Scott MacDonald on shooting film vs. shooting High Def:
"If you know how to light, it doesn't matter what you shoot.
If you don't know how to light... it doesn't matter what you shoot."
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I have experience as a cameraman in all formats: digital video, BetaSp, DigiBeta, High Definition (HD, including 24p for transfer to film), as well as smaller digital formats. On High Def, I've shot features, commercials and music videos using the Sony 900, the Panavision camera and the Panasonic Varicam, as well as miscellaneous other HD equipment. I have extensive training and experience in High Def and have also written articles about how to get the best out of HD: both in terms of image and budget.
I'm an owner/operator of 3-chip DVCam and also a Sony BetaSP 2/3" video camera (I also own a 35mm Arriflex — sometimes we mix film in with the video shoot). In addition, I have all the production and field equipment that go with them: high-res monitors, audio, accessories, etc as well as extensive lighting and grip equipment.
Shooting video, digital or High Def 24P has become more complex than it was just a few years ago: new formats, new post-production processes, new methods and even changing delivery requirements for distributors and television networks. Up-conversions, down-conversions, 3:2, scanning to film – it can get a bit confusing, especially as it is all changing on almost a daily basis – I can help you sort it all out before you shoot, and before it adds up to unnecessary expenses or disappointing image quality.
I am always in the process of keeping up with the latest developments both in my own work and by monitoring new methods and equipment as they become available. I am a member of several professional groups and mailing lists which constantly discuss the latest equipment and share information and ideas on how to achieve the best result at the best price.
Just shooting digital or video is not going to "automatically" solve all your budget problems. There are many pitfalls and additional expenses you can incur if you don’t take the proper steps. Your best insurance against that is an experienced DP who knows what to watch out for.
Of course we would all prefer to shoot on 35mm film if we could, but the reality is that the budget sometimes just isn’t there or there are other reasons that make another format the right choice. (Should your ambitions lean toward shooting film, I do own a 35mm Arriflex complete camera package with Zeiss Superspeed Primes).
Sometimes it’s all about getting an incredibly beautiful image and I love doing that; but sometimes it’s not about a beautiful image. Depending on the story, the project and the director’s style, a different image quality might be appropriate: I love doing that, too. If the director wants to experiment and get wild and crazy, I’m all for it. My view is: if we wanted everything to be a "Kodak moment" and were trying to produce the same type of image every day, this job wouldn’t be nearly as interesting and exciting as it is.
Blain Brown - Director of Photography/Cameraman/Cinematographer