INTERACTIVE THRILLER
An interactive thriller movie created using Unreal Engine 4.
Gameplay that seamlessly integrates live-action scenes and in-game mechanics in Unreal Engine.
Narrative that blurs the lines between games and cinema.
Gameplay that seamlessly integrates live-action scenes and in-game mechanics in Unreal Engine.
Narrative that blurs the lines between games and cinema.
Synopsis
During a routine space flight, a medical cargo ship undergoes a crash. Captain Aaron Butler knows exactly what he has to do - to save the cargo at any cost.
To sacrifice the lives of the crew or his own, if necessary.
But there is a huge difference between knowing and doing.
With time quickly running out, as the captain of the vessel, the player will have to choose whether to save the crew, the valuable cargo or his own life, and subsequently face the consequences of his choice.
Upon making a decision, in the spirit of "Groundhog Day", the player shall be sent back to the beginning of the story, with new opportunities and possible solutions opening up with each attempt.
To sacrifice the lives of the crew or his own, if necessary.
But there is a huge difference between knowing and doing.
With time quickly running out, as the captain of the vessel, the player will have to choose whether to save the crew, the valuable cargo or his own life, and subsequently face the consequences of his choice.
Upon making a decision, in the spirit of "Groundhog Day", the player shall be sent back to the beginning of the story, with new opportunities and possible solutions opening up with each attempt.
MAIN FEAUTURES
Live-action + Unreal Engine
Our interactive film is not a usual FMV-game - it takes on the form of seamlessly switching between live-action scenes and real-time in-engine interaction, and, crucially, each switch is justified by the storyline.
Nonlinear storyline
We set ourselves the task of creating a truly non-linear screenplay, drawing inspiration from the film "Groundhog Day" - where the narrative is cyclical in nature, where each cycle differs from the previous one - adding new options for action depending on past choices.
Virtual Production pipeline
All the cinematography is done according to the principles of Virtual Production and all the scenes are previsualised in Unreal Engine.
Live-action scenes are fully optimized for virtual environments.
We produce 90% live-action shots in our own film studio using real-time in-camera VFX: chroma key and projections.
Live-action scenes are fully optimized for virtual environments.
We produce 90% live-action shots in our own film studio using real-time in-camera VFX: chroma key and projections.
STUDIO EXPERTISE
SHOWREEL
look at the selection of the best shots from all our projects
CLIENTS &
OUR CASES
OUR CASES
We have an individual approach for each client. Look at the reviews of our customers — leading companies in Russia and Abroad.
Victor Manin
Director / Producer
CEO / Co-Founder Anvil Frame Studio
Curator / teacher at Moscow Film School
Victor Manin is responsible for creating a full cycle of Production in in-game cinematic sequences, viral trailers, and cut-scenes as well as creating advanced CG and FVX for Key scenes/shots.
Feature films:
Furious, Survival Game, The Monk and the Demon
Games / companies:
• REDRUINS SOFTWORKS (BreathEdge)
• My.Games / Mail.ru Group (Lost Ark, WarFace)
• BitBox Ltd (Life is Feudal MMO)
Curator / teacher at Moscow Film School
Victor Manin is responsible for creating a full cycle of Production in in-game cinematic sequences, viral trailers, and cut-scenes as well as creating advanced CG and FVX for Key scenes/shots.
Feature films:
Furious, Survival Game, The Monk and the Demon
Games / companies:
• REDRUINS SOFTWORKS (BreathEdge)
• My.Games / Mail.ru Group (Lost Ark, WarFace)
• BitBox Ltd (Life is Feudal MMO)
REFERENCES
USP
1
A truly interactive screenplay
The player seemingly arrives at the end of the game, by making decisions. But the ending to which these decisions will lead him, is in fact only the beginning of the real game. The narrative begins to play games on the viewer's perception, and give out additional options for actions depending on past behavior patterns, provoking the player to interact with the system itself and try to break it.
2
Not only basic choices
Unlike most Live-action interactive films, we are introducing not only simple A / B choices, but also more complex mechanics justified by the storyline. This includes classic QTEs and also the ability to switch to a third-person game inside the Unreal Engine.
3
Seamless transitions between live-action and in-game interaction
We set ourselves the goal of creating truly seamless transitions between live-action and game engine interaction. In order to achieve this, we use creative tools, such as integrating the player's state at this point of the story. And also technical ones, eg stylizing live-action characters as virtual avatars and filming them in virtual locations.
VIRTUAL PRODUCTION PIPELINE
All work on the film part is fully implemented according to the principles of virtual production, in other words, we completely pre-render all the scenes in Unreal and the part with live filming is fully optimized for the realities of virtual locations and filmed from available funds in our own pavilion for a minimum budget).
The main task is to turn the engine into not just an interactive video player, but a full-fledged tool for the transition between live shooting and interaction in the game, and at the moment our working prototype is already able to recreate the basic interactions familiar to many from interactive cinema (elections, QTE), but also seamlessly transition from live-action to the game part.
The main task is to turn the engine into not just an interactive video player, but a full-fledged tool for the transition between live shooting and interaction in the game, and at the moment our working prototype is already able to recreate the basic interactions familiar to many from interactive cinema (elections, QTE), but also seamlessly transition from live-action to the game part.
OUR WORK IN EPIC GAMES SHOWCASE
Our work was the only one from Russia to be featured in the showcase Unreal Build: Virtual Production
CONTACT US
If you have any questions or would like to discuss our project
- do get in touch!
- do get in touch!
ceo@anvilframe.com
+79175777730
+79175777730
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CONTACTS
Actual address: 441282, Moscow Region, Ivanteevka, Lenina 44
Email: info@anvilframe.com
Phones:
+7(926)707-77-38
+7(903)537-12-34
Email: info@anvilframe.com
Phones:
+7(926)707-77-38
+7(903)537-12-34
LLC "PhotoKuznya"
TIN: 5038095138
IES: 503801001
PSRN: 1125038014430
OKPO: 18179608
Legal address: 141280, Moscow Region, Ivanteevka, Fabrichniy proezd 1
General Director: Lifantsev Roman
TIN: 5038095138
IES: 503801001
PSRN: 1125038014430
OKPO: 18179608
Legal address: 141280, Moscow Region, Ivanteevka, Fabrichniy proezd 1
General Director: Lifantsev Roman
REQUISITES
ООО «ФотоКузня»
ИНН: 5038095138
КПП: 503801001
ОГРН: 1125038014430
ОКПО: 18179608
Юридический адрес: 141280, Московская обл, Ивантеевка г, Фабричный проезд, дом № 1
Генеральный директор: Лифанцев Роман Борисович
ИНН: 5038095138
КПП: 503801001
ОГРН: 1125038014430
ОКПО: 18179608
Юридический адрес: 141280, Московская обл, Ивантеевка г, Фабричный проезд, дом № 1
Генеральный директор: Лифанцев Роман Борисович
Фактический адрес: 141282, Московская обл, Ивантеевка г, Ленина ул., дом 44
Электронная почта: info@anvilframe.com
Телефоны:
+7(926) 707-77-38
+7(903) 537-12-34
Электронная почта: info@anvilframe.com
Телефоны:
+7(926) 707-77-38
+7(903) 537-12-34
КОНТАКТЫ
РЕКВИЗИТЫ
