Abstract
New digital recording technologies pose new creative dilemmas for documentary videographers. The new type high-resolution video camera with 35 mm sized sensors and mounts for real film lenses generate a type of imagery that does not look typically ‘observational’. By testing this imagery's capacity as the guarantor of documentary authenticity and interrelating this with visualisation theories, this paper aims to explain the ontology of the new digital documentary image, its lure for the documentary filmmaker and its ramifications on reception in order to leverage technological production awareness of the documentary videographer and production members. The empirical data presented in this article is based on an explorative reception study in which five different types of moving image sequences were tested on an audience in order to be able to define the level of indexical appeal in shallow depth of field, high resolution, High Production Value, documentary moving images.
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