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John Dykstra

"I like engineering, but I love the creative input."

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"I like engineering, but I love the creative input."

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Amber Hurdle

"Wellsted will remember this moment for the rest of his life. It is the first time he desires something for himself that is not dedicated to his own advancement. It is the moment he falls in love."

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Amber Hurdle

"Most people do a good deal of whatever they do motivated by love. For me, few stories are truly complete without it."

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Amber Hurdle

"I can feel no sentiment of approbation inferior to love."

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Amber Hurdle

"Were I to fall in love, indeed, it would be a different thing! but I have never been in love; it is not my way, or my nature; and I do not think I ever shall. And, without love, I am sure I should be a fool to change such a situation as mine."

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Amber Hurdle

"How'd you know he was the one?""I didn't know. I don't think either of us knew."Heather rolled her eyes. "Neal knew - he proposed to you.""It's not like that," Georgie said. "You'll see. It's more like you meet someone, and you fall in love, and you hope that that person is the one - and then at some point, you have to put down your chips. You just have to make a commitment and hope that you're right."

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Amber Hurdle

"Love has features which pierce all hearts, he wears a bandage which conceals the faults of those beloved. He has wings, he comes quickly and flies away the same."

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Amber Hurdle

"Love all, trust a few, do wrong to none."

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Amber Hurdle

"When love is roaming in our mind, looping in the deepest fringes of our heart, undreamt spaciousness emerges, repealing the constraints of triviality and letting stifling narrowness fade away. While our mindset is besieged by a revolving burst of emotion, our world is ultimately opening up. ['Cape of good hope']"

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Amber Hurdle

"Love is like a musical score, sometimes very tuneful, creating a harmony of sounds, sometimes extremely harsh, striking a hell of false notes. ['Love lying fallow ']"

Explore more quotes by John Dykstra

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John Dykstra
"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."
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John Dykstra
"It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good."
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John Dykstra
"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 a part of the curriculum for people who started on a box and have never done anything that wasn't on a box."
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John Dykstra
"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 you don't know where to look, and that's what I consider self-indulgent."
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John Dykstra
"As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate."
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John Dykstra
"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."
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John Dykstra
"In the first Spider-Man, at the end of the movie, Peter Parker had to deny himself a relationship with a girl that he's in love with. The very next thing that happens is that he's swinging through the city."
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John Dykstra
"I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands."
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John Dykstra
"Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image."
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John Dykstra
"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."
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