A performance by a camera ham, shutterbug or just a plain histrionic narcissist? This week’s review discusses an older machinima that has highly contemporary themes in it: carry-on-regardless, daydreaming, whatever, so long as the virtual camera is rolling. The film is called Daydream (2009) set to the titular song by Lovin’ Spoonful, created by Mystfit and made Valve’s Half Life 2. Needless to say, we loved the humor but what makes this machinima interesting is that it was a scripted production created by running a path sequencer inside the game, harking back to the early days of how machinimas were made but so is reminiscent of how contemporary tools such as iClone and Unreal now work.
This week we also begin with Ricky talking about ultra-wide monitors, using it to play Elden Ring (a mod required) and the #SAGAFTRA strike; and, Phil gives an overview of his remastering project of the Machiniplex collection and his homage to the great Hugh Hancock, founder the #machinima movement, the upcoming showcase of Bloodspell and also his own response to some of the hoopla that Hugh created at the time of its release in 2006!
YouTube Version of this Episode
Show Notes & Links
Film, Daydream by Mystfit, released 6 January 2009
Our final post this month takes a look at more projects made in Unreal Engine. Once again, we are blown away by the incredible diversity of creative work made with this engine and the power it unleases among its ever growing community of users. It is not always cheap to do, but it can sometimes be free! Check these out.
Scaled Up
Planet Earth as an 80K digital recreation, designed for ‘orbital scenes and cinematic scenes of Earth, this model is available as a download in the Unreal Marketplace. It took creator Tuomas Hakala (aka MegaMammoth) two years to create and boy does it show. Its not a cheap asset to buy at £550+, but if this is something you want to include in high fidelity work, its surely worth it –
Leo Torres has re-created and upscaled vision of his beloved Skyrim Whiterun world. He has made some assumptions about what the world might scale to, stating that although its hard to tell just how big the population of the game might be, he is pretty sure it will exceed what was seen in the game! He’s used experience and fan facts to produce something that is ‘lore-scale’ – wonderful, even if its not playable –
Highlighted
Another Unreal short is DISTANCE by Machina Infinitum, a 3D fractal short made using a plugin the creator has built for UE5 called Essence. Their intention for using the tool is create realtime renders, typically for VR. Its on the Marketplace here at a very reasonable $40, and check out the video, released 17 Oct 2022, here –
Freedom!
We’ve been talking about no/low cost movie making since machinima.dot.one (1996 actually) so its great to see that mantra being picked up by others. In this case, Taiyaki Studios have made a short demo, called Airship DJ, in UE5 and another on how they made it. Check out the films here –
Film, released 21 July 2022 –
Explainer featuring Cory Williams, released 21 July 2022, here –
This week, we’ve got a few things for you to add to your tools list and some info about things you’ll be keen to watch out for… but before you check those out, we share with you a showcase of Unreal’s MetaHuman and a rather creepy demo of tendons in Blender!
Showcase
This is a creative piece, made using Unreal’s MetaHuman, that will give you goosebumps – note the very detail of the facial animation and especially the whistfulness captured in eyes of the character. You could almost see this guy opening a bank account using facial recognition tech! The short, based on a poem by Mike Antic, is called Blue Dot and has been created by Epic’s 3Lateral team in collaboration with Serbian artist Radivoje Bukvic (released 15 June) –
In this uncanny valley special demo created in Blender, Chris Jones‘ shows a ‘throwaway WIP’ – its great but if this is modelled on someone’s actual hand, well, I don’t really want to know more…
Out Now
Reallusion has released free ZBrush and Character Creator plugins. Both are excellent tools for refining your animations, and the ability to link these together makes for exciting new possibilities for improving your workflow. Here’s the link to the downloads and here’s a video explainer –
The popular open world game, No Man’s Sky is now also available for Mac. This may or not make it more accessible to creators because, of course, most of the tools folks have are still only PC but nonetheless its a start!
Onwards and Upwards
Unity, in collaboration with Apple, has devised a Beta programe for creating ‘spatial experiences’, intended to support development of content for the Apple Vision Pro. You can sign up to participate here.
Unreal features a neat demo of its massively scalable procedural generation framework (PGC), which ships with version release 5.2. This looks great – the demo is called Electric Dreams, and also illustrates its amazing Substate system. Video link here –
Worth Waiting For
Blockbuster Inc., seemingly made in the mold of that well-known machinima creator studio released way back in 2005 called The Movies, has released a demo which is now on Steam (it is being developed by indie studio, Super Sly Fox). Here’s the link – the full release date is reported as being later this year.
We’re all eagerly awaiting Blender 4.0, right (due November 2023)? As part of the release, Grease Pencil 3.0 will be included in its 2D animation toolset, originally an annotation tool that has evolved to do quite a bit more. You can read the update on Blender’s develop blog here.
Megabuilds and complexity are increasingly themes being promoted by the creative tool developers, and this week’s selection highlights a few projects that demonstrate what’s possible.
