A Quote by Andy Serkis

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.
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.
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.
This new generation of animators was trained in CG. They know all the fundamentals of any 2D animator, but a lot of them learned on these CG rigs. You give them a good rig, and they can make that thing sing.
You hear people say that there's too much CG in movies today, but CG is what allows me to take a green-painted wall in a studio and make it disappear, and then put 100 miles of landscape in. CG, in the right hands, can be a marvelous tool.
One of the things we joke about in the FPS development is it's so hard to get the player to actually bother to look at all the cool stuff you've been doing. You spend a lot of time making really cool things, and usually the player isn't looking where you want them to.
There is absolutely zero doubt that you can technically do an excellent full-featured FPS game, because these devices are more powerful now than, like, a previous generation Xbox.
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
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.
It's interesting now that basically a CG set is the same cost as a real set. So like if you're going to build a CG house in the suburbs, it costs you $200,000. And if you were going to build it in a computer, it'll cost you $200,000. It's the same... the relationship is exactly the same.
I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
I think that if you're creating an environment completely or...in my research, what I've learned is that if it's a CG world or a lot of visual effects, you're almost better doing that in post.
I love the culture of animation. What stop-motion has in common with live-action is that it has many of the same departments. There's hair, costume, makeup in the form of paint, gaffers, electricians. So there's the same sense of real stuff, real light. But it's not like everything happens at once, like it does in live-action. It's all subdivided into these small sets. It's where my strengths are. Live-action is just an utterly different world, and I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.
I eat like a maniac when I am sick. My attitude is if I am going to die anyway in the next 24-48 hours, I mind as well live it up.
The one thing with 3D presentations is I think that 3D itself, whether it's 24 or 48, is at a very interesting point in time.
I train to play 48 minutes per game or 48-plus when needed.
If it's me against 48, I feel sorry for the 48.
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