'Digital is CMOS, Analog is CCD. The elegant compressions of wavelets combined with more economic data and energy strategies of CMOS got us over the hump into this new area of production' - Scott Billups.

'The true test of the effectiveness of a codec to an artist was - how does it look?. I've never really liked anything that I've seen that was Discrete Cosine Transform compressed, whereas wavelet-based compressions give us beautiful effective result' - Dave Stump'

A visit to Chater Cameras, John Chater, Berkeley California, 2012

Digital Cinema Society

At this URL, you can access a series of video interviews on the subject of early Analogue and Digital aesthetics and technologies. We are interviewing a wide variety of people who were active in the exploration and development of the practice and theory of seminal technologies such as video and digital imaging, in an attempt to construct a picture of the beginings of new media.

We are looking at the work of the ealiest pioneers, such as John Hopkins (Hoppy), recipient of the first video portapak in the UK and Steina and Woody Vasulka inventors of many kinds of interventional technology in analogue video - and how the ideas of 1950's and '60's media theorists such McLuhan, Beer Carpenter, Williams, informed the early gestation of ideas that eventually came together to affect contemporary aesthetics and attitudes around social media.The province of this inquiry spreads widely from video art to 'happenings' in the 1960's, from community video to documentary throgh 60's to 80's, from interventions in early television to expanded cinema and latterly architectural projection in modern times.

A Verbatim History of the Aesthetics, Technologies and Techniques of Digital Cinmatography

These interviews are intended to be 'Raw Footage' for research purposes, generally unedited and the atmosphere is of an amiable conversation, rather than a television interview with short pithy answers. We feel that what is not said is as important as what is said when looked at from a historical perspective. Some of these have been done on small cameras without separate sound - all of them have so far been made for free without funding.

'Digital Cinematography so far', a presentation to University of Westminster's Research Team, CREAM:

Terry Flaxton, University of Bristol, Knowledge Exchange Fellow, 2010

A symposium that discusses the effect of digital technologies on cinema production and contrasts the language of academics and professionals:

The Look From Capture to Display: Digital Cinema Aesthetics and Workflows. 2011

The idea of digitality in a post-digital age - University of Westminster - Days One to Four, 2010

ONLINE VIDEO RESOURCES ON THE AESTHETICS AND TECHNOLOGIES OF DIGITAL MOTION IMAGING