This conversation debates how digital technologies have interrupted the continuity of moving image hermeneutics. Advancements in compositing and special effects have allowed for a reconfigured sense of space and time in digital moving images (DMIs). The juxtaposition of elements created at different times with different tools combined seamlessly together require a new sense of description. Has the rupture occurred when we can describe digitally based work with a new language that distinguishes itself from film, much in the way film distinguished itself from photography?