A part of ‘ res­i­dent evil’

The Star Malaysia - Star2 - - EDUCATION & FURTHER STUDIES FAIR -

DA­SEIN Academy of Art An­i­ma­tion alumni Loo Yong Kang, Pang Chuan Yuan and Tan Kirk Ching are proud to be a part of the world- ac­claimed CGI mo­tion pic­ture Res­i­dent Evil by Cap­com & Sony Pic­tures En­ter­tain­ment Ja­pan through Flystu­dio.

Res­i­dent Evil: Damna­tion, also known as Bio­haz­ard: Damna­tion in Ja­pan, is a fea­ture­length com­puter- an­i­mated film by Cap­com and Sony Pic­tures En­ter­tain­ment Ja­pan. The pro­duc­tion teams con­sist of artists and an­i­ma­tors from Dig­i­tal Fron­tier, the lead­ing CG pow­er­house in Ja­pan, and Flystu­dio in Malaysia. The stu­dio pro­vided modelling, an­i­ma­tion, sim­u­la­tion and ef­fects works to the Ja­pan pro­duc­tion team, CG artists and an­i­ma­tors at Flystu­dio.

Pang, Loo and Tan share their thoughts about the pro­duc­tion process and what it was like to work on one of the most well- known ti­tles in the world of gam­ing.

Bio­haz­ard: Damna­tion is the first an­i­mated fea­ture pro­ject since Flystu­dio joined Dig­i­tal Fron­tier Group in 2011.

Can you tell how the tasks were as­signed in the first place?

We’re as­signed to do props, sub- char­ac­ters and ef­fects by the level of dif­fi­culty and skills. Dig­i­tal Fron­tier sent CG artists over to do skills and knowl­edge shar­ing and briefing on the sys­tem and work­flow.

Let’s start with the props. Can you talk about the types and chal­lenges?

We did swords, knives, ropes, base­ball bats, etc. The pro­duc­tion team will make sure there is no copy­right vi­o­la­tion by cross- check­ing and ver­i­fy­ing the ref­er­ence or the de­sign, as de­tailed as the pat­tern or tex­tures on the swords. Shader ad­just­ment is prob­a­bly one of the hard­est. Since we vi­su­alised, say, a rus­tic sword dif­fer­ently, it took back and forth com­mu­ni­ca­tion and rounds of re­vi­sions be­fore it’s up to the mark.

Can you talk about your ex­pe­ri­ence work­ing with the CG artists and an­i­ma­tors from Ja­pan?

We learned a great deal by be­ing ex­posed to dif­fer­ent tech­niques, some de­tails of which were not con­sid­ered. Like re­duc­ing poly­gon count when not nec­es­sary to use in modelling is some­thing we didn’t know be­fore. We’re not only con­vinced by their ex­per­tise, but also amazed by their keen ob­ser­va­tion – they can tell how you did what you have done just by look­ing. No doubt they’re par­tic­u­lar and the work is de­mand­ing but what we have learned is re­ally cool and we have grown in terms of skills and work ex­e­cu­tion.

For more in­for­ma­tion, call 03- 4142 2990. Al­ter­na­tively, you can also log on to www. da­sein. edu. my or visit Da­sein at 3A- 12- G, Jalan Wangsa De­lima 10, Desa Wangsa, Wangsa Maju Seksyen 5, Kuala Lumpur.

Da­sein Academy of Art of­fers full- time diploma cour­ses in Graphic De­sign, Il­lus­tra­tion, Fine Art, An­i­ma­tion, Dig­i­tal Me­dia and Mass Com­mu­ni­ca­tion.

Come to Da­sein’s Info Day on March 26 and 27 and April 23 and 24 from 9am to 5pm. Talks ses­sions will be held from 11am to noon – “Fu­ture Ven­tures in Mass Com­mu­ni­ca­tion” and 1pm to 2pm – “Smart Start in Art & De­sign”.

is a fea­ture- length com­puter- an­i­mated film by cap­com and Sony Pic­tures En­ter­tain­ment Ja­pan. Three da­sein stu­dents were part of the team.

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