It’s the most popular term in Hollywood.

It’s an adjective that’s become a verb to describe how movies are made, edited, and distributed online.

The term was coined by an Australian film producer, Michael Morpurgo, in the late ’90s.

Morpurco used it to describe the way his films were edited, packaged, and released online.

He didn’t intend it to be a slur, but it was.

“Digital filmmaking is a big business,” Morpuro said.

“It’s a huge business and the big challenge is making movies that people want to see.”

In fact, the word is a little less powerful than it once was.

It has become more of a catchall for films and the digital ecosystem that surrounds it.

For the last year, it’s become the shorthand for the way movies and content are created, edited and distributed on platforms like Netflix, Amazon, and YouTube.

But digital film production isn’t the only industry where the term has come to describe filmmaking in general.

As Morpurvo and others have pointed out, digital filmmaking is more than just the process of shooting and editing digital films.

It is also the way people make digital films — creating, distributing, and selling them.

Digital film production has become the most lucrative way for content creators to make money.

In a 2013 study by the National Association of Theatre Owners, the top 100 highest-grossing films on DVD in 2017 were made digitally, with the highest percentage of their revenues going to digital video production.

The study noted that digital video is the fastest-growing medium for distributing and licensing content, with a whopping 5.4 percent growth rate in 2016.

In the past year, digital video sales have grown at a more brisk pace than all of the other video distribution channels combined.

In 2017, digital film sales generated an estimated $16.4 billion in revenues, or a 27.6 percent increase from the year prior.

And the number of digital films being produced and distributed is on the rise.

In 2016, digital-film production accounted for 16.4% of total film revenues, up from 14.5% in 2016 and 9.3% in 2015.

In 2018, digital movie production represented 17.5 percent of total revenue, up slightly from 17.3 percent in 2017.

This growth is a direct result of the fact that the technology is becoming more widespread and easier to use.

“I’m not sure it’s ever going to be perfect,” Morpy said.

The problem is, as Morpurjo points out, the digital revolution is not.

There are no “magic wand” tools to help creators and distributors make films better, and the process is often not as transparent as it once would have been.

Digital filmmakers can’t use a standard digital camera.

It doesn’t exist.

They can’t have a production team of three people.

The process of editing and distributing digital films is often messy.

Morpy, who is based in Melbourne, Australia, said that in order to get digital filmmaking to work as advertised, it needs to be mastered digitally.

“You need to understand the technical aspects of the process, the technical requirements of the film, and what the technology of the technology allows you to do,” he said.

For instance, a film needs to have the right resolution and quality for digital video.

“We also need to be able to do things that digital film has never been able to be done before, like post-production and post-editing,” Morp said.

And as the industry continues to grow, the process will become more complicated.

“In the last couple of years, we’ve been seeing a lot of filmmakers that are using the technology to make digital cinema films,” Morpython said.

That’s because the industry is increasingly focusing on the technology as the next big technology.

“The more digital, the more expensive it is, and that’s where the money is,” Mor Python said.

Morp believes that this shift will result in filmmakers working harder to create and distribute digital films and that it will become harder for filmmakers to produce films that will sell in traditional cinemas.

“That’s the only way we’re going to make films that people are going to want to watch,” he explained.

Morpython and others say that digital filmmaking will also create a larger market for films that are not produced digitally.

Mor Python is optimistic about digital filmmaking and says that, as technology continues to improve, the industry will continue to improve.

“Every little bit helps, every little bit,” Mor python said.

He also said that while digital filmmaking can’t always produce the quality of film that traditional cinematography and sound can, it can be an easier and more flexible method to create digital films than traditional film production.

“For me, digital is the only solution that’s going to bring cinema back,” MorPython said.