Finally leaving Austin TX, I couldn’t be more proud of our team and our accomplishments in creating this software. More importantly, I was more relieved that the community here at SXSW saw the need for this particular service. As we were developing the idea, we ran into many roadblocks and naysayers that did not understand why or what this would accomplish. We are still finding solutions but we have been working very diligently to create something that creators and consumers can benefit from.
As we enter the digital age, digital craftsmen and women, need to have some sort of metrics for the work that they produce. Digital artwork has always been perceived as a lesser form of artwork. Coming from a fine art background and making the transition to graphic design and then to 3D, I can assure that this sentiment is nothing but far from the truth. The most downloadable models are created by in artisans that understand concepts of mechanics, anatomy, and design. These skills are accumulated over time through experience and hardwork, to reduce the work that they produce to a copy and paste command are completely unacceptable. Gadget-Bot’s Maggy (shown above) from the short Momentum, has gone through so many changes and revisions that it was a work of art when completed. Art Center Alumni, the dedication in the work they produce is easily seen.
Looking at every 2D picture every taken with modern electronic gadgets, metrics are in play. We have metadata that gives us where and when photos are taken. This example only proved to us that data must be infused with the 3d. When and where were these models created? This is our first line in the sand on how we approach the intellectual properties issue. Its a very big deal to us, that the starting point can be tracked and proven if and ever a legal issue arises. Recording foot steps and development begins to give the creator some stable foundation on the ownership of their own creations.
Photos: Queen, LIFE picture Collection / Vanilla ICE, Getty Images
Taking notes from the record industry about samples and high profile cases about theft in music is based on a standard that is recognized within that industry. Whether it be from Billboard or a large labels diligence in documenting the whole recording event, there is a footprint that gives lawyers some sort of proof to pursue or protect the rights of the label and or the artist. Our metric starts there.
I’ll constantly post my personal stance on the issue of 3D intellectual properties. You can find posts in our blog which I will make the effort to show our efforts to make a better product for the industry and start somewhere to bring some sort of institution.
I can’t thank SXSW enough. A special thanks to Mason Stewart of SXSW and from the artists and designers we had the privilege to work with: Nuttavut Baiphowongse (Stranger Things) Concept artist, Robert Simmons and Peggy Chung of Gadget-Bot, Stephano Dubay of Double Negative, Helen Han of Harvard Design, Hunt Doughtery of Third Floor, and Bryan Gambina of NASA. We will feature some of the work they are responsible for and interviews and their insights on 3d and where the industry is headed from their point of view.