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1. The Evolution of Cinematography in Digital Filmmaking Figgis, M. (2007). Digital Filmmaking: The Changing Art and Craft of Making Motion Pictures. London: Faber & Faber. Available at: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=1166395 [Accessed 28 September 2024]. Mike Figgis tells how digital technology can revolutionize the filmmaking. He speaks on new filmmakers trying filmmaking due to increase in availability of digital cameras. This argument can be supported when we see Directors like James Cameron(Avatar), Michael Bay(Transformers), Christopher Nolan(Interstellar) have used digital technologies to create cinematic worlds, which ultimately creates an immersive experience for the viewers. However he also states the danger of over-reliance on technology, where he talks about storytelling being the core of cinematography. While digital tools help to expand creativity the craft thrives on the impact of stories more than digital tools. I find this awakening as I have never viewed Cinematography like this before. I second his arguments. The book for me, talks about the importance of accepting change in cinematography, and it offers interesting insights into how storytelling has evolved, in the background of new developments in the image. But it doesn’t reflect the challenge of moving to a digital work flow, which would have made it more balanced and comprehensive.
2. The Role of VFX in Enhancing Narrative Depth McClean, S. T. (2007). Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge, MA: MIT Press. Available at: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=3339423 [Accessed 5 October 2024]. McClean talks about VFX not being just tools but also being the driving force of driving the story. In The Visual Effects Arsenal, McClean highlights how VFX can subtly shape the emotional aspects of the storytelling. It can set the tone and can also help in creating fictional worlds and almost eliminate the difference between fiction and non fiction. For example, the VFX in the movie TENET is complimenting the storytelling. Where the VFX defined the direction of time being shown on screen. McClean argues that effect VFX can compliment the story instead of overshadowing it. As VFX continues to explode (pun intended) its potential to enhance storytelling grows offering wide possibilities to the filmmakers. But even then, the book would do well to delve further into the subject of newer tools such as artificial intelligence. Which, incidentally, is now gaining a major position in the digital cinematography spectrum. Among other things, this article highlights the emotional depth that augmented reality enables and how that affects my work in film production. For me the text is useful as it highlights how VFX can enhance emotional depth a crucial insight for my work in cinematography. However, it lacks talking about newer tools like AI-driven VFX which are becoming integral part of modern filmmaking workflows.
3. Lighting and Mood: Cinematic Techniques in Visual Storytelling Brown, B. (2016). Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. 3rd Edition. London: Routledge. Available at: https://routledgetextbooks.com/textbooks/9780367373450/ [Accessed 12 October 2024]. In Cinematography: Theory and Practice, Blain talks on how lighting has the ability to establish the tone and character dynamics in films. Different lighting defining different moods. Lighting is the core to storytelling. Lighting is clearly one of the most powerful aspects in films and games which helps the story narrative have more impact on the viewers. For example, the lighting in Blade Runner 2049 (2017) we can see different lights complimenting the mood and one upping the cinematography. Blade Runner 2049 is one of the most amazing movies to use lights and cinematography hand in hand. Brown goes in depth about Lighting being complimentary to storytelling. Skilled cinematographers show the best use of lighting and can elevate the storytelling. The book remains relevant due to its principles and breakdown of lighting techniques which are not outdated. Apart from what it offers it still lacks how modern virtual lighting techniques and LEDs are shaping new filmmaking workflows. For me it serves as a comprehensive guide to understand how lights can be used to evoke emotions and direct audience's focus in the frames.
4. The Psychology of Color in Cinematic Storytelling Bellantoni, P. (2005). If It’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling. Burlington: Focal Press. Available at: https://learning.oreilly.com/library/view/if-its-purple/9780240806884/?sso_link=yes&sso_link_from=UnivofHerts [Accessed 18 October 2024]. Color is a silent but quite strong storytelling tool in Cinema, which influences emotions and shapes the perception of audience. Patti discuss the psychology behind colors, showing valid examples on how filmmakers use it to drive the story in their desired emotions. Red can be used to show danger or passion whereas blue can show calmness or melancholy. Films like The Grand Budapest Hotel use a pastel palette to create the feeling of being whimsical and nostalgic. On the contrary Schindler's List uses selective colors to highlight innocence in despair. Patti argues that using the right color choice can level up the visual storytelling subtly guiding the viewers to feel the required emotions. For me it provides a way to use color to convey themes and emotions which is really important for my cinematographic workflows. However while providing great examples from classic films it still lacks behind on color grading being used in modern films. It could've dived deeper into colors being influenced by cultural contexts making it go global. Despite everything it lacks it is still a great guide on using colors in filmmaking and all the forms of digital art.
5. Realism vs. Stylization in Visual Effects Prince, S. (2011). Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University Press. Available at: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=861454 [Accessed 24 October 2024]. Balance between realism and stylization is achieved through VFX, which helps in directing the engagement of audience with cinematic worlds. In Digital Visual Effect in Cinema, Prince throws light on the use of VFX becoming complimentary to effective storytelling. He argues that realism is what make the audience believe more and somehow help with the engagement. In films like Gravity, they use realism to create immersive worlds by sticking true to the scientific details, increasing the emotional connection of audience with the film. On the other hand films like Avatar, use stylization, creating imaginative worlds that take the audience on a different journey. Prince argues that it is solely dependent on the storytelling choice to take either route. Successful films often take the advantage by blending the two, combining realistic grounding with stylized elements to craft compelling visual experiences. For me this texts tells me about how I can use technical vfx practices to have a psychological impact on viewers. VFX being an area of interest for me makes this text really helpful. However, it is focused on the classical films and not modern films dating after 2000 that use AI and real-time rendering. Despite the limitations this text talks about balancing realism and artistic stylization which remains timeless and crucial.
