This is the celebration of the year! Our Design, Animation and Filmmaking has graduated. And ready to enter the industry.
Bernhard Subiakto from Octovate sharing his experience in creative industry, creating some of the best works including campaign for Gudang Garam TV Commercial and Visit Indonesia Year 2008.
Bernhard Subiakto from Octovate Group is invited. As one of the first Digital Studio College student, he has succeed to lead a creative team that creates a memorable TV Commercial for Gudang Garam as the celebration of Indonesia creativity. His team also creates the logo for Visit Indonesia Year 2008.
His message to all young designer is that design can be placed alongside with other industry as the one that truly rewarding, emotionally and financially. Thanks to Bernhard. Brilliant works!
Dahlia Zinnia Nizar received the Best Lecturer. Again!!??
Tjong Indra awarded with Special Appreciation as a Favourite lecturer. On behalf of all lecturers, Bima Shaw give the last message for the students. We give appreciation to the best lecturers in DS College, Dahlia Zinnia Nizar for Digital Design, Rully Rochadi for Digital Animation and Farizhad I Latjuba (Echa) for Digital Filmmaking and Special appreciation goes to Tjong Indra as the favourite lecturer. Bima Shaw represent all lecturers to give his last words to the students.
Then we give appreciation to our best students, Vina Puspita for Digital Design, Benny Kurniawan for Digital Animation and Ferry Arya Seto for Digital Filmmaking All Digital Design students and faculty posing together. Digital Animation students posing together with the faculty.
Digital Filmmaking students posing together with the faculty.
Vina Puspita, our Digital Design best student. Ferry Arya Seto, Our best Digital Filmmaking students give speech to his parents, friends and lecturers.
Student parent give thanks to all lecturers and academic team at DSCollege.
After a wonderful moment to take pictures together, we close our event with portfolio showcase and pray to the graduates and Digital Studio College. We pray together for DSCollege and our students future.
l to r: Scott McCloud, Douglas Rushkoff, and moderator, Marianne Petit.]
New York’s third annual Comic Con marked another largescale celebration of geekdom, in its countless, oft-divergent manifestations. For all of the fanfare around Red Hulks and virtual worlds and maddeningly enigmatic 30 second movie trailers, for the attendees of a small but packed downstairs meeting room at 1PM on Friday afternoon, the Douglas Rushkoff/Scott McCloud panel was something of an intellectual equivalent to some long awaited and shockingly undisappointing teamup between, say, Spider-man and Superman.
Much of the limited buzz proceeding the panel could no doubt be chalked up to the fact that the event’s organizers, in their infinite wisdom, opted to schedule it two hours before the Con opened to the public, while artists and comic shop owners and members of the press stalked down the lonely aisles upstairs, looking to broker a half year’s worth of deals, before the flood gates opened to the costumed masses.
In many ways it was something of a blessing for those in attendance that the meeting of these analytical minds wasn’t hyped and reserved for some cavernous meeting room, like later convention appearances by folks like Grant Morrison and Neil Gaiman, and perhaps in the midst of three days worth of geeky excess, it’s nice to have taken part in something of a surprisingly well kept public secret.
In the admittedly insular world of comic criticism, our gods read McLuhan and can wax analytically at length about memes, while still feeling that tinge of excitement in anticipation for any number of forthcoming superhero movie adaptations. It’s among precisely this contingent that Scott McCloud and Douglas Rushkoff are superstars.
McCloud began his initial descent in our low-culture writing and illustrating his own superheroic creation, Zot, a path that has subsequently led him to both flirt with mainstream comics writing through books like Superman Adventures and to help pioneer the decidedly more indie concept of the 24-hour comic. But it’s McCloud’s more meta works for which he is best known, books like Understanding- and Reinventing Comics, which have helped earn him recognition as one of the medium’s leading theorists.
Douglas Rushkoff is one of today’s most highly regarded media theorists, penning a long line of well received books on the subject, including Cyberia, Media Virus, and Playing the Future. Rushkoff has also had his share of dips into the world of sequential art, penning the graphic novel Club Zero-G, and more recently completing work on the biblically-themed Vertigo series, Testament.
We had the privilege of conducting a brief interview with the duo, just prior to their panel, which was moderated by NYU associate arts professor, Marianne Petit. Check out our interview, as well as video and a complete audio recording of the panel, after the jump.
