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Can You Export Unreal Engine 4 Animations To Source Filmmaker

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Use of real-time computer graphics engines to create a cinematic production

Machinima, originally machinema () is the apply of real-time reckoner graphics engines to create a cinematic production. Most often, video games are used to generate the computer animation. The word "machinima" is a portmanteau of the words machine and movie theater.

Machinima-based artists, sometimes called machinimists or machinimators, are often fan laborers, by virtue of their re-utilize of copyrighted materials (run into beneath). Machinima offers to provide an archive of gaming operation and access to the look and feel of software and hardware that may already have become obsolete or even unavailable. For game studies, "Machinima'due south gestures grant access to gaming's historical conditions of possibility and how machinima offers links to a comparative horizon that informs, changes, and fully participates in videogame culture."[1] [2]

The practise of using graphics engines from video games arose from the animated software introductions of the 1980s demoscene, Disney Interactive Studios' 1992 video game Stunt Island, and 1990s recordings of gameplay in first-person shooter (FPS) video games, such as id Software'due south Doom and Quake. Originally, these recordings documented speedruns—attempts to complete a level as quickly equally possible—and multiplayer matches. The add-on of storylines to these films created "Quake movies". The more full general term machinima, a blend of motorcar and movie theater, arose when the concept spread beyond the Quake serial to other games and software. After this generalization, machinima appeared in mainstream media, including television series and advertisements.

Machinima has advantages and disadvantages when compared to other styles of filmmaking. Its relative simplicity over traditional frame-based animation limits control and range of expression. Its real-time nature favors speed, cost saving, and flexibility over the higher quality of pre-rendered computer animation. Virtual acting is less expensive, unsafe, and physically restricted than live activity. Machinima tin exist filmed by relying on in-game artificial intelligence (AI) or by controlling characters and cameras through digital puppetry. Scenes can be precisely scripted, and can be manipulated during postal service-production using video editing techniques. Editing, custom software, and creative cinematography may address technical limitations. Game companies have provided software for and have encouraged machinima, simply the widespread employ of digital assets from copyrighted games has resulted in circuitous, unresolved legal problems.

Machinima productions can remain shut to their gaming roots and feature stunts or other portrayals of gameplay. Popular genres include trip the light fantastic videos, comedy, and drama. Alternatively, some filmmakers attempt to stretch the boundaries of the rendering engines or to mask the original 3-D context. The University of Machinima Arts & Sciences (AMAS), a non-profit organization defended to promoting machinima, recognizes exemplary productions through Mackie awards given at its annual Machinima Movie Festival. Some general film festivals accept machinima, and game companies, such as Epic Games, Valve, Blizzard Entertainment and Jagex, take sponsored contests involving it.

History [edit]

Precedent [edit]

1980s software crackers added custom introductory credits sequences (intros) to programs whose copy protection they had removed.[iii] [4] Increasing calculating power allowed for more than complex intros, and the demoscene formed when focus shifted to the intros instead of the cracks.[3] The goal became to create the best 3-D demos in real-time with the least corporeality of software code.[five] [3] Disk storage was too slow for this, so graphics had to exist calculated on the wing and without a pre-existing game engine.[5] [three]

In Disney Interactive Studios' 1992 computer game Stunt Island, users could stage, record, and play back stunts. Equally Nitsche stated, the game's goal was "non ... a high score but a spectacle."[5] Released the post-obit yr, id Software'due south Doom included the ability to record gameplay equally sequences of events that the game engine could later replay in real-time.[6] Because events and not video frames were saved, the resulting game demo files were pocket-sized and easily shared among players.[6] A civilisation of recording gameplay developed, as Henry Lowood of Stanford University chosen it, "a context for spectatorship.... The consequence was nada less than a metamorphosis of the player into a performer."[7] Another important feature of Doom was that it allowed players to create their ain modifications, maps, and software for the game, thus expanding the concept of game authorship.[8] In machinima, there is a dual annals of gestures: the trained motions of the player determine the in-game images of expressive motion.[nine]

In parallel of the video game arroyo, in the media fine art field, Maurice Benayoun's Virtual Reality artwork The Tunnel under the Atlantic (1995), often compared to video games, introduced a virtual film managing director, fully autonomous intelligent agent, to shoot and edit in real fourth dimension a full video from the digging performance in the Pompidou Middle in Paris and the Museum of Contemporary fine art in Montreal. The full flick, Inside the Tunnel nether the Atlantic,[10] 21h long, was followed in 1997 by Inside the Paris New-Delhi Tunnel (13h long). Only short excerpts were presented to the public. The complex beliefs of the Tunnel's virtual director makes it a meaning forerunner of later application to video games based machinimas.[11]

Doom 'south 1996 successor, Quake, offered new opportunities for both gameplay and customization,[12] while retaining the ability to record demos.[xiii] Multiplayer video games became popular, and demos of matches between teams of players (clans) were recorded and studied.[14] Paul Marino, executive managing director of the AMAS, stated that deathmatches, a blazon of multiplayer game, became more "cinematic".[13] At this betoken, all the same, they still documented gameplay without a narrative.[15]

Convulse movies [edit]

On October 26, 1996, a well-known gaming clan, the Rangers, surprised the Quake customs with Diary of a Camper, the first widely known machinima film.[xvi] This short, 100-second demo file contained the action and gore of many others, but in the context of a brief story,[16] rather than the usual deathmatch.[14] An example of transformative or emergent gameplay, this shift from competition to theater required both expertise in and subversion of the game'southward mechanics.[17] The Ranger demo emphasized this transformation by retaining specific gameplay references in its story.[18]

Diary of a Camper inspired many other "Quake movies," as these films were so called.[14] A customs of game modifiers (modders), artists, adept players, and moving-picture show fans began to grade around them.[5] The works were distributed and reviewed on websites such every bit The Cineplex, Psyk'south Popcorn Jungle, and the Quake Motion-picture show Library (QML).[xix] Product was supported by dedicated demo-processing software, such as Uwe Girlich'south Trivial Pic Processing Heart (LMPC) and David "crt" Wright's non-linear editor Keygrip,[20] which afterward became known equally "Adobe Premiere for Convulse demo files".[19] Among the notable films were Clan Phantasm'southward Devil's Covenant,[19] the first characteristic-length Quake film; Avatar and Wendigo's Blahbalicious, which the QML awarded seven Quake Movie Oscars;[21] and Clan Undead's Operation Bayshield, which introduced false lip synchronization[22] and featured customized digital assets.[23]

