Check out the article...
For many, HD DSLRs have brought freedom in producing quality, cinematic images without the need for a massive crew or an inflated budget. They have opened a gateway, allowing almost anyone with a vision to enter the production world without compromising quality. Director/producer Mark Pellington already had an impressive track record before he came into contact with the HD DSLR, including The Mothman Prophecies(2002) and Arlington Road (1999). He also had a slew of award-winning music videos for bands like Pearl Jam, Alice In Chains, Nine Inch Nails and, of course, U2. What Pellington didn’t have was access to a technology that offered the speed and agility required for his style of production, which he de-scribes as both “reckless” and “chaotic.”
There are two comments on Clint Milbys great article that I hear variations on a lot...
BRANDON: Nice work, but seriously, your budget is still near a million bucks? Dang, if I had a million bucks, I'd make a ton of films. Granted they wouldn't have Rob Lowe or Thomas Jane. Jan 11, 2011
As the article states there are times when the camera was just literally a camera and a lens. Generally speaking the importance of using a CINE rig with a 1st ac 2nd ac x 2 cameras has to do with production values.
Since it's a feature film that's going to be Blown up the importance of having the shot done properly is essential. That means the shot is in focus, the scene is covered properly, you get all the dialogue .
This rigging and team effort also bodes to FATIGUE. It's one thing to go in for a day and shoot handheld and get something that works. It's another thing to go in and shoot for 30 days consistently.
I shot BTS Behind The Scenes on this project mostly HH Hand Holding a 7D for several days right next to these guys and I was shooting say 20% of what they where shooting and it was exhausting. -David Kamatoy
The answer is ultimately you are both right. You could make a few more films for a million and YES the production values would be different. Besides a Rob Lowe or Jeremy Piven you also would not have all the crew experience etc.
Yes they do have other options to DOLLY but ultimately the other DOLLY is trying to emulate the Dolly you see here in Matt Roe's BTS shot.
Mark Pellington and Eric Schmidt DP ultimately used the palate of both a traditional and non-traditional DSLR techniques on this film to do ultimately what all of strive to do...
TELL A STORY.
ps More BTS coming your way soon. STAY TUNED....
THANKS CLINT MILBY for great article and VON WARE my DSLR buddy who sent the link.