cinematic game art part 1

1. Game art specialization AFT: 736 Credit: 4 By Durgesh Pandey
Cinematic game art
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2. Course overview
Through this course students can understand and develop sense for game cinema.
CO1:: Analyze the cinematic art in the video game industry.
CO2:: Evaluate the essentials of cinematic art in the video game industry.
CO3:: Point out the different camera shots, angles, movements, and editing techniques of in-game cinema.
CO4:: Develop a story, script, and storyboard for cinematic art.
CO5:: Produce a cinematic scene with essential techniques.
CO6:: Outline the use of after-treatment in-game cinematic art.
Course outcomes Keywords
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Core topic
1. Introduction to cinematic art
2. Cinematic direction
3. Cinematography fundamentals
4. Storyboard essentials
5. Cinemachine and timeline
6. Post-processing effects

3. 3. Cinematography
fundamentals continue
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9 CAMERA SHOTS
You may frame your subject in a variety of ways, from viewing their complete body to
just their eyes. In general, we may divide this into three different shot sizes: long,
medium, and close. Long shots (also known as Wide shots) show the topic from afar,
highlighting place and location, whilst Close shots disclose details of the subject and
emphasize a character's emotions. Medium pictures are in the middle, emphasizing the
subject but also revealing part of the surrounding area.
It's important to remember that the following picture types only refer to the size of the
subject within the frame, not the lens used to record the scene. The Director and/or
Director of Photography must make an aesthetic judgment on the lens and, as a result,
the camera's distance from the subject. With that in mind, let's get started on the list!

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1. Extreme Long Shot (ELS) or Extreme Wide Shot (EWS)
Used to depict the topic or the
region in which the scene is taking
place from a distance. This shot is
particularly effective for
establishing a scene in terms of
time and location as well as a
character's physical or emotional
link to the environment and things
within it It's not necessary for the
character to be seen in this image.

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2. Long Shot (LS) or Wide Shot (WS))
Shows the topic from top to
bottom; for a human, this would
be head to toes, however the
frame is not always filled. The
figure is more prominent than in
an Extreme Long Shot, but the
scenery still leads the shot. This
picture frequently establishes the
scene and our character's position
inside it. In place of an Extreme
Long Shot, this can also be used as
an Establishing Shot.

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3. Full Shot
Full Shot Frames character from
head to toes, with the subject
roughly filling the frame. The
emphasis tends to be more on
action and movement rather
than a character’s emotional
state.
Intermediate between Full Shot
and Medium Shot. Shows subject
from the knees up.
4. Medium Long Shot

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5. Medium Shot
Medium Shot Shows part of the
subject in more detail. For a
person, a medium shot typically
frames them from about waist up.
This is one of the most common
shots seen in films, as it focuses on
a character (or characters) in a
scene while still showing some
environment.

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6. Medium Close-Up
Medium Close-Up Falls
between a Medium
Shot and a Close-Up,
generally framing the
subject from chest or
shoulder up.

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7. Choker
Choker A variant of a
Close-Up, this shot
frames the subject’s
face from above the
eyebrows to below the
mouth.

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8. Extreme Close Up
Extreme Close Up
Emphasizes a small area
or detail of the subject,
such as the eye(s) or
mouth. An Extreme
Close Up of just the
eyes is sometimes
called an Italian Shot,
getting its name from
Sergio Leone’s Italian-
Western films that
popularized it.

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CAMERA MOVEMENTS
1. Pan:
• Moving the camera lens to one side or another. Look to your left, then look to your
right - that's panning.
• It can reveal newly discovered aspects of the scenery.

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2. Dolly
• Motion towards or motion from.
• Dolly-in means step towards the subject with
the camera
• Dolly-out means to step backwards with the
camera, keeping the zoom the same.
• The direction of the dolly draws different
types of attention from the viewer. When the
dolly moves toward the subject, the viewer’s
interest is increased.
• Zooming the camera changes the focal length
of the lens, which can introduce wide-angle
distortion

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3. Arc
• An arc shot is the movement of the camera in a full or
semi-circle around an object or character.
• An arc shot is used to add drama to a film sequence and
increases the intensity of the narrative.
• They are known to be greatly effective when filming a
moving object, although a complicated shot, it holds the
audience's attention.

