In a previous post, we chatted about how motion began to share the bed with stills, primarily in a newspaper or reportage environment. But as of late, many of the technological innovations are driven with the commercial or feature/documentary production in mind.
A bit of differences though... The commercial world affords you a bit more physical space typically, be it studio or location based. Though there are limitations in terms of equipment (by budget, crew, or skill), they aren't as stringent in the news world. Motion and stills for journalism typically calls on the single operator. Instead of having dedicated cameras (though they may be the same model) for each medium, they must work double duty. Much like a soldier in the jungle, for most assignments they're limited by what they can carry with them.
That being said, in the commercial world, as you're afforded the luxuries (in comparison) there is no room to wiggle on image quality. Many of the innovations in terms of technical capability, are in interest of pushing bigger, better images out of the camera (rather than speed and expediency to make deadline).
That being said, there are jobs where the budget isn't there, the gear is a bit behind, but you still have to make it work. (For your entertainment, a tumblr dedicated to the marriage of move-making and MacGuyvering)