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NTU Visual Essay- Bartholomew Bazaz
Transcript of NTU Visual Essay- Bartholomew Bazaz
- Big demand for work within the field
- A limitless medium to apply imagination
- The prospects of watching a project grow; seeing a character develop; and creating a thriving world of narrative around it
- Exploring more of the application of the "World of the Story"
- Developing Narrative and Context, and improving upon my Story Telling skills
- Step by step control through the production line, to refine the slightest of details
- To work amongst a team of like mind and imaginative individuals Pathway Decision for 2nd Year Multimedia NTU Bartholomew Bazaz
and Context Context 1 Visual Essay Industry Traditional Values in Visualisation Why Virtual Environments? Future Ambitions The Journey so far... Before even applying to the Multimedia course at NTU… I instantly saw that the course's layout was very similar to the BTEC Art and Design course I was on previously... giving an insight into numerous disciplines first, Coming from a predominantly "Fine Art", Art and Design based background from college... I knew I'd be lacking the experience in technology, but was confident in my abilities to conceive ideas from a single word, at least... and build upon that, with growing circles of themes and context, to then apply to the projects outcome. the Virtual Environments specialism was already sold to me for the prospects of working with numerous pieces of software that I'd never even heard of and the whole idea of the pathway being based around "CG Spaces", coupled with character creation; seeming greatly vast in what I would be working on, and appearing naturally akin to my interests, previously explored in contextually narrative based installation work. to ultimately give a better overview to apply to a specific specialism. year at The first term on the course opened up countless doors of opportunity. Straight away I was faced with a new piece of software, and After Effects laid the foundations for the principles of good design, considered planning and production, and the basics of stop frame animation Beginning with animation gave me a chance to become accustomed to the course and really focused on doing something simple, well. ...alongside the simple
understandings of specifications
within media creation. Whilst working within I had the chance to explore the basics of Premiere Pro, as well as come to terms with the logistics of planning and working with others, and relying on each other member of the group to do their part. Interactive was the most challenging of all the projects from my first term... with accuracy and consideration vitally required for the outcome to come together in one piece ...and planning, again was crucial, for the logical integrity of the interactive space. This was really the first time though that I truly felt the need for deeper thought and planning, getting the first taste of creating "the world of the story". Narrative and environment were both crucial… combined with imagery, to give the final impact. The interactive pathway was definitely still not for me, for it's tedious nature, laborious processes, and personally, a lack of organic input from the creator… but the contextual challenges I was faced with were inspiring to apply to my desired pathway choice of animation. A second brief within Interactive saw my passion for environments and creating a "world within a window" flourish... as I created a portfolio site to convey my self as a designer and artist. I had a lot of fun creating this, but the HTML coding proved no more directly expressive than the first term's project. Reflection on my first NTU sparked a lot of excitement to confront 3DS Max for the first time A return to animation... and I thoroughly enjoyed overcoming initial hurdles, resulting in an outcome to be proud of for a first attempt. The contextual development within the project's brief took on as much of a life of its own as the 3D space itself, and this gave me a taster for what I could further explore when I begin my specialism. Moving Image Why V.E. Photography took a large hand in the visually creative concepts of my site and my growing Network collective came together, having learnt the importance of developing more of a virtual presence The most fun within the development of my ideas came from producing the character that would inhabit my 3D lair using a wide range of visual references, each with their own implied narratives... to then apply to my own sketches; a personal passion of mine, stemming from initial aspirations to become a concept artist, and from my training in expressive, organic, visual communication. The crowning glory of my first year... and "Last Chance" to explore a pathway other than Animation "Last Chance" Written, Directed and Edited by Bartholomew Bazaz I feel I've taken much more pride in the finished article of the project Heading into the and despised the extents of required pre-planning, looking back in hindsight. in preemption to shoot on a seemingly all or nothing basis, scares me with the amount of variables that could go wrong in production, as apposed to the control that comes with the Virtual Environment's style of working. on others to do their job to the best of their ability, there and then on the day. with the ability to re-approach work that has already been produced, meaning feedback can be taken on board, and problems can be worked upon. I chose to step out from my comfort zone, and took up the challenge of directing the interpretation of a given