Animation Show of Shows – The Student Perspective

October 6th, 2014

On Thursday evening, the 25th of September 2014, Cogswell College was given the privilege of once again being host to the Animation Show of Shows. A collection of the most intriguing (and at times perplexing) animated shorts of the year from all over the world, the 16th Annual Show of Shows demonstrated a diverse number of contributors, ranging from studios like Disney and Pixar to small indie production teams.
Prior to the show, the two shorts that were easily the most anticipated by students were titled LAVA and Feast, from the studios of Pixar and Disney respectively. Feast followed the technique of an earlier short by Disney called Paperman, using 3D animation with the appearance of a 2D medium. With Feast, more concentration was placed on the language of shape and color in contrast to each other.

Feast by Disney

The story follows a stray puppy that is saved from the streets and given a home. The puppy is very lucky indeed, because his new owner is the kind of person who enjoys cooking for their pet on a daily basis. Consequently,

the pup is showered with bacon, eggs, spaghetti and meatballs. (At this point, I was feeling rather envious and really wishing I was the dog instead of a college student who doesn’t have time to cook.) Suddenly things change for the dog when his owner finds himself a girlfriend! *Gasp* Much to the dog’s horror (and to mine, being raised in an especially carnivorous family where meat takes up the top three food groups), his meaty, greasy diet is replaced by sprigs of parsley and brussel sprouts due to the girlfriend’s health-conscious influence. I won’t detail out what happens next, as the ending should be saved, but the resolution was pretty satisfying and it was easily one of my favorite shorts in the whole collection.

Other shorts in the program were more figurative instead of having an obvious plot (at the end of one, a friend turned around to me and whispered “What the hell did we just watch?”) and some in particular were on the depressing side and made the audience question life in general. One distinctive short was titled We Can’t Live Without Cosmos, which was simultaneously humorous and heartbreaking as it followed the story of two astronauts who were as close as brothers.

The biggest impact of all was made by the short titled Hipopotamy which the show’s curator, Ron Diamond, saved for last because – in his words – we wouldn’t be able to concentrate on any other shorts after we’d seen it.
Hipopotamy, by Piotr Durnala, framed humans in a light as if we behaved like hippos—the reverse of the concept of anthropomorphism. What we didn’t expect was that every character in the short was pretty darn naked in the most blatant sense. It was also disturbing as we found out that the humans behaved with extremely animistic instincts—children were not spared from violence, and women were subjugated to open force. It was a raw outlook on perhaps how similar humans’ behavior really is comparable to that of animals like the hippopotamus, and could be interpreted as a statement about things that desperately need to be changed about society.

After going to the Show of Shows last year, I was hooked and eager to see the presentations again this year. I definitely was not disappointed—I walked away inspired and feeling just a little bit different. It’s a refreshing perspective to see things from someone else’s eyes, and Ron Diamond’s collection achieved that for me once again.

by Sierra Gaston, Digital Art & Animation Student

Photos:
Feast by Disney
Ron Diamond (left), curator of Animation Show of Shows with Cogswell College Dean (right), Jerome Solomon

Industrial Strength Graduates and Commercially Viable Apps

October 3rd, 2014

Industrial Strength Graduates and Commercially Viable Apps

by John Duhring, Education Technology Specialist, Cogswell Polytechnical College

Introduction

To prepare students to enter today’s ecosystems, academic institutions are challenged to create environments in which students can learn not only what skills they need to acquire but also how to work as part of an ensemble of other talented individuals with the goal of producing something extraordinary. Learning as a group requires practice and the best practice is through the experience of making products together.  It is the assertion of the group described here that in addition to embracing what is called “collaborative learning,” colleges can graduate students who are ready to contribute to startup teams the moment they leave college with their experience enabling them to function at a high level.  In many cases, the curriculum for educating students for professions within startups and high–tech ventures draws heavily on the practice of publishing and the Cogswell approach we describe provides one approach.  While it is beyond the scope of this paper to discuss the learning objectives and assessments in place, the course described brings the process of publishing into a classroom experience in which the participating students earn credits towards their WASC accredited bachelor degrees.

