Nicole Jesse reflects on 96 restless hours on an invigilator's chair in Venice.
We arrive at a chair in a moment. A need or desire to alleviate physical strain has occurred. We rock up with a ‘situation’ in toe. Aside from the inevitable factors of everyday life which remain constant and necessary, like eating or sleeping, our arrival at an object such as a chair is the result of our involvement in an action. Something has brought us here. A break from activity before we’re on the move again. A canvas for projection, it absorbs the shock of our physical strain as it cushions (or doesn’t cushion) the weight of any emotions, feelings and struggles we may be experiencing in said ‘moment’ at which we arrive. It is a halfway point, an interval, a place for reflection. Excitement preceded this seemingly unaware invigilator’s chair, hidden in the maze of a lagoon on the coastline of Northern Italy. The encounter was to meet me at a moment in which my mind had for some time been craving a space of peace, a space for thought, a vacant plane on which it could draw it’s pictures, annotate it’s maps and breathe a little. These chairs are not to bring us comfort, to invite us into a state of rest. They are here to facilitate us being able to do our job for longer; to allow us to labour in our task for longer than we would have been able to without them. And so at this time, when the footsteps have ceased for a second; in the absence of labour, how does one interact with it? In anticipation of this scheduled quiet space, I became anxious about making the most of it, making sure that I was at all times ‘relaxing in a productive manner’... ...sort of like that 20 minute break you get in the middle of a double shift at the pub, when you can’t quite switch off from the fact that you need to switch off. This restless state of mind turns into labour for another project; labour for another cause. What is our state, our position, in a chair if not one of rest? It is neither labour nor rest. What position does our body assume when it is at the same time both things, yet neither thing at all? If I bring my restless mind to this chair, was the chair restless to begin with, or have I made it be that way? This renders the chair somewhere between one thing and another; neither a force for labour, nor a means for rest. It is in this difficulty in placing the chair that the ‘not knowing’ what you are supposed to be doing there arises. It becomes the negation of itself, a contradiction of its recognized identity. Here, the domestic chair had found its way into a space of labour. What was this space? An object borrowed from it’s wider context of not an exhibition but a house, a rather ornate palazzo. A corporate mentality applied to a domestic object. This confused my ability to locate my surroundings, muddling my body’s decisions about how to arrange itself, how to compose its maneuvers and how to assume an appropriate position. What is the posture of labour? The space around the chair becomes an extension of personality, of tendency and of habit. Some chairs remain perfectly aligned to the wall while some jerk out at an angle. At times they carry coats and jackets, hourbour water bottles and books. The chair becomes a base camp, the personal headquarters. Transferrable traits render the chair a manifestation of intention in the space, in an exposé of the plan for the following 8 hours. A hardback book is the perfect cover for watching netflix on a mobile phone with the subtitles on. No book at all suggests a much more ballsy approach. What had this experience really been? Possibly something which I could have been doing anywhere else in the world, or maybe even not been doing at all. Would it set me apart? An immaterial advantage over a faceless future opponent? I had fought hard to get it. Yet as the flurry of visitors departs past the golden waterfall through which they arrived, the question of what this will add to my speculative profile as a precarious worker creeps in. What an exhausting fear of experiencing less than everyone else.
