Color Grading Quotes

My interest in filmmaking was always very much the visuals and images.

I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.

How can any one paint who cannot grade colors? How can any one write poetry who has not learnt to hear and see?

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.

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

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.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.

That's the thing about making a movie: You never finish editing. They just take it away from you.

I don't do any editing while we're making the movie. I sit down and watch it all with my editor, we make longhand notes on pads, and then we begin our work.

There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.

I want to challenge my cinematography and my editing.

Editing is not a part of the filmmaking process I've ever been privy to as an actress.

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 cannot state enough how important post-production is for the success of a horror movie. You bring so much to it with the way you edit it, the way it is sound-designed, and the way the music works with it.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

Most people think of cinematographers as choosing subjects of an epic nature to show off what they do - big, sweeping images of war or pageantry.

When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.

When you make a black-and-white movie with two people in it in 2016, you're taking a swing at something.

Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.

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

Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.

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

When I see a face, I see a face in general and I see you are curious, I see the curiosity but I don't not look after a dermatological report of your cheeks, and that's what you see when you're too high-resolution. And now desperately in post-production, in color grading, they are trying to wipe out the precision of the dermatological report.

I always loved experimenting in film.