6. The Intersection of AI and VFX in Filmmaking The Significance of Artificial Intelligence in Contemporary Cinema. Available at: https://ieeexplore-ieee-org.ezproxy.herts.ac.uk/document/10335867 [Accessed 31 October 2024]. Artificial Intelligence and Machine Learning are changing the VFX landscape, improving the storytelling in the Contemporary Cinema. In The Significance of Artificial Intelligence in Contemporary Cinema it has been highlighted that AI enables filmmakers to use it to their advantage to automate their complex tasks, optimizing their workflows and creating visually compelling narratives. One prime example is Spider-Man: Into the Spider-Verse, where the creative directors used ML to create the comic book strokes on characters, helping them sell the comic book vibe and at the same time not making the animators drain hours and hours of work in creating those strokes individually. They used software like Houdini to create such models and trained them based on their data. The source emphasize that AI's significance lies in complimenting human creativity, making difficult visions attainable while also preserving the artistic intent. With innovations like ML, filmmakers can redefine Cinematic experiences for audiences worldwide. This article is very interesting for me as it illustrates the practical and direct applications of artificial intelligence in automating complex tasks such as simulating natural phenomena and generating realistic textures, which is in line with my interest to combine artificial intelligence with my own filmmaking. It is a valuable source for me as it explains in great detail the importance of artificial intelligence in complementing human creativity, enabling hard-to-do things, and at the same time conserving the artistic imagination. It also highlights how artificial intelligence can be used to completely reshape the way we watch film.
7. Virtual Production and Its Impact on Cinematography Kadner, N. (2020). The Virtual Production Field Guide. Epic Games. Available at: https://cdn2.unrealengine.com/Unreal+Engine%2Fvpfieldguide%2FVP-Field-Guide-V1.2.02-5d28ccec9909ff626e42c619bcbe8ed2bf83138d.pdf [Accessed 6 November 2024]. Virtual Production has revolutionized cinematography by joining real-time technology with traditional filmmaking techniques. In The Virtual Production Field Guide, this approach helps filmmaker to view and manipulate scenes in real-time by merging the physical and digital elements on-set. A good example is The Mandalorian, which used LED walls instead of traditional green screens to create the environments. This technique helped filmmakers in reducing the post processing load by adjusting the lighting and composition in real-time. Kadner shows how virtual production decreases the difference between pre-viz and final footage, completely changing the filmmaking process.
8. World-Building through CGI: A Study of Iconic Films Wolf, M. J. P. (1993). Final Frontiers: Computer-Generated Imagery and the Science Fiction Film. Science Fiction Studies, 20(3), pp. 315-329. Available at: https://www-jstor-org.ezproxy.herts.ac.uk/stable/4241410 [Accessed 13 November 2024]. CGI has become one of the biggest pillars in world-building in contemporary cinema, helping filmmakers to create new worlds. In Final Frontiers, Mark J.P Wolf goes in depth on how CGI has expanded the ability to tell sci-fi stories, helping the filmmakers to build complex and fictional worlds which was previously unachievable. Films like Jurassic Park and The Matrix use CGI to create dinosaurs and bring them to life helping in making them more believable. Wolf talks about CGI not only enhancing the visual spectacle but also serving as a storytelling tool, helping filmmakers explore themes of artificial reality. For me the text is still valuable as it talks about the foundational principles of using CGI to create immersive and believable worlds. However being a really old text it doesn't get to explain modern technologies in modern films. Regardless of how old this text is it still offers lessons on integrating technology and imagination in filmmaking.
9. Practical vs. Digital Effects: Which Works Best? Ciccone, M. (2016). The Effectiveness of Special Effects: Practical Effects vs. Digital Effects. Master’s Thesis, University of Oregon. Available at: https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/20500/Ciccone_oregon_0171N_11587.pdf?sequence=1 [Accessed 20 November 2024]. The debate between practical and digital effects which being better in bringing stories to life has always been shaping the modern filmmaking. In The Effectiveness of Special Effects: Practical Effects vs. Digital Effects, Michael talks about the perception of audience in regards to practical and digital effects. His study suggests that practical effects, such as effects used in An American Werewolf in London (1981), can often help in evoking a stronger emotional connection from the audience because of their tangible presence on set. Whereas, digital effects can offer a wider flexibility in creating impractical visuals with physical methods. Michael concludes that the key to enhance the storytelling can be achieved by combining both practical and digital effects. I can relate to this with the example of Inception where Christopher Nolan uses both practical and digital effects to create the wonderful dreamland. The infamous "Hallway Scene" which was achieved by practical effects and the stopping of an explosion achieved by digital effects. For me, this thesis is particularly useful as it talks about the trade-offs between realism and flexibility which can be critical considerations in my own work. It doesn't get to talk about post 2017 movies using technologies like virtual production and AI-driven effects. Despite the age of the text it still remains a foundational resource for evaluating the narrative impact of visual effects.
10. Cinematography in the Age of Streaming Platforms Lotz, A. (2020). The Streaming Wars and Filmmaking Practices. Available at: https://journals.publishing.umich.edu/mij/article/id/1338/ [Accessed 27 November 2024]. The increase in success of streaming platforms and how people are consuming content through various mediums has changed cinematography, through prioritizing visuals optimized for different screen sizes. In The Streaming Wars and Filmmaking Practices, Amanda explores how cinematographers have to adapt techniques to ensure that their work feels same on everything starting from smaller screens of smartphones to larger mediums like home theater systems. Shows like Stranger Things have cinematic visuals that look good on all screen sizes, showing the change required in the age of streaming. Lots talks more in depth about how streaming services have changed the way content is being made from traditional filmmaking techniques to newer ones. This has also given new ways to experiment more with cinematography and creativity.
