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The Official 'Your Favourite Shots' Thread



  • edited January 2015
    I’m not half done yet, so onward and upward.

    Skyrim – ‘Labyrinthine Planet’
    You can never be quite done with Skyrim (or Fallout for that matter) so I’ll expose you to just one more. This is one of the earliest stereographic projections I ever did and to date, one of my favourite. Inspired by Luca Biada, who to my knowledge was the genus behind using this otherwise well-known photographic technique in a game, I felt drawn to seek out what made these work, and not merely technically. To actually pull off one of these Little Planets requires more than just stitching a bunch of shots and giving a wrapping algorithm the go-ahead. In the same way that taking a good in-game screenshot is nothing like simply pressing the screengrab button at the right time, doing these warped panoramas takes careful planning, knowledge of what will ruin a shot, and a great big quantum of luck as any of a number of things could go irreparably wrong in the stitching process. It’s hard to visualize the end result when the view of the game you’re taking the actual shots in is via more or less conventional aspect ratio and field of view. Bending dozens of screens in one’s head – well, that’s simply not something I’m able to pull off easily. This means that for every planetesimal you see, a couple end up at the cutting room floor. (And you can interpret that ‘couple’ liberally.)

    Now what I actually like about this one is the fact that it looks like it’s an actual thing instead of just a novelty shot. The architectural mess that is the Labyrinthian’s exterior, bunched up like it is here, reminds me of Shadow of the Colossus’ design aesthetic. All that is missing is fur. The fact that I was crazy enough to include a rather strong depth of field effect – a major headache when you aren’t using one with a fixed distance focal plane – results in a little world caught floating in what could be some eldritch snow-globe. The rather elevated levels of chromatic aberration, exacerbated by edge distortion, help strengthen the illusion. And when you look at it closely, there’s this little cart, a rib cage, and a tiny skull, which really quite manage to pull the shot together. Maybe I should have audaciously called this ‘Quarter Past Infinity’, after all.


    Rage – ‘Crossroads’
    As so many of us have discovered to our frustration, Rage is best experienced from a distance. Now that I understood the constraints and provisions that coincided with wanting to do a stereographic projection, I ventured to do one here, all the while fearing that the low quality skybox would eventually do me in. Also, I had no clue how the baked-in shadows would hold up when viewed like this. In the end my fears were allayed magnificently. The sun coming in from the West, and the shadows all acting accordingly; the warping of the geography not needlessly distracting; the beautiful distant views – for which I’ve come to love this game – peeking out from three vanishing points; the orange desert hues contrasted by the deep sky blues and that ring of cumuliform clouds: I was quite thoroughly chuffed when seeing this one come together.

    Metro: Last Light – ‘Doorways’
    Last Light is as tensely scary as it is inordinately beautiful and in this shot those two qualities come together perfectly. I had some aggressive SweetFX tweaks going, to kind of pick up colours but still keep hold of this cold palette. That worked well here. That incandescent bulb almost feels like a fluorescent light because of it, shedding light if not warmth. What I most like about this shot is how the two doorways line up, kind of messing with your perception, suggesting some sort of impossible illusion where you no longer know what is near or far. (I find it hard to describe what I mean, but I do hope you can all sense at least some of it.) I had to swallow twice before I entered that next room because of it. If this was all by design, I’m quite thoroughly impressed.

    Enslaved: Odyssey to the West – ‘Ramp up’
    The difficulty in capturing lot of Enslaved’s areas is that when you’re really looking, things start coming apart at the seams. Stuff like floating vines, hovering meters removed from the concrete they should be clinging to, rough texturing, and a dearth of polygons. The base game is quite contrasted and saturated, so stuff tends to stick out even more. This shot manages to avoid most of these problems. It’s thoroughly desaturated: a look I preferred over the original, especially because it felt fitting for the post-apocalyptic setting. It successfully manages to blend foreground and background. That lovely shadowed underbelly of the broken highway – a mainstay of any serious post-apocalyptic game – has just the amount of contrast to focus the attention. I like the upward curvature. I did not like the antics you had to go through to get this shot. The lack of a free camera forced me to repeatedly climb to a specific spot in the game arena that was almost impossible to reach, and I must’ve died ten times before managing it.

