Camera Quotes
Most Famous Camera Quotes of All Time!
We have created a collection of some of the best camera quotes so you can read and share anytime with your friends and family. Share our Top 10 Camera Quotes on Facebook, Twitter, and Pinterest.
You've got to be a special type of guy to strap a camera to your head, especially if you're the first guy to do it.
When you perform in front of an audience after only two days of rehearsal, you're flying by the seat of your pants - particularly when they're rewriting the show right up to the moment the camera goes on.
The fruit flies we work with have the equivalent of about a 25 by 25 pixel camera. But that camera is very, very fast, about 10 times faster than the human visual system.
David Blaine, I think, was the first TV magician to really turn the camera around and make it about the spectator's experience. That's really what magic is all about.
I use the computer as a tool. Like chance or the camera or the other tools I've used, it can open my eye to other ways of seeing or of making dances. It's not simply to do a trick.
To be a series regular for two seasons taught me so much about what it takes to be on a TV schedule and work those kind of hours and just work in front of a camera in general.
With my YouTube videos, I used to edit a lot of my own videos, so I've gotten used to seeing myself on camera.
I was writing, directing, and editing my own films as a young kid with my parents' video camera.
A lot of actors, they know the camera's there, and if somebody moves around or makes noise or whatever then they get all distracted, but I pretty much lock in. You can't distract me too much.
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
As someone who's been a filmmaker and an editor, I was wary of being on camera.
As a producer, it's not unusual to find yourself on the field, backstage, often with a camera crew and living with constant anxiety of accidentally ending up in the shot.
Every camera shoots horizontal, right? So we're all super used to framing things with lots of horizontal room. We've seen this new wave of Snapchat stories and Instagram stories where people are actually framing for and recording in vertical. Whether it's better or not is debatable.
I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.
Nothing is worth putting my health on the line. Not a camera, not a title, nothing.
I actually wanted to first direct and produce, but then I got this very cool opportunity to be in front of the camera once.
Obviously, we need to stand in front of a camera and answer questions, but ultimately, I just play baseball. That's what I'm good at; that's what I know.
You can have a five-page speech, and if the camera's not looking at you, you're not there.
A journalist who doesn't bring a camera is like a warrior who doesn't carry a sword.
I learned how to make an endoscope using a Swiss Army Knife, a cell phone camera, cell phone, and chewing gum.
I just made random videos with my mom's camera, before YouTube even started. It was just my family and friends in a few spoofs of scary movies and mock talk shows. And then I found out about YouTube so I posted a ton of those videos on there.
My entire career has been behind the camera, and that's definitely where I'm most comfortable.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
If you're shooting a really serious, dramatic scene, personally I wouldn't want to look at the camera.
I usually tape about 99 percent of my auditions at my house. I have a camera and record myself, and my mom reads the other lines off-camera. Then I send it to my agent and manager, and they send it to the casting director, and we see how it goes from there.
If you put a camera on the wall, you would laugh at some of the fights me and my brothers had.
It's the first film that I made where the director was not present under the camera, and it threw me.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
Years ago - in the 70s, for about a decade - I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies... literally... and develop your own film and make prints.
I began working with a family camera. It was called a Kodak Autographic, which was one of those things where you flopped it open and pulled out the bellows. And I've been at it ever since; I've never stopped.
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.
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
I love acting; I don't want to give up on it at all, but it would be nice to step behind the camera once in a while as well.
I went from off-off Broadway. I would direct plays in Baldwin Hills. Almost Tyler Perry-like, really trying to express myself in that and not really knowing how to, knowing acting in story, but not really knowing how to technically hold a camera.
As soon as I had the camera in my hand for the first time, I just fell in love.
I'm not trying to blow out a camera lens or make the audience's hair go straight back from my sheer volume, sheer energy level.
I didn't really understand what you did when you went in front of the camera. And then suddenly I just understood it. When you're in a play, you carry the story, but you don't have to do that in film.
