It takes a veteran editor like Brian McKernan to explain the moving target of "digital cinema." His new book Digital Cinema: the Revolution in Cinematography, Postproduction, and Distribution was written with the studio exec and indie filmmaker in mind. Both, according to McKernan, have major roles in the revolution. "My definition of digital cinema (and the book’s), " says McKernan, "is that it has four major quadrants: cinematography, postproduction (DI), delivery and exhibition. The latter two are stalled, but digital cinematography is definitely gaining momentum and DI (digital intermediate) is red hot." While there are only just over 100 digital screens in North America, McKernan reports, there’s great momentum in production. The former editor of Digital Cinema (now Digital Cinematography) and Videography notes that "the indie scene is now almost totally digital" and that big pictures like Superman Returns have gone the digital route with new-generation cameras like the Panavision Genesis. McKernan would not argue, however, that digital is anything but an alternative to producers as he includes in the tome "10 Reasons Why Film Will Never Die."