Michael's right if he likes 4k and 24fps.
I can see his point because he instructs and shows still landscape imagery and at 4k he can show the detail he likes to present. Makes sense to me, but his delivery method of sd cards sounds a little problematic, but I'm sure he'll work it out.
Then again so are the guys that shoot video for a show like Top Gear are also right, because they shoot a very good video production and I don't think they are worrying about frame rates or 4k.
JJJ is right because the "cinematic look" is more than cameras, lenses, focus throw and fps. It's the total look and films, even cheap films take a long time to get right.
It just depends on what you do.
What is interesting though that most people who have moved from stills to motion, are not going to be directing and shooting full length features, at least none that will go into a cinema.
After all there are great DP's and Directors in Hollywood that can smoke us all that aren't overly booked. Why do you think so many of them are giving classes, testing cameras for manufacturers and doing how to videos?
I've worked on gigs where an academy award winning director, (one who has a current movie hitting the screens as I write this) worked as DP where the director knew less about his craft than most amatuer film makers but the award winning director did it because . . . a gigs a gig.
Still, comparing 4k to 2k on a movie screen is almost a mute point for this forum because that's not what most of us are hired to do.
Me, I think if I had to describe what I did now I'd say multi media. Shooting MOS lifestyle on the beach with a moving camera is not a lot different than shooting the stills, other than you gotta stop shaking around and I know that when a client reviews dailies the last thing they care about is camera make, 4k or 24fps.
They care about the shot that resonates with them, their product, their marketing plan, or just personally turns them on.
Lately we've booked a lot of dialog work and dialog vs. mos is night and day. I love dialog directing, but find the pace slow and I really have to forget most of what I know from the still world, to do dialog correctly.
The point I was trying to make in my earlier too long responses was learn the basics (the same points I think Michael was trying to make) and then have a reason if break the rules, because really . . . there are no rules.
I can pull up google info on the last 4 movies I've seen, last 10 tv shows and I can promise you not one will have the same workflow, camera lens combo, editorial suite, coloring and finish apps as the other.
It's all a roll your own business in digital motion, much like what digital stills has and is still going through.
In fact two of my favorite tv shows moved from RED's to Sony's because they were Sony properties and I never could tell the difference when I watched them and I really explored them.
Now. The most interesting aspect of motion imagery to me is workflow. I think the workflow of motion is the black hole of time. Just getting one light dailies out on a large scale is maddening and if you shoot multiple cameras with multiple file types it's pure hell.
We're finishing up a gig we shot in 5 parts, three countries, 6 cities. The first part I shot like a mad man, because the creative brief was huge, the time allowed not so huge. I ran gh3's, Sony FS100's, A go pro, A g16 for underwater, Two RED One's and a Scarlet. Had a reason for each camera, mostly how fast and good I could get it in the can (or is that in the drive?).
I had a billion hours of footage and it took a lot of long, long days and nights to get it out to the client for review.
The next productions I slowed it down and shot 99% of the footage on the RED's, only used the gh3's for tight spots like cars or fluid fast movement like on the beach.
The reason had nothing to do with 4k, 2k, or fps. I stuck with the RED's because I thought they produced the prettiest file, gave me the most head room for processing, but the main reason? . . . was Cinex.
With the RED's I could sit down for a few days, correct hundreds of files and then let the RED rocket take over for the evenings, processing out prorezz with an image that was based out and professional enough to show.
The time saved was weeks, not days so as much as I respect these new little cameras, I'm sticking with the RED's as much as possible, but once again, it's workflow.