George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that. — John Dykstra Copy Share Image
I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on. — 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
