Friday, June 14, 2013
After our first round of introductions to team
Chicago, I caught up with three more of Chicago's founding
members to find out how they are settling into the home of deep
dish and what they are finding in the windy city to inspire
them.
Introducing… Randy McEntee, Head of 2D.
Tell me about your role at The Mill?
I'm a Flame Artist and Head of 2D at The Mill Chicago.
You'll hear my voice on conference calls with the agency and the
production company, trying to figure out our approach to the visual
effects required. You'll also see me on set, probably with a
funny hat and lots of camera gear, capturing everything we need to
make sure your talking antelope with night vision goggles looks its
best. Back at The Mill, I'll conform the show, make sure
everything matches and get all of the departments the footage and
info they need to get cooking. I'll get everything else ready
and looking good so by the time you pop by for lunch we're making
all the little tweaks and adding all the details. When you
like it, I'll make all of the versions, ensure their legal for
broadcast, and help make all the deliverables. As Head of 2D, I
make sure our Flame and Smoke artists have everything they need to
succeed, then get the heck out of their way.
You've recently relocated to be part of the founding team
of Mill Chicago, how did that come about?
When Damien and Jared approached me in the Summer of 2012 to
possibly join and help shape the Chicago team, I couldn't stop
smiling. I began my career in Chicago. I went to school
in Chicago. I met and married my wife in Chicago. I
have family here. It had always felt like home. I never
wanted to leave. So having the opportunity to come back to
the city I love, with the support of the company I love, was a once
in a lifetime opportunity. It's why we sold our dream
house and drove half way across the country with our twin 3.5 year
old boys, Sam and Ren (of "
talking twin babies" fame!), and our newborn daughter,
Marilla.
What has been your Mill Chicago highlight so
far?
Andrew's 30th birthday was tons of fun. The entire office
went to Southport
Lanes for bowling and beers. If you are ever in Chicago
you have to go there. The pins are hand set into place.
No machines. And here's a hint; a fiver donation every now
and again means they'll help (cheat!) with some of those tricky
7-10 splits!
Describe a typical Chicago weekend for you?
The weekends are my precious family time. It's usually a lot
of bike riding, scooting, a trip to Margie's Candies, and
lots of coffee. Oh, and playgrounds. But only
playgrounds with fireman poles that are near coffee shops… and on
the way to Margie's Candies.
Who and what inspires you?
It's cheesy, I know, but my family is a huge inspiration. I
just want them to be proud of me. And hungry tigers!
Nothing excites me more than being surrounded by passionate people
doing their best work. I call 'em hungry tigers. And
we're fortunate to have 13 very hungry tigers here on our team in
Chicago.
Introducing… Melissa Graff, Senior Flame
Artist.
Tell me about your role at The Mill?
I am a senior flame artist and visual effects
supervisor. I'm involved with our clients from
discussing the potential and logistics of their concept to the look
of the final composite.
You've recently relocated to be part of the founding team
of Mill Chicago, how did that come about?
New York City is a great place, but as a result of growing up not
too far from there, I had been itching for a change of scenery for
a while. I was really excited when I heard about the
opportunity to get the change I was looking for, without having to
leave The Mill.
What has been your Mill Chicago highlight so
far?
It's just been really nice to be part of a small
team. We're able to meet as a group every week and talk
about what projects are going on, cultural changes we'd like to
make as a group, ways to change our workflow to be more
efficient. It's great to be able to help steer the
ship.
Describe a typical Chicago weekend for you?
Now that the weather has warmed up, there's any number of
activities to choose from on the weekends. I usually
stop by the farmers market in my neighborhood on Saturday, go for a
run on the lakefront path, spend some time on the beach if it's
warm enough, and wander around my new neighborhood discovering
local restaurants and shops. There is a great hat shop
in my neighborhood and although I'm not generally a 'hat person', I
am in love with my new Gatsby-inspired cloche!
Who and what inspires you?
I'm inspired by visionaries like Elon Musk (founder of SpaceX,
co-founder of Tesla Motors and PayPal) who ignore the paralyzing
cynicism expressed by others and keep humanity moving towards a
brighter future. TED talks and NPR are full of stories
and interviews with people who are making positive changes of all
kinds all around the world. There's nothing more
inspiring than hearing stories of hope for the future.
Introducing… Naotaka Minami, Senior CG
Artist.
Tell me about your role at The Mill?
As a senior CG lead at the Mill Chicago office, my
responsibilities includes everything in the CG process from
pitching a job to delivering a project. Because it is a lot
to cover for one person and because we are a small CG team, Steve
Beck (Head of 3D), Adam Carroll (Senior CG Lead) and I support each
other on a daily basis and share a lot of our knowledge and skills
to produce a high-quality project in a short period of time. To be
honest, we have never worked on a project or accomplished a task
alone. The Mill 3D Chicago has always worked closely as a team and
we celebrate our accomplishments together with the rest of the Mill
Chicago. We are one big family. It makes me laugh to
hear Cat Gulacsy, the Mill 3D Project Manager say that Steve, Adam
and I are "Three Musketeers of the Mill Chicago."
You've recently relocated to be part of the founding team
of Mill Chicago, how did that come about?
Since I started my career as a 3D artist at the Mill four years
ago, I have learned and gained so many valuable experiences that I
wouldn't exchange for anything else. I could say that my life
evolved through the Mill New York, especially the 3D department. At
the end of the last year, when Jared, our Mill Chicago EP,
approached me and asked if I was interested in moving to Chicago to
be a part of the founding team, I realized that it would be a
once-in-a-lifetime challenge to be involved in a new development
for the Mill. I also knew that it would also be an exciting
opportunity for me to give something back to the company and the
team I would love to work with.
What has been your Mill Chicago highlight so
far?
