A Quote by Dan Fogler

'Mars Needs Moms' was motion capture, where you walk into a space that's essentially a black box with cameras everywhere. It was so technical. You have these mandibles with cameras on your face and a helmet, and you have to hit certain marks. You couldn't shoot this stuff without the green-screen aspect.
If you're in a motion-capture studio, you have spherical, reflective markers, which are picked up by cameras that emit infrared - it reflects it, and then the cameras pick up the data.
The most challenging roles were Disney's 'A Christmas Carol' and 'Mars Needs Moms' because they were both motion capture, so there was a lot of physical work involved.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.
When I was asked to be a part of 'The Face,' I was like, 'This is exactly what I do without cameras.' I didn't find it any different than what I usually do for young girls - giving runway tips or just explaining how the whole industry works - but now you have, like, 19 cameras on you, documenting you while you scratch your nose.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
The way social media is now, and people are with cameras - we all live different lives whether you're in the spotlight or not. I mean, you can't be a boss or an executive of a big time company and act a fool, because there are cameras everywhere and people are going to document it and take pictures. I'm not used to stuff like that.
Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.
Sometimes there are four or five cameras in front of your face moving all over the place, and you have to try to see the person in between the cameras, and a sane person would go, "I can't do this."
When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.
Nobody thinks about technical issues anymore because cameras or camera phones take care of that automatically. On the other hand, you still have the option of controlling every technical aspect. It's the most accessible, democratic medium available in the world.
From analog film cameras to digital cameras to iPhone cameras, it has become progressively easier to take and store photographs. Today, we don't even think twice about snapping a shot.
Sometimes, they don't even make films with good cameras - they shoot with normal cameras and release the films. If this is going to be the case, the industry will not see quality films.
I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.
Unlike regular digital or film cameras, which can only record a scene in two dimensions, light field cameras capture all of the light rays traveling in every direction through a scene. This means that some aspects of a picture can be manipulated after the fact.
On 'Game of Thrones,' we always shoot away from the green screen because it's bloody expensive to shoot green screen.
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