George Lucas, le technologia, e le arte

(Languages of this post: Interlingua, English)

Recentemente in le “Wall Street Journal” le cineaste George Lucas diceva que le picture, le musica, e ulle altere tipo de arte es essentialmente un manifestation de technologia.

Pro ille, le uso de technologia digital in productiones cinematic es como facer un transition de picturas in fresco a picturas in oleo. Si on face un fresco, ille dice, un gruppo de 10-20 pictores es necesse pro completar omne le projecto. Tal picturas pote facer se solmente con le illumination de candelas, e dunque illos es multo difficile a producer.

Ma in le caso de picturas pingite in oleos, on pote travaliar con le luce del sol. E si un pictura non se evolve al gusto del artista, ille o illa pote pinger sur un image defectuose e comenciar de novo. Illo non se pote facer con frescos.

In le caso de productiones cinematic, on debeva usar lo que le camera produceva directemente, e le optiones pro manipular iste images esseva multo limitate e tediose a realisar.

Con le technologia digital tamen le possibilitates de manipular images cinematic es grandemente multiplicate e deveni de plus in plus simple, e le production de un film comencia a resimilar le creation de un pictura in oleos. E il es anque ver que con le tempore le manipulation de images electronic deveni technicamente de plus in plus simple.

George Lucas, Technology, and Art

Recently in the “Wall Street Journal” the movie producer George Lucas said that painting, music, and any other kind of art is essentially a manifestation of technology.

For him, the use of digital technology in movie productions is like a transition of fresco to oil paintings. If someone paints a fresco, he says, a group of ten to twenty painters is needed to finish the entire project. Such paintings can be made only by candle light, and thus they are very difficult to produce.

But in the case of oil paintings, a person can work in sunlight. And if a painting does not evolve the way an artist wants, he or she can paint over a defective image and start out once again. This cannot be done with frescos.

In the case of movie productions, a person used to have to use what the camera produced directly, and the options for manipulating these images was very limited and tedious to execute.

With digital technology, however, the possibilities of manipulating movie images are greatly multiplied and are becoming simpler and simpler, and the production of a film is beginning to resemble the creation of an oil painting. And it is also true that in time the manipulation of electronic images is becoming simpler and simpler.

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