A Quote by Greig Fraser

There's always the temptation, as a cinematographer, to make the shot look as perfect as possible. — © Greig Fraser
There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.
You can fix things with digital technology and there's a temptation to fix everything or make it perfect and what you're losing there is the human performance that may not be perfect but there may be magic in it. You can make it perfect but music doesn't sound good perfect for some reason.
As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.
My generation, we're more accepting of narcissism. But we're looking at images that are dead, that are on your phone. My friends have apps to make you look skinny, to make your skin look perfect. And we look at these images and we're like, "That's beauty. That's perfect." But when you see a real person, you're like, "Wait, that's not perfect."
Get a shot off fast. This upsets him long enough to let you make your second shot perfect.
In the studio, you can redo things. In concert, you only have one shot at it, so you have to try to be as perfect as possible.
So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
Bettie Page was number one. I have never known another model who had better knowledge of her body or how to work with it to make it look so good. Her skin was perfect, no blemishes. Perfect nose, beautiful straight teeth, and gleaming, shiny black hair that was always in place, always.
A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.
Women innately have this weird thing where they try to have a perfect persona - to look perfect, be perfect, act perfect, have their kids look a certain way. Women put so much pressure on themselves.
The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.
Rookie year you get out there and want to make as many plays as possible, then second year you want to be perfect, and then you kind of find a combination between the two - making a lot of plays and trying to be as perfect as possible.
Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.
When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
I can honestly say in my entire career, I've never gone around a golf course and not mis-hit a shot, but today I never missed a shot. I hit every driver perfect, every iron perfect. I'm in awe of myself.
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