Charles Petzold Quotes

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

Film has far more color shades. It's called 'bit depth' in digital terms. And most bit depth in digital is about twelve, but film bit depth can be twenty to thirty. And so you just have more shades of yellow and red and oranges and everything.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

It's important for me to see as many colors in the character as possible.

Thank you for allowing me to use colors as rich and deep as you please. I had always wanted to do so, yet was never allowed because of the color capabilities of our lithographers. Now that I have done it, I don't think I'll ever go back.

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.

From scarlet to powdered gold, to blazing yellow, to the rare ashen emerald, to the orange and black velvet of your shimmering corselet, out to the tip that like an amber thorn begins you, small, superlative being, you are a miracle, and you blaze

I'm a big non-believer in manual driver and kernel configuration, be it visual or not.

Interior design is a travesty of the architectural process and a frightening condemnation of the credulity, helplessness and gullibility of the most formidable consumers - the rich.

Usually I'm thinking about the palette. I'm thinking about the color for the most part, then I'll start thinking about composition and movement.

When I came to Delhi first and said, "This is not India. And then I was taken to Varanasi and there I loved, loved the culture. It was a beautiful journey. The way the people dressed - even the poorest people, and the fabrics! With vegetable dyes, and I was fascinated by the color. But in the end I loved the men - all in white - so many shades of white. And I said, "What am I going to do? A color collection or a white collection?" I finally did a neutral white collection.

Color is like cooking. The cook puts in more or less salt, that's the difference!

The colors that show best by candlelight are white, carnation, and a kind of sea-water green.

They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.

My best beauty secret is simple: Have the right palette and the right colors and remember, you need so much less makeup than you think.

Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.

Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.

On the whole, the modern palette is the same as the one used by the artists of Pompeii... I mean it has not been enriched. The ancients used earths, ochres, and ivory-black - you can do anything with that palette.

Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli.

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.

Because Guillermo's [del Toro] obviously a painter painting a picture and my job is just to provide the color that he probably already has in his mind.

It's so hard to do fittings [for Yeezy] because we want to do things that are inspiring, that people could look at and say, "Wow, I like that color palette, I could put that together." And there are so many images of things that it's almost impossible to have your clothes go up against the amount you're seeing and carry it into one language.

The painter's only solid ground is the palette and colors, but as soon as the colors achieve an illusion, they are no longer judged.

White must be the lightest color in a picture.

Visually Agincourt is a pre-Raphaelite, perhaps better a Medici Gallery print battle - a composition of strong verticals and horizontals and a conflict of rich dark reds and Lincoln greens against fishscale greys and arctic blues.