It is hard to describe what has been our Mill Chicago highlight so
far because we have been here for only three months, but also
because we would never satisfied ourselves with what we have
produced or achieved. We always look ahead to the future and
have been trying 120% to make all our projects the best that they
can be. If I have to choose a highlight of the Mill 3D Chicago, it
would be Kraft Transformations. It is because not only is it our
first full CG 30 seconds spot that the Mill 3D Chicago produced,
but everything involved with this project was intense and tough. I
wouldn't want to live through the same experience twice, but I
would say it was one of the best working experiences I have ever
had at The Mill.
Describe a typical Chicago weekend for you?
I do not think that there has been a typical Chicago weekend for
me yet, though we all hang out together. This includes our
friends from Whitehouse Post, and we all see each other during the
weekend. Yes, there are always tasty foods, drinks, and
dancing involved, but I usually find something new to do during the
day, such as the Frank Lloyd Wright House Walk Tour, Shedd
Aquarium, Cubs baseball games, Willis Tower Skydeck, Chicago
Gangstars tour, etc.
Who and what inspires you?
Is it greedy to say "everything?"
//Thanks Randy, Melissa and Naotaka for your fascinating insights.
You can take a peek at the latest work out of the Chi-suites here
with Sears
"Superhero".
Friday, June 14, 2013
You met our bold Fireflies last week, and in-between the 12%
gradients, mountainous peaks and blazing 30 degree Celsius /80
Fahrenheit heat they've still managed to pen a guest-blog charting
the epic first four days of their ride…
// Day 1
Amphion les bains to la clusaz
126km distance
3200m climbing
The first day brought some excitement for all but some nerves
blended with it for the virgin Fireflies. Even though the gods were
smiling on us with the weather, it did not change the fact we had
to cancel the first major climb of the tour, Col de Joux plane,
because of risk of avalanche on the descent. With a re-route we
would do 200m less climbing that day but would still have to tackle
the Col de Colombiere which has a summit if 1613m. It was the
biggest climb ever for Tom and Tara, and for a lot of people on the
ride. Tom and Ed (who ate every 10 mins!) rode it apart and Tara
rode up with Fireflies West Sebastian aka Das Motor.
It was a fantastic experience for everyone to get to the top and
in true Fireflies spirit everyone was clapped up to the peak. We
then rolled down to the hotel, totally exhausted and aching. After
stuffing our faces with pasta we all retired quickly totally
knackered trying to recover before the next day. For the boys, this
included Ed rubbing lotion into Tom's back, a special moment, and
for the girls, Tara and Mary Nockles continued their ritual of
applying mentholated patches to their backs and eating copious
amounts of chocolate.
Day 2
La clusaz to albertville
142km distance
2800m ascent
Luckily the weather has come good for us so far on the trip.
Wednesday was hot, with temperatures hitting the 30's/80's, and the
sun was even hotter (even by Californian standards), so trying not
burn and staying hydrated was important. Especially for Ed,
who forgot to put sun cream on yesterday... Lobstertastic!
The day was pretty tough again taking in three significant climbs.
So after a re-fuelling stop in Lake Annecy, we climbed the Col de
Marais, Col de Croix -Fry and the Col des Saisies. All these climbs
will appear in the Tour de France this year and take place around
the beautiful lake Annecy. It was a long hard day with the last
climb definitely needing some TLC before the Tour de France roles
through as it currently resembled the road surface of a poorly
maintained B road in Croydon, often with the cries of Tara
screaming "pot hole"!
Everyone got home safely after a fast descent to the hotel
and we spent the evening getting ready for was set will be the
toughest day yet. We would be covering 160km and climbing 4500m.
Luckily Friday brings a well-earned rest day! Untill then it will
be sleep and recovery as our bodies are asking it to stop but we
must continue with the challenge ahead.
Day 3
Albertville to la grave
160km
4500m climbing
Yesterday was a really big one. We took in two huge climbs the Col
de Madeleine and the Col the Glandon and cover almost 160km (or 100
miles). Luckily the weather was shining on us once again, so
working on those tan lines continued.
Madeleine (officially still a closed road, but open for bikes) was
a very tough climb and at the top all the riders were cheered up by
fellow flies. Some disconcerting news was given at the top though -
that a fallen tree on the decent had blocked the path below, so
after an impromptu lunch at the top in a small cafe (pasta
carbonara for 50!) an alternative descent was found and all riders
headed down the mountain. Then it was on to Glandon, a road used in
last years Tour de France. Another brutal climb ridden in
swealtering heat, over 20km which the final 2km was at an average
of 12% gradient. However after tackling the col all riders gathered
and descended together. By this time it was almost 1800pm and we
still had to cover another 70km. So as the Fireflies were strung
out across the route home, which had a nice 20km drag up to the
hotel, the sun had set and the eventual sight of home for the night
and the rest day was an amazing feeling. By a long way this was the
toughest day of riding so far. The tans are coming on well, and
what has up until to now felt a bit like a romantic trip for two
for Tom and Ed… has been interrupted by us having to share a room
with ex-Mill friend Charlie Bayliss.
Day 4
Rest!
There are sore bodies today on the rest day, as we rub salt and
dirt from our clothes, bodies and bikes. Rumours are filling the
air about some more monstrous climbs to come between now and the
five days of riding till we reach Cannes.
Having never ridden mountains like we have on this tour, let alone
the two monsters of day 3, we never really appreciated what others
had said that as you are climbing, you ask yourself "how it is
possible to still be climbing after 2 hours!?!?" On reaching
the summit of these climbs the sense of elation, mixed with the
pain of lactic acid in your legs which has been screaming for you
to stop for over an hour is a strangely bizarre feeling. Beyond the
mountains the length of time we have spent on the bike is a real
shock, we would never of expected spending up to 13 hours on the
road, and riding for approximately 10 of those, having to come in
to hotels with lights on our bikes to avoid getting hit going
through an alpine tunnel.
But the knowing that it is all being done for an amazing cause
means that as you are slogging it up a mountain and coming into
your hotel exhausted, it easy to take your mind off the pain.
