John Knoll Quotes

With digital editing, I now can make many, many versions of a scene.

A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.

Nowadays shots are created in post-production, on computers. It's not really photography.

First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.

I directed a movie and now, I'm going to do the editing.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

Learning how to edit movies was a real breakthrough.

In the next couple of years, part of every film's process is going to be to adjust the images. And it'll be to change the color of an actor's tie or change the little smirky thing he's doing with his mouth. Or you can put in more clouds or move the tree a little bit.

Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

I love editing. It's one of my favorite parts about filmmaking.

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

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.

When you are working with low budgets and you have a gunshot with a squib and it goes wrong - the gun flash does not synchronize with the squib or whatever - it takes half an hour or 40 minutes to clean it all up and reset it. It's much easier to use a computer to paint in the flash and splatter.

I liked film-making, but the most difficult thing was the editing. I found it tormentingly difficult.

I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.

I'm very interested in the editing process - in all aspects of film-making, really.

If you can make a color show or movie seem like it's in black-and-white, then you've done a really good job.

Color correction is one of my things.