On using Photoshop to create a photographic novel, the evolution of our post-production methods, and the power of non-destructive workflows
The two-year development that has created Night Zero was a process of experimentation, not only in the world of cameras and actors but equally so in the world of digital imagery and photo manipulation. The production side gets more credit all around, because its growth and refinement is more immediately recognizable– just compare the lighting, framing, or backgrounds of the pilot or episode one with what we’ve done in episode three or the Sisters vignette. Throughout the process, post-production has always pushed along in the background, diligently taking its work in and turning the graphic novel out without much fanfare.
In truth, post-production is the most variable part of the entire photocomic process, with a day’s work ranging from an hour or two of rendering and page layouts to a ten- or twelve-hour marathon session of layering, color adjustments, masking, and compositing, all to get the looks just right. Many of the advancements we’ve made in the on-set production over the last two years have been partially driven by what happens in post-production, as we learn what (seemingly) minor changes on-camera can make huge differences in the time required and quality returned in post.
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