I was always curious about why Anibin listed it as 955.5p instead of HVFULL.
If you want to get a good idea of how pervasive 1080p mastering is,
http://anibin.blogspot.com/ is the resource ultimatemegax is referring to.
It would have been better to have an alternative since in 2011
Hiroki Gotō (
GORRY) stopped doing moving pictures resolution measurements with FFT spectrum analysers too,
but his database still maintains some brief information about them. In case you are interested in another source for these analysis on some older series from previous TV emissions (specially interesting in case of long-running shows outside seasons
RURIN doesn't always analyse himself) you can check this other website too.
I'll admit it is kind of odd to use in essentially 2d animation. Ditto lens flare. Bringing physical camera effects to 2d animation is weird. Kind of like skewmorphism for animation.
I don't think weird (or strange) is the right word when many of those digital effects in composition are used trying to supplant visual tricks already seen on animation for decades, before the demise of the era for Japanese animation directly shot-on-film, so in the end these methods are equally fundamental to the history of the animation creation method itself, proper of it since its origins. Cinematography was of course equivalent to the live-action counterparts for certain possible techniques but always depending on the equipment they could use, of course (like for example, to put an extremely cheap case of it, how
DAICON III &
DAICON IV were shot on consumer-specced video camera models using
Single-8 film).
Nowadays, much of the efforts in reproducing said 'camera lens effects' comes from way of also conserving a certain visual language pervasive to this medium as a tradition and acquired taste equal to any other evolving medium too (from the roots), after that mentioned era, not there just to mimic how contemporary live-action cinema footage is captured.