And Now For Something Completely Machinima

Ricky Grove, Tracy Harwood, Damien Valentine, and Phil Rice

5.0 (3)
Visual Arts
Updated Weekly

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.

4d ago

S6 E244 Father Frags Best: Phil Rice Revisits a Quake II Machinima Classic (Oct 2026)

What happens when a space marine comes home from war and tries to settle into family life? In this episode, Ricky, Tracy and Damien revisit Phil Rice’s 1999 film Father Frags Best with its creator. Phil recalls turning Quake II into a sitcom set, directing fellow players through typed messages, and using KeyGrip 2 to shape the camera work. The discussion explores the film’s dark comedy, its inventive use of limited character models, and its place in early machinima history. Phil also reflects on how his relationship with the film has changed over the years. Key moments 01:00 – Ricky introduces Father Frags Best and its place in early machinima. 04:01 – Phil explains the idea behind the film and how KeyGrip 2 opened up new camera possibilities. 11:57 – From familiar sitcom conventions to increasingly dark comedy. 14:11 – Damien discusses the revealing post-credits production footage. 16:10 – Phil recalls the single-map set, player performers and direction by text chat. 21:53 – Tracy examines the story, characters and domestic setting. 32:26 – Camera work, performance and the craft behind the limited animation. 35:00 – Music, period humour and the challenges of sharing the film today. 39:43 – Why the film matters in the history of Quake movies and machinima. 44:54 – Phil reflects on revisiting work made at a different point in his life. 48:14 – Voice acting and whether filmmakers could still use Quake II and KeyGrip today. Credits -Co-hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy HarwoodProducer: Ricky GroveEditor: Phil RiceMusic: Phil Rice & Suno AI
Sep 17

S6 E243 Frozen in Battle: TMC’s MechWarrior Dioramas as Digital Sculpture (Sept 2026)

This week, Tracy and Damien explore TMC’s MechWarrior 5: Clans – Clan Mech Dioramas Director’s Cut, a striking collection of battle scenes that sits somewhere between machinima, virtual photography and digital sculpture. Tracy introduces TMC, the German filmmaking collective whose work evolved from in-game footage and fan-made Hired Steel films into sophisticated Unreal Engine virtual production. That journey ultimately brought the team to the attention of MechWarrior developer Piranha Games, which commissioned TMC to create official cinematics for MechWarrior 5: Clans. Unlike the narrative action of Hired Steel, the Director’s Cut suspends its battles in time. Its camera glides through intricately composed three-dimensional tableaux, revealing ruptured armour, weapons fire, smoke, sparks, water and airborne debris that would ordinarily pass almost unnoticed during gameplay. Tracy considers how this moving “digital eye” transforms spectacular combat into something contemplative, combining the monumental scale of war machines with the intimacy of painted tabletop miniatures. Damien compares the experience to walking through an art gallery, where each frozen moment exposes the extraordinary detail underlying a fast-paced game. Their discussion concludes by imagining how these dioramas might become fully explorable VR environments—allowing viewers to move freely through the scenes rather than remaining bound to the filmmaker’s camera. Key time stamps - 01:00 – Damien welcomes Tracy and explains Phil and Ricky’s mysterious absence01:30 – Introducing TMC’s MechWarrior 5: Clans – Clan Mech Dioramas Director’s Cut02:10 – TMC’s history and Completely Machinima’s earlier coverage of Hired Steel03:25 – From MechWarrior players to 3D artists and filmmakers04:25 – TMC’s evolution from gameplay capture to Blender and Unreal Engine production05:35 – How TMC’s fan filmmaking led to official work with Piranha Games06:32 – The crucial difference between Hired Steel and the non-narrative dioramas07:20 – Machinima as virtual photography and digital sculpture08:35 – Arrested time, frozen combat and the camera as a “digital eye”10:25 – The tension between colossal machines and miniature tabletop aesthetics11:49 – Colour, composition and the immersive quality of the diorama collection12:31 – Bullet time, slow motion and contemplative spectacle13:25 – Lighting, smoke, sparks, muzzle flashes and layered particle effects14:54 – Damien’s response: walking through a virtual art gallery16:10 – Revealing details that players rarely notice during fast-paced combat18:15 – How the film maintains variety across its numerous battle scenes19:03 – The dioramas’ original purpose as proposed loading screens19:17 – Wanting to take control of the camera and explore each composition20:01 – Imagining the work as an immersive VR experience21:07 – The limitations of video—and why wanting more is a mark of its success22:03 – Could the Unreal Engine scenes become fully explorable environments?22:19 – From photography to three-dimensional sculpture22:57 – Final verdict and closing thoughts Credits -Co-hosts: Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI
Sep 10