11. The Role of Camera Movement in Immersive Storytelling Kenworthy, C. (2009). Master Shots: 100 Advanced Camera Techniques. Hollywood: Michael Wiese Productions. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=6188723&ppg=4 [Accessed 4 December 2024]. Camera movement is a powerful tool in enhancing the storytelling, guiding the audience's focus and getting required emotional responses. In Master Shots: 100 Advanced Camera Techniques, Chris takes examples from films and shows how camera placement and camera movement made that scene come to life with bigger impact. He talks about different techniques like tracking shots to build tension or crane shots to show the grand level. Films like 1917 uses the continuous camera movement to create more tension and intimacy, taking the audience on an impactful journey. Chris talks about using the camera movements properly can serve as a narrative device, engaging the audience to the story. For me, it tells us about the camera movements by giving examples of films which really made me think how I can use the camera movements to my advantage. Despite being old this text remains a solid foundation for understanding a relationship between camera movement and narrative impact.
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Critical Analysis
A. Blondin, J. Anderson, J. Gomez, J. Jack, J. Kwak, J. Layout, J. Ramsay, K. Baskeyfield, K. Libreri, M. Bousquet, N. Kadner, O. Morgan, R. Mayeda, R. Paul (2019). THE VIRTUAL PRODUCTION FIELD GUIDE The Virtual Production Field Guide v1.2 Written by Noah Kadner Executive Producer for Epic Games Miles Perkins Editing. Published by Epic Games [online] Available at: https://cdn2.unrealengine.com/Unreal+Engine%2Fvpfieldguide%2FVP-Field-Guide-V1.2.02-5d28ccec9909ff626e42c619bcbe8ed2bf83138d.pdf [Accessed 6 November 2024].
The selected pages from Bill’s interview show us the journey of cinematography through technological advancements. He is a renowned cinematographer known for his work on films like The Matrix and Spider-Man, Pope talks about the implementation of traditional techniques with virtual production techniques. In this talk Bill focuses on how it is crucial to maintain the level of creativity with the new tools. My analysis will evaluate the key themes and insights from the text and reflect on their broader use for the art of visual storytelling.
Bill is an experienced cinematographer in the industry. He has worked on famous titles like Spider-Man Trilogy and The Matrix Trilogy. His insights come from decades of experience in the industry which make them important for people like me who want to learn more in depth about the implementation of traditional cinematography with modern tools to elevate the visual storytelling. This text lies within the ongoing shift in filmmaking industry where virtual productions like real-world rendering and motion capture are starting to make more impact in the storytelling.
The core of the argument that Pope presented was the shift from imagination-driven visual effects to technologically sophisticated revisualisation. He talks about the days working on Spider-Man, and how directors used to rely on imagining the CGI elements in non digital processes. On the other hand today tools such as virtual monitors and real time effects allow filmmakers to see the "finished" image on set allowing them to enhance precision and creative control.
Another important point that Bill talks about is how the lighting plays one of the most crucial roles in virtual production. He throws more light (pun intended) on the process of recreating the natural light using artificial means which emphasises its impact on storytelling. By analysing light as both technical and artistic element, cinematographers can bring out specific emotions in the viewers and also enhance the narrative depth. His detailed observation on manipulating the light in order to achieve specific emotions or mood reveals the complexity and importance of this craft in modern filmmaking where artificial tools can help in creating the desired look.
Bill talks about whenever they were feeling low or broke on the sets of The Jungle Book, they used to listen to recorded animator meetings from Disney and they used to compare the obstacles they were facing with what Disney’s animators were facing. And he realised even though these were two different studios and were miles away but at the same time they used to face same issues and had same solutions, which made him think that despite all of this the way of storytelling is the same.
Onto the end Bill talks about learning and adapting to newer technologies being so important to bring the wow factor in the industry. He talks about how much impactful it is to constantly change methods and adapt to newer ones instead of just staying with the older, stagnant ways. He talks about how they have evolved from hand-cranked cameras to motorised cameras, sync sound to colour to widescreen to 3D. These views underline how filmmaker's shouldn't always depend on newer technologies but also rethink traditional methods to succeed in the filmmaking.
His thoughts about The Jungle Book shows how combining real-world and virtual elements can help to bring better stories to the industry. This blend of technical detail and creative insight underscores the value of interdisciplinary collaboration in filmmaking. He talks about how they used to build jungles overnight which shows us the complexity of virtual production for a broader audience.
He talks about his experience in The Jungle Book where they can’t just use virtual production to create the jungle but instead had to build the jungle overnight to make the complex scenes come to life. Pope talks about how the role of cinematographer is always evolving. The text’s strength lies in its ability to bridge technical details with creative inspiration showcasing how these two aspects work in hand-in-hand to elevate the art of filmmaking.
Bill talks and emphasises more and more on “Collaboration” particularly highlighting the synergy that should exist among cinematographers, directors and VFX teams. He talks about an instance where they used real-time rendering to create a shared vision on set and by this they were able to pull off the desired visual narrative. This synergy according to Pope is important to fully utilise virtual production’s potential. His emphasis on communication and mutual understanding emphasises on the collaborative nature of filmmaking.
One of the strengths of Pope’s text is its balance between technical depth and creative inspiration. His anecdotes effectively illustrate the practical applications of technology while his reflections on storytelling ground the discussion in artistic principles. However the text can benefit a lot if this was also focused on small scale studios hence discussing more challenges posed by virtual production such as cost for the shot, accessibility and the potential loss of spontaneity. These limitations while not being explicitly addressed are critical considerations for a holistic understanding of the subject.