    The Vanishing of Ethan Carter – ‘Four Past The Hour’
    There have been those that have said that Ethan Carter must surely be one of the most unscreenshottable (pardon the term) games, purely because every shot required absolutely no skill on the part of the phmwotogrpmwher. I tend to agree. I still couldn’t help but try and line up shots that felt original. I must have taken about twenty shots before realizing that at best I was capturing a slightly different angle from all the other people. Of course a look through the Steam screenshot page for Ethan makes you realize that things could always be worse. In the end I told myself that I wanted to shoot at least one image that felt significant to the storyline, but in a very oblique way, and in doing so I wanted a shot that no one else had shot, remotely. This one’s it. I like it like I like all Ethan shots, because that game is just starkly beautiful every way you look at it. But this shot is my Ethan Carter and I can not stop looking at it.
  • edited December 2015
    The Witcher 2 - 'Antechamber'
    Absolutely nothing whatsoever going on in this small hallway. At the most this area was used to bridge two areas: a place to catch your breath after stealthily making your way past guards, and before a story encounter. The harsh lighting (added to via ENB's bloom shader) and the intricate texturework had me scrambling to get a shot in. The Witcher's insanely high locked FOV almost got the better of me. In one last desperate attempt I decided to do the old panorama trick and merged some shots and warped them in PTGui, all so I could show off those gorgeous colours and rocky textures the way I wanted. Back when I originally warped this, I liked the idea to have most of the shot slightly distorted but one bit of arch roughly straight, and I still like it now.

    Outlast - 'No Guts, No Gory'
    Outlast tried hard to scare and repulse. Admittedly, I'm doing the game a small disservice putting the guts on display like this. Scary this isn't. In the game you're whizzing by here, chased by goons that would not think twice to carve you up similarly. Time frozen and camera unlocked, I tried to capture something of the horror I did feel when I rushed by here, but failed miserably. Then it hit me: if I looked at this scene from above, I could show it like some sort of ghastly mural, some collage of parts hanging on the wall of a museum of modern art. When hovering mid-air, somehow this all seemed to cry out to me that the particular arrangement of parts (he he) was always supposed to be viewed from exactly this vantage point. Beautiful: the grotesque deconstructed (he he) to become something viscerally (he he) engaging.

    Dark Souls 2 - 'Sinner's Rise'
    Dark Souls 2 was never able to repeat that sprawlingly interlocked, visually innovative design that made Dark Souls such a revelation. Still, it had it's fair bit of eye-candy, and to my relief a lot of it could benefit from a roaming eye and camera. What's on display here is not so much that looming tower alone, but the general atmosphere of harsh moonlight and clammy fog - both unleashed by Vorontsov's unwillingly patched together ENBseries - whirling about that silent monstrosity, itself harbouring untold dangers for the intrepid explorer. Entering a space like this and then seeing a sight like that has sold me every future FromSoft Souls title sight unseen.

    Alien: Isolation - 'Afraid of the Dark'
    It wasn't quite the game we'd all hoped it would be, but what a visual feast. The addition of liberating camera hacks and access to the game's post processing have enabled a lot of us to come up with their own particular take on this game's setting. I feel I'm not done with the thing yet. Especially when I take in the shots others have been able to pull off, my own production feels hugely inadequate. This one will certainly never rub shoulders with a couple of the more iconic shots I've seen, but for me it's kind of special. It made me yelp. I was trying to line up this shot using the free camera, and I'd heard that Seegson employee rummaging about in the other room for quite a bit. She was going on about how bad her day was, or something of that nature. For some reason or other, the camera ended up pointing to the floor while I was adjusting some settings in the SweetFX file I had open in the other screen. When I returned to the game, I swiveled the camera up, wondering why everything had suddenly gone silent. When I saw her standing there, sort of looking at me... I don't know... I guess you should have been there.