I know the plan on the panel today is, in part, a discussion of the future of comics. Twenty years from now, how do you predict people will look back on the present era, in terms of the state of the medium? Scott McCloud: We’ll, I’ve gotten in trouble making predictions just two years out. I think we share that anxiety about predictions, Douglas and I. but I will say that there’s a tendency for that parabole of change to look like a flat line, after you get to a certain point, so I think we’ll probably have a sense of this being in the infancy of the Web and certainly comics’ flirtation with it. I’m sure it will look as if nothing had happened yet. If you go 20 years from now, I’m sure people will look and say, “yeah, well, there was inklings of stuff,” because that’s usually how it is. In 1983, the computer was Time Magazine’s Entity of the Year. At the time, it felt like it was at the top of this enormous parabolic curve of progress and change. In retrospect, we look back and that period and think that things hadn’t really started yet.
Are you referring specifically to Webcomics?
McCloud: I think it’s true with the Web, generally. We’ll probably have the sense that it’s just the moment after the big bang. But of course now it already feels like there have been these momentous changes.
Where does that leave print? Is it flatlining?
McCloud: Print’s always gonna be there for something. I think there are some uses of print that are going to be sliding away. Already it’s clearly not the quickest, easiest way to get your message across. [To Ruskoff] What do you think of that one? Douglas Ruskoff: Well, I think print’s moving more toward souvenir status. You’ll hear about an idea on a TV show or on the radio or you’ll read something online, and then you’ll buy the book to have the souvenir of that idea.
McCloud: A tangible manifestation.
Or something like a movie tie-in?
McCloud: Except we were never really that used to holding movies in our hands. They never had a tangible manifestation. The tie-in is a genre thing. Sometimes that genre media thing can throw off our senses a little. I think I may be a little more inclined to look at the medium in isolation and know that genres are going to trace in and out like they live here, but they’re really just transient.
How do see pop-culture’s recent flirtation with comics as affecting the medium?
McCloud: I think it’s benign right now, it will turn ugly.
So it’s not necessarily a bad thing at the moment? McCloud: Yeah, well, it’s bringing some people to the medium and at the moment, in this particular time in our cultural history, it’s produced some okay movies. I mean, I’ll go see Iron Man. Ruskoff: Yeah. It’s dark in a way. You get some people—like actors that act in certain plays to get into a movie. Sometimes I get the sense that some people are doing graphic novels—more that just straight comics—as attempts to get screenplay deals. Certainly I know the business is structured that way.
McCloud: It is, but it’s interesting, because you have two currents. You definitely have that. There are companies like Platinum that obviously have their eye on the movie deal, above all other things, but you also have the success of people like Miller and Clowes, where the artist becomes the brand, and even the movie seems to be kowtowing a bit to the artist’s name. “Here’s the name that goes over the credits.” In some cases, like Miller, the top of the tree is the artist, and then moving down from that, you have the movie and the comics, but the artistic conception seems to be what’s driving the bus for a lot of people.
Ruskoff: > I would definitely say that pop culture and major conglomerates are swallowing up media at their own risk, because they’re taking in more bottom-up fringe culture than they’re used to digesting. Absorbing the book industry or Hollywood or even the music industry is one thing, but when they come after comics, they’re reaching down into the gutter. I think there’s some good, undigestable material down here. When people look back on this moment, 20 years hence, they may remember this as the moment corporatized media ate the thing that killed it.
Scott, you mentioned the recognition of artists like Frank Miller and Dan Clowes. Inversely, there are established artists like Joss Whedon or Michael Chabon coming into the medium. Does that help lend an air of legitimacy?
McCloud: it certainly sends a signal that it’s a lateral move for some of then. We don’t necessarily feel like Chabon is slumming, because he’s already established his interest in and affection for comics. Joss Whedon is also definitely a comics fan—a lot of people who worked on Buffy, I get the feeling they are. So, even though, in terms of dollars moved, or eyeballs captured, yeah, maybe it’s a step down, but I think that if you talked to those creators, generally they’d see it as just another outlet for their stories. For the two of you who have become well known for your critical works, is it hard to come back into the medium as creators?
McCloud: Well, everything I do is comics—I’m not as cross-medium as some people.
Do you somehow feel the need to perform extra well after demonstrating the critical aspect of your work?
McCloud: I need to perform extra well because I have my own history of mediocre comics. I just want to be a better cartoonist, that’s all.
Rushkoff: Sure, I think people who are familiar with my non-fiction writing might scrutinize my comics work with a bit more distance, at least at first. If they’ve got my other work in their heads, it might be a little bit tougher for people to enter into my comics as freely as they might otherwise because they’re trying to see if I’m applying this principle or that one into my work. Am I being true to some ideal that may have I put forth in ‘94? So I need to grab them into the story straight off, maybe with greater force than I might have otherwise, to get them out of one frame of mind and into another. It’s something I have to do myself as a writer, too. Are you applying that same eye for detail to yourself, critiquing your own work more than you think your standard comics artist or writer might?
