The cherry on Cine Tracer’s cake is its inclusion of cutting-edge tech. In contrast to Fortnite’s fantastical nature, Cine Tracer is necessarily grounded in reality. Cameras or lights can’t just be placed anywhere-instead, they adhere to the same laws of physics that us mere mortals abide by, so as to simulate a traditional experience that filmmakers and cinematographers are used to. Users working in it can expect a sophisticated world and a high level of intelligence that simulates real life.
What sets Cine Tracer apart from video game status is the level of accuracy and pragmatism that it brings to its virtual sets. Users build a set, place virtual cameras, put character models in place for realistic real-world set simulation, before taking a picture and sending it to storyboard for tangible and immediate feedback. It’s easy to see why-the principles are similar. The seeds of Cine Tracer were sown and, in partnership with Unreal Engine in 2018, Cine Tracer came to light, published by Cinematography Database, and pitched as ‘Fortnite for filmmakers’. On realising that he enjoyed the planning and previs stage more than doing the shoots themselves, but frustrated by the sharp learning curve of the tools that served these stages, Matt made inroads into making his own for ‘non-3D people’. Before embarking on the Cine Tracer project, Matt worked as a Director of Photography in New York, working on commercials and music videos. Matt Workman, the mind behind Cine Tracer, is an established cinematographer on the one hand-and ‘accidental game developer’ on the other. In this mode, users can play with industry-standard equipment used in real-world studios and sets to visualize how a scene is going to look, before deftly capturing these to storyboards. Press ‘Y’, however, and your character will disappear, replaced by ‘edit’ mode-and here’s where the magic really happens. It handles like a video game, complete with a user-controlled avatar which traverses and explores the 3D scene.
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Part game, part application, Cine Tracer is powered by Unreal Engine to provide a virtual 3D space in which users can block scenes, work out where lights should go, where to put cameras, how to frame shots and block actors-the list goes on. It’s this immediacy of feedback and holistic approach to cinematography and filmmaking which underpin previsualization tool Cine Tracer. Previsualization, on-set direction and post-production no longer have to exist as mutually exclusive stages if the director of a film can access digital visuals and environments before, and whilst, shooting. It also goes to show the ways in which virtual production is turning traditional filmmaking on its head and encouraging wider creative collaboration earlier on in the production pipeline. Recently, we covered how virtual production and its real time capabilities harbor huge potential for filmmakers and directors everywhere, with Jon Favreau and his 2019 feature film The Lion King serving as an undeniable success story to cement this.
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