I shot my first 19 features on film, one in Super-16, the rest in 35mm. Then in 2000, I shot one of the earliest Sony F900 features and then shot maybe four more features on that camera. I tried to do one of them on the Viper but couldn't make it work, budget-wise, due to the data recording and storage aspect in 2003. Tape was still by far the easiest and simplest way to record HD.
But by 2004, I was doing bigger indie movies all shot on 35mm film again.
Then in 2008, after shooting the TV series "Big Love" on 35mm, and the movie "Jennifer's Body", I did two back-to-back features on the Red One camera, so my first 35mm sensor camera experience and my first experience with data recording.
That fall of 2008, I went on to shoot a TV series for Showtime, "United States of Tara", all on the Panavision Genesis camera. I also shot the pilot for "The Good Wife" on that camera in the spring of 2009 (they switched to the Sony F35 when the series began and later to the Alexa).
I think the spring of 2010 was when SAG was having trouble closing a contract deal so the studios switched to making TV pilots under the AFTRA contract, which meant not shooting them on film, a decades' old clause that used to make sense: SAG actors were shot on film, AFTRA actors were shot on video, back when video was only used for news, reality, soap operas, live music events, etc. and film was used for most scripted drama. But by 2010, this archaic distinction became a legal loophole for a massive shift away from film for television work in the U.S. Technicolor in Vancouver told me that they lost some 80% or more of their processing work within two years.
So 2008, 2009, and 2010 I shot on the Genesis, other than one pilot ("The Chicago Code") I did in the spring of 2010 on the Red One. But that was the year that the ARRI Alexa came out and "The Chicago Code" immediately switched to it.
Even in 2010, the issues of data management were still being worked on on sets. I recall doing "The Chicago Code" and running three cameras on the first day and the producer came up to me the next day and said that the data downloader person spent three hours after wrap (in the camera truck with a teamster standing by) trying to back everything up and didn't complete the work. We had a big second unit stunt day on the other side of town happening later, simultaneous with our shoot, and I was fretting about shuttling RED drives back and forth across town between their unit and our unit, or setting up their own data management system, and in the last minute a pilot shooting on the Genesis wrapped and I was able to hire their crew and cameras to shoot the stunt work, and being taped-based, I didn't have to deal with the data issues.
But just as the SAG conflict was an exterior event that changed the course of television shooting away from film, the Japanese tsunami of 2011 had the same affect on switching the industry away from tape to data due to a shortage of Sony HDCAM-SR tapes from Japan. Suddenly everyone found themselves making data management more efficient on set because they no longer had tape to fall back on (plus everyone was jumping from Sony F35's and Genesis cameras to ARRI Alexas that year.)
Then I shot my last feature on 35mm film in the summer of 2010, until I shot 35mm again last summer (and am now shooting a little film on something).
In the spring of 2011, I shot "Big Sur" on the new (then) 5K Red Epic camera. Then that fall I shot "Smash" for NBC on the Alexa, and shot the second season in 2012 also on the Alexa. I shot a pilot in the fall of 2013 on the Alexa, shot the series "Extant" in 2014 on the Alexa, shot the movie "90 Minutes in Heaven" in the early part of 2015 on the Alexa, and then shot the indie movie "The Love Witch" on 35mm film.
Just came back from Toronto last week having shot a pilot on the Alexa. But now I'm shooting some pick-ups for something in 35mm film.