High-performance play: The making of machinima

Lowood, Henry

doi:10.1386/jmpr.7.1.25/1

Cited by 76 publications

(49 citation statements)

References 1 publication

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“…Machinima communities have been established for multiple game engines and within these communities machinima is continuously developing and maturing technically and artistically. That is why we suggest to look at machinima as an emerging educational tool as well as artistic practice (Lowood 2006). Machinima fits many of the points suggested by the AAUW as it engages players to become media producers, express themselves creatively in the digital media format, and allows an enormous artistic freedom that can be exercised with improving technical mastery of the rather complex underlying game engine.…”

Section: Machinima and Emergent Game Playmentioning

confidence: 97%

Women creating machinima

Vandagriff

Nitsche

2009

Digital Creativity

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We interviewed 13 female machinima artists to investigate the appeal of machinima for women. Are there any specific qualities of this game-based production that speak to those women? The research looked at engine use, personal situation of artists and motivation, production processes, and dominant themes in female produced machinima. Our findings indicate that machinima as a form of emergent play opens up promising possibilities for women to engage in game and animation production. Traditional social roles of women are present and remain relevant for machinima production but the accessibility of the tools provides a playground for these filmmakers to explore new genres and technologies and it supports the interest in meaningful engagement and artistic expression stated by participants in the study. We conclude that machinima can serve as a useful tool to explore and improve women's position in digital media development.

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Section: Machinima and Emergent Game Playmentioning

confidence: 97%

Women creating machinima

Vandagriff

Nitsche

2009

Digital Creativity

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“…Some even wrote Machinima beginners' books about their specific production knowledge (Hancock and Ingram, 2007;Marino, 2004) Despite the importance of domain knowledge, commercializing Machinima seemed to rely on the user entrepreneurs' ability to combine domain knowledge and experience with complementary assets. Users of video games approached animation production in new ways (Lowood, 2007;Marino, 2004) regarding their use of technical tools and cinematography, as Matt Kelland (MK) of Short Fuze commented. The crew at Short Fuze knew that there were important trade-offs when making animation with games or with user experience of gamers.…”

Section: Acquisition Of New Domain Knowledgementioning

confidence: 99%

Under the radar: Industry entry by user entrepreneurs

2010

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link ABSTRACTWe inductively develop a model of the commercialization process for new products or services user entrepreneurs undertake when entering an industry while drawing on proprietary technology developed in another industry. Extending the growing field of user entrepreneurship, we identify a two-phase approach to industry entry by user entrepreneurs who start "under the radar" of incumbent firms, gain experience, attract a first potential customer base, and then, in a second phase, engage in commercialization. During this process, a community of fellow users is of major importance for the entrepreneur, serving as a knowledge pool for skills development and experimentation with different commercialization paths. We study a nascent group of firms founded by users of video games who became entrepreneurs on entering the animation industry by producing Machinima, a new film genre characterized by shooting film in video games. We explain how user entrepreneurs gain access to complementary assets (video games) for their new use (shooting film), how they deal with intellectual property issues when using other firms' assets, and how user entrepreneurs combine domain knowledge about film production with their experience in video games and the art of Machinima. Our propositions hold implications for management and policy.

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“…Such productions often require the work of several professionals for a span of several months. On the other hand, In the last two decades, the availability of cheap or free animation tools and the advent of customisable game engines has produced a drastic change in the demography of the virtual film makers [14]. New forms of the film medium became popular, such as machinima or game replays, created by nonprofessional or semi-professional cinematographers or game players.…”

Section: Introductionmentioning

confidence: 99%

Automatic Camera Control: A Dynamic Multi-Objective Perspective

Burelli

Preuß

2014

Applications of Evolutionary Computation

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Abstract. Automatically generating computer animations is a challenging and complex problem with applications in games and film production. In this paper, we investigate how to translate a shot list for a virtual scene into a series of virtual camera configurations -i.e automatically controlling the virtual camera. We approach this problem by modelling it as a dynamic multi-objective optimisation problem and show how this metaphor allows a much richer expressiveness than a classical single objective approach. Finally, we showcase the application of a multi-objective evolutionary algorithm to generate a shot for a sample game replay and we analyse the results.

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High-performance play: The making of machinima

Cited by 76 publications

References 1 publication

Women creating machinima

Women creating machinima

Under the radar: Industry entry by user entrepreneurs

Automatic Camera Control: A Dynamic Multi-Objective Perspective

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