A Quote by Greg MacGillivray
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.
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As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
You cannot do everything you want with the 3D camera, it's too big, and the digital quality of those cameras is a little bit limiting. With film, you have a lot more subtly, like with highlights and color. In terms of sharpness they (both formats) are very close; but in terms of nuance, of color and contrast, film is far superior.
There is a difference between film and digital. Because digital, you know, it's perfect and whatever. But with film, you get depth. You get subject.
As an actor, variety is the spice of life. I love theatre… it's what I enjoy the most. But a bit of TV, a bit of film, a bit of stage - what more could you ask for?
I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.
The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.
In the UK, everything is a bit older and a bit more worn-out, and the people are a bit more tired. You know. I think Americans are a bit looser, a bit more out to have a fun time.
Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
I have never admitted that I am more than twenty-nine, or thirty at the most. Twenty-nine when there are pink shades, thirty when there are not.
Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
Argentina is a bit tough to people. You don't embrace genre film in general. They are more like, in the film community, a bit snobby.
I just feel a bit out of my depth in Sydney.
I think that I'm very old fashioned in terms of my film references and what appeals to me, in a way with camera moves and a depth of color to bring things to it.
A parallel between color and music can only be relative – just as a violin can give warm shades of tone, so yellow has shades, which can be expressed by various instruments.
I can only speak for me... but in my life, I find that, in sobriety, I feel much more, and I have much more depth. I also feel - not to segue, but as being a parent of five kids, I can bring much more to my acting, and so I'm all about anything that gives you more feeling and more depth.
It's important to over-deliver on the quality of the books as far as depth and content. It's not worth it to cut out 50 pages just because it would be a little bit cheaper.
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