    Dishonored - 'Back Street'
    Not only am I totally in love with the particular mess I've made from the SweetFX settings I'm using for Dishonored; I'm also quite taken with the way this game managed to transpose much of tone of the original concept art to the final textures and look. Quite different from the hyperrealistic texture approach some games take. This shot works well because I managed to pick up the fog density via bloom tweaking so that slit of background sort of stands out without contrasting too starkly with the rest of the scene. Those oily colours on the floor, the way the shadows help mold everything together, the general muddiness of the shot... it's all perfect. And yeah, there's a guy hidden in there who anyone that's played it will probably spot immediately. Too subtle to add to the shot, but it's a nice detail. Also, I had to say repoussoir once, eh? That lamp and that bit of facade on the right? I wiggled and wiggled until that was juuuust right. The shot wouldn't be able to sell itself half as well without it.
  • edited January 2015
    Alan Wake - 'A Murder of Crows'
    Obvious title is obvious. Alan Wake was one of the first games following Skyrim to get me hyped for actually keeping up with this strange hobby. The developers even came out and added a free camera post-release (which I bet was partly caused by Duncan's input). What they didn't add was timestop. This means that getting a shot like this one was actually pretty tricky, if not undoable. This is by no means an amazing shot by any metric, but because it was one of the earliest shots I actually felt somewhat proud of, it still scores high in my personal list of achievements. The distorted edge effect that you get when pointing the light towards any aggressor totally adds to the shot. The way Alan is backlit by that bit of bright fog would have you think this scene was meant to be seen from this angle.

    The Witcher 2 - 'Phineus Bane'
    Obscure title is obscure. Pulling off any action shot in The Witcher is maddening due to the iffy animations and the lack of a timestop. This is especially harrowing, because you just know great action shots would be possible in a game as lavishly populated by all kinds of monstrosities as this one. Let's just hope The Witcher 3 will prove more friendly on that account. For some reason, to this day, I can't figure out what makes this shot work. When thinking about it, I'm quite convinced it actually doesn't, as it seems almost everything is entirely off. The poses are a bit wooden; two of the harpy's faces are partly or totally obscured; there's an archway of wing that's seemingly unwilling to show where one foe ends and the other begins; we can't even see Geralt's face! But still... still it manages to look good when taken in all at once.

    Betrayer - 'A Narrow Escape'
    I'll probably never be able to outdo this shot in Betrayer. Not because it's impossible to get a better shot, but for me a big part of the fun in screenshotting is the joy you feel when totally running into something eminently shottable, purely by chance instead of design. I have no clue if it was by design that the level builders left this strange gap in the wall surrounding the beleaguered village. One would think the prospect of raping and pillaging redskins would have pressured its denizens into making sure the palisades were impregnable. Then again, this shot seems too perfect to rack it up to chance alone. Someone at Blackpowder willed it into being; set it up only for me to come past and immortalize it.

    Enslaved: Odyssey to the West - 'Journey to the West'
    A somewhat, typical hero shot, but somehow it manages to catch all Pigsy's good bits. The sliver of highlight cast by the sun on his left helps to have him stand out from the background. His hulky, chubby mass is ornately displayed, and his characteristically emblazoned rifle is the centrepiece, as it should be. For some reason, this shot manages to imbue Pigsy with the stately, regal bearing that suits the Eight Precepts Pig. Also, it was a bitch make it all work.

    Dark Souls 2 - 'Blind Rage'
    Now I'm not saying I can pull it off, but somewhere deep down I'd love to take a shot that wouldn't readily be perceived as a screenshot, but rather more like something you'd see in a film or CGI trailer. Now, I'm nowhere near managing that here, and I'm not even sure this is some lofty goal that one should actually try to reach. Every so often, especially after having seen some specific film and having noticed the way focus was being pulled, I get this notion to try and emulate something of how that looked. I must have taken and retaken this particular shot so many times that it has entirely fuddled my ability to aptly judge its merits. For all intents and purposes, what I did manage to do was focus on the snarling rage that seemed to emanate from that... thing. A rage that needs no subject. My character in the background seems slightly taken aback by it. Or at least hesitant. Or calculating. What I really like is that one of the game's easier enemies is portrayed as something larger and more important. After taking this shot, I could never just bum-rush their ranks anymore, but felt like I had to acknowledge their newly perceived menace by taking them out with at least some sense of gravitas.
  • edited January 2015
    Oh well.. here i go.. I apologize right away for my terrible english. I'm certainly not as silver tounged like Duncan or Midhras. But i try.. even if i write like a 10 year old.

