Blendshot tracksBlendshot
The Sequencer tracks a Blendshot shot is made of. Slow motion and hit-stops, focus pulls and lens kicks, letterbox bars, whip pans and flash cuts, framing the people in it, ready-made flight shots, sound that won't slow, shakes and Blendable FX effects.
A finisher or kill cam shot is a Level Sequence with a camera and a camera cut track, like any cutscene. What makes it feel like a finisher is the rest: these tracks, each added from + Track in Sequencer. They work in any Level Sequence, not only Blendshot's, and they're what New Blendshot Finisher and New Blendshot Kill Cam lay out for you.
Blendable Slow Time#
Slows the world while the section plays, then brings it back, eased by the section's own ease handles.
| Setting | What it does |
|---|---|
| Speed | how fast time runs, as a share of its usual speed: 25 is a quarter speed, and above 100 speeds it up. Keyable |
| Hit Stop | each key holds time all but still for a moment, the key's value how long, in seconds of real time |
| Hit-Stop Speed (%) | how fast time runs while a hit-stop holds it |
| Slow Sound Too | sound slows with time, its pitch dropping. Off, it plays on as normal |
| The Shot Keeps Real Time | the shot's own time runs on at the real clock's pace while the world slows, so its camera can move round a moment held all but still: bullet time. Off, the default, the shot slows with the world |
Several sections can overlap, the slowest winning. The shipped kill cams use three: the release slowed, the flight at its own speed, and the hit slowed again with a hit-stop on the impact.
For bullet time, set Speed to all but nothing (0.02) with The Shot Keeps Real Time on, and key the camera round the victim across the section: the world holds still while the camera whips round. Give the section a short ease in, 0.08 seconds say, and the world slows to its stop over it, so the hit lands and its blood bursts before the moment holds.
Blendable Focus And Lens#
| Setting | What it does |
|---|---|
| Focus | keeps something sharp: someone in the sequence, the attacker or the victim say, or a set distance from the camera. Off, the section only kicks the lens |
| At Their Socket | a bone or socket on whoever it keeps sharp: a fist (hand_r), a face (head). None, their chest |
| Aperture | in f-stops. The lower, the more everything else blurs. Keyable |
| Pull Time | how long a change of focus takes to pull |
| Lens Kick | each key kicks the lens in, its value how far (0.12 is twelve per cent closer), and back out over Kick In and Kick Out |
Blendable Letterbox And HUD#
Bars across the top and bottom of the screen, Each Bar Covers a share of its height, in a colour of your choice, sliding in and out with the section's ease. Hide The HUD asks the game to hide its HUD for the section: anything with the Blendable HUD interface, and On Hide The HUD.
Blendable Shot Change#
A transition across a camera cut. Lay the section across the cut and set Cut At, where in the section the cut falls, on it.
| Change | |
|---|---|
| Whip Pan | the shot whips away and the next whips in, Whips left or right, by up to Whip Angle either side of the cut with Whip Blur |
| Flash Cut | a flash on the cut in Flash Colour, fading out fast. The shipped bullet and spell shots flash on the hit |
| Dip To Black | down to Dip Colour and back up, holding at its deepest for Dip Hold |
| Zoom Punch | punches in by Punch Amount across the cut. The shipped takedowns, arrows and knives punch on the hit |
Strength is how strong the flash or the dip is at most.
Blendable Framing#
Keeps one or two people on spots of the screen whatever the takedown, rather than trusting a keyed camera to find them. Its First and Second are bindings in the sequence (the Attacker, the Victim), each at a socket of theirs if you like. Automatic frames them on spots of the screen at an arm of your choosing; Manual places the camera where it's keyed and only turns it to keep them on their spots, at its keyed roll, so a Dutch angle stays. Manual on one person is the way to keep a falling body in a handheld shot, wherever the fall takes it. Own Lens gives the section a field of view of its own.
A camera can be keyed from one of the people instead of from the shot's own space: Camera Keyed From the attacker, the victim, the projectile or someone else, at Keyed From Their Socket, facing as Keyed Facing says (the way they face, level towards the first or the second, or straight at them). A camera keyed a hand's breadth from the victim's head, towards the fist, looks down the punch in any takedown. The shot's wall check leaves those stretches out, as it does a camera attached to someone.
Blendable Flight Shot#
A ready-made camera for a kill cam's flight, with no keys at all. Chase Behind, behind it and a little above, looking down the way it's going. Alongside, beside it and a touch behind, on Its Right or Its Left. Orbit In Bullet Time, round and round it on the real clock, so slowing the world keeps the camera going. From The Target, off the shoulder of the one it's going to hit, looking back at it coming.
Blendable Sound#
Sound that needn't slow with time: an impact, a line, a sting. Not Slowed plays it at its own pace whatever Slow Time does to everything else. Heard From someone in the sequence moves the sound with them; left empty, the whole screen hears it. Let It Play Out lets a sound finish after its section ends; off, it fades over Fade Out. Volume and pitch are keyable.
Blendable Shake and Blendable FX Effect#
The Blendable Shake track plays a shake, each Intensity key a hit. The shipped kill cams buffet the camera with a wind shake through the flight and hit it with a heavier one on the impact.
With Blendable FX installed, its Blendable FX Effect track plays any effect as an overlay held at Amount, or an impact struck at a key, Centred On someone in the sequence At Their Socket: a red impact frame centred on the fist, a white smear on the punch. Blendable's shipped shots don't use it, so they need nothing else to work.