A Quote by Jamie Hyneman

The daily work on special effects is fairly mundane. — © Jamie Hyneman
The daily work on special effects is fairly mundane.
My playing is fairly straightforward, really, and everything's pretty much standard no frills or special effects.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
There were challenges with production because of the special effects. There are just some things that, although written, special effects just isn't able to do.
I think some of the special effects in Close Encounters hold up better than the new more expensive special effects is because they were better actually.
Nowadays, you can't broadcast dodgy special effects and then put up a caption saying, 'Sorry, this is what the budget was.' You have to do it with high production values because the audience has been spoilt by the special effects on things like 'The X Files' and 'Independence Day.'
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.
Usually, when special effects get in the way, it's because the story isn't strong enough. If you don't start with a strong screenplay, it's easy to fall back on special effects, thinking it's going to carry you. But it never works. It's just tiresome.
The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.
Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don't think those guys get the recognition they deserve.
One of my first things I was fascinated with when I got on set was how does Grant do all this Flash stuff? it looks so good as the end product, but how does the special effects team work? How does the visual effects team work?
Food not only connects us at the idyllic dinner table setting with family and friends: it is also part of our mundane, daily transit to and from work.
Every occupation has its own honor before God. Ordinary work is a divine vocation or calling. In our daily work no matter how important or mundane we serve God by serving the neighbor and we also participate in God's on-going providence for the human race.
The danger lies in forgetting what we had. The flow between generations becomes a trickle, grandchildren tape-recording grandparents' memories on special occasions perhaps-no casual storytelling jogged by daily life, there being no shared daily life what with migrations, exiles, diasporas, rendings, the search for work. Or there is a shared daily life riddled with holes of silence.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
I think "MythBusters" is a step up from special effects because we not only have to make things look like they work, they actually do have to work. It's more challenging and even transcendental.
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