#Max payne 3 golden gun effects movie
#Max payne 3 golden gun effects software
#Max payne 3 golden gun effects series

The use of bullet time in The Matrix illustrates and accentuates the fact that cinema in the digital age is no longer an indexical media technology.

#Max payne 3 golden gun effects software

According to Lev Manovich, the process of generating photorealistic scenes entirely on a computer, where each frame can be modified individually by the use of 3D software tools, not only marks a fundamental break with cinemaвЂ™s indexical quality, but can also be considered a return to вЂњpre-cinematic practices of the nineteenth century, when images were hand-painted and hand-animatedвЂќ (295). Thus, it was no longer possible to optically distinguish computer-generated (or digitally processed) images from traditional filmic images. Terminator 2: Judgment Day, Jurassic Park, Forrest Gump ) had been gesturing towards for several years: namely, that by virtue of digital technologies, cinema had finally arrived at a point in its history where virtually anything imaginable could be depicted in a photorealistic way (see Sudmann). A Better Tomorrow or Hard Boiled ).Дespite these many forerunners, however, the film used the effect to underscore a phenomenon that seemed to be genuinely new, and that a number of popular movies (e.g. Moreover, bullet time in The Matrix also recalls the aesthetics of slow-motion violence, вЂњthe ballet of the bullet,вЂќ in works ranging from PeckinpahвЂ™s The Wild Bunch (1969) to the films of John Woo (e.g.

#Max payne 3 golden gun effects movie

The effect draws upon a scattered history of similar or related aesthetic effects and techniques, from the chronophotography of Eadweard Muybridge and Г‰tienne-Jules Marey to Paul DebevecвЂ™s short film The Campanile Movie (1997), which visual effects designer John Gaeta himself cited as a central reference for the conception of bullet time in The Matrix (qtd. Yet, despite the cultural hype about its novelty at the time, The MatrixвЂ™s use of bullet time was not without conceptual and technical antecedents, in terms both of media-technical procedures that anticipated the effectвЂ™s contemporary execution and media-aesthetic forms that laid the groundwork for its reception.

#Max payne 3 golden gun effects series

On the basis of its spectacular and innovative appearance, the effect itself was replicated and disseminated across a variety of media-including the videogame tie-ins and transmedial universe of The Matrix, as well as diegetically unrelated games and game series like Max Payne, among others. Looking primarily at the first Matrix film (1999), as well as digital games like the Max Payne series (2001 2003 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital-how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the вЂњmovement-image.вЂќ ДЄs an aesthetic technique or special effect that allows us to witness an impossibly fast-moving (virtual) camera revolving around human actors and nonhuman objects (such as a bullet) as they move in extreme slow-motion (or as they are frozen in the form of still images whose perspective can be manipulated), bullet time gained notoriety through its use in the first installment of the WachowskisвЂ™ popular Matrix film trilogy. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial вЂњbullet timeвЂќ effect. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. Without a doubt, computers have become crucial actants in determining our situation. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction-or, in short, events). You use it like it was part of yourself.Дigital computers, these universal machines, are everywhere virtually ubiquitous, they surround us, and they do so all the time.