Cgi Quotes
The best sayings about Cgi that you can share on Instagram, Pinterest, Facebook and other social networks!
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The vast majority of the CGI budget is labor.
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You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.
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It's always fun when you're doing the CGI stuff, to actually get to work with someone who is real, who's there.
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Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.
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These days, you'd probably shoot it in the daylight and manipulate it in the post. That's [how] most people would do it. [I did the same thing with] with 'Diving Bell and the Butterfly'. No CGI. It's all live photography. And I like that, it's very challenging and exciting to be able to do that.
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When I was a kid, I thought I would be an action-movie hero. I was like, "They're gonna be able to CGI my legs by that point." And then I realized that it was probably better if I stayed a little closer to who I actually am rather than trying to be Bruce Willis.
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You can't just do cheap CGI and think that's going to work. It doesn't.
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Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.
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I'm a big believer in just using CGI to polish what you get on camera.
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The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.
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Because I'm CGI, [John Swartz] gave me a role of an Imperial pilot in one scene, so I had a day where I was on camera dressed as a black suit and a little cap that they wear.
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The nature of the movies is different than it was five years ago, and they're all driven by the possibilities of CGI, which means you can make anything happen on screen that you can possibly desire.
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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.
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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.
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If you can make a good picture that actually has some substance, that's doubly good nowadays 'cause most everybody else is trying to address how many CGI plates we're gonna do, what little being is gonna come in from another asteroid.
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I'm not a big fan of CGI. I'm not a fan at all, unless they use it in a way that doesn't call attention to itself.
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What you see is what you get.
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What you see is what you see.
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If you always want to look relevant, just be CGI-prepared.
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Every time you see an interior, where somebody has a cockpit, is the real existing thing. Every time you see the exterior zooming by, it's completely CGI.
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I think CGI is interesting but it's too expensive and limiting in terms of what you can do shot-by-shot.
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As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
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[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.
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CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.
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What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.
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CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.
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I really love a challenge, but in 'Downton' it was really hard going because there's no CGI - what you see is what you get. These were real explosions right in front of our faces, and you just had to make sure that you cleared out of the way.
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Obviously, CGI in the last ten years has gone through such leaps and bounds that today, people are looking for these kinds of movies to wow audiences with technology.
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If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
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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.
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