For our purpose of examining how publishing processes can be experienced within an academic institution, we first extract the practice of publishing from the myths surrounding the publishing business.  The world of traditional publishing is filled with powerful narratives.  For instance, a publishing company is often called a “house.”  In it, a mythical editor diligently molds an author’s work into a “best–seller” while un–seen production planners and managers bring physical products to market.  Early electronic publishing ventures molded themselves on this model, particularly in the realm of gaming and animated films.  Hidden from view are the specialists and professionals who bring their talents to bear on each work.  It has been well understood: the only way to learn publishing is to work in publishing and that learning takes place over years of apprenticeship and mentoring.  Typically, students from colleges with liberal arts backgrounds are encouraged to give publishing a try.  They migrate to production or marketing, and they discover the roles of myriad specialties: cover design, publicity copywriting, developmental editing, ancillary rights management and royalty distribution.  Here’s a somewhat typical example.

With the current rise of mobile apps as a driving force in electronic publishing, the “house” model is migrating to a “studio” model in which the author team crafts its own works and sells directly to its own audience.  Double Fine Studios provides but one example. As small teams of college students embrace publishing, otherwise hidden facets of what makes the traditional publishing world work can be adapted into production pipelines tailored for each project.  The craft of turning inspiration into product is being embraced by organizations with no background in traditional publishing.  Innovative teams, often operating within larger organizations, look to hire professionals who understand their skillset, their place in production pipelines and the adaptability required to bring products to market.

Skills and Passion

Professor Thomas Applegate of Cogswell College in Sunnyvale, California organized a studio course within a college that is dedicated to bringing engineers and artists together in projects that reflect industry practice. “The students are learning another form of storytelling, from the inside.  They see what it takes to bring the story to life using modern tools to engage today’s audiences,” says Applegate.  The studio’s first work is about a seven year-old boy named Sebastian, his adventures and his personal transformation.  His experiences are delivered as a seven minute animated film bundled with an interactive book as an app for the iPad:   “Each of us is a Sebastian.  This project celebrates what it means to see the world through the eyes of a kid.  It’s for children of all ages and calls forward memories we sometimes salt away without much reflection.  The students are putting their skills to work as part of a collaboration, which means they themselves are in the process of transformation into professional roles even as they reflect on the story as it aligns with their own experiences.”

Drawing on his experience designing games for Sega, DreamWorks and others, along with his 16 years teaching at Cogswell, Applegate brought an original story to Cogswell and recruited students to join the team.  His example illustrates the academic and professional benefits surfaced through collaborative learning when the goal is to instill professional practices while developing a unique curriculum for students.  Participating students earn credit for the course and gain a rich portfolio to take with them into their professional careers.  Mirroring industry methods, the outcome of this project will be distributed through Apple’s App Store.  Such globally available publication vehicles enable Applegate to acknowledge the contributions of the participating students, much like the practice in publishing where a professor thanks those who helped in the production of his manuscript.

Video 1. Developing an inter–disciplinary project involves rethinking how traditional courses are taught.

The mix of skills students bring to the team are enhanced by the roles they take on during the project.  At one stage of production, physical sculpts are produced as reference models, storyboards rendered to document the arc of the narrative and color studies painted to orient the team.  At the same time, engineers build frameworks that will animate page turns, light scenes and bring sounds into the user experience. Since a seven minute animated film is rendered at 24 frames per second, literally thousands of versions of the film are produced as each character is rigged and their moves polished.  Students I’ve interviewed say the major value working on such an inter–disciplinary project comes from what they experience as part of a team.

Video 2. Students gravitate to the challenge of collaborating with talented peers.

Applegate interviews students who show potential as team members.  All Cogswell students are used to critique and presenting their work for class projects, but in order to function as part of his team, the personalities he finds must be complimentary to what is already in the collaboration. He looks for not only a deep–rooted skillset but also the ability to solve problems through critical thinking and to adapt as needs change.  He says, “At the front end, students are attracted to working on a project that is as sophisticated as what they aspire to work on in the industry.  While that is attractive to them, what holds their commitment to the project is what they bring to each other as a team.  Team members shift jobs as the work changes.  Team leaders become novice helpers and vice versa.  It’s a fiercely collaborative environment.”

Measurable Performance

Cogswell College has no varsity sports teams but project teams take on many of the characteristics of athletics with regards to teamwork, performance, roles and capacity.  Individuals in project teams such as described here are graded much like those within an athletic department at a major college.  Participation is not only essential it becomes the quality indicator.  People show up when they feel indispensable.  They challenge themselves to make the team work effectively and within that structure the creativity contributed by team members exceeds expectations.  Something transformational occurs as individual step beyond their own limitations and take on greater responsibility or embrace new challenges.  Cogswell’s faculty serves as “coaches” in this paradigm.  They establish norms and alignment with project goals and cheer on their team members to consider their opportunity to learn and develop their skills and value to the team.

