Most of the time we wander around trapped in our own heads. Left to its own devices, our sense of self is remarkably resistant to change.
But stories offer a way out by ingeniously diverting us via someone else’s experience, disarming our defences by temporarily altering our point of view.
Released from the confines of our delusions, we are able to make fresh insights about how the world works and our place in it.
And the greater the jump the story can make away from what we know, in culture, language, environment and experience, the more we are confronted with the inadequacy of our preconceptions.
Take for example the act of killing. Most of us tend to think that the act of ‘murder’ is only committed by ‘murderers’. It is not only outside our experience but beyond our frame of reference for what is even possible.
But what if the capacity to kill exists in each and every one of us? What if it’s our circumstances alone that can define us ‘in the moment’?
And by circumstances I don’t just mean the immediate circumstances over which we might expect to have some measure of control, but also the larger forces at play in our family, community and society over which we have no control at all. The two can work together to insidiously bring us to the point of no return.
This was the question that I wanted to explore in ‘Arctic Crime & Punishment’.
Transported to a totally different context, a frozen village at the end of the world, could a story still provide the bridge to understanding our own capacity to kill?
And Arctic Greenland is a very interesting place to ask such a primal question because their code of justice is founded on this same principle of good storytelling. Those called to stand in ‘judgement’ of a crime must first step into the shoes of the ‘criminal’- they are required to give priority to the circumstances of the crime over the act itself.
This apparently tolerant view was not born out of some high-minded nobility, but from the necessity for survival.
“We cannot just expel people from society. We need all the people we have, and we have to accept those that we have been given. In Europe you can afford to sweep people under the carpet.” Judge Jens Kjeldsen.
Furthermore, as small, mutually dependent communities, they are able to judge from a position of knowing the defendant’s shoes very well.
But what about for the outsider? Cast into a completely different world, across the chasm of language, culture and environment, could a story persuade the viewer to step into the shoes of a killer too?
And what purpose does an understanding of such extremes of behaviour serve?
“Among all the miseries, there’s one that pierces our hearts most deeply, that wrings the bitterest tears from our eyes. It’s the awareness that we have committed a mistake that we can’t go back and fix. When we look back on our actions, I’m afraid there’s nothing quite so painful as thinking, ‘What have I done?’”
from ‘How Do You Live’ by Genzaburo Yoshino.
We met Naalu 3 days after her arrest. Our Greenlandic translator knew her and her parents. Over the course of the 3 months it took for her case to come to trial, we got to meet her family, and the relatives of her husband, the man she had killed.
If story can be a path for shared understanding and self-knowledge, it can also be a path to redemption and forgiveness.
“It’s truly painful to admit one’s own mistakes. Most people think up any excuse they can to avoid it. However, when you have made a mistake, to recognize it bravely and to suffer for it is something that in all of heaven and earth, only humans can do.
For error has the same relationship to truth as sleeping does to waking. I have seen that when one wakes from error, one turns to truth again as if revived.
We have the power to decide on our own who we will be. Therefore, we will make mistakes. However— We have the power to decide on our own who we will be. Therefore, we can also recover from our mistakes.”
from ‘How Do You Live’ by Genzaburo Yoshino.
Got a story to tell? Or purpose to communicate?
Need a partner in crime?
In a world of everything is potentially ‘fake news’ where can we find meaning?
We depend on our own finely-tuned radar of ‘emotional resonance’.
What feels true?
‘Truth is stranger than fiction” because it can’t be contrived. But how do we tell the difference?
Much of the power of non-fiction storytelling lies in its claim to ‘authenticity’. And with authenticity comes the potential for ‘emotional truth’ and ‘meaning’, what stories are supposed to deliver.
Documentary’s promise of ‘authenticity’ rests in its unique ability to express the spontaneous. That moment of revelation might be an action. It might be spoken. It might be in silence. But it’s always unexpected.
In the midst of Russia’s material collapse in the 1990s, ‘A St. Petersburg Symphony’ explores the power of music in a time of crisis.
After 2 weeks of filming inside The Russian National Library, the brilliant Ukrainian conductor, Vasily Zvarychuk, invited us back to his home.
