Claude Chabrol Quotes

I'm not interested in pleasing color; I'm interested in exact color.

The problem of direct colour photography has been facing us since the turn of the last century.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.

As a filmmaker, deep blacks are essential, and in my experience, no technology captures those attributes as well as Plasma.

Daylight reveals color; artificial light drains it.

The minimum we should hope for with any display technology is that it should do no harm.

A film that is bleached tends to have a more realistic quality.

Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.

You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.

I wasn't surprised to find Samsung's OLED screen to be bright, vivid, and clear. It's beautiful, although in viewing some photos and videos, I found, as I have in the past, that - to my eye, at least - Samsung tends to oversaturate colors.

Color correction is one of my things.

With Technicolor restorations, it's about getting the color right.

Light is a thing that cannot be reproduced, but must be represented by something else - by color.

If I see everything in gray, and in gray all the colors which I experience and which I would like to reproduce, then why should I use any other color?

I have played hell somewhat with the truthfulness of the colours.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

The problem is, photographic dyes and printing inks aren't as good as paint, actually.

The six colors, including the white background, represent the colors of all the world's flags ... this is a true international emblem.

It is with color that you render light, though you must also feel this light, have it within yourself.

Beware of color theories. Theories in color photography are dangerous. The plain fact that there are so many of them proves my point.

We want to have movies be seen. So, first and foremost, what's the world? So we can get it onto a big screen.

Paint your picture by means of the lights. Lights define texture and color - shadows define form.

And red is not the color of apples or roses or the dresses that pretty girls wear in the summertime. That is not the color of red at all.

When we speak of the perfection of art, we must recollect what the materials are with which a painter contends with nature. For the light of the sun he has but patent yellow and white lead - for the darkest shade, umber or soot.