Cine Tracer Cheat
Saija Grzegorek
I will quickly mention here that nailing a master lighting on several shots is a great way to setup a sequence. But it will not give you a proper cinematography. We will come back to that later.
It makes so much sense : Split the lights, not the geometry. Just think about the genius of this ! To have one beauty pass actually removes lots of issues: less cheat, no borders, getting closer to reality and still plenty of flexibility !
When compared to The White Lotus, this ended up being a useful study in suspense versus mystery. Nine Perfect Strangers leans heavily on the implication that the strangers in question, and their weirdo Galadriel meets Gwyneth host played by Nicole Kidman, are hiding a lot. Much of the character information is doled out via rapid-cut silent flashbacks, which compared to the sharp character writing in White Lotus feels like a tiresome cheat.
The following depth of field methods provides a cinematic look that closely resembles photography and film for desktop and console platforms using the Deferred Shading renderer and Clustered Forward renderer.
The implementation only uses half-resolution to perform this intensive effect. It attempts to save render performance in areas where the effect is not noticeable by using Adaptive Depth of Field. Bokeh DOF is more costly than other DOF methods available in UE4, making this a prime candidate for cinematics and showcases where appealing visuals often outweigh any performance concerns in those situations.
Is it cheating that I let my pug paint for me? She is gifted. I've found everything is about lines we make in the sand. In our minds crossing that line is a bad thing. Groups make lines. Some watercolor societies will not look at work that has even a dot of opaque paint. Some ateliers will shun anything not done from life. Laws are like that. We can let groups make lines for us by joining but we cannot and should not make lines for other people. We can choose not to like someone's work but their methods are their own. If you do come to Boise State however, all lines are mine.
This is great timing for me. I recently had 2 experiences where I was pretty much dropped from a competition and told later by an art director that I essentially cheated by painting over photos. Well one, I didn't paint over them I collected my reference using my wife and I as the main characters and then yes, traced out the main poses to save time and added different costumes and details (unless you want to believe my wife really is a Valkyrie). I was wanting to do something photo real since this is what I like and to test my skill. I spent a good amount of time on the piece and got a result I was happy with but I think because it is digital everyone assumes I didn't take the time to actually do the work. Far, far from it. Funny thing was I laid out the process in the competition which you can see here -workflow.html and they still insisted I was cheating. So, thank you for showing me the lessons I learned sometime ago and recently again are valid.
Wonderful article. I do think there is a logical reason that some people feel painting with a ton of aids is cheating. Say you have one painter creating beautiful realistic works from looking at something and putting the marks down on the canvas. And you have another applying paint directly over a photo. Doesn't the former takes much more time, effort, training and skill? There will always be people in awe of the ability to look at a scene and render it.
I say this as an oil painter who works from photos and often traces some lines for proportion. 'Cause ain't nobody got time sight size everything if they actually want to sell more than a couple paintings a year ?
I know you feel strongly about credentials and training and are upset about what you view as unfair competition and encroachment, but that's all a matter of personal feelings and opinions. It doesn't change the fact that artists can create (and find an audience) any way they want to, whether you approve of their methods or not. No one dictates what is art and what is not, just as no one can rightly describe any artist's methods (again, with the exception of plagiarizing) as cheating.
Do we fault chefs for using recipes? No, we just appreciate good food. Do we fault musician's for using sheet music? No. Do we go to surgeons who invent their procedures in the moment? No. It's a silly argument to think that one can cheat their way into good drawing, composition or paint mixing.
