Two complementary conceptions of film technologies, related to perceptual and cognitive sensitivity, can be derived from Jean Epstein and Jacques Perconte. Epstein believes that human capabilities need to be enhanced by the instruments of cinema. Since the sensory apparatus only operates on a tiny bandwidth below and beyond which phenomena are neither visible nor audible (too high or too low frequencies), nor analysable (excessive or insufficient amount of data), it needs to be supplemented by the film machine to extend its knowledge of the infinity of possibilities. This is why Epstein thought that “the camera lens is … an eye endowed with inhuman analytical properties”, the only one capable of drilling into the real. On the contrary, Perconte warns us that the most advanced of technologies, programmed and programming, will always be reductive, and its computing power will always be surpassed by the perceptual powers of the human being: “Digital technology has given our machines the means to reduce the world, which is essentially unquantifiable, into a given quantity of information. Our images can only be systematic, partial, imperfect …. It's life in low definition, always.” And to conclude: “technology will not be able to see what I see”.