
We’re all agreed. The flycam is the greatest thing ever in the world for SL Machinimists. It allows for smooth “impossible” shots or shots that would cost thousands of dollars to get in the real world. But we’ll blaspheme for a moment and remind you - watch out for falling in love with your favorite toy. And never rely on one technique.
SL has plenty of machinima tools and techniques outside of the flycam which aren’t only really simple, but provide for some kick-ass camera work. What you want to do is think about what the variables in your shot are and what tool will best help you get it.
If you haven’t already used it, we def recommend springing for the Filming Path Studios FP HUD. It was like 1500 $L when we picked it up. (Sounds like a lot, but when you think that 1500 $L is like 5 bucks, you get over it real fast.) There have been countless times that we knew the exact path the cam needed to take, but the avatar puppeteer missed the mark. And of course, the one time the avatar hits the mark, there’s no guarantee that your dolly shot or pan followed the right path. The FP HUD gives you the flexibility to set up a shot – then run it over and over again until it’s exactly the way you want it. You can even bracket the shot if you use Windlight or the Release Client. (And yes…it would not be TRUE bracketing, but much of machinima is approximating virtually what happens in the real world.) We got the shot of the Beowulf avatar (above) this way.
Another tip. Too many camera operators automatically disable the camera constraints thinking this will give them the most freedom when filming. Not necessarily so. In SL, try this: Leave your camera constraints on. Alt on your subject far off in the distance, then have them fly past your cam position. (Do not have the flycam engaged at this point.). You’ll see that they approach your POV, the cam automatically pans with them and continues to follow them into the distance. If you add some blur in post, you can turn this shot into a killer swish pan. We used this technique when we shot the Blue Furry chase scene for CSI:NY.
And please, don’t be afraid of being straighforward. You can make so much of an action sequence by simply adding a handheld POV shot. Just go into mouselook and shake your mouse while moving forward and you’ve got it.
These are just a few things you can try. Don’t use one of them in your films, try them all. Experiment with your settings. Do something wrong. Sometimes it’s that one mistake that leads to the best camera work.