As a WASC–accredited institution, Cogswell measures Learning Outcomes at a course, program and institutional level.  Proficiency in written and oral communications is required as part of every graduate’s performance.  Rubrics are structured to indicate whether a given student meets, exceeds, or goes above and beyond expectations in a variety of measures.  The rich communications fabric that develops between team members within projects provides ample opportunity to observe and measure proficiency and progress.

In the project we are examining here, which awards 3 credit units per term, Applegate requires a self–assessment from each student at the beginning and end of each semester.  The start point serves as a base–line and the end–point provides critical self–reflection on what has been accomplished in the period.  For each student to articulate their role and how it interacts with others forms one level of awareness.  To go beyond this to include how the pipeline or a production process adjusted based on participation moves the needle in a way that reflects professional practice and helps identify which students have the potential to take on greater mentoring or team leadership responsibilities.

As part of the project course, each student is required to write a paper that describes something they learned during the term.  This can be simply a description of some component of their skillset that they enhanced during the period or an observation about working with the team. When evaluating his students, Applegate also asks them to be teachers and to describe how they have helped their teammates to learn from their example or guidance.  He believes in shifting roles from student to teacher, and vice versa.  He says, “If the students have the opportunity to try teaching they get a completely different perspective.”

Better Together

Observing the course in action often takes the casual observer by surprise.   “This is what education should look like,” said one recent visitor, a corporate lawyer. The production goal is to evoke a single emotion around each scene in the animated film while at the same time to faithfully simulate that telling through the form of an interactive book.  For both the film and book sub–projects the work is broken out into animations and assets.  The storytelling takes on unseen sophistication by using the iPad to view the film and to interact with the book.  For instance, the sound track for the film is linear but for the book, sounds respond to user behaviors.  Likewise, animations throughout the book invite interaction.  For instance, users can pause in their reading of a nighttime scene in Sebastian’s back yard and trace stars in the sky to make up their own constellations.

Roughly speaking, the film animations focus on what is known as “character development.”  Each character in the work is examined at a level of detail that goes far beyond what is revealed in the story itself.  For instance, the only hint that Sebastian’s mother plays a major role in his life is revealed when a user discovers his sketchpad in the interactive app and flips through pages to see what he has written about her there. Technically, the images of the characters are sketched in a variety of situations and story–boarded before being constructed digitally.  This construction involves a complex structural design, or “rigging,” that creates a personality to the movements of the character.  The expressions, skin, hair and clothing are stretched and textured onto these structures and fine–tuned to the artistic demands of the project.

Alongside the characters, the props and objects that populate both the book and film require a team dedicated to their production.  Natsumi Nishi is a texture artist on the assets team.  She describes her job as not only designing everyday objects, like a clock that sits on a mantle, but as guiding and mentoring other students who like her have never been challenged to take on such a role that they might choose to pursue in their professional career.

Video 3. Roles in a digital production pipeline involve mentoring and learning new techniques.

From a management perspective, there is a weekly “all hands” meeting, in which the four major sub–teams come together to update their progress and describe their challenges.  These group meetings provide a level of problem solving that rarely happens in traditional academic settings.  The interplay between the sub–groups enables parallel production pipelines to result in orchestrated results and at the same time serves to keep everyone focused and on track.  The discussions lead to what ultimately appears on the upcoming schedule of jobs to be done.  They also serve to establish a common language about the project, for the entire team to gain a new perspective and appreciation for what they are accomplishing.

In addition, the sub–groups formally review their progress on a daily basis.  These “tracking meetings” provide a forum for timely suggestions and advice.  “There really is no place to hide,” says Applegate.  “It’s easy for students to micro vision the problem without seeing the big picture.”  Since the story is about childhood, stories from the students’ own narratives inevitably find their way into the work. In order for the work to be a good story, well told, the students are challenged to reset their perspectives regularly.

Present throughout the process is Applegate, who works with team leaders one–on–one to mentor and model the dynamics of team leadership.  He says, “Students will do what you say in many cases, but they will always do what you model. That’s what they pick up.”  He has created a laboratory that illustrates how teamwork, mentoring and ventures work together.

