NOT AN OFFICIAL MINECRAFT PRODUCT. NOT APPROVED BY OR ASSOCIATED WITH MOJANG OR MICROSOFT.

ReplayModCinematics is an unofficial add-on. It is not affiliated with or endorsed by the Replay Mod or ReForgedPlay teams.

What's new in 0.9.0: see where the path clips, fix it, and set a lens for every shot!

• Collision warnings, without getting in your way. The planned camera path is checked against the replay world. Segments whose view passes through a solid block show red on the in-world preview, and Review & Place shows a clip count (Collision: No clips, Collision: 1 clip, or Collision: N clips). The flying camera stays noclip, and Place Path is never blocked, so an intentional wall-through still places.
• Fix Clipping, one click. A button on Review & Place nudges the path out of solid blocks. It climbs up out of terrain first, then looks for open space, and the pass is thrown away if it would make clips worse. Some clips can remain; Place Path still works. The button is disabled when there are no clips.
• Avoid blocks on Procedural Orbit. A new Avoid blocks: Off / On toggle. When on, generated orbits rise and then widen to stay clear of solid terrain. The centre, radius and height you typed stay as they are; only the generated curve moves. The same setting also applies to orbit presets, and when Dolly, Crane, Push-In, Parallax, Fly-by or follow shots are generated.
• A field of view for every shot. Review & Place has a new FOV row between Look and Collision: FOV: Off uses your normal FOV slider, FOV: Fixed holds one lens, and FOV: Ramp goes from Start to End across the shot (10 to 170 degrees). It shows in the path preview and in a normal video export, and is saved with the placed shot (Undo Placement removes it). Cubic, 360 and ODS exports stay at 90°.

Earlier updates:

• 0.8.1 (Fabric): preview time of day no longer flips between the recording and the Look you chose (fixed on 26.3, with the same change on 26.2).
• 0.8.0 (all builds): per-shot time of day and weather, Timing: Realtime / Freeze / Fit for slow motion, freezes and timelapses, and a clearer Review & Place.
• 0.7.0 (all builds): smoother shot joins with Fix Join, a follow turn-speed limit, handheld camera shake, and Push-In Reveal, Spiral Rise and Parallax Slide presets.
• 0.6.0 (all builds): seamless shot transitions (Off / Auto / Manual) that blend one shot into the next instead of cutting, plus follow shots with a start and end distance and roll.
• 0.5.0 (Fabric 1.21.11, 26.2 and 26.3): builds for the newest Minecraft versions on the original Replay Mod.
• 0.4.0 (Fabric 1.20.1 and 1.21.1): the first Fabric builds, on the original Replay Mod with Fabric API. The path preview stays put with Iris shaders.
• 0.3.1 (Forge 1.20.1 and NeoForge 1.21.1, on ReForgedPlay): the path preview stays fixed in the world with shader packs, and Focus & Tracking switches cleanly between orbit, follow and manual shots.

Highlights in every build:

• Collision warnings: clipping segments show red in the in-world preview, Review & Place shows a clip count, Fix Clipping nudges the path out of blocks, and Avoid blocks can plan generated orbits and other generated shots around solid terrain. The camera stays noclip, and placement is never blocked.
• Per-shot FOV: Off, Fixed or a Start-to-End Ramp (10 to 170°), in preview and a normal video export. Cubic, 360 and ODS exports stay at 90°.
• Seamless transitions: blend one shot into the next (orbit to follow, crane to dolly to follow) instead of cutting, with a smooth-join check and one-click Fix Join for chained shots.
• Smarter follow shots: smooth follow with start/end distance and roll, a turn-speed limit that tames sudden spins, arrow and projectile chase along true arcs, the Ender Dragon and big mobs, and a long-range picker with a Nearby list.
• Handheld look: optional camera shake (Subtle / Medium / Strong) that matches between preview and render.
• Faster shot building: thirteen one-click presets, chained shots that keep the world playing in real time, per-point holds, speed and easing, point editing and a live in-world preview.
• Direct control of time and weather: per-shot time of day, Clear / Rain / Thunder, freezes, slow motion and timelapses, ready for preview and render.
• Save & share: a Shot Library, share codes, and auto-saved drafts for every replay.
• Polish: one Ctrl+Z per shot, a config file, in-game help and clearer messages.

Runs on Minecraft 1.20.1, 1.21.1, 1.21.11, 26.2 and 26.3 with Forge, NeoForge or Fabric. See Requirements below for the exact versions. Client side only.

Download ReplayModCinematics on CurseForge

▶ Watch the tutorial

---

ReplayModCinematics: User Guide and Cinematographer's Handbook

Download ReplayModCinematics on CurseForge: https://www.curseforge.com/minecraft/mc-mods/replaymodcinematics Runs on Minecraft 1.20.1, 1.21.1, 1.21.11, 26.2 and 26.3 with Forge, NeoForge or Fabric. See Requirements below.

ReplayModCinematics is a client-side camera-path add-on for ReForgedPlay (Forge 1.20.1, NeoForge 1.21.1) and the original Replay Mod (Fabric 1.20.1, 1.21.1, 1.21.11, 26.2 and 26.3). It builds smooth, repeatable camera moves (manual spline paths, procedural orbits, one-click presets and entity-follow rigs), warns when a path clips through solid blocks, can set a field of view for each shot, lets you review the result, and places it on ReplayMod's timeline as a single undoable step.

This guide has three parts:

1. Instructions and quick start: installing, the controls, and every feature step by step.
2. Reference: what each screen, field and setting does.
3. Cinematographer's handbook: shot recipes and techniques that use these features in depth.

Labels in bold are the exact button and field names you will see in game.

---

Part 1: Instructions and quick start

1. Requirements

ReplayModCinematics comes as one jar per Minecraft version and loader. Use the jar that matches your game.

Minecraft	Loader	Java	Replay mod (required)	Also required	ReplayModCinematics
1.20.1	Forge 47.x	17	ReForgedPlay 0.3.1 or a later 0.3.x release		0.9.0
1.21.1	NeoForge 21.1.x	21	ReForgedPlay 0.3 or a later 0.3.x release (for 1.21.1)		0.9.0
1.20.1	Fabric Loader 0.15.11 or newer	17	Replay Mod 1.20.1-2.6.23 or newer	Fabric API	0.9.0
1.21.1	Fabric Loader 0.15.11 or newer	21	Replay Mod 1.21-2.6.23 or newer	Fabric API	0.9.0
1.21.11	Fabric Loader 0.17.3 or newer	21	Replay Mod 1.21.11-2.6.28 or newer	Fabric API	0.9.0
26.2	Fabric Loader 0.20.1 or newer	25	Replay Mod 26.2-2.6.28 or newer	Fabric API	0.9.0
26.3	Fabric Loader 0.20.1 or newer	25	Replay Mod 26.3-2.6.28 or newer	Fabric API	0.9.0

• The Forge and NeoForge builds need ReForgedPlay. The Fabric builds need the original Replay Mod by CrushedPixel and johni0702 instead, plus Fabric API for the same Minecraft version. ReForgedPlay does not work with the Fabric builds.
• Every build has the same features, screens and shot codes.
• ReForgedPlay and Replay Mod are not bundled. Install the one your build needs separately. Replay Mod is not on CurseForge. Get it from the official Replay Mod download page.
• Minecraft 26.1 is not supported.

ReplayModCinematics is client-side only and is not needed on servers. It requires an open replay for path editing, entity selection, generation, placement, undo, and redo.

Source code is available on request.

2. Installing or updating

1. Install your loader and replay mod (versions in section 1): Forge 1.20.1 or NeoForge 1.21.1 with ReForgedPlay, or Fabric with Fabric API and Replay Mod.
2. Close Minecraft and open your mods folder. Delete any older replaymodcinematics jar first.
3. Copy the ReplayModCinematics jar for your Minecraft version and loader into mods.
4. Start Minecraft. The add-on creates config/replaymodcinematics-client.toml (settings) and, once used, config/replaymodcinematics/ (shots and drafts).

