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Making the Work Flow Work

RELATED: Large Sensors, Modest Prices

While much of the talk about the new Super 35mm cameras with big sensors and low price tags has revolved around the ability to produce very high quality cinematic images, a number of producers stress that practical issues, particularly the way these cameras can fit into existing work flows, remain a major consideration in the selection of any cameras.

“In my world [of reality TV], post-production really drives the decision- making process for the cameras that are chosen for the shows,” says George Matthews, a director of photography with a long list of production credits on reality shows.

Matthews adds that he has used the Sony PMW-F3 camera on several shoots and is a big fan of the shallow depth of fi eld and stunning cinematic look it can create.

But he also stresses that the F3 is one of a number of cameras he regularly uses and that he doesn’t see the F3 and other cameras with large sensors as a replacement for either DSLRs or some other larger, more traditional camcorders, such as the Sony PDW-F800. “We love having the F3 and we love having the F800 because there are things that the F800 can do that the F3 can’t do and there are things the F3 can do that really no other camera can do,” Matthews says.