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Alexander Robertson
I spent the month of March 2018 interning at Rufus Lennard in Farringdon. I was the first student to be chosen to take part in their new intern scheme named Raw Academy. Rufus is a fairly large agency with a team of around 150 people all working in various areas of a converted military armoury base just round the corner from Hatton Garden, their clients include the likes of British Gas, the BBC, Macmillan, BBC, British Gas, O2, Lloyds TSB, John Lewis to name a few. I spent the month with a fellow recent graduate of LCC GMD Henry, we met in the lobby before being introduced to everyone in the office and instantly got along. Which made settling into the job easier and having a lunch buddy is always a bonus. I started off working with the strategy and user experience team on a project for Macmillan Cancer support which they had been working on for the past 6months. Over the month I mainly worked on this project, producing and printing 7 individual books, each with it’s own logo which represents an affective ‘device’ which enables the people who work with or use Macmillan’s services. Using these devices I also designed 9 different persona user journey diagrams mapping out various journeys with Macmillan, highlighting the area of application for each device as it goes. Due to confidentiality I’m unable to show you any visual examples of the work I produced. On the Friday before the first presentation to the client, I was a hit with a mad rush due to last minute additional words and diagrams to the books. I ended up having to stay in the office with the team until midnight to ensure that everything was finished. It was incredibly stressful, but I honestly enjoyed the rush of things to get everything done, and it being Friday we were partial to a beer while we worked which was definitely a bonus! Between working on this project for Macmillan I was asked by one of the creative directors to help on put on a pitch for a project with intentional cosmetics company Reckitt Benckiser. Again, I’m unable to elaborate too much on what the project entails presently due to confidentiality but I will say that it was incredibly interesting to be able to be a part of a creative team working on a creative brief like that in the Rufus environment, and have my voice heard in the idea and presentation process by some important people is defiantly one of the things I feel I got the most out of and most rewarding. Henry and myself were asked to take on a brief in our spear time. We were asked to re-brand and re-think how London’s Black Cabs function in a digital age. Rufus had written this brief for my peers from Graphic Branding & Identity as a project to do as part of their second term. But thought it would be interesting to see what Henry and myself could come up with, so we worked together in the evenings and lunchtimes to produce a concept seen below: From the beginning we agreed that we didn’t think that re-designing an app like Uber for Black Cabs was the right way to go about this as it’s really not the problem. And after researching we found that became more clear; there isn’t a specific place for the Taxi drivers to have their voices heard and connect with each other and the people of London. Because we both had different skills as designers I mainly worked on the copy and brand story side of things when Henry worked on the graphical aesthetics. So we came up with 3 devices which deliver to the needs of the drivers under one visual identity. On my last day we had to present our idea to the board of creative directors and designers of Rufus, and it surprisingly went incredibly well, we received some great feedback and considering how long we actually spent on it I was incredibly surprised, especially one of the copy writers suggesting that I should maybe think about taking up writing as the work I had done for this project was outstanding, which really blew me away. Overall interning at Rufus was a great experience for my professional development. From the start to finish I was welcomed with open arms from everyone in the office. I got pleasure out of the work I did there and was incredibly beneficial and interesting. Rufus is most defiantly somewhere I would love to work in the future. Brogan Bertie
Sometimes it can be uncomfortable venturing outside of the studio because workplaces can be unfamiliar and pressured environments. But also because I have often found myself to be an outsider in a new workplace. Going into an office is almost like entering a vacuum. Will being gay and working in offices be as uncomfortable as bar and shop jobs have been? As invasive or volatile or patronising? As secretive or embarrassing? I hoped not. At Office 1 I entered a female-dominated environment. I expected to be empowered and at ease surrounded by high-achieving, hard-working women. But for the few weeks I was there –– despite having a great and educational time –– I was tense, tight-lipped, and impersonal. I nodded and smiled when colleagues talked about boyfriends, holidays, and weddings. Everything was very straight. It was safe yet claustrophobic to be able to ‘fit in’ while I chose to. I didn’t come out to anyone while I was there. Why would you need to? Who needs to know? Who cares? Other people don’t talk about their personal lives or sexuality. Sure. But mentally policing what I ‘let slip’ when I was on the phone to my girlfriend at lunch was surprisingly exhausting. As was the specific brand of dodging personal questions –– editing my life so it was condensed and anonymous and palatable. Office 1 was a pleasant, productive, robotic and slightly empty experience. At Office 2 the set up was different. It was a bigger office with different sections, different cliques. There were two female heads in the creative department I worked in, a very friendly atmosphere, and –– for whatever reason –– a less claustrophobic environment. I had beers with some other interns, the group much more diverse and open than in Office 1. Office 2 was a much more authentic, much more open experience and without the internal tenseness I had during my residence at Office 1 I found that I wasn’t wishing it away and was much more present to do the best work that I could. I have put energy into finding communities and movements that I can get behind and that get behind me. Looking for collaborations, events, and companies that put an emphasis on what would other me and potentially put me at a disadvantage in certain environments has been a gratifying experience. It has been very important to transform that stifled feeling of not wanting to be out to anyone in an office into creating work and meeting other creatives specifically based on queerness, likemindedness, or the intersecting ways minorities can support each other. It probably won’t be the last time I choose to omit the precious details of my full and loving life out of protectiveness, defensiveness or discomfort –– but hopefully as I pursue these projects and communities my support system will just get bigger and bigger and this alienation that could hinder me will become a strength and that claustrophobic feeling will get smaller in the back of my throat and slowly but surely that wariness won’t define any experiences I have. Carina Figueiredo reflects on her trip to Senegal 3 months on.