A Look Forward

As of this writing, the commercial possibilities for the story of Sebastian mirror the dynamics within this self-publishing venture.  No longer do the means to an audience reside exclusively in the promotional machinery of major publishing partners.  In very real terms, participation in a creative endeavor as described here involves communities that come together around what is produced.  The work will be made available through Apple’s ecosystem, but how the creators are able to engage with users directly is still to be seen.  As an academic exercise, the learning stands by itself, yet the meaningfulness of the work expands as audiences respond to the artifacts that are published and that story is yet to be told.

The learning outcomes of the approach described here might provide the strongest measure of their effect.  While we have described skill–building and team–oriented learning that comes into play, the profession–readiness aspects also deserve mention.  In the past year, two hires evolved from similar projects at Cogswell, one to Google and one to Industrial Light and Magic (Lucasfilm).  These Cogswell recent alumni now sit alongside the best and brightest in the world, working on projects with the potential to change lives.  Last year, another recent alum, Chris Evart, received an Academy Award in recognition for his contributions to the Disney film, Frozen.

Whether students matriculate into a studio, an enterprise, or a startup, preparing them to serve vital roles, contributing to the success of any venture, point to the skills and behaviors that they develop as a consequence of their involvement with their peers in producing commercial–grade media.  Typically, students graduating with a bachelor’s degree even from top–rated institutions rarely have the experience of managing multiple groups of people over extended periods of time, or over multiple projects.  Their ability to commit fully to a project or opportunity has been cited as a key reason for their hiring after all other factors have been taken into consideration.  Further studies into the educational value of “head–to–hand” and project–based learning would be well–served to adopt publishing frameworks for their model.


John Duhring (@duhring) is an Education Technology Specialist at Cogswell Polytechnical College.

Cogswell Student to Present Mobile App Game at SIGGRAPH

August 4th, 2014

SUNNYVALE, CA – A student from Cogswell College’s Game Studio will present a newly produced, school-developed mobile app game during the 2014 SIGGRAPH Conference’s “Appy Hour” showcase in Vancouver.

Cara Ricci, one of Cogswell’s Game Design Art students participating in the project-based learning Game Studio, will be presenting the new game, titled Tangram Jam, at SIGGRAPH. The game was developed and produced as part of a Cogswell Game Design & Development course. SIGGRAPH’s “Appy Hour” is designed to showcase the next generation of mobile applications and their creators. Demos by developers of interactive, animated, location-based, visualization and game apps will be presented.

Tangram Jam is an iOS and Android mobile educational puzzle game created by students attending Cogswell’s Game Studio. The game is aimed at third- and fourth-grade students, and has been designed to teach them concepts of adding fractions. The game leverages visual, auditory and kinesthetic learning style techniques in a fun and stimulating environment. 3D characters and procedurally generated music are also featured in the game.

Jerome Solomon, Cogswell’s Dean of the College and Director of Game Design & Development program, says,

“Cara Ricci’s contribution to the exciting new kids game Tangram Jam has been invaluable. She completely redesigned our user interface and contributed much of the game’s UX (user experience). She also worked as a character animator on our team. The look and feel, UX, and animations featured in this new game are critical to making its game play experience fun and engaging for third- and fourth-grade students.”

Adds Cara Ricci, “Almost everything on this project was new and different for me, since I had never previously worked on a video game project with a team comprised of more than five people. There was a lot of teaching and learning from each other, since we had to pass off work and take on unfamiliar tasks. It was exciting for me to have learned such a huge amount of information in a very small period of time. Our original idea was to develop a game that would teach fractions to children in a fun and visually pleasing manner. I believe that the kids who ultimately play Tangram Jam will learn math through shape and color association, as well as how fractions are basically pieces of a whole. Hopefully, it will also teach them how to make decisions quickly, and how to organize and categorize within a restricted time limit.”

As seen on Computer Graphics World: http://cgw.com/Press-Center/Siggraph/2014/Cogswell-Student-Presents-Mobile-App-Game-at-SIG.aspx

Other sources:

Computer Graphics World
Animation World Network
Gamasutra
Shoot Publicity Wire
Games Press

Video Gaming and Healthcare Industries Collaborate to Deliver Dual-Effect Treatment

July 17th, 2014

Do you suffer from anxiety, depression, foggy memory, or lack of focus? Your doctor may soon prescribe video games as a form of mental therapy.  In his recent article “Will Doctors Soon Prescribe Videogames?” Adam Bluestein reveals that brain-training games are quickly being welcomed as a means of therapy by both the neuroscience as well as pharmaceutical companies. The game featured in the attached video is called Neuroracer, “a specifically designed driving game… [for] age-related cognitive decline in senior citizens, improving memory, attention, and the ability to multitask.” says Bluestein.