3. Controls

Key	Normal use	While capturing points in the world
F7	Open the Cinematics Editor	Finish capturing and return to the editor
F8	Prepare the active shot and open Review Camera Path	Add a point at the current camera pose
Shift+F8	(nothing)	Switch between camera points and focus points
Ctrl+F8	(nothing)	Remove the last point of the current type

• F7 and F8 only work while a replay is open, in the replay world, on ReplayMod's mouse-visible overlay, or on this add-on's screens. They are ignored while you are typing in a text field.
• You can rebind them in Minecraft's Controls menu under ReplayModCinematics: Open Cinematics Editor and Generate Camera Path.
• ReplayMod's own keys keep working; for example ReplayMod's path-preview toggle (H by default) shows placed keyframes.

4. Two ReplayMod ideas you need

ReplayMod's editor timeline has two paths that matter here:

• POSITION path: where the camera is and where it looks. This add-on writes its camera keyframes here.
• TIME path: which moment of the recording is shown at each point of the timeline. With no TIME keyframes the world is frozen when you render. The add-on can create these for you (Time Keyframes: Auto, section 12).

The timeline cursor is where a new shot starts (unless you use Start: After Last, section 13). A shot needs an empty stretch of POSITION path for its whole duration.

5. Your first shot in two minutes

1. Open a replay in ReForgedPlay or Replay Mod and scrub to the action you want.
2. Fly the camera to a good starting view and look at your subject.
3. Press F7, choose Shot Presets, then Orbit 360. The status line confirms the preset is now the active shot.
4. Press Review & Place (or close the screens and press F8).
5. Check the summary: path type, Timeline, Duration, Keyframes and Replay time. Leave Time Keyframes: Auto and Start: Cursor as they are.
6. Press Place Path. Play the timeline in ReplayMod to watch the shot.
7. Not happy? Press F8 again and choose Undo Placement, or use ReplayMod's own undo (Ctrl+Z). The whole shot disappears in one step.

6. The Cinematics Editor (F7)

The hub shows the active shot at the top (for example "Active shot: manual, 4 points, Captured", where the last word is the orientation) and these buttons:

Button	What it opens or does
Manual Path	Build a path from camera points you capture, then edit points, timing and easing
Procedural Orbit	Circles, ellipses, helices and spirals around a center
Focus & Tracking	Orientation, focus targets, entity picking and the entity follow rig
Shot Presets	One-click shots built around the current camera
Shot Library	Save, load, delete and share shots
Preview: On / Off	Draw the active shot in the world
Review & Place	Prepare the active shot and open the review (same as F8)
Done	Close the editor

Hover any button for a tooltip. The active shot is whatever you saved or applied last: a manual path, an orbit, or an entity follow shot. F8 always works on the active shot.

7. Manual paths

A manual path is a smooth curve (Catmull-Rom spline) through camera points you place. Each point remembers position, yaw, pitch and roll.

Capture points

1. F7 > Manual Path.
2. Set Duration (two boxes: seconds and milliseconds), Keyframe Count and Easing (click to cycle).
3. Click Capture Points In-World. The screen closes and an overlay shows the controls.
4. Fly to the first pose and press F8. Move to the next pose and press F8 again. You need at least 2 points; up to 100.
5. Ctrl+F8 removes the last point if you made a mistake.
6. Press F7 to return to the editor, then click Use as Active Shot.

Edit individual points

The Control Points row shows how many points there are; < and > select a point ("Point 2 of 5 at 3.250 s").

Button	Effect
Go To	Move the replay camera to the selected point
Set to Camera	Replace the point with the current camera position and rotation
Insert	Insert the current camera as a new point after the selected one
Delete	Remove the selected point
Earlier / Later	Move the point one place earlier or later in the path
Start at Last End	Insert the end pose of the last placed path as point 1, for seamless continuations
Clear	Remove all points (click twice: "Really clear?")

Point edits are kept immediately; Use as Active Shot makes the manual path the active shot.

Holds, speed and easing

• Hold (ms): how long the camera waits at the selected point (0 to 600000). Holds work on the first and last point too.
• Speed (x): how fast the camera travels from this point to the next (0.1 to 10; 1 = normal). Faster segments take time from slower ones; the shot length stays the same.
• Click Apply Timing to store both values for the selected point. Holds: shows the total hold time.
• If holds fill the whole duration, the review blocks the shot ("Holds take up the whole duration"). Shorten them or lengthen the shot.
• Easing shapes the moving parts: Linear, Quad In, Quad Out, Quad In/Out, Sine In, Sine Out, Sine In/Out, Cubic In, Cubic Out, Cubic In/Out, Quint In/Out, Smootherstep.

Where the camera looks

Set the orientation in Focus & Tracking (section 10): Captured (use each point's rotation), Face Target, Tangent (look along the path) or Track Entity.

8. Procedural orbits

1. F7 > Procedural Orbit.
2. Enter Center X/Y/Z, or set a focus target first and click Use Focus Target to load target 1.
3. Start radius X/Z and End radius X/Z (blocks): equal X and Z give a circle, different values an ellipse, different start and end values a spiral.
4. Start height and End height (relative to the center): different values give a helix.
5. Angle (deg) is where on the circle the camera starts. Revolutions may be fractional (0.5 = half turn). CW / CCW sets the direction.
6. Duration (s / ms), Keyframes and Easing.
7. Face: Center aims at the center (or pans through your focus targets when there are two or three); Face: Tangent looks along the direction of travel.
8. Click Use as Active Shot.

Avoid blocks: Off / On (new in 0.9.0). When on, the generated orbit rises (up to 24 blocks) and then widens (up to 16 blocks) to stay clear of solid terrain, keeping the first fully clear orbit or the one with the fewest clips. The centre, radius and height you typed stay as they are; only the generated curve moves. Off leaves the curve exactly as before. The toggle is saved in the config (collision.avoidBlocks) and is also used when you apply an orbit preset, and when Dolly, Crane, Push-In, Parallax, Fly-by or follow shots are generated.

An orbit stays an orbit: the entity follow rig never replaces it.

9. Shot presets

F7 > Shot Presets builds a shot around the current camera in one click. The focus point is focus target 1 if you have one, otherwise whatever is under the crosshair (within 128 blocks), otherwise a point 10 blocks ahead.

Preset	What it creates	Tweak it in
Orbit 360	One full level circle around the focus point, at the camera's distance and height, linear speed	Procedural Orbit
Reveal Orbit	Half a turn that closes in (to about 65% of the distance) and rises, Sine In/Out	Procedural Orbit
Spiral Rise	One full turn that rises (half the distance, at least 4 blocks) and closes in to 85% of the distance, facing the focus point, Sine In/Out	Procedural Orbit
Dolly In	Moves 8 blocks straight ahead, Sine In/Out	Manual Path
Dolly Out	Pulls back 8 blocks, Sine In/Out	Manual Path
Push-In Reveal	A slow push toward the focus point (40% of the distance, 3 to 12 blocks), rising up to 1.5 blocks, Sine In/Out	Manual Path
Crane Up	Rises 8 blocks while tilting down to keep the subject in frame	Manual Path
Parallax Slide	Slides right by half the distance to the focus point (4 to 10 blocks), looking the same way, so near and far things pass at different speeds, Sine In/Out	Manual Path
Fly-by	Sweeps past the focus point from one side to the other while facing it (sets Face Target and replaces your focus targets with that point)	Manual Path / Focus & Tracking
Chase Cam	Follows the picked entity from behind, slightly above (12 degrees), aimed at the body	Focus & Tracking
Side Track	Tracks the picked entity from its right side at 1.25x the default distance	Focus & Tracking
Top-Down	Looks straight down on the entity from twice the default distance, aimed at the feet	Focus & Tracking
Lead Shot	Moves ahead of the entity looking back at its face, rising from 5 to 20 degrees	Focus & Tracking

• The four entity presets are greyed out until you pick an entity in Focus & Tracking. They start from the follow defaults in the config (distance, duration, keyframes, smoothing).
• Durations and keyframe counts come from the config defaults (9 s; 24 keyframes for manual presets, 48 for orbits).
• A preset replaces the active shot. Nothing touches the timeline until Review & Place.
• With Avoid blocks on, orbit presets are planned around solid terrain, and Dolly, Crane, Push-In, Parallax and Fly-by lift their new points once when applied. Later manual edits are not moved.
• The ? button explains where to tweak each preset. Scroll the help (mouse wheel or arrow keys) if it does not fit.

