Orrom was the producer for Remember
That Night, overseeing the planning and
We recently posed the following questions to
get her take on the many intricacies of working
on this High Definition title.
Knowing that this would
likely be released in High Definition, going
into the planning and shooting for the shows
was anything done differently to plan for this?
The only real difference is making a decision
on the frame rate you shoot and preparation
for lighting as this needs a lot of careful
thought for HD.
Was there any pressure
to top the previous excellent Gilmour-affiliated
video releases such as 'Delicate Sound of Thunder'
and 'Pulse' or do those stand alone based on
the era they were made?
We always strive to produce the best film we
can, and with David Gilmour we know only the
best is good enough.
What does High Definition
enable that was not previously possible with
Exact and defined pictures and higher quality
In your opinion, how
does viewing performance in High Definition
change the way fans experience a show?
Obviously with the size of screens that people
now can view HiDef programmes on, the quality
of the picture and enhanced audio specifications,
the viewer has an opportunity to watch this
film and feel that they are almost there at
Can you talk a little
about the challenges that releasing the show
in High Definition has posed for the title?
Were there any parts of the show that you thought
to yourself, "This is going to be tough"?
Lighting a concert for filming is always a complex
process; as the TV producers, you do not have
full control of the lighting environment for
the film, as you would for say a drama or a
feature film, so you have to collaborate closely
with the show's Lighting Director and try and
make changes without compromising the look and
feel of the show. This show had some extra challenges
with the use of smoke, lasers, and strobes,
but that also made it an exciting project to
In going through catalogs,
a lot of companies are discovering that some
artifacts that were previously unnoticeable
in Standard Definition, i.e. DVDs, are now magnified
and visible when viewed in High Definition,
creating potential cost concerns should they
be reissued in HD. How surprising has this been
Having shot in HD now for a number of years
we know well the issues with HD artifacts, which
can appear for a number or reasons lighting,
camera movement, various processes in post-production,
so it is no longer surprising, but a constant
challenge! The whole area of Blu-ray and HD-DVD
mastering and authoring, however, has been a
learning curve for everyone involved, in particular
with this project the varying light levels was
a challenge for us in how we mastered the film
to be ready for Blu-ray and HD-DVD.
David Gilmour has been
known throughout his career as an artist who
is always interested in the cutting edge of
technology. What was his level of involvement
in the actual Blu-ray/HD-DVD post-production