Wes Ball Quotes

It doesn't bother me to work with so much green screen. I prefer real settings obviously.

I wish they taught green screen acting classes.

I don't like camera trickery and editing and doubles and all of that.

It's hard, the green screen; it's a different way of working.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

Other effects in the show included models of the ships which were extremely expensive to make. We used to do our shots in front of a blue screen and they'd put the effects on after.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

Green screen's not my favourite thing to do.

Acting on a blue screen is awful.

I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.

Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.

On 'Game of Thrones,' we always shoot away from the green screen because it's bloody expensive to shoot green screen.

I'm in 'Gods of Egypt.' It was CGI on a level that I've never encountered. You're in a blue environment on a mirrored floor because that's going to be looking like Ra the Sun God's boat. In the studio, it was like I was in a Robert Lepage theatrical piece.

We're always striving to make Avatar look like a cinematic, live-action movie.

Visual-effects shots should flow into the rest of the live action, and you shouldn't be able to see a difference.

When I filmed 'Power Rangers,' almost everything was being assisted by a green screen, but it wasn't the same with 'Stranger Things.'

Stop-motion is filmmaking at the pace of a glacier. In live action, you're moving so quickly.

I work a lot with a green screen, which is really time consuming. All the special effects are.

I'm not a great fan of green screen. It's not much fun for actors. It's great for directors and technical people and cameramen.

I feel I'm just meant to do stop-motion. Live-action is much more glamorous to some, but it's basically a whole army of people focused on one thing.

We ended up realizing that's not an economical way to create creatures, putting people in green leotards and figuring it out later. You can maybe do that if you're making 'Avatar,' but we need to know what the creatures look like before we turn on the camera.

If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.