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.

With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.

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.

If you understand how the real world feels and looks and sounds it is much easier to create a virtual version of the real world.

Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.

You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering.

It's easy to create something that has a lot of luster, but it's very hard to make something that has a lot of depth.