script. brief Having now finished the film, The notion of planning down to the last shot, Another factor is reliance Over my time at college, and within independent projects at NTU, I have come to realise that I like to predominantly work alone to get ideas built and into place, before consulting with peers and others to crit; throwing out alternate ideas, and offering further ideas of my own. For me I feel this notion of teamwork is still applicable in the industries of Animation, without the reliance of boundary pushing, or mind warping technologies; To portray an idea, or concept, putting faith in the heart felt craft, and experience or considerations of its creator, to convey the subject matter with maximum impact. Through talking with the tutor of the Virtual Environment specialism, it was enlightening hear about his passion to pass on knowledge to not just overcome the software we will use, but to take the content we will be creating, and really become adept in the art of motion and storytelling. This was reinforced with wanting to produce students that don’t rely on an unsurpassed ability within "this software or that" but more so "creative individuals", that are capable of problem solving, and the ability to take a project's brief and create some real depth within it's outcome. This really excited me to hear, and seems perfectly in line with what I have pre-emptively hoped to succeed onto. and has evolved tremendously alongside the developments of technology, The industry is ever growing, back from when moving images were first being shown to the masses. the levels of expectations, and "ease to impress" has swiftly followed suit. As with the development of technology and the industry, The pioneering Lumière Brothers are a perfect example of how the introduction of ground breaking technologies in Cinema impacted an audience; an audience who were only just coming into the turn of the 20th Century. were involved in the creation of... having worked in their Father's photographic plate factory, The brothers, with their photographic background, a device capable of not only projecting film, but also capturing it, on 35mm film at 16fps; the Cinématographe; modeled on the design of a sewing machine, moving film across the contraption like a piece of cloth. They would often film the mundane occurrences of everyday life, and present their films to the public in theaters, including their first film,
(Workers Leaving the Lumière Factory), and
(Demolition of a wall) Sortie des Usines Lumière à Lyon Démolition d'un mur It was said that for mere amusement and the desire to baffle their audiences, the film would also be shown in reverse, leading to complete awe as the crowds marveled in its abnormities. The brothers thought their films of everyday activities would grow tiresome to audiences, and felt there was no future in it; however one of their most memorable films of a train pulling into a station, left people ducking in their seats and screaming in the theatre, believing it to be real. This reference is a very primary example of the magic within digital visual-manipulation and control, that is really sparking my interest, to enthrall the senses of the viewer. Over my short time at NTU, I have come to appreciate the effort that goes into the entirety of a project, from its planning and production, right through to post-production and promotion. The subject matter in which a piece is trying to convey is in just as much contention as the visual aesthetics of an outcome, with the fine line between the two, wavering, as to which is most dominating responsibility in the piece's final impact. Take for example this 2D Danish platformer game, Limbo. Hazy smoke filled environments, and distant backgrounds, with barely enough information to conceive full awareness of the surroundings; all reduced to the basics of black and white block silhouettes, phased out with pushed and pulled focus, encased with a vignette edge, and layered with eerie hollow, lonely sounds; dramatically pieced together to, in an instant, throw the player into this alternate world of its own implied narrative. The magic of this project comes from its lack of reliance on intricate detail, and in-depth explicit information, leaving the player immersed in the simplicities of its visual makeup, to become lost in the games contextual name sake; Limbo. Playing the short demo of the game, I felt myself slowly get drawn further in with intense concentration, often feeling like a character from a Brother's Grimm tale. The game reached me on a personal level, unable to progress further without walking right into the clutches of an inhumanly sized spider. awaiting the next mystery to track across the screen, eventually facing a fear of my own, is an inspiration to the traditional values in visualisation, harking back to the likes of Woodcut printing, that has been used for centuries to communicate imagery. The timeless nature Limbo conveys In reference to Aristotle's philosophies on Rhetoric, it is evident that there are some very similar principles in this art of persuasion, as there is with the art of narration and experience within film; in regards to the relation between a viewer and a piece of media, and the aspect of immersion that comes with it; not just maintaining relevance within the sense of winning a point of view in a conflict of ideas, but also through a universal sense of winning over the viewer to the contents of a piece of media. speaks of the credibility and person that is delivering the content, taking on a great influence on the impact that is received. Ethos