Released in December 1997, id Software's Quake II improved support for user-created three-D models. Withal, without compatible editing software, filmmakers continued to create works based on the original Quake. These included the Ill Clan's Flat Huntin' and the Quake done Quick grouping's Scourge Done Slick.[24] Quake Two demo editors became available in 1998. In particular, Keygrip 2.0 introduced "recamming", the ability to adjust camera locations later recording.[24] Paul Marino called the addition of this characteristic "a defining moment for [k]achinima".[24] With Convulse Two filming now feasible, Foreign Visitor's 1999 product Eschaton: Nightfall was the first work to feature entirely custom-made character models.[25]

The December 1999 release of id's Quake 3 Arena posed a problem to the Quake movie community.[26] The game's demo file included information needed for estimator networking; nonetheless, to foreclose cheating, id warned of legal action for broadcasting of the file format.[26] Thus, information technology was impractical to enhance software to work with Quake Three.[26] Concurrently, the novelty of Quake movies was waning.[27] New productions appeared less oft, and, according to Marino, the community needed to "reinvent itself" to offset this development.[27]

Borg State of war, a 90-minute animated Star Trek fan film, was produced using Aristocracy Force 2 (a Quake 3 variant) and Starfleet Control three, repurposing the games' voiceover clips to create a new plot.[28] Borg War was nominated for two "Mackie" awards past the University of Machinima Arts & Sciences.[29] An August 2007 screening at a Star Trek convention in Las Vegas was the get-go time that CBS/Paramount had approved the screening of a non-parody fan moving picture at a licensed convention.[thirty]

Generalization [edit]

In January 2000, Hugh Hancock, the founder of Strange Company, launched a new website, machinima.com.[31] A misspelled contraction of machine cinema (machinema), the term machinima was intended to dissociate in-game filming from a specific engine.[31] The misspelling stuck because it also referenced anime.[31] The new site featured tutorials, interviews, articles, and the exclusive release of Tritin Films' Quad God.[31] The outset film made with Quake III Arena, Quad God was likewise the offset to be distributed as recorded video frames, not game-specific instructions.[31] This modify was initially controversial among machinima producers who preferred the smaller size of demo files.[32] However, demo files required a copy of the game to view.[5] The more than accessible traditional video format broadened Quad God 's viewership, and the work was distributed on CDs arranged with magazines.[32] Thus, id's decision to protect Convulse Three 's lawmaking inadvertently caused machinima creators to use more than general solutions and thus widen their audience.[33] Within a few years, machinima films were almost exclusively distributed in common video file formats.[33]

Hugh Hancock founded Foreign Visitor and coined the term machinima.

Machinima began to receive mainstream discover.[34] Roger Ebert discussed it in a June 2000 article and praised Strange Company'due south machinima setting of Percy Bysshe Shelley'south sonnet "Ozymandias".[35] At First Network's 2001 Alternative Media Festival, the Sick Clan'southward 2000 machinima film Hardly Workin' won the Best Experimental and Best in SHO awards. Steven Spielberg used Unreal Tournament to test special effects while working on his 2001 moving picture Bogus Intelligence: A.I. [36] Somewhen, involvement spread to game developers. In July 2001, Epic Games announced that its upcoming game Unreal Tournament 2003 would include Matinee, a machinima product software utility.[37] Equally interest increased, filmmakers released fewer new productions to focus on quality.[37]

At the March 2002 Game Developers Conference, five machinima makers—Anthony Bailey, Hugh Hancock, Katherine Anna Kang, Paul Marino, and Matthew Ross—founded the AMAS,[38] a non-profit organization dedicated to promoting machinima.[39] At QuakeCon in August, the new organization held the first Machinima Moving-picture show Festival, which received mainstream media coverage. Anachronox: The Movie, by Jake Hughes and Tom Hall, won three awards, including Best Picture.[38] The next year, "In the Waiting Line", produced by Ghost Robot, directed by Tommy Pallotta and animated by Randy Cole, utilizing Fountainhead Entertainment's Machinimation tools, information technology became the first machinima music video to air on MTV.[40] As graphics engineering improved, machinima filmmakers used other video games and consumer-grade video editing software.[41] Using Bungie's 2001 game Halo: Combat Evolved, Rooster Teeth Productions created a pop one-act series Red vs. Blue: The Claret Gulch Chronicles. The series' second season premiered at the Lincoln Center for the Performing Arts in 2004.[42]

Mainstream appearances [edit]

Machinima has appeared on television, starting with G4's series Portal.[43] MTV2's Video Mods re-creates music videos using characters from video games such equally The Sims two, BloodRayne, and Tribes.[44] Blizzard Entertainment helped to set office of "Make Beloved, Non Warcraft", an Emmy Award–winning 2006 episode of the comedy series South Park, in its massively multiplayer online role-playing game (MMORPG) World of Warcraft.[45] By purchasing broadcast rights to Douglas Gayeton's machinima documentary Molotov Alva and His Search for the Creator in September 2007, HBO became the get-go television network to buy a work created completely in a virtual world.[46] In December 2008, machinima.com signed xv experienced goggle box one-act writers—including Patric Verrone, Pecker Oakley, and Mike Rowe—to produce episodes for the site.[47]

Commercial use of machinima has increased.[48] [49] Rooster Teeth sells DVDs of their Red vs. Bluish serial and, under sponsorship from Electronic Arts, helped to promote The Sims two past using the game to make a machinima series, The Strangerhood.[48] Volvo Cars sponsored the creation of a 2004 advertizement, Game: On, the first pic to combine machinima and live activity.[fifty] Afterwards, Electronic Arts commissioned Rooster Teeth to promote their Madden NFL 07 video game.[51] Blockhouse Television uses Moviestorm'south machinima software to produce its pre-schoolhouse educational DVD serial Jack and Holly

Game developers have continued to increase support for machinima.[52] Products such equally Lionhead Studios' 2005 business simulation game The Movies, Linden Research'south virtual world Second Life, and Bungie's 2007 first-person shooter Halo 3 encourage the creation of user content by including machinima software tools.[52] Using The Movies, Alex Chan, a French resident with no previous filmmaking experience,[53] took 4 days to create The French Democracy, a short political picture show virtually the 2005 civil unrest in France.[54] 3rd-political party mods like Garry'due south Mod usually offering the ability to dispense characters and have advantage of custom or migrated content, assuasive for the creation of works like Counter-Strike For Kids that can be filmed using assets from multiple games.

In a 2010 interview with PC Magazine, Valve CEO and co-founder Gabe Newell said that they wanted to make a Half-Life feature moving-picture show themselves, rather than hand it off to a big-proper noun manager like Sam Raimi, and that their contempo Team Fortress ii "See The Team" machinima shorts were experiments in doing only that.[55] Two years later, Valve released their proprietary non-linear machinima software, Source Filmmaker.

