American Cinematographer - April 2020 - 70
Game On
t Director of photography and previs artist
Matt Workman's real-time "cinematography
simulator" Cine Tracer is powered by Unreal
Engine. tq Workman at a demo of an LED
Volume. The realistic background is actually an
image that appears on the LED wall.
As the world of gaming has provided tools for the advancement of filmmaking,
the cinematography community has begun to assist the game creators in kind. As
reported in the February 2020 issue of AC, Society member Dan Mindel and Society
President Kees van Oostrum visited the Vancouver campus of game-development
company Electronic Arts to discuss techniques in cinematography and how they may
be applied to the design of EA's projects.
"To me, bringing traditional cinematography into gaming seems totally logical," Mindel said. "The more we - the [traditional] filmmakers, who use cameras
and lights and people - cross into the gaming world and share our knowledge, the
better the games are going to look. And the more we, as cinematographers, learn
from the game artists, the better the CG in movies will be."
70
April 2020
American Cinematographer - 100 Years
iteration time is much faster. If you
want to see a camera move [for a
specific shot] in order to determine, for
example, what it would look like if
you start close and then pull out wide
- to see that change with Maya,
you're taking up to a couple of hours
to render maybe 120 frames at high
quality. In Unreal, that change
happens instantly."
Visualization studios like The
Third Floor have leveraged Unreal and
other real-time engines on projects for
the past several years to design previs,
techvis and postvis services, and other
forms of animation used in various
phases of the production chain. The
Third Floor's credits span multiple
Marvel movies, The Rise of Skywalker,
(AC Feb. '20) and other recent Star
Wars films, as well as popular episodic
series such as The Mandalorian and
Game of Thrones (AC May '12 and July
'19).
Casey Schatz, The Third Floor's
head of virtual production, has
worked on such projects as Thor:
Ragnarok (AC Dec. '17), Gemini Man
(AC Nov. '19) and The Mandalorian,
and has helped innovate everything
from flame-throwing motion-control
robots to real-time virtual eyelines.
"Just a few years ago, game engines
weren't as conducive to moviemaking," he says. "Unreal's virtual camera
didn't have a focal length or a film
back [aka aperture gate] - it just had
a field of view. Now there's focal
length, film backs, depth of field, fstops, ISO and shutter speed. Epic
even added the ACES color workflow
into the rendering pipeline.
"A respect for and acknowledgment of traditional filmmaking has
made its way into the software,"
Schatz adds. "So you can say, 'I'm
shooting anamorphic with Panavision
Primos,' and we'll have a menu of
American Cinematographer - April 2020
Table of Contents for the Digital Edition of American Cinematographer - April 2020
Contents
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Cover1
American Cinematographer - April 2020 - Cover2
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Contents
American Cinematographer - April 2020 - 3
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American Cinematographer - April 2020 - 32a
American Cinematographer - April 2020 - 32b
American Cinematographer - April 2020 - 32c
American Cinematographer - April 2020 - 32d
American Cinematographer - April 2020 - 32e
American Cinematographer - April 2020 - 32f
American Cinematographer - April 2020 - 32g
American Cinematographer - April 2020 - 32h
American Cinematographer - April 2020 - 32i
American Cinematographer - April 2020 - 32j
American Cinematographer - April 2020 - 32k
American Cinematographer - April 2020 - 32l
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American Cinematographer - April 2020 - Cover3
American Cinematographer - April 2020 - Cover4
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