Who would have even thought about building our entire universe in Minecraft, let alone actually done it? This video, released 3 October 2022, is how Chris DaCow went about the project, including his preparatory trip/fall from an aircraft (IRL) for inspiration –
Covering similar themes, MelodySheep discusses Water Worlds, released 28 April (our feature image). This is not a megabuild per se but is a good illustration of the future of inter-planetary reviews. The approach is interesting, drawing inspiration from the discoveries of the James Webb Telescope: think a combination of the style of Sagan and Attenborough –
The next film is a descriptor of a 2D game called Rain World, released in 2017. The video creator, Curious Archive, outlines why he believes this game is one of the most sophisticated and complex virtual worlds ever created. The short (22 mins) is called The Most Complex Ecosystem in any Game, released 22 December 2022…. mmm, 22 is a bit of a theme here too. I’m fairly sure Ricky will disagree on this, with his elder Elden Ring hat on, but check it out and do let us have your thoughts –
Finally, this official music video, released on 5 May, shows an expansive world to tell a visually stunning story that compliments the song. The creators unfortunately do not credit the tools that have been used, which look like Unreal Engine and Blender. The song is called Angels by Frank Polucci, lyrics by Marco Genovesi and the video is by Alex Popescu. Its another short that illustrates the diversity of creative skills now being deployed for increasingly complex visualizations –
We’ve been following the debate on copyright, fair use and transformative use of IP for what seems like 30 years in the world of machinima (see some of our posts here, here and here) – oh, actually its 27 years…! On 18 May, the world was exercised a little further on the issue of transformative use when the Supreme Court (US) reached its decision on Andy Warhol’s use of a photograph of Prince in a magazine – a case that’s been running since 2016, following Prince’s death. Many suggested this decision is the beginning of end of transformative use – or at least ‘narrows the ‘fair use’ doctrine‘ – and will have massive detrimental impacts on all things created, such as machinima from games engines… however, with the particular scenario fully outlined, this was probably the right outcome for this case. The scenario relates to an unattributed use of an image from a private collecton of works (created and held by Warhol/foundation), where other works involving the same creatives in the collection had previously been attributed and the photographer recompensed when having been used in magazines, and the fact that both Warhol and the photographer (Lynn Goldsmith) made money from selling images individually. So, this decision is about context of use involving the individuals as much as it is ‘fair use’ per se. Justice Sotomayor stated the important factor in the fair-use analysis was that “the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes” pushed the decision in favour of the photographer, arguing that “licenses, for photographs or derivatives of them, are how photographers like Goldsmith make a living. They provide an economic incentive to create original works, which is the goal of copyright.” You can read the ruling in full here – or use your favorite search tool for a link to any one of the numerous news articles covering the case.
So, until such time as the principle applied in this case is actually applied to a creator context, where income is rarely a goal of productions beyond individual recognition and perhaps the meagre YouTube % share for eyeballs it receives, and transformation is generally well beyond that originally intended by say a game dev, it feels like there’s nothing to see here.
Meta
On 23 June, Second Life turns 20 years old! There will be virtual parties, exhibitions, product sales and more – for 20 days of course, and you can find out more on the community website here. Happy Birthday to all the Lindens – the first open world environment to truly embrace metaversal themes.
If you want to catch up on some light reading, then its also worth noting that Wagner James Au’s new book releases a week later on 27 June, called Making a Metaverse that Matters. Au also regularly writes some great updates for what has to be one of the longest-running metaverse blogs. Its called New World Notes, which he founded in 2006. Au was the first metaverse journalist and marketer for SL back in 2003. Links to the book here –
Excited to tease the cover for my book, "Making a Metaverse That Matters"!
In stores next month. Please consider pre-ordering.
Nvidia are releasing a monthly update on its blog of all things Omniverse, including latest advancements for the OpenUSD framework that has so quickly become the gold standard for integrating a wide range of creator tools in a 3D workflow. Here‘s the link to the first part of the ‘Into the Omniverse’ series (our feature image for this post) which includes an overview of an update to the connector for Adobe Substance 3D Painter. Substance 3D releases its latest version 203.0 in mid June. This series is a must follow for all content creators, whether or not you own an RTX!
-Versal
For those seeking advice on devising a virtual production pipeline, Unreal Engine has helpfully released a visualisation guide here and a nice vid here –
Unreal Engine released version 5.2 on 11 May, which includes some fab new features including a preview of its still in dev Procedural Content Generation framework, enabling creators to populate large scenes more efficiently; Substrate, that supports a greater range of surface appearances such as the opalescent finish showcased in this vid –
an enhanced virtual production set of tools for realtime filmmaking support; enhanced VCam system for multi-camera control; and nDisplay extended support, which is setting the scene for the next version 5.3. A link to the release notes is here.
We also spotted a useful tool in the UE Marketplace albeit pricey at $249 for indies: MetaShoot. It includes lighting and render presets for assistance with creating sophisticated lighting setups in your VP studio, released by VINZI – Code Plugins, link here.
Also super helpful is Kitbash3D’s new Cargo asset browser, including some 10,000 searchable assets. The basic account, which is free, allows you to 1-click upload content to your project and manage the assets you have but for a fee of $65/month, the pro version will let you search and access the full model and media library. Its another layer of cost so do check out the small print.
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