S6 E242 Pirate Beats and Precision Editing: JT Music’s Assassin’s Creed Black Flag Rap (Sept 2026)

This week, Tracy and Damien explore JT Music’s Assassin’s Creed Black Flag Resynced Rap—a bass-heavy fusion of pirate sea shanty, nerdcore rap and meticulously edited game cinematics. Damien explains how the video combines cinematic sequences with specially captured gameplay footage, transforming Black Flag’s naval battles, parkour and pirate action into a tightly choreographed musical performance. Tracy examines JT Music’s distinctive place between machinima, fan filmmaking and video-game music, comparing their approach with creators such as Dan Bull, The Stupendium, Rockit Music and Harry101UK. The discussion highlights the extraordinary precision of the audiovisual editing: cannon fire becomes percussion, character gestures embody the lyrics, and combat, camera movement and typography are all synchronized to the rhythm. We also consider how this new version revisits JT Music’s original Black Flag rap, reflecting both the improved visual quality of the game and the development of the duo’s creative craft. Finally, we reflect on JT Music’s enduring success. Having begun as JT Machinima in 2008, the group has retained its machinima roots while continually reinventing its signature form of character-driven game rap. Key Time Stamps - 01:00 – Tracy welcomes Damien and explains Phil and Ricky’s absence01:43 – Introducing Assassin’s Creed Black Flag and JT Music’s new rap04:57 – JT Music’s distinctive blend of rap, fan filmmaking and machinima07:41 – The editing craft that makes the game appear to perform the song08:05 – Who are JT Music? From JT Machinima to millions of followers11:20 – Turning combat, gestures and camera movement into musical choreography13:22 – Kinetic typography and lyrics woven into the game world14:25 – Comparing the resynced video with JT Music’s original Black Flag rap15:43 – Bass, sea-shanty influences and the physical rhythm of the edit17:34 – Precise synchronization between lyrics, weapons, parkour and action19:09 – How quickly does JT Music learn, capture and interpret a new game?21:08 – Visual jokes, Easter eggs and close attention to the source material23:29 – JT Music’s longevity and enduring contribution to machinima24:11 – Damien’s concluding assessment24:57 – Closing comments and invitation to viewers Credits -Co-hosts: Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice and Suno AI
Sep 3

S6 E241 Machinima News Omnibus (Sept 2026)

In this news episode, Tracy Harwood and Damien Valentine explore three very different developments shaping machinima and virtual storytelling. Tracy introduces DramaMancer, an experimental AI-powered storytelling platform developed through Midjourney’s Storytelling Lab. Rather than generating an entire story, DramaMancer combines an author’s characters, scenes and narrative framework with natural-language player input. Tracy considers whether this represents genuine player agency or merely a more sophisticated illusion of choice—and asks where authorship lies when stories are co-created by the writer, player and AI. Damien responds by considering what happens when players push an AI-generated narrative so far from its intended path that the story can no longer progress, recalling the infamous research-order bug in X-COM: Terror from the Deep. The discussion then turns to a recent panel featuring pioneers of Second Life machinima. Tracy reflects on how early creators transformed a social virtual world into a collectively maintained filmmaking environment through experimentation, shared knowledge and community initiatives such as Machinima Mondays. She contrasts this socially driven model of innovation with DramaMancer’s attempt to lower creative barriers through automation. Finally, Damien discusses Reallusion’s new iClone RTX renderer, which promises ray-traced rendering inside iClone without exporting projects to NVIDIA Omniverse. He also explains his practical approach to facial performance capture with AccuFACE, including why subtle expressions, head movements and accurately performed dialogue can make such a dramatic difference to animated characters. Key time stamps 01:00 – Damien and Tracy introduce the news episode 01:46 – What is DramaMancer? 03:12 – Storylets, player agency and authored narrative frameworks 05:50 – Who is the author of an AI-generated playthrough? 07:27 – The limitations and risks of AI-driven storytelling 09:06 – DramaMancer’s potential for machinima and virtual performance 10:20 – Damien responds: can players break an AI-generated story? 11:46 – The X-COM: Terror from the Deep research bug 13:37 – Why DramaMancer may be a more interesting use of generative AI 14:55 – Pioneers of Second Life machinima 16:26 – How Second Life became a virtual production environment 17:34 – Machinima Mondays and community-led knowledge sharing 18:33 – Second Life as a collectively maintained virtual studio 19:59 – Automation versus community as two routes into virtual storytelling 21:41 – Reallusion’s new iClone RTX renderer 23:27 – Missing particle effects and the challenges of NVIDIA Omniverse 25:55 – Expectations for the RTX renderer beta 26:19 – AccuFACE 2 and facial motion capture 27:13 – Combining full-body and facial performance capture 28:25 – Why subtle facial movements produce dramatic results 29:54 – Capturing the whole face, not simply lip-sync 30:34 – Final thoughts and episode closingCredits -Co-hosts: Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI
Aug 27

