I have now taken another full time videographer job, where we shoot digital video all the time. Record to DVCPro and yet the guy who goes out into the field still shoots BetaCam SP.
While freelance I either shot film (some 35mm alot of 16mm) or more and more for the "bigger" jobs HD with either the CineAlta or Varicam. The HD jobs were 24P HD "instead" - or - "in leu of" film.
ALL of these projects were transfered (or downconverted in the case of HD) to SD for edit.
Once I had my DVX100, it worked constantly and 98% of the jobs were 24P. One company I freelanced for has 4 of them and they either shoot film or 24P DVX.
Ironically the only 3 jobs finished on HD were features one shot mostly with DVX (Anamorphic) with some scenics and slomo shot on the Varicam was all uprezzed to 1080 24P, "No Regrets".
Another feature shot entirely on CineAlta, "Two Weeks".
Finally "Prisoner" with most interiors shot with CineAlta, most exteriors shot on 35mm and flashbacks shot on Super 16mm.
So HD replacing film as aquisition format, because it's less expensive but very little HD post.
All of the stations (in the Nashville, TN) are transmitting digitally now with 10 analog channels vs 16 digital, 17 while the olympics were going on.
So I see that all changing soon but who knows.
Personally I have an HD Set Top Box but haven't laid out the cash for the HD Monitor yet.
I think the DVX killed some of the HD (which was taking film jobs) locally because in the end in SD NTSC how much difference do you see, especially if you do a tape-to-tape Rank color correction on the finished edit like one of my old clients always did.
I've also had some questionable downconverts, where I feel like I lost too much in the process.
MR
While freelance I either shot film (some 35mm alot of 16mm) or more and more for the "bigger" jobs HD with either the CineAlta or Varicam. The HD jobs were 24P HD "instead" - or - "in leu of" film.
ALL of these projects were transfered (or downconverted in the case of HD) to SD for edit.
Once I had my DVX100, it worked constantly and 98% of the jobs were 24P. One company I freelanced for has 4 of them and they either shoot film or 24P DVX.
Ironically the only 3 jobs finished on HD were features one shot mostly with DVX (Anamorphic) with some scenics and slomo shot on the Varicam was all uprezzed to 1080 24P, "No Regrets".
Another feature shot entirely on CineAlta, "Two Weeks".
Finally "Prisoner" with most interiors shot with CineAlta, most exteriors shot on 35mm and flashbacks shot on Super 16mm.
So HD replacing film as aquisition format, because it's less expensive but very little HD post.
All of the stations (in the Nashville, TN) are transmitting digitally now with 10 analog channels vs 16 digital, 17 while the olympics were going on.
So I see that all changing soon but who knows.
Personally I have an HD Set Top Box but haven't laid out the cash for the HD Monitor yet.
I think the DVX killed some of the HD (which was taking film jobs) locally because in the end in SD NTSC how much difference do you see, especially if you do a tape-to-tape Rank color correction on the finished edit like one of my old clients always did.
I've also had some questionable downconverts, where I feel like I lost too much in the process.
MR