A Quote by Jaume Collet-Serra

It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet.
Anamorphic is very difficult because the distance from the lens to the person to focus is very long so you need a lot of distance from the camera to the person so that means that you need a lot of space.
I didn't think that and I didn't verbalize that to myself or within meetings that we ever had, but we wanted to make a hard-nosed, gritty, realistic spy thriller. Roger talked about using lenses. He shot hi-def, but using anamorphic lenses that he'd found from this warehouse. He was so thrilled with that. Him and Romain [Lacourbas] were just like kids in a toy store with their lenses.
She was like a camera that had been chronically out of focus until someone came by and twisted the lenses into alignment.
When it's been a long day of climbing, and I feel like I can't go any farther, I concentrate on the next three feet. And then the next three feet; and then the next three feet. Pretty soon, I'm at the top.
I've heard that it's some kind of weird two-lens system where the back camera uses two lenses and it somehow takes it up into DSLR quality imagery.
I had very good LSD, but the problem was - I tried making a film, or doing some filming, when I was on LSD, and it's impossible. I couldn't focus. I tried focusing, but when I looked through the lens, I'd see all different layers of focus, and I couldn't find which was the real one behind the camera. And I just thought, this does not work, and I never tried that again.
It is entirely impossible for man to rise into the air and float there. For this you would need wings of tremendous dimensions and they would have to be moved at three feet per second. Only a fool would expect such a thing to be realized.
We are splintering what was the 'camera' and its functionality - lens, sensors, and processing - into distinct parts, but, instead of lenses and shutters, software and algorithms are becoming the driving force.
I shoot with a few different camera's. A Sony A6000 with several lenses and a Lumix LX100 with a beautiful Leica lens. I like to travel light so I can have it with me most of the time. I really try and document all the places we travel to.
Leica are known for their still camera lenses and in the last year and a half have come out with a series of film lenses and they are brilliant. The best thing about them, apart from their quality, which is uniform, is that each one is the same size, pretty much the same weight... So in terms of fitting into the rig, everything is almost purpose built for that and the quality is beautiful, really beautiful.
Sometimes I feel ashamed at my lack of interest in all the new techniques of modern filmmaking, but I prefer to work with as little equipment as possible. If I have a good lens and a steady camera, that's all I need.
When I turned 40, I noticed I couldn't read the label on the back of a jar of food - it turned to be the result of presbyopia where the lens of the eye loses its ability to focus on near objects due to age. So now I wear multifocal contact lenses - and they've been a real blessing.
When a regular camera focuses physically, what the regular camera is doing is adjusting the lens relative to the sensor to bring different parts of the scene into focus.
The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.
On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.
I used to watch 'The Honeymooners' and laughed so much I'd fog up the inside of the lenses of my glasses.
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