McCloud: Well, there are certainly artists out there who aren’t too self-critical, but there are plenty who always look at the last thing they did, and just want to toss it off a cliff. I’m in the latter category—also, I have the addition problem that I just wrote a how to- book, so I’m really in trouble, if the next thing I do stinks. I have a story that I like, and I want to do a graphic novel. I’ve been spending a lot of time making it better than anything I’ve done before, because that’s a bare minimum requirement for me, personally. If it’s not a lot better than anything I’ve even done before, it’s not worth doing.
What was the initial seed for you, as far as launching into this new book? McCloud: In my case, I just happened to have an idea I liked—everything else just follows from that.
Douglas, how do you settle on the medium you’re going to use to tell your latest story? Ruskoff: Well, it’s one of two reasons. Either because the idea is really just perfectly matched to that medium, and can only be told in that medium, or because it seems like it would be impossible to express that idea in that medium, and I want the challenge.
Looking back over a long career, architect Moshe Safdie digs deep into four extraordinary projects to talk about the unique choices he made on each building -- choosing where to build, pulling information from the client, and balancing the needs and the vision behind each project. Sketches, plans and models show how these grand public buildings, museums and memorials, slowly take form. Source: Ted.com
An inspiring talk and manifesto for architect. Watch till the end. Andi S. Boediman
Deretan desain digital karya anak negeri dipamerkan dalam pembukaan Digital Studio Fair 2008 di eX Plaza Indonesia, Jakarta, Jumat (25/4) malam. Kegiatan yang diadakan Digital Studio College ini berlangsung hingga Minggu (27/4), juga menampilkan
Jumat, 25 April 2008 | 22:53 WIB
JAKARTA, JUMAT - Untuk mendorong potensi industri kreatif di Indonesia, pemerintah akan menggalakkan cross culture creativity atau kreativitas antarbudaya. Kreativitas-kreativitas baru diharapkan muncul dari persinggungan budaya antardaerah di berbagai pelosok Indonesia yang dikenal sangat beragam.
"Indonesia punya peluang besar dalam industri kreatif. Pertama karena punya culture sebagai resource. Sumber kita adalah keunikan banyak yang bisa digali. Peluang kedua agro sebagai resource," ujar Richard Mengko, staf ahli Menteri Riset dan Teknologi dalam pembukaan Digital Studio Fair 2008 di Plaza EX, Jakarta, Jumat (25/4).
Menurut Richard, volume industri kreatif di Indonesia saja sudah mencapai sekitar Rp80 triliun setahun. ia mencontohkan potensi yang besar dari nila transaksi sebuah pameran produk ekspor di Jakarta baru-baru ini yang meraup Rp1,5 triliun hanya dalam waktu lima hari.
"Ini suatu kue yang besar maka Depbudpar, Ristek, dan Depdag sepakat akan membentuk Indonesian Creative Council yang akan menjadi jembatan untuk menyediakan fasilitas bagi para pelaku industri kreatif," ujarnya. Misalnya, hak perlindungan atas kekayaan intelektual karena tanpa hal tersebut industri kreatif akan mati.
Selain itu, untuk meningkatkan kepedulian masyarakat mengenai industri kreatif dalam negeri akan digelar Indonesian Creative Idol (ICI). Kegiatan yang akan memilih wakil-wakil berbagai daerah menampilkan kreativitasnya ini diharapkan akan mempertemukan budaya berbagai daerah dan menghasilkan kreativitas-kreativitas baru.
"Kalau orang Aceh bicara sama orang Ambon akan keluar kreativitas baru, juga kalau orang Sunda dengan Papua. Semua kombinasi akan membuat kuenya lebih besar," ujar Richard.
The Cre8ive Force poster alongside with portfolio exhibition on design, animation, filmmaking.
Bima Shaw as DS lecturer enjoying the exhibition.
Motion graphic of student's works on display.
Richard Mengko (Advisor to the Ministry of Research and Technology) sharing an insight on creative industry.
Mark Marcin (Industrial Light and Magic) and Aamir Ghani (Lucasfilm) enjoying the animation portfolio.
Andi, Amy Quek(Lucasfilm), Bernhard (Octovate) and Shinta (Bubu)
It's been a busy day. Cause it's our student graduation show! The Cre8ive Force Exhibiton. The students and the College team has been working all night to prepare this wonderful evening. Salute to all of the team!
The guests starting to come at 6 pm and we start at 7 pm. Shinta and Agung from Bubu, Bernhard from Octovate, Dina and Hesti from Atomz, Edi Taslim from Kompas Cybermedia, Jerry Aurum, Caroline from FDGI, Danu from Binus, Ellen from Matahari Timezone are among the guests. Thanks for visiting us guys!
