Nine scenes, and what each one is hard for.

This is the argument for capturing a scene rather than filming one. The four frames below are one street corner. Nothing moved between them but the sky and the hour, and the shadows, the wet ground and the visibility moved with it, because the weather was changed before the frame was rendered rather than painted on afterwards.

An environment is worth capturing when it can be put through conditions its author never shipped it in. That is the whole reason these nine are here and a folder of screenshots is not. How the mix is chosen, and how it goes wrong by accident, is a guide of its own.

None of the nine were modelled by us. They are third-party Unreal environments, bought or licensed, and dressed with a capture contract. What NameFrame produced is the frames and the labels, and that is all any archive on this site contains: no map, no .uasset, nothing of the environment itself is redistributed. The dataset pages say the same thing in the terms that ship inside each pack.

That boundary is also why no author is credited by name on these pages yet. Crediting a seller beside their own work is a claim about a relationship, and we do not have one with any of them.

If you author Unreal environments

There is an obvious trade here and it is worth saying out loud. A capture run produces a few hundred frames of a scene across every hour and every sky it can be given, deterministically, in an afternoon — which is a quantity of presentable imagery of your own map that is tedious to produce by hand. We want scenes we did not build, because a pipeline that only works on maps its authors chose has proved very little.

What we would agree first is the licence: what we may render, what we may publish, and how you want to be credited on the page it appears on. The rest is scheduling.