Dissolving Realities

by Artemis Weng

I like to 3D scan liminal places that I’ve been in daily life to document extra dimensions of reality in a more cinema way. I want to warp how we see reality that seems so close yet so far away by tracking my own camera motion instead of the real footage which helps to build perfect tension. I capture the surreal yet daunting world of our hazy dreams and memories, and let people wander and experience in this place where the rules of the universe do not apply. I embrace the fuzzy texture and imprecise nature of photogrammetry instead of trying to get close to photorealism. I find this more authentic to reality as there is no right or wrong, but only a different of perspective. Now seek your broken and missing jigsaw puzzles in this space and as you revisit it the old memories are revived piece by piece.

Artemis Weng is a sophomore design student at Goldsmiths, the University of London. Aspiring to create audiovisual, interactive, and immersive experiences; always open to trying new and experimental mediums that interest her. Artemis mainly works with 3D rendering, graphics, and music composing. She is interested in creating works that provoke sensations in the viewers.

She can be found on Instagram at @artemisweng, and more of her work can be found on her website at https://artemisweng.wixsite.com.

edited by Ingrid (Squiddy)

Hive Mentality

by Folake Fadojutimi

Hive mentality is a short-animated film which symbolises the convergence of hive mind and herd mentality and plays on the possibility of this theoretical term becoming real in digital technology. 

 This idea stems from the tweaking of our interests and likings through algorithms on social media, to our opinions and views changing through the following of influencers who share their opinions and views online, possibly a form of hive mind. And a link to natural instincts like herd mentality or herd behaviour, a human instinct used in the past as survival to stay in groups rather than surviving alone.

Folake is a postgraduate at Goldsmiths University studying Digital Media Image Making. She is a Freelancer in illustration/ animation runs and an art page on Instagram ‘Fizzyxox’ as well as a contemporary video art website.  https://folabii.wixsite.com/folake 

Folake is working towards becoming a multimedia artist and animator in future. 

Running, She Could Never Look Back

by Timo Chen

“The piece is the final brief for my 2nd year animation module, where we can either choose to create an animation based on the idea of shapes or use a six-word story as a prompt. I selected the prompt, “Running, she could never look back.” The main idea behind the animation is how we run away and try to escape from things that haunt us, but sometimes the very same thing that haunts us is also a part of us.”

Timo Chen is a third-year student studying Media and Communications. He is interested in animation and wishes to pursue a career in the animation industry. He claims that he likes drawing but is often too lazy to draw anything.

His Instagram is @da.weebmo.

Thatching Eggs: A Film Finalized During Lockdown

by Anna McNutt

At 24, freelance producer Max Marlow has skyrocketed past the clouds and is paving his way to sit amongst the stars. A former Goldsmiths student, Max completed his BA in Media & English in 2017 before working his way into the UK’s film industry and obtaining credits in the recent Star Wars and Kingsman series. He is now producing his first 3-D animated short film, Thatching Eggs.

As we enter a new reality of working from home, arranging Zoom calls, and organizing online events, I send an avalanche of questions to the inbox of an old friend in North London.

Max Marlow, 24, was putting his foot in the door of UK’s competitive film industry before even graduating Goldsmiths. Aside from producing an award-winning short live action film titled The Face of Chance, and having a following of over 10k on Instagram for his short versed scripts, Max’s most notable and recent credits include Asset Assistant on Star Wars Episode IX and VFX Production Assistant on the upcoming Kingsman prequel. 

His latest venture? Making his first ever 3D animated short film.

When Max and I first met at university in 2014, there was a subtle rivalry between the tidy Media & English students and the less refined lot from Media & Communications. He was in the former, I in the latter; in other words, I was dabbling in the darkroom on campus and writing poems on the back of photographs while Max was reading his required English literature list and developing original ideas for feature-length films.

We met at a mutual friend’s party along with copious amounts of boxed wine and Cher’s angelic voice playing off someone’s laptop, but despite the happy atmosphere, this slight difference between our studies arose and I immediately made the sweeping and rather immature assumption: this guy must think he’s better than the rest of us. 

But in fact, Max’s ambition is innocent and full of hope. Ever since I’ve known him, he has been dreaming - of creating characters, building worlds, and making movies.