Machinima has likewise been used for music video clips. Second Life virtual creative person Bryn Oh created a work for Australian performer Megan Bernard's song "Make clean Upwardly Your Life",[56] released in 2016.[57] The outset music video for 2018's "Sometime Town Route", by Lil Nas Ten, was composed entirely of footage from the 2018 Western action-adventure game Red Dead Redemption 2.[58]

Production [edit]

Comparison to motion picture techniques [edit]

The AMAS defines machinima every bit "animated filmmaking within a real-time virtual 3-D environment".[59] In other 3-D blitheness methods, creators can command every frame and nuance of their characters but, in turn, must consider bug such as key frames and inbetweening. Machinima creators leave many rendering details to their host environments, simply may thus inherit those environments' limitations.[60] Second Life Machinima motion-picture show maker Ozymandius King provided a detailed account of the process by which the artists at MAGE Magazine produce their videos. "Organizing for a photo shoot is similar to organizing for a film production. In one case you lot find the actors / models, you take to spotter locations, observe dress and props for the models and type up a shooting script. The more organized you lot are the less time it takes to shoot the scene."[61] Because game animations focus on dramatic rather than casual actions, the range of character emotions is often limited. However, Kelland, Morris, and Lloyd land that a small range of emotions is often sufficient, as in successful Japanese anime goggle box serial.[62]

Another difference is that machinima is created in real time, but other animation is pre-rendered.[63] Real-time engines need to merchandise quality for speed and use simpler algorithms and models.[63] In the 2001 blithe film Final Fantasy: The Spirits Within, every strand of hair on a graphic symbol's head was independent; existent-time needs would likely force them to exist treated as a single unit of measurement.[63] Kelland, Morris, and Lloyd fence that improvement in consumer-grade graphics technology volition let more realism.[64] Similarly, Paul Marino connects machinima to the increasing computing power predicted by Moore'south law.[27] For cutting scenes in video games, bug other than visual fidelity ascend. Pre-rendered scenes can require more digital storage space, weaken suspension of disbelief through contrast with real-time animation of normal gameplay, and limit interaction.[64]

Like live activity, machinima is recorded in real-time, and real people can act and control the camera.[65] Filmmakers are often encouraged to follow traditional cinematic conventions,[66] [67] such as avoiding broad fields of view, the overuse of tiresome movement,[68] and errors in visual continuity.[69] Unlike live action, machinima involves less expensive, digital special effects and sets, possibly with a science-fiction or historical theme.[65] Explosions and stunts can exist tried and repeated without monetary cost and risk of injury, and the host environment may let unrealistic physical constraints.[65] University of Cambridge experiments in 2002 and 2003 attempted to use machinima to re-create a scene from the 1942 live-action film Casablanca.[70] Machinima filming differed from traditional cinematography in that character expression was limited, just photographic camera movements were more flexible and improvised. Nitsche compared this experiment to an unpredictable Dogme 95 product.[70]

Berkeley sees machinima as "a strangely hybrid form, looking forwards and backwards, cutting edge and conservative at the same time".[71] Machinima is a digital medium based on three-D computer games, merely nearly works accept a linear narrative construction. Some, such as Red vs. Blue and The Strangerhood, follow narrative conventions of television situational comedy.[71] Nitsche agrees that pre-recorded ("reel") machinima tends to be linear and offers express interactive storytelling while machinima has more opportunities performed live and with audience interaction.[72] In creating their improvisational comedy series On the Campaign Trail with Larry & Lenny Lumberjack and talk prove Tra5hTa1k with ILL Will, the ILL Association composite real and virtual performance by creating the works on-stage and interacting with a live audience.[five] In another combination of real and virtual worlds, Chris Burke'due south talk show This Spartan Life takes place in Halo two 'south open up multiplayer surround.[5] There, others playing in earnest may assail the host or his interviewee.[5] Although other virtual theatrical performances have taken place in chat rooms and multi-user dungeons, machinima adds "cinematic camera piece of work".[73] Previously, such virtual cinematic performances with live audience interaction were confined to inquiry labs equipped with powerful computers.[74]

Machinima can be less expensive than other forms of filmmaking. Strange Visitor produced its feature-length machinima motion-picture show BloodSpell for less than £ten,000.[75] Before using machinima, Burnie Burns and Matt Hullum of Rooster Teeth Productions spent United states$9,000 to produce a live-activeness contained motion picture. In contrast, the four Xbox game consoles used to make Scarlet vs. Blue in 2005 toll $600.[76] The low cost acquired a product director for Electronic Arts to compare machinima to the low-budget contained film The Blair Witch Project, without the demand for cameras and actors.[76] Considering these are seen equally low barriers to entry, machinima has been called a "democratization of filmmaking".[77] Berkeley weighs increased participation and a blurred line between producer and consumer confronting concerns that game copyrights limit commercialization and growth of machinima.[78]

Comparatively, machinimists using pre-made virtual platforms like Second Life have indicated that their productions can be made quite successfully with no price at all. Creators like Dutch director Chantal Harvey, producer of the 48 60 minutes Movie Project Machinima sector, have created upward of 200 films using the platform.[ citation needed ] Harvey's advocacy of the genre has resulted in the involvement of film director Peter Greenaway who served as a juror for the Machinima category and gave a keynote spoken language during the result.[ citation needed ]

Character and camera command [edit]

Kelland, Morris, and Lloyd list four primary methods of creating machinima.[79] From simple to avant-garde, these are: relying on the game's AI to command about deportment, digital puppetry, recamming, and precise scripting of deportment.[79] Although simple to produce, AI-dependent results are unpredictable, thus complicating the realization of a preconceived moving-picture show script.[eighty] For instance, when Rooster Teeth produced The Strangerhood using The Sims 2, a game that encourages the utilise of its AI, the group had to create multiple instances of each character to adjust unlike moods.[fourscore] Individual instances were selected at different times to produce appropriate actions.[80]

In digital puppetry, machinima creators become virtual actors. Each crew member controls a character in existent-time, every bit in a multiplayer game.[81] The manager can utilize born photographic camera controls, if bachelor.[81] Otherwise, video is captured from the perspectives of 1 or more puppeteers who serve every bit camera operators.[81] Puppetry allows for improvisation and offers controls familiar to gamers, merely requires more personnel than the other methods and is less precise than scripted recordings.[81] [82] However, some games, such as the Halo series, (except for Halo PC and Custom Edition, which allow AI and custom objects and characters), allow filming but through puppetry.[83] According to Marino, other disadvantages are the possibility of disruption when filming in an open multi-user surroundings and the temptation for puppeteers to play the game in earnest, littering the fix with blood and expressionless bodies.[84] However, Chris Burke intentionally hosts This Spartan Life in these unpredictable conditions, which are key to the show.[v] Other works filmed using puppetry are the ILL Association'due south improvisational comedy series On the Entrada Trail with Larry & Lenny Lumberjack and Rooster Teeth Productions' Blood-red vs. Blue.[85] In recamming, which builds on puppetry, deportment are first recorded to a game engine's demo file format, not directly as video frames.[86] Without re-enacting scenes, artists tin can then dispense the demo files to add cameras, tweak timing and lighting, and change the surround.[87] This technique is limited to the few engines and software tools that support it.[88]