10. Focus & Tracking

Orientation (click to cycle) controls where a manual path looks:

Orientation	Behaviour
Captured	Uses the rotation saved with each camera point
Face Target	Aims at one to three focus targets; with two or three the aim pans from one to the next over the shot
Track Entity	Keeps your manual path and turns every keyframe toward the picked entity, or (with Follow: On) builds a whole follow shot
Tangent	Looks along the path, keeping captured roll

Focus targets (up to three): Target 1 of 2 selects which one you edit, Add and Remove manage them, and the X, Y, Z boxes hold the coordinates. Capture Focus Points In-World lets you add them in the world instead: fly the camera to the spot you want to look at and press F8 (the focus point is the camera's own position). Shift+F8 switches point type while capturing.

Picking an entity

• Aim at it and click Pick Under Crosshair (reaches 96 blocks by default; blocks stop it unless the config says otherwise).
• Or click Nearby to cycle through entities near the camera, closest first.
• Clear removes the selection. "Selected: name" shows the current one.

Click Apply to save the orientation, targets and follow settings.

11. Entity follow shots

1. F7 > Focus & Tracking, cycle Orientation to Track Entity, pick the entity.
2. Turn Follow: On.
3. Choose View: Front / Back / Left / Right / Bird's Eye and Focus: Feet / Body / Head.
4. Set Start angle (degrees) and End angle (degrees) (-70 to 70; negative = below looking up, positive = above looking down), Start distance and End distance (blocks), Start roll and End roll (degrees), Smoothing (ms) (0 to 10000), Duration (s / ms) and Keyframes. Distance and roll change evenly over the shot: different start and end values give a push-in, a pull-out or a rolling reveal; equal values keep them steady.
5. Click Apply, then F8, review and Place Path.

Notes:

• Defaults for new follow shots: 8 blocks, 37 keyframes, 500 ms smoothing, 120 degrees per second max turn.
• Max turn (°/s) caps how fast the camera swings round the subject: a sudden spin, like the Ender Dragon turning, becomes a smooth swing centred on the turn, with no lag; slower turns are followed exactly. 0 means no limit, and shots saved before 0.7.0 load with no limit.
• Smoothing (ms) evens out the entity's turns over that window, so small wiggles do not shake the camera. 0 follows every turn exactly.
• Distances under 4 blocks show a warning ("Close follow distances may reduce tracking accuracy"); you can still place the shot.
• The rig may move the camera farther than requested so the whole entity stays in frame at your current FOV.
• Follow and tracking shots need replay time for the whole shot. Leave Time Keyframes: Auto on.
• The rig follows the direction the entity is heading: players use their body facing; mobs and boats their facing (flipped when they are clearly moving backwards); arrows, tridents and other projectiles their direction of flight; the Ender Dragon its true heading (its recorded facing points backwards); minecarts, items and other non-living entities their direction of motion, or their facing while still. So View: Back is behind an arrow in flight.
• Picking any part of a multipart mob (the Ender Dragon, modded bosses built from parts) selects the whole mob, and Nearby lists it once.
• For a big mob the camera stays at least about 0.75 x its width + 0.5 blocks away (about 12.5 blocks for the Ender Dragon); the review says so when that is more than your Distance. With Follow: Off, Track Entity aims at the body of mobs 3 or more blocks tall instead of their feet.
• If the entity exists for only part of the shot (an arrow that lands, a mob that despawns), the camera holds its first or last known position for the rest, and the review shows when it was recorded and a Duration that stays inside. If it was not recorded at all during the shot, you get a message with the replay time it was recorded, or that it has no recorded positions.
• Between recorded positions the subject moves along a smooth curve, not straight lines, so the camera has no corners where the recording does.

Following arrows and other projectiles

The replay keeps only about one arrow position per second. For arrows, spectral arrows, tridents, snowballs, eggs, ender pearls, potions, bottles o' enchanting and llama spit, the add-on rebuilds the flight in between with the game's own projectile physics (gravity, and air or water drag), so the camera follows the same arc the game draws. Fireballs, rockets and modded projectiles with their own physics follow the smooth curve instead.

• Keyframes: a projectile follow shot gets one camera keyframe per game tick (20 per second, at least your Keyframes), so a fast arrow stays in frame.
• Framing: while Distance is the default (8 blocks) the camera follows a projectile from 5 blocks, and while both angles are 0 it sits 10 degrees above it, so the arrow is not seen end-on. Set your own Distance or angles to override this. The review says "Projectile framing: …".
• Fit to the flight: if the timeline has no time keyframes yet, a projectile follow shot is fitted to its flight. It starts at the launch and ends one second after the landing, whatever Duration says. If existing time keyframes set where the shot starts, only its length is set, so it ends with the flight. The review says "Fitted to the flight of …". Set fitProjectileFlight = false in the config to keep your Duration.
• Before the launch (a shot that starts earlier than the arrow exists), the camera waits at the launch point, looking along the launch direction, then follows it. It does not jump.
• Aim: the camera looks straight at the projectile. ReplayMod's camera sees from its eye, 1.62 blocks above the keyframe position, so the keyframes of a follow shot sit that much below the view.
• Landing: when the projectile sticks in a block or lies still, the camera holds on that point for the rest of the shot. The review says when ("Arrow lands at replay …"). An arrow that goes into water is followed down to where it stops (within a second), with the camera kept above the water; one that keeps sinking is held where it went in.
• Water: a follow camera is never put underwater while its subject is above the water, and a projectile shot never goes underwater; it is raised above the surface instead.
• Crit trail: a fully drawn bow shoots a critical arrow that leaves a trail of small cream star particles. Seen from behind they look like a column of extra arrows. They are vanilla particles, not copies of the arrow. Set Video Settings > Particles: Minimal before rendering to hide most of them.
• Limits: an arrow that hits a mob is removed up to a second after its last recorded position, so the shot ends there. During playback the game draws a projectile up to half a game tick away from where the camera expects it (about 1.5 blocks at full bow speed), which is why the camera stays a few blocks back.

12. Review & Place and Time Keyframes: Auto

F8 (or Review & Place) prepares the active shot and opens Review Camera Path:

• Path, Timeline (start to end), Duration, Keyframes
• Replay time: X to Y (N new time keyframes), or Replay time: X to Y (extends existing time section) for a chained shot: which part of the recording the shot shows
• Warnings in yellow, or a red blocking reason when placement is not possible

Buttons:

Button	Effect
Timing: Realtime / Freeze / Fit	Play normally, hold the world still, or fit a recording span to the shot for slow motion or timelapse (see below)
Time: Recorded / Sunrise / Noon / Sunset / Night / Midnight / Custom	Set the shot's displayed time of day; Custom accepts a 24-hour value (new in 0.8.0)
Weather: Recorded / Clear / Rain / Thunder	Set the weather while this shot plays or renders (new in 0.8.0)
FOV: Off / Fixed / Ramp	Camera field of view for this shot (new in 0.9.0). Off uses your FOV slider; Fixed holds one lens (Degrees); Ramp goes from Start to End. 10 to 170 degrees. See below
Collision: No clips / 1 clip / N clips and Fix Clipping	How many separate clipping runs the planned path has (new in 0.9.0). Fix Clipping nudges the path out of solid blocks once. Place Path is never blocked. See below
Time Keyframes: Auto / Off	Whether the add-on creates TIME keyframes (see below)
Start: Cursor / After Last	Start at the timeline cursor, or right after the last camera keyframe (section 13)
Transition: Off / Auto / Manual	Blend from the previous shot into this one instead of cutting (needs Start: After Last; section 13). Adds time to the path
Fix Join	Shown when the review warns about a speed jump at the join (section 13). Matches this shot's speed to the last one
Shake: Off / Subtle / Medium / Strong	A handheld wobble for this shot only (section 13)
Place Path	Add the shot to the timeline as one step
Back	Return without placing
Undo Placement / Redo Placement	Step through placements (section 17)
?	Help on these options; scroll if it does not fit

Changing a control prepares the shot again immediately. The review keeps Playback, Look, the FOV row, the collision row and the original placement controls together; long option lists open as solid dropdowns, decimal fields show their beginning, and Place Path stays on screen.