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4. Zoom
• Zooming involves changing the focal length of the lens to
make the subject appear closer or further away in the
frame.
• Zooming in could mean that the scene is changing to
reveal a character’s reaction.
• Zooming out, shows that the surroundings are becoming
more of a focus in the story
• When possible, use different camera shots to replace
zooms. Going from an establish shot to a medium shot and
then to a closeup will make for interesting video.

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5. Truck
• Trucking is like dollying, but it involves motion left or right.
• Truck left means "move the camera physically to the left while maintaining its
perpendicular relationship.“
• You might truck left to stay with a pedestrian as she walks down a street
• Trucking creates a feeling of observation or inspection

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6. Tilt
• Moving the camera’s lens up or down
while keeping its horizontal axis constant.
Nod your head up and down - this is tilting.
• Tilt shots can heighten an audiences’
suspense as they are not sure what the shot
will reveal

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7. Pedestal
• Moving the camera up or down without
changing its vertical or horizontal axis.
• Pedestal up means "move the camera
up;"
• Pedestal down means "move the camera
down.“
• You are not tilting the lens up, rather you
are moving the entire camera up.

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EDITING VOCABULARY
1. Cut
A transition where one shot is instantly followed by another.
2. Continuity Editing
Visual editing where shots are cut together in a clear and linear flow of uninterrupted
action. This type of cutting seeks to maintain a continuous sense of time and space.
3. Continuity Error
When the action or elements of a scene don’t match across shots. For example, when a
character breaks a glass window but in a later shot the window is shown undamaged.

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4. Cross Cutting
Technique used to give the illusion that two story lines of action are happening at the
same time by rapidly cutting back and forth between them.
5. Cutaway
The interruption of a continuously filmed action with a shot that’s peripherally related to
the principal action.
6. Dissolve
When the end of one shot overlaps the start of the next one to create a gradual scene
transition.

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7. Editing
The process of taking raw footage to select and combine shots to create a complete
motion picture.
8. Establishing Shot
A shot that gives viewers an idea of where the scene is taking place. These usually involve
a shot from a long distance, such as a bird’s eye view.
9. Eyeline Match
A technique based on the idea that viewers want to see what on-screen characters are
seeing. For example, if a character is looking intently at an off-screen object, the
following shot will be of that object.

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10. Fade
A visual effect used to indicate a change in place and time. This involves a gradual
brightening as a shot opens or a gradual darkening as the shot goes black or to another
color. Sound also fades in and out to convey the change.
11. Iris
A wipe that takes the shape of a shrinking or growing circle, depending on if the scene is
opening or ending. Rarely used today but very common during the silent era.
12. J Cuts
An editing technique that allows the audience to first hear audio from a shot, and then
see it.

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13. Jump Cut
An abrupt cut that creates a lack of continuity between shots by leaving out parts of the
action.
14. L Cut
An editing changeover between one shot and another in film, where the visual and audio
shift at different times. Also called a split edit.
15. Matched Cut
A cut joining two shots with matching compositional elements. This helps to establish
strong continuity of action. One of the more notable examples of this technique is from a
famous scene in “2001: A Space Odyssey.”

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17. Sequence Shot
A long take composed of one shot that extends for an entire scene or sequence. Usually
requires complex camera movements and action. Here is a notable example from Good
Fellas. (This isn’t a term that is particularly important for an editor to know.)
18. Shot Reverse Shot
The alternating of over-the-shoulder-shots, usually used during a conversation between
two characters.
19. Wipe
The transition from one shot to another with a visible pattern or element. No longer
used in today’s films but very common in early cinema.