    Assassin's Creed 4 Black Flag
    I like minimal stuff. Be it minimal music.. or minimal photography. Using just a few ingredients to produce something nice is difficult.
    This one right here doesn't have that many colors. And the colors in here are quite the same. Except for the protaginist who gives it this nice focus point.
    To be fair, this isn't really a difficult shot to pull off. It's actually pretty easy compared to most stuff in here.
    Though, it's one of the better ones of my AC4 folder. Probably because of those warm colors and the minimalistic approach. Which i like.

    Killer is Dead
    I got this shot through pure luck. I disabled the textures.. or well, i enabled UE3's detaillighting just for the heck of it. Giving it a minimal feel right away. And i like minimal stuff.
    Then i noticed how some characters are green instead of just the usual boring white. The main character, Mr. Zappa, was magenta as you can see.
    I then saw a weird glow around the sun that was still present with enabled detaillighting. I just put Zappa in front of it and voilà. A holy Zappy appeared.

    This image in particular sticks out the most of my whole Wolfenstein folder. It just looks like a painting. The bloom, color or the blending of colors. It all feels just right.
    Which is just a ID Tech 5 thing. Megatextures are great! Even if we get horribly compressed textures because of that. I still love them.
    Also, it was my first big venture into cheat engine. Actually, Thief was a first, but i just pretend that didn't happen to make this comment seem more interesting.
    Jim helped me out big time here. He showed me how scripts work or how to disable the gravity. I still think i annoyed him to death that day...

    Crysis 3
    The longer i look at this image, the more obvious it is why Midhras likes it so much. And i begin to like it even more now as well.
    Those two structures on both sides frame the building in the middle perfectly. The high FOV also emphasizes how tall that building actually is.
    I would probably do this shot differently now. A slighty nearer FOV and trying to hide some of the bottom part of this image.

    Tomb Raider
    This image is also just a lucky shot. I didn't know that i could turn of the motion blur at that time. That, and the flickering that occurd because of Jim's timestop hack gave it this unperfect image quality.
    And unperfect game screenshots is something i rarely see. They always seem so perfect. It also reminds me of some crappy old selfies i took with a disposable camera a decade ago.
  • edited January 2015
    Watch Dogs' realistic architecture made me realise that i can actually pull off some cool stuff i've seen on flickr a while ago.
    And to my suprise, it really worked. Minimalistic architecture photography is just nice to look at. And i really like minimalistic stuff, remember? No? Well.. i really like that sorta stuff.

    Call of Juarez - Gunslinger
    I will always have good memories about this game. I wasn't really that great in taking images at the time. However, i learned quite a lot while screenshotting it.
    I also got help from one of the developers to an issue i had. Which was a first.. never thought a developer would actually care so much about a small issue like this.
    Especially since it was a bug that was only present in the developer menu. Something you only get when hacking the main .exe file. The DOF was non existent in the free camera mode.
    Yet, he fixed it and i'm still in contact with him. Which is nice. So in the end.. i think i could take better screenshots of this game by now. I would tune down that chromatic abberation for instance.
    But all the memories i have of this game makes it one of my favorites. I also made a reddit post with a couple of my images from this folder which was fairly successful.
    And that gave me more confidence in the stuff i'm doing. Crysis 3 as well, actually. Having your images plastered all over the internet is great. It greases the wheels.