After three months of being back from my Senegalese Trip, a lot has changed. For a while that I have been interested in sustainability and eco problems, as a person I consider myself, self-aware and responsible for my choices as a consumer. Having the chance with DPS of going through such a radical experience by visiting Dakar, St. Louis, Casamance and Thies along with an amazing international group, was from far a once in a lifetime experience, a bucket list wishes crossed, a chance to live an African experience with eyes of local. I was expecting to acquire, traditional and hand-made technique skills from all the Artisans that had an open door at their home for us; a tea ready to be drunk, and a pile of pillows ready for us to seat in the most comfortable place of the house. Senegal was such an inspiring and rich experience, being able to see how happy they live their life’s, and how easily they give to someone that they know that has more material position than them, and even though they will give you the little they have just to make you feel welcome. It was a life lesson. I remember when walking in all the different places how the thing that shocked me the most was the trash, on the streets, on the beach, in goats mouth, underneath my feet’s, was everywhere… In one of the days, while we were visiting Maison des Esclaves (House of slaves) in Gorée Island, after an emotional intense visit, we spent some time on the beach of the island. It was small, but full of loudly and funny children’s, After spending such an amazing time with the kid’s, water bottles and water bags were notable everywhere on the beach, something that was ruining my wonderful experience, because, in the end, I couldn’t understand why would they leave there, there were bins in the exit of the beach, there was no reason to float next to trash. This was when I decided to grab a bin bag and start collecting all the plastics, I wanted to see there reaction, what would it happen after that? Would it create any impact? Or make any difference. In the end, it didn’t make sense for them, they couldn’t understand why was I doing it, but incredibly made all the sense for me; I remember while I was collecting it, there was this kid that looked at me, finished is water and drop the bag on the floor. After all, I couldn’t judge him everyone was doing it, the couple years of life he had he always has seen trash as something that was all right to trough on the floor. After having a talk with one of the locals that were introduced to me, she explains to me that they know one ever told them how prejudicial it was. It’s like Maslow’s pyramid of needs if they don’t have access to a basic need, how can they be aware of secondary obligations? Another day, in a different beach the same scenario got repeated; trash everywhere, people would through dirty liquids on the water where children’s would bath. I started analyzing what was in the piles of trash and buried in the sand, easily you could identify things that didn’t belong there, mostly plastics, trash that was coming from us, from Europe, dragged by the flow of the waters. As I got back to London, I was angry, I had straight to change it, this plastic problem was everywhere, I was making me so unstable by wanting to buy food and everything, everywhere has plastic. Here was what it started, the more see the more I will want to learn, I have been since then trying to consume the least plastic possible. I started looking for artists, designers, and activists, people that were doing something to change this worldwide problem. I’m part of it now, I’m doing the best I can and know to share this knowledge… I have been working with plastics and getting to know this once precious material, that is killing our planet and us. Soon, hopefully, you will see more about it, about plastic, about Melt it. Brogan Bertie
Sending lots of applications and not getting back what you seem to put in has been a marker of many people’s experience with interning. My own included. Hundreds of applications can go out with little to no reply. It seems to almost define the process. My dream of finding the perfect internship was crushed very early on in the operation. Going through this process often means taking jobs that aren’t perfect. I have jumped at most opportunities that have come my way –– irrelevant, niche, unconnected to any of my interests. I have gone into internships and roles in areas I have no intention of continuing in. Fashion, media. The electrical industry. These experiences –– while good CV fodder –– could be practically useless to me if I let them be all they were advertised as. Instead, I have tailored non-relevant jobs to my interests. When I took a short-term position in a media company with absolutely no interest in advertising I made it very clear I was an illustrator and animator and managed to vie a position in the creative team where I did almost all of the illustration work for the whole company while I was there. Through being clear and volunteering for the creative work I managed to work on briefs for Vauxhall and Tui as a storyboard artist and concept illustrator. During a fashion internship in a womenswear department I ran errands and did simple trend research for three days before I asked for illustration jobs and was able to designs jumper motifs and fabric patterns. I was very vocal about what I was specifically interested in, in both my CV and in person, and was able to carve a niche for myself. When given a job that was in any way relevant to illustration I went above and beyond what was asked so I would be given these types of jobs again. Because of this I became known for illustration in all of the offices I worked in, even when the company itself had no room for an illustration department. The best advice I have ever received is do the work you want to do –– even if you’re not getting paid for it, even if there seems to be no place for it. Do the work now that you want to do later and if you do it well you will find that you’re asked to do that work again and again. Louie Smith
