Comparison to film techniques The AMAS defines machinima as "animated filmmaking within a real-time virtual 3-D environment". 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 frames and inbetweening. Machinima creators leave many rendering details to their host environments, but may thus inherit those environments' limitations. 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." 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.
Comparison to film techniques The AMAS defines machinima as "animated filmmaking within a real-time virtual 3-D environment". 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 frames and inbetweening. Machinima creators leave many rendering details to their host environments, but may thus inherit those environments' limitations. 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" 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.