A Quote by Peter Jackson
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
Related Quotes
We tried to do Yoda in CGI in Episode I, but we just couldn't get it done in time. We couldn't get the technology to work, so we had to use the puppet, but the puppet really wasn't as good as the CGI. So when we did the reissue, we had to put the CGI back in, which was what it was meant to be.
The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.
I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.
Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.
Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.
Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.
I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.
If you think about it, you can have the best CGI, but you can always tell that it is CGI. Your brain can spot that is not real even though you think it looks cool. Your brain knows the truth, so you don't jump and you don't scream. It was very important for me to expose the audience to real elements.
CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.
Our ethos for 'Now You See Me 2' was that everything in the movie at least had the potential to be done in real life, and I'd say over 90% of it was actually done in-camera with no CGI. Of course, movies like this are always going to be bound by the rules of Hollywood, being there's going to be enhancements of CGI.
With all the hype that computer graphics has been getting, everybody thinks there's nothing better than CGI, but I do get a lot of fan mail saying they prefer our films to anything with CGI in it. I'm grateful for that, and we made them on tight budgets, so they were considered B-pictures because of that. And, now here we are, and they've outlasted many so-called A-pictures.
Approximately 400 cuts - that would make 25 percent of the total - use CGI. I worked on the Steamboy's animation production based on the usual handwriting method. Digital animation is just supplementary. I didn't do anything surprising, because the idea is to overcome the limitation of expressions done by handwriting with the help of CGI.
[There, in War Horse] very little CGI. What happened there - because the horse was running very close to the trench, we had a rider. So in few instances, we had a rider dressed in a green suit. The rider would guide the horse through the frame, and through CGI [we removed] the rider. But that's about it.
The industry in Japan moving toward CGI is not as severe and extreme as in the U.S. The animation industry in the U.S. is firing 2D animators and closing those studios, but I think it's possibly because the national traits of the U.S. prefer super-realism. Since Japan is a country that prefers plane vision, I don't think we will leave 2D and substitute hand-drawing with CGI entirely.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
Large-budget movies start to lose focus on the story and the actors, and it becomes purely about the visual, or CGI, or framing with the cranes, or whatever it may be.
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