Digital Cinematography Quotes

We shot 'Breaking Bad' on film; we capture 'Better Call Saul' digitally. In the shooting of 'Breaking Bad,' we would have this steady, handheld, cinema verite sort of look, so we purposely went the opposite way with 'Better Call Saul' - locked in the cameras and made the movements smoother and more mechanical.

James Cameron has always been way ahead of the curve in terms of the use of technology in his movies.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.

Boy, I'd hate to shoot on tape or disc or whatever the hell they're talking about. I love film.

I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy.

When I made 'Eight Below,' they wanted me to shoot digital, and I didn't want to do it because that's just what I need, to get a great series of takes and then find out the camera was frozen.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

My background is in like short form digital media, I call myself more of a digital filmmaker than anything else.

When you're working with film, you can only shoot one angle at a time, and then everything has to stop, and you re-light it and shoot everything else from the opposite side, so it's really important that you stick exactly to what's written. But with the multi-camera digital setup, you're getting both sides of the scene at the same time, so it gives you that freedom to go off-book.

I really tried to get comfortable with the notion of shooting digital on 'Foxcatcher' and just couldn't. I shot many tests and experimented with all sorts of techniques to manipulate it into a place that worked for us, but it just didn't happen.

I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.

Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.

I wouldn't necessarily recommend shooting a feature film on a still camera.

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

Studios are so used to digital now, and there is a mythology that it's cheaper. But it's really not cheaper. For instance, digital is great for night exteriors; everybody knows it's a video tap, so it's very responsive to light. So you can go out at night, shoot with digital, and it's gorgeous, beautiful to look at.

We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.

So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.

I heard the new film, 'Tangerine,' was filmed entirely on iPhones. No cameras were involved!

I'm betting that in two years I'll be talking to you about a film that I shot on an iPhone. It's absolutely coming, I have no doubt in my mind.

A lot of the stuff in 'Speed Racer' has never been done before, from it having a multi-tone, to it having a retro-cool family movie, to having the photo-realism with the CG-backgrounds and infinite focus the way they worked with these digital cameras, to even the color experimentation.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

I have no opinion on 48 frames a second at all. I'd be completely unsuitable to talk about that.