Timing and Look (new in 0.8.0). Timing: Realtime plays normally, Freeze holds the recording at one moment, and Fit plays the Span (s) you enter over the shot's length: a longer span is a timelapse and a shorter span is slow motion. Freeze and Fit create TIME keyframes only with Time Keyframes: Auto on an otherwise free range; otherwise the review warns and falls back to Realtime. Undo removes those keyframes with the shot. A Fit span clipped by the recording or a later TIME keyframe is called out in the review.

Time and Weather set how the world looks during this shot's preview and render. The original recording and its world are never rewritten; outside the shot, the recorded time and weather return. Look persistence is per replay and placed Look spans are removed by Undo Placement with that shot.

FOV (new in 0.9.0). The FOV row sits between Look and Collision. FOV: Off leaves Minecraft's FOV slider in charge. FOV: Fixed holds one lens for the whole shot; FOV: Ramp goes from Start at the first keyframe to End at the last. Values are in degrees, from 10 to 170. The chosen lens applies during path preview and a normal (default) video export. Cubic, 360 and ODS exports stay at 90°. The row's setting stays for the rest of the session, the same way Look does; when you press Place Path, the lens is saved with that placed shot (in config/replaymodcinematics/fov, not in Replay Mod's timeline) and Undo Placement / Redo Placement remove or restore it with the shot. It is not stored in drafts, the Shot Library or share codes.

Collision and Fix Clipping (new in 0.9.0). The review shows Collision: No clips, Collision: 1 clip, or Collision: N clips for the prepared path. A clip is a run of samples where the camera view (one eye height above the keyframe) overlaps a solid, occluding full-cube block, with a small margin (collision.marginBlocks, default 0.5). Glass, leaves, ice, slabs, stairs, panes, fences and similar partial or non-occluding blocks are not counted, and unloaded chunks read as air. The flying camera stays noclip, and Place Path is never blocked, even when clips remain. Fix Clipping runs one pass: it climbs straight up out of terrain first (at most 8 blocks), then searches for open space (for an orbit or follow shot, it also moves away from the centre or subject). The pass is discarded if it would leave more clips than before. The button is disabled when there are no clips. A manual path writes the nudged control points back; an orbit or follow shot keeps the nudged keyframes as the working path, without editing the stored orbit centre, radius or height.

What Auto does. Auto makes sure the world plays during the shot. It never deletes TIME keyframes you already have; it adds what is missing, and for a chained shot it extends the section it continues:

Situation on the TIME path	What Auto does
Existing TIME keyframes already cover the whole shot	Reuses them; adds nothing
No TIME keyframes at all	Adds two: starting at the current replay time, playing in real time
TIME keyframes end inside the shot	Adds one at the shot's end, continuing in real time
TIME keyframes start inside the shot	Adds one at the shot's start, running in real time up to them
TIME keyframes only inside the shot (for example a slow-motion stretch)	Adds the start and end; the inner timing is kept
TIME keyframes end where the shot starts (a chained shot, for example Start: After Last) and the last section plays in real time	Extends that section: its last TIME keyframe moves to the end of the new shot, so replay time carries on with no jump and the chain stays one section. The review shows "extends existing time section"; undo puts the keyframe back
Same, but the last section is not real time (for example slow motion)	Keeps that section as it is and adds one TIME keyframe at the end of the shot, continuing in real time (the review explains this)
TIME keyframes only before the shot, with a gap	Continues from the last one in real time, so there is no jump
TIME keyframes only after the shot	Runs in real time up to the first one

A shot counts as chained when the TIME path ends at the shot start or at most 100 ms before it (or the Start: After Last gap, if that is larger). Safety rules: replay time never runs backwards. If real time would go below zero or run past a later TIME keyframe, that part plays at a different speed and the review warns you. If the recording ends before the shot does, replay time holds at the end (warning). If replay time is already at the end of the recording, nothing is added.

Off adds nothing. Use it when you build the TIME path yourself; Timing: Freeze / Fit requires Auto, so it falls back to Realtime with Off. If existing TIME keyframes only cover part of the shot, the review warns you; with no TIME keyframes at all it warns that the world will be frozen.

13. Chaining shots with Start: After Last

1. Place your first shot as usual.
2. Build the next shot (any type).
3. In the review, switch to Start: After Last. The shot now begins right after the last camera keyframe (1 ms later by default).
4. With Time Keyframes: Auto, replay time carries on exactly from the previous shot's end. The review shows Replay time: X to Y (extends existing time section): instead of adding a new pair of TIME keyframes per shot, Auto moves the section's end keyframe to the end of the new shot. After three chained shots the TIME path is still one section, with its original start keyframe and a single end keyframe after shot 3.
5. Place Path. Repeat for a whole sequence.
6. Each shot is still one undo step: undoing shot 3 moves the end keyframe back to where shot 2 ended.

Transitions. To flow from one shot into the next without a cut (orbit to follow, crane up to dolly in to follow), set Transition in the review of the next shot with Start: After Last. Off (default) is a plain cut, Auto picks 0.5 to 4 s, Manual uses the seconds you type. A transition adds time to the path: the new shot starts that much later and keeps its full length; the review shows the added time and the new end, and the preview draws the transition in its own colour. Transition goes back to Off after each placement, and one Undo Placement removes the shot and its transition together.

Speed jumps at the join. With Start: After Last and Transition: Off, the review warns when the speed jumps where the new shot starts ("the last shot ends fast and this one starts slowly", or the reverse). Only a real join counts: the new shot starts within 1.5 blocks of where the last one ended. Fix Join changes only the new shot's easing (removes or adds its ease-in); for a follow shot, or when easing cannot help, it sets Transition: Auto. Placed shots are never changed, and a joint with a transition never warns.

Shake. Shake: Subtle / Medium / Strong adds a slow, smooth handheld wobble (drift, turn and roll; Medium is twice Subtle, Strong 3.5 times). It is seeded by the shot's start time, so the preview, the keyframes and the render match. It fades in and out at the ends, so joins and transitions stay smooth, and goes back to Off after each placement.

For a continuous camera move across shots, also use Start at Last End in Manual Path: it makes the new path start at the exact pose where the previous one ended. Both toggles remember their last setting.

14. In-world preview

With Preview: On the active shot is drawn in the replay world while you edit: the curve, a box at each control point (the selected point is highlighted), short ticks showing where the camera looks, and your focus targets. Segments whose camera view passes through a solid block are drawn in red (preview.clipColor, default #FF5252). The preview line is at the keyframe (the camera's feet); red means the view one eye height above that segment is inside a solid. Follow shots appear after F8 prepares them. Nothing is drawn while ReplayMod renders a video. Colours, sample count and tick spacing are in the config.

15. Shot Library and share codes

F7 > Shot Library:

• Type a Name and click Save Current to store the active shot (saving under an existing name updates it).
• Select a shot in the list (use < / > for more pages) and click Load to make it the active shot, or Delete (click twice: "Really delete?").
• Copy Code puts the active shot on the clipboard as a share code starting with RMC1:. Paste Code loads a share code (or plain shot JSON) from the clipboard.
• Open Folder opens config/replaymodcinematics/shots, where each shot is a JSON file.