We are honored to have Mr. Richard Mengko as the Advisor for Ministry of Research & Technology to open our exhibition. And out of ordinary, we also have Amy Quek and Aamir Ghani from Lucasfilm Animation (Singapore) and Mark Marcin from Industrial Light and Magic (San Francisco) coming to our exhibition. They have a wonderful evening getting to know the industry players in Indonesia and an opportunity to see the new generation of creative force!
The exhibition is still open until Sunday, April 27 at Plaza eX, Center Lobby. Enjoy!
The most brilliant thinker today on comics is Scott McCloud. His book, Understanding Comics is a must read for everybody working on visual communication field including comics, film, animation, design, etc.
His latest books – Making Comics is a complete process and concept on creating comics. He did a tour to promote this book throughout 50 states in US.
He also initiate 24 hour comics, a challenge to create a complete comic in 24 hours.
This is my presentation on WIPO International Seminar on Strategic Use of Intellectual Property for Economic and Social Development that is held in Denpasar, April 21 to 25.
The heated discussion is when the Head of BPOM mentioned that IP wasn't needed for jamu or traditional herbal medicine. And therefore generate a discussion on how to protect dance, textile design and other folklore.
My practical notes to the government and all the delegation from 30 countries is that IP education start with something simple, like explaining about the difference and application of trademark, copyright and patent.
I also suggest to adopt Creative Common as future generation content will be available and distributed on the net.
And see this presentation by Larry Lessig on TED.com
No expert has brought as much fresh thinking to the field of contemporary copyright law as has Lawrence Lessig. A Stanford professor and founder of the school’s Center for Internet and Society, this fiery believer foresaw the response a threatened content industry would have to digital technology -- and he came to the aid of the citizenry.
As corporate interests have sought to rein in the forces of Napster and YouTube, Lessig has fought back with argument -- take his recent appearance before the U.S. Supreme Court, fighting the extension of copyright protection from 50 to 70 years -- and with solutions: He chairs Creative Commons, a nuanced, free licensing scheme for individual creators.
Lessig possesses a rare combination of lawerly exactitude and impassioned love of the creative impulse. Applying both with equal dedication, he has become a true hero to artists, authors, scientists, coders and opiners everywhere.
Lucasfilm Animation Singapore is a fully-integrated Digital Animation Studio designed to produce digital animated content for Films, Television and Games for global audiences.
Together with Industrial Light and Magic (ILM) based in San Francisco, California they are currently working on blockbuster feature films for worldwide release. The studio is currently comprised of over 200 fulltime staff representing over 45 nationalities.
Lucasfilm is coming to Jakarta on Thursday, 24th April 2008 to present "Bringing Creatures to Life: ILM's Production Process" from 3 pm to 6.3 pm. For free admission, please register at www.lasjedi.com/events.
You can also come for a networking opportunity with Lucasfilm team at Plaza eX, Center Lobby on Friday, 25th April 2008 7 - 9 pm as part of Cre8ive Force Exhibition organized by Digital Studio College – School of Visual Communication.
This commercial is done at Bent Image Lab, for the agency Santo-Buenos Aires. Jim Clark was contracted to provide character designs and develop techniques to capture live facial performance that could then be manipulated, distorted, match moved and finally composited onto stop-motion puppets. Part photo manipulation and a lot of hand painting in Photoshop.
Inspired by the Moldy Body Object. Sun Tattoo is a soft stencil which can be used for making the tattoo pattern on the skin by sunshine. It's better to use it with sunless tanning cream.
Architect Norman Foster discusses his own work to show how computers can help architects design buildings that are green, beautiful and "basically pollution-free." He shares projects from throughout his career, from the pioneering roof-gardened Willis Building (1975) to the London Gherkin (2004). He also comments on two upcoming megaprojects: a pipe to bring water from the Red Sea to the Dead Sea, and the new Beijing airport. Source: Ted.com
This is truly an architect with an agenda. Norman used technology to fulfill biggest challenge. His design is beautiful as it respect nature. Andi S. Boediman
Open-source architecture to house the world (Cameron Sinclair)
Accepting his 2006 TED Prize, Cameron Sinclair demonstrates how passionate designers and architects can respond to world housing crises. The motto of his group, Architecture for Humanity, is "Design like you give a damn." Using a litany of striking examples, he shows how AFH has helped find creative solutions to humanitarian crises all over the globe. Sinclair then outlines his TED Prize wish: to create a global open-source network that will let architects and communities share and build designs to house the world. Source: TED.com
Not only software, but architecture can also become an open source, especially when it comes to humanitarian. I found this talk more humbling than the other stararchitects on TED. It really gives architects a purpose, not just cultivate an ego to design that doesn't engaged with people who really use them.
The World Is Flat 3.0 is Thomas L. Friedman's account of the great changes taking place in our time, as lightning-swift advances in technology and communications put people all over the globe in touch as never before-creating an explosion of wealth in India and China, and challenging the rest of us to run even faster just to stay in place.