AW18 I’ve started my internship on September 4, with the company Workshop108 specialized in menswear development in the fashion industry, working for the biggest fashion houses of the LVMH group, but also for small brands such as Mr Smith Paris & Tellin. Immersion into the fashion industry: Starting with the autumn winter 18 collections, the company I’m now working for is immersing me into the fashion industry by taking me to the biggest fashion fair in the world: Premiere Vision. The fair that is on three days showcasing all department of this dense and complex industry from engineering, textiles, finishing details, leathers, communication, packaging and press. For this first mission I had to meet up with some of the press for the brand Mr Smith, introducing the brand or updating with the media that already know it. My second mission was to develop the packaging for the brands that workshop 108 is working for: Mr Smith and Tellin. Researching the right factories to produce the stickers hangtags boxes and all the packaging elements for the brands. Wholesale communication: In December 2017 we decided to use a new platform called Le New Black which is a wholesale platform to communicate with retailers and buyers across the world. It was completely new to promote the brand via wholesale. It was a good way for me to have a new way of communication, focusing only on wholesale, only showcasing the technical points of the cloth and all the imagfor this part I was shooting all the online pictures for the website and the new black and creating the profile of Mr Smith Paris. After this this season using it to promote autumn winter 18 we realize that it was a key element of communicating a brand. For the autumn winter 18 collection I was in charge of all the visual communication of the brand.contacting retailers sending them invitation to come and discovered the AW 18 connection at the show room, Communication: At the office I’m in charge of the visual communication for the brand Mr Smith Paris, in the first part we were working with the communication agency Village based in London producing the social content for the brand Instagram & Facebook, but due to budget cutting and miscommunication between the two parts we ended the partnership with the communication agency in February 2018. So on from March 2018 I toke the responsibility to create all the content in house and the storytelling of the social networks platform for Mr Smith Paris. In September, we relaunched the website for Mr Smith Paris, I was in charge of all the design interface: presenting the existing collections, the story of the brand and the designer behind, pushing traffic towards the pre-orders of the Spring Summer 18 collection. Also with the creation of the website I was in charge of the logistic part of the website by managing the stocks of the current Spring Summer 18 collection. In February we decided to re-launch a newer version of the website, I’ve work arround an other platform and produced a new website with a cleaner design and a much clearer interface for users: www.mrsmithparis.com Communication strategy: From February 2018 I’ve been in charge of the Instagram and Facebook content promoting the brand and drive the story of the collection online to customers and retailers. I’ve previously learnt how to build storytelling and social content with the documents that were given by the communication agency before. As I am in the same office as Mr Smith with the people that design it in conceive it I have the opportunity to transmit a deeper vision of what is the product and the philosophy of the brand on contrary to the agency. It also gives me the opportunity to react quickly to what people who like or dislike on the Instagram feed and Facebook feed. The observation that I made with this experience of social media is that most fashion houses and all brands should have the social department built in to their offices and not through an agencies. I’ve also noticed branded content is not what people are looking for any more on social media, by looking in our stats on social platforms, the contents that we posted for the past two months were more centred on the philosophy, inspirations of the brand and people are more engaging with the content. People are looking for more than just a product, most of them are trying to understand the identity of and the background. The content I’ve produced is focusing on the behind the scene of the brands, taking pictures of the meetings without showing what is being done, showing what is happening in the Atelier, make people feel more implicated into vision of the brand. As the brand Mr Smith is sold only in Japan, Germany and in one store in France: biarritz, it is difficult to show to the people living in Paris or travelling to Paris so we decided to open the atelier two people by taking an appointment on the website. So far this promotional action of the brand has worked several people have booked appointment came to the atelier discovered the brand and browse through the archives and the available collection, which increase the sales. Observation: After 7 months working in this industry, meeting people that are part of it and asking them the same question: What is missing today in the fashion industry? Most of the answers are the same: To many brands selling images to consumers, some brands sell themselves with some corrupted background pretending to have craftmenship. And the one of the biggest problem noticed by those people is the lake of the new generation to know all the technical part, leaving all the craftmenship to the old generation. what I realize from my side is that all of those fashion schools train more and more stylist and less people with “Savoir-faire”, the result of this is that so many fashion companies are desperate for them. Website: www.mrsmithparis.com Instagram: www.instagram.com/mrsmithparis Khalid Abdigaheir