The medium of the piece is extremely crucial, and this shows off the importance of delivery. speaks of placing the viewer in a certain frame of mind. This comes down to the narrative, and whether or not the viewer has been primed to take in the information, Pathos to let their mind wander, led by the narrative cues placed by its creator. A personal and perfect example of this, is the Norwegian film "Troll Hunter" that see's a group of documenteering student friends have all reason questioned as they become mixed up with the routines of a troll hunter. A beautifully composed film that, as Michael Gingold of American Horror Magazine, 'Fangoria' has previously expressed, "you never stop believing what you're seeing" but in my opinion, this is only if you let go and let yourself believe. It was fascinating to hear in the behind the scenes of the film that there were conscious efforts in location placement, to keep the Norwegian audience immersed in the continuities of the story, as the narrative journeyed across the country, acknowledging that any short cuts would be soon realised. Relating heavily on the thought of content over aesthetic, Dutch animated short film, , boasting the level of impact a simple, yet heart touching concept can have. Father and Daughter "A father says goodbye to his young daughter and leaves. As the wide Dutch landscapes live through their seasons, so the girl lives through hers. She becomes a young woman, has a family and in time she becomes old, yet within her there is always a deep longing for her father." "The story can be seen as a metaphor. Towards the end when the now elderly daughter begins to travel through the overgrown, dried up riverbed, this is supposed to explain that she has died and is now traveling in the afterlife to see her father once again." and the images of the daughter watching for him to come back is signifying her always thinking about him throughout her life. The father leaving on a boat signifies his death This boasts as much of a timeless nature as the likes of Limbo, with its capacity to relate to many on some form of level or another, and if received as intended, will leave the viewer with an emotional relation, quickly built up in the short time with the young girl. Virtual Environments seems to me to be a perfect outlet for pieces like this, with a vast ability to apply a different stylisation to different concepts, depending on what would be suited best I also find that this control over the fidelity of aesthetic can be used to an advantage, leaving out unnecessary minor details, with the possibility for incontinuities, that would yet seem vital to establish in a live action film. I believe that the same concept would be delivered poorly in this medium, and would fall short in comparison to where the animation so strongly leaves off. Arnt Jensen's André Øvredal's is Michaël Dudok De Wit's Barely a century on from the times of the Lumière Brothers , cinema saw the legendary special effects producer, and stop-motion animator, Ray Harryhausen, bring his love of fantasy stories to life. Having been introduced to tales of space travel and mythology as a child, Harryhausen was determined to put the monsters and creatures from his childhood onto to the big screen, growing up with the likes of Walter Wangers "Arabian Nights", ...which never actually showed the creatures that the characters would speak of.
His most technically accomplished film in my opinion, is the tale of Clash of the Titans released after having brought ancient mythology to life with Jason and the Argonauts. One of many great achievements from Harryhausen was the manipulation of the 200 joints in the hair and body of Medusa, alongside the climax of the film, with the release of the Kraken. is the sense of tradition and heart felt, time consuming effort that went into his work. Stop motion to me seems extremely labourious and something painstaking that I would naturally and instinctively try to avoid. The greatest inspiration from Harryhausen But on many levels, I can see its relation to modern methods of 3D modeling; to craft a form and give it life within a fabricated world and space. The countless interviews with Harryhausen across YouTube are littered with comments of how the organic and lovingly crafted creatures of his creation are unsurpassed in their nature and aesthetic, and how CGI never could, or does, compare. have developed a love and passion for the capabilities of modern day technology. I on the other hand (The synopsis as given with the film). "serve the international movie industry by bringing the vision of some of the world’s most creative film makers to stunning life" MPC with studios situated in London, California, Vancouver, Bangalore and New York. Motion Picture Company In their words, "some of the international feature films we are proud to have worked on recently include Harry Potter and the Deathly Hallows: Part 1 & 2, X-Men: First Class, Pirates of the Caribbean: On Stranger Tides, Sherlock Holmes 2, The Chronicles of Narnia: The Voyage of the Dawn Treader , Robin Hood, Sucker Punch, Sunshine, Watchmen and more…" providing stunning, world class visual effects. In the years prior to its release in 2010, Louis Leterrier took on the mammoth task of remaking the 80's Harryhausen classic, Clash of the Titans. "MPC completed 214 VFX shots for the film including extensive creature work for the Kraken, Pegasus and Harpies, city scapes, digi-doubles, crowds and fx", in a team led by VFX Supervisor Gary Brozenich. to be given the opportunity to lend creative input into the re-imagination of