John Knoll Quotes
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It's definitely an issue if the actor has passed away without stating any intention or desire about how his or her likeness should be dealt with. Then it falls to their estate. That's a problem that will start solving itself. Now the technology exists, and actors are aware of this and can make their wishes known.
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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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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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Imagine a 'Mission: Impossible'-style spy or infiltration mission into the core, the very heart of the Empire's military-industrial complex, the most secure facility in the Empire. You have a small band of experts with complementary skills who, together, are able to do these amazing things.
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I've gone through a whole series of careers where something started as a hobby of some kind. Almost everything I've been paid to do was something that was largely self-taught.
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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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I've always lived by the principle of find what you really enjoy doing and make it your career.
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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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ILM was the first company that I had worked at that had a computer-graphics division.
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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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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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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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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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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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'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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It's harder to get your second picture than it is to get your first one.
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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.
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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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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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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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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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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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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.