And found out filmset scenarios are filled with tricks that make it seem one thing to viewers whilst being something else, just like 3D worlds in games.
Maybe Design principles when it comes to “how much detail is good enough, depending on how far something is going to be seen” apply in both.
I also suspect they both share the whole “only do the side that’s going to be visible” principle of crafting a scenario.
Thinks like the techniques used to simulate certain materials from the gaming side are probably not at all used on the cinema side, unless we’re talking about computer generated special effects which do in fact share a lot of techniques with gaming (though gaming tends to pre-generate lots of things and stuff them in textures, which special effects doesn’t actually need to do since rendering needs not be realtime).
And found out filmset scenarios are filled with tricks that make it seem one thing to viewers whilst being something else, just like 3D worlds in games.
Curious if they have any tricks/hacks that could be adapted to each others’ platforms/media that haven’t already been transferred.
Maybe Design principles when it comes to “how much detail is good enough, depending on how far something is going to be seen” apply in both.
I also suspect they both share the whole “only do the side that’s going to be visible” principle of crafting a scenario.
Thinks like the techniques used to simulate certain materials from the gaming side are probably not at all used on the cinema side, unless we’re talking about computer generated special effects which do in fact share a lot of techniques with gaming (though gaming tends to pre-generate lots of things and stuff them in textures, which special effects doesn’t actually need to do since rendering needs not be realtime).