“Cine Game will be Early Release for approximately 6-12 months.” And one of the main overall aspects that was highlighted by all of the speakers was how this field is actively looking for talent: an open call for professionals who might be interested in working in a field that is on the up, and which is bringing new possibilities to traditional filmmaking practices.“Cine Game will be early access so that the community can support and participate in it's development.”Īpproximately how long will this game be in Early Access? The persistent lockdowns caused by the pandemic have inevitably accelerated the need for ways of working and preparing projects with the Unreal Engine, at the same time demonstrating the potential that this kind of technology has to benefit any sort of project, regardless of the budget involved – something that Kalachikhin worked on with students from Babelsberg University. While all of these seem to be elements that are merely part of a specific segment of the industry – or are inaccessible to most filmmakers and projects – Kalachikhin brought it down to the average low-budget project level, showcasing specific case studies in which he has been involved and proving how it is indeed possible to create projects with these sets of tools and this software. Domingo also reinforced the idea that, in fact, VFX can be used as a narrative tool, as well as a way of looking into subtle improvements that can aid production (and not just for “megalomaniac effects”). Domingo homed in on the specific characteristics of the VFX universe, highlighting how the VFX segment is – or should be – involved at this stage of pre-production, as well as in production and post-production, in order to also avoid technical issues that can pose problems not only in terms of timing, but also in terms of budget. Wilke demonstrated how previs can be done using the Unreal Engine together with UE Marketplace assets, and Xu even introduced the current use of metahumans and Cine Tracer, as well as Live Link Face (tools that are already in use on different types of projects at the moment). As such, and as in most cases, preparation and good planning are crucial elements that previs can usefully help with: to aid with timing, choosing cameras, defining styles, defining sets and visualising CG scenes before shooting, amongst other elements. This is an important element that can help avoid mishaps and setbacks that could potentially delay production. At this point, the Unreal Engine (UE) and the DragonFly virtual camera were presented as useful tools for this form of pre-production scene pre-visualisation. And even though it can’t predict every single one of the elements (such as an actor’s performance, for example), it does help solve numerous problems. Furthermore, Wilke highlighted the importance of virtual production for previs, something that once again already existed (as storyboards or sketches, for example), but which is now available on a whole different level.
#CINE TRACER REVIEW FULL#
Xu demonstrated the extent to which virtual production can actually be put in place, in a full spectrum of projects, from “no CG” to “full CG”. In fact, Kalachikhin, as a filmmaker, reinforced the idea of how virtual production can work as a marriage between new technologies and classic cinematic elements, while not detracting from the experience that some filmmakers and crews might want to gain from the traditional models of production. Even though it relies on new, developing technologies, in virtual production, the past is an important baseline to take lessons from, as Xu explained: looking back at the process of rear projection, for example, and thinking about plate playback (one of the pillars of virtual production). As something that has combined a set of technologies that were first used for the gaming industry, as well as incorporating elements from the traditional VFX world, virtual production can be perceived as a methodology wherein the physical (motion capture, live-action shoots and so on) and the virtual meet: a combination that has been achieved in the past, but which can now be done in real time, according to Wilke.
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