Speed kills colour... the gyroscope, when turning at full speed, shows up gray.
How fast does a zebra have to run before it looks gray.
I'm too impatient to use a tripod.
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.
the garbage cans and mailboxes on the sidewalk would stay the same, but the people would be just a beautiful blur of motion.
I do go very fast. I think if I don't go fast it's going to be boring. That's what photographers need to do.
48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.
There is a grey blur, and a green blur. I try to stay on the grey one.
In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.
That's why I like fast film. It gives you more freedom to light more naturally.
When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.
Historically, stop-motion animation has had a jerky-jerky quality, which is a constant reminder to audiences that they're looking at artificial objects. It creates a barrier between the audience having an emotional experience and what they're looking at. We're working hard to get past that.
Movement and physics: These are the fundamentals of animation. You don't notice that stuff if it's done well, but if fabric or liquid or hair moves weird, your brain is like, 'Wait, that's not real.'
3-D movies can make me nauseous.
I saw 'Spacehunter 3-D.' It gave me a headache.
Note 4. For these and other reasons the cat is also very hard to photograph. The best photographs are instantaneous, as the mere breathing of a cat will blur the fur in a time exposure.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
Where as in animation you have to kind of do a series of drawings in between to complete the movement.
In the early days of picture-taking, the exposure shutter had to stay open for a long time, so you had to stay really still.
The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.
I couldn't tell if any frames were removed. Seen as a whole it shows that I have seen. Seeing you have 18 frames a second you can take out one or two and I couldn't tell.
I'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.
It was very, very challenging being on this thing called the gimbal. It would throw you around, give you whiplash, and they'd tie you down.
You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.
