Disclaimer: Данная публикация находится в стадии сбора фактологического материала. Будем признательны за получение любой информации касающейся данной темы.

"We live in an age where creative minds are suddenly given outstanding tools that put the power of Hollywood in a desktop computer. My movies are all created on a laptop, using software that cost less than a thousand dollars. This trend is only beginning, and we are witnessing an increasingly narrow gap between the raw capabilities of a professional movie producer, and an amateur. It's a truly exciting time to be in this field."


Победители 2005 года

Game:on http://gameon.furnacemedia.com/ - лучший фильм
This Spartan Life http://www.thisspartanlife.com/ - лучший машинима фильм
Person2184 http://person2184.com/ - лучший визуальный дизан и технические достижения
Only the strong survive http://riot-films.com/main/ - лучший звук
A Few good G-men http://www.nailbiter.net/gman - лучшая виртуальная постановка

с этого начиналась машинина - классические фильмы выпущенные еще на движке первого Quake

ILL Clan Productions is a collective of 3D artists, filmmakers and improvisational comedians focusing on creating animated episodic shows and works for hire using the machinima process and 3D CGI. Please view our movies page to see examples of our work.

Они же написали и первую и пока единственную книгу по машинине


Из компьютерной графики можно делать и комиксы, что в приницпе можно отнести к статичной машиниме


здесь комиксы на движке HalfLife 2


Think of it as a virtual film festival. Submitted films-using a wide array of sets, characters, cars and props from The Movies™ PC game-have been compiled for your viewing and critiquing. One look at the reviews of fellow filmmakers and you will know the ferocity of a film jury. Sit back and see how you stack up against the competition.

Игра дает возможность просто сделать свой фильм - но к сожалнию возможности очень ограниченные... но это лишь только начало...

Раскадровка клипа победившего на конкурсе BlizzCon—Video Contest Winners


Откуда взялись таурены

Персонажи из WoW мастерски использованы для изготовления видеоклипа на песню "Internet is for porn". Неприличная картинка при этом один раз, в конце. А в процессе они просто двигаются и жестикулируют.

По мотивав разборок Mortal Combat


Machinima at Stanford University
by Matteo Bittanti
On December 04, 2005, Stanford University hosted a live performance of machinima pioneers Ill Clan. The event was meant to explore the blurry performative line between avatar and player, between puppeteer and puppet, and, ultimately, between human and machine.
This event consisted of a live performance by the machinima performance group "the ILL Clan" on Sunday, 4 December, followed by an in-class panel discussion with the performers and a scholarly discussion with the ILL Clan. The talk focused on practical and theoretical issues regarding machinima, film, performance, animation, and mediation. The Ill Clan Scholarly Panel Details was moderated by Henrik Bennetsen and Matteo Bittanti. Among the speakers were Michael Nitsche (School of Literature, Communication, and Culture, Georgia Institute of Technology), The ILL Clan (Frank Dellario, Paul Marino, Matt Dominianni, and Paul Jannicola) and Henry Lowood (Curator for History of Science & Technology Collections and for Germanic Collections, Stanford). Matteo Bittanti talked about the uses and abuses of machinima today. What follows is a summary of his talk.

Machinima has been evolving at a staggering pace in the last ten years. After the introduction of World of Warcraft, The Sims 2, and The Movies, the number of game videos have simply skyrocketed. Like many cultural and artistic phenomena, machinima is hard to define. It is an example of:

-a new form of storytelling
-a contested artform

machinima as media_subversion
After "the sky above the port was the color of a television, tuned to a dead channel" (the first sentence of Neuromancer), "The Street finds its own uses for things - uses the manufacturers never imagined" is William Gibson's most popular quote. It comes from "Rocket Radio", an essay published in Rolling Stone on June 15 1989. Gibson discusses various examples of unexpected uses of technological artifacts. The author of Pattern Recognition did not mention machinima in his seminal piece. After all, it would take seven more years before the first videogame-based movies would emerge on the net. But machinima is, by all means, an example of media subversion. Game players hacked the system, transforming an interactive medium into a cinematic experience. In a sense, machinima is a metaphor of the computer game medium itself: Spacewar! (1962), the first true computer game, was created by Steve Russell and other MIT hackers, as superbly described by Steve Levy in his most accomplished work, Hackers. The Heroes of the Computer Revolution. Instead of using the PDP-1 for 'serious' ends, Russell invented a game. Actually, he invented THE game.

In the case of machinima, the notion of subversion has different, contrasting meanings. We can identify at leat three different notions: machinima as a form of resistance, acceptance and co-optation. Some users use machinima for 'oppositional' goals. They create ideologically and politically charged texts to comment/criticize current events or situations. It is the case of the now famous French Democracy machinima created with The Movies. Other fans create machinima for more 'hegemonic' ends: they accept and reproduce the dominant/commercial codes, rather than contesting them. See, for instance, the popularity of the The Sims 2 commercials created by fans and hosted on the Electronic Arts' website. Finally, there is co-optation, which happens when media and corporations appropriate the cultural artifact, successfully assimilating them into mainstream culture. In the process, they neutralize the anarchic, rebellious, and critical potential of the format. The appropriator broadly accepts the aesthetics of the medium, but it modifies it in a way which reflects its own agenda. An example is MTV Video Mods, a very successful television program that combines machinima-like techniques and music videos. This is a paradigmatic example of remediation as well, i.e. the incorporation of a medium in another medium, to paraphrase Bolter & Grusin's definition.