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10 Quiz session

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11.ROLE OF PRODUCER
A film producer is someone who controls the production of a film. Producers plan and
coordinate different parts of film production, such as selecting the script, organizing
writing, directing, and editing, and securing financing, whether they are employed by a
production firm or working independently.
The producer finds and selects suitable material for development during the "discovery
stage." The producer must then hire a screenwriter and manage the script's
development, unless the picture is based on an existing script. Following the completion
of a script, the producer will conduct a pitch to gain the necessary financial backing (a
"green light") for production to commence.

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The producer seems to be in charge of filmmaking's pre-production, primary
photography, and post-production stages. The director and other key crew members
must be hired, which is one of the most significant duties. During production, the
director is in charge of the artistic decisions, while the producer is in charge of the
logistic and business operations, however some filmmakers also produce their own films.
The producer is in charge of ensuring that the film is completed on schedule and on
budget. Last but not least, the producer will be in charge of marketing and distribution.
Producers are unable to oversee all aspects of production for a variety of reasons.
Associate producers, assistant producers, line producers, or unit production managers
may be hired and delegated duties by the primary producer or executive producer in this
situation.

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Different types of producers and their roles within the industry today include:
All of the other producers working on the same project are overseen by the executive
producer. They ensure that the producers are carrying out their responsibilities on the
set. They are also in charge of managing the film's financing and overseeing all other
areas of the business. An Executive Producer or Co-Executive Producer on a TV show is
frequently a writer who is awarded creative credit. On a feature film or television show,
the Executive Producer is frequently the one who personally funds the film or who
locates the investors or company that provides the cash.
A line producer is in charge of the crew and day-to-day operations, as well as supervising
every physical aspect of the production of a film or television show. In certain situations,
the line producer might be acknowledged as "produced by."

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A supervising producer oversees the screenplay development process and frequently
assists in script rewrites. They can also take on the position of executive producer,
supervising other producers.
Every part of the production process may be overseen, organized, managed, and started
by a producer. They are involved in every step of the manufacturing process.
A co-producer is a member of a team of producers who, in a single production, fulfill all
of the tasks and roles that a single producer would.
A coordinating producer coordinates the work/role of multiple producers who are trying
to achieve a shared result.
The associate or assistant producer helps the producer during the production process.
They can sometimes be involved in coordinating others' jobs, such as creating peoples'
schedules and hiring the main talent.

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A segment producer produces one or more single specific segments of a multi-segment
film or television production.
A field producer helps the producer by overseeing all of the production that takes place
outside of the studio in specific locations for the film.
RESPONSIBILITIES OF PRODUCER
Producers bring together people like the film director, cinematographer, and production
designer during this stage of the pre production process. The producer must locate an
acceptable screenwriter unless the picture is to be based on an original script.
They have the option of ordering a fresh screenplay or hiring a script editor if they
believe a current script is faulty. The producer also gets the ultimate word when it comes
to hiring the film director, actors, and other crew members. They also have the last say in
some situations when it comes to casting questions.

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Approving locations, studio hires, final shooting scripts, production schedules, and
budgets are all part of a producer's job. Spending more time and money on pre-
production can help decrease the amount of time and money lost during production.
During the production the producer's responsibility is to keep the film on schedule and
within budget during production. They'll stay in touch with directors and other important
members of the creative team at all times.
Producers are unable to directly monitor all aspects of their production for a variety of
reasons. Some producers, for example, run a firm that also handles film distribution.
Furthermore, the actors and crew frequently work at different times and locations, and
some films even require a second unit.

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Even if the filming is complete, the producers have the right to insist that extra scenes be
shot. Producers may even demand and receive an alternate film ending if a negative test
screening occurs.
Producers are also in charge of the film's sales, marketing, and distribution, frequently
collaborating with third-party businesses.

