Abraham Zapruder Quotes

There's a technical reason why I think that frame rate is weird and it has to with your brain's ability to scan beyond a certain rate. The point is I find it looks weird.

The human eye has long fascinated lovers, artists and physicians. The ancient Greeks dissected eyes, but struggled to understand how they worked, unclear as to whether they received or emanated light.

I have no opinion on 48 frames a second at all. I'd be completely unsuitable to talk about that.

At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.

Actually, 3D is really the most normal thing because it's how those of us with two eyes usually see the world. TVs are the unusual things in 2D!

The eye searches for shapes. It searches for a beginning, a middle, and an end.

Thus there is no doubt the eye was intended for us to see with.

The orbit of human vision has widened and art has annexed fresh territories that were formerly denied to it.

A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.

A scene gets cut a few frames here and there, but there's a cumulative effect to it, and then the music needs to be reworked. It's demanding, but when you see the improved cuts, it's always better.

In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.

In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.

Model. Two mobile eyes in a mobile head, itself on a mobile body.

In real life, that's how we're moving around. We look at things while we're walking and moving and turning around. We stare at objects in the world.

Replacing human vision is more than just a tool: we need to understand how that affects the brain.

Animal vision - including human vision - is so biased toward movement that we don't technically see stationary objects at all.

I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.

We're made for the light of a cave and for twilight. Twilight is the time we see best. When we dim the light down, and the pupil opens, feeling comes out of the eye like touch. Then you really can feel colour, and experience it.

The reasons why images are so primal and people immediately relate to it is that we are exquisitely engineered to interpret information that is arrayed in two dimensions. That's our eyesight. That's how our eye-brain system works. So it immediately feels to us when we look at an image like we have extended our senses.

There's a reason why I use film. It's because it's the best representation of how our eyes work. I really believe that. I think it's better than digital.

It is a common fact that we see light flashes in a dark environment while living up here, and this experiment is essentially trying to detect how we humans detect these flashes - not sure if these are visual, if they are some type of radiation maybe sensed by some other part of the brain.

I would film one or two videos a weekend and upload those throughout the week. For a month and a half, I was just constantly filming. There was no downtime. There was always a camera in front of my face.

In animation, action is changing so quickly that there's really not a lot of suspended moments.