Not only is it a crash course in this style of shooting - if you make good gear choices now you can upgrade the camera body (or brain as the RED folks call it) and still have some great cine gear to use with the new camera. So it's not like getting a 5D or even a 7D means buying a crap load of proprietary gear that will only work with that camera...

Sounds like some comments are being made here by people who didn't listen to the 1 hour plus interview.

Greg said they did have a Canon tech there for the shoot. He also said he didn't set out to shoot the 5D. Apparently the particular episode dictated the need for a very small foot print for the three cameras, and they didn't have the luxury of tearing open sets for shots. Not sure why, but thats why they ended up going this way.

He also stated that they tested shooting the 5D next to their film cameras on another episode, and sent it all to their editors for clearance. They did not push the issue with the networks, and only cleared it at their in house owners level. When they saw the test results, were impressed, and they okayed the project.

I did not get the impression that Canon had money coming into them. In fact, I think they had an inhouse deal with Panasonic, and they had to keep a bit quiet about the use of the 5D. As a consequence they did not even let it be well known that the shoot was being done that way, until after the fact.

Lest you think there were no problems, Greg indicated there will be some focus searching apparent in shots. But he said that is a style that goes with this territory. He also said they has some "banding issues" they have had to deal with in a couple of shots.

Their set up was to shoot two cameras with various forms of hook up for directors etc. to monitor, and a third was shot roving a bit, and that shooter was told what was needed and then left to his devices.

Focus pullers were challenged a bit, but as true professionals, they managed to do a great job.

Greg was very clear that it was the situational shooting required for this shoot that drove them to this choice. He loved the feel of the shallow depth of field. He made no bones about the fact that he was not trying to emulate film. Shooting at F1, on some shots created a lot of problems. But it was depth of field shallower than even film camera's afford that he was looking for in this larger senser. He explained to Phil Bloom that is why they did not go with the 1D or the 7D, among other things.

Knowing the cameras weaknesses, avoiding those weaknesses and using the cameras strengths.

Are the weaknesses so important they override the strengths ? I guess for some users and some types of shots the answer is yes. I think the opposite is also true.

A couple of links which seem to some things up.

8 Reasons NOT to Buy a DSLR for Video | Poet Zero

8 Reasons to Buy a DSLR for Video | Poet Zero

On high end productions the current DSLR cameras are specialised cameras, there are limitations, so you need to decide if they are appropriate as A cameras. Once the EPIC becomes available, size will be less of a reason for using a DSLR.

Seriously Steve. I am in the fortunate position to be in direct contact with the House team about this...

Let's look at the facts

House is the most popular show on the planet. They don't need publicity about some geeky camera being used for finale. This will not increase their advertising revenue, will not make one jot of difference to the 99.999999% of people who watch and they really don't need the extra few thousand geeks like us who will be watching it due to it being shot on a DSLR!

Now if they had Angelina Jolie in it that would be publicity and gain lots of extra viewers. Shooting on a DSLR? not so much!

Is there any kind of information about what picture profiles they used on the set? Were they shooting flat or trying to get as close to the look as they could in camera? This being a fairly religious topic surrounding DSLRs, I'd be interested to know what they did for this shoot.

sharpness was off. everything else straight down the middle!

Interesting. Sharpness all the way down?

Will be very interesting to see this episode.

Doesn't mean they didn't sharpen in post remember. Pretty much everyone should be shooting with sharpness near nothing because of the moire/stepping.

Of course, I just found it interesting (since this debate goes back and forth) that they didn't shoot totally flat with the contrast and saturation dialed down as well. I keep going back and forth in my tests, just good to hear how they did it. No matter what I adjust I always keep sharpness all the way down.

Remember they're shooting on a soundstage with complete control over lighting - presumably they can light to whatever ratio they want so the contrast setting in the camera is less important.