In conclusion, Bill’s insights into the intersection of cinematography and virtual production offer a compelling glimpse into the future of filmmaking. By blending technical expertise with artistic vision he shows how innovation can enhance storytelling while preserving the essence of cinematic art. This analysis has sought to unpack these themes reflecting on their implications for both practitioners and audiences.
While Pope’s words are integral to understanding his perspective this analysis has prioritised paraphrasing to maintain originality. Occasional direct quotes have been used to emphasise particularly striking points, ensuring a balanced and engaging critique.
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Blog 1: Fragmented Journeys in Uncharted 4: Thief’s End: Redefining Storytelling in Action-Adventure Games [Stories]
The Uncharted series is one of the most loved series ever to be made. It has been loved for its compelling storytelling, breathtaking visuals and cinematic gameplay. Uncharted 4 the wrap up on Nathan’s journey stands out for its innovative use of fragmented storytelling. Uncharted 4 uses fragmented storytelling, weaving flashbacks and interwoven timelines into a cohesive, character-driven narrative. This innovative structure enhances immersion by challenging linear storytelling norms, as Ryan (2001) observes, “Fragmented narratives in interactive media create complex virtual realities that draw the audience deeper into the story.”
Flashbacks play an important role in the narrative giving us an inside into Nathan’s past and discovering new perspectives for the story. I was personally feeling a lot of things while doing the mission where we have to retrieve her stuff. We also get to know how did Nathan got his surname “Drake”. The narrative fragments, seamlessly integrated into gameplay, encourage players to actively piece together the story, Jenkens (2006) describes transmedia storytelling as dispersing narrative events across platforms to enhance engagement. While focused on transmedia, Jenkins’ insights apply here, as Uncharted 4 layers its narrative within a single medium, blending past and present to add emotional depth.
The game’s environmental storytelling further enriches the narrative. Artifacts and notes scattered throughout the world reveal the lives of those who preceded the protagonist, adding layers of intrigue. This aligns with Nitsche’s (2008) view that “game spaces function as storytelling devices.” Making the player an active participant in uncovering secondary stories that deepen the main plot.
Cinematic techniques elevate Uncharted 4’s storytelling to new heights. The use of a continuous on-shot camera style mirrors innovations in films like 1917, creating an uninterrupted flow that heightens immersion. This blend of gaming and cinematic storytelling reflects a cultural shift toward blended media experiences. As Nitsche argues, “The interplay between visual design and player agency defines the narrative potential of games,” a dynamic that Uncharted 4 executes masterfully.
For players, the fragmented narrative creates an intimate and emotionally resonant experience. Flashbacks can have an important role in getting out the right emotions out of the players and can also give insights and a new perspective to Nathan’s inside turmoils. Murray (1997) notes, “Digital environments allow for new forms of narrative expression,” a sentiment exemplified by Uncharted 4’s ability to intertwine gameplay and storytelling seamlessly.
Uncharted 4 brought a new standard to storytelling for action-adventure games through fragmented storytelling and cinematic techniques. By also integrating flashbacks, environmental storytelling and new methods for visual design Uncharted 4 set a new standard for video game industry.
For me, Uncharted 4 is more than just a game; it’s a masterclass in how fragmented storytelling can create emotional resonance. As someone deeply interested in the intersection of storytelling and technology, I’ve learned a lot from this approach. The game’s techniques have inspired me to think about how non-linear narratives can be used in other forms of media to create engagement and depth. It's a benchmark I hope to achieve by pushing the boundaries of how stories can be told in modern media.
References:
H. Jenkins (2006). Convergence Culture: Where Old and New Media Collide. NYU Press. Available at https://www.jstor.org/stable/j.ctt9qffwr (Accessed on 27 Dec 2024).
J. H. Murray (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press. Available at https://mitpress.mit.edu/books/hamlet-holodeck (Accessed on 27 Dec 2024).
M. Nitsche (2008). Video Game Spaces: Image, Play, and Structure. MIT Press. Available at https://direct.mit.edu/books/monograph/3842/Video-Game-SpacesImage-Play-and-Structure-in-3D (Accessed on 27 Dec 2024).
M.-L. Ryan (2001). Narrative as Virtual Reality. Johns Hopkins University Press. Available at https://www.researchgate.net/publication/234779012_Narrative_as_Virtual_Reality_Immersion_and_Interactivity_in_Literature_an_Electronic_Media (Accessed on 27 Dec 2024).
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Blog 2: The Emotional Depth of The Last of Us Part II: Redefining Narrative Gaming [Emotions]
The Last Of Us Part II (TLOU II) is by far one of those "rage filled" games I have played in a long time. "Rage filled" is a criteria I use because this game manages to create the emotion of feeling rage sadness and satisfaction when you achieve the objective. Last Of Us Part II developed by Naughty Dog manages to push boundaries not just in gameplay but also in emotional storytelling. Aarseth (1997) suggests that games can act as "narrative architecture," and Last of Us Part II really shows how a game can make every choice and consequence feel personal.
What made The Last of Us Part II stand out is its character-driven story. The game doesn't hold back on moral ambiguity, and it makes players sit through the hardest scenes from different perspectives. Ellie's quest for revenge and Abby's struggle for seeking redemption intersect at a point in the story that challenges the traditional ideas of good and evil. Juul (2005) talks about "agency" in interactive media, and while The Last Of Us Part II doesn't let you have a choice for story's ending it makes you feel deeply connected to the character's choice. I was questioning myself on my morality while watching the story and experiencing it and feeling how hard and powerful the whole story really is.
