sugartown

The truth? Good films end up shelved ALL THE TIME.
 
Great films often get lost in the system. 
 
Brilliant ideas often never get funded. The best scripts, the ones that get passed around back and forth -RARELY- get greenlights.
 
About 15 years ago, there was a round table with Francis Ford, Spike Lee, Scorcese, Spielberg and others, and they ALL confessed they
struggled to get their next film made. 
 
Wait, it gets better....
 
The days of a Tarantino or Rodiriguez getting through the door and blowing up are slim to none. Even during the heyday of 90's indie cinema, only a few got past the gatekeepers...because even on a low indie level, there are gatekeepers.
 
There are only a hand full of sales reps, and only a couple dozen distributors who have handled projects you've heard of.
The festivals are set up like getting into Harvard Law....some are there on merit, but most on pedigree and association.
 
Think the internet is the great equalizer? It is. But it's also a slush pile of camera tests, and garbage that few people can wade through.
 
Which means a guy like Spielberg who was big man on campus, and owned his own campus feels the heat of a more democratizing process, and studios reacting by only producing sure thing major blockbusters with toy and product tie ins, so they can make back their marketing budgets. (Even Django had action figures).
 
All the while, indie films take even less economical risks, less creative risks, and the gatekeeping requires you the filmmaker to be the Prom King/Queen or the captain of the football team to get through that system. It means the big festivals have already selected films connected with a hand full of known industry people, before the submission deadlines. It means more than half the films a Sundance are repped by one man. It means distributors are offering award winning films deals in the 50k range, before you pay out E&O insurance, and differed costs. It also means distributors are making offers of 5K for a feature film, for world rights, and doing it with a straight face.
 
This is the reality we're up against. Creative filmmaking is not as important to getting your film seen as creative salemanship, and business. This is what we're all up against. 

Sure, if you already have a 5D III, but under that philosophy you shouldn't be shooting raw or 4k at this time.
12 minutes beats 49 seconds any day.

Huh? Look, there were people animating DSLR stills in the early DV days, and making music videos shooting literally 1 frame at a time like animation back in the 90's...Smashing Pumpkins and REM videos did this with it's own stuttering aesthetic ....so sure, there will always people who will break there backs and make amazing things, no matter the tools.  You don't have to work how professionals work, it's true...and in many cases you shouldn't...but...
 
It's a potentially (we're still finding out the details) back breaking, tedious process, outside the norm of practical production, no matter the budget, or crew. And with a $3500 camera when there are other options in that range. At least know that's what you're talking about.
 
Whether slating, requiring playback for music, shooting "go agains" in one take, camera moves, or just framing, and hitting marks... 40 seconds is intrussive. It would make post a nightmare during a period where workflow is already having some growing pains.

I'd say Standard Digital video in the era of the VX1000 preceded the practical use of DSLRS for video...the quality of the preamps just declined and high level production required double system.
 
DSLR brought with it even more limitations like with audio metering, so it forces people to look outside the camera for solutions. 
Meanwhile, if you're weren't a one man army, there were better tools on the market, but it becomes a matter of budget. A working cinematographer/filmmaker needs the most versatile tools possible.

I'd say Standard Digital video in the era of the VX1000 preceded the practical use of DSLRS for video...the quality of the preamps just declined and high level production required double system.
 
DSLR brought with it even more limitations like with audio metering, so it forces people to look outside the camera for solutions. 
Meanwhile, if you're weren't a one man army, there were better tools on the market, but it becomes a matter of budget. A working cinematographer/filmmaker needs the most versatile tools possible.