John Knoll Quotes
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Visual-effects shots should flow into the rest of the live action, and you shouldn't be able to see a difference.
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Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.
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There's a shot that I designed to try and illustrate the scale of the Death Star that's sort of framed in close on the equatorial trench as Krennic's ship is leaving. The camera's pulling back, and you start with it framed so you can kind of see those docking bays that are in that trench.
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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.
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There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'
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Eighty percent of my job is to ask the question, 'If this were real, what would it look like?'
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ILM was the first company that I had worked at that had a computer-graphics division.
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There's no reason to think Disney is going to stop wanting to make 'Star Wars' movies if there's quality and there's interest. It has unlimited potential. It has a huge number of characters, worlds... It's a massive playground.
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I started off as a model maker, so the first part of my career was a model maker and then a motion control camera operator, so I shot a lot of miniatures.
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Every film tries to advance the state of the art, at least a little bit. Brand new techniques? A lot of them are just evolutionary: we're just building on something that's like something we've done before and just trying to do it a little bit better or make it a little bit more realistic.
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There was a 3-foot-long model that was built for 'New Hope,' and then there was an 8-foot model that was built for 'Empire Strikes Back.' The 8-foot model and the 3-foot model are kind of different. A lot of the details are different between the two of them.
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It's harder to get your second picture than it is to get your first one.
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On every show, there's some amount of work that is brought to some state of completion - or even finished - and then cut out of the movie.
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We were in an atmosphere in the household that you could accomplish anything you set your mind to. If you were willing to put in the hard work, nothing was beyond your grasp.
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I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.
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Life's too short to be spending all your waking hours doing something you're not excited about. And when people are that excited, you can see it in the work.
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'Pacific Rim,' for me, was a chance to touch on those old Toho monster movies. 'Godzilla' and 'Rodan'... and then 'Ultraman' and 'Robotech' and all those kinds of things.
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As Lucasfilm is developing IP and we're working on our projects, we should be using those films to advance the ball further down the field and to make things better for the rest of the company and the rest of the industry.
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There are things that I am nostalgic about from the 'good old days.' I loved motion control cameras, actually. I love the way they sound. I used to do a lot of miniature work, and it's still warranted, but it's done less often, largely for budgetary, schedule, and flexibility reasons.
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As soon as you take your hobby and make it into your profession, it sort of kills it as a hobby.
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Almost everything I've been paid to do was something that was largely self-taught.
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When I was a kid, I built miniatures, and that was actually the first thing I did professionally in the film industry. It was a demonstrable skill that I had, so I worked as a model maker.
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A spacecraft cockpit interior is a set where there are a lot of little techy bits, control panels and graphics displays, and other things that are kind of a job to manufacture well.
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When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.