This excerpt, from the first film I made in Russia, shows the film’s emotional turning-point, an unplanned moment caught by DoP David Katznelson.
This chance moment reveals Vasily quite unexpectedly, in all his vulnerability, beauty and love.
It shows not only how we use story to find meaning, but more specifically how story works as a means to discover who we are.
In the words of Matt Hague’s alien explorer from his book ‘The Humans’-
“It takes time to understand humans because they don’t understand themselves. They have been wearing clothes for so long. Metaphorical clothes. That is what I am talking about. That was the price of human civilisation – to create it they had to close the door on their true selves. And so they are lost, that is how I understand it. And that is why they invented art: books, music, films, plays, painting, sculpture. They invented them as bridges back to themselves, back to who they are.”
Dear Storyteller,
That means everyone reading this.
We all use stories in search of answers, looking for pattern, shape and meaning.
Who am I?
Where do I belong?
Where have I come from?
Where am I going?
And why?
Everyone of us is hard-wired for story.
Stories act as bridges to the experience of others. They connect us through our shared humanity. They are about the emotion of shared experience.
Films are powerful vessels for story because they can communicate all the complexity and subtlety of emotion quickly. Through the curious alchemy of sound, picture and time, they can enable us to feel what it’s like to be someone else.
Every story we tell is an experiment that furthers our knowledge of how this chemistry works.
This post is the start of a story about story based on my own experiments and encounters.
I hope it will work as a starting point for a conversation about how stories work, with a community of people also fascinated by their magic.
Why are particular people such powerful vessels for story? And why do some moments resonate with ‘the truth’ so strongly?
I started out as a ‘picture editor’.
This is about as far from being a storyteller as it’s possible to be. I worked in the story equivalent of a factory- a processing plant for the industrial standardisation of reality into uniform ‘products’. These ‘stories’ were methodically stripped of meaning and emotion, to make each one feel the same.
This was ‘the news’.
And so, as an escape, I started wandering around with a camera.
I was stunned to discover that the camera acted as a catalyst. It gave me an excuse to talk to strangers. And because someone was listening, they were willing to talk. It was a good combination.
And this is how I chanced across Doreen Thomas, on a deserted beach, under a nuclear power station in Kent…
https://vimeo.com/sashasnow/review/699091269/91d2c31fbf
In this moment of clarity, Doreen taught me some invaluable lessons-
Sometimes, in the moment, people will say things that resonate. They are often things that they’ve never said, or even thought, before. Everyone is caught by surprise.
Their words carry the weight of ‘emotional truth’. This is a ‘truth’ that defies categorisation or analysis. You can’t prove it or check it. We just know in our heart that it is ‘true’ because it taps into our innate sense of universal human experience.
“The Eyes are blind. To see things as they are, you have to use your heart.”
–Antoine de Saint-Expery’s ‘Little Prince’
And this kind of truth is not something to be found like a lost penny.
It has to be ‘created’ or, to put it more accurately, it has to be ‘nurtured into existence’.
Got a story to tell? Or purpose to communicate?
Need some friendly advice?
JonesMillbank, Bristol-based video production company, went stateside with their content last week, featuring on The Late Show with Stephen Colbert.
Last month they captured the session performances of three tracks – CRAWL!, CAR CRASH and THE NEW SENSATION – at The Barrowland Ballroom, Glasgow.
The subsequent edit of CRAWL! was picked up by The Late Show ahead of IDLES’ appearance at Coachella, part of their US-wide tour, with notice and the recording delivered to CBS the day of the broadcast.
“Our portfolio of work across music has developed somewhat alongside the commanding ascent of IDLES” said Rob French, Senior Creative at JonesMillbank.
“We have collaborated with them for a few years now and have established a relationship built on trust and integrity – key when an artist has a distinctive ownership of their brand.”
“The band brought such a beautiful energy to these sessions, bearing in mind it was mid-tour and in the middle of three sold out shows at The Barrowland Ballroom. We could barely communicate or see the stage, the light and sound was so intense but it was such a privilege to capture such raw energy so intimately.”