// Thanks Fireflies! Incredible effort and inspirational stuff…
we'll be waiting for you in Cannes to catch up on the final
push.
Thursday, June 13, 2013
Celebrating a decade of throwing inspiring festivals, last week
saw the who's-who of the design world land in Barcelona for OFFF 2013.
London Creative Director Carl Addy, who also attended OFFF Mexico
City, was one of them and he brings us his round-up of the
themes, talent, talks and tapas.
Top Talk:
I would say David O Reilly's talk. I think mostly because he works
within the same categories that we work within but has found a way
to do it that is so different that it sets him apart very far from
the pack. I expected a much more contrary and brash guy than the
nice bloke I met. Smart and funny beats arrogance any day.
Best Party:
The Cake rooftop terrace party: a Hot Dog BBQ shindig in a
re-purposed industrial warehouse. The rooftop overlooked the whole
of Barcelona, which was stunning. Did I mention there were Hot
Dogs?
Finest Food:
Mundial tapas. Aubergine crisps with goats cheese shavings and
drizzled honey.... a new favorite.
Highlight:
Going for a swim in the ocean as the sun was rising with Gmunk,
mcbess, Mooe and Nils Kloth. Also watching David O Reilly's guest
direction of the cult animation show Adventure Time. Bonkers!
Lowlight:
mcbess discovers a Bar that has used his illustrations as
wallpaper, essentially it is the mcbess Bar. Although we did get
free beers out of it so maybe that was a high point?
What did mcbess talk at OFFF about?
Boobs, music and food. What else would he talk about? But
seriously, he spoke about his style, his process and motivations,
his friends and collaborators, but mostly… boobs, music and
food.
How was mcbess' talk received?
At first people didn't know how to take his signature dry
'douchebag' humour, but it didn't take long for everyone to be won
over by his charm. Many people commented on the fact that it was
the best talk of the festival.
Did any key themes arise throughout OFFF?
The main theme that kept resonating was the importance and role of
personal work. Nearly everyone spoke of the need to play and find
your passion in the work you do for non-commercial reasons and how
the money will follow.
Any new talent to keep an eye out for?
Pat Perry. A very authentic and
earnest young artist from Michigan. I was blown away by how the
complexity and maturity of his work is matched by a young man with
a clear perspective and understanding of his place in nature and
his environments. One of those people you meet who is the real
deal. Pat Perry is no pretender. Check out his Alaska project then ask
yourself how far you would venture to refine your work.
Did you see/hear/learn anything inspirational that you'll
be applying to your own work?
As always at OFFF I walked away having met people who vigilantly
pursue the ideals of great work and expression. I have once again
returned feeling challenged to be true to the principles of what
drive the forefront of international design culture. Plainly put:
forget everything but the work and by 'work' I mean
'passion'.
Tuesday, June 11, 2013
Wednesday night saw the annual transformation of the New York
Mill space into the biggest, brightest Pre-AICP party to date. This
year the event had a distinct Studio 54 vibe, appropriately named
Studio 451 after the street number of the office, with guests
dressing to impress, even showing up in festive headdress.
With the 2012 party ending in the cops shutting it down due to
multiple noise complaints, anticipation mounted around what might
happen this year…
A heady crowd of 800 inspirational industry attendees danced the
night away on a Saturday night fever inspired LED dance
floor, manned by DJ Stretch Armstrong. Performers
from the Vangeline Theater worked the party en force,
dancing on tabletops and with guests.
Party goers were also treated to a moment in an Animated GIF Photo
Hot-Boxx. This was the ambitious brainchild of Rama Allen, creative
director and engineered by Alan McSeveney, engineer. Guests who
braved the Hot-Boxx received an email of their auto
composite animated GIF Photos. A total of 158 GIFs were
completed throughout the night and a full Tumblr of the nights GIF
creations is here. Be
prepared to vanish into a blackhole of GIF love!
Add to this multiple rear projections displaying rotating
images of dancing Mill folk, skulls, retro photos, and all things
that sparkle and glitter, designed and animated by the Mill+ and 3D
teams; an LED star-field canopy over the roof terrace;
and the biggest disco ball we could find that would fit in an
elevator.
Oh and of course, it wouldn't be The Mill's AICP party without…
Lasers!
Thanks to everyone who attended, danced, drank, partied, GIF-ed
and did Studio 451 proud. I hope you have all now recovered. For
all the papparazi pics taken over the course of the night, take a
look here.
Finally, lets also not forget the main event itself, for which The
Mill created the 2013 Showreel which
included over 6000 frames of CG and with rendering over 2300 hours
of CG. Congratulations to all our clients who picked up accolades
this year, there was such a high calibre of talent on display.
Friday, June 07, 2013
Cycling runs in the blood of many at The Mill, but every year a
few brave volunteers swap the daily commute for something far more
ambitious. Next week the Fireflies
begin their epic 1,100km ride, now in its 13th year.
This year 2012 participant Ed Shires returns to the Fireflies
ride, joining him are Tom Walters and Tara Demarco, who jets in
from the LA office. Together they will join the ranks of fellow
advertising and film bike enthusiasts and hard core riders in aid
of a truly great cause; Leuka. The money raised during
the ride supports the charity, which was formed to support research
& treatment of Leukaemia at the Hammersmith Hospital,
London.
The ride will take them from their starting point in Geneva
through to a well-deserved dip in the sea as they arrive jubilant
at Cannes Lions on Wednesday 19th June! As ever, we will be keeping
a close eye on our three riders so get your eyes glued to Twitter and Instagram for daily
updates, along with a blog rundown of the highs and lows.
So, let's meet the riders…
Ed Shires: Sponsor him
here!
Tell us a bit about yourself
Artist, Cyclist, Sibling, Son, Short Film lover, FireFly
How did you get involved in Fireflies?
My mum suffered and still suffers from Non-Hodgkin Lymphoma which
is a cancer of the blood. The combination of raising money for a
cause I care about and the challenge of the Tour made it an
irresistible event for me to take part in. I became involved in the
strong cycling culture at the Mill through commuting. From there my
cycling developed in to a way to keep fit and explore and soon
enough people started to mention the FireFlies.