However gaming-based health solutions aren’t limited to the senior market. Another Neuroracer platform game called EVO is being developed, by game maker Alkili Interactive Labs, for adolescent to middle age adult tablet users. “The game is currently being deployed in about a half dozen clinical trials, testing its effectiveness for improving function in kids with ADHD (in collaboration with Shire) and autism, treating depression (with the National Institutes of Health), and detecting early signs of Alzheimer’s disease (with Pfizer).” Says Bluestein.

Pharmaceutical companies are partnering with game developers to market drug-software “eFormulations”. “Imagine picking up your medication and finding a software code on the package that directs you to a complementary game,” Bluestein said. This will be particularly helpful in aiding general anxiety disorder. Benzodiazepine is the standard prescription, which usually requires a component of deep breathing and meditation. The games are designed to put the patient at ease and in a state of serenity needed to react with the medication.

Cogswell offers programs in Game Design and Development combining both engineering and art for games and various forms of interactive technology.  The possibilities of merging game design with the healthcare industry open up lots of potential directions for future designers.

Where do you see the partnership between the two industries leading? What other industries do you think may merge with game design in the future? Let us know in the comments!

Source: Fast Company

Cogswell Student’s Artwork Featured On Kotaku!

July 16th, 2014
Matt Bard

Dungeonesque Walls

One of our students, Matt “Bardler” Bard, had his polycount rock formation featured on Kotaku as, “A rather magnificent-looking, somewhat dungeonesque wall from Bardler”

Clicker here for the article!

Awesome job, Matt!

DreamWorksTV Hits YouTube With Shrek the Ogre ‘Vlogger’

July 16th, 2014

DreamWorks Animation has launched its YouTube arm, DreamWorksTV, with a slew of “vloggers” that you’ve come to know on the big screen (including Shrek, Puss in Boots and Kung Fu Panda) — and quite a few original newcomers, too.

As of Monday morning, DWA is officially cashing in on the No. 1 reason it bought Awesomeness TV for $33 million plus incentives last year: so it could leverage its popular animated characters online and help launch a bunch of new ones.

DreamWorksTV “combines DreamWorks Animation’s expertise as a global family entertainment brand with the digital savvy of AwesomenessTV,” the company said in a statement. DWA also shared several video clips exclusively with Mashable that will appear on DreamWorksTV for its Monday launch and in the coming days, including Shrek dispensing dubious oral hygiene advice (above).

Besides vlog posts from its stable of time-tested ‘toons, DreamWorksTV is also featuring original live-action shorts, including family-friendly reality shows Prank My Parents and Record Setter Kids; original animated web series like Jimmy Blue Shorts and Report Card.

If there was any doubt that AwesomenessTV is a huge part of this new effort, look no further than its founder, Brian Robbins, who is overseeing it for DreamWorks Animation.

“We’re tapping into the invaluable knowledge that Brian has amassed from his success with AwesomenessTV to create a unique, short-form, laugh-out-loud mobile experience for families,” DWA’s CEO Jeffrey Katzenberg said. “This is a huge opportunity for the DreamWorks brand.”

Additional series include kid-comedian sketch comedy show OMG; ensemble comedy Public Pool, which is actually about the goings-on at a public pool; Fifi: Cat Therapist, about a house cat who dispenses advice to neighborhood animals; best-of-web-shorts curation Watch This; and RetroToons, highlights from DreamWorks Animation’s classic media library.

Look for more original series on DreamWorksTV as summer rolls on, including Richie Rich, an original scripted series based on the comic book character.

Original post here.

Game Developer Diversity Is Needed to Further Industry Boom

July 10th, 2014

An encouraging report by the International Game Developers Association recently found that women now make up 22% of the computer game workforce. This is a massive improvement from the previous figure of just 4% of the UK industry in 2009.

But it doesn’t go far enough. A serious sector ought to have a workforce that reflects wider society. Until it does, the industry will see its creativity diminish, its reputation suffer and eventually its bottom line will be hit.

Although the computer games industry is approximately 40 years old it has grown rapidly over the past decade or two. What was once largely small firms and individuals programming in their bedrooms is now a $15 billion market dominated by multinational corporations. And it’s still growing — one forecast says the industry will be worth $82 billion by 2017.

According to the Entertainment Software Association in 2013 women represented 48% of players and are equal purchasers of games. So given all this, why are women still underrepresented in the industry workforce?

See the full publication here.