    Mafia 2
    It's obvious why i took this screenshot. The crowded, rainy streets. The lovely cars. Or the bridge that looks exactly like the Brooklyn Bridge.
    Who wouldn't try and screenshot this? Mafias Empire Bay at it's best. Well, the winter period of the game looks great too.
    This atmosphere and art-design coupled with a grainy, slightly unsharp black & white effect gives it a less artificial feel. I just hope we see Mafia 3 at some point.

    Finding out how to put characters into the shot. (Thanks again Duncan!) Using the grass in front of the camera to add some depth to the image.
    The aspect ratio to show how tall everything is in comparison to the character. I have a thing for tall stuff.. it seems.
    Setting up ReShade to get SweetFX into the game. (MasterEffect wasn't available at that time.) Of course, this is all just a normal process of taking a screenshot.
    But i think this is one of the better examples why depth, aspect ratio and a character is so important for a nice picture. This is another shot with exactly the same formular.

    I listend to Thom Yorks album Tomorrow's Modern Boxes while writing all of this.
  • k-putt your shots are fantastic. I particularly love the Watch Dogs shots, they remind me of photographs that I used to hunt for when I was out and about with my camera. I love the clash of lines that makes up a city and those shots really struck me when I was going through your Flickr. The first shot you posted, the Assassins Creed one...that is everything I would love to be able to do with screenshotting. I think sometimes people mistake minimal for empty when this is not strictly true, often times in something minimalist it only works as a piece because of a strong presence of a limited number of elements. I think this shot sums it up perfectly for me, it indicates such a vast space yet manages to be neither empty nor allow the setting itself to become intrusive.

    Fantastic stuff.
  • edited January 2015

    Some thoughtful selections you've made; the Dishonored and Dark Souls shots occupy my favorites pantheon for sure. It's interesting how your style seems to adapt to match the particular tone of a game--you don't try to impose any particular look or aesthetic that I can discern. Or perhaps I'm just unaware of the subtleties of your technique. There are hints of minimalism--"Afraid of the Dark" and grandiosity -- "Sinner's Rise" -- that you pull off equally well. Although the look of the game itself can account for some of these difference, I think you have this tendency to embrace a style rather than mould it into something else, like in "Blind Rage."

    Your description for "Blind Rage" captures the approach I take most of the time, whether it works or not, and that makes me like the shot all the more. It also raises the question of what is cinematic. I don't pretend to know what the essential qualities of such a shot would be, but I think you're on to something.


    Many of your shots have this poster quality, for lack of a better term. Clearly you've put a lot of thought into arranging each scene to have a very clean, simple presentation. In many cases, the subject is presented straightforwardly, centered, with a lot of negative space to grab our attention. I like that you've translated that technique across a number of games, especially Crysis 3, which tends to be visually cluttered.

    I also appreciate that the Rage and Call of Juarez shots indulge in a bit more subtlety. I've played Rage and it certainly lends itself to a kind of minimalism, but it seems like you decided to try something new...adding "depth," as you call it. I'd love to see more in this style not only because I think you've got a good eye for it, but also because I think it's a style people tend to avoid in favor of a more commercial, mainstream approach.
  • I forgot I had wanted to mention; I really like that you scaled the characters down and put them in the air in 'Rift Asunder', Midhras. The sense of place in the shot is immense.
  • edited August 2015
    This thread is so inspiring to come back to.
    edited December 2015
    Well being the end of the year and with this forum having been thankfully saved I figured it's good of a time as any to reflect on past shots and celebrate the hobby a bit. (Just re-read all the previous stuff form everyone, great stuff all 'round. It's sometimes surprising to find out what each person actually likes the most from themselves, and always fascinating to hear about the process behind the scenes.)

    My intentions behind shots rarely go deeper than trying to get something that's visually appealing to me, but for the sake of this thing I'll try and go a little further than just saying "I dunno, it's cool looking I guess".

    OK well here goes. Get out your red pens, cause this dude doesn't know how to write.