a project, that was originally created with the vision of visualising a childhood passion of mythology. The notion of being amongst great artists, and working as part of a team on such great projects, is in itself an amazing inspiration to aspire to; Another personal favourite production of mine that MPC has taken a hand to laden with visually stunning VFX, is Zac Snyder's "Sucker Punch" "MPC Vancouver's main area of work involved extensive CG in the epic Samurai Attack finale in Zack Synder's action fantasy" with the director himself speaking here about the challenges that presented themselves, to get the full synchronisation of CGI and live action, for maximum impact and effect. This featurette re-installs for me some faith in the passion that is still taken to respect both disciplines of Film Making, and CG world creation and Animation; applying great subtly in the application of fabricated elements, to maximise the viewing experience. A second VFX company based in Soho called Double Negative have presented a short video on their site, speaking with the people that work at their studios. Amazingly, they manage to speak word for word the reasons that I hope to become enveloped in the industry. One of my favourite films of the past year has been J.J. Abrams "Super 8" ...created in the reminiscence of a childhood, embellished with memories of movie making on a Super 8 camera. explores the creation of the films most key narrative element; For Abrams, creating a sense of mystery for the creature of Super 8 was a vital necessity throughout the project. Along side the release of the film, a special feature titled "The Visitor Lives", an extra terrestrial being that escapes from the wreckage of a military-train crash. "The process of developing the monster, was sort of the process you'd go through to create a new species. Because it has to work as a creature. It has to work as a living breathing animal. The physics of its limbs, and the way it walks, and the way it moves, and the way it breathes; and all those things inform what it looks like; and the creature designer Neville Page, he goes through that process"; taking a years work of constant design, battling with conflicts in preconception from the Director, Producer, and designer himself. It has to be bared in mind what has already been done, and as Abrams describes, "there are some specific paradigms you have to adhere to", whether it be "the more spider like thing… the brute beast, or the grey, elegant alien"; loving the feeling that their creature didn’t really fall into any one category. "It’s the story; narrative always drives whatever you design, Neville Page describes. So, it needed to be able to walk; it needed to be able to have very articulate hands; it had to be able to dig holes, for a large cave; it had to have an emotional state in its face, because of a very key moment at the end of the film." The design of the creature saw bounds of development, and the thought of being the person in control of the gradual birth of the final creature is extremely exciting; having a concept that can be revisited endlessly; chipped away at and added to. Motion, Animation, and Set Design were amongst the countless considerations and faculties within the project that had to be taken into consideration, to make the existence of the creature feel its most real, and to keep the viewer immersed in the film. Motion capture was introduced for a pinnacle moment in the film, where the main character comes face to face with the creature, using the talents of Bruce Greenwood to emote the subtleties of facial expressions. "it's all subtle stuff… But subtle is hard". "What makes something iconic and classic is that it is timeless, and people look back 20 years from now with the same degree of interest" In a few final words, Neville Page expresses that, For me, Super 8 already possesses some key characteristics of a timeless project, seeing as how it feels natural in 2012, regardless of the fact that it is set decades back in time, when the Super 8 cameras were more so in popularity. The CGI inclusion has been applied tastefully and tactfully to maintain a sense of subtlety. From what I have discovered with the small insights into a place within the industry, I am certain of my aspirations to work somewhere within a studio, to apply creative and problem solving skills to whatever task is at hand with a specific role yet to be discovered in my time on the Virtual Environments specialism. In issue 40 of ...the magazine did a feature on the developing technologies, and growingly popular inclusion of Motion Capture within the Animation, Film, and Gaming industries says Ryan Yee, senior animator at Sony Pictures Imageworks In the article, James Franco is quoted from an article for Deadline, with a plea that "It is time Andy Serkis gets credit for the innovative artist he is". Franco goes on to talk about how "the digital makeup is so convincing that it makes people forget that he provides the soul for Caesar", referring to, as the article says, "Serkis' memorable performance as the hyper intelligent ape in last year's "Rise of the Planet of the Apes", a role to which the actor brought a subtlety and understatement never seen before in a digitally created character. " Having explored the vast extents of the benefits and draw backs with using Motion Capture within the animation pipeline, and only scratching the surface with the extents explored in the article, it is evident that there is still a long way to go before people would have the chance to sit back and let the "machines" do all the work.
