Editing Machinima (section)

===Comparison to film techniques===
The AMAS defines machinima as "animated filmmaking within a real-time virtual 3-D environment".<ref name="Marino 1">{{harvnb|Marino|2004a|p=1}}</ref> In other 3-D animation methods, creators can control every frame and nuance of their characters but, in turn, must consider issues such as [[key frame]]s and [[inbetweening]]. Machinima creators leave many rendering details to their host environments, but may thus inherit those environments' limitations.<ref name="Kelland 19-20">{{harvnb|Kelland|Morris|Lloyd|2005|pp=19–20}}</ref>  Second Life Machinima film maker Ozymandius King provided a detailed account of the process by which the artists at MAGE Magazine produce their videos. "Organizing for a photo shoot is similar to organizing for a film production. Once you find the actors / models, you have to scout locations, find clothes and props for the models and type up a shooting script. The more organized you are the less time it takes to shoot the scene."<ref>{{Cite web|title = MAGE Magazine|url = http://0zymandius.wix.com/magemagazine#!MAGE-MAGAZINE-Interview-with-0zymandius-by-Ian-Thomson-Part-2/c112t/55f371e70cf20cc524a6a72d |access-date = 2015-09-24}}</ref> Because game animations focus on dramatic rather than casual actions, the range of character emotions is often limited. However, Kelland, Morris, and Lloyd state that a small range of emotions is often sufficient, as in successful Japanese anime television series.<ref name="Kelland, 78-79">{{harvnb|Kelland|Morris|Lloyd|2005|pp=78–79}}</ref>

Another difference is that machinima is created in real time, but other animation is pre-rendered.<ref name="Kelland 24">{{harvnb|Kelland|Morris|Lloyd|2005|p=24}}</ref> Real-time engines need to trade quality for speed and use simpler algorithms and models.<ref name="Kelland 24" /> In the 2001 animated film ''[[Final Fantasy: The Spirits Within]]'', every strand of hair on a character's head was independent; real-time needs would likely force them to be treated as a single unit.<ref name="Kelland 24" /> Kelland, Morris, and Lloyd argue that improvement in consumer-grade graphics technology will allow more realism.<ref name="Kelland 27">{{harvnb|Kelland|Morris|Lloyd|2005|p=27}}</ref> Similarly, [[Paul Marino]] connects machinima to the increasing computing power predicted by [[Moore's law]].<ref name="Marino 11"/> For [[cut scene]]s in video games, issues other than visual fidelity arise. Pre-rendered scenes can require more digital storage space, weaken [[suspension of disbelief]] through contrast with real-time animation of normal gameplay, and limit interaction.<ref name="Kelland 27" />

Like live action, machinima is recorded in real-time, and real people can act and control the camera.<ref name="Kelland 22">{{harvnb|Kelland|Morris|Lloyd|2005|p=22}}</ref> Filmmakers are often encouraged to follow traditional cinematic conventions,<ref>{{harvnb|McMahan|2005|pp=36–37}}; {{harvnb|Marino|2004a|pp=347–348, 362}}</ref><ref>{{harvnb|Kelland|Morris|Lloyd|2005|pp=142–143}}</ref> such as avoiding wide [[field of view|fields of view]], the overuse of [[slow motion]],<ref name="McMahan 2005, 37">{{harvnb|McMahan|2005|p=37}}</ref> and errors in [[continuity (fiction)|visual continuity]].<ref name="Kelland, 142">{{harvnb|Kelland|Morris|Lloyd|2005|p=142}}</ref> Unlike live action, machinima involves less expensive, digital [[special effects]] and [[set construction|set]]s, possibly with a science-fiction or historical theme.<ref name="Kelland 22" /> Explosions and stunts can be tried and repeated without monetary cost and risk of injury, and the host environment may allow unrealistic physical constraints.<ref name="Kelland 22" /> [[University of Cambridge]] experiments in 2002 and 2003 attempted to use machinima to re-create a scene from the 1942 live-action film ''[[Casablanca (film)|Casablanca]]''.<ref name="Nitsche 2009, 114-115">{{harvnb|Nitsche|2009|pp=114–115}}</ref> Machinima filming differed from traditional cinematography in that character expression was limited, but camera movements were more flexible and improvised. Nitsche compared this experiment to an unpredictable [[Dogme 95]] production.<ref name="Nitsche 2009, 114-115" />

[[File:ILL Clan presents Tra5hTa1k at Stanford.jpg|thumb|The [[ILL Clan]] performs its machinima comedy talk show ''[[Tra5hTa1k with ILL Will]]'' in front of a live audience at [[Stanford University]] in 2005. Left to Right: Frank Dellario, Matt Dominianni, Manu Smith, Paul Jannicola.]]