Visit Cogswell’s Game Design & Development program page to learn more about how to start your education and career in the game development industry!

Cogswell College Launches ‘Immersion Experience’ Program

July 9th, 2014

SUNNYVALE, CA — Cogswell College (www.cogswell.edu), an institution that offers a unique curriculum fusing digital arts, engineering, and entrepreneurship, has launched a brand new program, “The Silicon Valley Immersion Experience” (www.entrepreneurship.cogswell.edu/immersion). Now available to entrepreneurs and students on a global scale, Cogswell’s Silicon Valley Immersion Experience program just hosted its first group of participants — a team of entrepreneurs from Turkey. The announcement was made by Dr. Deborah Snyder, president and chief academic officer, Cogswell College.

Spearheaded by John Duhring, Cogswell College’s education technology specialist, five entrepreneurs from the Turkey-based Sabanci University’s “SUCool” Pre-Incubator Program, very recently visited the Cogswell College campus. The group also attended a series of meetings, workshops, showcases, meetups and presentations, including trips to Stanford University, IDEO, and the Institute for the Future; such top Silicon Valley-based companies as Google, Skype, Flipboard, and Eventbrite; financiers and incubators including StartX, the Founder Institute, Hackers/Founders, and Hanhai Investments, and start-ups including Good Eggs, gThrive, NVT, Diya TV, and others.

Read more on Computer Graphics World.

CGI Far From Monkey-Business in Dawn of the Planet of The Apes

July 8th, 2014

The latest installment of the Planet of the Apes franchise displays some of the most innovative CGI techniques to date. Weta Digital, the CGI mastermind behind such films as Ironman, Man of Steel and Avatar, has further evolved the digital animation process to achieve lifelike effects. Actors work side by side with the digital art and animation teams to achieve realistic facial expressions bringing the computer generated images to life.

In his article, “Is This the Most Remarkable CGI in a Film Ever?” Patrick Jong Tayor comments on the sequel’s amazing attention to detail. “To make it work, Weta Digital employed dozens of wireless 3D cameras to faithfully capture the actors playing the apes, who donned motion capture suits with active marker strands, measuring position, velocity and acceleration even if the markers were obscured from camera view, and witness cameras mounted to the suits to capture facial mocap information.”

Cogswell offers programs in Digital Art and Animation designed to prepare students for exciting careers throughout the entertainment, media and art industries. As seen with Dawn of the Planet of the Apes, CGI techniques need to be ever-evolving in order to compete with the next big blockbuster.

Dawn of the Planet of the Apes has an interesting plotline, astounding CGI effects, and a smooth transition in the fictional 10-year time gap between films. Do you plan on seeing this summer blockbuster? Are you Team Human or Team Ape? Tell us in the comment section below.

Source: RedShark News

“Transformers: Age of Extinction” Great for CGI – Bad for Bay…

July 3rd, 2014

Director Michael Bay is getting slammed with reviews on “Transformers: Age of Extinction”. The majority of which criticize his directing skills for an amateur in story line, a flopped plot-development, and an overabundance of product placement.

In his recent review, Boston Globe columnist Peter Kenough noted that it was “all shot and edited as if by a Cuisinart. In short, the cinematic equivalent of being tied in a bag and being beaten by pipes.”

This is the first installment of the Transformers franchise that we won’t be seeing resident protagonist Sam Witwicky, played by Shia LaBeouf. Instead we get the Hollywood star power of Mark Wahlberg, however his performance is also highly criticized. “Wahlberg spends a lot of time looking with awe and terror into the blankness of a green screen, later filled in post-production by Bay’s monumental, juvenile special effects’, critiques Kenough.

However “monumental” and “juvenile” the special effects are, one can’t help but step back in awe at the advancements in CGI animation and digital special effects. Shots of giant alien spacecrafts, a prehistoric dinosaur extermination, cityscape battlegrounds, giant robotic aerial dogfights, and rumors of a robotic Oreo cookie.

According to his review (embedded above) Mr. Sunday Movies says, “The special effects cannot be faulted… They should almost be called VERY-Special Effects.” Cogswell offers programs in Digital Art and Animation designed to prepare students for exciting careers throughout the entertainment, media and art industries. Special effects are key in producing summer blockbuster hits, especially those directed by explosion king Michael Bay.

Do you think Bay’s a CGI-Genious, or a bogus bomb of a director? Are you planning on seeing Transformers: Age of Extinction? Are you Team Optimus, or Team Bumblebee?

Source: The Boston Globe