“Cinematographers use light to shape the emotion,” explains Workman. “Now that light behaves like it does in the real world, or much closer to it, you can actually believe the scene a little bit more and it can actually feel like something.”Ĭonversely, when the lighting is wrong in the previs, the cinematographers can’t engage with it. “One of the big things is light coming through windows into a room it's like the aperture of the world,” says Workman. “You're in an interior, the windows are what bring the light in, and so much tone is set by that. If the shadows aren't correct-coming through the window, and coming through trees, and hitting the wall-the whole thing falls apart. Populating the scene with props and characters When you turn this on, the light coming into the room just feels amazing.” If you showed a cinematographer virtual light like that, instantly they wouldn't like it. When it comes to populating the scene, Workman provides a large library of assets, drawing from 3D stock sites like Unreal Engine Marketplace, and building specialized items himself.
Everything is to scale, and materials react correctly to light, making it as easy as possible for users to assemble their sets. There’s also intelligent placement built in so that chairs will sit on the ground, for example, and object manipulation is very simple.
In the future, Workman wants to either offer a bridge to a tool like SketchUp, or provide simple modeling tools himself, so that art departments can also use Cine Tracer for set dressing.Ĭharacters are another story.
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