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ROLE AND RESPONSIBILITIES OF DIRECTOR
A film director directs the creative and dramatic qualities of a film, as well as visualizing
the screenplay (or script) and directing the film crew and actors to realize that vision. The
director is responsible for casting, production design, and other areas of filmmaking that
are creative.
A film director directs the creative and dramatic qualities of a film, as well as visualizing
the screenplay (or script) and directing the film crew and actors to realize that vision. The
director is responsible for casting, production design, and other areas of filmmaking that
are creative.
There are numerous methods to pursue a career as a film director. Screenwriters,
cinematographers, producers, film editors, and performers have all worked as film
directors.

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Other directors have gone to film school. Different approaches are used by directors.
Some give a rough storyline and let the performers to improvise dialogue, while others
have complete control and want the actors and crew to adhere to strict guidelines. Some
directors also compose their own screenplays or cooperate with long-time writing
partners on screenplays. Some directors edit or feature in their films, while others
compose the music score.

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ROLE OF CINEMATOGRAPHER
The person in charge of shooting or recording a film, television show, music video, or
other live action piece is known as a cinematographer or director of photography (often
abbreviated as DP or DOP). The cinematographer is in charge of the camera and light
teams on such projects, and is typically in charge of making creative and technical
choices about the image, as well as selecting the camera, film material, lenses, filters,
and other equipment. Cinematography is the term used to describe the study and
practice of this field.
To be successful as a cinematographer, you should be detail-oriented and demonstrate
good creative intelligence. Outstanding candidates are easily inspired, have a strong
vision and the ability to communicate that vision to the director and film crew.

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CINEMATOGRAPHER RESPONSIBILITIES:
• Analyzing the screenplay, characters, and story structure and deciding on a visual
approach with the director.
• Conducting research regarding available locations, props, sun position, and weather
conditions at the prospective film sites.
• Selecting and sourcing required equipment, tools, and crew members.
• Visiting locations and taking a series of test shots before deciding on the angles, filers,
film stock, framing, equipment, lighting, and techniques that will be used to create
the desired atmosphere of the film.

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• Approving costumes, make-up, and hair, as well as the color and textures used on set.
• Training crew to safely use new and modified equipment.
• Attending cast rehearsals and providing advice where appropriate.
• Working with the post-production team to ensure the desired effects are preserved
and that the mood of the film is maintained.
• Keeping up-to-date with advances in the film industry and attending workshops and
training sessions wherever possible.
• Expanding networks and maintaining relationships with industry professionals.

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CINEMATOGRAPHER REQUIREMENTS
• Bachelor’s degree in Film, production, or a similar discipline.
• An associate’s degree is also acceptable.
• Extensive experience working in the film industry.
• Stamina and physical strength.
• The ability to work long hours and spend time away from home.
• A passion for film, good eye for detail, and excellent hand-eye coordination.

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12. RULES OF SHOT COMPOSITION
The rules of composition, like any other "rules" in photography or cinematography, are
designed to be broken. The elements of composition are most interesting when they go
against the grain, as much as we rely on them in most situations. It's perhaps a good idea
to first define composition before learning the basics of photo composition.
1. The Rule of Thirds
2. Balance and Symmetry
3. Leading Lines
4. Eye-Level Framing
5. Depth of Field
6. Deep Space Composition

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The Rule of Third
Firstly, the rule of thirds is one
of the most common camera
framing techniques used in film
or photography. It's about
positioning a character to show
their relation to other elements
in the scene.

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Balance and symmetry
Imagine your frame as a shadow box that you’re
putting items into and that box sits on a fulcrum in the
center. Balancing the left and right sides normally give
a feeling of harmony, and an unbalanced frame one of
tension. While going counter to the rule of thirds,
sometimes completely symmetrical framing with the
object of interest in the center can be extremely
effective.
Understanding frame composition rules is invaluable
knowledge for directors and cinematographers. And
so is knowing when to break them.
Shooting a perfectly symmetrical shot, breaking the
rule of thirds, is used for very specific reasons. Gilroy
puts Lou in the center of the screen, ignoring the rule
of thirds.