The World Is Flat 3.0 is an essential update on globalization, its opportunities for individual empowerment, its achievements at lifting millions out of poverty, and its drawbacks--environmental, social, and political, powerfully illuminated by the Pulitzer Prize--winning author of The Lexus and the Olive Tree.
On November 28, 2007, MIT celebrated the initial publication of the entire MIT curriculum on OpenCourseWare. The celebration was hosted by MIT president Susan Hockfield, and included a keynote address by Thomas Friedman, columnist for The New York Times. The event also included a panel discussion on the future of education and OpenCourseWare, as well as an announcement of a new MIT OpenCourseWare initiative, Highlights for High School.
Once, I was invited to pitch for a deodorant client and we have only less than a week to conduct the study before the pitch. The key to win this project is to understand the consumer insight behind the brand. We are conducting a qualitative study with casual discussion among the users. Out of this discussion, we found a few insight that leads to the finding that deodorant is something that people use but never want to admit it.
We conclude that we should create a ritual that deodorant should be a part of an activity alongside with combing your hair. With this understanding, we got the project even though the deadline is very tight and we have to compete with all the big guys :)
Here's is the video supporting the insight presented above.
Sir Ken Robinson makes an entertaining (and profoundly moving) case for creating an education system that nurtures creativity, rather than undermining it. With ample anecdotes and witty asides, Robinson points out the many ways our schools fail to recognize -- much less cultivate -- the talents of many brilliant people. "We are educating people out of their creativity," Robinson says. The universality of his message is evidenced by its rampant popularity online. A typical review: "If you have not yet seen Sir Ken Robinson's TED talk, please stop whatever you're doing and watch it now."
Musion Eyeliner System was the holographic projection technology behind the 3D animation of the popular animated band Gorillaz, who performed 'live' at the Grammy Awards 2006. What's even more surprising is that the Eyeliner System also re-created a virtual Madonna, who performed her hit single Hung up on the same 3D stage.
Both the live and TV audiences who watched the performance had no clue that what they were watching at least in the first few minutes of Madonna's performance was just virtual reality.
The Grammys performance was a variation on the MTV Europe Music Awards in Lisbon, with the added attraction of a virtual superstar. Yes, that's right. The Madonna you saw on stage with Gorillaz at the Grammys was a virtual as her cartoon counterparts. However, the rappers from De La Soul who came onstage were, in fact, the real deal.
The Eyeliner System produces images of high resolution and quality that make them unmistakably real, which is what happened when Madonna performed the opening number at the Grammy Awards.
"I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated." James Nachtwey
copyright: Andi S. Boediman. 1995
I saw James Nachtwey photos in Graphis magazines and truly inspired and admired his body of works. I created this illustration that tells James biography. This work has been awarded The Best Illustration in Academy of Art College, San Francisco in 1995 and has been included in IdN selected works. I used this artwork for the Photoshop book that I wrote back in 1995.
The video below is his talks at TED Conference. You can see his works and his wish for the world.
Diesel wowed the style crowds with an impressive multimedia show in Florence. Projected motion graphics of models and creatures from the deep created the illusion that they were moving together down the runway along with live models.
Entitled "Liquid Space," the show played with concepts of metamorphosis as strange hybrid forms of man, machine and sea creature appeared to float through space. With this show Diesel moved into a new creative realm, combining fashion and 3D animation technology in front of a live audience.
The grand master of Diesel’s famously attention-grabbing imagery is Creative Director Wilbert Das and special effects were created by the Spanish CGI animation studio Dvein along with Danish multi-media production agency Vizoo.
Dewasa ini, kemampuan robot sudah makin mendekati seperti manusia. Di Canada dikembangkan Aiko, robot wanita yang mampu melakukan komunikasi sederhana, belajar dari percakapan ini, membaca buku, koran dan memecahkan problem matematika.
Sedang di Jepang, dikembangkan Actroid DER2 yang dimanfaatkan sebagai penyambut tamu pada berbagai expo.
Aiko has the ability to talk and interact in the same way as a normal conversation with any other human, including the ability to learn new things from conversations (13,000+ sentences). Aiko can read books, newspapers (font size at least 12 pts). She has the ability to solve math problems displayed to her visually. Aiko has the ability to see color patterns on the clothes you are wearing. Aiko in theory has the ability to bring you your orange juice or coffee. In other words, Aiko can distinguish between the different drinks. She can also recognize simple foods such as Hot Dogs, Hamburgers and Sandwiches. Aiko has the ability to recognize the faces of family members, or Aiko can be programmed to activate defense mode when it does not recognize the person’s face in the house such as in the case of an intruder. How advance is Aiko? When you are about to go outside, Aiko can tell you to bring an umbrella if it is going to rain or wear warmer clothes if it is windy. Hopefully, some day Aiko will have the ability to move around the surrounding. She can do push-ups, and sit-ups just like a human.
