During a session at the View Conference in Turin on Monday, industry professionals discussed the blurring lines between filmmaking and video game development. The panel featured Bruno Velazquez, game director at Sony Santa Monica Studio, and Hal Hickel, animation director at Industrial Light & Magic (ILM), alongside other VFX and animation leaders.
Velazquez disclosed that Sony Santa Monica adopted virtual-camera technology originally utilized by James Cameron on the “Avatar” franchise to achieve a seamless, single-take visual style for the latest mainline “God of War” titles. By bringing an “Avatar” camera onto their motion-capture sets, the team was able to emulate the organic, handheld feel of cinematic filming within a gaming environment.
The discussion, moderated by Wieke Schrakamp, also included Jan-Bart van Beek of Guerrilla Games, Paramount VFX supervisor Tara DeMarco, Lola Visual Effects supervisor Trent Claus, and Skydance Animation production designer Noelle Triaureau. Van Beek noted that while the industries now share rendering and motion-capture technologies, as well as talent, games remain distinct due to the element of player agency. He highlighted the use of LED volumes in virtual production as an example of game tech influencing film.
Conversely, film is increasingly drawing on gaming history. DeMarco revealed that her work on the Paramount adaptation “Tomorrow, and Tomorrow, and Tomorrow” involves consulting gaming historians to authentically recreate the pixel art, resolution, and gameplay aesthetics of the 1990s and early 2000s, rather than applying modern graphical standards to period settings. The film, directed by Siân Heder and starring Daisy Edgar-Jones, is based on Gabrielle Zevin’s novel about video game creators.
Van Beek pointed to the success of adaptations like “The Last of Us” and “Fallout” as evidence of the strong flow of intellectual property from games to screen, though he observed that the reverse trend seen in the 1990s has largely faded. He cautioned that translating interactive experiences into linear media remains a significant challenge.
On the subject of audience feedback, Velazquez explained that “God of War” development relies heavily on data-driven testing. The studio employs eye-tracking software, facial recordings, and detailed surveys to monitor player focus and narrative comprehension. “We actually see where their eyes are going,” Velazquez said, adding that this feedback loop is now integral to the production process.
Hickel addressed the balance between practical effects and digital enhancement while discussing “The Mandalorian and Grogu.” He emphasized that keeping Grogu as a physical puppet was often a deliberate artistic choice to preserve a “muppety quality” that resonates with audiences, even when digital corrections were necessary for certain movements. He also noted the utility of Apple Vision Pro headsets for scouting digital environments and simulating IMAX auditorium views before physical construction began.
The panel also tackled the impact of artificial intelligence. Velazquez compared current AI anxieties to past fears surrounding computer animation and motion capture, arguing that these tools ultimately expanded creative possibilities rather than replacing artists. “You still need that creative mind,” he stated. Van Beek offered a more cautious perspective, warning about the potential for AI misuse and the appropriation of artists’ work. Hickel concluded that while employment landscapes may shift, technological innovation would not stop people from creating art.
All three panelists stressed that technical proficiency alone does not guarantee career success. Velazquez expressed a preference for collaborators with strong teamwork skills over technically superior individuals with poor attitudes, while DeMarco highlighted the importance of communication and adaptability across disciplines.
Hiring someone with good teamwork skills over a technical genius? Finally, some common sense in this industry. Toxic geniuses are everywhere.
Jan-Bart van Beek made a solid point about player agency. You can’t just translate a game; you have to capture the feeling of choice.
I love that Grogu is still a puppet! It gives him such charm. Pure CGI characters never feel quite as real to me.
So games are becoming movies and movies are becoming games? I just want a good story, regardless of the medium. What’s wrong with you people?
The eye-tracking data for God of War is fascinating. Makes me wonder if I was actually paying attention to the story or just staring at Kratos.