I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.

I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.

I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.

It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.

George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.

Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.

I like engineering, but I love the creative input.