I think digital tools are, like every other technology, a double-edged sword. They give with one hand and take with the other. It is now easier than ever to produce amazing visual works, and publish them all over the world. That's the good news. That is also the bad news. Since you can do it, so can a sixteen year old kid in China, so this amazing ability is now ubiquitous and not really worth much in an economic system based on supply and demand. You now compete for attention (and jobs) with millions of artists (how many deviantart accounts are there?), and many more who are no longer alive. As soon as you create something and put it out there, someone else halfway around the world can take it without so much as a thank you. It is enough to make one contemplate the wisdom of Buddhist sand mandalas. Economics aside, I think it is important to remember that the most important and unique thing you can bring to the table as an artist is yourself. The more heavy lifting you let the machine do, the less of yourself will be evident in the result. In that sense, cheating is its own punishment. Style, that elusive quality every artists seeks, is a manifestation of our own personality. You can make awesome images with powerful new tools, but no tool is going to make them truly yours. Only your own imagination can do that. And I think that is what art consumers value above all, and why they consider stuff like tracing to be cheating. It is not remarkable to take an amazing tool and use it to do something amazing. The sense of wonder comes from using an unremarkable tool and using it to do something amazing. The amazing part has to come from you.
The Trace of Stones is the story of two competing work projects in the fictional towns of Schkona und Leupau (thinly disguised versions of Schkopau and Leuna: two industrial areas near Halle). At one of the sites, a man named Hannes Balla runs things his own way. He is not averse to cheating and bribery if it keeps his crew in work. As building materials become more scarce, Balla and his gang finds ways to get what they need to keep their project on track. The party officials are not completely happy with this, but Balla gets the work done, so they look the other way. Into this scenario come two idealists: Werner Horrath, a by-the-book party leader, and Kati Klee, a young female Engineer. Soon a romantic triangle develops between Horrath, Klee, and Balla, which sends the delicate equilibrium of the community tilting out of control.
The advent of film as an artistic medium is not clearly defined. There were earlier cinematographic screenings by others, however, the commercial, public screening of ten Lumière brothers' short films in Paris on 28 December 1895, can be regarded as the breakthrough of projected cinematographic motion pictures. The earliest films were in black and white, under a minute long, without recorded sound, and consisted of a single shot from a steady camera. The first decade saw film move from a novelty, to an established mass entertainment industry, with film production companies and studios established throughout the world. Conventions toward a general cinematic language developed, with film editing camera movements and other cinematic techniques contributing specific roles in the narrative of films.
Throughout the late 19th century, several inventors such as Wordsworth Donisthorpe, Louis Le Prince, William Friese-Greene, and the Skladanowsky brothers made pioneering contributions to the development of devices that could capture and display moving images, laying the groundwork for the emergence of cinema as an artistic medium. The scenes in these experiments primarily served to demonstrate the technology itself and were usually filmed with family, friends or passing traffic as the moving subjects. The earliest surviving film, known today as the Roundhay Garden Scene (1888), was captured by Louis Le Prince and briefly depicted members of his family in motion.[15]
The Skladanowsky brothers, used their self-made Bioscop to display the first moving picture show to a paying audience on 1 November 1895, in Berlin. But they did not have the quality or financial resources to acquire momentum. Most of these films never passed the experimental stage and their efforts garnered little public attention until after cinema had become successful.
The Lumière brothers' primary business interests were in selling cameras and film equipment to exhibitors, not the actual production of films. Despite this, filmmakers across the world were inspired by the potential of film as exhibitors brought their shows to new countries. This era of filmmaking, dubbed by film historian Tom Gunning as "the cinema of attractions", offered a relatively cheap and simple way of providing entertainment to the masses. Rather than focusing on stories, Gunning argues, filmmakers mainly relied on the ability to delight audiences through the "illusory power" of viewing sequences in motion, much as they did in the Kinetoscope era that preceded it.[23] Despite this, early experimentation with fiction filmmaking (both in actuality film and other genres) did occur. Films were mostly screened inside temporary storefront spaces, in tents of traveling exhibitors at fairs, or as "dumb" acts in vaudeville programs.[24] During this period, before the process of post-production was clearly defined, exhibitors were allowed to exercise their creative freedom in their presentations. To enhance the viewers' experience, some showings were accompanied by live musicians in an orchestra, a theatre organ, live sound effects and commentary spoken by the showman or projectionist.[25][26]
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