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.
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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 Southland
http://www.youtube.com/watch?v=DdVX9IsbTD8because 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.
IMO
BC