Future Aiko:
Build a more advance taste bud system.
Further develop the ability to move around the environment more smoothly including going up/down stairs.
Enhance functional ability such as include the ability to cancel your meetings or make other appointments, and relay your messages by email or MSN to any person from your group list.
Develop a breathing system.
Ability to massage shoulders and neck.
Ability to map the surroundings and upload to data server.
Kokoro a division of Sanrio which specializes in robotics has unveiled the Actroid DER2 fembot a successor to the Actroid DER. Its limbs, torso and facial expressions are controlled by a system of actuators powered by pneumatic pressure. She can even choreograph her motions and gestures with her voice.
Actroid is designed to work as a receptionist or emcee. The receptionist version sits in a sensor-laden booth and can answer questions in four languages, almost like a fortuneteller. Four receptionist Actroids gave directions to visitors at the 2005 Aichi Expo in Japan.
Di situs ini kita melihat bagaimana digital media dimanfaatkan sebagai media pembelajaran. User generated content, second life, social networking, semuanya dimanfaatkan untuk memperkaya wacana dan proses belajar. ___________
Welcome to Global Kids Island.
Supported by the John D. and Catherine T. MacArthur Foundation, Global Kids Digital Media Youth Initiative (DMI) was launched in January of 2006. The DMI is a series of interrelated programs designed to support teenagers to think critically about the role of digital media in their lives and document their experiences in various media. These voices will gather youth voices about the role of digital media in the lives of today’s young people in order to inform the newly announced MacArthur Series on Digital Media and Learning.
The DMI include:
A Digital Media Youth Advisory, composed of Global Kids Youth Leaders
Organized as the first event of the project, 2008 APEC ICT Poster Competition highlights the educational outreach effort of the project. With the theme of “ICT for Hope,” the event will provide interested citizens of all twenty-one APEC member economies an opening to convey their thoughts about how we can use ICT to better our lives, while preventing and curtailing the negative side effects that may accompany the rapid advancement of ICT.
The event will accept entries until May 12, 2008. A total of USD $18,000 will be awarded to thirty-seven winners across the Asia Pacific, including one Grand Prize winner, who will receive a cash prize of $5,000. Winning posters will be exhibited in APEC member economies during the second half of the year, including the 2008 APEC host Peru.
In order to maximize the educational impact of the event, local promotions led by interested organizations, institutions, government departments as well as schools and individual practitioners in the member economies will be greatly appreciated. Promotional materials will be provided in seven languages including English, Spanish, Chinese, Indonesian, Korean, Thai, and Vietnamese and will be distributed to partner orgnizations. Downloadable files are also available on the project website at www.apecict.net.
For more information on the project and opportunities for collaboration, please visit project website at www.apecict.net or email us at hanah@ktcf.or.kr.
REDMOND, Wash.--(BUSINESS WIRE)--Ed Fries, former vice president of Microsoft Game Studios, has partnered with gaming giant Blizzard Entertainment®, developer and publisher of World of Warcraft®, the industry-leading, massively multiplayer online role-playing game that hosts more than 9 million subscribers, and launched his latest endeavor, FigurePrints™, a premium service that allows World of Warcraft players to create 3D statues of the individual characters they play in the game. “For the first time, we are taking this new technology and using it to bring objects out of a virtual world and into the real world through 3D printing,” said Fries. “We are turning the actual characters that gamers play into something that is tangible and physical, no longer just online, and frankly we just think that is really cool.”
By partnering with Blizzard Entertainment, Fries is able to give World of Warcraft players the ability to bring their characters to life via the FigurePrints™website, www.figureprints.com. The service will be available to the public today, December 11, and will cost $99.95 per figure. “Some day these 3D printing machines will be in everyone’s home,” said Fries. “But up until now they were only accessible to a few people in large companies. FigurePrints™ gives everyone access to this technology for the first time. Eventually, this will have application far outside the gaming arena.”
Some of the first to take advantage of this exciting new technology are owners of the recently announced Dell XPS™ M1730 World of Warcraft® Edition notebook. Each system includes a “golden ticket” for the printing of a World of WarCraft®character at no charge. About FigurePrints™
FigurePrints™, www.figureprints.com, is officially “launching” today, December 11, with this innovative 3D printing process available only to World of WarCraft®gamers. CEO and Founder Ed Fries is best known for his time at Microsoft Game Studios where under his leadership, Microsoft Games produced more than 100 innovative and influential games for both the Xbox and Windows platforms. Among the most notable: Halo, Age of Empires, Flight Simulator, Combat Flight Simulator, Rise of Nations, Zoo Tycoon, Mech Assault, Crimson Skies and Project Gotham Racing. About Blizzard Entertainment, Inc.