Their been strong links between creativity and mental health due to the notion of "tortured artists" from Van Gogh severed ear or Sylvia Plath’s admission of mental anguish and her eventual suicide to Alexander McQueen’s heartbreaking death at his own hands. Mental health has been a frequent companion to those of the creative world, but even though we remember the tragic tales of late artists and writers, I believe mental health is a issue for everyone. The design industry’s frequent long hours, stressful projects, tight deadlines and frantic work environments can all exacerbate latent mental health conditions. In the creative environment these conditions are more common than anywhere else. A 2014 report published in the Guardian found similar links stating that “painters, musicians, writers and dancers were, on average 25% more likely to carry gene variants of mental conditions such as depression compared to other professions that are judge to be less creative”. Another study that has been posted by Harvard university professor Modupe Akinola and Wendy Berry Mendes titled "Dark Side of Creativity: Biological Vulnerability and Negative Emotions Lead to Greater Artistic Creativity” have also stated a strong connection that those with natural creative dispositions were far more likely than their less creative peers to be affected by “intense negative emotions”. My experience with design and mental health has been difficult one, this is an industry that is very mentally demanding that involves you working long hours with pressurised deadlines and this can take a toll on a person’s mental state. My long battle with anxiety has been a rough one and I also found it hard to verbally express my emotions because of my introverted nature. There’s also the negative stigma that surrounds men, that they shouldn't not open up or express their emotions as is seen weak. Design though allowed me a platform to communicate and visually express myself and my ideas better than I ever verbally could, but I also loved the reaction design creates. Someone who has never met you or knows you can emotionally connect with your work, no matter what your ethnicity, culture or beliefs are. And although that is great, there has also still been the negative of design’s mental demand and I always wondered how other aspiring creatives that are suffering from mental health cope with it and what ways or methods they took in order for it not affect their work or their lives. I had my portfolio in order and having a successful second year at university I was excited and nervous to start my Diploma in Professional Studies year. The aim was to gather some valuable useful experience and to sharpen and progress my design career. At first it was a long hard grind just trying to apply for internships and being rejected constantly on a daily basis can take a toll on your motivation. But words I lived by and always kept as a reminder as a wallpaper on my laptop, was a quote by Martin Luther King that always snapped me back in focus and kept me pushing forward. And even though I had countless rejections and disappointments, one thing I learned from my experience is to always remember to keep moving forward. And as long as I have breath in my lungs, these are words I am going to live by. Corey Flynn
The first, and arguably the most physically demanding task of the DPS year was getting my first work placement offer. At this time I had no professional work experience and not even a degree to show for myself, so my main objective was to prove to potential employees that these factors didn’t undermine me and that I was more than eager to learn. I began by first establishing what kind of agency I saw myself working at when I graduated. Back then I felt that I should focus on agencies within the entertainment marketing sector – Although, at this stage I wanted to keep an open mind, seen as though a major part of the DPS year is about experiencing a broad range of companies. I created a spreadsheet containing a long list of companies I was interested in and tried to rank them in terms of personal priority. It’s also worth mentioning that by this point I had the desire to spend part of my year, working in the US, so I also considered agencies abroad – especially those that have offices both in the UK and US. Once satisfied with my initial list, I started searching for staff on LinkedIn and added anyone who was either a Creative Director or Head of Design. I also, looked for previous/current interns for a further insight into the company. Soon I had gathered a directory of professional contacts, of which I could now contact directly. I felt that this would be the quickest platform to get a response, as oppose to emailing the company’s career email address and it later proved to be the case. The first few messages I sent to the employers were pretty lengthy and although they got opened, only a small percentage got any reply. Consequently, I altered my tactic and began sending concise introductions of myself (around 3 sentences long), alongside a link to my online portfolio. From doing so I began receiving a lot more replies – more so from the Americans, surprisingly. After a while I realised that these conversations followed a similar pattern. They’d usually