A shot from another replay keeps its tracked entity's identity, and the status line reminds you where it came from. It works if the same entity (for example the same player) is loaded in this replay; otherwise pick the entity again in Focus & Tracking.

Drafts. The working shot of every replay is saved automatically and comes back when you reopen that replay (stored in config/replaymodcinematics/drafts). The FOV row is not stored in drafts, the Shot Library or share codes; it is saved only with each placed shot.

16. Configuration

config/replaymodcinematics-client.toml (a plain text file with the same sections and keys on every loader, so a file copied from one build works on another; edit it with any text editor):

Section	Key	Default	Meaning
placement	addTimeKeyframes	true	Starting value of Time Keyframes (true = Auto); the toggle saves here
placement	appendMode	false	Starting value of Start (true = After Last); the toggle saves here
placement	appendGapMillis	1	Gap after the previous shot with Start: After Last (1 to 60000)
placement	largePathWarning	300	Warn when a shot has more keyframes than this
placement	undoHistorySize	20	How many placements Undo Placement can step back (after restart)
defaults	shotDurationMillis	9000	Default duration of new shots and presets
defaults	manualKeyframes	24	Default Keyframe Count for manual paths and manual presets
defaults	orbitKeyframes	48	Default keyframes for orbits and orbit presets
follow	distance	8.0	Default follow distance (blocks)
follow	keyframes	37	Default follow keyframes
follow	smoothingMillis	500	Default smoothing (0 to 10000)
follow	maxTurnDegreesPerSecond	120.0	Default Max turn (°/s) for new follow shots (0 to 3600, 0 = no limit)
follow	warningDistance	4.0	Warn below this follow distance
follow	projectileDistance	5.0	Follow distance for projectiles while Distance is the default
follow	projectileElevation	10.0	Angle above projectiles while both angles are 0 (-70 to 70)
follow	fitProjectileFlight	true	Fit projectile follow shots to the flight (launch to landing)
picker	range	96.0	How far Pick Under Crosshair and Nearby reach (4 to 512)
picker	throughBlocks	false	Let the picker see through blocks
collision	marginBlocks	0.5	How far, in blocks, a path sample must stay from a solid block to avoid counting as a clip (0 to 8). The flying camera stays noclip
collision	avoidBlocks	false	Starting value of Avoid blocks on the Procedural Orbit screen; also used when generating orbit presets, Dolly, Crane, Push-In, Parallax, Fly-by and follow shots
preview	enabled	true	Preview: On / Off (the button saves here)
preview	samples	200	Curve samples (16 to 600)
preview	directionTickEvery	10	A look-direction tick every N samples
preview	pathColor, pointColor, selectedColor, targetColor, directionColor, transitionColor, clipColor	#FFD54F, #4FC3F7, #FFFFFF, #FF7043, #AED581, #CE93D8, #FF5252	Preview colours (#RRGGBB). clipColor is used for clipping segments
fov	proofStartDegrees	0	Leave at 0 when you use the FOV row in Review & Place. A leftover 10 to 170 can still drive the lens while no placed FOV spans exist yet. Restart Minecraft after editing this file by hand
fov	proofEndDegrees	0	End of that leftover proof ramp; 0 keeps Proof Start as a fixed lens. After any FOV span is stored for the replay, only those spans apply

17. Undo and redo

• Each placed shot, including its TIME keyframes, is one ReplayMod undo step: ReplayMod's Ctrl+Z removes it whole.
• Undo Placement / Redo Placement in the review screen step through this add-on's placements (20 by default). They also remove or restore that shot's Look and FOV. They refuse to touch a shot whose keyframes you have edited since, to protect manual work. Redo needs the original range to be empty again.
• Placement is all-or-nothing: if anything fails part-way, everything already added is removed again.
• To retime a placed shot: undo it, change the shot, and place it again.

---

Part 2: Reference

Film vocabulary, geometry tables and shot recipes. See Part 1 for step-by-step use.

Camera systems

Manual Path: freeform dolly, crane, and aerial movement

See section 7 in Part 1 to capture and edit points. A manual path is a Catmull-Rom spline, so interpolation can bow between widely spaced poses. See section 12 in Part 1 for red clip previews and Fix Clipping.

Holds and speed ramps

See Holds, speed and easing in section 7 in Part 1: Hold (ms) parks on a point, Speed (x) scales the next segment, and total duration stays the same.

Procedural Orbit: mathematically repeatable moves

See section 8 in Part 1 for the orbit fields and Avoid blocks.

Geometry	Settings	Film-language result
Circle	X and Z radii equal; start and end radii equal; heights equal	Circular arc, wraparound, 360-degree orbit
Ellipse	X and Z radii differ; start/end radii otherwise unchanged	Elliptical arc with changing apparent subject distance
Helix	Start and end heights differ	Rising or descending orbit, spiral crane move
Spiral	Start and end radii differ	Spiral-in or spiral-out orbit
Conical helix	Both radii and height change	Simultaneous orbit, push/pull, and rise/fall
Partial orbit	Fractional revolution, such as 0.25 or 0.5	90-degree or 180-degree arc shot
Extended orbit	More than one revolution	Multi-wrap reveal or stylized continuous move

Radii and revolutions must be positive; use CW/CCW, not a negative count. Orbits have zero roll. Use Focus Target loads target 1 into the centre only; extra targets change where Face: Center looks, not the geometry.

Focus and orientation modes

See section 10 in Part 1 for orientation, focus targets and entity picking.

Mode	Operation	Best use
Captured	Interpolates the yaw, pitch, and roll captured at every camera point	Authored pans/tilts, whip-like reframes, Dutch transitions, lock-offs
Face Target	Continuously aims at one to three world-space focus points	Tracking, arc, reveal, rack-attention, and parallax shots
Tangent	Faces in the direction the spline travels and preserves captured roll	POV flight, vehicle-like travel, fly-throughs
Track Entity	Leaves the manual camera path unchanged but aims at a selected moving entity	Character tracking combined with a freeform dolly or crane move

Two Face Target points make a focus handoff; three go 1 to 2 by the midpoint, then to 3 by the end. This is a spatial pan/tilt, not optical rack focus.

Entity Follow: actor-mounted tracking rigs

See section 11 in Part 1 for follow setup, projectile shots, heading rules and limits.

Follow view	Camera relationship	Typical result
Front	Ahead of the actor, looking back	Frontal tracking or retreating lead shot
Back	Behind the actor, looking forward	Follow shot, chase cam, over-the-back travel
Left	Actor's left side	Lateral profile tracking
Right	Actor's right side	Reverse-side profile tracking
Bird's Eye	Directly above	Top shot or plan-view tracking

Feet aims at the entity base, Body at 40% of bounding height, and Head at 80% of recorded eye height, each 20% lower than the anatomical landmark so close follows do not sit too high. One safe radius is used for the whole shot, so a close-up may move farther out without warping the arc, especially with a narrow FOV. Elevation, distance and roll change evenly from start to end; Bird's Eye stays overhead and ignores the arc angles.

Shot-size vocabulary

There are no shot-size buttons (Shot Presets are movements). Sizes come from distance, elevation and FOV, limited by geometry and the follow rig's full-body framing.