The world building is just as impressive. From the overgrown streets of Seattle to haunting abandoned buildings, every details feel carefully designed. Salen and Zimmerman (2004) say "meaningful play" comes from how well a game's mechanic and aesthetics can work together and oh boy does TLOU Part II delivers on that. The environment feels like more than just some assets lying around in a setting. Environment feels as if it slowly crawling and shaping the storyline a lot. For me staying away from the objective and exploring the environment was one of the things that I enjoyed the most.
The Last of Us Part II was not just a game but also felt like a performance from the motion capture actors. It felt like a movie with real emotions and facial expressions. Facial expressions added with body language really gave the strength to the story. Where you feel like crying when Ellie cries and feel like going on a killing spree when Ellie feels anger. Nitsche (2008) explains how game spaces can create immersive storytelling and Naughty Dog blends cinematic techniques with gameplay so seamlessly here.
For me it was a learning experience. It taught me that powerful doesn't rely on big twists but on moments that make you reflect on your beliefs. As someone who loves knowing the efforts behind making such stories and cinematics come to life I absolutely loved exploring the world of TLOU. TLOU inspired me to create something that could affect someone's heart to a depth that this game has touched me at. TLOU II reminds me why I love storytelling and how much potential there is to push its boundaries.
References:
E. Aarseth (1997). Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press. Available at: https://jhupbooks.press.jhu.edu (Accessed: 11 December 2024).
E. Zimmerman and K. Salen (2004). Rules of Play: Game Design Fundamentals. MIT Press. Available at: https://mitpress.mit.edu (Accessed: 11 December 2024).
J. Juul (2005). Half-Real: Video Games between Real Rules and Fictional Worlds. MIT Press. Available at: https://mitpress.mit.edu (Accessed: 12 December 2024).
M. Nitsche (2008). Video Game Spaces: Image, Play, and Structure. MIT Press. Available at: https://mitpress.mit.edu (Accessed: 12 December 2024).
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Blog 3: Hyperrealism in Red Dead Redemption 2: Crafting Believable Open-World Experiences [Depiction]
As a gamer I have always been a fan of Rockstar Games from classic games like GTA, Max Payne, Man Hunt and Red Dead Redemption. I have spent an unhealthy amount of hours exploring the world of Red Dead Redemption 2. I have been inside the world of RDR 2 so long that I somehow memorized the routes to certain locations. I will give credit as well as blame to the hyperrealism in RDR2 for making me stay in there for a questionable amount of time. Juul (2005) suggests that “Games achieve immersion when rules and representations combine seamlessly,” in Red Dead Redemption 2 the environments are not just empty worlds but also play an important role in story narration.
One of the elements that made me love Red Dead Redemption 2 is its use of environmental storytelling. From stumbling upon abandoned cabins that hint at untold tragedies to observing the evolving behaviour of non-playable characters (NPCs), also a fun fact Rockstar brough in around 700 voice actors, 300,000 animations, 500 motion-capture actors, 500,000 lines of dialogue and the most important and fascinating thing was music 192 mission tracks, 110 musicians. Jenkins (2004) emphasizes that “environmental storytelling creates spaces ripe for player exploration ” and I saw this coming alive in Red Dead Redemption 2. Every interaction that being from observing NPC behaviors to finding remnants of old conflicts enriches the world-building and invites personal engagement.
The realism doesn't stop there. The game's dynamic weather and environmental systems are incredible. I've found myself slowing down during a storm just to be amazed at how the rain affects the visibility or how snow crunches underfoot which affects how you navigate around the world. Manovich (2001) talks about sensory coherence in digital environments and Red Dead Redemption 2 nails that so well. It’s not just about aesthetic visuals but it’s about how every detail comes together to create a world that feels alive and believable.
Through the course of me playing RDR 2 I got to observe how RDR2 uses traditional cinematic elements. Use of simple camera angles and beautiful plus right compositions sets apart the RDR2 from other games. I got to see really classic camera shots but that was executed so beautifully making the character moments really intense. Bolter and Grusin's (1999) concept of "remediation" explains this situation in a perfect way. They discuss how new media like games will adapt to techniques originally derived from older form of cinema. I have to say that RDR 2 wasn't just a game but a whole cinematic experience. I felt as if playing as Arthur Morgan gave me eyes inside this character's life and surrounding making me immersed into this game.
For me the real magic of Red Dead Redemption 2 is how it makes you feel. There's a weight to its world a sense of wonder and melancholy that sticks with you even after you've put down the controller. It's not just about exploring a beautifully crafted game its about living in its world shaping its story through your choices. That's what makes the hyperrealism so impactful. It's not just thee to look good it's there to make you care. By pushing the boundaries of what games can achieve Red Dead Redemption 2 sets a new standard for immersion and storytelling. I want to achieve that someday. (Fingers crossed x100)
References:
H.Jenkins (2004). “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game. MIT Press. Available at: https://direct.mit.edu/books/book/2789/first-person (Accessed: 13 December 2024).
J. Juul (2005). Half-Real: Video Games between Real Rules and Fictional Worlds. MIT Press. Available at: https://mitpress.mit.edu/9780262101103/half-real/ (Accessed: 12 December 2024).
J.D. Bolter, R. Grusin (1999). Remediation: Understanding New Media. MIT Press. Available at: https://direct.mit.edu/books/book/2783/remediation (Accessed: 12 December 2024).
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 12 December 2024).
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Blog 4: Cinematic Perspectives in God of War: The Power of the One-Take Camera [Tools]
When I started playing God Of War (2018) not at first but on a later point I started noticing something really strange which I never saw in a game. I would like to say I found that out on my own and without anyone else pointing that out to me. It was definitely not a 9yr old cousin who was watching me play a "big boy game". Who can deny the fact that a game that has Kratos The God Killer in it and it will not be a "Big Boy Game". But talking back about the one take camera, I was blown away by it. At first I was amazed by it and then I wanted to see how long will they manage to keep that thing working and boy did Cory Barlog nail this thing. He did such an amazing job with this one take camera. Bordwell (2008) mentions how camera techniques in cinema can manipulate our focus and emotions, God of War took full advantage of this principle to pull us deeper into its world.
