's something most of us like the look of, for sure.
 
Re: the actual IKON camera, I'm intensely fascinated with the camera, and have been trying to participate in the rather modest forum on the IKONOSKOP site as much as possible.

I've been in discussion with one the owners of the batch of first five, a DOP from Estonia. I'm going to try an interview him and get more information about the actual use of the camera in the field!

It's a very nice image, the .dng files from the production camera are lovely, smooth and fine 1080p images. And the CCD is a very good one from Kodak, capable of extraordinary color rendition, especially in daylight.

I agree with the above threads, deep DOF is the final frontier of the cinematographer's craft. Master deep DOF and everything else is cakewalk!
 
Matthew Bennett said:
Re: the actual IKON camera, I'm intensely fascinated with the camera, and have been trying to participate in the rather modest forum on the IKONOSKOP site as much as possible.

I've been in discussion with one the owners of the batch of first five, a DOP from Estonia. I'm going to try an interview him and get more information about the actual use of the camera in the field!

It's a very nice image, the .dng files from the production camera are lovely, smooth and fine 1080p images. And the CCD is a very good one from Kodak, capable of extraordinary color rendition, especially in daylight.

I agree with the above threads, deep DOF is the final frontier of the cinematographer's craft. Master deep DOF and everything else is cakewalk!
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I look forward to hearing more about the Dii and seeing more footage from it. As Ikonoscop refines their software I am sure it will get better still, it is already a pretty decent looking camera. I think raw acquisition is the future of digital cinematography as much as it has become the preferred creative choice in digital still photography too. The power and creative flexibility of grading raw images is just too compelling.
 
Lucas Adamson said:
that's why I think - most people on some level feel that 16mm is a step back to the "student film" look. I know I do, irrational or not.
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there have been some awesome films made in the last few years on super 16. the wrestler, hurt locker and Black swan and many more. I really like the look.
 
16mm rocks...

Student film means bad screenplay, bad lighting, bad composition, bad actors (most of the times, they are students fgs). 16mm has nothing to do with it.

I'd love to couple this Ikonoscop (or even the Scarlet 2/3" Cinema) with a zoom like the Arri 10-100 T2. Shame that's outta my league.

On 35mm I like to work around the f4 range. The only short I did with the 7D I only left f4 when I wanted special effects and most of the times the director would come to the LCD and say: "No, no, it's too blurred..."
Not to mention the poor MTF resolution the Nikon primes have wide open.

Last thing I DP'd was a web series with the GH1 and the 14-140 lens. Great DOF that will be quite similar to the Scarlet 8x.

IMO people should let go a bit of the DOF craze, not that people are cheap and lazy, but right now we're on antithesis, let's arrive at the synthesis already!

Ikonoscop and Scarlet 2/3" will rock!
 
I will eventually place my order. Neat little camera literally. The price is good as well. Raw HD footage for about 12grand. I'm game!







Edit: the only thing I don't like about this is there's not enough footage to look at. More footage please! Thank you.
 
Ive been following this cam for a few years now, its a cool little cam and Ive been downloading the DNG files they post for a while now, I love the work flow watch this video its very explanatory... http://vimeo.com/17270633... un fortunatly with the emminent release of the scarlet 2/3 interchangeable or even the EPIC-S(old scarlet S35) at close to the same pricing, im really quickly losing interest with the whole 1080p thing, especially since i am still an avid 7D shooter(100% of my films) but again I need more than just a better codec to justify the ikonoskop's 10k price tag, plus it only shoots 25p PAL footage wich is retarded, after seeing the new scarlet/epic footage I dont see ikonoskop going very far at all for its price, too bad too, I really liked this company.
 
The only thing keeping me from getting one and not buying a camera for years and years and years is the price. Which I simply don't have.
 
