I’d say the most impressive part of the game is how easy it is to use the control system. I’m sure we’ll see plenty more fixtures soon, but this is enough to get started. Workman starts the game off with what I’d consider the perfect lighting kit - you’ve got lekos Aputure 120Ds quasars and big, soft diffusion frames. It’s all in one menu, and it’s very responsive. There’s a really intuitive system for adding cameras, lights, props, furniture, and actors. The control system is really intuitive (especially if you’ve ever played any top-down-style computer games), and before too long, with a little bit of practice, you can build any look you want. (A “God mode” cam is also available if you’d prefer to play without the sprite.) Using a physical person as a sprite, you can get a sense of scale - and what it might be like to actually move about these sets. At first, this just seems like a fun nod to the player, but as you spend time with the program, you start to realize how beneficial it is. Much to my amusement, the player can navigate the sets and maps with a jetpack. Even in its current form, it’s a professional filmmaking tool. This is much more than just a video game.
So as you can imagine, he’s doing the best he can - and he’s done a phenomenal job. To my knowledge, Workman is working on this one pretty much solo. These are my first impressions and thoughts on a product that is already extremely solid, with amazing potential, and plenty of room to grow. The game is still in early release, and as such, the developers are pushing constant changes to the software, and the product has changed a great deal since it first launched. When I started this video I didn’t intend it as a full-on review. This means one thing for sure - it’s a heck of a lot of fun. And you can do all of this in a video game framework. With Cine Tracer - a relatively new offering from Matt Workman at Cinematography Database - you can build, pre-light, pre-frame, and pre-block your scenes - and capture them in nice-looking storyboard images. Previz (or pre-visualization) has always been a big-budget Hollywood tool, and it has largely only been available to studio productions. Most highly budgeted projects allow ample time for pre-planning and pre-visualization - and the execution of the plan itself.
The number one resource they have that you don’t is time. It’s the number one key to getting results like the folks on big-budget sets with tons of resources. I’ve talked quite a bit about planning and pre-lighting around here. Well, thanks to Cine Tracer, that world exists. Imagine a world where storyboarding and lighting your scenes was as easy and fun as a video game.
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