A technique common in cut scenes of video games, scripting consists of giving precise directions to the game engine. A filmmaker can work alone this fashion,[89] as J. Thaddeus "Mindcrime" Skubis did in creating the nearly 4-hour The Seal of Nehahra (2000), the longest work of machinima at the time.[ninety] However, perfecting scripts can be fourth dimension-consuming.[89] Unless what-you-encounter-is-what-you-get (WYSIWYG) editing is available, as in Vampire: The Masquerade – Redemption, changes may need to exist verified in additional runs, and not-linear editing may be hard.[89] [91] In this respect, Kelland, Morris, and Lloyd compare scripting to finish-motility animation.[89] Another disadvantage is that, depending on the game, scripting capabilities may be limited or unavailable.[92] Matinee, a machinima software tool included with Unreal Tournament 2004, popularized scripting in machinima.[89]

Limitations and solutions [edit]

When Diary of a Camper was created, no software tools existed to edit demo files into films.[15] Rangers clan member Eric "ArchV" Fowler wrote his own programs to reposition the photographic camera and to splice footage from the Quake demo file.[93] Convulse movie editing software later appeared, but the use of conventional non-linear video editing software is now common.[94] For case, Phil South inserted single, completely white frames into his work No Licence to raise the visual impact of explosions.[94] In the mail-production of Red vs. Blue: The Blood Gulch Chronicles, Rooster Teeth Productions added letterboxing with Adobe Premiere Pro to hide the camera actor's head-upwardly display.[95]

Machinima creators have used different methods to handle limited character expression. The nigh typical ways that amateur-manner machinima gets effectually limitations of expression include taking reward of spoken communication bubbling seen above players' heads when speaking, relying on the visual matching between a character's phonation and advent, and finding methods available within the game itself. Garry's Mod and Source Filmmaker include the ability to manipulate characters and objects in existent-time, though the sometime relies on community addons to accept reward of certain engine features, and the latter renders scenes using non-real-time effects. In the Halo video game series, helmets completely cover the characters' faces. To preclude confusion, Rooster Teeth's characters move slightly when speaking, a convention shared with anime.[96] Some machinima creators use custom software.[97] For example, Foreign Company uses Take Over GL Face Skins to add more facial expressions to their characters filmed in BioWare'southward 2002 role-playing video game Neverwinter Nights.[97] Similarly, Atussa Simon used a "library of faces" for characters in The Battle of Xerxes.[98] Some software, such as Epic Games' Impersonator for Unreal Tournament 2004 and Valve'south Faceposer for Source games, accept been provided by the developer.[97] Another solution is to alloy in non-machinima elements, as nGame did past inserting painted characters with more than expressive faces into its 1999 moving-picture show Berlin Assassins.[99] It may exist possible to point the camera elsewhere or employ other creative cinematography or acting.[99] For example, Tristan Pope combined creative character and photographic camera positioning with video editing to suggest sexual actions in his controversial film Non Just Another Dearest Story.[100]

Legal bug [edit]

New machinima filmmakers frequently desire to use game-provided digital assets,[101] merely doing so raises legal problems. As derivative works, their films could violate copyright or be controlled past the assets' copyright holder,[102] [103] an organization that tin can be complicated by separate publishing and licensing rights.[102] The software license agreement for The Movies stipulates that Activision, the game's publisher, owns "any and all content inside... Game Movies that was either supplied with the Program or otherwise made available... by Activision or its licensors..."[104] Some game companies provide software to modify their ain games, and machinima makers ofttimes cite fair utilise as a defense, but the upshot has never been tested in court.[105] A potential problem with this defense is that many works, such as Ruby vs. Bluish, focus more on satire, which is not equally explicitly protected past fair use as parody.[106] Berkeley adds that, even if machinima artists utilize their own assets, their works could be ruled derivative if filmed in a proprietary engine.[107] The gamble inherent in a fair-apply defense would crusade most machinima artists simply to yield to a cease-and-desist order.[108] The AMAS has attempted to negotiate solutions with video game companies, arguing that an open-source or reasonably priced culling would sally from an unfavorable situation.[105] Different The Movies, some dedicated machinima software programs, such as Reallusion's iClone, take licenses that avoid claiming ownership of users' films featuring bundled assets.[103]

Generally, companies want to retain creative control over their intellectual properties and are wary of fan-created works, similar fan fiction.[107] However, because machinima provides gratuitous marketing, they accept avoided a response demanding strict copyright enforcement.[109] In 2003, Linden Lab was praised for changing license terms to allow users to retain buying of works created in its virtual world Second Life.[110] Rooster Teeth initially tried to release Red vs. Blue unnoticed by Halo 'south owners considering they feared that whatsoever advice would force them to end the project.[111] However, Microsoft, Bungie's parent visitor at the time, contacted the group before long afterward episode two,[111] and immune them to continue without paying licensing fees.[112]

A example in which programmer control was asserted involved Blizzard Entertainment's action confronting Tristan Pope's Non Just Another Love Story.[113] Blizzard'southward community managers encouraged users to post game movies and screenshots, but viewers complained that Pope's suggestion of sexual actions through creative camera and character positioning was pornographic.[114] Citing the user license agreement, Blizzard airtight discussion threads about the picture and prohibited links to it.[113] Although Pope accepted Blizzard's right to some control, he remained concerned about censorship of material that already existed in-game in some class.[115] Discussion ensued about boundaries between MMORPG player and developer control.[115] Lowood asserted that this controversy demonstrated that machinima could be a medium of negotiation for players.[116]

Microsoft and Blizzard [edit]

In August 2007, Microsoft issued its Game Content Usage Rules, a license intended to accost the legal condition of machinima based on its games, including the Halo series.[117] Microsoft intended the rules to exist "flexible",[118] and, considering it was unilateral, the license was legally unable to reduce rights.[119] Nevertheless, machinima artists, such as Edgeworks Entertainment, protested the prohibitions on extending Microsoft'due south fictional universes (a common component of fan fiction) and on selling anything from sites hosting derivative works.[120] Compounding the reaction was the license's statement, "If you lot do any of these things, you can expect to hear from Microsoft's lawyers who will tell you lot that yous have to terminate distributing your items right away."[121]

Surprised by the negative feedback,[121] Microsoft revised and reissued the license after discussion with Hugh Hancock and an attorney for the Electronic Borderland Foundation.[119] The rules permit noncommercial utilise and distribution of works derived from Microsoft-owned game content, except audio effects and soundtracks.[122] The license prohibits reverse engineering and material that is pornographic or otherwise "objectionable".[122] On distribution, derivative works that elaborate on a game'due south fictional universe or story are automatically licensed to Microsoft and its business partners.[123] This prevents legal problems if a fan and Microsoft independently excogitate similar plots.[123]