    Deus Ex: Human Revolution
    "Fabricated to a Point"

    This goes back to a time when I, for whatever reason, decided that using outside graphical mods and camera tools were unnecessary. It's silly thinking back on my stubbornness on it, because even back then I was rarely interested in showing off the game in a way that had much to do with the game itself, and outside the loose reference in the title here to Picus TV spinning thier own version of the truth, this shot really doesn't say 'Deus Ex'. So then, what would have ENB hurt? I dunno. My gpu (470 at the time) maybe. Still, I think I'm glad to have kept myself back from the amenities for a while. Later when I'd eventually give in to shaders and all the dev/hack tools one could hope for it wouldn't feel as overwhelming and unfocused as it could of I think.

    (There's something else here I sorta like/hate that Mid will know about, but I'll save everyone and not mention it. It's really not healthy to think about such things.)

    Mirror's Edge

    Perhaps the first time I used console commands for the the sake of a screenshot. ME was the perfect excuse to open things up. Almost necessary, really. Like Duncan said this game has had the shit shot out of it over the years (with good reason ovb), so you can use all the help you can get to try to find a fresh angle. I was happy to come across something I hadn't seen yet, and enjoyed the opportunity to play with illusion a bit. Also, while this scene has an obvious cheat sheet, it does a decent job of pointing out the thing I've maybe become most obsessed with (for better or worse) : alliiiiignnment. Whatever the elements are -- they might even just be in my head -- they must align a certain way.

    Alice: Madness Returns
    "This Orient Dream"

    This one had me pretty excited to hit the upload button on flickr back in the day. I'd stumbled across a neat little trick: when you double jump in this game it creates little poofs of feathers, and I realized it would queue up multiples of them if jumping a bunch when things were frozen, which would then release huge poofs of feathers when unfrozen. It was a challenge to find a decent location to use this on (wanted a non-distracting background, but also needed a platform for Alice so the wind would affect her, if I remember right), took countless tries to get a feather arrangement I liked (full, but not too cluttered...not too much layering with Alice..etc), and of course when I did get those things right Alice refused to cooperate and do the idle I wanted (or she did it, but the wind didn't blow here hair/dress in a good way)...but putting in the hours finally paid off.

    Trackmania United Forever
    "Zebra Crossing"

    Despite the banding this still remains my personal favorite. Zoomed in from mile away, a car kicking up dust, creating a structural design...kinda weird, kinda cool. Having been self-taught with design/etc I'm not super aware of most of the 'rules', but I would later find out that this apparently breaks some of them. Sorta just makes me like it even more. Referencing both crosswalk stripes and the nickname of the car was just icing. (alt angle on the scene)

    Super Mario Galaxy

    Being able to fly around where you normally couldn't is a pretty cool thing in any game, but it feels especially magical being able to do it in a Nintendo game for some reason. Doing something you aren't supposed to be allowed to or something. I rarely have a plan for shots, but I knew I just had to get one of Mario going for that iconic block. It had been a while since I played this game, but I figured it was going to be a pretty easy shot... Turns out there aren't actually that many of those blocks in this Galaxy, let alone ones that met my needs of having a super clean background and room for Mario to be some distance away. After much searching I finally found one that might work, but getting it right was ridiculous. This particular block is nested above a disastrous little sand planet, with moving ground, and platforms moving along that ground (can see what I mean here). Running/chaining jumps against the moving sand while timing it where no platforms had come into where view of where I was going to put the camera (or in my way of running) was just dumb. Something being difficult doesn't mean the shot will be better for it, but this ended up turning out exactly how I envisioned somehow. On a side note: I didn't really notice this until much later, but apparently I hate showing eyes/faces in my shots, so the appearance of them here is unusual.
    edited December 2015
    Need For Speed: Most Wanted
    "American Beauty"

    I'm not the patriotic type, but I couldn't resist the color combo with the garage (Who am I kidding, I didn't notice that. The title came much later...I was more concerned with lining the center of the garage up with the center of the stripes at the time). The message the door offered seemed suitable at least (no, I didn't pay much attention to that either...accidentally cool). This may have been the first game I started experimenting with SweetFX. Subtle at first here, just some contrast and desaturation. This was before Jim created his ever helpful ToD table, so I had to sit through quite a few cycles to get the right lighting, but overall an unusually painless shot. I can't really explain why exactly I went for a portrait here over something wide, but I guess sometimes pushing for something unusual works out.