That’s not to undermine the fact that Max is also remarkably driven. As disclosed in our interview, it was the hard work and persistence that helped him acquire opportunities at companies such as Paramount, Lucasfilms and Twentieth Century Fox. Read, in his own words, more about Max’s upcoming animated short film, the journey post-graduation, and how lockdown has affected life both personally and professionally. 

Q: Alright, tell us, what’s the secret? How did you get this far?

A: Hah, I won’t lie, getting a job in film, or even the internship, was not easy. Whilst university is a formative handful of years to find oneself, it is also a launch-pad – the force of which is wholly dependent on how you use your time. You’ll never get as much free time as you do at university.

It was the mountain of unpaid internships and student films I contributed to during my final year at university that got me my first job in film – a 6-month paid internship at Paramount Pictures, which I had to book a day off from to attend my graduation.

Star Wars worked out the following April because I kept spamming the studio with my CV. I actually spent several months after Paramount without work, but I’m happy to say that simply sticking to my guns and keeping my head up through the process has helped me land feet first in a galaxy far far away as a result.

Q: What is your current project, Thatching Eggs, about? 

A: Thatching Eggs follows a lonely satellite dish on a London rooftop forced to mother a bird’s egg that has fallen from its nest. I began developing the idea for a short film during my final year of studies inspired by Pixar films.

The satellite dish is its own character much like the lamp in Luxo Jr. Limited by finances, I also chose to approach the film with an 80s Pixar style which means plasticy and simple, like Knick Knack. 

After nearly 4 years, 15 international animators from LinkedIn and now-made Facebook friends, and a couple pounds spent here or there, I’m proud to be submitting my first 3D animated film to BFI’s Future Film Festival this August!

Q: What were your expectations going into this?

A:  I had no idea what I was getting myself in for. I never made an animated film before. I guess I expected a perfect render and my vision to come across clearly illustrated in the final work, however, budget, timing and geographical restrictions meant for miscommunication and glitches. In terms of actually making the film, I’m proud to say we achieved our goal in breathing life into a setting as simple as a rooftop, and telling a sweet short story in the process.

Q: How has the lockdown affected you, personally?

A: Well, as lockdown has put the UK film industry on pause since late March, of course, it’s affected my career progression. I am very fortunate to have been eligible for the furlough scheme, and so I’ve luckily been supported during this time financially.

Q: What about the film?

A: The film has been in production since late 2016, all that needed to be done during the lockdown period was VFX, music, edit and sound (so basically all of post-production). Luckily, the work could be done remotely and people were eager to get their hands on a project. I ventured onto LinkedIn and Facebook to assemble a crew, which turned out to be pretty easy!

Actually, this time locked away has almost indirectly acted as a blessing. I’ve finally found the time to crack down on half-finished projects and focus on myself for the first time in a while. The pandemic itself is terrifying, but – and though there has been a lot of bad that has come of it – there’s an undeniable silver-lining to the world stopping for one moment, and we have to be grateful for this too.

Q: What has been the most difficult part (pandemic aside)?

A: The most difficult part in making the film was the time-zone difference between myself and the animation team based in the United States. I’d get a play-blast (a grey animation test) sent over at 3 AM, get back to it by mid-day, then get told the feedback’s been received the next morning. 

Part of the reason the film took so long to make was the fact that no one on it was awake at the same time as me. That’s not to say they weren’t a great team, what actually made the entire process so enjoyable was that collaborative element. I met so many cool people in the process of pitching-to and bringing-on others to help finish this film. I’ve been keeping up with what they’ve been doing since Thatching Eggs and am always amazed by their creative growth. It’s inspiring and I look forward to working with them again on projects in future.

Q: Does this mean you’re thinking of making Thatching Eggs into a long form film?

A: I have an animatic produced (moving storyboard) for a second animated short I’d like to put together - but Thatching Eggs was only ever intended to showcase my ability to make an animated film. I’d be content with winning a couple awards and moving on, but who knows if I’ll ever return to it again.

Q: If you could give your younger self advice, what would it be?

A: The key is in the name. Make. Films. I know so many filmmakers from university who have ‘this great idea’ but still, to this day, never make a single film. Either they’re still developing it or they’re too busy right now. I don’t know how to animate and here I am talking about an upcoming animated short – 4 YEARS after having conceptualized it. If you haven’t got the gear, if you haven’t got the skill, if you haven’t got the faintest idea where to start – find someone who does. Get online, crew up and make magic. Or shit. Just make something.”

