An artist
needs to know their brushes. If they are to render the visions in their
head into tangible reality on canvas then they must be able to
manipulate the tools of that application. They must know how different
brushes react to different pigments, how different bristles will
produce different textures, how each type of brush will effect the work
that is created.
The exact same is true of filmmakers and, in particular,
cinematographers. The DoP must know cameras, all kinds of cameras. must
know their strengths and weknesses, their pros and cons. How different
cameras will handle different types of light, how different sensors
will manipulate the image, how different sizes and shapes will shape
camera movements.
Thee only catch is that cameras are a whole lot more complex than paint brushes, so there is much more to know.
This chart availible here is a good step to that knowledge.
it covers all the major digital cinema cameras from the very high-end
(Phantom and F35) to the efficient-end (Sony Ex1 and Ex3). It details
some of the notable productions shot on the different cameras, lays out
their tech specs and succinctly summarises their key advantages and
attributes.
Knowledge is power.
