Game cinematics in Sherlock Holmes

What the talk is about

Dmytro Teplynskyi explains what a cinematic artist does on Sherlock Holmes: The Devil's Daughter and how to make cinematics economically. His main idea is that the camera is an optimization tool: first decide which emotion and thought must reach the viewer, then show only that, so other departments, animators in particular, avoid unnecessary work. Dialogue examples compare the in-game shots with "behind the scenes" versions where everything off-frame is left unfinished. The second part covers visual storytelling: closeness between characters, leading lines, scale, low and high angles, and use of space in the frame. He redoes his own dialogue from two years earlier by changing only the camera. In the Q&A he discusses production stages, timelines, first-person cutscenes and how to grow in the profession. Useful for cinematic artists, directors and anyone making cutscenes.