Unit 3 - Environment - Green Light Review
Time Management:
http://stitchshift.blogspot.com/2011/11/unit-3-environment-time-management.html
Maya Exercises:
http://stitchshift.blogspot.com/2011/12/unit-3-environment-pre-viz-camera-setup.html
http://stitchshift.blogspot.com/2011/12/unit-3-environment-pre-viz-camera-use.html
Life Classes:
http://stitchshift.blogspot.com/2011/12/unit-3-environment-life-class-week-8.html
http://stitchshift.blogspot.com/2011/12/unit-3-environment-life-class-week-9.html
Film Reviews:
http://stitchshift.blogspot.com/2011/12/unit-3-environment-review-jack-claytons.html
http://stitchshift.blogspot.com/2011/12/unit-3-environment-review-nicholas.html
http://stitchshift.blogspot.com/2011/12/unit-3-environment-review-peter-wiers.html
http://stitchshift.blogspot.com/2011/12/unit-3-environment-review-robin-hardys.html
OGR 12/12/2011
ReplyDeleteHey Stitch,
As discussed, I'm satisfied by your embrace of the conceptual aspects of Unit 3 - you didn't need the 'checkpoint charlie' of the OGR to begin picking apart the idea of the uncanny, and your reviews demonstrate very clearly that you're now applying that understanding outwards to the film programme and beyond - and that's great.
The thing is, however - is even after looking through your thumbnails and reading your OGR I'm still a bit unclear as to your rationale behind your digital set. You're talking about a fictional 'fallen town', an 'outpost' and a broken mirror - but I'm struggling to triangulate these associations when I look at your thumbnails. Don't misunderstand - many of your thumbnails are promising, particularly those with a strong skewed view or unexpected POV - I just can't quite see what you're describing. I think your intention is to model a scene with a broken mirror, and use the shards of the mirror to reflect a world that is 'other' to the modelled set in which the mirror is situated, right? I suppose my concern is that this scene might be overly-complex - that somehow, the mirror + the set + the parallel world + the shards might combine to create something 'fantastical', as opposed to ambiguous. I get the impression that you might be weighting this scene with lots of things you're keen to do, but all I'd ask is that you ask this question instead: 'what does the scene need?' I'd like to see you resolve a definitive thumbnail that very clearly expresses your vision for this scene - I'm not clipping your wings here, Stitch - I'm just keen to see what your intentions are because they're not quite expressed by your OGR.
In regards to your written assignment - yes, so you're focusing on challenge to the games industry as presented by the psychological phenomena of the 'uncanny valley'. I know it's early days, but again - a few style pointers; your first sentence is over-written in so much as you describe the uncanny valley as having 'the unheimlich nature' - but this is surely a tautology (an unnecessary repeat of concept, as in 'the small dwarf' or the 'huge giant') - obviously the 'uncanny valley' in 'unheimlich' in its nature because it is a valley that is 'uncanny'. Besides, you'll need to introduce and define the term 'unhiemlich' as part of explication of the uncanny, so I'd keep this unfamiliar term out of your opening line. Another style thing - I notice you're using the word 'respected' as in 'respected artist' or 'respected photographer' - I don't think it's necessary for you to present your practitioners in this way, as we can presume they are established and of note, or they probably wouldn't be featuring in the essays of undergraduates. Oh - in terms of structure, you'll also need to introduce and define the uncanny valley as a continuation of Freud's ideas by the roboticist Masahrio Mori - remember, key ideas/practitioners etc. must be contextualised within the body of the essay, and therefore identified as such in the 'outline of points' in the essay intro.
Okay - so, yes, get a clarification of your concept on here in the form of a definitive thumbnail so I can have a look.
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