Top 1200 Visual Effects Quotes & Sayings - Page 2

Our society lacks a feedback loop for controlling technology: a way to gauge intended effects from actual effects later on

Certain Academy Awards like Sound and Visual Effects and Editing are sometimes referred to as technical awards. They're not technical awards. They're given for artistic decisions. And sometimes we make them better than others, and I guess we made a couple of good ones on this one.

A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.

I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.

I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.

The fact is that the culture does not have only positive effects on our intellectual and moral functions but also negative effects.

I learned first of all not to be intimidated by any visual effects that I don't understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.

I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.

I haven't had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.

We have usually no knowledge that any one factor will exert its effects independently of all others that can be varied, or that its effects are particularly simply related to variations in these other factors.

'Mars et Avril' is a science fiction film. It's set in Montreal some 50 years in the future. No one had done that kind of movie in Quebec before because it's expensive, it's set in the future, and it's got tons of visual effects, and it's shot on green screen.

The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.

We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.

I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.

If you want a lot of visual humor, the way to do it is have visual people do it.

I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.

Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.

In many instances, LSD actually produced terrifying and deleterious effects instead of beneficial effects, because of misuse, because it was a profanation.

You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.

I'm politically incorrect. I don't get into politics like that. I speak about what I know and what effects me personally, and effects my folks.

Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.

Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.

People hired by government know who is their benefactor. People who lose their jobs or fail to get them because of the government program do not know that that is the source of their problem. The good effects are visible. The bad effects are invisible. The good effects generate votes. The bad effects generate discontent, which is as likely to be directed at private business as at the government.

'Mayabazar' was the film I immensely loved as a kid. Only when I became a filmmaker about 20 years later did I realise its technical marvel and what a great epic it was. I and my visual effects supervisor, while making 'Yamadonga,' took two days to understand the magnification shot of Ghatothkatcha's persona.

The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.

At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

Television is a visual medium. You have to create some kind of visual interest. And it's entertainment for your eyes.

We look into mirrors but we only see the effects of our times on us - not our effects on others.

I'm a visual person, and I love visual extremes and aesthetic discipline.

When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.

I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.

My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.

To my knowledge, there have been no studies done on the effects of antidepressants and altitude. But it is hugely important to find out if there are side effects. We should also find out what are the effects on fine motor skills and reaction time. These are all important questions that should be assessed.

As human beings we're visual creatures, and it's so easy to play the guitar by looking at it. It's a real challenge to go from that visual way of perceiving the guitar to getting back to that pure sound connecting to the instrument.

The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!

What is working in the economy is a natural comeback plus some effects of the policies we've been following. But I'm sort of worried about the long term effects.

It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.

Whatever effects one directly, effects all indirectly.

In geology the effects to be explained have almost all occurred already, whereas in these other sciences effects actually taking place have to be explained.

If you do a good act, it cancels the effects of your evil deeds. If one prays, takes the Name of God and thinks of Him, the effects of evil are cancelled.

Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.

It appears to me that one great cause of our difference in opinion on subjects which we often discuss is that you have always in mind the immediate and temporary effects of particular changes, whereas I put these effects quite aside, and fix my whole attention on the long-term effects that will result from them.

It's difficult to choose between these art forms. Iconography is entirely different from the style of the 15th century masters, who were experts in foreshortening and perspective. The technical skill and visual effects of painters like Uccello have to be admired. They achieved a level of artistry that has never been surpassed, in my opinion.

I just love films and any time you get to see a film with a good story, no matter how much money you have for visual effects, if the story isn't good it won't be a good film.

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.

John Cage is someone I got into as a visual artist, before I even knew his music. I don't think a lot of people even know that he does visual art.

I'm a visual person - when I write, my input is always visual. I worked in television for several years.

If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.

The g-forces increased and I wasn't able to continue to hold the camera against the window, so I had to lay it back against my chest, but still continued to photograph the re-entry until there was no more unusual visual effects of the energy in the atmosphere. And it was very comforting to understand that the people in Houston, the controllers, had very high confidence that we were on the right path.

I really believe that you could do horror very inexpensively. I don't think it has anything to do with the effects, the effects are not the most important parts.

I really don't see CG as a goal in its own right. I really do believe it's a tool. In the advertising industry I did a fair amount of CG, so I appreciate it for the tool that it is, and I think technologically where it's at now, you really can achieve most of your visual goals with either it or a mixture of it and practical effects.

The violence you witness is Denzel doing it and we're taking some visual effects and doing some things and you see something happen it's happening in front of you as opposed to cutting away and doing a bunch of tricks. It's in front of you. So it's hard not to make it a hard "R" if you see a guy get punched and teeth wind up in someone's knuckles.

The action movies changed radically when it became possible to Velcro your muscles on. It was the beginning of a new era. The visual took over. The special effects became more important than the single person. That was the beginning of the end.

We are visual creatures. Visual things stay put, whereas sounds fade.

Other effects in the show included models of the ships which were extremely expensive to make. We used to do our shots in front of a blue screen and they'd put the effects on after.

I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.