Shot size	Composition	Recommended method
Extreme wide / extreme long shot (EWS/ELS)	Environment dominates; figures establish scale	Distant manual path, large-radius orbit, or high aerial path
Wide / long shot (WS/LS)	Full setting and complete subject action	Manual Face Target or medium/large orbit
Full shot (FS)	Entire character fills most of the frame	Static/manual target shot; entity follow naturally protects full-body framing
Cowboy / American shot	Approximately mid-thigh upward	Manual Track Entity with a suitable FOV and offset
Medium wide / medium long (MWS/MLS)	Approximately knees upward	Manual target/tracking path
Medium shot (MS)	Approximately waist upward	Manual target/tracking path with closer distance or narrower FOV
Medium close-up (MCU)	Chest/shoulders upward	Manual target/tracking path; verify skin and headroom
Close-up (CU)	Face or critical object dominates	Manual path and precise focus target; avoid entity-follow auto-distance
Big close-up (BCU)	Face fills frame	Very close manual path, usually with restrained movement
Extreme close-up / insert (ECU)	Eyes, hands, item, switch, or texture detail	Manual path with a focus point on the detail
Two-shot / three-shot / group shot	Multiple subjects share composition	Manual path with a focus point between actors; use a wide enough FOV
Over-the-shoulder (OTS)	Foreground shoulder frames the speaking subject	Manual camera position plus focus point on the opposing actor
Point-of-view (POV)	Camera approximates a character's sightline	Manual Captured or Tangent path at eye height
Establishing shot	Geography and relationships are introduced	EWS, aerial crane, large orbit, or slow push-in
Insert / cutaway / reaction shot	Isolated narrative detail or response	Short manual paths placed as separate timeline shots

The follow rig centres and fully contains the actor, so use manual Track Entity for deliberate headroom, lead room, close-ups, OTS or off-centre framing.

Angle types

Manual points can author every conventional angle; several also have follow presets.

Angle	How to produce it
Eye level	Place the camera near the subject's eye line and use Face Target or Track Entity
High angle	Position above the subject and tilt down
Low angle	Position below the subject and tilt up; check terrain and near-plane clipping
Bird's-eye / top shot	Use Bird's Eye follow or a manual camera directly overhead
Worm's-eye / ground-level	Place a manual point near ground level and aim upward
Overhead oblique	Use a high manual path or elevated orbit rather than a vertical top shot
Frontal	Use Front follow or place a manual camera on the subject's forward axis
Rear	Use Back follow or a manual rear position
Profile	Use Left or Right follow, or place a manual camera at 90 degrees to the action
Three-quarter	Use a manual position between frontal and profile axes
Dutch / canted angle	Non-zero roll in Captured mode, or different Start roll / End roll in Entity Follow
Neutral horizon	Capture zero roll; procedural orbits also use zero roll

Camera movements and shot recipes

See section 9 in Part 1 for Shot Presets and which editor refines each one.

Movement or shot	Recipe in ReplayModCinematics
Lock-off / static shot	Use two manual points at the same position with captured orientation; keep framing unchanged
Move, stop, move	One manual path with a Hold (ms) on the middle point
Speed ramp	Raise Speed (x) on the fast segment, lower it on the slow one
Pan	Use stationary manual points with different yaw in Captured mode
Tilt	Use stationary manual points with different pitch in Captured mode
Roll	Use stationary or moving manual points with different roll in Captured mode
Dolly in / push-in	Dolly In or Push-In Reveal preset, or points toward the subject with Face Target or Track Entity
Dolly out / pull-back	Dolly Out preset, or points moving away while holding focus
Truck / lateral track	Capture a sideways path; track a subject or static focus point
Pedestal up/down	Capture a vertical path without changing horizontal position
Crane / jib	Crane Up preset, or combine vertical and horizontal manual points with Face Target
Arc shot	Reveal Orbit preset, or a fractional center-facing orbit
360-degree wraparound	Orbit 360 preset, or a one-revolution center-facing circular orbit
Fly-by / pass-by	Fly-by preset
Elliptical arc	Use unequal X/Z orbit radii for variable apparent distance and parallax
Spiral in/out	Change start/end radii; use Face: Center for a tightening or expanding wrap
Helical rise/fall	Spiral Rise preset, or change start/end heights during an orbit
Fly-through	Build a manual path through architecture and use Tangent orientation
Tracking shot	Use a manual path with Track Entity
Follow / chase shot	Chase Cam preset, or Entity Follow Back
Lead / retreating shot	Lead Shot preset, or Entity Follow Front
Side tracking shot	Side Track preset, or Entity Follow Left or Right
Overhead tracking shot	Top-Down preset, or Entity Follow Bird's Eye
Reveal	Begin occluded or tightly framed, then crane/truck/dolly into an open composition
Parallax reveal	Parallax Slide preset, or a lateral move with a near foreground and a deeper focus target
Focus handoff / attention shift	Use two or three Face Target points; the camera pans/tilts between them
POV travel	Use an eye-height manual path with Tangent or authored Captured orientation
Orbit-to-escape move	Use a spiral with increasing radius, optional height change, and Face: Center
Approach-to-orbit move	Create a manual push-in, then an orbit with Start: After Last so it begins right after the push-in
Continuous multi-shot move	Transition: Auto with Start: After Last, or Start at Last End plus Start: After Last
Whip pan	Closely timed stationary Captured poses with a large yaw change; preview the interpolation
Vertigo / dolly zoom	Place a Dolly In or Dolly Out, then in Review & Place set FOV: Ramp with a Start and End that tighten or widen the lens against the move. It shows in preview and a normal video export; cubic, 360 and ODS exports stay at 90°
Handheld	Shake: Subtle / Medium / Strong in Review & Place adds a smooth handheld wobble to any shot

Timing, easing, and keyframe density

Easing	Screen effect	Editorial use
Linear	Consistent distance-based speed along a manual curve; constant progression for an orbit	Architectural moves, continuous tracking, shots that cut while already moving
Sine In, Quad In, Cubic In	Starts slowly and accelerates (gentlest to strongest)	Departures, growing urgency, accelerating reveals
Sine Out, Quad Out, Cubic Out	Starts quickly and settles (gentlest to strongest)	Arrivals, landings, emphasis on the final composition
Sine In/Out, Quad In/Out, Cubic In/Out, Quint In/Out	Accelerates, then decelerates (gentlest to strongest)	Self-contained moves with composed heads and tails
Smootherstep	Very soft in/out with no sudden change in acceleration	Slow, elegant moves where any jolt would read

Easing affects only the moving parts of a manual path; holds stay still, and per-point speeds share the moving time. Duration is screen time; keyframe count is sampling resolution (see section 16 in Part 1 for the 2-to-600 limit and the warning above 300). Replay Mod interpolates, so a 6-second 24 fps shot does not need 144 camera keyframes: judge density by preview smoothness.

Cinematic staging guidance

• Block action and the TIME path first, then design the camera against the recorded performance.
• Motivated focus: eye or chest level usually reads better than feet-level coordinates.
• Preserve screen direction; choose orbit direction and follow side deliberately.
• Lateral moves and elliptical orbits give stronger parallax than a straight push toward a flat subject.
• A short Hold (ms) on the first and last point leaves editorial handles.
• Linear cuts cleanly mid-move; ease-in/out advertises the start and end.
• Preview at delivery FOV and aspect ratio. For a fixed lens or ramp, use the FOV row in Review & Place.
• Keep paths clear of solid terrain. See sections 12 and 14 in Part 1 for red clip previews, Fix Clipping, and Avoid blocks. The camera stays noclip; placement is never blocked.
• Review fast yaw changes; angles unwrap at -180/180, but composition still needs a check.
• Use roll only when a canted frame is motivated. Constant follow roll is a sustained Dutch angle.

Preview, library, and sharing

See sections 14 and 15 in Part 1 for the in-world preview (clipping segments draw red), the Shot Library, share codes and per-replay drafts.

Review, safety, and troubleshooting

See sections 12 and 17 in Part 1 for placement blockers, Fix Clipping, and undo/redo. Placement is all-or-nothing. Entity sampling does not move the timeline, camera or spectated entity; the first dense tracking shot may take longer while positions load.

Capability summary

The tables above cover conventional sizes, angles and moves, plus per-shot FOV (fixed or a start-to-end ramp) and collision warnings with Fix Clipping. Optical focus, cuts, sound, color and final rendering are out of scope; cubic, 360 and ODS exports stay at 90°.

---

Part 3: Cinematographer's handbook

Practical recipes built from the add-on's tools. Numbers are starting points; preview with Preview: On, place, watch, and adjust. Every recipe can be undone in one step.