S6 E240 Political Machinima, PTSD and America’s Army | Welcome to the Desert of the Real (Aug 2026)

In this episode, Tracy Harwood, Ricky Grove and Damien Valentine discuss Paolo Pedercini’s 2009 machinima film Welcome to the Desert of the Real. Created using the US military recruitment game America’s Army, the film overturns the game’s heroic presentation of warfare to explore post-traumatic stress disorder and the psychological consequences of combat. We examine Pedercini’s use of the US military’s own PTSD checklist, fragmented desert imagery, shifting viewpoints and an unsettling soundscape of wind, footsteps and white noise. Together, these elements transform the game world from a tactical arena into the isolated psychological space of a traumatised soldier. The discussion situates the film within the traditions of counter-gaming, tactical media and culture jamming, comparing Pedercini’s approach with Joseph DeLappe’s dead-in-iraq. We also consider whether the soldier’s anonymity strengthens the film, why its lack of sentimentality is so effective, and how the work might be remade using a contemporary game or Unreal Engine. Content note: This episode discusses warfare, killing and post-traumatic stress disorder. Time stamps - 01:49 Ricky introduces Welcome to the Desert of the Real 03:25 Paolo Pedercini, Molleindustria and America’s Army 04:07 How the film subverts a military recruitment game 05:03 PTSD, the desert and the film’s central narrative 07:25 America’s Army and the controversy around military recruitment games 08:13 The soldier’s anonymity and the limitations of character animation 09:54 The sniper sequence and its carefully controlled realism 12:05 Why the original film credits matter 13:29 Pedercini’s politically engaged games and artistic practice 16:17 Counter-gaming, tactical media and culture jamming 18:57 The PTSD checklist as the film’s driving structure 20:26 The journey towards the empty desert 21:00 From first-person shooter to psychological space 23:54 Traumatic memory and fragmented visual storytelling 24:56 Wind, white noise, tinnitus and psychological pressure 27:22 How the PTSD questions change the meaning of the images 29:54 Rejecting Hollywood sentimentality and easy resolution 30:29 Turning the military’s representational machinery against itself 32:13 Does the film need to show the soldier’s face? 32:58 Comparison with Joseph DeLappe’s dead-in-iraq 34:38 Could the film be remade with contemporary technology? 35:44 Reimagining the work in Unreal Engine 36:47 Call of Duty versus Unreal Engine 37:31 Would a remake lose the original’s political irony? 38:14 Audience question and closing remarksCredits -Co-hosts: Ricky Grove, Tracy Harwood, Damien ValentineProducer: Tracy HarwoodEditor: Phil RiceMusic: Phil Rice & Suno AI
Aug 20

S6 E239 MUELEN: Horror Beyond Los Santos (Aug 2026)