start by the recipient opening the message and then replying a couple of days later after looking at my portfolio. Luckily the standard of my work wasn’t an issue and the feedback I was getting was generally positive. A couple of the American’s kindly went through the effort of writing substantial feedback for each individual project in my portfolio, which was really helpful! More than often Creative Directors would then send my details over to HR to see if there were any potential positions available for me. It then became apparent that although Creative Directors are in a relatively high up position, they didn’t have the authority to bring me into their company before running it through HR first. Therefore, I changed my tactic once again and began searching for HR and Managing Directors in addition to Creative Directors. After hours and hours of persistent chasing and a week after the official launch of DPS I had my first Skype interview with Lee Fasciani: Co-founder and Creative Director of Territory Projects in London. He initially offered me a 10 week placement, starting the following week, which later got extended to four months. Sarah Armstrong Wilson
Imagine the complete opposite of London, add a few more cobbled roads, a very steep path up to a castle and you’ve got Nuremberg. When I started my internship at the beginning of February I had no idea what to expect from this small town in Bavaria, Germany. It seemed anyone who knew anything about the war knew of the city but the only place I had been in Germany to compare it to was Berlin and although only a few hours apart by train it feels like it is on a different planet. So what is Bavaria like? First off, the super markets shut at 8pm 6 days a week, meaning no midnight snack or beer runs here. The only reason it is 6 days a week is because everything is shut on a Sunday. So Saturday evenings in shops are a complete write off as everyone acts like they are stocking up for weeks and not just until Monday morning. After getting used to it at first I would say that I don’t really miss shopping on Sundays anymore. It has forced me to make plans other than just going shopping and going in the same shops over and over again. The work life balance is something that is really important in Germany which I still find very strange but great also. My weekly hours are 39 as an intern and I am aloud to make these up throughout the week however I wish as long as I don’t work past 8pm or work on a Sunday. Also any overtime you do you get back so even thought I already get holidays I can take extra ‘flexi days’ if I have hours left over. Everyone I have spoken to about my internship so far seems so surprised that the adidas global headquarters are based pretty much in the middle of nowhere. The HQ is in Herzogenaurach (don’t ask me how to pronounce or spell that one) which is around 40 minutes outside of Nuremberg. It’s like a completely different world from the city which is already pretty small but this is next level. At first it was super annoying to get to and from work but once I got the hang of the company shuttle bus I started to really appreciate the feeling of being out in the country side for the best part of my week. Because the campus is in the middle of nowhere adidas have been able to build this amazing campus that caters to pretty much everyone’s needs with sports courts to on-site restaurants with that five star holiday buffet vibe. Now at the half way point of my internship I have had enough time to settle in, make friends (including the campus geese) and learn to love the city for what it is, small but lively and I probably will miss it when I am back in London in a few months. Tabriaz Waheed
What I love about motion graphics is how story is being told. I find it interesting motion graphics has develop throughout the year along with technology which make a big impact on story telling. My favourite designer is Simon Holmend because I really like the visual he makes with any animation he makes. I agree with what he say as well “software plays a big deal.” You can have a good idea but don’t know how to make beautiful visual you’ll have trouble in motion graphic industry. I always try to push myself in software and ideas by producing every day renders and creating realistic environment for example forest, jungle and many more. My experience working for Peter Andrewson studio wasn’t amazing. I was doing most of the 3d work but they weren’t sure what kind of direction they wanted to go to and I personally felt tired and wasn’t very motivated. From working there, I have not learnt anything at all and felt a complete waste of time. When I was when Luke hall’s studio I had lots of 3d work to do and I was learning so much that I improved every day and enjoyed waking up to go to work. Overall, I would not work for peter Andrewson studio ever again. I started to daily renders to boost my creativity. I wanted to explore particle and the relation between shape, so I started to learn Xpresso which is a visual code. The I was happy with the result as I learnt a bit of Python which is very hard coding system to learn. I used redshift to render this out because I felt it would enhance the image and make it more beautiful. I composted the render in Fusion9 which is a node base, with After Effect is layer base. Another fun person project I currently working on and not finish is using motion capture data. I wanted to create a fun animation with what I can do with the motion capture data and create a short film calling it Dance Off. So far, the progress looking good and with the power of redshift I can render things much better. What I need to do after finish rending I would need to composite, lighting, timing and then adding sound. |