We no longer have to capture the 'real world' and recreate it online. We simply live and communicate at the same time.
I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships, independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea.
Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.
The whole period of the '60s changed a lot of us; there was never a decade like that in American history... to have the decade capture one of the great accomplishments of this century: man landing on the moon.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
'Family Life' is a blueprint of my life. It was horrible and physically gruesome in a way the book doesn't attempt to capture. It was emotionally very bleak.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
In the summer of 2004, Malem Jan was sitting with Sirajuddin Haqqani, the second son of Jalaluddin, in their Pakistani base in the North Waziristan town of Miram Shah when they heard their names on the BBC. The Americans were offering $250,000 and $200,000, respectively, as rewards for information leading to their capture.
I think anyone who suffers from chronic pain can agree with this - you feel this great significance. What I wanted to capture was that significance, and as a matter of fact I think that's one of the lyrics on 'Conflict,' on the split. I touch on the significance, and really it's a selfish thing, in an offbeat way.
Major motion picture studios spend hundreds of millions of dollars trying to capture some of whatever it is that makes our little 'Sharknado' movie globally popular.
Acting is a general thing; it's not like being a primary artist like a painter or writer which stands the test of time. I don't think acting stands the test of time, but it can capture the mood of the moment, which is in itself very exciting, but it rarely lasts.
I think I can capture the taste buds of the average right-wing conservative who loves barbecue.
Nothing could capture the sound of Dick Dale - he was too loud.
When a moment in front of me appears to be particularly special, whether it be by beauty or experience, I capture it. I usually find a reason to justify taking that photo - symmetry, or color, or contrast - and it's my hope that my photography sheds light onto what I see and do on a daily basis.
It's incredible to see the creativity, beauty and hardships people capture when filmmaking is opened up and shared with the world.
Makeup can help you capture a moment.
In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.
If you capture the first thought that you have when you're creating, and then play that to people, it's kind of like the listeners are part of that beginning. And that's the most exciting part.
We've never lived in an environment in which it has been so easy to capture information and share it. That fact that it is digital and easy to transmit exacerbates that. I don't know that we know yet what social norms we wish to adopt.
If you start writing to an audience you're talking down to them. I've never written for any age group, I just write character. If you can capture that you'll get the audiences, and it will be a wide range, as it is for 'Twilight,' it's a pretty wide range.
The Internet, the camera cellphone and the like have not only sped up the world's information uptake, but they have cheapened that which they capture.
I'm a self trained, autodidactic artist, so all I was ever trying to do was to draw as realistically as possible - but that's what comes out, because I don't really know how to draw! I think when I draw characters, I'm able to reduce them down to little marks that capture the most distinct elements of them.
Workers know first-hand how corporate capture of government is undermining their rights and freedoms as citizens.
The novel 'World War Z' is told from the perspectives of so many people - speaking to the narrator - that there's no way a movie could capture all of them. Still, the idea of turning a zombie pandemic into a war story is fascinating and could have translated easily to film.
Nothing is really typical of my efforts... I'm simply casting about for better ways to crystallise and capture certain strong impressions (involving the elements of time, the unknown, cause and effect, fear, scenic and architectural beauty, and other seemingly ill-assorted things) which persist in clamouring for expression.
Personally, I think 'Dead Americans' is the best title I have, but you can't win with everyone. Titles have to be short, catchy, not too obscure, not offensive, and still capture the genre, and so on and so forth. Takeshi Kitano has it about right when he says he'd just like to title his films by number.
In America, when you bring an idea to market, you usually have several months before competition pops up, allowing you to capture significant market share. In China, you can have hundreds of competitors within the first hours of going live. Ideas are not important in China - execution is.
Games are another place to find work, not only the voice stuff but in the motion capture stuff. It's exciting work.
There is a new hunger in the air for automotive design and looking to where automobiles are going in the future. Tesla will capture this through good design and engineering.
I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
I feel like because I've done more gay characters, gay scenes, or gay projects than most straight actors, people see it as some sort of mission. It's more of a case-by-case basis, and just trying to capture figures that I love. I guess that a lot of the figures that I love were gay.
When you're used to looking through a stills lens and you have to capture an emotional moment, and that picture is not moving and yet it has to have impact, I think that's the first influence on my style.
War is hell. You can't photograph a flying bullet, but you can capture genuine fear.
I love what I do. I love to capture the guy. I love to tell the victim 'Don't worry anymore. They're in jail.' And this is my way to heaven. This is my way to contribute to America what I know how to do best, and that's chase down the predator.
I've also shot plenty of films with very small audiences - 'The Sun Also Rises.' I love that film, but I didn't capture the imagination of the audience. I don't know why.