There still seems to be an apparent need for the creative care and attention of an experienced animator; to refine the information that is collected from the Motion Capture process. This is extremely positive to know, to be reassured that there is still a level of craft present and required within the industry, and I think this may always be the case. With Motion Capture facilities available at NTU, I think that joining the VE specialism would bring upon the perfect opportunities to put this to best use; and I will create opportunities to experiment with the equipment, even if the occasion doesn’t present itself. Having spoken to the previous Multimedia course leader, Simon Perkins, about the topic of Motion Capture, it was enlightening to hear about a past student's attempts to animate a model of a little girl, having capture the walking motions of himself, being a large, fully grown man. It was clearly evident after having applied the information to the model, that the motions were far from suitable, and in comparison, a walking motion programmed by hand was far more natural. This again just further enforces the craft that VE requires, and I look forward to becoming enveloped in the complexities and considerations required to make a character or creature sit naturally within a virtual world. I have chosen to include some Game related projects, to portray its vaster application within the industry, and further more, to reinforce my interests within the area of narrative and story telling; Having referenced numerous films throughout my exploration of Virtual Environments involvement within the medium, whilst exploring some of my favourite CGI based creations. Most people more commonly know of Andy Serkis for his performances as the frail and twisted Gollum of The Lord of the Rings. But unbeknownst to many, his talents have extended further than this, having worked on the likes of Caesar the Ape from The Rise of the Planet of the Apes, as explored previously His visionary acting skills have stretched beyond being the man behind the face of countless characters, with Serkis imparting his creative stamp on a game I have recently played... Enslaved: Odyssey to the West The game really does set itself apart from other's like it, with "Matthew Keast of GamesRadar expressing that "what Enslaved represents is a more mature approach to storytelling, and by being more subtle (and even ambiguous in many of its character’s reactions to each other) it develops quite an emotional payoff", summarizing that it was "a game to justify the gaming medium as legitimate for storytelling"." I couldn't agree more, and having played through the vividly coloured wastelands and landscapes of its world, it truly felt like I had been thrown head first into a story book, living through the games narrative with an exceptional level of interaction. The video above explores the ideas around the game, and where it's concept's origins were born. Similarly to the re-make of Clash of the Titans in 2010, Enslaved was a reinvention of a 400 hundred year old Chinese novel. For me this reinvention has been approached tactfully, and I felt whilst playing the game that the story itself was highly stripped back, and heavily reliant on the environments you play through, and as Andy Serkis explains, highly "driven by two characters... an emotionally complex journey; just between these two characters". It seems evident that a recurring commonality between all of my references, seems to be stemming
from an excitement to be a part of a team, all working together to fabricate the entirety of an imagination-spurring concept. Virtual Environments seems to me, highly tailored to this sort of industry work, in contrast to the workings of a Film set, where jobs seem to be more as and when; restricted to the roles that have been given without the creative equality to work as a single unit of creative people; with opportunities to collaborate extensively throughout a project. One of the most humbling statements that Andy Serkis expressed through the feature previous, was how he believes "there are gonna be many games in the future in the next 5 to 10 years I think, which, as I say, will just stop being classified as games, and films will stop being classified as films; and they will be events." This level of passion and belief in the developments of the industry is an inspiration to keep persevering to become a single person that has at least some, or even no effect in the progression of this revolution of media, but to be amongst it at the very least. Pixar for me boasts a unsurpassed ability to create Animated films with so much depth and consideration, that they are a gift to an unmeasurable age range; loved by people young and old I have always been a strong believer that Pixar's films are far more mature than they give off on the surface and can only be truly understood with an experienced mind, reinforced further with every film they release. I remember watching the likes of Toy Story at an early age, and found great enjoyment and comfort years on, rediscovering the hidden wonders in the film that never really sunk in as a young child. A scene that still, and always will resonate for me, is a moment from Toy Story 2, where Jessie opens up to Woody, elaborating on the heart wrenching eventualities of her past. The company portrays a great understanding within the intricacies of the "finer details", conveying an indepth awareness