A Quote by John Knoll

In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
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?
Before I became an actor, I was a producer and a visual effects supervisor. Our industry wasn't making the kind of films I was interested in.
The best visual effects are when you shoot as much of what you can in camera. And it's really good for the actor's performance to have something real.
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.
I've always been respectful to all the people who do visual effects and special effects, because making movies is also making magic.
Virtual-reality researchers have long struggled to eliminate effects that distort the brain's normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.
'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.
I'm not a big fan of visual effects.
You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
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