The Twenty-Four 6 Movement (Updated)

    

    A few years ago, I introduced a filmmaking challenge called The Twenty-Four 6 Movement. Modeled after the Dogme 95 challenge, the goal was to remind filmmakers of all ages that high-quality cinema can be achieved with less-than-ideal equipment. In an age where cameras like the RED, Sony's CineAlta line, and especially the Arri Alexa dominate both mainstream Hollywood and the independent market, it's easy to forget that you can still create visually striking and narratively resounding works of cinema using nothing more than the mobile phone in your pocket.

    At the time of the initial conception of The Twenty-Four 6 Movement, the rules were based on technological options that many lower-end cameras do not possess, such as 10-bit color depth and high recording bitrates. 

    In recent years, I am happy to report that many of the higher-end options found in prestigious and powerful cameras like the RED are now available in many other cameras and video applications for mobile devices. Even so, there are still some levels of technological advancement offered by the more pricy and bulky high-end cinema cameras that may potentially cause many indie filmmakers to continue feeling inadequate (wrongfully so, I might add). 

    Therefore, in the interest of maintaining maximum creative potential while offering a worthy challenge, I have taken it upon myself to modify the rules of The Twenty-Four 6 Movement to better accommodate the technological capabilities of modern consumer * prosumer cameras alike. 

This is The Twenty-Four 6 Movement (Ver 2.0) 

1. The film's capture resolution may be anywhere between 1080p and 4K but no higher. 

2. The capture bitrate must not exceed 200 Mbps.

3. LOG is forbidden. However, using a picture profile allowing ample room for color correction such as Cinelike D is acceptable. Also, if able, you are encouraged to create your desired color and exposure style in-camera. 

4. The capture color space may be up to 10-bit 422 but no higher. 

5. The exact make & model of the camera(s) utilized, including video applications on any mobile phone devices, must be credited—both in the film's credits and in any and all publicity for the film. 

6. External video recorders are forbidden. Instead, all footage must be captured using the camera's internal codec. External audio devices are acceptable.