You can watch the feature and the session at https://jonesmillbank.com/work/idles/barrowland-sessions, with the releases of CAR CRASH and THE NEW SENSATION coming in the following weeks.
***
JonesMillbank are a passionate full-service video production company
They work exclusively in-house with a talented team of multi-disciplined creatives, all the while telling authentic stories long before it was cool for a range of clients such as University of Bristol, Battersea, The Royal Mint, IDLES and randstad.
jonesmillbank.com
01173706372
[email protected]
In September 2020, a group of UK based filmmakers officially launched their passion project, InCamera, a YouTube channel that celebrates the art of practical effects in filmmaking, with educational and entertaining videos on how to create and shoot mind-blowing practical effects. The channel had been planned for years, as brothers Tom & Pete Martin, along with friends Ryan, JP & Noomi wanted to showcase their talents in practical filmmaking, and inspire film fans all over the world.
Now, not long over a year after launching, InCamera has reached a big milestone, having recently surpassed 50,000 subscribers on their YouTube channel. The quality, consistency and uniqueness of their videos has drawn in viewers from around the world, amassing over 1.5 million views on the channel so far. Yet the main success for the InCamera team has been the opportunities that YouTube as a platform has given them to showcase their talents; with their high-quality filmmaking & production skills, as well as the astonishing practical effects they produce. Praise couldn’t have come much higher than when Peter Kuran, the FX artist who worked on John Carpenters ‘The Thing’ (1982), commented on InCamera’s recreation of his iconic opening title sequence, praising them for how they tackled the shot, and the end result they got. This was InCamera’s first ever video; and still their most viewed one to date, check it out – https://youtu.be/wGRPK22yvko
The success of the channel has brought many new opportunities for the team, going from a Studio Hire firm in Bristol, UK, to working with clients as InCamera now, doing their own productions and working as a special FX unit. InCamera have worked with some huge global brands recently, and are delighted to announce that their most recent job was working on a feature length film for Disney, with scenes shot in their studios, and the crew producing the practical effects for the film. They’ve also recently completed work on a project for LEGO; after existing client Red Central approached the team upon discovering their YouTube content, and seeing the capabilities the talented crew have.
This is just the beginning for InCamera, as they continue to produce the content online that has wowed people around the world. YouTube has been an amazing platform for them to showcase what they can do, and has enabled many opportunities to produce stunning productions and special fx for some fantastic clients. InCamera will be officially launching with their exciting new website in the very near future!
Not familiar with the InCamera YouTube channel? Make sure to check it out here: https://www.youtube.com/channel/UCulLTNc5UdWKBcCqo8GNMbQ
Interested in working with the InCamera team for Studio Hire, Productions or Special FX work? Make sure to follow our LinkedIn page (https://www.linkedin.com/company/incamera) and drop us a message, or contact our Managing Director with any enquiries you may have.
Contact: Pete Martin
Email: [email protected]
Phone: 0117 971 2233
Work is underway on the expansion of The Bottle Yard Studios into a neighbouring South Bristol industrial site, which is undergoing a £12m redevelopment backed by West of England Combined Authority investment that will add three new stages to the Studios’ portfolio.
Planned for completion this Summer, the expansion will increase the number of stages on offer at The Bottle Yard Studios from eight to 11 and is intended to maintain and grow film and TV production in Bristol and the West of England.
Titles recently filmed at the facility, the largest of its kind in the region, include upcoming BBC/Amazon psychological thriller Chloe (premiering Sunday 6 February), series one and two of Stephen Merchant’s BBC/Amazon series The Outlaws and BBC One legal drama Showtrial.
Global construction specialists ISG have been contracted by Bristol City Council to convert the industrial property at Hawkfield Business Park, less than half a mile from the main Bottle Yard site, into three new sound stages. Measuring 20,000 sq ft, 16,000 sq ft and 7,000 sq ft, the filming spaces will be accompanied by ancillary spaces including production offices, prop stores, costume/makeup areas and break out areas, amounting to approximately 82,000 sq ft (7,600m²) of converted floor space in total.