In this episode, we discuss MUELEN, a GTA V machinima written and directed by Troy Hamilton and created by Greenhouse Light Show. The film was runner-up in the Machinimay 2026 competition and stands out for its slow, atmospheric approach to horror. Rather than relying on action or spectacle, MUELEN tells a mysterious story about grief, trauma and a man struggling to understand what has happened around him. The film gradually blurs memory, reality and the supernatural, leaving the audience to decide how much of what they see can be trusted. We explore the film’s striking cinematography, muted colour palette, use of fog, carefully designed interiors and slow pacing. Together, these elements transform the familiar GTA V world into an isolated rural setting that feels far removed from Los Santos. We also discuss the film’s sound design, voice acting and music, including the way the soundtrack creates tension and draws the viewer into the story. Although there are some inconsistencies in the audio mix, the overall soundscape adds greatly to the film’s unsettling atmosphere. The conversation includes comparisons with Supernatural, Lovecraftian horror, David Lynch and Stanley Kubrick. We also consider why MUELEN feels closer to independent cinema than conventional machinima, and what it suggests about the growing quality and ambition of films being made in GTA V. Key timestamps 01:12 Introduction to MUELEN and Machinimay 202606:44 Cinematography, atmosphere and slow pacing11:43 Camera movement, tension and visual storytelling16:30 Comparisons with Supernatural and rural horror21:03 Sets, lighting, voice acting and music24:47 Sound design and the headphone experience27:46 Psychological interpretation and unreliable reality29:23 Fog, isolation and the transformation of GTA V31:07 Comparisons with David Lynch and Stanley Kubrick35:17 The quality of the Machinimay competition36:56 The rise of independent horror filmmaking37:57 The ambiguous ending and final reactions Credits -Co-hosts: Phil Rice, Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI
Aug 13

S6 E238 The Art of the Duel (Aug 2026)

This week we take a fascinating detour into the world of Star Wars fan filmmaking by looking at a project that recreates a deleted lightsaber duel between Anakin Skywalker and Count Dooku from Revenge of the Sith, reimagined entirely in the visual style of The Clone Wars. Although the completed animation lasts barely thirty seconds, we quickly discover that the real achievement lies in the filmmaker's six-minute breakdown of the creative process. Rather than producing a straightforward "how-to", the creator reveals the artistic thinking behind every major decision, turning what could have been a simple fan recreation into a thoughtful exploration of adaptation, animation and cinematic language. Our discussion begins with the creator's production workflow, examining the challenges of rebuilding facial models, refining lighting, solving animation problems and developing convincing lightsaber effects. We discuss how the film succeeds because it focuses less on software techniques than on creative problem-solving, showing how artistic decisions emerge through experimentation rather than following a fixed recipe. The making-of becomes every bit as engaging as the finished animation itself. From there, the conversation moves beyond technical craft to consider the film as an act of interpretation rather than imitation. Instead of copying Nick Gillard's original choreography shot-for-shot, the animator recognises that live-action movement must be translated into the visual grammar of The Clone Wars. We explore how anticipation, exaggerated silhouettes, camera language and carefully staged movement preserve the emotional intent of the original while allowing it to function naturally within animation. This leads into a broader discussion about adaptation, visual storytelling and what distinguishes thoughtful fan filmmaking from straightforward recreation. We also examine how the animation reflects George Lucas's long-established idea of "visual rhyming", drawing subtle connections between Anakin's duel with Dooku and Luke Skywalker's confrontation with Darth Vader in Return of the Jedi. The conversation considers how character movement, camera placement and composition reinforce Palpatine's manipulation of events while deepening the narrative through recurring visual motifs that span the Star Wars saga. Perhaps the most unexpected part of the discussion comes when we compare the film with practice-based research. We suggest that the completed animation functions as the creative artefact, while the accompanying making-of operates much like an academic exegesis, revealing the questions, methods and countless creative decisions that remain invisible within the finished work itself. This becomes one of the episode's central themes, prompting a wider conversation about how creative knowledge is communicated and why understanding process often changes our appreciation of the final outcome. The episode concludes by returning to broader questions about animation and performance. We discuss why motion captured from live actors cannot simply be transferred directly into stylised animation, how movement must be reshaped to feel believable, and why the creative journey documented throughout the film ultimately proves more rewarding than the destination. In the end, we agree that this is not simply a Star Wars fan project, but an insightful study of adaptation, visual storytelling and the craft of animation itself. Episode timestamps 00:00 Introduction. 01:00 Damien introduces this month's film and explains why the creator's production process interested him more than the finished animation. 03:00 Phil explores the making-of, discussing workflow, lighting, modelling and creative problem-solving, before reflecting on why process-driven filmmaking can be so compelling. 08:30 Tracy examines the project as an exercise in adaptation, exploring how live-action choreography is translated into the visual language of The Clone Wars rather than simply copied. 16:50 A discussion of George Lucas's visual storytelling, cinematic "rhyming", character performance and the craftsmanship behind the animation. 22:25 The conversation turns to practice-based research, comparing the making-of to an exegesis that reveals the creative thinking hidden beneath the finished film. 28:00 Phil argues that the making-of is the real finished work, prompting a discussion about creative intention and the value of explaining artistic decisions. 31:10 We broaden the conversation to animation, motion capture, theatrical performance and why animated movement must differ from live action. 37:30 Final reflections on creativity, adaptation and why the journey behind the artwork ultimately becomes the most memorable part of the film. Credits -Co-hosts: Phil Rice, Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI
Aug 6

