The Twenty-Four 6 Movement - Let's challenge ourselves again

"I continue to be interested in new things that seem old and old things that seem new." 

-Jaquelin T. Robertson

In 1995, a group of Danish filmmakers started the Dogme 95 Movement, also known as The Vow of Chastity. It was a fixed set of ten rules for filmmakers to follow. The purpose of the movement was to encourage filmmakers to challenge themselves both artistically and technologically, to remember the values of cinema, such as profound narratives and textured characters portrayed by nuanced performances. The rules of the movement caused many filmmakers to utilize standard definition video cameras to capture their films, thereby becoming the first example of the inherent quality of digital video for cinema. This challenge kickstarted many promising careers for many filmmakers including director Lars von Trier (Dancer in the Dark) and cinematographer Anthony Dod Mantle (Slumdog Millionaire). Here are the rules that were laid down by the Dogme 95 Movement. 

This movement inspired me to come up with my own challenge, but for different reasons. 

While the Dogme 95 Movement was intended to encourage filmmakers to "go back to their roots" as it were, by forcing themselves to focus exclusively on story and character, part of what makes the idea so appealing to me is how it also inadvertently showcased the cinematic quality of digital video. Specifically, the video which can be described by some as "low quality." In the years since Dogme 95, digital cameras have advanced significantly. Providing more color data, exposure latitude, and resolution. All of which are incredible, but also have the potential to hamper filmmakers or even encourage laziness. 

The digital age of filmmaking has lead to many beautiful advantages in image quality, color control, and creative options. I have utilized equipment which offers such choices, and I have enjoyed using them, and still do. However, in recent years, I can't help but feel as though the advancements made in technology have been leading to unnecessary levels of hype and unrealistic expectations. To the point where filmmakers, both mainstream and independent, are spending too much time trying to do what they think is expected of them rather than doing what is best for the story they want to tell. 

Not too long ago, I shared an idea with people on a Facebook Group for users of the Panasonic GH5. An advanced video camera which I happen to own and is one of the most favored for digital cinema, mostly due to its highly advanced capture options. I suggested taking on a challenge to shoot some film projects on that same camera but utilizing some of the less-than-advanced options within the camera. Such as a format that was not as detailed or a picture profile that had less exposure latitude. The majority of responses I got from this suggested challenge were so negative and so defensive that I actually contemplated leaving the group. Users within this group were accusing me of encouraging people to deliberately hinder themselves by using "inferior" technology that had no place in modern digital cinema. Even when I clarified that this idea was an optional challenge and not a direct order, everyone continued to hound me as if I had just insulted them and their intelligence. It did not feel like an open and free artistic environment at all much to my disappointment. 

Even so, I continued to consider and draft up my own challenging movement for filmmakers. One that allows total freedom of narrative but encouraged utilizing older tech. Much like how Dogme 95 was intended to remind filmmakers of the values of storytelling, my movement is to tell people of the power of all cameras, not just those built to meet modern standards and expectations. Because when you are forced to believe that cinema can only be achieved when utilizing what is expected by others, then you are hindering yourself by not allowing the possibility of less advanced machines that might be more suited for your budget and story. 

My challenge for modern filmmakers is as follows: 

The Twenty-Four 6 Movement: 

1. The film must be captured in 1080p resolution and no higher.
2. The capture bitrate must not accede 100mbps.
3. LOG is forbidden. Using a picture profile to achieve ample room for color correction such as CIneLike D is acceptable. Also, if able, you are encouraged to create the desired color and exposure style in-camera.
4. The capture color space must be 8-bit 420.
5. The exact make and model of the camera(s) utilized must be credited. Both in the film's credits and in any and all advertisements for the film.
6. External recorders are forbidden.

In case you are wondering, I intend to put this movement to the test very soon. Come this August, I will be participating in the 48 Hour Film Project. A challenge for filmmakers to make a short film in just two days. I have done this challenge before many times and have always utilized the advanced capabilities of my GH5. This year, however, I intend to go a little old school by using an older but beautiful Panasonic camera, the AG AF100. One of the earliest digital video cameras built for cinema.

I look forward to seeing how it will all unfold. I hope you are as well. 

Ladies & gentlemen, I am TheNorm, thank you all for reading.