Operations at The Bottle Yard’s main site have also been boosted by a further £1.6m investment by Bristol City Council in renewal and repair works that will make the Studios’ existing buildings fit for purpose for the facility’s 10-year business plan.
Overall, the investment in the current site and new studio provision at Hawkfield Business Park is expected to create 135 jobs during the refurbishment with a further 863 jobs created over the next 10 years through an accompanying Workforce Development Programme focused on high-end TV skills and targeting development of new talent in South Bristol.
Dan Norris, mayor of the West of England, said:
“I’m incredibly proud of the investment that the West of England Combined Authority I lead is making here. It’s a fantastic space and the progress in getting it ready is remarkable. The expansion of The Bottle Yard studios sends a strong message that our amazing creative sector here in the West of England is thriving. So many talented people are helping put our region on the national and international map as a go-to location for the film and TV industry. Three new stages will mean even more of our favourite shows like The Outlaws, Poldark and Showtrial can be filmed here. This vote of confidence in the West of England will create a thousand high skilled jobs and should help us to attract even more production companies. I look forward to watching lots of new shows hit our screens, and I’ll enjoy them even more knowing they are made in the West of England.”
Marvin Rees, mayor of Bristol, said:
“It is great to see the expansion work starting at The Bottle Yard Studios. Our £1.6m investment in the current site, coupled with the additional capacity at the Hawkfield site, once developed, will bring confidence to the city’s film and TV production sector and harness growth as the demand for on-screen content grows worldwide. The expansion will also create jobs, skills and training opportunities, support the local supply chain and be a major boost to our wider regeneration plans for south Bristol, bringing growth and opportunity into the area.”
Laura Aviles, senior film manager for Bristol City Council which is responsible for The Bottle Yard Studios & Bristol Film Office, said:
“This expansion is big news for Bristol’s film and TV sector. Upping The Bottle Yard’s stage count from eight to 11 at a time when space for filming is at a premium, means we can welcome more of the productions we know are keen to film in Bristol, a city that saw a 225% increase in filming in the first quarter of the current financial year. We’re making sure Bristol seizes the opportunities presented by the UK production boom with both hands, so that local crew, companies and new generations of talent can reap the benefits in employment, business and skills development.”
Richard Skone, regional director for ISG, said:
“This highly significant creative arts scheme for Bristol is yet another example of smart and efficient procurement practice – fast-tracking the project to site through the use of the high-performing Southern Construction Framework (SCF). The sustainable Bottle Yard Studios development will prove transformative to the capacity and capability of the region’s media sector and, during the construction phase, will prioritise positive social value outcomes for local residents and the wider community. As the UK continues to benefit from a renaissance in investment in the creative arts sector, ISG brings significant expertise to this high-profile and ambitious project.”
Technical specifications for the new stages have been designed to a premium quality, with sound insulation between stages meeting cinema facility standards, impressive internal noise ratings (NR25 db) and reverberation levels of below 2 seconds. Stages will be clear span build spaces with maximum heights of 34ft, providing productions with adaptable studio accommodation of scale, ideal for meeting the needs of large-scale productions filming in and around Bristol.
Sustainability has been placed at the centre of the design and build process of the expansion site. Energy supply for the converted buildings will be supported by a large photovoltaic (PV) array, improved insulation and a sophisticated building management system designed to enable energy conservation. Transport around the Studios’ expanded footprint will be carbon neutral, with electric vehicle (EV) points and ample cycling provision supporting low carbon movement.
The expansion programme will also bring added benefits to local people through a series of training, skills and employability activities, apprenticeship opportunities and community project support co-ordinated by ISG as part of their contract.
This year we are celebrating Studio Giggle’s 15th Birthday. Like all great British ideas, the company was conceived in a pub over a beer. It was born out of a desire to create work on the cutting edge of technology and creativity, which is still at the very core of what we do.
When I asked Steve about the intriguing name, he smiled; it’s a question he’s been asked many times.
“Giggle really sums up the way we work. Creativity should be fun! It is often stressful, but by keeping a sense of humour and a lightness to our approach, we can make the whole process more enjoyable for everyone involved.