Best known for blockbuster hits including World of Warcraft®and the Warcraft®, StarCraft®, and Diablo® series, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Vivendi Games, is a premier developer and publisher of entertainment software renowned for creating some of the industry’s most critically acclaimed games. Blizzard Entertainment’s track record includes ten #1-selling games and multiple Game of the Year awards. The company’s online-gaming service, Battle.net®, is one of the largest in the world, with millions of active users.
an interview by Caleb Cheong ACM SIGGRAPH Singapore Chapter Chair for Industry Relations E: 3D@cavad.com F: +65 6312 5705(Siggraph Singapore chapter)
to Grace Dimaranan President Animation Council Phillipine __________
CC: Dear Grace, Dear Avic,
Thank you for your fast reply. I would sincerely appreciate more information regarding Animation / Game Development companies in the Philippines. I have many questions such as:
How many large companies are there? Meaning 100 staff & above. Are they locally grown or branches of overseas companies such as Disney? How many years have they been operating?
How many medium sized companies are there? Meaning 50 to 100 staff. Are they locally grown or branches of overseas companies such as Disney? How many years have they been operating?
How many small companies are there? Meaning 10 to 50 staff.
GD: Animation companies have been operating in the Phils since the 1980's. The animation Industry in the Phils is more than 25 yrs already. For registered companies under the Animation Council, its in the ACPI website. Under ACPI we have 40 companies and we have incoming new members next month. For the whole Philippines, the numbers would be around 70 - 80 companies serving different kinds of animation outputs.
There are local companies in the Phils wherein Disney, Warner Bros, Cartoon network, Studio B, Nelvana, Japanese anime shows are outsourced either as subcontractors, sister companies, satellite studio, partner studio or are involved in co-production ventures.
For estimation purposes ( acpi & non-acpi members ), large companies ( 100 staff & above ) -- 7 companies ( All foreign-owned studios ) ; Medium size companies ( 50-100 staff ) --- 25 companies ( mixture of foreign & local owned studios ) , small companies ( 10-50 staff ) --- 40 companies ( mostly are local owned studios )
CC: What are Philippines animation companies looking for? Are they seeking projects or investments or joint ventures? Are they open to the idea of merging with other companies? I know in Malaysia, quite a few small companies after awhile usually merge together like 5 companies merge into 1 larger company in order to take on bigger projects. What is the view of Philippine business owners to such proposals? Are they open or close minded.
GD: The Philippines animation sector is always open to all kinds of business options in terms of outsourcing, co-productions, investments opportunities to grow the industry. Yes, the industry member studios are helping one another in sharing work/ projects with no fear of competition. We opted to be cooperative in our industry & help one another. In this way, our govt helps support the sector thru promotions, trade fairs, exhibits & conferences. No, the industry is not close minded to other options. We are wary of course of animators/ artists' exodus or recruitment of our animators of other foreign studios ( India , china directors coming in the country to have Filipinos work in their countries. )
CC: Sorry I have so many questions because I have not been to the Philippines before.
GD: You should visit here in Manila ! You will be very surprised of the progress of the country to date & the infrastructure here. Most of the 1st time foreign business people visiting here, usually end up investing in the country due to the magnitude of talent and the proficiency & flexibility of the people. Please contact ACPI should you be visiting so that we can tour you to some of the companies here.
CC: I have traveled to visit Universities & studios in Malaysia, Thailand & Indonesia. I know many of the companies & lecturers in those countries as well as from my own country, Singapore.
What about training in the Philippines? Where do your staff get their training? What scale & level are the schools at? Is there sufficient supply of training institutes & teachers? How many training centres are there in Manila or the other big cities? How does a sincere person wanting to learn 3D get access to training? Please provide me with more details.
GD: We have Universities offering a degree in 3d animation, multimedia & animation courses, we have specialized training centers teaching industry -based 2D, 3D, Flash and very soon game dev courses. We collaborate regionally ( provinces ) to access art schools & universities to teach animation or tweak their curriculum to give way to new industry based teachings & trends. We co-developed a curriculum with TESDA concerning animation so that it will be officially published, disseminated to art & fine arts schools all over the country. These efforts main purpose is to increase awareness in animation & to increase graduates of animation so that they can be hired in the industry.
CC: I value such knowledge as it helps me understand your situation & to gauge the potential opportunities that SIGGRAPH brings. Will a visit by myself to the Philippines benefit the industry? YES, maybe enlighten us more what siggraph can do for our industry / animation sector.
Will I be able to understand the situation better if I were to visit Manila? Can we arrange for regular trips by Singapore Companies to the Philippines?
