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Showing posts with label Craig_Shoji. Show all posts
Showing posts with label Craig_Shoji. Show all posts
Friday, September 7, 2012

What is An NDA or Non-Disclosure Agreement?

Alternate ending for Iron Man 2 by Ryan Meinderding
Whiplash says, "Don't release that concept art!" One thing that has a huge impact on my blog is the NDA (Non-Disclosure Agreement) that studios use. Since I'm not in the industry, I'm an outsider looking in.

In some cases I find artists that have worked on a film years ago and there's no problem sharing the art.

Other times I know a movie is coming up and contact the artists. I know they can't reveal any details without approval from the show or until after it has been released. But I can at least line up the illustrations and interviews for the day the show opens.

For those outside Hollywood the question comes up: What is that thing anyway?

I contacted five major industry artists to find out what an NDA is and how it affects their work. They all said NDAs are a necessary part of the industry and it doesn't impact them unless they can't show their work.

Dawn Brown is a set designer and concept artist in the film industry for almost 20 years. She's worked on huge films like Star Trek (2009), Alice in Wonderland (2010) and the upcoming The Hunger Games: Catching Fire (2013).

Craig Shoji is a concept artist who's worked on blockbusters like Avatar (2009), Thor (2011) and Men In Black 3 (2012).

Nathan Schroeder is a conceptual artist in the movie industry that has a huge comic book pedigree with films like The Avengers (2012), X-Men (2000) and Star Trek (2009).

Rob McCallum has been a storyboard artist for almost 20 years in movies and television. You've seen his work on Falling Skies, 16 Blocks (2006) and Resident Evil: Apocalypse (2004).

Andrew Probert is the legendary concept artist who helped create the DeLorean in Back to the Future (1985), The Enterprise in Star Trek: The Next Generation and more. He has over 34 yeqars of experience in the industry.

What is an NDA?

Dawn Brown
"A Non-Disclosure Agreement is basically a confidentiality agreement between the employer and the employee. It requires that the employee not share any information they receive while working for the employer. In reference to concept artists working in the film industry, every studio asks us to sign one at the start of every single show. We must promise not to publicly discuss or share any artwork, designs, script info, etc. The term of the agreement typically ends when the feature film is theatrically released."

Craig Shoji
"I'd say it's a written, contractual agreement between (at least) two parties that infers that there will be 'confidential' material and information shared, and that neither party should 'disclose' any of that information to any entity outside of that contract.

"In film it's usually between an entity that's labeled the 'Producer' and one that's the 'Artist.'

"Although there aren't normally expiration dates on them, the producer usually determines when information can be shared to the public by first releasing it. Either through a public trailer, marketing material, the release of the movie, or a 'making of' book. I believe they still reserve the right to ask an artist to not publicly showcase any work created under that contract for whatever reason."

Nathan Schroeder
"An NDA is a non-disclosure agreement that we all sign whenever we start a new show.  It says we cannot reveal anything about the project we are working on (presumably until the film is released.) "

Rob McCallum
"I'd say an NDA is legal document you sign stopping you from telling anyone outside of the production- in this case- anything about the project so it's kept a secret. They are common on all jobs these days. You can't show work to anyone, you can't tell anyone details if it hasn't officially been released."

Andrew Probert
"An NDA is an agreement signed by a person who's hired to work on a project of which the producer does not want it's contents revealed to anyone not working on that project."

How does it affect your work?

Dawn Brown
"Personally, I think its perfectly reasonable for the studios to ask the crew not to spill the beans on their projects. As far as how it affects my work, the hard part is the giant lag time between when we wrap a show and it's theatrical release.

"For example, I finished Oz: The Great and Powerful last summer 2011, but I can't show anything until spring 2013. By the time I can add it to my portfolio, the artwork will be almost 2 years out of date!

"But that's the nature of the beast and most people understand this and play by the rules."

Nathan Schroeder
"It only affects us in that we can't post work on our website until a show comes out.  It can be a problem if a show goes down and is never released."

Andrew Probert
"The only way it affects my work is in not being able to use the materials I've provided (as works for hire) as work examples, to be shown to anyone outside of the project until (typically) that project has been released to the public."

Craig Shoji
"As far as how it affects me, it's usually a little bit of a bummer that I can't 'show off' the work that I create until a couple of years after they've been completed and the film is released.

"But internally, usually all the people who are in a position to hire me (producers, production designers) on the next film have come across that work in the pipeline, or are already familiar with my work and working with me. The producers and production designers that come across my work have most likely already signed an NDA with the studio or they're part of a company that has most likely signed off on the NDA (post production house, working on a sequel to the film, etc).

"So it's usually not a problem for establishing 'credibility' for finding work. And it's a necessary part of working on a creative property so I wouldn't hesitate to sign one that I've read through and OK'd."

