Machinima: Zero Budget, Big Audience reviews
Review by on 23 Sep 2008
Prior to this event, I knew only the first thing about Machinima (what it was, vaguely). We had before us a selection of the most popular short films in the genre (or technological distinction) and a panel of some of the leaders in the field. As a sceptic, if any group of people and collection of films could make an impression on me, it would be these.
The films themselves warranted a mixed response. Some seemed incredibly well constructed and cleverly conceived (most notably MALE RESTROOM ETIQUETTE). Others had some moments of humour and were conceptually interesting, but left me mostly confused, due to a lack of knowledge of the game software they were built on (particularly ILLEGAL DANISH). This was aptly covered by the panel, who discussed ‘knowing your audience’. Panellist Johnnie Ingram (co-author of 'Machinima For Dummies') conceded "a couple of these left me absolutely cold".
The rhetoric, while informed and considered, was not concurrent with the impression of the potential for this medium I had from the films. My thought was that this form could give new filmmakers a chance to prove their ability in an accessible form, which may enable them to make other types of films. Clint Hackleman (via web-link), as the panellist using his skills apparently the most for other means (advertising, etc) sees Machinima as an end, and his other work as a means to sustain it. Most importantly, story trumps technological ability. As Hackleman states "storytelling is the most important thing you need to learn".
Jules Garnett, Festival Daily
Prior to this event, I knew only the first thing about Machinima (what it was, vaguely). We had before us a selection of the most popular short films in the genre (or technological distinction) and a panel of some of the leaders in the field. As a sceptic, if any group of people and collection of films could make an impression on me, it would be these.The films themselves warranted a mixed response. Some seemed incredibly well constructed and cleverly conceived (most notably MALE RESTROOM ETIQUETTE). Others had some moments of humour and were conceptually interesting, but left me mostly confused, due to a lack of knowledge of the game software they were built on (particularly ILLEGAL DANISH). This was aptly covered by the panel, who discussed ‘knowing your audience’. Panellist Johnnie Ingram (co-author of 'Machinima For Dummies') conceded "a couple of these left me absolutely cold".
The rhetoric, while informed and considered, was not concurrent with the impression of the potential for this medium I had from the films. My thought was that this form could give new filmmakers a chance to prove their ability in an accessible form, which may enable them to make other types of films. Clint Hackleman (via web-link), as the panellist using his skills apparently the most for other means (advertising, etc) sees Machinima as an end, and his other work as a means to sustain it. Most importantly, story trumps technological ability. As Hackleman states "storytelling is the most important thing you need to learn".
Jules Garnett, Festival Daily
Film details
Machinima: Zero Budget, Big Audience
GAME, SET AND MACHINIMA
UK, 2008.
90 mins. English.
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