It’s beginning to happen, the game is changing. HDSLRs are beginning to find work in commercial TV and media, stuff which is serious business and seen by millions around the world.
The season finale of House for example, was shot on a 5D Mark II. Philip Bloom will soon have an interview to delve more deeply into director Greg Yaitanes’ reasons for using the camera for a top flight US TV series. I think the main reason is both artistic and down to cost. He ‘liked how it rendered actors faces’ and the shallow depth of field.
This Eurovision entry for Romania was shot in just 3 days with 10 days post production for a fraction of last year’s costs could mean a huge explosion in the work place for HDSLR experts.
I’ve been in Asia since last year and it’s amazing how much interest there is in these cameras, even in tech savvy Tapei where the Canon EOS DSLRs are are made, many photographers and amateurs haven’t yet exploited EOS video. The GH1 isn’t even on the market here. Such a large change in the industry takes a long time to get off the ground but once it reaches a tipping point there is no going back. The use of these cameras in TV is hugely important because you can now tell clients the equipment you’re using is the same as that used by top-flight productions.
On the other side of the coin, those who make a living as professional videographers might have to change their rate card. If there is going to be a flood of cheap HDSLR enabled talented onto the market, doing a great job for a fraction of the cost of existing professionals – these professionals will have to step up their game and adapt. Their unique selling point is no longer professional equipment, and professional expertise. Anybody with talent and software can use an HDSLR.
Go for it.
