Here is part two of my ongoing series detailing my personal experiences with digital cinema surrounding the production of my first film April Showers. The original article, in its entirety, can be found on Theo’s Roundtable.


As complicated as filming April Showers was in 4K using the now defunct Dalsa Origin II camera system, it was nothing compared with the resulting workflow needed to bring those images to the big screen. Remember, this was five years ago and, again, 4K was in its infancy—correction, it was more or less at conception, as infancy would’ve been a welcome improvement.

In those early days of 4K—and arguably still—everyone who had the means wanted to be seen as being “compatible.” With a budget such as ours, that meant stalwarts such as Technicolor were out, though there was no shortage of upstart post-production facilities claiming to have the same capabilities as the industry giants. We went with one such upstart, helmed by industry veterans with several big-budget features under their belt—including a few that had 4K elements to them, albeit in the VFX (visual effects) realm.

What we soon learned was that just because somebody understood what was needed to work with 4K didn’t mean they could actually pull it off. Moreover, again in those very early goings, 4K also meant four times the price. We soldiered on as best we could, but it became readily apparent, only after a few days of post production, that unless our project were to get an injection of cash—a lot of cash—4K was out of the question.