J,
We live in interesting times.
Some insiders tell me the pro still camera market in 35mm has just about disappeared and while mostly amateurs are still buying for stills, the sellers hate this situation because the profits on the hi-end are seen by corporate as losses from the low-end cash flow.
As regards AF, I wonder whether pro cameras eg. RED shouldn't do it by using a laser tracking dot synched between frames, with a pointer held by the focus puller. Kind of like the missile aiming technique used by special forces
Edmund
The problem with counting on RED for anything is they're slow to get stuff out. Real slow so as much as I think they could do about anything, it may be a long time before you see it on a shelf.
I can't imagine how many cameras they'd sell if you could just walk in and buy one, considering they've already sold about a billion dollars worth of product.
In regards to lighting . . .
I respect that everyone works differently.
I ain't no Pablo, but this was done with a RED and one tiny LED.
(and yes it's suppose to have this look which I worked in RED cinex and photoshop, so don't pixel stare.
Anway . . .
I don't know what CRI is. Don't care, but I hold to the theory that most digital is very subject and ambient light dependent, but honestly I don't care as long as I can make it work for the situation.
This is the same model in three obviously different settings and what works for one doesn't necessarily work for another.
I'd hate to see a color meter on these images because I'm sure something would spike (i guess, cause once again I don't know what CRI is).
I'll second the thought about tungsten and digital, I love tungsten but only in a blacked out studio or at night.
Still, you had better get used to LED's. They don't burn a lot of power, a camera like the RED has a native 800 to 1000 iso and you can throw 4 or 5 of those square light panels in a suitcase and hit the road.
The world's changed, even clients mention power draw, they drive prius', they actually ask where the recycling bin is and LED's draw nothing in comparison to any other conventional light.
Also they're cool, instant strike, can battery power and are fast to set up.
We still run large crews, but not like three years ago. Then we ran large crews because . . . well we just did. Now we run large crews only if we're shooting 2 hard days into 1 so a crew is always setting up ahead of us, one tearing down behind.
Even adding the RED hasn't increased the crew size past one or two people, (depending on sound).
So as far as lighting goes, whatever works and I don't have any one preference, though we just finished an ad series where two shots just could not have been done without leds. Well, they could have, but the set up would have been another 2 hours instead of 45 minutes as it was a very difficult image with white lab coats, a lot of background light and we needed small face fills and cross light in the foreground for effect. The shooting area was very tight, so those battery powered led's were like magic. (I'd show the image but it's not released yet).
But with this image in still and RED I didn't see any blue, just warm nice skintones, clean bright whites.
So, after a 12 hour on set day, an hour or so savings is a big deal.
IMO
BC