The simple task of moving a 3D camera around a viewport is not immediately intuitive.
I’ve used almost every 3D animation program for previs and all of them have a steep learning curve. While it is technically a game made with Unreal Engine and sold on Steam, it is really an app that uses familiar ‘game mechanics.’ Matt Workman: My main goal with Cine Tracer is to make it simple to learn and fun to use/play. After a few weeks of tinkering I was hooked with being able to work in real time and I spent the last year of my life dedicated to building what is now Cine Tracer.ī&a: Can you describe, from an overall point of view, how a player plays Cine Tracer? What things did you keep considering, as you’ve been developing it, to make sure it stayed fun, and like a game?
It did really well, for a very niche market, but the high prices of the DCC kept it from being main stream.Ībout a year and a half ago Epic Games approached me and asked if I would be interested in porting Cine Designer into Unreal Engine.
Five years ago I stared a company called Cinematography Database and sold a Cinema 4D previs plug-in called Cine Designer. One day I decided that I wanted to be able to my own ‘Production Previs’ and I started to work in SketchUp and Maya. Matt Workman: I worked as a commercial cinematographer in NYC for 10 years and by the end, I was working a lot VFX heavy projects. Here Matt outlines exactly what Cine Tracer is, why he built it, and why the ‘game’ is already being utilized for actual production planning.ī&a: Why did you make Cine Tracer? What was it in your previous work or wish list for a game that made you jump into it?
#Steam cine tracer simulator#
That’s what Matt Workman, the founder of Cinematography Database, has also done with Cine Tracer, a real-time cinematography simulator made in Unreal Engine and available on Steam. These tools and techniques are being directly used on television, commercials, and films – the best tools replicate the real-world cinematography experience. There’s a lot of buzz about virtual production and real-time game engines right now. #vfxtoolsweek is brought to you by cineSync. The foundations that you give us will last us a lifetime.Get in there and visualize real-world filmmaking now. Don’t dumb your content down, even if it sometime scares the hell out of us at times. The techniques you teach are skills that can be rolled back to any level of production, but lower level skills cannot be rolled forward in the same way.Īim for the sky and bring us along with you. I have a Helium and Movi (and rent Cookes as I’m a Brit), but I started out with Sony Vx1000’s, etc., and anyone today, from all levels of skill looking for help would be well advised to follow your tutoring. I believe from the bottom of my heart that if I’d had your mentoring 15 years earlier I would be leaps and bounds ahead of my current level. Your mentoring is nothing short of gold dust – I’m knocking on the door of agency-level work my budgets vary from $20k to $350K with a crew under me ranging from 2 – 15, and while I’ve been shooting professionally since I was 18 (for 20 years this year in fact) listening to your podcasts has instilled a sense of confidence I’ve not had before.
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