See more of the artist's portfolios at their sites
Dawn Brown dawnbrown.net/
Rob McCallum mccallumart.com
Andrew Probert probertdesigns.com
Nathan Schroeder nathanschroeder.net
Craig Shoji pensketch.com

Did you learn anything about the industry? What do you think about NDAs?
Wednesday, May 30, 2012

Updated: See The Unfilmed Scenes Of Men In Black III (2012) Concept Art by Craig Shoji

Concept artist Craig Shoji has posted some illustrations he did for the hit film Men In Black III (2012) on his website.

Here's what Craig told me about working on Men In Black III.
It was another really fun dynamic working with the same creative team as THOR and since most of us transitioned straight on to MIB3, there wasn't really a lull in the chemistry and productive momentum. However, this time it was much more quirky 1969 and 2012 'alien' spaces instead of Norse, god-like 'alien' spaces.
The film went through a host of script changes and the art reflects that. For example, in one version, the jailbreak in the beginning had "Boris the Animal" (named "Boris the Biker" in the script) and his girlfriend "Devil Girl" escape from prison and travel back in time together. Apparently, there were scenes set at the World's Fair and a morgue at MIB headquarters. 
Craig cleared this up:

Q: This movie kind of establishes the '50s feel for the MIB headquarters. What was it like designing that?
It was a lot of fun to work on the '69 headquarters design. In the previous headquarter designs from the past movies, they referenced Eero Saarinen's furniture styling with the shape of the stem and base of his tables and also established the look of the mirrored row of chrome columns running down the walkway. When playing with these motifs for a more appropriate 60s feel we embraced the idea that the best architects of the era (Frank Lloyd Wright) had helped contribute to the space. This led to creating the lily pad columns similar to what he used in the Johnson Wax building. It worked out well cause these kept the older aesthetic motif of those iconic columns in the 2012 model and previous headquarters, as well as provided a light source and great graphic visual for the ceiling space.

A lot of other fun shapes we were playing with were smoothed out beveled rectangles in place of a lot of the ellipsoid and circular shapes in the 2012 version. This carried through the whole headquarters from screens, to windows, to walls and even the graphic pattern of the carpet.

There were some great 'mad men' brainstorm moments where we thought 'why wouldn't they have a bar in the middle of the headquarters? It would be great to see all the agents and aliens grabbing a scotch together so casually as they did in the 60s. So in a couple concepts I included that space in the headquarters, though I don't think it ever made it into the movie. :)

Q: The LunarMAX prison has shots of Boris "The Animal," but he looks very different. Were these early designs or just your interpretation from the script?
There was an early design for Boris from Rick Baker's team that I was referencing for that shot. It was before they settled on the prison garb, and refined all the finger-esque claws on him. I was responsible for illustrating the scene from the script when Boris blasts the hole in the prison and everyone flies out, but the details of how he 'clamps' down on the floor weren't worked out yet.

Q: There are two scenes I didn't see in the movie. Could you tell me about the "morgue" and World's Fair scenes?
Ah yeah, there were a couple scenes that didn't make it. I think Barry decided they slowed the pace down too much. There were a couple scenes written in where Will and Josh spend more time in 1969 in these different sets (galaxarium, and the morgue) digging up more info on Boris and his plans, but they got axed.

The World's Fair image is the wall mural that was used in the 1969 and 2012 headquarters. I was responsible for the design of that and putting a package together to be printed out at full scale. It was a great graphic break from all the interior designs, although it taxed my computer to the max with the file size.


First, LunarMAX prison for "Boris The Animal" (Jemaine Clement).



MIB Headquarters Galaxarium
Jet Pack Station
A deleted scene in the MIB morgue circa 1969


 

These are from MIB headquarters circa 1969





 

"The Shack"

There's a lot more to see, so head over to Craig Shoji's work at pensketch.com

What do you think of the concept designs?
Wednesday, May 25, 2011

Craig Shoji Talks About Creating the Breath-Taking World of 'Thor'

I have another exclusive interview with concept artist Craig Shoji, and he talks about "geeking out" with Marvel, working with producer Bo Welch designing the world of Asgard and bringing Jack Kirby's comic book designs to life.

You've seen a lot of Craig Shoji's work without knowing it. A freelance artist living in California, he blew us away on The Golden Compass (2007), Avatar (2009) , Alice in Wonderland (2010). Now he's done it again with breath-taking visuals of Asgard for Thor (2011).


Q: How did you decide to become a concept illustrator versus other types of art?
It took a long time to even figure out what a concept illustrator was! When I was at UCLA I thought it was either graphic design for web, print or video, or new media (a la John Maeda and the MIT Media Lab). It wasn't until I took some foundation classes at Pasadena City College that I learned about Product Design and Entertainment Design. I began my Art Center education studying Industrial Design but soon realized that I enjoyed drawing fantastical things and realizing worlds that could only exist on a screen, than worrying too much about manufacturing and tolerances.