How is your training going?
I've managed to get a lot of training done this year which is
great, mainly by taking part in sportives and the FireFly weekly
training rides mixed in with a bit of gym work. I'm just focusing
on making sure that I'm fully rested for the tour now!
Talk me through your cycling kit of choice?
FireFlies Colnago C59 Italia, Campagnolo Record Groupset, Fulcrum
1 Wheels.
What's been the biggest challenge so far?
Overcoming an ankle injury I picked up on last years tour! And not
looking at the awful Alpine weather!
What element of Fireflies are you most looking forward
to?
The sense of pride, humility and achievement in what you have
achieved when you arrive in Cannes with your fellow Flies.
Tara Demarco: Sponsor her
here!
Tell us a bit about yourself
I'm an American from Boston who has a special love for California.
My favorite sport is actually snowboarding, but I am passionate
about the fundraising that the fireflies do and the difference in
cycle culture that comes with trying to do some good in the world
rather than race someone to the top. I'm one of the flame
leads in the LA office and I'm very grateful that my colleagues and
clients over the past few months have been understanding of my
training schedule. They have helped me immensely with their time
and goodwill.
How did you get involved in Fireflies?
Jeff Robins and I used to ride around the boroughs when I worked
for Mill NY. He came out for a Fireflies West in 2009 and gave the
little nudge that I needed to try it for myself. I participated in
the 2010 and 2012 Fireflies West rides despite some nagging knee
issues. Many of my friends and family have been affected by
Leukemia and breast cancer. Fireflies seems like an awfully good
way to fight back a little. I'm dedicating my ride to specific
people - Sabrina Elizondo, Cior Wills, Gib Stahl and Angela
Easton.
How is your training going?
Training has been going well. I've actually hired a coach to keep
me on track and give valuable feedback about things like heart
rate, cadence, nutrition. It's been 5 days cycling and 1 day
Pilates a week with 1 rest day since the beginning of March. Prior
to that it was 4 days cycling with cross fit and Pilates since the
beginning of the year.
Talk me through your cycling kit of choice?
Oh - arm warmers, extra padded shorts and a good gilet all the
way! Also, well fit shoes and saddle help.
What's been the biggest challenge so far?
Training both days every weekend as well as three mornings a week
before work. I'm SO looking forward to a lie-in in July.
What element of Fireflies are you most looking forward
to?
Running into the sea in Cannes. Also, the mountain-top views. I'm
a landscape photographer at heart so there may be a Holga and some
film in my bag for rest day snaps.
Tom Walter: Sponsor him
here!
Tell us a bit about yourself?
Currently I am the 3D Manager in Mill London, and have been at The
Mill for about 6 years. I started riding with my Dad when I was 12,
mostly to get fit for rugby. After a about a 7-10 year hiatus from
cycling which involved mostly drinking and eating like I was still
playing rugby, I realised that cycling would be the best route to
do something I would enjoy and try and lose weight!
How did you get involved in Fireflies?
I have always wanted to take part in a big event to raise money
for a great cause. When I started at The Mill, Fireflies had always
been something I had seen but never dreamed I would be able to do.
However over the past 3 years I started riding again, always with
one eye on the chance to take part. Last year I watched Ed, Stu and
Luke take part from The Mill. Having ridden with those boys up till
then, I was gutted I didn't put my name down for it when I saw the
photos and heard the stories. Instead I put my name down for 2013,
and have been working towards it since I did.
How is your training going?
Going pretty well. I have clocked 2500miles this year. I have
taken in some pretty epic sportives including the Fred Whitton in
the Lake District, which was 112 miles in the pissing rain and had
some climbs of 30% gradients....
Talk me through your cycling kit of choice?
I just love the fact I get to dress in Lycra, it does wonders for
my figure! O hand my trusty shorter bike has done me great service
over the past 4 years!
What's been the biggest challenge so far?
By a long way the biggest challenge has been trying to lose as
much weight as possibly can. Chicken with salad or vegetables for
lunch every day, is pretty tough to deal with once you hit about
week 16....
What element of Fireflies are you most looking forward
to?
Being able to do my bit for a great a cause, while getting to ride
with a great group of people is definitely what I am looking
forward to most.
// Thanks Fireflies! Completing the ride is an amazing and
challenging experience and I know everyone at The Mill would like
to wish all of the Fireflies HUGE good luck on this year's
tour.
Wednesday, June 05, 2013
The Great Marlborough Street, London window has had a summer
re-skin this week, with rising star of the art and sculpture world
Wayne Chisnall
exhibiting his latest creations. I caught up with Wayne to learn
more about his previous projects and what inspires his unique
approach to material he uses.
You have tried your hand at many areas of art; magazine
& technical illustration, printmaking and now you create
spectacular sculptures, what drew you to this area of
expertise?
My dad was an oil painter so I grew up with the sight and smell of
art materials all around me, therefore art has been my passion for
as far back as I can remember. All my life I'd been a predominantly
2D artist but it wasn't until I went to University and unexpectedly
switched from printmaking to sculpture that I suddenly found a
medium that I felt to be more truthful to what I wanted to express
through my art. Somehow I felt that by working in 3D I was able to
convey my ideas on a greater number of levels. I suppose that
because sculptures physically occupy space in the same world as we
do, on a level that something like a drawing doesn't, they have
more to say - but that might just be how I see things. Of course, I
still love drawings and paintings etc.
How did you approach The Mill window?