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Leading lines
Leading lines are actual lines (or
sometimes imaginary ones) in a shot,
that lead the eye to key elements in
the scene.
Artists use this technique to direct the
viewer’s eye but they also use it to
connect the character to essential
objects, situations, or secondary
subjects. Whatever your eye is being
drawn to in a scene, leading lines
probably have something to do with it.

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Eye-level framing
Eye-level framing positions the
audience at eye-level with the
characters, which plants the idea that
we are equal with the character.
Leading the eye and the mind to
consider how we would feel if we were
there, because it almost feels like we
already are.

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Depth of field
Depth of field is essentially your zone
of sharpness. If you make that zone
longer, bringing more objects into
focus, you will have a deep depth of
field.
Similarly, if you make that zone shorter
or smaller, with less in focus, you will
have a shallow depth of field. One way
to achieve this adjustment is by using
the lens aperture.

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Deep space composition
Filmmakers use deep space when
significant elements in a scene are
positioned both near and far from the
camera. These elements do not have to
be in focus.
Unlike, deep focus, defined by
elements both near and far from the
camera in focus.
Video reference: https://www.youtube.com/watch?v=-ZE6LB_DhdI&t=207s

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PICTORIAL BALANCE
Pictorial balance in photography or in cinema is observed when an image or frame has
subject areas that look balanced throughout the composition. It is achieved by shifting
the frame and just a posing subjects within it so objects, tones, and colors are of equal
visual weight. An image is balanced when subject areas command a viewer’s attention
equally.
1. Symmetrical Balance
2. Asymmetrical Balance
3. Colour Balance
4. Tonal Balance
5. Conceptual Balance

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SCENIC DESIGN
Scenic design (sometimes called
scenography, stage design, or set design) is
the process of creating scenery for theater,
film, or television. Scenic designers have a
wide range of artistic backgrounds,
although in recent years, they have
preferred to be educated professionals with
B.F.A. or M.F.A. degrees in theater arts.
Scenic designers create sets and settings
that support the production's overall artistic
goals. Scenic design is sometimes confused
with production design; nevertheless, it is a
component of the visual production of a
film or television show.

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13. What Is Cinematic Lighting?
Cinematic lighting is a film lighting technique that goes beyond the standard three-point
lighting setup to add drama, depth, and atmosphere to the story. Cinematic lighting
utilizes lighting tricks like bouncing light, diffusing light, and adjusting color
temperatures.
WHY LIGHTING IS IMPORTANT
Lighting is a fundamental to film because it creates a visual mood, atmosphere, and
sense of meaning for the audience. Whether it’s dressing a film set or blocking actors,
every step of the cinematic process affects the lighting setup, and vice-versa.
• Lighting tells the audience where to look. The lighting setup guides the eye to a
specific actor, prop, or part of a scene.

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• Lighting reflects the psychology of characters. The amount, size, color, and harshness
of light surrounding a character can be adjusted to match their emotions.
• Lighting defines and supports the genre of the film. Lighting is the tool that conveys
mood most clearly. For example, one of the film genres most known for its distinct
lighting style is film noir, characterized by stark contrasts between light and dark,
dramatically patterned shadows, and unique framing and composition choices.

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WHAT ARE THE GOALS OF GOOD LIGHTING?
So what is it we want lighting to do for us? There are many jobs, and they include
creating an image that has:
• A full range of tones and gradations of tone
• Color control and balance
• Shape and dimension in the individual subjects
• Separation: subjects stand out against the background
• Depth and dimension in the frame
• Texture
• Mood and tone: emotional content
• Exposure

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ASPECTS OF LIGHT
What are the variables when we work with light? Given its nearly infinite possibilities, the
number of factors are surprisingly few:
• Quality (hard vs soft)
• Direction
• Altitude
• Color
• Intensity
• Texture
Although understanding light is a study that lasts a lifetime and there are nearly infinite
ways to light a scene, when we boil it down to the basics, there are really only a few
variables that we deal with in lighting. These are the aspects of light that we work with as
we work on a scene.

