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Tonight's the Night!
(That we talk to Adam Benton)
click for larger images
At a Glance:
Age: 33
Occupation: Freelance CG illustrator/designer
REVELATIONS title: 3D-artist/modeler/animator/conceptual designer geezer
Website: kromekat.com
RTOF: What's your background? How did you get involved with computer graphics?
ADAM:I have been drawing and painting since I could hold a pencil or brush (apparently), and it was evident that I had artistic ability from an early age, which was encouraged by my family. Subsequently I spent 4 years at college finding out how I might channel my creative energies into something useful, and I specialised in Illustration. I worked in acrylics, watercolours, charcoal and pencil etc, but as I became more focused on what I wanted to do (sci-fi illustration!), I added airbrushes to my tool list. This was all between 1986-90, when computers were only just starting to be used for design and typesetting, but coupled with the breakthroughs that Pixar and Disney had with CG at the time with films animations and films like Luxo Junior and Tron I was starting to become intrigued. I never imagined the power and tools we'd all have at our disposal only a few years later though!
RTOF: How did you hear about REVELATIONS?
ADAM:I am a member at Renderosity.com (online galleries & forums) and have certain forums notify me when a new message is posted. One in particular is the 'jobs/resumes' forum, from which I am used to getting dozens of notification emails from people who are making 'the greatest RPG game ever, and need 3D artists who will work for free!' - I was almost at the point of stopping any future notifications, when I read a post from Shane Felux (the director) requesting artists to contribute to the REVELATIONS fan film project, and It was the lure of being part of a Star Wars movie that made me follow up!
RTOF: So what does a visual effects artist do?
ADAM:In my case, I come up with concepts and designs for some of the film's vehicles and environments. Once they are refined and approved in basic or sketch form, I model, texture and light them ready for their eventual use in the animation sequences within the production. I shall be doing some of the sequences myself, but I will also be handing models over to some of the other artists for inclusion in their sequence tasks.
RTOF: Who or what are your influences as an artist?
ADAM:How long have you got? (grins)
Obviously the artists and FX people that have been responsible for all the 'real' Star Wars films' incredible visuals as well as many other films, novels and artists' work.
RTOF: Where do you get your inspiration?
ADAM:I think most artists get their inspiration from anywhere and everything. As above, film, music, literature.... Its coming in all the time, even when you don't realise it, but it gets stored and logged for the right spark to ignite the ideas at some point in the future - I don't think I ever switch it off really.
RTOF: What's been your greatest challenge on REVELATIONS?
ADAM:Well it's all a challenge in one way or another! One reason is because we are attempting to stay firmly within the references that we have of the existing Star Wars universe, but still be original and have some creative license. In creating one of the films hero ships, Declan's Cougar, I wanted to use certain design motifs that the fans would identify with existing SW craft styling. The pair of coffee machine 'cup' shapes behind the cockpit for example are typically Corellian, and appear in the Falcon, the Blockade Runner and Episode 1's Republic Cruiser in one form or another.
 
Another ship I designed and modeled was the 'Imperial Courier Class - Exigence'. A sequence in the script described an Imperial ship that launched several TIE craft to intercept the heroes. I thought that it would be cool to create a new type of ship that functioned purely as an 'aircraft' carrier, but I wanted to make sure that it was clearly Imperial in style, borrowing key lines from a Star Destroyer. This meant I needed to create a big and complex ship loaded with hangars and details.
 
I think my biggest challenge is yet to come in the shape of the Corellian Shipyards and a fairly long chase/fight animation sequence that will take us on a journey in and around this massive structure!
RTOF: What's the best part of this project?
ADAM:The teamwork! Artists, modelers, film crew etc from all over the world, working together to create something that we all have a passion for! Ultimately though, I think the best part will be sitting back and watching the final movie after many months of hard work by everyone!
RTOF: How does working on REVELATIONS differ from your past work?
ADAM:In that it's film - quite a lot, but I am approaching it as I would any still render or painting. As much as possible, I want each key shot I create to be composed and lit as I would any other image I would create. I have done quite a lot of other Star Wars imagery though, so I think many of the techniques I learned creating those will, and already is, influencing my work on this project
RTOF: Any advice for those looking to enter this field?
ADAM:Practice lots, post work on web forums and galleries and get involved with the communities out there - you'll pick up a lot of great tips and tricks, as well as meeting some great people who will be glad to share ideas and techniques with you. As a jobbing artist, I am not one to throw myself into every voluntary/amateur project going, mainly because of time, and the need to earn a living, but if you can take part in a professional project like this one, you'll gain a great insight into how it's all done and extend your abilities and contacts for the future!
RTOF: On most projects the visual effects team is in the same location. With the director based in Virginia, yourself in England, and the rest of the team scattered (the Netherlands, Australia, Canada, USA, etc), what type of challenges has this presented for you?
ADAM:I haven't found it too much of a problem really. I am used to telecommuting with the kind of work I do, so not actually being face to face with anybody to discuss things is par for the course, and besides, this way we don't have to see each other first thing in the morning!
It can be a bit tricky meeting people for a real time chat when your time zones are radically different, but for the most part I can catch other members of the team, and the all-important director in the States during my afternoon and evening.
RTOF: What have you learned by being on the project?
ADAM:That I need broadband! (grins)
I have learned a lot so far. Coming from the illustration side of things, I haven't had much experience with film or film SFX previously, and I am acquiring a lot of new techniques and skills. Many of my images have had a strong cinematic feel to them, with a sense of movement and speed, so I guess I must have been a frustrated filmmaker all along!
RTOF: What was it like seeing your Cougar class ship, the Corellian Dawn, go from your concept to being built as a live set?
ADAM:Amazing! It started life as a pencil sketch I did one evening whilst watching TV; shortly after, it took it's first step into 3 dimensions as a rough 3D sketch, progressed into a fully finished and textured model, and then a few months later, the talent were sitting in a full size version of the cockpit with flashing lights and super cool gadgets - it was real!
To be honest - it's an honour that I don't think has quite sunk in yet!
(See You Came Here in That? in our March issue for more on the Corellian Dawn, from concept to final render.)
RTOF: Is it true the director, after having approved your ship design later cursed your name as he was building the windows of the set?
ADAM: (laughs) I believe so - he obviously wasn't thinking too far ahead when he agreed on its angular design! Ah well, had I been nearer, I'd have been there to help out, although it's probably better that I wasn't, especially if he had power tools!
RTOF: What has your work been featured in?
ADAM:Over the last couple of years I have had artwork on the front covers of Renderosity.com's first ever CG magazine and front covers and interviews in 3D World Magazine & NewCG Magazine.
I had 4 illustrations used for Visa adverts at the Salt Lake Olympics 2002, and I am currently working on an image that will be used as the 'front' for a major musical show opening in London in October. It's called 'Tonight's The Night', it is also headed 'The Rod Stewart Musical' and is written by Ben Elton. Ben, Rod and his manager have all approved my artwork and love it! The first usage will be in a full colour ad in the Sunday Mail newspaper. There is a Sunday Times ad - there will be loads I am sure. The show starts previewing in mid-October in London. My partner and I are invited to the official premiere the same month and post show party - should be wicked! The image will be the show's posters and theatre banners (45ft tall!), as well as all the merchandising; CD's, t-shirts etc, so that's pretty exciting at the moment!
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