A few weeks subsequently, Blizzard Entertainment posted on WorldofWarcraft.com their "Letter to the Machinimators of the Globe", a license for noncommercial use of game content.[124] It differs from Microsoft's proclamation in that it addresses machinima specifically instead of general game-derived content, allows use of game audio if Blizzard tin can legally license it, requires derivative material to encounter the Amusement Software Rating Board'south Teen content rating guideline, defines noncommercial use differently, and does not accost extensions of fictional universes.[125]

Hayes states that, although licensees' benefits are limited, the licenses reduce reliance on fair use regarding machinima.[126] In turn, this recognition may reduce film festivals' concerns about copyright clearance. In an earlier analogous state of affairs, festivals were concerned about documentary films until all-time practices for them were developed.[127] According to Hayes, Microsoft and Blizzard helped themselves through their licenses considering fan creations provide gratis publicity and are unlikely to harm sales.[128] If the companies had instead sued for copyright infringement, defendants could take claimed estoppel or implied license considering machinima had been unaddressed for a long fourth dimension.[129] Thus, these licenses secured their issuers' legal rights.[129] Fifty-fifty though other companies, such as Electronic Arts, have encouraged machinima, they take avoided licensing it.[130] Because of the involved legal complexity, they may adopt to under-enforce copyrights.[130] Hayes believes that this legal uncertainty is a suboptimal solution and that, though limited and "idiosyncratic", the Microsoft and Blizzard licenses motion towards an ideal video gaming industry standard for handling derivative works.[131]

Semiotic fashion [edit]

Just as machinima can be the cause of legal dispute in copyright buying and illegal utilise, information technology makes heavy apply of intertextuality and raises the question of authorship. Machinima takes copyrighted property (such equally characters in a game engine) and repurposes it to tell a story, only another common practice in machinima-making is to retell an existing story from a different medium in that engine.

This re-appropriation of established texts, resources, and artistic properties to tell a story or make a statement is an example of a semiotic phenomenon known as intertextuality or resemiosis.[5] A more mutual term for this phenomenon is "parody", but not all of these intertextual productions are intended for humor or satire, as demonstrated past the Few Good G-Men video. Furthermore, the argument of how well-protected machinima is under the guise of parody or satire is still highly debated. A piece of machinima may be reliant upon a protected holding, but may non necessarily be making a statement nigh that property.[132] Therefore, it is more than authentic to refer to it simply as resemiosis, considering it takes an creative piece of work and presents it in a new manner, course, or medium. This resemiosis can exist manifested in a number of means. The machinima-maker can be considered an author who restructures the story and/or the earth that the chosen game engine is built around.[133] In the popular web series Crimson vs. Blue, most of the storyline takes place within the game engine of Halo: Combat Evolved and its subsequent sequels. Halo: Gainsay Evolved has an extensive storyline already, but Cerise vs. Blue only always makes mention of this storyline once in the first episode.[134] Even after over 200 episodes of the show existence broadcast onto the Internet since 2003, the simply real similarities that tin be drawn betwixt Red vs. Blue and the game-world information technology takes place in are the character models, props, vehicles, and settings. Yet Burnie Burns and the machinima team at Rooster Teeth created an all-encompassing storyline of their ain using these game resources.

The ability to re-appropriate a game engine to film a video demonstrates intertextuality considering it is an obvious example of art existence a product of creation-through-manipulation rather than creation per se. The art historian Ernst Gombrich likened art to the "manipulation of a vocabulary"[135] and this can be demonstrated in the creation of machinima. When using a game world to create a story, the author is influenced past the engine. For example, since so many video games are built around the concept of state of war, a significant portion of machinima films also take place in war-similar environments.[133]

Intertextuality is further demonstrated in machinima not but in the re-appropriation of content just in artistic and communicatory techniques. Machinima by definition is a class of puppetry,[136] and thus this new course of digital puppetry employs historic period-old techniques from the traditional artform.[137] Information technology is also, notwithstanding, a form of filmmaking, and must employ filmmaking techniques such as photographic camera angles and proper lighting. Some machinima takes place in online environments with participants, actors, and "puppeteers" working together from thousands of miles apart. This means other techniques born from long-distance communication must besides exist employed. Thus, techniques and practices that would normally never be used in conjunction with 1 another in the creation of an artistic work end up being used intertextually in the creation of machinima.

Some other way that machinima demonstrates intertextuality is in its tendency to make frequent references to texts, works, and other media just like TV ads or humorous cartoons such as The Simpsons might do.[138] For case, the machinima series Freeman'south Heed, created by Ross Scott, is filmed by taking a recording of Scott playing through the game Half Life as a player normally would and combining information technology with a voiceover (also recorded by Scott) to emulate an inner monologue of the unremarkably voiceless protagonist Gordon Freeman.[139] Scott portrays Freeman as a snarky, sociopathic character who makes frequent references to works and texts including science fiction, horror films, action movies, American history, and renowned novels such every bit Moby Dick. These references to works exterior the game, often triggered by events within the game, are prime examples of the densely intertextual nature of machinima.

Mutual genres [edit]

Nitsche and Lowood describe two methods of budgeted machinima: starting from a video game and seeking a medium for expression or for documenting gameplay ("within-out"), and starting exterior a game and using it merely as animation tool ("outside-in").[5] [140] Kelland, Morris, and Lloyd similarly distinguish between works that retain noticeable connections to games, and those closer to traditional animation.[141] Belonging to the former category, gameplay and stunt machinima began in 1997 with Convulse done Quick.[141] Although not the first speedrunners, its creators used external software to manipulate camera positions afterwards recording, which, according to Lowood, elevated speedrunning "from cyberathleticism to making movies".[142] Stunt machinima remains pop. Kelland, Morris, and Lloyd country that Halo: Combat Evolved stunt videos offer a new way to await at the game, and compare Battlefield 1942 machinima creators to the Harlem Globetrotters.[143] Built-in features for video editing and post-recording photographic camera positioning in Halo 3 were expected to facilitate gameplay-based machinima.[144] MMORPGs and other virtual worlds accept been captured in documentary films, such as Miss Galaxies 2004, a dazzler pageant that took place in the virtual world of Star Wars Galaxies.[145] Footage was distributed in the cover disc of the August 2004 event of PC Gamer.[145] Douglas Gayeton's Molotov Alva and His Search for the Creator documents the championship character'south interactions in 2d Life.[46]

