The Post-Production Journey of Lama
A Tale of Perseverance, Passion, and Production Chaos
Behind every powerful film lies a whirlwind of effort, endless problem-solving, and creative resilience—especially during post-production. As the head of post-production for Lama, I can confidently say this film tested every inch of our patience, creativity, and technical capabilities. From trimming a nearly four-hour epic to managing complex VFX and sound challenges, the journey was anything but smooth. But every twist was a lesson—and every breakthrough, a triumph.
1. The Beast That Was Too Long
Lama began as a cinematic marathon—nearly four hours long in its raw form. The challenge was to Condense it into a tight, engaging runtime without compromising the story’s soul. It felt like performing surgery on a living being; every second mattered. Countless cuts, reviews, and restructuring sessions later, we finally arrived at a leaner version that retained its emotional core and narrative power. That alone felt like completing a full production cycle in itself!
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2. Surprise Scenes and the VFX Avalanche
One of our biggest curveballs came from unplanned scenes. Whether due to sudden creative inspiration or continuity gaps, several sequences required additional visual effects (VFX). What was supposed to be a relatively light VFX load suddenly snowballed into a major task. These fixes increased rendering time and overall post-production weight, stretching our resources and timelines. But hey—when the story calls, you answer.
3. When Two Months Became Nine
Initially, post-production was mapped out for just two months. Spoiler alert: it took nine. Delays stacked from all corners—editing revisions, reshoots, VFX rendering issues, multiple feedback loops, and countless technical setbacks. We had to be agile, expanding both our team and our timeline just to keep up. Every delay felt like a setback, but looking back, they were stepping stones to something better.
4. One Story, Many Versions
One of the most unique challenges was creating multiple versions of Lama:
- A 30-minute cut
- A 45-minute cut
- A 1-hour version
- The full-length film
- And of course, the Cinema Version
Now, making one version of a film is hard. Making five while keeping the tone, mood, and narrative structure consistent? That’s next-level. Each cut required a unique export format, which meant different render settings, aspect ratios, and export standards. A lot of this came from feedback from departments across production, marketing, and distribution.
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5. The DCP Dilemma
Exporting was a saga of its own. We rendered Lama in HD, 4K, VOB, and more. But the most complicated was creating a DCP (Digital Cinema Package). Initially, we went with a 2K Flat (1998x1080) version, but discovered the cinema screen we were using was wider than expected. This meant re-exporting everything in 4K Flat, a process that took days (thankfully, no power cuts during export 😅).
But even that wasn’t the end. After previewing, we realized the cinema screen settings required 4K Scope (2.39:1)—an even wider format. So back we went. Multiple tests, re-exports, and endless tweaking followed. Eventually, we nailed it. And when that final version played right? Pure magic.
6. Big Files, Bigger Patience
DCP files are massive, often hundreds of gigabytes, and transferring them to cinema servers is a slow and delicate process. Any corruption or delay in transfer can cost days. We had to ensure every copy was verified, tested, and confirmed—no surprises on premiere night!
7. The Blood, Sweat, and VFX
Some VFX scenes pushed our technical and creative limits. One in particular involved a high-speed action sequence where the character shouts while stabbing repeatedly. We had to simulate blood splatter on her clothes, face, mouth, and hands. But she moved so fast, syncing the effects to match the vision was a nightmare.
Set extensions, eye enhancements, cloth stimulations—all had to look seamless. Due to limited computing power, we used multiple software tools, jumping between them to make up for machine limitations. It was like building a Ferrari using bicycle parts—but somehow, we made it work.
8. Color Grading Across Two Worlds
Color grading was split between DaVinci Resolve (30%) and Adobe Premiere Pro (70%). Sounds messy? It was. Using two programs for a single task is rarely ideal, but certain shots required unique color corrections that one software could handle better than the other.
Footage that was underexposed or shot under poor lighting needed custom tweaks. This cross-platform grading created flexibility issues, file management nightmares, and a desperate need for hardware upgrades. In the end, we invested in new RAM, high-performance CPUs, and IPS monitors—and it paid off.
9. The Sound Saga
Sound was redone twice. Initially designed by Wabwire Samuel, it was later reworked by Agola Simon due to evolving creative decisions. What was supposed to be completed in 1–2 months dragged on because of team disagreements on the final sound direction.
The marketing department wanted one vibe, the director another, and production had its own ideas. Each was valid—from a creative to commercial standpoint—but we needed a unified decision. After several meetings, the team finally aligned, and the final sound mix came to life. Rich, impactful, and story-driven.
Final Thoughts
The post-production journey of Lama was nothing short of epic. It tested our limits, forced us to learn and adapt, and pushed us toward excellence. Every version, every render, every last-minute fix was a testament to the team’s commitment. And as the film premieres on Good Friday, April 18, 2024 at Century Cinemax Arena Mall (Nsambya Kampala Uganda) , we look back not just at a completed project—but at a mountain we climbed together. And honestly? I’d do it all again.
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