The one take camera wasn't just a show off but it was used as a storytelling tool. At first it did feel like a show off to me but then I started feeling more connected and immersed in the journey of Kratos and Atreus. Every heavy moment felt so personal to me. The moment when Kratos takes out the "Blades of Chaos" (Spoiler Alert: Its a shame if you haven't played that game yet.) felt so personal and therapeutic. Every small interaction between Atreus and Kratos and camera panning subtly to show their emotions felt as if I am standing there behind them and watching them talk. No cut made this journey look as if I was there with them, obviously hiding behind Kratos and I hate to say it but Mimir, while they fight bad guys. Jenkins (2004) talks about how games can create narrative immersion by blending interactivity with storytelling and God of War achieves this beautifully through its camera work.
What's more the one take somehow enhances the game's pacing. There's no break in the action no pause to catch your breath. Also there is a sense of feeling that Kratos is so powerful when all the punches and all the time he would just do basic stuff like opening the gates and all with his bare hands was such a mouth watering experience. Manovich (2001) discusses how digital media can use techniques to maintain immersion God of War nails it by keeping you engaged at all times.
Visually the one take camera also serves to highlight the game's stunning visuals and environments. As you move through the study the camera's fluid like flow gives you the opportunity to enjoy the Nordic landscapes and every detail without actually losing focus from the story. On the boat ride with Athena the whole red environment showing the rage and anger filling up the environment was so breathtaking I was looking around and still listening to Athena yapping on and on. It's like being in a film but here you get to control the protagonist. Bolter and Grusin (1999) talks about "remediation" where new media borrows from older ones and this is a perfect example of how God of War adapts cinematic techniques to elevate gameplay.
I have been a huuuge huuuge fan of one take shots in movies and to see a game did that was really mesmerizing for me. I loved how clever they changed the perspectives while still managing the one take feel. One take for me means the team has to perform in an unbreakable flow. If a single person messes it up we have to do it all over from the top. It is such a pain but such a rewarding feel when you manage to pull it all off. I have many storyboards ready and inspired from one take shots that I would like to create. The impactful animations and one take shots from God of War makes me believe I can achieve this dream someday.
References:
D. Bordwell (2008). Poetics of Cinema. Routledge. Available at: https://www.routledge.com/Poetics-of-Cinema/Bordwell/p/book/9780415977791 (Accessed: 13 December 2024).
H. Jenkins (2004). “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game. MIT Press. Available at: https://direct.mit.edu/books/book/2789/first-person (Accessed: 12 December 2024).
J.D. Bolter and R. Grusin (1999). Remediation: Understanding New Media. MIT Press. Available at: https://direct.mit.edu/books/book/2783/remediation (Accessed: 12 December 2024).
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 12 December 2024).
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Blog 5: The Role of Lighting in Blade Runner 2049: Crafting a Neo-Noir Aesthetic [Depiction + Representation]
Blade Runner is one of the best movie experiences I have ever experienced. The only regret I have for this film is not watching it in theatres. This movie brings out really amazing elements for cinematography. Every frame seems just perfect in terms of composition and grading. One of the best things I got to observe while watching this movie or should I say why going on a cinematic journey called Blade Runner 2049? Anyways one of the things I found really mesmerizing was the lighting used in this movie. Denis Villeneuve the director and Roger Deakins the cinematographer collaboratively brought the best lighting that doesn't feel overdone nor it feels too minimal but it just clicks. Let's talk about the scenes I love from the film in terms of Lighting.
The scene that stands out the most to me was when K meets Deckard in Las Vegas. First of all can we all just appreciate how beautiful Las Vegas really was? The set dressing and the lighting with the haze it all connected so well. In the confrontation seen we can see the orange hued haze dominating the visuals obscuring details and create an atmosphere of uncertainty and decay. This isn't just about the aesthetics of the film but it feels like a reflection of the narrative themes.
The above scene with caustics and how the caustics seem to light the whole scene is so beautiful.
There are so many scenes we can talk about in this film that feel so well put. This film is really a somewhat encyclopedia for cinematographers (me) to use. This is one of those films which you can keep coming back to, to learn new camera angles, cinematography and lighting.
The above shot is something I tried after watching Blade Runner 2049.
References:
R. Deakins (2020). Byways. Damiani. Available at: https://www.damianieditore.com/en-US/product/738 (Accessed: 14 December 2024).
D. Villeneuve and P. Fischer (2017). The Art and Soul of Blade Runner 2049. Titan Books. Available at: https://titanbooks.com (Accessed: 14 December 2024).
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Blog 6: Constructing and Deconstructing Dreams in Inception: The Art of VFX. [Sources]
Christopher Nolan a maestro of using practical effects with cinematography. I have been watching his films starting way back from Memento(2000) but today we gonna talk about Inception and how he uses VFX to build and destroy worlds (dreams). The film's central concept i.e. entering and navigating dreams required creating environments that feel both real and surreal. Through a mix of practical effects digital VFX and innovative cinematography Nolan brings these factors together to create worlds that feel truer than reality. Let's talk about few beautiful really beautiful effects from the film. I am sure there are many but I am gonna talk about a few.
