Beverly Hills — When sitting down for a "Blackhat" chat with director Michael Mann a few weeks ago, I had to ask him about the transition to digital filmmaking as an industry standard. Having already queried a number of our top cinematographers on the matter and written a piece about "Collateral's" legacy in that regard, and given the techno-drive of a movie like "Blackhat," it felt like territory worth digging into. And Mann digs in with intellectual ferocity, like anything else. "When I first shot some stuff digitally it was in 'Ali,'" he says. "We went on the roof of a building in Chicago, we had a couple of cameras and I took a flashlight, bounced it off a card and that was all the lighting. It was very little lighting. And it felt that what I saw was there was a truthfulness to the graphic that just blew me away.