"My big concern is of the image, ultimately with CGI,
I don't know if our younger generation is believing anything anymore on screen, it's not real."
So you mean to tell me that there's a new wave of technology in filmmaking that allows for any talented filmmaker to shoot faster, cheaper, cleaner, and have access to all the same tools that the likes of only Spielberg and a handful of others would be able to get their mitts on? What's the downside?! Well, there are a few, and the first person to really dive head first into the subject in a manner that the average film going audience can appreciate is none other than one half of Wyld Stallyns, Keanu Reeves. One some level, we should all be ashamed.
So, back to the question: what's the big deal? Shoot on digital if it means you get to make a flick the way you imagined it. Hell, it may mean it's your only chance to make it at all. Nobody was going to finance a 700-million dollar version of Frank Miller's 300 on location with more extras than you can count. But, in a glorified garage with a single digital camera and a couple computers, and voila, you've got Gerard Butler's abs on the big screen.
Now here's the rub. Studios realized this too. That means Chris Nolan has to put his size-eight British foot down and say no to digital. He appreciated the artistry that comes from celluloid and that's the only way he will shoot. I won't get into the details about how one style is different from the other (this is a review, not a middle school book report), but suffice it to say, it is a vastly contrasting form of the craft.
But not everyone has THE DARK KNIGHT style pull to make demands on the likes of Warner Bros. studio executives. These suits see larger profit margins in the world of digital filmmaking and that's teh nature of running a business. Can't blame them for that. It's showbusiness, not showfriends. The problem is now there are guys like Robert Rodriguez who recognize that with the right knowhow, they can shoot, cut, color time and provide digital effects all on their very own. That means one dude (or dudette) got paid for all those jobs. Or more appropriately, several dozen other dudes (or dudettes) didn't. Studios really dig that. No director of photography; no set designers or construction; no editor; actors getting paid less for shorter shoots. Less money going into the industry. No matter how good Rodriguez is at all of these different areas, there are professionals who are better at those specific arenas.
This leaves us witness to a unique situation in the history of cinema. More access to armature filmmakers now begin able to tell their stories, or are we saying goodbye to the age of the seasoned and talented specialists that make films instead of movies. Remember LAWRENCE OF ARABIA? Looked pretty good, right? Well, the lady responsible for editing those immortal images was recently hired to film a recent blockbuster and when the studio decided to shoot digitally, she was fired after confessing she had never used a computer. Wrap your noggin around that.