Perry Wilson said:
Ive been following this cam for a few years now, its a cool little cam and Ive been downloading the DNG files they post for a while now, I love the work flow watch this video its very explanatory... http://vimeo.com/17270633... un fortunatly with the emminent release of the scarlet 2/3 interchangeable or even the EPIC-S(old scarlet S35) at close to the same pricing, im really quickly losing interest with the whole 1080p thing, especially since i am still an avid 7D shooter(100% of my films) but again I need more than just a better codec to justify the ikonoskop's 10k price tag, plus it only shoots 25p PAL footage wich is retarded, after seeing the new scarlet/epic footage I dont see ikonoskop going very far at all for its price, too bad too, I really liked this company.
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They are a VERY unaggressive company.

With good post-processing the images from the Kodak CCD can be extremely nice. But IKON is either unwilling or seems to have no idea how to show that fact... very strange. They are just literally 'too relaxed'.
 
I think Otis Grapsas' Drama camera using the same sensor is likely to be more refined and generally practical. Certainly miss him around here. His commentary suggested a well thought out design approach.
 
i think saying its just a better codec falls quite short. Its the concept of truly developing your images to your vision in post. Also i beleive the CCD will help give a more natural/organic feeling to many handheld shots. Having shot cmos so much i think people have forgotten how amazing a CCD will be to handle. I personally am looking for something that has the soul of film. Judging from evidence in footage it has a more organic feel than a lot of the other options in this price range.
 
RAW acquisition is the future.

RAW acquisition is the future.

RAW acquisition is the future. Right now (Jan 2011), the Ikonoskop Dii is the lowest priced RAW video camera on the market. If they can somehow produce more than 5 units at a time, perhaps the price will drop. If not, RED's Scarlet will completely run this camera over. I hope that they get the bugs worked out and boost the production up so that they can compete with Scarlet. Competition is good for all of us consumers. Maybe some other bigger fish will and buy them out, kinda like what happened to the Reel Streem Andromeda / Hydra people. I still don't know which company acquired them, but maybe someone on this forum knows.
 
mik303 said:
RAW acquisition is the future. Right now (Jan 2011), the Ikonoskop Dii is the lowest priced RAW video camera on the market. If they can somehow produce more than 5 units at a time, perhaps the price will drop. If not, RED's Scarlet will completely run this camera over. I hope that they get the bugs worked out and boost the production up so that they can compete with Scarlet. Competition is good for all of us consumers. Maybe some other bigger fish will and buy them out, kinda like what happened to the Reel Streem Andromeda / Hydra people. I still don't know which company acquired them, but maybe someone on this forum knows.
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I agree 100%, I'm a RED fan but competition is a good thing. I'd like to see Ikonoskopp succeed.
 
Matthew Bennett said:
They are just literally 'too relaxed'.
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Looks like they even "relaxed" their forum:

We have temporarily closed our forum.

January 26, 2011

The forum is created for people, customers or not, interested in our products and associated and relevant subjects. Most posts and users have contributed to the community and have on several occasions made us aware of relevant matters.
At this time we have to direct all our resources in to production and delivery. We simply don´t have the time to moderate the forum and address all the issues posted.

In the meantime we will post an extensive FAQ and any questions on our products can be sent to info@ikonoskop.com and will be answered within 36 hours.

Best


The Ikonoskop team
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Frank
 
Yeah - shutting down their own forum is a very strange move.

Everything was going pretty well. With the help of Kristjan-Jaak Nuudi ESC, We were able to pretty much uncover every spec + aspect of the mysterious IKON camera.

Then a user name JGeorg started in with some hurtful rants, as well as some revealing information that the IKON CCD was not properly calibrated and the calibration might involve a recall or visit to the Kodak factory of some kind. Scary stuff potentially.

Ikon was never really quick to reply to comments or questions on the forum anyway, we all just assumed it existed for the users/ future users to talk amongst themselves. And then they shut it down.

Interesting. These are the perils of an indie digital cinema company.

I'm sure they will bounce back! I pray for their success personally, as I'm a huge fan of the camera.
 
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