Dream Construction: Building and Folding Realities One of Inception's most iconic moments is the folding cityscape of Paris where Ariadne learns to manipulate the rules of the dream world. This scene showcases how VFX can bring really crazy visions to reality. Paul Franklin leads the VFX team they combined real models with CGI to create an illusion of an entire city folding in on itself. And it feels surreal it was also later tried out in Doctor Strange (2016) but they did it first and they did it way better. Not being Nolan biased. According to Franklin (2011) the key was to anchor the surreal visuals in physical reality. By starting with live-action shots and adding CGI seamlessly the scene retains a sense of weight and believability despite its fantastical nature.
Dream Deconstruction: The Exploding Cafe. God I love the exploding cafe scene. Let's talk in depth about that. Firstly it highlights how inception used VFX to show how fragile the dreamscape can be. In this when Cobb introduces Ariadne to the dream world and their surroundings begin to fragment and explode in slow motion. What makes this scene so amazing is that it was practical effect added with CGI and not completely CGI like other Marvel Films. This is one of those reasons Nolan stands out for me he doesn't rely on VFX solely but uses them as an addition to physical effects. High speed camera captured practical explosion with debris added digitally to enhance the surrealism. According to Nolan (2010) practical effects were used wherever possible to ground the visuals in reality ensuring that the audience felt immersed in the dream's deconstruction.
The slow motion effect play a crucial role in conveying the dreamlike quality of the sequence. Manovich (2001) highlights how temporal manipulation in digital media can evoke emotions and alter perception and this scene exemplifies that principle. The deliberate pacing of the explosions creates a sense of awe and danger emphasizing the instability of the dream world.
For me Inception stands as a reminder to not really depend on VFX solely to achieve desired effects but instead VFX should be used as an addon to the physical effects. I wanted to achieve that slow motion explosion effects. Nolan's films are that type of holy grail of encyclopedia that I love to revisit to learn and explore more on the effects he uses. I love his cinematographic point of view.
References:
C. Nolan (2010). Inception: The Shooting Script. Insight Editions. Available at: https://insighteditions.com/products/inception-the-shooting-script (Accessed: 14 December 2024).
H. Jenkins (2004). “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game. MIT Press. Available at: https://direct.mit.edu/books/book/2789/first-person (Accessed: 14 December 2024).
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 14 December 2024).
P. Franklin (2011). “Visual Effects in Inception.” Cinefex. Available at: https://www.cinefex.com/inception (Accessed: 14 December 2024).
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Blog 7: Time Manipulation in Tenet: Cinematography and Reverse Action Sequences [Pushing Limits]
If we are talking about Chirstopher Nolan and we don't talk about TENET we are not doing something right. Alright TENET, one of the most mind boggling movies I have ever watched. There was a quote from one of Chris Nolan's interview when he was asked something around "Why are your movies so difficult to understand?" And he took a pause and replied "Don't understand it, just feel it." And I was blown away somehow. There is so much happening in that movie and so much to take in but nonetheless that journey was one to remember till I die. Alright moving to the main part, the main concept of the movie revolves around "inversion" where objects and people move back through time going adjacent to the normal timeline. In this blog I am gonna talk about Christopher Nolan's direction and Hoyte van Hoytema's cinematography in this blog.
Reverse Action: A Cinematic Feat One of the best things that TENET does well is to show both forward and reverse action in a single shot. It must have required a huge amount of acting and digital technology to be involved with these scenes and Nolan was particularly keen to use as little CGI as possible so as not to alter the mood.
Let's talk about the infamous highway chase scene. There was a genius idea that made that shot possible. The inverted cars were engineered in such a way that the body of the car was driven reverse. Franklin (2020) who worked on the VFX for TENET told that digital effects were primarily used to augment the practical shots ensuring a seamless blend of real and inverted elements.
The Role of Cinematography Hoyte Van Hoytema's cinematography played a crucial role in making the inversion concept visually achievable. The color grading for this film was distinctive and you can somewhat differentiate between forward and inverted timelines. Warm tones dominate forward moving sequences while cooler tones signal inverted actions. Bordwell(2008) highlights the importance of visual cues in guiding audiences through complex narrative and Tenet utilizes these technique effectively to keep viewer oriented.
Sound Design: A Complement to Cinematography While this was initially focused to talk about visuals on TENET but the sound design was chef's kiss. The sound design in Nolan's movies is somewhat complimenting the journey. As Manovich (2001) suggests sound and visuals work in tandem to shape audience perception and Tenet exemplifies this interplay.
Lesson's from Tenet's Time Manipulation For me, every Nolan's movie makes me want to create and conjure something so amazing like he does. I had so many great ideas while watching his films. Tenet does an amazing job playing and manipulating time. That concept is something I am ready to create something about in future.
References: 1. C. Nolan (2020). Tenet: The Shooting Script. Insight Editions. Available at: https://insighteditions.com (Accessed: 12 December 2024). 2. D. Bordwell (2008). Poetics of Cinema. Routledge. Available at: https://www.routledge.com/Poetics-of-Cinema/Bordwell/p/book/9780415977791 (Accessed: 14 December 2024). 3. L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 17 December 2024). 4. P. Franklin (2020). “Visual Effects in Tenet.” Cinefex. Available at: https://www.cinefex.com (Accessed: 13 December 2024).
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Blog 8: The Upside Down in Stranger Things: Environment VFX and Otherworldly Horror. [Depiction + Representation]
Stranger Things is a series that makes the color grading stand out and there is an eerie feel to when we travel in Upside Down. I remember me being so fascinated with the ambience of Upside Down. Upside Down in Strangers Things is chilling and out of this world atmosphere which has somewhat been a defining element of the series. Duffer Brothers (Creator of Stranger Things) imagined Upside Down to look adjacent to "Upside Plane".
