I loved Chinese New Year gatherings. As an international student living abroad, it is those occasions where we would invite other students to come together for a hearty meal around the table and talk about our uni works and the subjects we were concerned about in our craft practices. I went on to share about some of the initial challenges I faced as I wanted to collaborate with as many artists for my next project, but were faced with conflicts in our schedules and that reviewing my archive took a while due to my large collection of images.

I had the opportunity to meet up with Fahim, a year two visual Effects student where our discussion developed into a possible collaboration between Visual Effects and photography since they all fall under the same Multimedia spectrum and thus share some similarities. The idea of Utopian and dystopian world stems out from the research for my dissertation on The provocative landscape and wanted to explore it with other like-minded artists. I was considering how landscape photography can be alleviated into something greater and his insights about images of landscapes were used as a source of references and inspiration by artists in game environmental concept designs; another area which I have never considered at the time.

Fahim proposed the idea of using my photography to create a moving image piece with 3D Matte painting techniques. In the sense, I head out to shoot the images as I would normally do and he would assemble the useful assets to build a moving image in After Effects and Premiere pro. Fahim was able to find suitable images from my Scotland and Iceland trips and work things out. We agreed to go for an utopian-fantasy-esque approach for our collaboration project. Other challenges include compositing the elements together seamlessly in photoshop and with manage camera movement works in After effects.

One prime example of the matte painting technique was the visual effects of “The Avengers” by Industrial Light and Magic (ILM), where scenes were constructed using 3D animations and video footages.

References

For our project, I was looking at Filip Dujardin’s structures in landscapes and his style of digital manipulation, as well as Taiyo Onorato and Nico Krebs – The great Unreal collection. They form part of my research on provocative landscapes. Meanwhile, Fahim was looking at the matte painting works of Jacek Irzykowski and Stoimen Dimitrov

 

As far as communication is concerned, we managed to communicate professionally and periodically to work out solutions and meet the challenges we faced. The wealth of assets I was able to provide was due to our constant rapport in understanding each other’s needs and limitations in our crafts, as well as the research both of us has done to inform each other’s works

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After-Thoughts

(This work is still in progress)

Although this was my only successful collaborative project, I have discovered there are other fields of industries where landscape imagery can be relevant (other than car adverts) – the game industry in areas of environmental concept designs, as well as the movie industry. As game artists and visual effects artist have exemplified using references of elements of landscapes to build an imaginary landscape, it is possible to interpret a provocative landscape in the form of a utopian/dystopian world.

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Check out Farhim’s side of updates about this project here.

Industry

In regards to the Singapore industry, game design and Visual effects companies are more prevalent there than car advertising. There is  LucasFilm and there is  ILM branch in Singapore. These are the prominent ones.

Singapore doesn’t make cars (in fact the government has been trying to discourage the rise of vehicles by increasing its value to an exorbitant amount and introducing various methods to discourage new drivers from buying one).

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