Quotes of All Topics . Occasions . Authors
Stanley Kubrick knew we had good graphics around MIT and came to my lab to find out how to do it. We had some really good stuff. I was very impressed with Kubrick; he knew all the graphics work I had ever heard of, and probably more.
While Hollywood's computer graphics quality is world-class, their production pipelines are a mess of non-standard tools and labor-intensive processes driven by the mantra of maximizing quality regardless of cost. It's very Balkanized.
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?'
Games already pretty much have reached the point of photo-realism. Working on more intense graphics is not the only path we can take anymore. Simply relying on the sheer horsepower of the machine will not bring the industry a bright future.
As somebody who participates in the overall PC ecosystem, it's totally great when faster wireless networks and standards come out or when graphics get faster. Windows 8 was like this giant sadness. It just hurts everybody in the PC business.
Apple has always leveraged technologies that the PC industry has driven to critical mass - the bus structures, the graphics cards, the peripherals, the connection networks, things like that - so they're kind of in the PC ecosystem and kind of not.
I currently use Ubuntu Linux, on a standalone laptop - it has no Internet connection. I occasionally carry flash memory drives between this machine and the Macs that I use for network surfing and graphics; but I trust my family jewels only to Linux.
Once we can do Pixar-quality graphics rendered in real time with interactivity, I could see games costing $200 million to make, and all of a sudden you have to sell a lot of games just to break even, so I'm a little worried someone's going to do that.
I've always been very interested in the question of how computation can fundamentally advance the things that we can see. This led me to have a fascination with medical imaging, especially things like MRI and scanning, and eventually computer graphics.
I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.
I think it's highly likely that we'll continue to have high-performance graphics capability in living rooms. I'm not sure we're all going to put down our game controllers and pick up touch screens - which is a reasonable view, I'm just not sure I buy into it.
From a technical point of view, there seemed to me to be absolutely no reason why - with the existing technology - we couldn't do very high quality audio, because whereas the boom in digital graphics is ongoing, the boom in digital audio has already happened.
All of these technologies that we are putting together... our memory technology, our CPU, our graphics architecture, our GPUs - all that is being applied to where the data is. You can almost predict where Intel will be in the future. It will be where data resides.
Power, of course, is very important, but really, there's a bundle of technologies you have to have to make sure they're highly integrated, so you have to have modem, you have to have connectivity, you have to have GPS, you have to have graphics, you have to have CPU.
I think newspapers shouldn't try to compete directly with the Web, and should do what they can do better, which may be long-form journalism and using photos and art, and making connections with large-form graphics and really enhancing the tactile experience of paper.
Making games look more photorealistic is not the only means of improving the game experience. I know, on this point, I risk being misunderstood, so remember, I am a man who once programmed a baseball game with no baseball players. If anyone appreciates graphics, it's me!
There's established gaming IP that's coming from console to mobile, which is interesting. Everything is converging a little bit toward mobile devices in the living room. On the casual side, the graphics and animation and game design and all of those variables are improving.
The PC is successful because we're all benefiting from the competition with each other. If Twitter comes along, our games benefit. If Nvidia makes better graphics technology, all the games are going to shine. If we come out with a better game, people are going to buy more PCs.
I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.
When 'In Your House' became a thing when I was a kid, it was just the coolest ever and people are winning houses... So when NXT is bringing out the old-school graphics, the only thing I'm wondering is if somehow we could have that old 'In Your House' set. That's all just the fan in me.
Comics are a dying art. If you ask a little kid to choose between a video game with insane graphics or comic books... you have to compete with cable, satellite TV with its thousands of channels, and with video games that are like movies, with CGI explosions where you can blow up worlds.
What is it about animation, graphics, illustrations, that create meaning? And this is an important question to ask and answer because the more we understand how the brain creates meaning, the better we can communicate, and, I also think, the better we can think and collaborate together.
It wasn't until the Apple Macintosh that people understood what true hardware-software integration was about. It took one company to line it up: low-cost hardware, cool graphics, third-party products built on top of it, in an all-in-one attractive package that was accessible to consumer marketing.
The summer of 1991, I took $2,000 of my savings and a desktop program, and I asked my friends to write 800 words about something they cared about. I got eight or nine articles and put them together. It was no frills, black and white, no graphics. I printed them out and just dumped piles around D.C.
When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.
If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.
I always loved both 'Breakout' and 'Asteroids' - I thought they were really good games. There was another game called 'Tempest' that I thought was really cool, and it represented a really hard technology. It's probably one of the only colour-vector screens that was used in the computer graphics field at that time.
Since the beginning of HQ Trivia, when only 48 people logged in, the chat section was lighting up with comments such as 'This is so cool!' So, we hooked those early users with alluring graphics and sound, a fast-paced test of wits, interactivity with a live and entertaining host, and the lure of winning free money.
There has to be the popcorn genre element, or I don't engage the same way. I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.
Hollywood is a special place; a place filled with creative geniuses - actors, screenwriters, directors, sound engineers, computer graphics specialists, lighting experts and so on. Working together, great art happens. But in the end, all artists depend on diverse audiences who can enjoy, be inspired by and support their work.
For us, it's about having the game react to the player as much as possible. There's ways you can do that with technology, graphics, AI - we're doing some VR stuff right now - and so it's what we think is great about not just our games, but what's great about video games - how are they better than any other form of entertainment?
On 'Rogue One,' we had these sets with tiny little buttons that would light up when you pressed them, and screens full of graphics, and it really felt like you were driving a spaceship. The level of detail; you'll be two meters away from where the action is, but there'll be a little detail there just in case the camera catches it.
I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.
Meteorologists don't use a script, and most create their own graphics and certainly put together their own forecasts. Most of us went to school to become scientists - at least I did - and studied thermodynamics, physics, and tons of calculus to take this young science to the next level. Our accuracy is amazing and will only continue to improve.