The creation of The Giggle Group wasn’t a spur of the moment decision. Steve had honed his skills over ten years, starting in theatre then working for various production companies as an editor, director and writer. He met James Carnaby and Adam Castelton, who helped him set up the company and whose continued support and advice are always welcomed. It was this experience that prepared Steve to open The Giggle Group in 2006.
In 2013, two worlds collided as Steve met Jonathan Brigden on a flight to Dubai as part of a UKTI creative industry mission. Jonathan had been running his own company, Knifedge, for 19 years. Knifedege created immersive and innovative events and groundbreaking projection content for an impressive list of global clients. It was evident that Steve and Jonathan shared similar creative ambitions, a love of immersive and live events and most importantly, a sense of humour. We also moved to our current home in the heart of Bristol’s creative community at The Paintworks.
In 2014 when Jonathan and Steve decided to merge their companies, they could create one cohesive animation and event machine.
In 2017 a new era of Giggle began when we rebranded from ‘The Giggle Group’ to ‘Studio Giggle’. This better reflected the growth and transition of the company over the years, from film to animation to creative studio. The “Studio” part of the name was to draw attention to the incredible team, which enabled us to deliver our award-winning work.
In its 15 years, Giggle has weathered some major global events. In 2008 Giggle overcame the financial crash by switching the company’s focus to animation over film production. In more recent years, the Giggle team showed extraordinary skill and creativity during the early days of the COVID19 pandemic. This was a challenging time for the company as we shifted to a remote working model and pivoted our production pipeline to deliver virtual events. This resulted in our most successful year to date. We won Manchester United as a new client, we hired 4 new staff members and developed XR and Virtual production solutions, all in just 6 months.
Studio Giggle in 2021 is a very different company from The Giggle Group of 2006. We now have offices in Bristol and Brighton, with our own Green screen virtual production studio which doubles up as our R&D test space. We can deliver live and virtual events anywhere globally, producing work for some of the biggest brands on the planet. As 2021 comes to an end, and we take a moment to celebrate 15 years of Giggle, we also look to the future. We intend to continue to create spectacular content for both live and virtual events, combined with beautiful animation and film with storytelling at their heart. We aim to always be at the forefront of our industry. We will continue to research and develop new technology solutions that can enhance the work we create for our clients.
We would like to take this momentous occasion to thank all of our team, suppliers, partners, freelancers, family and friends but especially our clients. Their continued trust and belief enable us to evolve and grow in ways we could never have imagined.
Roll on 2036 for our 30th Birthday!
If this has inspired you to work with us then please contact [email protected] or call 0117 972 0081.
Children’s Hospice South West are one of the largest children’s hospice charities in the UK, providing Children’s palliative, respite, end-of-life and bereavement care for children with life limiting and life threatening illnesses and their families from the South West England region. Before the challenges of the 2020 pandemic, CHSW had already identified a need to boost fundraising income and grow their well established support base. Working with AgencyUK, the team have developed a strategy to raise brand awareness and start building a younger base of donors.
The first integrated campaign launches CHSW onto TV this Christmas, targeting the brand to potential new donors in the South West (Cornwall, Devon, Bristol). The strategy looks to connect CHSW with this new audience whereby a lasting relationship might be established.
“We wanted to create a campaign for CHSW which raises awareness of the brand, and the vital work they do. The sensitive nature of the subject matter meant the creative had to be researched and tested prior to final production and release. The advertising tells the story of families of children with life-limiting conditions, emphasizing their journey with the charity. Children’s Hospice South West is so much more than just end-of-life care associated with the term hospice – the charity supports their families to create times that matter; time to laugh, time to share, time to rest, remember, and most importantly, time to just be a family – something that any parent can relate to. Our creative approach therefore was to create a relatable campaign with an authentic narrative that was far more positive than a traditional charity TV campaign, that our audience feels good about supporting rather than guilt tripping people into giving,” says Nix Boulton, art director, AgencyUK
“As the creative work developed and more time was spent telling the stories of the families, the AUK team became emotionally attached to the work CHSW do. I don’t think one person involved in this production left the set without their life having been touched in some way,” says Amy Mansourpour, director, AgencyUK.