Gaming-related comedy offers another possible entry point for new machinima producers.[141] Presented as v-minute sketches, many machinima comedies are coordinating to Internet Flash animations.[141] After Clan Undead's 1997 piece of work Operation Bayshield built on the earliest Quake movies past introducing narrative conventions of linear media[146] and sketch comedy reminiscent of the television set show Sabbatum Night Live,[147] the New-York-based Sick Clan further developed the genre in machinima through works including Apartment Huntin' and Hardly Workin'.[148] Red vs. Blue: The Blood Gulch Chronicles chronicles a futile civil state of war over five seasons and 100 episodes.[148] [149] Marino wrote that although the series' humor was rooted in video games, strong writing and characters caused the series to "transcend the typical gamer".[41] An example of a one-act film that targets a more than full general audience is Strange Visitor'southward Tum Raider, produced for the BBC in 2004.[150]

Machinima has been used in music videos, of which the starting time documented case is Ken Thain'south 2002 "Rebel vs. Thug", made in collaboration with Chuck D.[44] For this, Thain used Quake2Max, a modification of Quake Two that provided cel-shaded animation.[151] The following year, Tommy Pallotta directed "In the Waiting Line" for the British group Zero 7.[152] He told Computer Graphics World, "It probably would have been quicker to do the flick in a 3D animated program. Simply at present, we can reuse the avails in an improvisational fashion."[153] Scenes of the game Postal 2 tin can be seen in the music video of the Black Eyed Peas single "Where Is the Love?".[154] In tv set, MTV features video game characters on its show Video Mods.[44] Among World of Warcraft players, trip the light fantastic toe and music videos became pop after dancing animations were discovered in the game.[155]

Others utilise machinima in drama. These works may or may not retain signs of their video game provenance.[156] Unreal Tournament is often used for science fiction and Battlefield 1942 for war, but some artists subvert their chosen game'south setting or completely detach their work from it.[157] In 1999, Foreign Visitor used Quake Two in Eschaton: Nightfall, a horror film based on the piece of work of H. P. Lovecraft (although Quake I was besides based on the Lovecraft lore).[158] A later case is Damien Valentine's series Consanguinity, fabricated using BioWare's 2002 computer game Neverwinter Nights and based on the television receiver serial Buffy the Vampire Slayer.[158] Another genre consists of experimental works that try to push the boundaries of game engines.[159] One example, Fountainhead's Anna, is a curt flick that focuses on the cycle of life and is reminiscent of Fantasia.[159] Other productions go farther and completely eschew a 3-D appearance.[159] Friedrich Kirschner's The Tournament and The Journey deliberately appear hand-fatigued, and Dead on Que's False Science resembles two-dimensional Eastern European modernist blitheness from the 1970s.[159]

Another derivative genre termed machinima verite, from cinéma vérité, seeks to add a documentary and boosted realism to the machinima piece. 50.Thousand. Sabo'due south CATACLYSM achieves a machinima verite mode through displaying and recapturing the machinima video with a low resolution black and white paw-held video camera to produce a shaky camera result. Other chemical element of cinéma vérité, such as longer takes, sweeping camera transitions, and jump cuts may be included to consummate the effect.

Some accept used machinima to make political statements, often from left-wing perspectives.[160] Alex Chan's take on the 2005 ceremonious unrest in French republic, The French Democracy, attained mainstream attention and inspired other machinima commentaries on American and British society.[161] [162] Horwatt deemed Thuyen Nguyen'southward 2006 An Unfair State of war, a criticism of the Republic of iraq War, similar in its attempt "to speak for those who cannot".[163] Joshua Garrison mimicked Chan's "political pseudo-documentary style" in his Virginia Tech Massacre, a controversial Halo three–based re-enactment and explanation of the eponymous existent-life events.[164] More recently, War of Internet Habit addressed internet censorship in China using Earth of Warcraft.[165]

Competitions [edit]

After the QML's Quake Movie Oscars, defended machinima awards did non reappear until the AMAS created the Mackies for its commencement Machinima Picture show Festival in 2002.[166] The annual festival has become an important one for machinima creators.[167] Ho Chee Yue, a founder of the marketing company AKQA, helped to organize the first festival for the Asia chapter of the AMAS in 2006.[168] In 2007, the AMAS supported the first machinima festival held in Europe.[169] In add-on to these smaller ceremonies, Hugh Hancock of Strange Company worked to add an accolade for machinima to the more full general Bitfilm Festival in 2003.[170] Other general festivals that allow machinima include the Sundance Film Festival, the Florida Pic Festival, and the New Media Flick Festival.[167] The Ottawa International Animation Festival opened a machinima category in 2004, merely, citing the need for "a certain level of excellence", declined to laurels anything to the category's four entries that twelvemonth.[171]

Machinima has been showcased in contests sponsored past game companies. Ballsy Games' popular Make Something Unreal contest included machinima that impressed consequence organizer Jeff Morris considering of "the quality of entries that really push the applied science, that attain things that Ballsy never envisioned".[167] In December 2005, Blizzard Amusement and Xfire, a gaming-focused instant messaging service, jointly sponsored a Globe of Warcraft machinima contest.[172]

See also [edit]

  • 3DMM
  • Figurer animation
  • Computer-generated imagery
  • 1996 in machinima
  • 2003 in machinima
  • 2004 in machinima
  • 2005 in machinima
  • 2006 in machinima
  • 2007 in machinima
  • Overwatch and pornography

Notes [edit]

