Digital Cinematography is not new, but until very recently the only way to digitally capture moving images was using a video camera. These cameras, even the top of the range HD cameras, are derived from standard definition ENG video cameras and were never a realistic competitor to film for quality and usability.

Very recent developments in technology have meant that, for the first time ever, digital cameras are available that give camera crews the same control over cinematography that film cameras did, and offer a whole range of other benefits.

Two major factors set digital cinematography cameras apart from HD cameras - resolution and sensor size.

In a 4K system the resolution (image detail) is comparable to 35mm film, and the size of its sensor is that of a super35mm film gate. A PL mount allows it to use 35mm lenses for optimum quality, depth of field and speed.

In a 2K system the resolution is comparable to S16mm film, and the sensor size is that of a S16mm film gate. Again a PL mount allows the use of S16mm lenses, including small, fast zooms, and in 2K mode cameras can overcrank to frame speeds of up to 120fps.

What's more the cameras are designed to fit perfectly into a film-based workflow, accepting standard accessories such as matte boxes and follow focus, so crews are immediately comfortable with their use.

Possibly the most important factor, however, is that the cameras record RAW data rather than a video signal. This is comparable to a film negative in terms of latitude, gives DPs massive control and flexibility on set, and offers incredible possibilities during the grade.