The Academy has for long snubbed low-budget films because it felt 
that they did not have the lavish production design of let’s say 
a Titanic or an English Patient. Of course there have been 
instances of surprise nominations and wins (i.e. Billy Bob 
Thornton won the Oscar for Best Screenplay for Sling Blade) but 
generally it has completely overlooked digital filmmaking.

Many industry professionals believe that we have finally come 
to a point where world cinema will change that. More and more 
filmmakers have now access to digital filmmaking equipment, 
thanks mainly to the 24P feature on most cameras that create 
a film look from the previous 30frames per second.

Super Size Me that was a major hit on the American Film Market 
was shot on digital and it came as no surprise when it was 
nominated for an Oscar for best documentary. Another film that 
was completely shot on digital for the low-budget of 500k, was 
Open Water.

Chris Kentis, the writer-director of the film had previously made 
Grind with Amanda Peet decided to pull his resources together and 
film this film in the middle of the ocean. The grainy look of the 
Panasonic DVX-100 added an interesting realistic quality to the 
film because it does give off the feeling of it being a 
documentary.

When the two main characters are stranded in the middle of the 
ocean, the viewer slowly drifts into thinking it is really 
happening and the camera that was once used to film the two on 
vacation has been turned against them to film the horrific 
experience.

These films are more easily picked up by distributors because 
they have a documentary feel to them, but would a conventional 
narrative have the same easy access to theatres if it were shot 
on a digital camera?

There are new technologies that are coming out such as the new 
High Definition cameras like the f-900 that allow filmmakers to 
work without all the restrictions implemented by film. George 
Lucas was the first to shoot digitally all three of his Star Wars 
prequels including the latest Revenge of the Sith. After him, 
Michael Mann shot Collateral with Tom Cruise using digital 
intermediate to add the depth of field that is so great in film.
 
Machiavelli Hangman, thought to be the major independent hit of 
2006, was also shot on a High Definition Camera with some digital
intermediate. Despite Machiavelli Hangman’s low-budget and 
digital format, many believe that it may be the first ever film 
shot on a digital camera to be nominated for the best picture 
awards.
 
There will be a great change in cinema when digital filmmaking 
becomes more acceptable in Hollywood standards. This will mean 
less focus on politics and power and more focus on diversified 
talent and material. 

Jim Storm is a lawyer and entertainment columnist, in New York, 
NY. His insight into digital filmmaking and the history of the 
Oscars, brings an interesting insight into the future of the 
soon-to-be-released, Machiavelli Hangman: 
http://www.hangmanmovie.com