3.1 Before you shoot

• Decide how time runs first. For normal-speed action leave Time Keyframes: Auto on. In Review & Place, Timing: Freeze / Fit creates slow motion, a freeze or a timelapse on a free range; you can also build those TIME keyframes in ReplayMod before placing the camera (recipe 3.10).
• Set the shot's Look. Time of day and Clear / Rain / Thunder weather in Review & Place apply only while that shot is shown, so adjacent shots can have different lighting and weather.
• Scrub to the moment. With no TIME keyframes yet, Auto starts the shot at the current replay time, so park the replay where the action begins.
• Set your delivery FOV and window shape. Framing, apparent speed and the follow rig's safe distance all depend on the lens. For a fixed lens or a ramp on this shot, use the FOV row in Review & Place; otherwise FOV: Off keeps your normal FOV slider. For vertical video, see 3.12.
• Turn the preview on. It shows the curve, where the camera looks, and your focus targets. Segments whose camera view passes through a solid block turn red, and Review & Place shows a clip count. Press Fix Clipping if you want a one-pass nudge, or turn on Avoid blocks before generating an orbit.

3.2 Establishing shot: the reveal orbit

Goal: open on a location or build, moving around it as it comes into view.

1. Fly to a three-quarter view of the subject, a little above it, at the distance you want to start.
2. Aim the crosshair at the centre of the build (or set focus target 1 there in Focus & Tracking: more precise).
3. Shot Presets > Reveal Orbit: half a turn that closes to about 65% of the distance and rises, easing in and out.
4. In Procedural Orbit, tune it:
   • Duration (s / ms): 8 to 12 s reads as calm and grand; 5 s as energetic.
   • Revolutions 0.25 to 0.5 for a reveal; a full turn starts to feel like a showcase.
   • Raise End height for a crane-style finish that shows the layout; lower it to end at eye level.
   • Easing: keep Sine In/Out, or Smootherstep for an even softer landing.
5. Use as Active Shot > F8 > Place Path.

Variation: for a "planet" establishing move, use Orbit 360 with a large radius and a slow 15 to 20 s duration, Linear easing so it can be cut at any point.

3.3 Following players and mobs: chase, lead and side track

Pick the subject in Focus & Tracking (Pick Under Crosshair, or Nearby for small or distant mobs), then:

Shot	Preset	What it says	Good for
Chase	Chase Cam	"We are with them"	Running, parkour, riding, pursuit
Lead	Lead Shot	"Something is coming", shows the face and intent	Walk-and-talk, determined approach, a mob closing in
Side track	Side Track	Speed and the landscape sliding past	Sprinting, horse and boat travel, races
Top-down	Top-Down	Geography and patterns	Maze runs, crowds of mobs, base tours

Tuning in Focus & Tracking after applying a preset:

• Distance (blocks): 6 to 10 for players; 3 to 5 for small mobs (expect the "close distance" warning; preview carefully); 12 to 20 for large mobs, horses and boats.
• Start angle (degrees) / End angle (degrees): a rising angle (for example 5 to 25) on a lead shot slowly reveals what is ahead; a falling angle (25 to 5) brings the audience down to the subject's level.
• Focus: Head for dialogue and reactions, Body for action, Feet for top-down and footwork.
• Roll (degrees): a constant 5 to 10 degrees gives a tense Dutch angle for chases; keep 0 for neutral coverage.
• View: Left vs Right: keep the same side across consecutive shots so screen direction stays consistent (the subject keeps moving the same way on screen).

The rig keeps the whole entity in frame and may sit farther back than requested, especially with a narrow FOV or Focus: Feet / Head. For tight close-ups or off-centre framing, use a manual path with Track Entity instead (recipe 3.5 variation).

3.4 Smoothing values for different subjects

Smoothing (ms) averages the subject's facing over a window centred on each moment. Small values follow every twitch; large values glide through turns but cut corners on sharp ones. Starting points:

Subject	Smoothing (ms)	Why
Precise or slow, deliberate movement (a builder at work)	0 to 200	You want every turn
Walking player	400 to 700	Hides mouse-look wiggle
Sprinting player, parkour	300 to 500	Keeps up with direction changes
Elytra flight	250 to 400	Banked turns are fast; too much smoothing swings wide
Horse, boat, minecart	500 to 900	Vehicles turn smoothly; the camera should too
Twitchy mobs (chickens, zombies milling about)	800 to 1500	Their heads snap constantly
Bird's-eye top-down	600 to 1200	Rotation is very visible from above

If the camera still jitters, add keyframes (the follow Keyframes field) before adding more smoothing. If it swings wide on a sharp turn, lower smoothing or split the shot at the turn.

3.5 Dolly in for drama

A slow push toward a subject builds tension or marks a realisation.

1. Frame a medium-wide view of the subject, crosshair on their face or the key object.
2. Shot Presets > Dolly In (8 blocks straight ahead, Sine In/Out).
3. In Manual Path: select point 2 with >, fly to where the push should stop, and press Set to Camera to shorten or redirect it.
4. Pacing: 6 to 10 s for a slow-burn push; Easing: Cubic Out starts with energy and settles on the final frame; Sine In/Out feels neutral.
5. Add Hold (ms) 800 to 1500 on the last point so the final composition breathes before the cut.

Variation, push-in on a moving actor: capture two or three points approaching the actor, set Orientation: Track Entity with Follow: Off. The camera keeps your path but never loses the actor, and you control the framing exactly.

Push-in on an actor who keeps moving: a follow shot with Start distance 10 and End distance 4 closes in while the rig tracks them. Add End roll 8 to 12 for a slow dutch-angle reveal.

Reverse: Dolly Out for an ending or a "they are alone" pull-back. Pair it with Easing: Quad In so it starts gently and accelerates away.

Vertigo / dolly zoom: after placing the dolly points, set FOV: Ramp in Review & Place so the lens tightens as you dolly out, or widens as you dolly in. Use a normal video export; cubic, 360 and ODS exports stay at 90°.

3.6 Crane reveals

1. Start low, behind a foreground element (a wall, a tree line, a hill crest), facing the subject.
2. Shot Presets > Crane Up: rises 8 blocks while tilting down to hold the subject.
3. Increase the rise by moving point 2 higher and pressing Set to Camera; add a middle point with Insert for a crane that also travels forward.
4. Use Hold (ms) on the first point (500 to 1000) so the shot opens on the obstruction, then rises over it.
5. For a crane that drifts around the subject, use Reveal Orbit and raise End height instead.

3.7 Fly-bys

1. Put focus target 1 on the subject (or aim the crosshair at it).
2. Shot Presets > Fly-by: a three-point sweep across the front of the subject at camera height, always facing it.
3. Speed: 3 to 5 s feels like a jet pass; 8 s like a drone sweep. Use Linear for constant speed, or add a short Hold (ms) (300 to 600) on the middle point to pause at the closest moment.
4. For a low, dramatic pass, select each point, lower the camera and Set to Camera (re-check Face Target still aims at the subject in the preview).

3.8 Chaining a multi-shot sequence

Example sequence: establishing reveal > chase > lead > top-down finale.

1. Place shot 1 (Reveal Orbit) with Start: Cursor at the start of the action.
2. Build shot 2 (Chase Cam). In the review switch to Start: After Last. With Time Keyframes: Auto the replay time continues from shot 1's end (the time section is extended, not duplicated), so the action runs on without a jump while the camera cuts to a new angle.
3. Repeat for shots 3 and 4. The toggles remember their settings.
4. Play the timeline. If one shot is wrong, undo back to it (each shot is one Ctrl+Z), fix it, and place again with Start: After Last.

Seamless move instead of cuts: set Transition: Auto on shots 2 to 4 and the camera flows from the reveal into the chase and on, with no cut. Each transition adds its length to the sequence. Or, by hand: build the next shot as a Manual Path, click Start at Last End so its first point is exactly where the previous shot ended, then place with Start: After Last.

Tip: deliberately overlapping action (show the same moment from two angles, a classic action-film beat) is a job for your own TIME keyframes: build them first, then place each shot over them; Auto reuses existing coverage.

