Even on the slow speed, there's a sudden burst of speed and it can still be tricky to position the camera properly without having to press forward, then backward and forward, and so on until you get into that one position. With acceleration, this solves this issue. Why would getting fine-precision positioning be needed? I've had a cases where a strange highlight was present in the way a textured object looked. It was because it wasn't tiling properly. With such a fine texture scale used, I had to get very close (camera.clip_near = 2 at the point of which it was clipping away was barely close enough) in order to see why it was happening. I don't recall how long it took, but it's around 30 or 40 seconds. With acceleration, I could make the fine adjustments with ease and this task would've otherwise only taken about 2 or 3 seconds instead at the most (with better positioning precision as well to get a further enhanced look at it). It's impossible with the built-in camera movement system so I made my own system to work around this and since I've learned some trig, I refined it so I can move the camera in any direction rather than set on one axis only. I also made it possible to cycle through acceleration rates from 5 mph per second to 20 and 80. The script I use uses the 80 system, and is based on a map scale of 8 quants making one foot. It's also a lot more fun watching everything in the level whizzing by at the speed of sound (and beyond that).



This screenshot from 18 months ago gives a good example of why this would come in handy, only with the texture scale at 2x. What's causing those white lines? Only a close-up could tell and with the way the camera's motion is, it's hard to do that. With acceleration, I can ease in much easier and faster. My recent case is where the texture pixels were 9 times finer and I really had to get up close and the odd border wasn't as noticable as this case was meaning a major close up was needed.