I decided to exhibit some of the more recent, or rarely shown,
sculptures that I thought were quite strong pieces in themselves,
but which also worked well as a group. In the deeper window I have,
Orifice Tower, Pharos Cyclops #1 and #2, and in the shallow window,
Planetoid 210. Although all three pieces (for the sake of argument
I'll call 'Pharos Cyclops #1 and #2 one piece for now) share
certain commonalities, they are also examples of different lines of
enquiry that I have pursued. For this installation I wanted to give
an insight into the divergent aspect of my practice; to show how
various works can trigger ideas for newer and slightly different
pieces, which in turn lead to further, and therefore more distantly
related, works. To highlight this aspect of the development of my
work I displayed the two Cyclops pieces on bright green deckchairs,
the colour of which is a reference to one of my earliest
sculptures, And When I'm a Man (I'll Think as a Man).
Being bright green and made of fibreglass, plastic and resin, this
earlier work offers a stark contrast to the direction of much of my
current work. Incidentally, when I was installing the work, someone
commented on the green of the deckchairs being very similar to that
of the green screen used in the visual effect industry. I hadn't
even thought of it at the time but I guess it ties in nicely with
what The Mill does.
Who and what inspires you?
There are so many wonderful sculptors out there but most of my
primary influences lie elsewhere. Growing up, I was a big fan of
sci-fi and horror literature and films - which is probably where
much of my work gets its dark leanings, although now I hope that
there is a bit of humour in there too. I can see the choice of
found materials that I use in my sculptures emerging from my early
love of the strange and uncanny animations of people like Jan
Svankmajer and the Brothers Quay, who's work I still have a soft
spot for today. I also have a bit of an obsession with the
Minkisi/Nkisi wood carvings of the Congo area, which been very
influential in my Nail Box and Nail Heart series of works.
Without sounding too hippy, I'm also inspired by nature,
especially vines and root systems. Even though I have very
geometric elements to a lot of my work I try and incorporate an
organic construction model where I can. Drawing is a very important
part of my practice and for most of my sculptures I make numerous
sketches, prior and during the construction process. My drawing
style varies, depending upon what I'm working on, but I honed it
during my time as a technical and magazine illustrator back in the
80's and early 90's. Saying that, I've had a life-long love of
comic and book illustration so there will be influences from these
fields that are probably too numerous to mention.
What has been your favourite project?
I'm not sure if I have favourite projects but do I have a secret
art project that I'm not supposed to talk about (the 1st rule of
Fight Club etc...) that is a lot of fun. I'll try not to give too
much away but it started back in July 2005 (oddly enough, on the
day of the London bombings) and is still ongoing. Basically the
project is a chain of exchanges between myself and a performance
artist called Calum F Kerr. We modelled the exchange on scenes from
old cold war spy movies and now we film ourselves making these
exchanges. We always meet at the same location (a park bench
somewhere in London) at a set time on a set day of the week (but
not every week). One of us will get there first, then the other
will join him on the bench but we deliberately make no
acknowledgement of each other. Then one of us will place a parcel,
wrapped in brown paper, between us on the bench, and other will
nonchalantly take it. Whoever placed the parcel on the bench walks
away first, then the other person a short while later (exiting in
opposite directions). Which ever one of us accepts the parcel
(containing an object or detailed instructions created by the
other) has to create something inspired by the contents of said
parcel and then wrap it up in brown paper and continue the chain at
the next encounter. As I said, it's a lot of fun to take part in
but it's also loosed up both of us as artists, as we've started to
dip into each others mode of practice (if only a little). Now I've
probably said too much.
Talk us through the reoccurring themes evident in your
sculptures?
The tower is one of the main reoccurring themes that runs through
my work. All the sculptures in my first tower series where mounted
on over-sized wheels and were to do with our attitudes toward
material possessions, and how our accumulation of 'stuff'
limits our mobility. My most personal piece from this series, The
City, was to be the springboard for a lot of later pieces - namely
the numerous but much smaller-sized box series (also on wheels). In
fact the wheels themselves became a motif of most of my
sculptural work until relatively recently. As the magnified lens
aspect of my box structures started to give way to the carved
orifice feature (a further attempt to integrate the organic and the
rectilinear) so to the wheeled theme stared to disappear and the
structures became more tower-like again. A prime example being
Orifice Tower, which is basically an elevated box. The thing that I
enjoy about working this way is that it feels very natural, like a
process of evolution. Forms emerge, disappear, and sometimes
re-emerge.
What else is happening for you this year?
So far I have a sculpture on display in an alumni exhibition at my
old university in Northampton and I've been asked to create a
couple of two metre tall pieces that will be displayed in the
windows of a renovated Anglican chapel in Nunhead Cemetery this
September. I've also been sketching designs for a new series of
tower sculptures but at the moment I've over filled my studio with
materials, so until I sort out extra storage space, I'm working on
drawings and ideas for editioned prints in my 2D studio (which is
also starting to fill up with materials). One of these print ideas
is an adaptation of a photo from a newspaper, showing police
attacking protesters. But I'm painting out the protesters and
replacing them with cartoon bunnies. It's quite a fun but
surprisingly thought provoking piece - I'm pleased with how it's
going.
But the project that I'm most excited about at the moment is my
plan to bring out my own currency (well, sort of). I'm looking to
print 20,000, hand signed and numbered, editions of a small double
sided art print that takes the form of a fictitious banknote - a 5
Chig (taken from my nickname) note. The designs on both sides will
be based upon my artworks and drawings but I'm looking to print on
authentic-feeling banknote paper and incorporate watermarks and
holographic foils - and use two different printing techniques, one
of which will have a slight raised quality. The only problem that
I'm currently having is the sourcing of authentic-feeling
cotton/linen banknote paper - for obvious anti-counterfeiting
reasons.
//Thanks Wayne for this revealing look into your inspirations and
creations. Wayne will be exhibiting for the next two months, so pay
us a visit and have a peek at the art in person.
Monday, June 03, 2013
When up-and-coming film maker Eric Kolelas' acting career
started to slow, he decided the only way to get his teeth into his
ideal role would be to create it himself. Eric then wrote,
produced, directed and took the lead in Fifty Pence, which has been
storming the European festival circuit and is now available to view
online for the first time. I caught up with him about this
ambitious project…
How did you Fifty Pence come to exist?