3.9 Rhythm with holds, speed and easing

• Beats: a Hold (ms) is a pause in the move. Holds of 300 to 800 ms on a few points turn one path into "move, settle, move" coverage that cuts nicely on music.
• Handles: a 500 ms hold on the first and last points gives editors clean frames to cut on.
• Speed ramps: Speed (x) 2 on a segment whips through it; 0.5 lingers. Because the total duration is fixed, ramping one segment changes the others; preview after each Apply Timing.
• Easing as punctuation: Linear for shots that cut mid-move; Out curves (Sine Out, Cubic Out) to land on a composition; In curves to launch into action; In/Out curves and Smootherstep for self-contained hero moves.
• Match the cut: if the next shot starts moving immediately, end this one with Linear or a short hold rather than a long ease-out, so the energy carries across the cut.

3.10 Slow motion with TIME keyframes

The camera shot length and the replay time it covers are independent. To get slow motion:

1. Scrub the replay to where the slow-motion moment starts. In ReplayMod's editor, place the timeline cursor at the shot start and add a TIME keyframe (it records the current replay time).
2. Move the timeline cursor forward by the screen length you want (say 8 s), scrub the replay forward by only the real length (say 2 s), and add a second TIME keyframe. That stretch now plays at quarter speed.
3. Build your camera shot and place it over that range with Time Keyframes: Auto. Because TIME keyframes already cover the shot, Auto reuses them and adds nothing.

If the camera shot is longer than your slow-motion stretch, Auto extends it: real time runs into and out of the slow section, and your slow-motion keyframes are kept untouched. A freeze frame is the same idea with two TIME keyframes showing the same replay time. Time-lapse is the reverse (a short timeline span covering a long replay span). If you want full manual control, set Time Keyframes: Off.

3.11 Building a reusable shot library

• Name by intent, not by place: "Chase low 8b 500ms", "Reveal orbit slow", "Dolly-in drama 8s". Shots from other replays rebuild around the same coordinates or entity, so generic moves travel best when built from presets and tweaked.
• Save before experimenting: Save Current under a working name, then try variations; Load returns to it instantly.
• Share codes: Copy Code produces an RMC1: code you can paste in a chat or a document; your collaborator uses Paste Code in their copy of the same replay to get the exact same move.
• Entity shots across replays: a follow shot remembers the entity's identity. A player's shots work in another recording where the same player is loaded; for mobs, pick the new entity in Focus & Tracking after loading.
• Back up: Open Folder shows the JSON files; copy the folder to keep or move your library.

3.12 Vertical video (Shorts, Reels, TikTok)

• Render at a vertical resolution in ReplayMod's render settings (for example 1080x1920). To preview the framing, resize the Minecraft window to a tall shape while you work.
• Minecraft's FOV is vertical, so a tall frame shows much less to the sides. Favour moves along the vertical axis or toward the camera: Crane Up, Dolly In, Lead Shot, Top-Down.
• Side Track and wide Fly-by shots lose the subject quickly in portrait; increase Distance (blocks) or switch to Chase Cam.
• Keep the subject in the middle third: the top and bottom of the frame are often covered by app captions and buttons.
• Short formats want energy: 3 to 6 s shots, Cubic Out arrivals, holds of 200 to 400 ms, and chained shots with Start: After Last to keep the action continuous across cuts.

3.13 Common mistakes and fixes

Symptom	Cause	Fix
The world is frozen in the render	No TIME keyframes cover the shot	Turn Time Keyframes: Auto on and place again, or add TIME keyframes yourself
"Camera keyframes already exist in this time range"	The cursor range overlaps another shot	Move the cursor, use Start: After Last, or undo the earlier path
A chained shot jumps in time	It was placed with Time Keyframes: Off, or at the cursor instead of after the last shot	Undo it and place again with Start: After Last and Auto
"Tracking needs replay time keyframes covering the whole shot"	Follow/track shots need replay time	Turn on Time Keyframes: Auto
The review warns about a different speed	Real time would collide with a later TIME keyframe	Move the shot, or accept it; Auto never moves a TIME keyframe that comes after the shot
A chained shot added a second time section	The previous section is not real time (slow motion), so Auto kept it	Intended: your slow motion stays. To stretch it instead, edit the TIME keyframes yourself
Follow camera jitters	Too few keyframes or no smoothing	Raise the follow Keyframes first, then Smoothing (ms)
Follow camera swings wide on turns	Smoothing too high for a fast subject	Lower Smoothing (ms) or split the shot at the turn
Follow camera whips round when the subject spins	Turn faster than the camera can follow smoothly	Lower Max turn (°/s) (60 to 120 suits big mobs)
The camera jolts where two chained shots meet	One shot ends fast, the next starts slowly (or the reverse)	Press Fix Join in the review, or use Transition: Auto
The subject is smaller than requested	The rig keeps the whole entity in frame	Use a manual path with Track Entity for tight framing
The path goes through walls	The curve can still clip; red preview segments and Collision: N clips mark where the view is inside a solid	Press Fix Clipping for a one-pass nudge (it climbs out of terrain first, and is never kept if it would make clips worse), turn on Avoid blocks before generating an orbit, or add or move points (Insert, Set to Camera). Place Path still works if clips remain. Glass, leaves, slabs and similar blocks are not counted as clips
Fix Clipping left some clips	The pass is one bounded search; some solids, transitions or shake offsets can remain	Move or add points by hand, or accept the leftover clips; placement is never blocked
A 360, cubic or ODS export ignores my FOV	Those export modes stay at 90°	Use a normal (default) video export for a Fixed or Ramp lens
FOV: Off still changes the lens	Leftover values in fov.proofStartDegrees / proofEndDegrees	Set both to 0 and restart Minecraft so the file reloads, or place a shot with the FOV row so stored spans take over
"Holds take up the whole duration"	Holds leave no time to move	Shorten holds or lengthen Duration
Undo Placement refuses	You edited that shot's keyframes afterwards	Use ReplayMod's own undo (it also undoes your later edits), or remove the keyframes by hand
"…was only recorded from … to …"	The entity exists for only part of the shot	Accept the held start/end, or set Duration to the suggested value and place the shot inside that range
"…has no recorded positions in this replay"	Client-only entity, or a modded entity the recording did not track	Pick another entity, or use a manual path with focus targets
"Fitted to the flight of …"	Projectile follow shots fit the flight by default	Intended. For your own length set fitProjectileFlight = false
A column of cream "X" shapes behind the arrow	The crit particle trail of a fully drawn bow (vanilla)	Set Particles: Minimal before rendering
An arrow shot holds still or follows straight lines	The arrow was picked with an older build, so its physics is unknown	Pick the arrow again (pause mid-flight, Pick Under Crosshair or Nearby)
Camera is farther from a dragon or boss than requested	The rig keeps clear of big hitboxes	Intended; for a closer shot use a manual path with Track Entity
A shared shot does not find its entity	It came from another replay	Pick the entity again in Focus & Tracking
F7 / F8 do nothing	No replay open, or a text field has focus	Open a replay; click outside the text field
Help text is cut off	Large GUI scale	Scroll the ? help with the mouse wheel or arrow keys

---

Credits

ReplayMod was created by the ReplayMod project and its contributors (CrushedPixel, johni0702 and others). ReForgedPlay is the unofficial Forge and NeoForge port of ReplayMod, maintained by Ferri_Arnus. ReplayModCinematics is original add-on work by zVibes and is not endorsed or officially supported by ReplayMod, ReForgedPlay, or their maintainers. ReplayModCinematics is licensed under GPL-3.0-only.

---

Get ReplayModCinematics

Download the latest version, follow updates and leave feedback on CurseForge: https://www.curseforge.com/minecraft/mc-mods/replaymodcinematics

---

Made by zVibes · GPL-3.0-only · CurseForge page · YouTube tutorial · YouTube channel

---

Everything stays free. If RMC helps your videos, you can leave a tip on Ko-fi.