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Hard Light
Hard light is also called specular light. It is light
that casts a clear, sharp shadow. It does this
because the light rays are traveling parallel, like
a laser. What creates a beam of light with the
rays pretty much parallel? A very small light
source. The smaller the source, the harder the
light will be. This is an absolutely crucial point:
how hard or soft a light appears is a function of
the size of the source. Outside on a clear, sunny
day, take a look at your shadow: it will be sharp
and clean. Even though the sun is a large star, it
is so far away that it appears as a small object
in the sky which makes it a fairly hard light.
Image 13.1

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Soft light
Soft light is the opposite; it is light that casts
only a fuzzy, indistinct shadow; sometimes no
shadow at all. What makes light soft? A very
large source. Go outside on a cloudy day and
you will have little or no shadow at all. This is
because instead of a small, hard source ( just
the sun), the entire sky is now the light source
it’s enormous. See image 13.2
Image 13.2

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Direction
The direction from which the key light comes at the actors is one of the most critical
aspects of lighting. The most commonly used terminology is front, 3/4 front, side, 3/4
back, and backlight. The direction of the light is a major determinant not only of the
shadows, but it is also an important factor in the mood and emotional tone of a shot. If
most of the light comes from the side or back, the scene will tend to be “darker,” more
mysterious, more dramatic.
This is especially important if you are trying to make a scene appear underlit, such as a
moody scene where you want the audience to perceive the scene as very dark. It is rarely
a good idea to try to accomplish this effect by radically underexposing: a scene lit mostly
from the back will appear dark without underexposing.

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Intensity
How bright or intense a light is clearly affects exposure, but remember that no matter
how bright or dark the overall light of a scene is (within limits), we can adjust it by
exposing correctly with the iris, shutter, or neutral density filters. What is important here
is the relative intensity of different lights within a scene, the relative balance of the
various lights.
These are really two completely different ways to think about the intensity and exposure
of lighting in a scene: the overall lighting level and then the comparative difference
between lights min a scene — which is usually referred to as the contrast ratio between
the key and fill.
Take a look at image 13.3 — the windows are completely blown out, meaning they are
extremely overexposed.

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Most of the time, we try to control the
windows so they are not overexposed
and thus without detail and visually
distracting in the frame. Occasionally
the scene calls for a more extreme
look and the DP will choose to blow
out the windows.
In this scene from Domino, the
windows are not only blown out, but it
is hard light and the slight haze in the
room creates defined shafts.
Figure 13.3

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Texture
Texture occurs in several ways. One is the
inherent texture of the subject itself, but the
one that concerns us here is texture of the light
itself. This is done by putting things in front of
the light to break it up and add some variation
of light and shadow. Things you put in front of
the light are called gobos, and a particular type
of gobo is the cuculoris or cookie, which comes
in two types.
Hard cookies are plywood with irregular
cutouts (Figure 13.4). Soft cookies are wire
mesh with a subtle pattern of translucent
plastic.
(Figure 13.4).

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THREE POINT LIGHTING
The Three Point Lighting Technique is a standard method used in visual media such as
video, film, still photography and computer-generated imagery. It is a simple but versatile
system which forms the basis of most lighting. Once you understand three point lighting
you are well on the way to understanding all lighting.
The technique uses three lights called the key light, fill light and back light. Naturally you
will need three lights to utilize the technique fully, but the principles are still important
even if you only use one or two lights. As a rule:
• If you only have one light, it becomes the key.
• If you have 2 lights, one is the key and the other is either the fill or the backlight.

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Key Light
This is the main light. It is usually the strongest and has the most influence on the look of
the scene. It is placed to one side of the camera/subject so that this side is well lit and
the other side has some shadow.