My first taste of the business was the glamorous job of pulling camera cables so they wouldn't get tangled while the football games were filmed.
I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?
It's not like I'm nervous of people seeing what I can or can't do on camera or on TV or anything, or what my engineers think.
Whereas if you have a camera in the courtroom, there's no filtering. What you see is what's there.
The problem with not having a camera is that one must trust the analysis of a reporter who's telling you what occurred in the courtroom. You have to take into consideration the filtering effect of that person's own biases.
If you have a camera in the courtroom, there's no filtering. What you see is what's there.
I can only do the best I can from what I read from the book, and hopefully it translates on camera.
I'm definitely a Polaroid camera girl. For me, what I'm really excited about is bringing back the artistry and the nature of Polaroid.
I started modelling while still studying. I liked doing television commercials and being in front of the camera. Lots of ad directors told me to try for films.
If there were camera phones back in the day, the biggest athletes in the world would have had a lot of explaining to do.
I had an instamatic wind-on camera and remember buying the flashcubes and fixing on top of the frame. The flash credits were limited so you had to be careful not to waste any.
I've worn a chainmail suit to swim with sharks, glided over Cirencester with a James Bond-style paramotor strapped to my back, eaten hippo steaks and had a bat dive down my bra. And all the while, I had to face the camera and smile.
The audience is the camera. I don't want the audience to sit and watch, I want it to move.
I would film one or two videos a weekend and upload those throughout the week. For a month and a half, I was just constantly filming. There was no downtime. There was always a camera in front of my face.
I just enjoy what I do - looking forward to going on a film set, being in front of the camera, interacting with many people. I'm fortunate to be living my dream.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I grew up as a photo nut. Every Christmas I would get a new camera. It's a huge part of my life.
I have been taking classes and I'm familiar with stage, but I'm not as familiar with acting on camera.
What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.
Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.
I'm quite shy. Television presents an amplified version of yourself. When I'm on camera I'm pumping more adrenaline, I'm being a bit more engaging than I am in everyday conversation, but that's normal, isn't it? Otherwise nobody would want to watch.
I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.
I had a chance to get used to the lights and the camera without all that pressure to... emote.
Jimmy's Hall' is set in Ireland in the '30s and everything that went under the camera we had to generate.
My favorite films left the camera rest, and the actors and characters have a stage to act. Move the camera when it's motivating.
I was known as a dogged, unflappable live reporter, the kind who runs barefoot to the camera, high heels in one hand, notebook in the other.
I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.
To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.
I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.
I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.
I wear a lot of block colour dresses on television as the simplicity translates well on camera and blue is often a colour I rely on as it goes with everything.
'Choli Ke Peeche' and 'Ek Doh Teen' were my favourite numbers as a kid. I was a huge fan of Madhuri Dixit and would spend hours looking into the mirror and aping her expressions, believing that the mirror was the camera!
When I do an interview, when I appear on camera, I want to be the same person as the one you meet personally and say, 'He is really the same person I saw on television.'
Over time I'm slowly living out all of my high school experiences on camera.
Vanessa Williams in person is like... the camera cannot capture how gorgeous this woman is! She is just so breathtaking.
I have nothing snarky to say about Joan Rivers' appearance. We should all be that happy with how we look on camera, frankly.
Cameras help to minimize collateral damage, and very often, without a camera a missile cannot fire. Certainly, without a camera a drone can't function, which means that the very ways in which we wage war are determined in part by how cameras work and whether they work at all.
Being behind a camera, in front of the camera, is my own little deconstructionist niche.
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.
No one forgets the presence of the camera, no matter how long it's there.
I went to USC and tried to learn about the other side of the camera a little bit.
Related Quotes Topics for You.
Guys, we are trying to share Unique Camera Quotes, so you will not get to read the same things again and again on our website. You can also share your favorites on Facebook or send them to a friend who loves to reading quotes.