Although I studied film-making, my main activity is now acting. I
had been trying to work on a few independent/student projects to
build up my acting reel in order to move on up, but I found it
extremely hard to come across really interesting projects, that
would at the same time have a good script and a competent crew, and
in which I could have a multi-dimensional character who is
significant to the plot. So I decided I would try to make it happen
myself. My studies came in extremely handy! One day, whilst
procrastinating on Vimeo, I came across a video from a guy filming
his friend walking around Paris, to test out his new DSLR camera.
He had cut it all to some atmospheric music, and there was
something about it which I really liked. I used that concept as a
basis, and built my script around it by finding ways to put
obstacles and conflicts in the way of some guy walking around
Paris.
Why is he in Paris? Is from Paris or is Paris a foreign city
to him? Does he want to be there? If not, How did he get there? Is
he a victim? or is his predicament a result of his own actions,
etc.
Before long Fifty Pence was written. I went to Paris to get on
with pre-production, crewing up, locations scout, auditions, etc.
and we shot the whole thing in 3 days.
Fifty Pence is a film which you wrote, produced,
directed AND acted in. Talk us through this decision and how you
balanced these roles?
It wasn't much of a decision really, if I wanted it to happen, I
had to do all of it myself. I already knew that I would act in this
piece I had written, but somehow I couldn't see many producers (or
investors/backers) willing to take on a short film with a rather
ambiguous script, from a guy who hadn't written or directed a film
before, and also wanted to act in it. I probably would have spent a
very long time pitching it, and most likely would have needed to
make many compromises for the film to see the light: I would much
rather spend that time and energy on actually making the film. As
to finding an experienced director that I can trust with the script
and would be willing to work on a fairly low budget could have
taken quite some time, hampering the momentum of this project,
which, looking back, I believe was a key factor in making this film
happen: I just went ahead with it without thinking too much about
the many ways it could go wrong.
What were the highs and lows of the
process?
High - Going through the rushes at the end of each day, and slowly
seeing the film come to life.
Low - Gaining permission to film in this amazing Parisian railway
station from the station manager himself, saving myself from going
through all the usual paper work and administration fees, only to
re-write the scene (after a lot of debating with myself and
Guillaume Miquel, my DoP) in a different location as it made a lot
more sense with the story and allowed for a better ending. I am
still a bit bitter at myself to this day.
The film really captures the essence of Paris, how did
the choice for this location come about?
I felt that having Fifty Pence take place in London (where I live)
would impose specific expectations from the audience in term the
film's genre and elements the viewers might find in the film. I
thought those expectations would have gotten in the way of the
actual story and didn't want to risk disappointed my viewers as I
had no intentions of meeting those expectations often come precedes
London stories . So I thought if I set in Paris, the audience
probably would have been too thrown-off by the Paris setting to be
expecting geezers, mandems or hooligans. Once the expectations are
removed, the audience is more open to to the story, and with Fifty
Pence being very ambiguous and leaving a lot the viewers
imagination, I really needed that openness.
There's very little dialogue in the film; was this a
conscious decision? I imagine this makes it very accessible for
international audiences?
I actually didn't want to have any dialogue at all, but the more I
built my story, which is ambiguous enough as it is, the harder it
became to make it all cohere. So ended-up adding a bit of dialogue
where necessary, which actually made it less accessible than
intended, but I guess that's where subtitles come in.
What role did The Mill play in the final
result?
A friend of mine introduced me to Mikey Rossiter who worked at The
Mill London at the time, he was looking for some projects to grade
and he really like my script, so I thought: why not? Mikey and I
spent quite a few nights in the Baselight grading suite working on
the film. It is extremely convenient that the Mill is open over
night, I reckon it really allows for maximum productivity, as not
everyone produces their best work between 9am and 5pm.
Fifty Pence has been well received so far on the
European Festival circuit, what are the next plans for the
film?
Yes, the film did its festival run throughout 2012, and some of
2013. I finally put it online hoping that it will find a new and
bigger audience, so the plan is to get as many people across the
world to watch or at least know about it.
Have any other films at the festivals caught your
eye?
So many!!! The level of quality of films out there is so high, I
couldn't believe it: There's Buumes (The Baumans) by Martin
Guggisberg, Monster by Piotr Ryczko, I'm Sorry by Leonard Leiter (I
got to meet him in Paris), 82 by Callum MacDiarmid, A Good Night by
Muriel d'Ansembourg (met her in Paris too, such a cool person),
Dylan's Room by Layke Anderson, The Roar of the Sea by Ana Rocha
Fernandes & Torsten Truscheit, Rhinnos by Shimmy Marcus, Long
Distance Information by Douglas Hart, and the list goes on...
// Thanks Eric for the story behind Fifty Pence. Mikey Rossiter,
Colourist said…"Eric is an unbelievably talented guy and was an
absolute pleasure to work with. He did a fantastic job of telling
such a compelling story in such a short time and I felt really
compelled to get involved in the film." Here is the film for your
viewing pleasure…
Friday, May 31, 2013
This is the third in a series of blogs from resident tech-spert
Neil Evely on the earliest adopting sector for QS; sports and
sports technology. Not just happy enough to know you've built up a
sweat, these days the technology allows even the most amateur
athlete to track their heart rate, calories, distance and endless
more analytics. You can catch up on his pre-marathon escapades here
and
here.
Neil: It's been a little under a
month since the marathon, the legs have recovered (just) and so I
thought I'd sign off with a little update of my most recent tech
purchase and how it helped on the big day. I spent Saturday
carefully preparing my gear for Sunday, with a slightly OCD level
of attention to detail about where on my vest my race number/name
badge should go, down to the alignment of the safety pins.
Preparation also included getting my toys in order, which involved
playing with my new Garmin 210 watch.