on the study of life itself, bringing together a vast knowledge base of life experience, and fueling this into the heart of their productions. It has been evident in past exposés that the studio arduously pulls apart every single frame of a scene, to make the most of every possible occasion to use expression, motion, or even a look, to enhance narrative. A big hard hitter for me within films, is seeing the passing of time, and how someone's life can be shown to fly by in a matter of minutes; time being something that no-one can control, and something that can never be earnt or given back, once it is spent. Pixar's "UP", made great use of this concept in a scene that shows the life of a marriage, through it's ups and downs, and the birth of a dream, before eventually reaching it's untimely demise. Scenes like this from the company never fail to reduce me to tears, and I unashamedly accept this for their mastery in Animation and Film Making. "Resistance 3" Insomniac Games' is another recently played favourite of mine, based again in a post-apocalyptic America; portrayed more so with a dark and sinister edge, with the USA now inhabited by the extra terrestrial forces of the Chimera. The opening sequences drop you in the tunnels of a survival camp, beneath the aptly named town of 'Haven', highly reminiscent of a war time scenario; with mayhem erupting at the first sign of danger. The strongly weaved narrative throws you straight into the role of Joseph Capelli, a valued member of the community, and dishonourably discharged associate of the American military organization, SRPA (Special Research Projects Administration). With an implied sense of experience and highly ranking reliance from the community, you assume a dominating role of leadership in the first events of chaos. After completing the game, special features were unlocked revealing the considerations taken with the levels that followed the initial establishing mayhem of the game.
Behind the Scenes Seeing more and more people within the creative positions of the industry only reinforces my ambitions. Similarly to Pixar, the people at Insomniac Games portray a great level of attention to maintaining the narrative-based pace, Boat Traversal- upholding the interest of the player, and subconsciously feeding them information that indirectly informs the world of the story. One of the most interesting considerations that the producers took was to develop a bold depth of narrative around the fictitious town of Wrightsburg, Missouri; a broken place, ladened with the remnants of the Festive Season, ...with the developers wanting to evoke a "lost and sad" feeling, being amongst the remains of a ruined America; as Principle Artist, Craig Goodman explores, "the most optimistic moment in the year, is just before Christmas" with Designer, Lisa Brown elaborating, "because it really ties it back to humanity, and the sense of humanity, and what was once normal, and is now overrun." The appropriate change in pace served for many purposes, to not only describe the static places in-between towns, and apply a dynamic range in story telling, but to allow for, as Creative Director, Marcus Smith says, "environmental story telling to a level that we really can't do when players are just running through." A great conscious effort was applied to this level in particular, and the elements they included were so greatly considered and subtly applied, that the aspects they put most thought into never really stood out and struck me as obscure when I was playing through the level for the first time; instead, I was happily immersed in the tension that their designs inspired and provoked. A final and favourite game series of mine; that I feel has the most accomplished sense of surroundings, atmospherics, environment, and most importantly, narrative; 2K Boston's is Starting from the ground up, Creative Director, Ken Levine wanted to wait for the game to tell him what the story should be. He knew he "wanted the game to be in a place that was remote from the world, but complete"; having a personal disgruntlement with games set in a particular place, that restrict responses from artificial intelligence such as "a guy working in a store, and you can only say one or two things to him," and wanted to, instead "never press on the suspension of disbelief; where the player's like "wait, why cant I do that"." He would "rather make a world where the player can do everything they expect to do." From this came the concept of an underwater city; "if there was this place that was cut off, that you couldn’t leave, and that was self contained. You could really go to town and simulate not just the world, but the culture, and the products, and the people, and the history". It was decided to step away from a science-fiction world that would be more difficult to relate to; and instead it was set to be created as an alternate existence; very much like the world on the surface, but removed from this environment. One of the greatest points that was brought up in the development of this idea was questioning all reason. "If we want to make this believable, why would somebody build a city at the bottom of the ocean?", and asking yourself a question like this can only lead to more of a depth within the back story and narrative of the world, that not only removes this issue from the mind of the player, but also gives way to more information to throw them further into this fictional