Tue 14-Feb-12 07:40 AM | edited Tue 14-Feb-12 07:44 AM by Robman3
How were those takes from Desolation last year BTW?
I agree, the creative aspects for commercial release would in theory have to include up-scaling for broadcast and filmic release, not merely DVD/BRD.
If I am wrong, please let me know but, a video camera that shoots in low light, as I recall is part of the reason that HD on DSLR's has become a market share, correct?
Not that one cannot do video to be sure, but that type of machine is well beyond the under $10k (US) price point floating about for Nikon, Canon, Panasonic and so on.
My friend a DP who travels on a set-crew shooting RED Epic of a single speaker, in many lands, has recently bought the FS100 for client/personal use.
We attended a Sony seminar in Burbank last fall for the three big dog Sony cameras, right about the time Canon and RED did their roll out.
Bang for the buck, the Sony FS100 seems a good start however, for low light, it's still not as robust as one would assume without very expensive glass and he's used to renting for the RED, those $90k movie studio lenses. He is welcome to borrow my Nikon glass, should he need it. Oh, the RED crew chief has bought Nikon pro glass of late.
My point is that playing in low light is an improving realm for DSLR's with HD at least for the time being, and yes with work arounds as you allude them, crew, set format, shooting scripts etc.
The DSLR bane, moire/rolling shutter, which, according to the read, Nikon says is improved in the new formats, we shall see.
I watched a YT video last week, of the existing DSLR's and motion of a hand held pan, and they all, including the GH2, share the anomaly none too much better than the next.
So, if one is shooting to a script, and well versed in the technology, cinema grade work can be done.
The new Rah Rah bad ass Navy Seal catch the bad guy movie, Act of Valor, has a ton of work in it done with Canon's, multiple rigs, so your point is again, correct.