You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering. — John Dykstra Copy Share Image
As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that… — John Dykstra Copy Share Image
Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily… — John Dykstra Copy Share Image
I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part… — John Dykstra Copy Share Image
It's an embarrassment of riches because you have directors who don't better. You end up with so much stuff going on the screen that… — John Dykstra Copy Share Image
It's easy to create something that has a lot of luster, but it's very hard to make something that has a lot of depth. — John Dykstra Copy Share Image
George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts… — John Dykstra Copy Share Image
Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being… — John Dykstra Copy Share Image
Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding… — John Dykstra Copy Share Image
Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale,… — John Dykstra Copy Share Image
I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig… — John Dykstra Copy Share Image