GD: YES, coordinate with our executive director, Ms Avic Ilagan of any visits intended for the industry.
Hongkong Filmart adalah pasar film terkemuka di Asia. Di sini para pelaku industri film saling menjalin network dan merupakan kesempatan terbaik untuk membeli hak lisensi dan distribusi film dan televisi.
Pada kesempatan ini, rekan saya, Caleb Cheong dari Siggraph chapter Singapore berkunjung ke Filmart untuk melakukan sosialisasi tentang Siggraph 2008.
Ini beberapa oleh-oleh foto yang diambil di Hongkong Filmart.
Pavilyun Malaysia di Hongkong Filmart
Caleb mengundang Grace, Presiden dari Phillipine Animation Council ke Siggraph Asia 2008. The ACM SIGGRAPH Singapore Chapter is a not for profit organization run by volunteers. http://singapore.siggraph.org/
"Wah saya terlambat nih, demikian pikir saya!" sambil saya bergegas masuk ke ruang Ceria di Hotel Shangrila. Hari ini istimewa, saya mendapat undangan menghadiri ramah tamah bertemu dengan Pangeran Andrew, Duke of York dari UK. Wah, tidak setiap hari mendapat undangan sekelas ini :)
"Ayo silakan masuk, semua sudah di dalam, sebentar lagi Pangeran akan masuk!" demikian ujar resepsionis dari yang ada di depan.
Setelah mengenakan badge berlabel coklat, saya langsung bergabung dengan teman-teman dari industri kreatif yang sudah memenuhi tempat di ruang Ceria.
Beberapa wajah yang aku kenal di antaranya adalah Pia Alisjahbana dari Femina Group, juga Harry Darsono desainer fashion kondang. Yoris Sebastian, pemenang IYMEY (International Young Music Entrepreneur) 2006 menyapaku. Dan ternyata seluruh finalis IYCEY (International Young Creative Entrepreneur), ada di sini, seperti Wahyu Aditya pemenang kategori film, Deli Makmur pemenang kategori fashion, dan banyak lagi.
Tidak lama kemudian, Pangeran Andrew masuk, dengan senyumnya yang menawan, kelihatan segar dan ramah. Ia menyalami seluruh hadirin dengan antusias, dan menariknya, ia langsung akrab berbincang dengan setiap dari kita. Saya pikir, wow, ini kualitas negarawan yang bisa membuat dirinya diterima setiap orang, dan mau meluangkan waktu meskipun hanya sekian menit untuk setiap kita agar merasa special! Belum pernah ada apresiasi seperti ini oleh negarawan di negeri sendiri.
Ia bertanya "Hmm, what is animation activist?" kepada Wahyu Aditya, atau "What do you think about art influence architecture or the other way around?" kepada Gustav, pemenang IYCEY untuk Design, dan "Wow, so many architect here!" kepada kita semua. Ia juga mencoba kursi hasil rancangan Leo Theosabrata. Brilliant! And very appreciative to all of us!
Acara yang berlangsung hanya 1 jam itu mampu mencair dan kita semua menjadi akrab karena kesempatan bertegur sapa dengan rekan-rekan. Bahkan mas Yudhi dari British Council mengajak saya untuk sharing my latest project, Ideopoliz kepada teman-teman di situ. Sekaligus kesempatan baik bertemu dengan wakil dari Binus, UPH, mas Djuhara dari IAI dan teman saya, pak Irvan dari FGD.
Sayangnya tidak boleh membawa kamera :) Anyway, oleh-oleh saya adalah undangan dari British Council. Nice experience!
Mal Gading Serpong disulap menjadi UMN World (Universitas Multimedia Nusantara). Di sini kampus yang dimiliki oleh group Kompas Gramedia memberikan informasi tentang kampus, mahasiswa dan teknologi.
Saya diminta berbicara tentang Animasi dan entrepreneurship. Merupakan suatu kehormatan saya boleh berbicara bersanding dengan idola-idola saya. Beberapa tokoh idola saya, mas Dwi Koendoro ngobrol tentang Panji Koming dan Mas Wedha berbicara soal Digital Wedha. Mas Wedha adalah ilustrator Lupus, bacaan saya waktu masih muda :). Tidak ketinggalan, mas Arbain Rambey, wartawan foto senior Kompas juga sharing di sini.
Ketika tim saya sedang mempersiapkan suatu event kreatif, muncul gagasan untuk menggunakan magic atau sulap. Pertanyaan yang muncul adalah, bagaimana sulap bisa merepresentasikan 'kreativitas' dan 'teknologi'?
Melakukan browsing di Youtube menunjukkan bahwa hal ini bisa dilakukan. Marco Tempest menjuluki dirinya virtualmagician. Melalui trik dengan iPhone, ia mengkombinasikan teknologi dan sulap.
