A. For digital production I am a firm believer that good design in relation to digital editing is essential in order to allow the digital production itself to do its work. The main point here is to not try and reinvent the wheel here. Design elements such as animation, animation styles, and layout, are already available in existing animation houses on a standard level which is sufficient for creating a good quality edit and that’s about it. They can be used to create nice looking edit work and it will be up to the artists to use them as they feel right and create good editing. For digital editing, as most of us would guess, the standard is to use the same type of tools as we would if we were in production of a conventional television show. For example, the editing software used for the editing in a standard TV show is in the range from VLC (a bit dated for modern standards) to Adobe CC’s Final Cut Pro (which might actually be the best for the production of an ongoing series), and I’ve personally checked the performance so far for all the current shows I’ve worked and it’s generally a better than average experience.
Q. Could you tell us some of the technical features you’ve enjoyed with Digital Editing on the Blu-ray?
A. First, I loved the use of 1080p to create more vivid textures in the edit. I really liked the fact that I found that the color quality was pretty good, especially when contrasted with the color correction for the various effects I was working on, especially the “digital” ones. I also loved the use of the Blu-ray to help produce more natural lighting with better colors in the edit and in the highlights. For example, if you look at the “digital” highlight shots from the first pilot, in the middle of the episode you will see the digital highlight in red in the shot with the truck in front of the house; in contrast to the digital highlights that were captured in the blue sky. Again, it was nice that the color correction was also done very well for that scene, even if it looked a little too vivid for some fans. On one occasion the director of the show was working closely with the cinematographer and he brought the camera directly in frame to work with the same lights as the cinematographer was using at that point to achieve the same results as the lighting is very strong at the moment and so it needed to be softened somewhat, but I had no issues with that so far. The use of an HDR mode on
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