Digital Hollywood

In recent history, several of Hollywood’s most prominent directors have begun to favor digital cinematography.  For nearly a decade, Michael Mann has been at the forefront of this filmmaking revolution. 

Mann, quoted as saying “the future is digital, without a doubt,” has favored digital video cameras such as the Viper FilmStream and Sony CineAlta HD in the production of his most recent films.  Mann shot around 50 percent of 2004’s Collateral” in HD after considering the results of low light footage shot with high-end digital cameras.  With most of Collateral” filmed at night, Mann turned to digital filmmaking for its ability to capture a broader and more detailed range of colors than 35mm technologies.  

Moving_Picture_Miami_Vice

Moving Picture on set of 2006 “Miami Vice”

When Mann returned to Florida to direct 2006 feature film Miami Vice,” digital filmmaking continued as a cornerstone to his approach.  Roughly 75 percent of Miami Vice” was filmed on Viper cameras with supplemental footage captured by Sony HDW-F950, Sony HDW-F900 cameras and 35mm film cameras.  Shooting on 35mm for less than five percent of the production, Miami Vice” director of photography Dion Beebe explained that he and Mann “did not want to mimic a film look.”  Rather, as seen in Mann’s most recent attempt with Public Enemies,” he sought to establish an image that relies on the uniqueness of the digital medium rather than attempting to emulate the celluloid aesthetic. 

While digital cinematography’s evolution has allowed for its adoption by big time directors and name brand studios, it has equally become more available to independent and aspiring filmmakers.  With the introduction of digital behemoths such as the Red One and Phantom HD, indy filmmakers are now, more than ever before, finding opportunities to create technically spectacular films without a blockbuster budget.