Dione Orrom was the producer for Remember That Night, overseeing the planning and post-production process.

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 standard definition?

Exact and defined pictures and higher quality audio.

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 the concert.

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 work on.

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 to you?

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 process?

David has been extremely involved in the process.