machinima as media_hybridity
Moreover, machinima is an example of media_hybridity: machinima is a synthesis of different languages, techniques, and skills. It combines several media (videogame, film, theatre, animation) but it also re-defines their specific aspects. It is not the sum of its parts, rather, it is a new medium that repurposes and assimilates previous aesthetics. hybridity is not peculiar to machinima. Cinema itself began in a borrowing and restaging of styles, formats and performances taken from a range of older media such as theatre, still photography, visual art, prose fiction, carnival, vaudeville etc. However, machinima is not simply a remediation of older media. Just like the development of lighter, more mobile cameras in the mid '50s led to the emergence of new film movements, styles, and aesthetics: cinema verit?, nouvelle vague, kitchen sink cinema, machinima is a new form of storytelling.

machinima as a new form of digital storytelling...
...that is quickly migrating across media. In Digital mantras, Steven Holtzman argues that a digital aesthetic is one that exploits the qualities that are unique to digital media. Unlike cinema or theater, machinima could not exist without digital technology. Today, machinima-like aesthetics are being used for documentaries, such as Decisive Battles on the History Channel(and, previously, for BBC's Time Commanders); advertising, e.g. Game: On, a machinima commercial for a car manufacturer; art-house music videos such as In the Waiting Line, by Zero 07, created by Tommy Pallotta. And this is just the beginning.

machinima as a contested artform
The gradual institutionalization of machinima, i.e. its cultural acceptance as a medium, will inevitably lead to legal disputes. As Beth Noveck, director of the New York Law School's Institute for Information Law & Policy, told Wired News: "Machinima for me is the hallmark of the kind of collaborative creativity that digital technologies are enabling [...] and it's precisely emblematic of the challenges that digital technologies pose for copyright law." This is already happening. The issue at stake is "Who owns machinima?". The fans? The game publishers? The introduction of The Movies has led many commentators to wonder what the future will hold for the medium. As Tony Walsh notes,

"Contrary to what The Movies seems to have been made for, it appears that Activision (the game's publisher) maintains ownership over pretty much all user-created films. The EULA states that while users retain ownership of movies they create, Activision exclusively owns "any and all content within [users'] Game Movies that was either supplied with the Program or otherwise made available to by Activision or its licensors..." This means that any movie containing anything less than 100% user-created content (an impossible feat as far as I can tell) is under Activision's control. Even Lionhead Studios, the creator of the game, gets grabby with movies users submit to its web site" (Tony Walsh)

It is too early to predict how the machinima landscape will evolve in the next few years. The variety of formats, game engines, and techniques should guarantee that the creative efforts will not be tamed by restrictions and regulations. However, if the game publishers decide to suppress the machinima contents that they disapprove, a battle between "fans" and "oppressors" will surely ensue.

the future of machinima is small
As for the future of machinima, I would argue that its commercial model might not be the big screen, after all, but the small screen, e.g. portable devices such as cellular phones, handheld console, media players (video iPod etc.). Due to its technical and aesthetics limitations, machinima could work much better on a small screen. The episodic format of many popular shows like The Strangerhood and Red vs. Blue perfectly fit a television-like environment, rather than a cinematic one.

Story-Line, Dance/Music or PVP? Game Movies and Performance in World of Warcraft

Известная команда Rooster Teeth http://www.roosterteeth.com/faq/ -

первый громкий машинима-проект RedvsBlue на движке Halo
из последних шедевров - The Strangerhood, на движке Sims2

Ток-шоу в мире halo


Super Danish
Самое длинное видео из тех что я видел
наличитсвуют спецэффекты и подобие режиссуры

We produce "machinima"- real-time true 3D animation that doesn't need multi-million dollar rendering setups, can be distributed over the Internet in minute file sizes and played back at stunning resolution on any modern computer, and allows us all the flexibility and innovative capacity of any other "traditional" animation technique. Our technology has its roots not in Disney, or Silicon Valley, but the latest branch of 3D computer games. Strange, isn't it?
Помимо их собственных творений здесь можно найти подборку статей по машинине


По поводу инструментария

Welcome to the Fraps website!
Fraps is a universal Windows application that can be used with all games using DirectX or OpenGL technology. In its current form Fraps performs many tasks and can best be described as:

Benchmarking Software - See how many Frames Per Second (FPS) you are getting in a corner of your screen. Perform custom benchmarks and measure the frame rate between any two points. Save the statistics out to disk and use them for your own reviews and applications.

Screen Capture Software - Take a screenshot with the press of a key! There's no need to paste into a paint program every time you want to capture the screen. Your screen captures are also automatically named and timestamped.

Realtime Video Capture Software - Have you ever wanted to record video while playing your favourite game? Come join the Machinima revolution! Throw away the VCR, forget about using a DV cam, game recording has never been this easy! Fraps can capture audio and video up to 1152x864 and 100 frames per secon


Machinimation 1 is a powerful, real-time 3D animated production software package based on id Software's "Quake III Arena" rendering technology. With Machinimation, you can direct animated films in an interactive 3D world and output the video data to one of many standard digital video formats. Machinimation is available for purchase at the Fountainhead Entertainment Store.

на сайте есть примеры и их собственных работ