The Upside Down's visual aesthetic has been driven by environmental VFX to convey it's decayed and eerie nature. It's obviously a mirror world to real Hawkins but is overgrown with gooey substance scattered all around and a dense dense fog. According to Paul Graff (VFX Supervisor) there was an important role of layering the environment that played to giving the eerie nature to the Upside Down. Practical elements such as physical vines and atmospheric fog were integrated with CGI to create somewhat seamless transitions between real and upside down world.
The use of volumetric lights for me was something that gave life to "lifeless" Upside Down. Shafts of light cut through the fog creating depth while adding to mystery that world possess. Manovich (2001) talks about how lighting and texture in digital environments somewhat drives the emotional connect and Upside Down uses this to create an eerie world.
Something really interesting I found out was Vecna was all prosthetics. Body of Vecna is a huge time taking makeup and no visual effects. Which somewhat amazes me that they chose to go practical with Vecna and not CGI which was good. In CGI you obviously have more freedom but that doesn't stay true to the nature of the horror Vecna has. Obviously they added stuff on top of prosthetics in CGI to make it stand out more but it also tells us that VFX should be used complimenting practical effects. As Franklin (2019) tells about combinig practical and digital techniques create a more grounded and immersive experience which is evident in the layered design of these creatures.
Upside Down is not only just a mirror of the Hawkins but also the Environment tells a story of its own. The layering down of environment plays an important role in telling a story of its own. Jenkins (2004) talked about how visual cues is being relied to convey narrative depth and Upside down's meticulous design achieves this effectively.
For me, the Upside Down represents a masterclass in how VFX can elevate storytelling. Its visual storytelling can take you on a journey and inside a world that was conjured out of mind but then it also gives you creeps. I am not saying I was scared after watching Strager Things and I did not hug my hugsy to sleep. Apart from that I have learned how much weight environment carries in terms of helping the story to move forward.
References:
H. Jenkins (2004). “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game. MIT Press. Available at: https://direct.mit.edu/books/book/2789/first-person (Accessed: 17 December 2024).
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 17 December 2024).
P. Graff (2017). “Crafting the Upside Down: Behind the Scenes of Stranger Things’ VFX.” Cinefex. Available at: https://www.cinefex.com/strangerthings (Accessed: 17 December 2024).
P. Franklin (2019). “The Hybrid Approach: Practical and Digital Effects in Modern Media.” VFX Journal. Available at: https://www.vfxjournal.com (Accessed: 17 December 2024).
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Blog 9: Bridging Animation and Realism: VFX in Arcane [Signs]
Arcane is one of those series that I have been amazed after observing the color palette, the cinematography, the composition and the lighting and stylized explosions its like it is like the sound of ching ching ching ticking every box in making it one of the best watch for me. Riot Games merged hand painted textures with dynamic 3D animations to create a distinctive visual style. Arcane did an amazing job in its groundbreaking use of VFX, which brings the steam-punk inspired world of Piltover and Zaun to life.
Smoke and Particle effects play a key role in Arcane's world building. From Zaun's industrial fumes to the Shimmer of Hextech. I loved the smoke simulations as a person who is learning more and more about explosions and simulations I found it really fascinating. VFX team used fluid dynamics to craft realistic smoke that aligns with painterly style. One standout scene feature swirling luminescent smoke during confrontation in Zaun reflecting both tension and conflicts that characters were a part of.
Arcane is a masterclass in elevating animation through VFX. Its detailed smoke effects purposeful lighting and expressive characters inspire new ways to blend realism with artistic creativity. Watching it has made me appreciate VFX more to craft something that would be emotionally driven as well.
References:
P. Franklin (2021). “The Fusion of Animation and VFX in Modern Media.” Animation Journal. Available at: https://www.animationjournal.com (Accessed: 27 December 2024).
H. Jenkins (2004). “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game. MIT Press. Available at: https://direct.mit.edu/books/book/2789/first-person (Accessed: 27 December 2024).
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 27 December 2024).
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Blog 10: Crafting Worlds: The Environmental VFX of Avatar and Avatar: The Way of Water [Depiction + Emotions]
Avatar films are a journey to Pandora which is so majestic in its own way. James Cameron did a phenomenal job in creating and bringing Pandora to life. Pandora thrives on imagination it is bigger than you can ever imagine. I believe Pandora wins at being a full fictional world. It can one up itself in every part.
The original Avatar introduced Pandora's glowing forests where plants and creatures made up of bioluminescent material makes it come alive. Weta Digital blended CGI with performance capture to craft this vibrant world. Bioluminescence is a defining feature was simulated using dynamic lighting to create a natural glow. The Tree of Souls in Pandora gives a magical aura and which is also made up of same material and delivers an amazing job in creating this sense of "glowing" forest.
Pandora's ocean later explored in Avatar Way of Water becomes a different world of its own. It makes you think that ocean in our world is somewhere a lot unexplored and maybe it will be as beautiful as shown in Pandora. Or maybe really terrifying or maybe there is an Atlantis. Underwater performance capture ensured actor's movement reflected water buoyancy enhancing believability. The reef's intricate coral and marine life detail made these ocean scenes visually stunning and immersive.
Avatar demonstrate how VFX can shape entire ecosystems using light texture and movement to tell stories. They inspire me to consider how digital environments can evoke emotion and build immersive narratives.
References:
L. Manovich (2001). The Language of New Media. MIT Press. Available at: https://mitpress.mit.edu/9780262632553/the-language-of-new-media/ (Accessed: 18 December 2024).
Weta FX. (2022). “Behind the Scenes of Avatar: The Way of Water.” Available at: https://www.wetafx.co.nz (Accessed: 18 December 2024).
J. Cameron (2022). “Creating Pandora: An Exploration of VFX Innovation.” Film Journal. Available at: https://www.filmjournal.com/avatar-vfx (Accessed: 18 December 2024).
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