2. C INEMATOGRAPHY C AMERA P OSITION C AMERA P OSITION S CENE T RANSITIONS S CENE T RANSITIONS M OTION B LUR M OTION B LUR S TAGING S TAGING R ULE OF T HIRDS R ULE OF T HIRDS CS 382.001 A PRIL 12, 2016 P ART 6.8

3. C INEMATOGRAPHY P AGE 242 C INEMATOGRAPHY G AME CINEMATICS, UNTIL RECENTLY, HAVE CONSISTED PRIMARILY OF CUT SCENES, NON - INTERACTIVE MINI - MOVIES THAT SERVED AS A BRIDGE BETWEEN STAGES OF ACTUAL GAMEPLAY. S UCH SCENES ARE PLOTTED AND CHOREOGRAPHED JUST LIKE MOVIES, WITH STORYBOARDS, AS ILLUSTRATED AT LEFT. C UT SCENES MAY USE COMPUTER - GENERATED IMAGERY (CGI), AS IN THE EXTERIOR SHIP SCENE AT TOP, OR MACHINIMA ( LOW - END CGI) AS IN THE INTERIOR SCENE ABOVE.

4. C INEMATOGRAPHY P AGE 243 P ROFILE C ONFIGURATION P OINT -O F -V IEW C ONFIGURATION O VER -T HE -S HOULDER C ONFIGURATION S TANDARD C ONFIGURATION C AMERA P OSITION W HEN PLACING A VIRTUAL CAMERA WITHIN A GAME SCENE, THE MOST IMPORTANT RULE, THE 180- DEGREE RULE, DICTATES THAT THE CAMERA SHOULD NOT CROSS THE PLANE OF ACTION, AN IMAGINARY PLANE THAT PARTITIONS A SCENE INTO TWO DISTINCT REGIONS, USUALLY GOING THROUGH THE MAIN ACTORS OR IN THE DIRECTION OF MOVEMENT. B Y NOT CROSSING THIS PLANE, A SCENE ’ S SCREEN DIRECTION AND SPACE IS PRESERVED. A DDITIONAL CAMERAS ARE USUALLY PLACED USING A TRIANGULAR CONFIGURATION.

5. C INEMATOGRAPHY P AGE 244 C INEMATOGRAPHY : P OSITION (2) T HE SHOT SIZE DETERMINES THE DISTANCE BETWEEN THE CAMERA AND THE GAME CHARACTER. E XTREME C LOSE -U P C LOSE -U P C LOSE S HOT M EDIUM C LOSE S HOT M EDIUM S HOT M EDIUM F ULL S HOT F ULL S HOT

6. C INEMATOGRAPHY P AGE 245 S CENE T RANSITIONS T RANSITIONS BETWEEN SCENES ARE HANDLED IN SEVERAL BASIC WAYS.

7. W HEN OBJECTS BEING PHOTOGRAPHED MOVE AT A RATE FASTER THAN THE EXPOSURE TIME NEEDED BY THE CAMERA TO CAPTURE ONE FRAME, MOTION BLUR RESULTS. M OTION B LUR C INEMATOGRAPHY P AGE 246 B Y SIMULATING THIS EFFECT IN A GAME, THE SENSE OF SPEED AND MOVEMENT IN A SCENE CAN BE HEIGHTENED. T HE SIMPLEST TECHNIQUE IS TO BLEND THE CURRENT FRAME WITH PREVIOUS FRAMES TO REFLECT WHERE OBJECTS ARE AND WHERE THEY WERE RECENTLY.

8. C INEMATOGRAPHY P AGE 247 S TAGING M OST ANIMATION FOR GAMES IS DONE IN SHORT SEGMENTS THAT ARE STRUNG TOGETHER AS THE GAME IS PLAYED TO GIVE THE ILLUSION OF CONTINUOUS MOTION. M OST GAMES HAVE A STOCK INVENTORY OF CYCLED MOTIONS THAT COVER THE BASIC NEEDS OF THE GAME. I DLE 30-40 FRAMES / CYCLE R UNNING 15-18 FRAMES / CYCLE W ALKING 20-24 FRAMES / CYCLE S NEAKING 20-24 FRAMES / CYCLE R EACTING 12-15 FRAMES / CYCLE D YING 12-15 FRAMES / CYCLE K NOCKED D OWN 10-12 FRAMES / CYCLE G ETTING U P 25-30 FRAMES / CYCLE A TTACKING 10-14 FRAMES / CYCLE

9. C INEMATOGRAPHY P AGE 248 R ULE OF T HIRDS K EY OBJECTS PLACED IN THE CENTER OF THE SCREEN TEND TO DOMINATE THE ATTENTION OF PLAYERS. A RTISTS CONSEQUENTLY TEND TO PLACE OBJECTS OF INTEREST ONE - THIRD OR TWO - THIRDS UP ( OR ACROSS ) THE SCREEN, CREATING REFERENCE POINTS FOR FRAMING THE IMAGE.