Conceptualization and the Real-World
As anyone in the office can tell you, I am truly a National Public Radio junkee. In a recent NPR interview with Pixar’s Andrew Stanton, the writer and director for the feature film WALL-E, I couldn’t agree more with his underlying thoughts and comments regarding the close relationship that modern computer modeling bears with traditional design and production. (NPR: Fresh Air, July 10, 2008)
Before I get into my thoughts, some clarification is in order. The interview I reference and this particular article are not about the technical aspects of computer modeling, but rather the mentality involved in bringing a creative project to life. To better appreciate the interview, you don’t need a full comprehension of computer modeling concepts, but a fundamental principle will aid in understanding the challenge: to create a virtual and photo-realistic computer model, you have to address everything in the world quite virtually.
The extent of such efforts can become an endless game: a glass surface doesn’t just have to modeled smoothly; it must also have the right level of translucency and tint coupled with the right lighting to give a realistic reflection of the surrounding context. (The level of refraction is another variable which comes into play, for example there is a difference in how light is reflected though an empty glass versus one filled with water.) A successful design cannot be premised on whiz-bang features or slick-looking computer imagery. It must begin with a strong fundamental concept and be fulfilled by bringing the idea to life.
Stanton’s commentary focused less on the technical aspect of digital production, rather more on the efforts of many different crews (frequently more than 200 individuals), working in tandem, that are required to successfully produce even a short segment of the film. Sets are designed by one crew, props are modeled by another, the characters are developed by another group, and even Lighting and Shading has it’s own legions of dedicated individuals.
The similarity of feature animation to modern exhibit production is notable. At Echelon, our teams must likewise work in conjunction with one another: The prominently illuminated logos you see in a computer model must translate into a viable electrical floor plan for the installation crews. The translucent window graphics featured in a design concept must be produced and mounted a certain way to achieve such an intent. The height of a display counter must be appropriate for the task at hand. We can’t forget the fact, of course, that it all has to fit together and be structurally sound as an end product.
All in all, there is a difference between good-ness and great-ness both in the exhibit industry and in digital animation. The great ones are the ones who can transcend the virtual world into life; they are the ones with the vision, talent and team who are dedicated into translating a concept into the real environment. Though I may not work for an organization with hundreds of artisans, I am thankful to be part of a team with the drive to do exhibiting right.
Does your enterprise have such similarities? How does modern networking play in the work that you do? Want to know more about the intricacies of computer modeling? For more information about design trends, request it in a future posting — click over to our Ask an Expert form.