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Fill Light
This is the secondary light and is placed on the opposite side of the key light. It is used to
fill the shadows created by the key. The fill will usually be softer and less bright than the
key. To achieve this, you could move the light further away or use some spun. You might
also want to set the fill light to more of a flood than the key.

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Back Light
The back light is placed behind the subject and lights it from the rear. Rather than
providing direct lighting (like the key and fill), its purpose is to provide definition and
subtle highlights around the subject's outlines. This helps separate the subject from the
background and provide a three-dimensional look.

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TYPES OF LIGHT IN UNITY GAME ENGINE
Point lights
A point light is located at a point in space and sends light
out in all directions equally. The direction of light hitting a
surface is the line from the point of contact back to the
center of the light object. The intensity diminishes with
distance from the light, reaching zero at a specified range.
Light intensity is inversely proportional to the square of
the distance from the source. This is known as ‘inverse
square law’ and is similar to how light behaves in the real
world. Point lights are useful for simulating lamps and
other local sources of light in a scene.
You can also use them to make a spark or explosion
illuminate its surroundings in a convincing way

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Spot lights
Like a point light, a spot light has a specified location and
range over which the light falls off. However, the spot
light is constrained to an angle, resulting in a cone-
shaped region of illumination. The center of the cone
points in the forward (Z) direction of the light object.
Light also diminishes at the edges of the spot light’s
cone. Widening the angle increases the width of the
cone and with it increases the size of this fade, known as
the ‘penumbra’.
Spot lights are generally used for artificial light sources
such as flashlights, car headlights and searchlights. With
the direction controlled from a script or animation, a
moving spot light will illuminate just a small area of the
scene and create dramatic lighting effects.

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Directional lights
Directional lights are very useful for creating effects
such as sunlight in your scenes. Behaving in many
ways like the sun, directional lights can be thought
of as distant light sources which exist infinitely far
away.
A directional light does not have any identifiable
source position and so the light object can be
placed anywhere in the scene. All objects in the
scene are illuminated as if the light is always from
the same direction. The distance of the light from
the target object is not defined and so the light
does not diminish.

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Area lights
An Area Light is defined by a rectangle in space.
Light is emitted in all directions uniformly across
their surface area, but only from one side of the
rectangle. There is no manual control for the range
of an Area Light, however intensity will diminish at
inverse square of the distance as it travels away
from the source. Since the lighting calculation is
quite processor-intensive, area lights are not
available at runtime and can only be baked into
lightmaps.
Since an area light illuminates an object from several different directions at
once, the shading tends to be more soft and subtle than the other light
types. You might use it to create a realistic street light or a bank of lights
close to the player. A small area light can simulate smaller sources of light
(such as interior house lighting) but with a more realistic effect than a point
light.

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14. Historical development of storyboard
The film industry’s current use of storyboards as a preproduction, pre-visualization tool
owes its humble beginnings to the original Sunday comics. Pioneers like Winsor McKay,
whose Gertie the Dinosaur and animation of the Sinking of the Lusitania (1915)
established him as the true originator of the animated cartoon as an art form. He paved
the way for Disney and others.
The concept of telling a story through a series of sequential drawings actually goes back
to Egyptian hieroglyphics, even back to the cave men’s drawings of stampeding cattle.
The Bayeux Tapestries (1050), woven on linen and depicting with brutal narrative action
William the Conqueror’s invasion of England, is still awe-inspiring and has its own claims
to being some of our first “storyboards.”
Reading reference: https://en.wikipedia.org/wiki/Bayeux_Tapestry

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Charles Solomon’s History of Animation begins much later with the traveling magic
lantern shows of the 1600s and takes readers from the optical illusion of Phantasmagoria
in the 1800s to the contemporary animated cartoon: from Felix the Cat and Mickey
Mouse in the 1920s up to Jurassic Park and The Lion King in the 1990s. Lately, we’ve had
the brilliant 3D effects of The Incredibles (2004), Shrek (2001) and Madagascar (2005).