This was a last minute purchase, as I was
concerned about my iPhone picking up a strong enough signal amongst
the 35,000 other people running the marathon, many of whom would be
relying on a 3G signal to track their progress. I (like nearly
everyone else) had a pace in mind that I needed to keep to, too
slow and I wouldn't get under 4 hours, too fast and I'd likely burn
out early. I set up the Garmin 210 Forerunner and tried to connect
to the GPS satellites. Surprisingly, this took ages. I stood
outside my flat (it didn't work at all being indoors) for a good 5
minutes waiting patiently, keen to run a quick mile or 2 to
calibrate the watch and make sure that we both agreed what 7mph
actually felt like.
Eventually, after an age, it kicked in and I was
happy to see that the mph held no immediate scares and it
correlated with my Nike+; far more comprehensively in fact. The 210
also times individual laps which by default is set to a distance of
1 mile, although it can be configured to be anything, which was
handy. It also automatically discovered my MyZone heart rate
monitor which meant I could, if I wanted, just wear the one watch
on the big day (I didn't of course, I wore both).
The 210 stores your data and allows you to upload
it to your Garmin account (via USB into a PC or Mac), which you can
also keep track off via a half decent App. I won't lie, setting up
my account, adding my watch and managing to upload my data was a
total pig. After resetting my password twice, which didn't work, I
then had to 'request forgotten login details' only to discover on
receiving my email that they were ENTIRELY different to what I'd
just saved. It's fine now, but why ask someone to set up a username
& password for an account, only to have a different one for the
part of the site that saves your training? Bonkers. Its running
data not CIA secrets.
Log in faff aside, thank goodness I bought it, as
my theory was correct and trying to connect to 3G on my phone in
Greenwich surrounded by everyone else doing the same, was a total
no go. So after all my dedicated time training with Nike+, it was
probably a victim of its own success and I had to rely on my new
toy. Thankfully, the 210 guided me through admirably, keeping me as
close as I was able to 7mph for the duration, though I would argue
that it seemed to lose connection with the GPS quite easily,
running through Canary Wharf caused all manner of issues and on
Embankment I ran past a tall man dressed as a bottle of beer which
seemed to knock out the signal altogether (he was very tall).
Garmin 210 Forerunner:7.5
sneakers out of 10 (docked a sneaker for slow GPS connectivity)
So there you have it, a lot of tech tested, even
more miles run. I for one will be keeping hold of my Garmin, MyZone
and will no doubt return to Nike+ as well. They all offer something
slightly different and I have a weird feeling that this won't be
the last marathon I train for...
// Thank you Neil for putting the world of sports
tech thoroughly through its paces, and providing me with this
opportunity to make endless running puns. Neil has left out the
extremely impressive fact that his official marathon time was
3:59:47, scooping his sub-4 hour aim, and raising an impressive
raised £1850 for YMCA!
Wednesday, May 29, 2013
The Fields is a short film, written and directed by Duncan
Guymer and produced by Spencer Friend. The film sits within the
Sci-Fi Thriller genre, featuring bold choreographed fight
scenes.
Here Luke Colson (Head of Mill+ Studio) and Hugo Guerra (Head of
Nuke) talk through how The Mill came to be part of The Fields, the
tie-up with Campus i12 and the amount of internal & external
collaboration involved.
How did you first get involved with The
Fields?
Luke: Spencer Friend at Joyrider sent us the script and asked us
if we wanted to get involved. We knew it was a lot of work, but
were looking for a project just like this to get stuck into.
Spencer was producing a number of commercial projects through The
Mill so it seemed like the right time.
Hugo: I was introduced to the project by Luke. It was a very
interesting project and a great opportunity for the Nuke department
to work on a long-term project with a lot of creative input. It was
a pleasure to work with Spencer Friend again, and of course it was
a sci-fi film set in the future, so our inner geeks were very
excited.
Talk us through the premis of The Fields?
Luke & Hugo: Set in 2510, 'The Fields' depicts the aftermath
of a war between rich and poor. With the losing faction forced to
live underground, the war has since been long forgotten. The
subterranean population believe in a divinely ordained balancing
act, in which God infects the most intelligent people with a fungal
disease. The underground community then outcasts these individuals
to 'The Fields', where their disease takes effect and they
seemingly become part of the forest.
How did Campus i12 get involved?
Luke: Hugo teaches at Campus i12 and we always had a vision to get
them involved in a real life project. We discussed the possibility
of getting them involved with Duncan the director, and he was all
for it. It was an extremely collaborative workflow, and we couldn't
have done it without Campus i12, certainly within the time frame we
had set aside.
Hugo: It was an excellent opportunity to work with a VFX school
like Campus i12 on a live project, I have always taught at VFX
schools and one of the biggest problems they face is getting proper
production quality material, it's very hard to come by. This gave
them a chance to improve their skills as artists with real
deadlines and real production quality control from The Mill.
What role did The Mill play in the final
result?
Luke: We took care of every part of the VFX and the
post-production process. From grading through to all the roto and
comping, and of course the CG elements which include the dissolving
man and the epic view from the roof at the end of the film. There
are a lot of hidden effects too such as enhancements on gun fire
and set extensions.
Hugo: We did 52 visual effects in this project, ranging from wire
removal, set extensions, particles effects, gun flashes to almost
full matte painting and CGI backgrounds. The Nuke department took
care of all VFX conforming, compositing and matte painting. Campus
i12 students designed the 3D buildings and vehicles with the
supervision of myself, Sofia Delis and Oskar Wahlberg. Grading
was then done by Luke Morrison .
What was it like working with Duncan
Guymer?
Luke: Duncan is a clever guy, with a very definite idea of what he
wanted us to bring to the table. I know he was blown away with the
results and we too are happy with how it all looks.
Hugo: Duncan was amazing, we worked very close and developed all
the art direction and CGI design with him. He had amazing
references and a very exact idea of the overall look of the film,
he is a very creative director and understands the VFX process very
well. I can't wait to work with him again.
What were the highs and lows of the
process?