    TrackMania United Forever
    "Travelling Without Moving"

    My tastes definately gravitate towards subtelty, even more so when beneath the surface it's anything but. There's action, but it's somehow calm. Also was happy to figure out that you could manipulate the timeline in a way that keeps the car frozen but moves the clouds...was able to get that nice cloud/dust wraparound blend and get this little eyehole that highlights the car.


    Maybe one the earliest instences of going crazy with SweetFX (and probably still the furthest I've pushed some of those numbers). I really enjoy when the mundane becomes interesting, and sweetfx helped make it possible here (here's w/o).


    Perhaps the dumbest amount of time I've spent chasing a shot, but I don't regret a thing. There's this scene where this character walks around a room, and then at some point the wall explodes and sends here flying. It's such a miniscule tiny little moment, and only once within that stupid little time frame would things come together. The hair physics would be wrong, the amount of effects produced by the event would be too much/little, I'd pause too soon/late... To make things easier I found an FoV mod that could only be changed before running the game, so it meant you had to play the whole level up to this point with an unplayable-unless-you-memorize zoom _every.single.time_ you miss the moment. How many times did I try this? I dunno -- Oh and that damn sniper zoom spying segment coupled with low-fov. Gah..... But no it all worked out. Super dumb. No regrets.

    GTA IV
    "Endless Static Sea"

    Did Mr. Harris arise from the ocean and climb into the back of a Peyote? Or is it that he climbed out of that big blue trunk and disappeared into the void of the ocean. Who's behind the wheel, and where are the tire tracks? What does Mr. Oberst have to do with all of this....what does it all mean!

    (Wasn't the hardest shot to setup. Footprints didn't render in replays so had to do it live...ran Niko from the car to the waterline, then flipped to freecam -- which causes him to disappear -- and got the angle right before the footprints faded away. Took a few times but not too bad. Probably most time consuming thing was scouting out an area of the beach that was perfectly desolate and 'flat'.)
    edited December 2015
    Need For Speed: Most Wanted
    "Initial D"

    Abstraction: I like it. (unless it's code). Lamborghinis: I like 'em (well not shit like this)

    >> alternate view

    GTA IV

    So that subtlety I was talking about. Can something be _too_ understated? Actually I don't really even know what that means, but I do know that I really enjoyed how this super flat ENB/SFX shader combo ended up. It started as something I was making in another game to help alleviate banding, but I ended up really liking where it went so it's something I'll still use occasionally for just whatever. Oh, and I could probably compile all the shots of this stupid train into several minutes of smooth video. Took awhile to get the random fog just right. It isn't actually dynamic, but hoped it would appear as though the train was cutting through and pushing it around. All that aside the angles are surely what first drew me to this tiny little nook in the tracks.


    Ahh ARMA. Endless posibilites in both gameplay and shot taking. It's all so open. Script whatever you want. In this case script something that let's you mess with all the in-game shaders, then abuse them until it looks like this. Add in a lonely/eerie figure for good measure.

    Trackmania² (Valley)

    I usually don't have any particular source of inspiration when taking shots. I mean we all get influenced by...well everything, so what we end up doing/creating is always going to in some way be derived from something else. But after coming across parabold's photography it just really got stuck in my head, and was absolutely in my head during some of my TM2 shoots. I suppose this link is a better example of it, but the above 1:1 is favorable to me. (of course neither of those really come close to the cool shit he's done)

    Trackmania² (Stadium)

    And here we are, my most recent shot. It's been some amount of years of doing this now, and all this time later I still get the same amount of excitement when everything comes together. Maybe even more somehow. It makes it all the better having such a cool community to share it all with. I surely wouldn't have gone down this path quite this far if that hand't been the case. And how far things have come...so many awesome tools at our disposal. Just keeps getting better. Oh, the shot? Yea I dunno, just thought it's cool looking I guess.
  • I don't know if I like this thread better because of the absolutely enormous density of fantastic and inspiring shots, or because it helps me flesh out the characters responsible for taking them. Anyway you cut it, your submission was long overdue, Mr. Clapper. I think I'm actually amazed at the relative paucity of car shots in your selection. Ha.

