The digital 3D film, Life of Pi, won the Academy Award for Best Cinematography in 2013, but well-known cinematographer, Christopher Doyle, in an interview with BlouinArtinfo, thought the Oscar win for Life of Pi an insult to cinematography. Doyle's criticism stems from the fact that most shots in Life of Pi were accomplished under the control of a computer rather than a cinematographer. Upon further consideration, could not the film's award and Doyle's criticism be considered as marking a turning in the cinematography of contemporary film? With this question in mind, this paper intends to raise several questions with a view to positioning Life of Pi as a watershed in the conception of film production. Before Life of Pi, what was film in the eye of cinematographers? When the latest-generation 3D cinematography is utilized in Life of Pi, how does the new vision change how cinematographers make films? Finally, if Life of Pi is considered an exploration of how 3D technology, especially with regards to depth-of-field effects, changes the vision of film, what will the future 3D cinematography show us?