Discover the most popular and inspiring quotes and sayings on the topic of Technicolor. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Technicolor Quotes And Sayings by 92 Authors including Mstislav Rostropovich,Edward Tenner,Vikrmn,Crispian Mills,Diane Keaton for you to enjoy and share.
You know creators, composers, need a palette for life, a color for life.
The graphics elevator lurched upwards again. This time the new dimension is multimedia, which means adding sound and fury to the smoke and mirrors.
Black and white is as if phoenix of colors has eloped into opacity.
Seeing a film at the cinema, or a DVD or whatever at home, your brain is really receptive to not only whether the script's working, or if the actors are acting well, but also the colours.
Why black and white? Because color can be too demanding.
Technic is the result of a need new needs demand new technics total control denial of the accident States of order organic intensity energy and motion made visible memories arrested in space, human needs and motives acceptance
Start [the movie] in color. Color is always attributed as fun, and black and white is very sad.
It's funny how the colours of the like real world only seem real real when you viddy them on a screen
It's almost scary how stylish things can look if you take the color out - how much more you see the essence of things and how much more something can appear elegant.
A world of colors on the palette remaining ... wandering ... on canvases still emerging.
Only those who love color are admitted to its beauty and immanent presence. It affords utility to all, but unveils its deeper mysteries only to its devotees.
I want people to be overwhelmed with light and color in a way they have never experienced.
When the British-Malaysian photographer Ian Teh first worked in China, more than a decade ago, he rendered it as a nation of people in Technicolor.
THE ADVENTURE OF THE RETIRED COLOURMAN
I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.
I haven't yet managed to capture the colour of this landscape; there are moments when I'm appalled at the colours I'm having to use, I'm afraid what I'm doing is just dreadful and yet I really am understating it; the light is simply terrifying.
THE STRIKING CONTRAST
The Color Of Extraordinary.
Digital technology is the same revolution as adding sound to pictures and the same revolution as adding color to pictures. Nothing more and nothing less.
If I could have had my own way, I would have confined myself to black and white.
I like to have the screen full of color, twenty colors on the screen at once, fifty colors. There are no dominants despite what people have said.
If you want to enjoy the movie, you should know that it is the combination of film and light and white screen, and that the most important thing is to have a plain, white screen.
Where there's black, even grey looks white,
Vermilion alone could render the brilliant red of the tiles on the opposite slope. The orange of the soil, the harsh crude colors of the walls and greenery, the ultramarine and cobalt of the sky achieved an extreme harmony that was sensually and musically ordered.
100 years ago, movies were black-and-white, silent, and 16 frames a second. So 100 years from now, what are they going to be?
In black and white you suggest, in color you state.
Seek the strongest color effect possible ... the content is of no importance.
When using colors to recreate a general harmony of tones in nature, one loses it by painfully exact imitation. One keeps it by recreating in an equivalent color range, and that may not be exactly, or far from exactly, like the model.
Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.
version of Amber.
dark. Basically, the more you're aware of what you want these images to convey, the richer the images are going to be.
It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.
A screen ... the scenery and the figures of life were perfectly represented, but with that bewitching, yet indescribably difference, which always makes a picture, an image, or a shadow, so much more attractive than the original.
It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted ...
I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.
The art of the colorist has in some ways elements of mathematics and music.
Color which, like music, is a matter of vibrations, reaches what is most general and therefore most indefinable in nature: its inner power.
Entertainment came out of this thing called a television, and it was gray. Most of the films that we saw at the cinema were black and white. It was a gray world. And music somehow was in color.
It's funny how the colors of the real world only seem really real when you watch them on a screen.
The whole world, as we experience it visually, comes to us through the mystic realm of color.
Color is the melody of light.
Color is so intuitive.
Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.
I'm a tech geek. Whenever I read about something new, I think to myself, How can I take this and make it black?
Chromatacia ... society ... ruled by a colortocracy ... social hierarchy based upon one's limited color perception, society is dominated by color. In this world, you are what you can see.
Color must be thought, imagined, dreamed.
I cannot attain the intensity that is unfolded before my senses. I have not the magnificent richness of colouring that animates nature.
It is Love that transforms it from black and white, to breathtaking, beautiful inspiring colors
nocturnal purple.
black beyond black
an overcast luminance, a subdued warmth
The problem of direct colour photography has been facing us since the turn of the last century.
Mama, don't take my Kodachrome away.
astonishing splashes of colour
Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.
The mists of nostalgia color memory.