    I'm now going to show a couple people I know, who think my hobby is silly and ill-fitting for a guy nearing forty years old, your 'Initial D', your latest from Trackmania², and that character shot from Syndicate. And then I'm going to hop on Flickr and tell .natty, One3rd and PulseZET to consider doing their thing in this thread. Because this is the one that should not die.
  • edited July 2016
    Crikey you folks are some seriously talented photographers! :D And nic that trackmania shot could fool anyone if you told them it was a real photograph :o
    This place is gonna be mad when Nvidias Ansel is in more and more games (I think the Witcher 3 will be next and I absolutely can't wait).

    I'll just post some Mad Max shots right now since I was pretty pleased with them, the game has one of the frikkin best screenshot tools going (like Uncharted 4s where you can pause at any time and add other FX).

    I like this because it's got such nice bright colours and imbues the feeling of a large part of the game which is driving through these cool desert environments. I love a game with a nice outdoors feel (which is one of the reasons I usually avoid dungeony games)

    I like this one because it captures/depicts the mood before assaulting a convoy (one of the coolest things to do in the game)

    Something I've come to really appreciate nowadays is how nice clouds look in videogames, I'm always looking up when I'm outside IRL because I love clouds and think they look like these incredible flying mountains. I loved the way the moon can light them up here just like those bright nights you have IRL

    Just a cool action shot, not much more to say other than I was trying to get up close and personal for it, although a better depiction of height would've been good

    I often try to capture the many 'filmic' qualities of the game and thought this had a very 'Mad Max' look to it

    Definitely my favourite shot, I wanted to capture the theme of the game and saw a cool opportunity here. You're always after gasoline and riding on the open road and this has everything I wanted summed up in one shot
  • Seems that the last submission to this thread was a year ago so I don't know if anybody is reading this anymore.

    I've loved taking screenshots of games for as long as I can remember, but I have been only been able to take shots from games that have had in game free camera or later on Nvidia Ansel. That was until I accidentally wound up to this site a few months ago when googling all available Ansel games. I was just so amazed to see this amazing community and I had no idea that there was all sorts of cheat engine tables/camera tools for games for screenshooting and the possibility to use SRWE for custom resolutions.

    I feel like this community is what I had needed all along. I just wish I had been a member here over the years and not now when the site seems a bit dead. Now after discovering DET and the camera tools I feel like having so much more fun in games than before.

    But anyway, here's my contribution to this thread:

    (Click the images for better quality?)

    image image

    (Left) Bioshock Infinite - Illusion: One of my very first shots upon discovering DET. Taken while in the elevator when I noticed she started checking her nails and I thought that maybe I could take a shot at an angle it seems like she is holding her hand on the window and looking outside. I remember being so happy how it turned out in the end.

    (Right) Bioshock Infinite - Out of Colors: I wanted to capture his feelings for not getting the painting done how he wanted it, and I think the way there are paint spills all over and the way he looks up to the camera is pretty good at describing it. Also I think the black and white theme adds to it too.

    image image

    (Left) Bioshock Infinite - Bedroom: I really like the minimalistic aspect of this shot, it's just a messy corner with a bed. I like how the light rays come out the window and how the lamp lights the side of the bed and reveals the mess on the floor.

    (Right) Bioshock Infinite - Smoking in the Elevator: I like the pose in this one. Seems like a vintage 50s poster with a woman smoking a cigarette. I like how the lighting turned out on her face, and the bubbles ascending in the background.


    Bioshock Infinite - Fashion: I like the way the shot's angle turned out. The other mannequin is looking the other way and kinda posing sideways. I also like the colors of the shot, the dresses are red and the background is dark.
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