Berkeley sees machinima as "a strangely hybrid form, looking forwards and backwards, cutting edge and conservative at the same time".<ref name="Berkeley 2006, 67">{{harvnb|Berkeley|2006|p=67}}</ref> Machinima is a digital medium based on 3-D computer games, but most works have a linear [[narrative structure]]. Some, such as ''[[Red vs. Blue]]'' and ''[[The Strangerhood]]'', follow narrative conventions of television [[situational comedy]].<ref name="Berkeley 2006, 67" /> Nitsche agrees that pre-recorded ("reel") machinima tends to be linear and offers limited interactive storytelling while machinima has more opportunities performed live and with audience interaction.<ref name="Nitsche 2005, 223-224">{{harvnb|Nitsche|2005|pp=223–224}}</ref> In creating their improvisational comedy series ''[[On the Campaign Trail with Larry & Lenny Lumberjack]]'' and talk show ''Tra5hTa1k with ILL Will'', the [[ILL Clan]] blended real and virtual performance by creating the works on-stage and interacting with a live audience.<ref name="Nitsche 2007" /> In another combination of real and virtual worlds, Chris Burke's talk show ''[[This Spartan Life]]'' takes place in ''[[Halo 2]]''{{'}}s open multiplayer environment.<ref name="Nitsche 2007" /> There, others playing in earnest may attack the host or his interviewee.<ref name="Nitsche 2007" /> Although other virtual theatrical performances have taken place in [[chat room]]s and [[multi-user dungeon]]s, machinima adds "cinematic camera work".<ref name="Nitsche 2005, 214">{{harvnb|Nitsche|2005|p=214}}</ref> Previously, such virtual cinematic performances with live audience interaction were confined to research labs equipped with powerful computers.<ref name="Nitsche 2005, 224-225">{{harvnb|Nitsche|2005|pp=224-225}}</ref>

Machinima can be less expensive than other forms of filmmaking. Strange Company produced its feature-length machinima film ''[[BloodSpell]]'' for less than [[pound sterling|£]]10,000.<ref name="Price">{{harvnb|Price|2007}}</ref> Before using machinima, [[Burnie Burns]] and [[Matt Hullum]] of Rooster Teeth Productions spent [[United States dollar|US$]]9,000 to produce a live-action independent film. In contrast, the four [[Xbox (console)|Xbox]] game consoles used to make ''Red vs. Blue'' in 2005 cost $600.<ref name="Thompson, 2">{{harvnb|Thompson|2005|p=2}}</ref> The low cost caused a product manager for Electronic Arts to compare machinima to the low-budget [[independent film]] ''[[The Blair Witch Project]]'', without the need for cameras and actors.<ref name="Thompson, 2" /> Because these are seen as low [[barriers to entry]], machinima has been called a "democratization of filmmaking".<ref>{{harvnb|Thompson|2005|p=2}}; {{harvnb|Matlack|Grover|2005}}</ref> Berkeley weighs increased participation and a blurred line between producer and consumer against concerns that game copyrights limit commercialization and growth of machinima.<ref name="Berkeley 2006, 68-70">{{harvnb|Berkeley|2006|pp=68–70}}</ref>

Comparatively, machinimists using pre-made virtual platforms like ''[[Second Life]]'' have indicated that their productions can be made quite successfully with no cost at all. Creators like Dutch director Chantal Harvey, producer of the [[48 Hour Film Project]] Machinima sector, have created upwards of 200 films using the platform.{{citation needed|date=December 2016}} Harvey's advocacy of the genre has resulted in the involvement of film director [[Peter Greenaway]] who served as a juror for the Machinima category and gave a keynote speech during the event.{{citation needed|date=December 2016}}