S6 E237 Machinima News Omnibus (Aug 2026)

This week, the discussion centres on several significant developments across the machinima community, from community news and preservation of machinima history to new creative tools and the future of filmmaking platforms. The strongest recurring theme is how classic machinima practices are re-emerging through contemporary game engines and software, suggesting a renewed interest in machinima as a creative medium. The episode opens with a tribute to Mike Joyce, longtime collaborator of Kate Fosk and member of the Moviestorm-era machinima community. The hosts reflect on his generosity, his contribution to Machinima Expo productions, and the supportive nature of earlier online machinima communities. The panel discusses a PC Gamer feature covering a GTA V filmmaker who is livestreaming their production process. Halo Campaign Evolved and the Return of "Machinima Mode" - we examine Microsoft's remake of the original Halo, noting the inclusion of an officially branded Machinima Mode. The conversation broadens into a discussion of machinima history. Tracy observes that the remake is more than nostalgia—it is introducing machinima to third- and fourth-generation creators, demonstrating how enduring the medium has become. Ricky argues that Red vs. Blue legitimised machinima as entertainment, while Damien explains how watching the series inspired his own filmmaking career. The discussion concludes with an invitation for creators to use Halo creatively rather than simply reproducing Red vs. Blue. Tiny Bookshop - a lighter discussion follows around the success of Tiny Bookshop. State of Unreal 2026 - Phil highlights a technical demonstration from Unreal Engine featuring highly detailed urban environments. The conversation highlights how production values in virtual filmmaking continue to approach traditional film set design. Reallusion AI Studio and Free iClone Personal Edition - we discusses Reallusion's biggest software announcement. Tracy suggests that Reallusion may be moving toward an Unreal-style ecosystem, where the software becomes a gateway to a scalable marketplace rather than the primary revenue source. We agree that making professional animation software freely available could significantly expand the machinima community. Phil introduces the free personal version of Massive, the crowd simulation software used in The Lord of the Rings. The segment ends humorously with Ricky imagining an absurd "massive household" comedy requiring crowd simulation simply to go shopping. The major themes across the Episode are summarized as - Remembering and celebrating machinima pioneers.Evidence that machinima continues to influence commercial game development.Lowering technical barriers for new creators.Free creative software and accessible production pipelines.Preservation of machinima history while encouraging new generations.The continuing importance of storytelling over technology.Key Timestamps - 01:00 Tribute to Mike Joyce03:57 GTA V filmmaking livestreams05:40 Halo Campaign Evolved announced06:20 Machinima Mode, Red vs. Blue, Halo's legacy and new creators14:06 Tiny Bookshop discussion18:51 State of Unreal 2026 technology showcase20:40 Reallusion AI Studio and iClone Personal Edition29:17 Massive crowd simulation software becomes free33:15 Closing remarks Credits -Co-hosts: Phil Rice, Ricky Grove, Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI

5

out of 5

3 Ratings

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.

Creator

Ricky Grove, Tracy Harwood, Damien Valentine, and Phil Rice
Years Active

2021 - 2026
Episodes

294
Rating

Clean
Copyright

© 2022 And Now For Something Completely Machinima
Show Website

And Now For Something Completely Machinima