Q: What's your background as an artist?
(Image: Craig circa 1983)
I've always enjoyed drawing as a kid, but I was more a tinkerer than a painter. I liked to take things apart to see how they worked then attempt to put them back together again.

I got a degree in design at the University of California - Los Angeles, but it was a very general education and not too trade-oriented. So I continued my education in Pasadena at the Community College there as well as the private Art Center. It was here that I learned about entertainment arts and was able to network and refine my craft to do what I'm doing today.



Q: What was it like working on "Thor?"
(Image: Thor exterior Odin's Asgard tower)
It was both daunting and fun at the same time. There was a large team when I first came on (maybe 4 or 5 illustrators) but the production got pushed about 5 months and everyone but myself was let go. So for a long time it was just me and Bo Welch (the production designer) working on Odin's tower and Asgard which was a lot of early responsibility.

As I settled into my role and began resolving a lot of the design details, the production started ramping up again and I was joined by some more amazing talent. This is always great as an illustrator cause you have people that you're bouncing ideas off of and constantly being inspired by.

So it was a breath of fresh air to have a handful of creative people to share an office with again.

The whole department was incredibly fun to work and hang out with, so I really enjoyed my time there. It was also nice geeking out with the Marvel execs as they came by because I feel like we've all grown up with the same love for comics. And it was effortless to get excited about how these worlds we've come to know and love would be realized in the film.



Q: Do you work with traditional mediums or do you favor digital art?
(Image: Alice in Wonderland Courtyard sketches)
I love pen sketching on paper. I'm a big fan of ball point pens, brush pens, hitec-c pens, etc! The list goes on and on! A lot of my early ideas are established in a sketchbook as a doodle or preliminary sketch. Then I'll either redraw it on the computer, or build it out in 3d and paint in photoshop on top of it.

The digital medium has allowed for so much more flexibility as well as photorealism in such a timely fashion that the analog can't compete. In a film production setting, it's crucial to get the best result in the least amount of time, so unfortunately it's no longer practical to work solely in analog.

In my free time I like to pry myself away from the computer and pick up some gouache paints and illustration board. It's much more rewarding when you have to look, think, then place down the brush stroke, than scribble scribble, ctrl-z, ctrl-z, scribble, cut, paste, scribble, unsharp mask. :)


Q: While everything you have done has its own rewards is there one project that you're particularly proud of?
(Image: Thor Asgard courtyard painting)
I'm actually very proud of my work on THOR over any of my other past films. I feel like it gave myself (and the other artists) an opportunity to translate the original intent of Jack Kirby's Asgard in an updated fashion that was still tasteful and respectful. It seemed everyone had a take on what that vision was, all the way through post production, and it was great to see it evolve until the end result on screen. I'm proud knowing that I was part of the creation of that world, and that it was well received by the fans.




Q: Who influences your artistic style the most?
(Image: Avatar Pandora fruit)
I'm creatively influenced by so many people and so many things, but as far as style... I'm probably more influenced by the world around me.

I love photography, and trying to best understand light and how it bounces, reflects, absorbs, and blankets everything around us. I also love looking at master matte painting works and seeing how those guys resolved 'photoreal' illusions with a few brush strokes. Al Whitlock, Michael Pangrazio, Syd Dutton as well as my contemporaries: Robert Stromberg, Dylan Cole, Steve Messing, Yannick Dusso, Brian Flora, Yusei Uesugi...

There are a lot of people out there that I admire whom truly inspire me. Being lucky enough to have worked with, learned from and befriended is the icing on the cake.

You can check out more of his incredible work on Alice and other designs at pensketch.com. Also, follow him on twitter (pensketch) for updates.

Thanks for the interview Craig!

To read some of my other interviews with artists check out the full list here.

What do you think of Craig Shoji's work?
Monday, July 19, 2010

Slamming Thor Concept Art

Last week, some new images of the movie Thor (2011) hit the net and a lot of people hated the costume design.

Here are some pictures of the released concept art a while back. I'm skeptical that these images were ever used for pre-production, but, with the industry moving more towards CGI and digital effects it's possible.

Compare to the original costume design by Jack Kirby.

The movie has a ton of concept artists attached to it, so I have no idea who created them. Here's the list from IMDB: James Carson (concept artist), Vance Kovacs (concept artist), Ron Mendell (concept artist), Kurtis Richmond (concept artist Fuel: VFX), Raj Rihal (concept artist), Maury Ruiz (concept artist: Legacy Effects), Craig Shoji (concept artist), Tully Summers (concept artist), Daphne Yap (concept artist).

[Image Source: Collider.com]