The fact is if you want enough quality for large prints, without compression blocks, you need RAW. Same applies multiple times over for video and the large screen.

Its true, prices are down on storage but when you have: 1 x backup, 1 x mirrored backup and 1 x current project containing the footage on another drive thats 3 x drives already, typically 1 per project (2-4 TB) for 4K, I guess thats doubled (?) for raw footage. I'm on MacPro so don't think the "Pascal" would be relevant. But question is - who shoots raw? is it narrative/feature or high end commercial work?

Serious question, who here shoots raw (footage not stills) on commercial video jobs? Working with 4K or log or a combination of both on paid projects is bad enough for me! True, it gives me some more options in terms of look and framing but the negatives often seem to outweigh the positives - So much extra storage, generating proxies, processor intensity, grading, luts etc etc
I think working with raw would make me suicidal!! Seems like huge workload unless you have budget, colourist, whatever else is required. And the motion guys i work with all seem to prefer working in 1080-2K for rendering purposes (this is more a 4K debate/perspective here) When I fire up the old AF101 and cut some simple 1080p AVCHD my heart rate slows and I start to feel better :)

Emotional as in audience crying.

I suppose yes, small production will never have such a large post budget.

I attended a masterclass with John Seale, his sentiment was these days get strong composition shoot raw or highest digital quality, and fix the rest in post. (Obviously only if you have budget or need for post). His other advice was try to make a heart warming emotional film with two people standing next to a wall.

Once upon a time many vfx were done in-camera. Sun sets etc. Now your skill set has to change to just get strong compositions, and learn post if you want control of image. But if you are professional operator or dop chances are you want to specialise in that not vfx. My advice is more for us do-everything people.

So point is that John does believe that a dop does less now with an all digital workflow, but composition is still king- and it has to be strong.

The gallery linked on the first page of this thread makes it obvious that even if you have a camera that shoots in a raw(it's not an acronym, why does everyone capitalize it?) format, you can still end up with a bunch of pictures that look like butt if your composition skills are weak.

Although I will admit the 6D takes some pretty nice pictures compared to my previous junk nikon d7000

@GravitateMediaGroup huh??? The Nikon D7000 is still a fine camera! (much better than either of my Nikons! :-o )

And the gap in improvement between a 6D and a D7000 is not sufficient for your wildly bold claims (although I will agree to a very small degree they're true).

Also, may I ask why did you jump brands from Nikon to Canon?? :-/ Bit odd.

Vector based video looks like interesting research result from academia. Unfortunately not all experimental technologies from academia make their way to market (for various reasons) .... and if they do we can't really be sure about time-frame, extent of market penetration or availability.

One way of thinking about new and experimental technologies is using Gartner's Hype Cycles http://www.gartner.com/technology/research/methodologies/hype-cycle.jsp

It was fun to read all point of views...

It remembers me when Red One Showed up... I just see another tool, another workflow, another option... Don´t see the issue.

Maybe because I´m less technician than other great guys in here....but I still think that storytelling (either on film or picture) is the most important thing. I don´t care what anyone is using to show his Story, meanwhile it works.

I saw really great short films shooted with Iphone.

Just shoot, or do pics, with anything you can get.

Maybe I´m naif.

Raw helps to forget some technical necessities and concentrate on meaning.

If there will ever be a camera that can capture over 30 stops worth of dynamic range in one exposure (or heck, why not 60 stops or even crazier amounts?), I'll gladly get one. Maybe cameras like that could be realized with a sensor in which the second green filter in Bayer array would also have a ND filter in order to capture highlights. Or maybe some kind of fractal sensor where one of photosites in array of four is itself an array of smaller photosites. Fuji tried something like that a few years ago, gave them an edge in dynamic range competition for a while.

The less technical details one has to consider in that moment when important things happen in front of the camera and in photographer's mind, the better, at least when photographing non-staged things and unrepeatable moments. But then again, every staged actor performance is unique as well, unless those actors are robots… so, cheap raw, what's the problem? I see only two problems - it isn't in every camera yet, and the storage for it costs more. But the sooner it'll be an option even in cheap P&S cams, even for video, the better.