realm. "That’s where Bioshock's story came from; asking that question; why would somebody do this? And trying to come up with a believable answer." You are often faced with moral dilemmas within the game, thinking "who am I going to listen to. There's no black hats and white hats. Everybody's hat is sort of a dark grey." The environments are littered with narrative cues that develop a deeply rich story, with an incredible amount of detail that can be pieced together about the history of Rapture, through audio diary entry's. "Just listening to the world; listening to the public service announcements as your walking around the world; various advertisements from the world; just seeing the vending machines; watching Big Daddy and Little Sister interact; seeing these ghostly scenes that you come across, and you find out why there are ghosts in Rapture. There's a dozen story telling mediums in the game and they're all really rich, and they're all designed that even the person that’s playing in the most casual way is going to get a sense of what's happening here." (Writer, Ken Levine) As recurrently explored, I have a great interest in Computer Generated works, and its placement across the industries of Film, Animation, and Game; having been able to explore further into the concepts and principles that come with either of the three areas, over my year at NTU. It is a certainty that where ever I find myself in 5 years time, the Virtual Environments specialism is clearly the path to take in my final years at University. The fidelity of which my desired work placement would lie, would be my next problem to solve; but currently I feel that the photo realistic requirements of the film industry may be a hindrance, to the stylised creative freedom, to apply to any concept; and the low poly constraints of in-game modeling, a restriction; despite this slowly becoming less of an apparent problem, with higher performing game-engines being developed. The level of modeling seen in game promotions is where my interests currently lie, with a growing popularity in high fidelity production, but not to the point of an unnoticeably photorealistic, film quality finish. Here is a prime example, and my favourite game trailer, with this master piece from Glasgow based Axis Animation Studios, for the game, Dead Island. It would even be an interest and possibility of mine to follow in the footsteps of the likes of Neville Page, creating 3-dimensional concept art; using organic modeling software to develop a subjects aesthetic. But again, a degree with a Virtual Environments specialism would be vital for either of these eventualities. The greatest issue in attempting to discover a desired path to take within the area of Art and Design, is the level of assurance for a career to follow. I feel having taken on the Multimedia course, I am one step closer to this eventuality, with strong connections to the industry. I have boundless amounts to explore in the coming year, and the points I have expressed are merely the inspirations that have led to my aspirations. The key aspects of my excitement to specialise are; Bibliography With an extensive back list of incredible international blockbuster projects
"How in demand and welcome people with technical skills are in the industry"
"In house training" with the prospects of working up to a Technical Director
Depending on demands, you may never be stuck in one position; doing a bit of everything- Never get the same problem twice
"Everyday is a new challenge"
Working as part of a "team of artists"
Artists get a lot of training; 2D and 3D; without limitations to what you can study, for an overview of how the whole pipeline works
"You have to be a bit mad; passionate about what you do; and... a bit mad!"
"It's supposed to be a fun place to work"
Working on feature length films; "supporting a narrative; a story that is hopefully something that will touch people"
"Interaction with really talented people"
Connections with a branch in Singapore
Placed in the center of Soho, surrounded by culture
"We're talking about fantasy creatures for hours of the day, and how we can make them look real"
"I love going on set, its by far, my favourite part of the job"
"Seeing your name in the credits for the first time"
"Coming into work everyday... and LIKING coming into work everyday" (Producer, Bryan Burk) Kwakiutl spirits (2011) [online], http://craigbowers.blogspot.co.uk/2011/05/kwakiutl-tribe.html (accessed 18 April 2012)
Eminent Domain (2009) [online], http://www.drawninblack.com/2009/06/eminent-domain-by-zach-johnsen/ (accessed 18 April 2012)
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Troll Hunter (2010) Film special features, Directed by André Øvredal, Momentum Pictures
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Andy Serkis as Caesar Rise of the Planet of the Apes, (date unknown) [online], http://l.yimg.com/ea/im_siggEQNUGA79hvLpEh16XYZytw---x480-q80/img/-/111209/andy_serkis_as_caesar_rise_of_the_planet_of_the_apes_17e2f0c-17e2f0g.jpg (accessed 18 May 2012)
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When She Loved Me - Toy Story 2 (HD) (8 Jul 2010) YouTube video, added by Gnomeo86 [online], http://www.youtube.com/watch?v=GPBqrkXviRw&feature=related (accessed 1 April 2012)
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Resistance 3 (2011) [game], Marcus Smith, Insomniac Games, Sony Computer Entertainment
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