『And Now For Something Completely Machinima』のカバーアート

And Now For Something Completely Machinima

And Now For Something Completely Machinima

著者： Ricky Grove Tracy Harwood Damien Valentine and Phil Rice
無料で聴く

このコンテンツについて

 Machinima, real-time filmmaking, virtual production and VR. Four veteran machinimators share news, new films & filmmakers, and discuss the past, present and future of machinima.© 2022 And Now For Something Completely Machinima アート
エピソード
  • S6 E206 Boring, boring... never! Why Desert Bus is just perfect for machinima (Dec 2025)

    S6 E206 Boring, boring... never! Why Desert Bus is just perfect for machinima (Dec 2025)
    2025/12/25

    🚍 This Week on Now for Something Completely Machinima 🎮


    What if the most boring video game ever made was actually a goldmine for creativity?


    This episode kicks off with Ricky’s unconventional pick: Desert Bus, a notorious 1990s “anti-game” by Penn & Teller where you drive a bus from Tucson to Las Vegas… in real time… for eight hours… and earn one point. That’s it. No explosions. No shortcuts. No pause button. Just desert, drift, and existential dread.


    But instead of dismissing it as pointless, we flip the script. What if boredom is the point? What if empty, quiet, repetitive spaces are actually perfect canvases for machinima storytelling?


    From comedy-driven conversations and Tarantino-style dialogue, to slice-of-life sci-fi journeys, existential bus rides, lonely astronauts, AI companions with zero empathy, and even an eight-hour “Are we there yet?” gag, the group explores how creativity thrives when spectacle disappears.


    Along the way, they we into:

    • Why originality matters more than flashy assets
    • How boredom fuels imagination
    • Using obscure, “weird,” or abandoned games as storytelling tools
    • Desert Bus’s surprising cult following and charity legacy (yes, millions raised!)
    • Why machinima has always been about writing, ideas, and voice more than graphics

    The big takeaway?

    🎨 Creativity isn’t about having more tools — it’s about seeing possibilities where others see nothing.


    If you’ve ever wondered how to turn the dullest game, the quietest moment, or the emptiest road into a compelling story, this episode is for you.

    Buckle up. It’s a long ride… and that’s where the good ideas start.

    And, for good measure: HAPPY CHRISTMAS!

    Credits -
    Co-hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood
    Producer: Ricky Grove
    Editor: Phil Rice
    Music: Phil Rice & Suno AI
    続きを読む 一部表示
    38 分
  • S6 E205 Machinima News (Dec 2025)

    S6 E205 Machinima News (Dec 2025)
    2025/12/18
    This week on the podcast, we’re diving into a grab-bag of big creator news, starting with YouTube, and yes… the “slop” situation. Tracy kicks things off with what looks like YouTube’s latest attempt to clean house: platform changes that claim to improve privacy and the viewing experience, but also mess with how videos behave when embedded on third-party sites. If you stream shows inside places like Second Life, that’s a real headache, because some embeds and API-based workarounds are suddenly unreliable or broken. But the bigger story? YouTube appears to be cracking down on the explosion of low-effort, mass-generated content. The buzz is that Gemini is being used to evaluate whether videos look human-made, original, and honestly presented - plus there’s talk of internal “trust scores” that creators can’t actually see, but which may influence how channels are treated behind the scenes. Tracy even tests how an AI describes our channel, and it basically nails the vibe: a legit passion-project podcast with deep experience… while also very clearly not the unrelated, controversy-riddled “Machinima Inc” from back in the day. Phil jumps in to untangle the embed drama: it may not be “AI policy” so much as an ad-delivery and revenue control move because some embedded browsers can bypass ads, and Second Life gets caught in the crossfire. Workarounds exist (including the very ironic “embed it somewhere else first” method), and Vimeo comes up as an alternative… but with price hikes that feel more “premium platform” than creator-friendly. Locked-in subscriptions, anyone? Then it’s off to the creative tools corner: Phil’s been deep in Blender, and he’s found some very machinima developments, like a third-person controller kit that basically turns Blender into a game-like character puppeteering environment. On top of that, there’s a newly released Blender cloth-building and simulation tool that could become a budget-friendly alternative to pricey standards like Marvelous Designer - huge potential for indie creators who want great-looking outfits without a studio budget. From there, the conversation swings to Reallusion’s latest move: Video Mocap, turning ordinary video footage into motion capture data, integrated straight into iClone’s workflow. The group talks practical realities (camera framing, background contrast, space constraints, upper-body capture modes) and why this could be a game-changer for animators who don’t have mocap suits lying around. We also touch on Unreal Engine’s rapid evolution and its ever-improving animation tools—plus the eternal question: with tech this powerful, why aren’t we seeing more great films made with it? Damien drops some rock-solid creator advice: don’t try to learn new tools by making your magnum opus. Make a short “training film,” and if you switch platforms… remake it. Same story, new tech, better skills. Simple, smart, and honestly kind of brilliant. Finally, we hit a spicy AI update: major AI music platforms (Suno and Udio) have reportedly reached settlements with record labels, meaning they’ll rework how training and licensing works going forward. That could reshape what “responsible” AI music use looks like in 2026 - and what it’ll cost creators. And to wrap up on a lighter note, there’s a shoutout to NeuralVIZ and a fun character-driven sci-fi project, The Adventures of Remo Green, as a reminder that experimentation can still be entertaining (and weirdly impressive). And that’s the episode: YouTube changes, creator workarounds, new animation toys, and the future of AI tools, served with equal parts curiosity and chaos. Timestamps 03:10 – “Slop” crackdown: why YouTube is cleaning house + channels disappearing since mid-November 05:10 – The mystery “trust score”: internal channel metric creators can’t see 12:40 – Phil’s Blender deep dive: from pass-through tool to real production work 18:45 – Damien’s Star Wars uniform struggle: accuracy vs what’s actually available 22:55 – Realusion Video Mocap: turning video footage into usable motion capture inside iClone 27:05 – Upper-body-only mode: more practical capture for dialogue scenes 32:10 – Learning strategy: don’t take a 30-hour course—learn by solving what blocks you 40:05 – AI music legal shakeup: Suno + Udio settlements with major labels (and what it changes) 44:35 – What about indie creators outside big catalogs? 46:40 – Why smaller AI music tools may get crushed (no cash for lawsuits) 51:55 – Looking ahead: what shifts in 2026 might bring Contact: talk@completelymachinima.com Show notes: Drop comments on socials — we love hearing what you’re working on. Credits - Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine Editor/Producer: Phil Rice Music: Phil Rice & SunoAI
    続きを読む 一部表示
    55 分
  • S6 S01 Special: Lit Fuse Films visit to Machinima Europe Festival 2007 (Dec 2025)

    S6 S01 Special: Lit Fuse Films visit to Machinima Europe Festival 2007 (Dec 2025)
    2025/12/11

    A special ep but unfortunately for the main content, most of this you need to hop on to our YouTube channel to watch as its mainly video footage... here is the intro by Tracy, with part of Paul Marino's keynote from his 2007 Introduction to the Machinima Europe Film Festival and the occasional part of a conversation. Enjoy nonetheless.

    Credits -
    Host: Tracy Harwood
    Editor: Phil Rice
    Producer: Phil Rice (introduction); Lit Fuse Productions (content)
    Music: Phil Rice & Suno AI (introduction); Lit Fuse Productions (content)
    続きを読む 一部表示
    29 分
まだレビューはありません