"CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you"

In this quote, Sanaa Lathan offers insight into the relationship in between practical effects and computer-generated imagery (CGI) in filmmaking. She emphasizes the difference between real, tangible aspects on set and the digital improvements included later on throughout post-production.

Lathan's assertion that "CGI is done after the film is done" highlights the sequential element of film production. Initially, filmmakers catch live-action shots using actors, sets, and useful results. These elements lay the structure of the movie, supplying a realistic and appealing experience for audiences. CGI, by contrast, is an elaborate post-production procedure occurring after principal recording concludes. It involves using computers to create visual effects that would be difficult or unwise to movie in truth. This might include fantastical animals, vast landscapes, and even more subtle modifications like altering weather or lighting conditions.

The phrase "it's through the computer" recommends that CGI is a different undertaking, distinct from the physical filming environment. It is managed by proficient visual effects artists who deal with specialized software application to integrate digital effects perfectly into the live-action video. Although CGI is a powerful tool that can improve storytelling, it frequently counts on the foundation established by the real-life elements captured during shooting.

Lathan also mentions that "most of the film is not computer-generated unique results", underscoring the frequency of useful results in filmmaking. Despite the technological advances in CGI, many filmmakers continue to value credibility, choosing to utilize genuine props, animatronics, and on-location shooting whenever possible. This approach not only premises the audience in a more credible world however also allows actors to connect more naturally with their environment, instead of performing in front of a green screen.

Lastly, when Lathan refers to "that animal that remains in the room with you", she highlights the tangible presence of useful results. Whether it is an animatronic puppet, intricate costume, or complex makeup design, these results physically inhabit space within the movie's world, promoting a more immersive experience for both actors and audiences. This tactile quality underscores the importance of useful effects in constructing a cinematic reality, even in an age where CGI abilities continue to broaden.