Yesterday I attended a half-day session arranged by The Association on the Canon DSLR cameras. Snehal Patel led the workshop of twelve people. I think I was the only one who wasn't working in Hollywood, and we had quite a few veteran members of the ASC there as well. The industry is changing significantly. From the tech and post side of it, I think I have an incredible grasp on the realities of shooting with these new DSLRs. Now I want to get better on the production side as well.One interesting thing about the day was a discussion by the DPs in the room concerning the disappointing performance of the RED One camera in real-world situations. Specifically, the cost of the camera, with all of the bells and whistles, is much higher than everyone expects (still much lower than traditional cameras, but the hype doesn't match with reality). Secondly, the processor is just not robust enough to handle low light well; in fact, during shoots, the RED consistently requires more lighting (which equals more time and more money spent) than traditional cameras — DPs were complaining that you had to stick light everywhere, even in shadows, to make sure something showed up in the footage. So I'm leaning much less towards the RED right now, and seriously getting closer to either the 5D or the 7D, which excels in low-light situations. (I'm interested to see how the new RED cameras fare, but I'm not interested in purchasing any of them, either.)Another illuminating conversation was how the major studios are attempting to cut down on technical staff (DITs, digital managers) in an attempt to save money on set. It's going to backfire, but I'll talk about that in a later post.
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