Kevin Shahinian at Converge takes a shot at people who fixate on particular cameras over the art itself:
Cameras; lenses; NLEs; these are but tools to help us breath life into our stories in ever more cinematic ways. They are merely conduits, inane in a vacuum. The breadth and depth of their function is only as relevant as how well each serves the story we aim to tell and the way we aim to tell it. It’s no more detrimental to your audience to tell a compelling story through uncompelling means than it is to tell an uncompelling story with high budget Hollywood polish.Converge: My Camera I Better Than Yours
3D TV is Ten Years Away
Digital Cinema Report explains why 3D is still ten years away, including:
10. Some People Simply Hate 3DDigital Cinema Report: The Top 10 Reasons 3D TV is 10 Years Away
There are a sizable number of people who don’t care for 3D and there is a small percentage of people – estimates vary somewhere between two-five percent – who either can’t see it or get physically ill when they watch it. This is not a huge hurdle – the numbers are small and may be shrinking – but it is still a factor.
More on 3D
In an interview at ScreenRant, ‘Green Hornet’ director Michel Gondry gives his views on post-converted 3D:
...we shot some scenes with a 3D system and some scenes in film on 2D, and converted [it] afterward. I think both are complimentary – because you cannot do everything you want with the 3D camera, it’s too big, and the digital quality of those cameras is a little bit limiting. With film, you have a lot more subtly, like with highlights and color.ScreenRant: ‘Green Hornet’ Director Michel Gondry Talks Hardships In Hollywood
[...] I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they’re going to say ‘my way of doing a film is better.’ I’m not telling anyone how they should do their film, so why should anyone tell me how I should do mine?
Video Shot with Sony PMW-F3
There have been a few videos posted that were shot with the Sony PMW-F3, but I think this one of the better ones both for the quality of the video, but also because of the subject matter:
For over thirty years Anthony Stern a London based glass artist has fused extraordinary coloured patterns into his beautiful glass creations. He explains his brand of fusion.Even if you're not interested in the PMW-F3, check out the short section in the middle; Stern started out as a filmmaker and shot a journey across America in 1968.
This short film is in a Sony Award competition, and the producers have asked people to visit the link and vote for it: Sony: The Fusion of Light and Colour
The Fusion of Light and Colour. from Mike Saunders on Vimeo.