quote by Stan Getz

You don't rehearse jazz to death to get the camera angles.

— Stan Getz

Mouth-watering Camera Angles quotations

Camera angles quote Life is like a camera focus on whats important and youll capture it perfectly.

Life is like a camera focus on whats important and youll capture it perfectly.

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What’s really important is storytelling. None of it matters if it doesn’t support the story.

A style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion.

Camera angles quote Life is like a camera. Focus on what is important, capture the good times, devel

Life is like a camera. Focus on what is important, capture the good times, develop from the negatives and if thing don't work out, take another shot.

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

I came out of the womb looking for the camera angle

I don't need interesting camera angles, I am interesting.

Camera angles quote No matter how sophisticated the camera, the photographer is still the one that m

No matter how sophisticated the camera, the photographer is still the one that makes the picture.

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I do photography and I studied film at school.

So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.

Kissing scenes are never romantic or sexy, they're actually super technical, like, "Move your head, you're blocking her light," or, "Stop looking like an idiot when you kiss her." You do it again and again because of the camera angles and takes and whatnot. So by the end of it, it's not even kissing. All the anything is totally drained out of it.

For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job

Best wide-angle lens? Two steps backward. Look for the 'ah-ha'.

If you continue to act now and be a member of the WWE Universe, you will see the same footage from... another... camera angle.

The selfie has become a new autograph, but it takes twice as long to do as a real autograph. I do it because I'm like, "What am I going to do, these people bought me my house." Why am I not going to take a picture with them except I always say, "You have to hold it up! Shoot down or it's really ugly if you shoot up!" So not only does it take longer, you have to teach them camera angles.

To not be self-conscious of your appearance is huge, and something that I desperately hope to carry into film at some point in my useless life - to not be thinking, "My ear looks weird from this angle, why is the camera over there?"

It's fun to watch a true-blue movie star at work.

They're really unbelievably charismatic. They understand camera angles.

The most refined skills of color printing, the intricate techniques of wide-angle photography, provide us pictures of trivia bigger and more real than life. We forget that we see trivia and notice only that the reproduction is so good. Man fulfils his dream and by photographic magic produces a precise image of the Grand Canyon. The result is not that he adores nature or beauty the more. Instead he adores his camera

I always find live shows on film kind of boring.

Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well.

It's the angle that shows how we see differently.

I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

There are ways of angling the camera.

I don't just use a tripod. The only time I did that was in '88 when I first came out of detox, I spent every day doing self-portraits to fit back into my own skin. I didn't know what the world looked like - what I looked like - so in order to fit back into myself, I took self-portraits everyday to give myself courage and to fit the pieces back together. I used a tripod then.

I got a unicorn horn on my head once.

I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.

I've realized that a lot of people go to see film or theater with a different expectation. I have a friend who's an actor and I can't stand watching movies with him because he never quite allows himself to just watch the story. He'll comment on the lighting, he'll comment on the [camera] angle. I'm not saying there's a wrong way to watch it - maybe that's helpful to him - but to me, you're getting way too caught up in the technical aspects.

The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice.

I like to be flexible in the way I take pictures.

I do not use a tripod, and I move around in the crowd, of which I am myself part.... I try to preserve the dynamics of the street, and my way of using the camera tries to approximate as much as possible the way we see: focusing on details, opening up to wider angles, and composing all these very short, fragmented impressions into a larger mental picture.

There is no right or wrong angle for something.

The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

Here's the beauty of a camera: you don't have to come up with words for what you're looking at... Maybe another angle is needed sometimes. When we're burned out from writing, we can photograph or draw, look at the world in a different way, and photographers could try writing what they see.

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 worked on 'Sarah Connor' even longer than 'Firefly.

' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.

If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.

Balance of light is the problem, not the amount.

Balance between shadows and highlights determines where the emphasis goes in the picture...make sure the major light in a picture falls at right angles to the camera.

It's strange, the lack of emotion, the absence of drama in reality.

When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

There's a lot of thinking when you choreograph something.

You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.

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