  1. ^ Krapp 2010, 160
  2. ^ Harwood, Tracy 1000.; Grussi, Ben (2021). Pioneers in Machinima: The Grassroots of Virtual Production. Vernon Press. ISBN978-one-64889-214-1 . Retrieved 23 April 2021.
  3. ^ a b c d Marino 2004a, 5
  4. ^ Green 1995, i
  5. ^ a b c d e f m h i j one thousand Nitsche, Michael (2007). "Challenge Its Space: Machinima". dichtung-digital.de. Archived from the original on 14 August 2014. Retrieved six May 2013.
  6. ^ a b Marino 2004a, three
  7. ^ Lowood 2006, 30
  8. ^ Lowood 2005, 11
  9. ^ Krapp 2011, 93
  10. ^ Benayoun 2011, 44-49
  11. ^ Benayoun 2011, fifty-54
  12. ^ Lowood 2005, 12
  13. ^ a b Marino 2004a, 4
  14. ^ a b c Kelland, Morris & Lloyd 2005, 28
  15. ^ a b Lowood 2006, 33
  16. ^ a b Lowood 2006, 32
  17. ^ Lowood 2005, 13, 16
  18. ^ Lowood 2005, 13
  19. ^ a b c Marino 2004a, 7
  20. ^ Kelland, Morris & Lloyd 2005, 28; Marino 2004a, 6–vii
  21. ^ Machinima.com staff 2001 harvnb error: no target: CITEREFMachinima.com2001 (aid); Heaslip 1998
  22. ^ Moss 2001 harvnb fault: no target: CITEREFMoss2001 (help)
  23. ^ Lowood 2007, 179
  24. ^ a b c Marino 2004a, 8
  25. ^ Marino 2004a, nine
  26. ^ a b c Marino 2004a, 10–eleven
  27. ^ a b c Marino 2004a, 11
  28. ^ "DEUX EX MACHIMINA – BORG WAR DOING Expedition CON". Newsarama.com. Archived from the original on 2007-09-29. Retrieved 2007-07-24 .
  29. ^ "Meet an Unauthorized Animated Star Trek Characteristic Film". IF Magazine. Archived from the original on 2007-09-27. Retrieved 2007-07-19 .
  30. ^ "'Borg Wars' for side by side generation of movie makers". Nashua Telegraph . Retrieved 2007-07-nineteen .
  31. ^ a b c d e Marino 2004a, 12
  32. ^ a b Kelland, Morris & Lloyd 2005, 30
  33. ^ a b Lowood 2007, 184
  34. ^ Marino 2004a, 13
  35. ^ Ebert 2000; Marino 2004a, 13
  36. ^ Marino 2004a, xiv–xv
  37. ^ a b Marino 2004a, sixteen
  38. ^ a b Marino 2004a, 17
  39. ^ University of Machinima Arts & Sciences 2007
  40. ^ Marino 2004a, 18
  41. ^ a b Marino 2004a, nineteen
  42. ^ Marino 2004a, 23
  43. ^ PC Zone staff 2004, 12
  44. ^ a b c Kelland, Morris & Lloyd 2005, 66
  45. ^ Machinima.com staff 2006
  46. ^ a b Andrews 2007, 1
  47. ^ Wallenstein 2008
  48. ^ a b Kelland, Morris & Lloyd 2005, 58–59
  49. ^ Rooster Teeth[ full citation needed ]
  50. ^ Marino 2004b
  51. ^ "Red Vs. Bluish: The Cash Is Always Greener". Forbes. December ten, 2006. Retrieved 2007-09-24 .
  52. ^ a b "The Hereafter of Machinima". BusinessWeek. McGraw–Hill. August twenty, 2007. p. 2. Archived from the original on 2009-08-13. Retrieved 2009-03-01 .
  53. ^ Lowood 2007, 166
  54. ^ Musgrove 2005
  55. ^ McDougall, Jaz (2010-08-26). "Valve desire to make the Half-Life movie themselves". PC Mag.
  56. ^ Megan Bernard - Clean Up Your Life (HD). Dec 31, 2015. Archived from the original on 2021-11-17 – via YouTube.
  57. ^ Oh, Bryn (January viii, 2016). "Make clean up your life by Megan Bernard". Archived from the original on 2016-02-24.
  58. ^ Thier 2019.
  59. ^ Marino 2004a, ane
  60. ^ Kelland, Morris & Lloyd 2005, 19–20
  61. ^ "MAGE Magazine". Retrieved 2015-09-24 .
  62. ^ Kelland, Morris & Lloyd 2005, 78–79
  63. ^ a b c Kelland, Morris & Lloyd 2005, 24
  64. ^ a b Kelland, Morris & Lloyd 2005, 27
  65. ^ a b c Kelland, Morris & Lloyd 2005, 22
  66. ^ McMahan 2005, 36–37; Marino 2004a, 347–348, 362
  67. ^ Kelland, Morris & Lloyd 2005, 142–143
  68. ^ McMahan 2005, 37
  69. ^ Kelland, Morris & Lloyd 2005, 142
  70. ^ a b Nitsche 2009, 114–115
  71. ^ a b Berkeley 2006, 67
  72. ^ Nitsche 2005, 223–224
  73. ^ Nitsche 2005, 214
  74. ^ Nitsche 2005, 224-225
  75. ^ Price 2007
  76. ^ a b Thompson 2005, 2
  77. ^ Thompson 2005, 2; Matlack & Grover 2005
  78. ^ Berkeley 2006, 68–70
  79. ^ a b Kelland, Morris & Lloyd 2005, 80
  80. ^ a b c Kelland, Morris & Lloyd 2005, 82
  81. ^ a b c d Kelland, Morris & Lloyd 2005, 87
  82. ^ Marino 2004a, 349
  83. ^ Nitsche 2009, 113
  84. ^ Marino 2004a, 351
  85. ^ Nitsche 2009, 114
  86. ^ Kelland, Morris & Lloyd 2005, xc
  87. ^ Kelland, Morris & Lloyd 2005, ninety–91
  88. ^ Kelland, Morris & Lloyd 2005, 91
  89. ^ a b c d e Kelland, Morris & Lloyd 2005, 94
  90. ^ Police force 2000; Skubis 2000
  91. ^ Hancock 2000, 1
  92. ^ Kelland, Morris & Lloyd 2005, 129
  93. ^ Lowood 2006, 33; Wu north.d.
  94. ^ a b Kelland, Morris & Lloyd 2005, 114
  95. ^ Moltenbrey 2005 harvnb error: no target: CITEREFMoltenbrey2005 (help)
  96. ^ Kelland, Morris & Lloyd 2005, 131
  97. ^ a b c Kelland, Morris & Lloyd 2005, 78
  98. ^ Kelland, Morris & Lloyd 2005, 79
  99. ^ a b Kelland, Morris & Lloyd 2005, 130
  100. ^ Lowood 2007, 188
  101. ^ Kelland, Morris & Lloyd 2005, 96
  102. ^ a b Kelland, Morris & Lloyd 2005, 98
  103. ^ a b Varney 2007, 2
  104. ^ Quoted in Varney 2007, 2
  105. ^ a b Kelland, Morris & Lloyd 2005, 98–99
  106. ^ Sunder 2006, 309
  107. ^ a b Berkeley 2006, 69
  108. ^ Hayes 2008, 569
  109. ^ Hayes 2008, 569, 582
  110. ^ Marcus 2008, 80
  111. ^ a b Kelland, Morris & Lloyd 2005, 99; Konow 2005, 2
  112. ^ Thompson 2005, 3
  113. ^ a b Lowood 2007, 190
  114. ^ Lowood 2007, 188, 190
  115. ^ a b Lowood 2007, 190–191
  116. ^ Lowood 2007, 191
  117. ^ Hayes 2008, 569, 571
  118. ^ James 2007, 29
  119. ^ a b Hayes 2008, 570
  120. ^ James 2007, 29–30; Hayes 2008, 570
  121. ^ a b James 2007, xxx
  122. ^ a b Hayes 2008, 571
  123. ^ a b Hayes 2008, 571–572
  124. ^ Hayes 2008, 572
  125. ^ Hayes 2008, 573–576
  126. ^ Hayes 2008, 576
  127. ^ Hayes 2008, 576–577
  128. ^ Hayes 2008, 577–579
  129. ^ a b Hayes 2008, 580
  130. ^ a b Hayes 2008, 583
  131. ^ Hayes 2008, 585, 587
  132. ^ Dogan 2012.
  133. ^ a b Frølunde 2012.
  134. ^ Burns, Burnie. "Red vs. Blue Episode i Script". Archived from the original on November 27, 2010. Retrieved 6 May 2013.
  135. ^ Hawthorn 1993, p. 125.
  136. ^ Jacobs 2011.
  137. ^ Frølunde 2010.
  138. ^ Chandler, Daniel (2007). Semiotics: The Basics. London, England: Routledge. p. 200. ISBN978-0415363754.
  139. ^ Freeman's Listen - Accursed Farms
  140. ^ Lowood 2008
  141. ^ a b c d Kelland, Morris & Lloyd 2005, 40
  142. ^ Lowood 2006, 34
  143. ^ Kelland, Morris & Lloyd 2005, forty, 43
  144. ^ Tuttle 2007
  145. ^ a b Kelland, Morris & Lloyd 2005, 43
  146. ^ Lowood 2006, 37
  147. ^ Wilonsky 2002, 1
  148. ^ a b Kelland, Morris & Lloyd 2005, 46
  149. ^ Lankshear & Knobel 2007, 226
  150. ^ Kelland, Morris & Lloyd 2005, 46–47
  151. ^ Hanson 2004, 62
  152. ^ Kelland, Morris & Lloyd 2005, 66–67
  153. ^ Robertson 2003, 11 harvnb fault: no target: CITEREFRobertson2003 (help)
  154. ^ "Postal 2 Features In Music Video". Gameworld Industries. 2003-07-17. Archived from the original on 2011-09-xxx. Retrieved 2011-06-16 .
  155. ^ Lowood 2007, 187–188
  156. ^ Kelland, Morris & Lloyd 2005, 50–52
  157. ^ Kelland, Morris & Lloyd 2005, 50–51
  158. ^ a b Kelland, Morris & Lloyd 2005, 52
  159. ^ a b c d Kelland, Morris & Lloyd 2005, 54
  160. ^ Horwatt 2008, 12
  161. ^ Lowood 2007, 167
  162. ^ Diderich 2005
  163. ^ Horwatt 2008, thirteen
  164. ^ Horwatt 2008, 13; Gish 2008
  165. ^ Chao, Loretta (2010-02-12). "'War of Internet Addiction' Wins Hearts and Minds in China". The Wall Street Journal.
  166. ^ Marino 2002 harvnb error: no target: CITEREFMarino2002 (help)
  167. ^ a b c Kelland, Morris & Lloyd 2005, 69
  168. ^ Association of Machinima Arts & Sciences n.d.
  169. ^ Harwood 2007
  170. ^ "The Bitfilm Competitions" (PDF). Bitfilm Festival. July 2008. p. 3. Archived from the original (PDF) on 2009-03-20. Retrieved 2009-02-27 .
  171. ^ Osborne 2004 harvnb error: no target: CITEREFOsborne2004 (assistance)
  172. ^ Maragos 2005

