I think film directors are secretly closet still photographers.
I know the hardest thing as a still photographer moving to motion is to say "f&^%k" the technique, get the shot, get the emotion.
I mean I love the Cohen Bros and they are great dialog directors, (though they also spend $200,000,000) for a project, but in a way their atmosphere imagery reminds me of a still guy.
It's like did you see the majestic mountains, hold it, I'll do a slow pan, then dissolve and now did you see it? Good cause I'll show it from another angle and maybe do a helicopter shot so you see it even wider.
OK, now you got it, we're in the mountains.
Now that's the movie world, let's go to our world.
Let's face it 99% of everything everyone shoots in commerce is going on the web and that's a different medium. I'm not saying to hand hold everything, but slow dolly, pan the room shots get damn boring on a small screen.
The new world is fast, the new world grabs attention now, the new world is 2 minutes long.
I'm not advocating jerky, non professional production, but I'm also saying that the world of the web is Run Lola Run, not Gone With The Wind.
I love the RED, it shoots great, it weighs a ton, it takes a week to start and I use it every project, but I know for a fact that the imagery the client's like best comes from small cameras because it's less staged more believable.
The best RED imagery I've seen is from Southlandhttp://www.youtube.com/watch?v=DdVX9IsbTD8
because it's real, it's fast, I believe I'm there and it tells a great story. Everytime I see a background shot of this production there is a RED, but there is also a 5d.