Luke: From a post side, it was sheer volume of work, but with good
organisation and a big team, we simply had to put in the hours to
get the results. I know that the production had its moments;
filming in the pouring rain and having to shoot in the world's
narrowest corridors!! That said the whole project ran very smoothly
and really was great fun.
Hugo: You couldn't have said it any better. I mean logistically it
was hard to work and supervise shots both in Sweden and London, I
did travel a lot backwards and forwards, but the effort was really
worth it. The final film looks amazing and it wouldn't have been
possible without our talented team at The Mill and the amazing work
of Campus i12.
<
// You can view The Fields in full
here
Friday, May 24, 2013
Mill+ has teamed up with BBDO NY and PETA to create an
astonishing and ground breaking new spot "98% Human". "98% Human"
is part of PETA's commitment to stop great apes being used within
the entertainment industries. The Mill+ team, alongside BBDO
NY, embarked on an incredibly ambitious journey to create a truly
photo-real and completely life like chimpanzee.
Here I talk exclusively with Mill+ Animation Director Angus
Kneale and BBDO NY Executive Creative Director Toygar Bazarkaya;
covering how the project was born, the highs and lows, and what
ultimately both Toygar and Angus hope it achieves.
Q&A : Toygar Bazarkaya
How did you first get involved in PETA "98%
Human"?
It was actually PETA who approached us and gave us the background
story that put us in a state of shock. You have to understand that
all of us working in the industry believe that when we work with
great apes, their safety and dignity are guaranteed. You have
official disclaimers at the end of movies stating "no animal was
harmed during this production" and this is true. However, that only
refers to one day of production. What we didn't know is that there
is a horrible backstory behind all of it. These great apes are
being removed from their mothers when they are only days old, then
being kicked and punched to do what they need to do. When they are
around four years old they start acting in front of the cameras.
But at around eight, they become too strong, and therefore are
discarded in roadside zoos, only to live up to 50 more years in the
worst conditions. This whole issue just ripped our hearts out
because we are the people who write these scripts, not having a
clue what actually goes on. So we decided to support PETA in an
effort to raise awareness. Once people find out about this, we are
sure they won't use apes anymore.
In working with Mill+, we noticed there IS another way. We found a
way to change the message from "stop using great apes" to "stop
using "real" great apes." Mill+ developed a technology that allows
for the creation of a great ape that is so real, it's scary. No use
of the real animal, but an undistinguishable result. Planet of the
Apes looks like a cartoon in comparison. Absolutely mind
blowing!
What were the highs and lows of the
process?
I think the lows were the days the project almost died. We were on
life support and barely breathing a couple of times. Once Planet of
the Apes came out, we looked at it and thought, "it doesn't make
sense to create something second rate." If anything, we need to
beat it by a mile. Otherwise, it's not worth the effort. I love The
Mill for taking on the challenge. Fearless! Inspiring! Committed!
Awesome! The highs started when I saw the first rendering of (what
I thought) was the final ape. I was shocked! It was like getting
hit by a truck. I can remember vividly, downloading a 5 second, and
almost falling off my chair. I will never forget this moment. The
crazy part was they weren't even half way done. When you find
yourself running around like a little kid wanting to share this,
you know you've got something.
PETA are known for adverts that make everyone sit up and
pay attention, which must require a sensitive and unique approach.
Can you talk me through this challenge?
I give PETA a lot of credit for taking this issue on. It's amazing
that we didn't know this backstory, that's why we all are thankful
to PETA. That said the challenge was to create something that talks
to our peers: a critical bunch when it comes to advertising,
communication and entertainment.
What do you hope "98% human" achieves?
No use of great apes in the advertising and entertainment
industry. Sign up to the Great Ape pledge is here.
Q&A : Angus Kneale
How did you first get involved in PETA "98%
Human"?
We were contacted by BBDO quite a while back, they had seen the
CGI animal work that we had been doing and wanted to know if we
would like to be involved with the project.
What were the highs and lows of the
process?
There were a few high points. One of the early test renders that
we did completely blew my mind, I ended up hugging our VFX
supervisor so hard that I think he is still recovering from the
affection. Another high point was the first time I was able to
watch the piece and get caught up in the story without being
obsessed by the details. The low point without a doubt was
breaking my leg two weeks before the shoot while sledding in
upstate New York; we ended up having to delay the shoot and the
project.
PETA are known for adverts that make everyone sit up and
pay attention, which must require a sensitive and unique approach.
Can you talk me through this challenge?
PETA is often controversial; you know what you are signing up for
when you get on board with one of their projects. The challenge was
not to get overly sentimental and keep it from being gratuitous. We
focussed heavily on the emotions that we wanted; this required a
great deal of care and sensitivity.
What role did Mill+ play in the final
result?
We were involved in the project from start to finish. Being part
of the whole process was great; it gave us full control with how to
approach each stage. We are really proud of the process and the
final result.
What do you hope "98% Human" achieves?
I hope that "98% Human" will bring awareness and help stop the use
of great apes in our industry; I think this shows that there is a
real alternative to using live performance chimps in film and
advertising.
Do you have any animals in your life?
We don't have any pets at home but I have had a few run ins with
some black bears in the Catskill mountains north of New York City.
They kept on hanging around our property, it turns out that they
have a particular weakness for birdseed...
// Thanks Angus and Toygar for these incredible insights into a
project straight from the heart. Another person who played a huge
role in the creation of "98% Human" is VFX Supervisor Vince
Baertsoen who said, "Peta 98% Human was the most rewarding project
I have ever worked on. Here you have a great cause, a great
script, with great character R&D and a great team. It is a very
rare moment where you can focus on all the details that make a
character alive, and be so involved in the creative
process. Each wrinkle movement, each blink, hair detail, the
dust... all the imperfections which make our character alive and
real. I am really proud of what we managed to achieve, and I can't
wait to have even more challenges, and to defend more great
causes."
View the spot in full here, the behind the scenes here and for more information on the project,
there is an Adweek exclusive here.
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