Digital cinema’s beginnings can be traced back to the early nineties, when most of the film industry’s VFX, sound and art departments were in the process of transferring to the medium. But, for filmmakers, it was a shaky start. Not least, because of the way the first films on digital actually looked and how they were received. Indeed, initially, in the early days of Sony’s consumer digicam and then the Sony PD-150, digital captured light poorly and had a quite greasy, grainy look – giving some films a VHS-like amateur quality that was critically savaged. In fact, when reviewing Chuck and Buck for Film Comment magazine in 2000, Gavin Smith summarised the general feeling at the time when he wrote, “Shot on DV, transferred to film, cost next to nothing, looked like shit: if that was the point, I missed it” – It seems he had. Because even in the early days of the medium, it was apparent to certain filmmakers that shooting on digital would democratise – and it was whispered, perhaps revolutionise – the filmmaking process as a whole.