As a filmmaker, deep blacks are essential, and in my experience, no technology captures those attributes as well as Plasma.
An artist finds his happiest combination in a play of complementary colors. They are direct contrasts yet do not jar; they awaken the beholder, but do not disturb him.
Instead of trying to reproduce exactly what I see before me, I make an arbitrary use of color to express myself more forcefully.
With all of my films that are on DVD and Blu-ray, I have spent weeks with them in a color timing room. Just changing or enhancing them. I have been desaturating the color. Sometimes I will make a scene bluer or redder. I do use the new medium. I believe in it.
I'll refer to my music in color, like 'This song needs to be bright red.'
Design that mimics the sensual continuity of nature's subtle connections of color, light and texture invite the viewer's receptivity.
The chromatic scale is what you use to give the effect of drinking a quinine martini and having an enema simultaneously.
There's one thing which I hate about color films ... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.
There's something really appealing about the simplicity of black-and-white images.
Color is all. When color is right, form is right. Color is everything, color is vibration like music; everything is vibration.
Color can do anything that black-and-white can.
One who knows how to appreciate color relationships, the influence of one color with another, their contrasts and dissonances, is promised an infinite variety of images.
Laughter changes to screams, blood stains pastel stones, real smoke darkens the special effect stuff made for television.
Am driving us home to Mrs. Lush in her shiny kitchen with a checked tablecloth in a house where the grass looks as if it's been Hoovered. You see, only in the land of Croca-Colas does the sun shine in Technicolor. Life lived at the end of the rainbow.
Which is probably the reason why I work exclusively in black and white ... to highlight that contrast.
We must revolutionize our optical perception. We must remove the veil from our eyes.
I guess to the outside observer, all my movies look like musty old black-and-white artifacts, but my earlier movies had been more static and tableaux-ish.
Girl surrounded by flowers
Technicolor kiss
For all the night's lengthy hours
I'll miss ...
Color-blocking two bold shades feels so modern.
Between black and white there throbs the universe of chromatic phenomena.
When your eyes freeze behind the grey window and the ghost of loss gets in to you, may a flock of colours, indigo, red, green and azure blue come to awaken in you a meadow of delight.
The film medium is some sort of magic. I think also it's a magic that every frame comes and stands still for a fraction of a second and then it darkens. A half part of the time when you see a picture you sit in complete darkness. Isn't that fascinating? That is magic.
We found a way to make things look great to the human eye through the window of a graphical web browser without worrying about what everything looked like under the hood.
To express a marriage of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones ...
I try to think and design in color.
As computers have become more powerful, computer graphics have advanced to the point where it's possible to create photo-realistic images. The bottleneck wasn't, 'How do we make pixels prettier?' It was, 'How do we engage with them more?'
Salt is the difference between eating in Technicolor and eating in black and white.
The motion picture made in Hollywood, if it is to create art at all, must do so within such strangling limitations of subject and treatment that it is a blind wonder it ever achieves any distinction beyond the purely mechanical slickness of a glass and chromium bathroom.
Now that everyone's shooting digital they want the anamorphic to soften the look. You know, to make it more filmic.
I like contrasting between black and white and color.
Color is everywhere, so everything has changed. I still can't see color, but I can perceive it. I can experience it in a way that allows me to be a part of this reality, which I was excluded from before. Thanks to the eyeborg, I've made a career by combining music and art.
By using patches of color and tone it is possible to capture every natural impression in the simplest way, freshly and immediately.
Mama, black and white is boring, deep within the gray is where the real action is.
Only you could put color in a colorless world.
Add your splash of color to the world.
Color! What a deep and mysterious language, the language of dreams.
Many rules for the creation of colour schemes have been published in recent years, but, while they are popular in commercial studies, I know of no creative artist who employs them. They are, per se, restrictive; their use precludes any chance of adventuring in this interesting field.
The right use of color can make any composition work.
I wanted it to be kind of dreamy and 1920s, when everything is soft-focus,
I sometimes wish taste wasn't ever an issue, and the sounds of instruments or synths could be judged solely on their colour and timbre. Judged by what it did to your ears, rather than what its historical use reminds you of.
Black-and-white gives you that sort of parallel world. Also, it's very close to the condition of dreaming, to the unconscious.
Color is seductive. It changes as it interacts with other colors, it changes because of the light falling upon it, and it changes as it becomes larger in size.
I love films where the world seems to be going a bit faster and everything's a bit brighter and more in focus.
That sounded like something Mother would say, throwing color onto a black-and-white picture.