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  • Skubis, J. Thaddeus (twenty October 2000). "Directors Notes: The Seal of Nehahra". Machinima.com. Machinima, Inc. Archived from the original on 23 October 2009. Retrieved 2006-08-25 .
  • Sunder, Madhavi (November 2006). "IP3". Stanford Law Review. 59 (2): 257–332. ISSN 0038-9765.
  • Thier, David (April 9, 2019). "Evidently, 'Onetime Town Route (I Got The Horses In the Back)' Is A 'Cherry-red Expressionless Redemption 2' Music Video". Forbes . Retrieved 2021-12-30 .
  • Thompson, Clive (Baronial 7, 2005). "The Xbox Auteurs". The New York Times. ISSN 0362-4331. Retrieved 2009-02-17 .
  • Tuttle, Will (July 12, 2007). "E3 2007: Halo 3 Saved Films Preview (Xbox 360)". Squad Xbox. IGN Entertainment. Archived from the original on September xiv, 2007. Retrieved 2007-09-25 .
  • Varney, Allen (March 13, 2007). "The French Democracy: A machinima smash raises questions about art - and copyright". The Escapist. Themis Grouping. Archived from the original on 2009-04-12. Retrieved 2009-03-18 .
  • Wallenstein, Andrew (December 18, 2008). "Boob tube vets, Machinima laugh it upwardly". The Hollywood Reporter. 407 (49): vii. ISSN 0018-3660. Retrieved 2012-02-01 .
  • Wilonsky, Robert (August 15, 2002). "Joystick Cinema". Houston Press. Village Voice Media. OCLC 29800759. Archived from the original on 2008-07-18. Retrieved 2009-03-25 .
  • Wu, Andrew. "Who's Who in Convulse". Planet Convulse. GameSpy. Archived from the original on 2008-06-26. Retrieved 2008-08-23 .

Farther reading [edit]

  • Greenaway, Peter. "Peter Greenaway & Skillful Console Select 48 Hour Machinima Competition Winners". Hamlet Au. New World Notes. Retrieved 2010-09-30 .
  • Mazalek, Ali; Nitsche, Michael (June 13, 2007). "Tangible interfaces for real-fourth dimension 3D virtual environments". Proceedings of the international briefing on Advances in calculator entertainment technology. ACM International Briefing Proceeding Serial. Vol. 203. New York City: Clan for Computing Machinery. 155–162. CiteSeerX10.1.one.70.3690. doi:x.1145/1255047.1255080. ISBN978-ane-59593-640-0. S2CID 2559639.
  • Picard, Martin (2007). "Machinima: Video Game As An Fine art Grade?". Loading... Canadian Game Studies Association. i (i). Archived from the original on 2012-02-15. Retrieved 2009-05-08 .
  • Reid, Christopher (2009). "Fair Game: The Application of Fair Employ Doctrine to Machinima". Fordham Intellectual Property, Media & Entertainment Constabulary Periodical. 19 (iii). 831–876. ISSN 1079-9699. Retrieved 2009-05-10 .
  • Salen, Katie; Zimmerman, Eric (2003). Rules of Play. Cambridge, Massachusetts: MIT Press. ISBN978-0-262-24045-1 . Retrieved 2009-03-01 .
  • Veigl, Thomas (2011). "Machinima: On the Invention and Innovation of a New Visual Media Technology". Imagery in the 21st Century. Imagery in the 21st Century: 81–96. Cambridge, Massachusetts: MIT Press. pp. 81–94. doi:10.7551/mitpress/9780262015721.003.0005. ISBN9780262015721.

External links [edit]

  • Machinima at Curlie
  • Machinima at the Cyberspace Archive

Source: https://en.wikipedia.org/wiki/Machinima

Posted by: wrighthathery.blogspot.com

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