Amazing video. Amazing images. Bears rewatching numerous times to study the different lighting and how it's created.
Something I consider important (but very few other people do): on a C100 you can record to two card slots at the same time, meaning you always have a convenient backup.
By the way, over the past six years, I've had at least two or three SD cards fail on me.
I think there's something to this God's eye view idea:
-- The camera is literally God's perspective, sitting in the sky looking down.
-- God is supposed to be omniscient, and from above, you do have more knowledge. You have the potential to see more context if it's a wide shot (whereas from the ground objects overlap objects and obscure your view).
-- You're potentially more distanced from humanity and emotions when viewing from above. Traditionally, cinematographers spend time worrying about how to make things look more 3D. In contrast, viewing from above seems often to flatten the world into 2D. A person or a tree might become a circle. What is more obvious from above is geometry.
-- If the geometry is harmonious, symmetrical, orderly, that's also kind of a God's perspective -- to see order in the world where a human on the ground might only see chaos. Whenever there is coincidence of aesthetic ideals and significant human moment, I think there's the suggestion of order in the world, and therefore a divine intelligence behind it all.
Of course, overhead is also simply an unusual, potentially quirky, and at any rate eye-catching angle. And I'm sure Scorsese often goes the other direction and tries to put you in the action rather than distance you from it. (In Taxi Driver he didn't want to use tele lenses, on the basis that they were too "aristocratic". Something like that.)
Very cool. Unnecessary, but very cool.
'Murch describes the music here as "a collector and channeler of previously created emotion, rather than the device that creates that emotion."' -- I think that's profound.
I think the most common use of music (in film/TV generally) is to tell the audience what to feel during a scene -- suspenseful music, comic music, etc. But this is lazy filmmaking when that emotion is unsupported by image/editing/story/acting.
The method described in the video works great for objects on a desk, but what about getting a shot of two people lying in a bed? Or what about heavier cameras?
For anyone interested, here's some alternative methods: http://www.dvxuser.com/V6/archive/index.php/t-28748.html