Follow @maxmarlow

IF YOU DON’T REPLY TO ME

by Molly-Mae Taylor

‘If You Don’t Reply To Me’ is a satirical commentary on the millennial world of dating. It strings together our desire to be replied to by those we crave attention from and mixes it with the bleak reality that sometimes we do need to take a step back and let others breathe. Taking elements from modern culture, references to a distaste for Morrissey but an appreciation of The Smiths, Luther, and Netflix, the animation firmly plants itself in the roots of what it feels like to negotiate attention in the modern world. The animation is itself, 2D digital animation – created on Adobe Animate and using a thin, white line to create shapes, movements and transitions.

Molly-Mae Taylor is a third-year student on the BA Media and Communication’s course, specialising in animation. Her interests and passion outside of university is in music and she is an emerging freelance graphic designer and video producer, working with a number of recognisable promotions companies, record labels and musicians.  Her work can be found at www.mollymaetaylor.com and @mollymaetaylxr. 

The University Life

by Mary Livesey

A short stop motion representing the student experience. Showing the perspective of multiple university students. A film for students, by students. 

An animation short made by students Stephen Hak, Thu Lam, Mary Livesey in their first year. Now all in their third year of their Media and Communications course, Stephen and Mary are specialising in Digital Video for the web and Thu Lamb is continuing with Animation.

Queen of the Forest

Gabriela Sibilska is a 2018 BA Media & Communications graduate. This is her second work published in GoldDust, the first being Bedtime Story. The Forest Queen is her final year piece, which won the Royal Television Society Student Award for Craft Skills in Writing 2019. It was also screened on multiple festivals, including the London International Animation Festival at the Barbican, Aesthetica Short Film Festival and Animeteka.

Gabriela is currently freelancing alongside studying for her Master’s degree. She’s recently finished a summer school programme in animation at Gobelins in Paris. To collab or learn more about her work, message her @blagabalanga or go to www.gabrielasibilska.com

Never Broken

by Jungeun Lee

“I made this animation last year when I was going through a rough time. I struggled to find a job in Korea, and my then-boyfriend ended the relationship with me. I needed an outlet to express what I was going through, and it was natural for me to create this work as I like doodling, illustrating and animating.”

Jungeun Lee is a 2018 graduate of Media and Communications, specializing in digital video production. This practical option enabled her to combine footage she filmed with animations, motion graphics, and illustrations that she also created from scratch. Thanks to this broad skill set, she was able to work at both an animation and media production company. Lee is currently in Singapore, where she landed an internship as a digital content producer at an award-winning media agency.

You can find the rest of her work on her website: https://www.jungeunleecreative.com

To see how she created this animation step-by-step, visit: https://www.jungeunleecreative.com/blog1/how-i-make-a-hand-drawn-style-animation?fbclid=IwAR3rz43vEggaobSFhbCqHo2UHbCYle5U3PvTd4JZ8Uc7QY0v9EdBjFg-K60

Bedtime Story

Gabriela Sibilska is a 2018 BA Media & Communications graduate. Initial specializing in film, Gabriela had dreamt of one day becoming a film director. It wasn’t until her final year at Goldsmiths, that she discovered animation and soon fell in love with it. Without any formal training in digital animation, she decided her first film would be aesthetically and technically as simple as possible and drew, frame by frame, with oil pastels on paper. Her final year piece, The Forest Queen, wound up winning numerous film festivals, including the London International Animation Festival at the Barbican, Aesthetica Short Film Festival and Animeteka.

Bedtime Story is one of her earlier pieces of work. Currently living in Brooklyn, New York, Gabriela is pursuing a Master’s degree and looking to gain experience working on music videos. To collab or learn more about her work, message her @blagabalanga or go to www.gabrielasibilska.com

Words by Karolina Wolska

The Strongest of the Strange

A graduate from 2017, BA Media & Communications, James Merritt was first introduced to animation in his second year and by his third year, he was completely enveloped. His graduation film, “The Strongest of the Strange”, has been selected to screen in several film and animation festivals, including. the London International Animation Festival at the Barbican. Since graduating, James has leaning more towards illustration, spending a lot of time working as a creative assistant and taking on his first business clients. A recent intern on Wes Anderson's Isle of Dogs, James goal going forward is to grow as a freelancer and return to regularly working in animation. For more of his work, go on: www.jameswmerritt.com