“We are delighted with the work we have created with AgencyUK, and the support the families have given us throughout this process. We’re looking forward to seeing the campaign go live, and the opportunity for us to build on it throughout 2022,” says Jess Patel, director of marketing and communications, CHSW.
“At AgencyUK we pursue opportunities to work with brands and organisations that we truly believe in and want to get behind as a team. We’re incredibly proud to call Children’s Hospice South West a client, as the work they do is truly remarkable. This isn’t just about a project or the next advertising campaign, this is about turning our skills as marketers and using them to make a difference each and every day. It’s about solidarity and human empathy,” says Sammy Mansourpour, managing director, AgencyUK.
The new CHSW campaign will be live over Christmas 2021, and will be launched on TV and YouTube, before amplification through broader social media channels and digital advertising formats.
*Aardman Director to support The Grand Appeal this year with exciting content exclusively for Jingle Jam gamers*
The world’s biggest games charity event, Jingle Jam, brainchild of Bristol-based gaming company, The Yogscast, is back today for its 10th anniversary, and better than ever, raising vital funds for Bristol Children’s Hospital dedicated charity, The Grand Appeal.
Each year, Jingle Jam raises millions for charities around the globe through its Games Collection, which is available for fans to get their hands on in return for a donation to their chosen cause.
This year, Jingle Jammers will have the opportunity to jump into the world of Aardman with Director & Designer, Gavin Strange. Creative power-house Gav will be doing a dedicated stream allowing fans to have a sneak peek into life at Aardman and provide the opportunity to ask him any burning fan questions. Audiences will also be able to receive the Games Collection in return for donating to The Grand Appeal.
Fans can get hold of the stream on Sunday 12th December as part of this years much anticipated Jingle Jam charity event which goes live today on 1st December at 5pm on the Yogscast Twitch channel. It finishes at midnight on 14th December.
Jingle Jam has raised a massive £15m for numerous different charities in the last 10 years. Previous Jingle Jam Games Collections have featured dozens of games worth hundreds of pounds, with this year’s bundle worth over £600. Organisers are aiming for the Jingle Jam Games Collection to be the number one gifting purchase for Christmas this year, with the aim to raise thousands of pounds for each of its 14 chosen charities.
The partnership with The Yogscast has raised over £1.1 million for The Grand Appeal since 2017 to fund a ground-breaking new development for Bristol Children’s Hospital. The pioneering new patient development will be one of the first of its kind in the UK for sick children and their families.
Nicola Masters, director of The Grand Appeal, commented: “The Jingle Jam is a fantastic and much-loved event across the globe that raises an incredible amount of money for worthy causes each year. The Games Collection is exceptional value for money, and we’re always blown away by the incredibly generous support we get for The Grand Appeal from the gaming community.
“This year, we are very excited to have the opportunity for Grand Appeal supporters to get involved with Jingle Jam by streaming their own content and where fans can purchase the Games Collection directly from. We are honoured to have Gav’s involvement and no doubt it will be hugely popular, and that Jingle Jam 2021 is going to be a roaring success for everyone.”
Gav Strange, Director and Designer at Aardman added: “Jingle Jam has become one of the key calendar dates for gamers in the UK and globally. Creating fantastic gaming content all in the name of raising money for charities like The Grand Appeal is a brilliant initiative and I’m really stoked to be able to do my bit to help this year.’
During the first two weeks in December, more than fifty Jingle Jam streamers are involved in special events – such as cooking, painting, poker, karaoke and more. For the first time this year, any creator keen to join in with the Jingle Jam can set up their own fundraising streams, with their audiences also able to receive the games collection in return for donating to charity.
Jingle Jam was the brainchild of Lewis and Simon of Yogscast in 2011, when they asked fans to donate to Oxfam via a Just Giving page, rather than send them Christmas presents. As the largest YouTube gaming channel at the time, Jingle Jam rapidly grew to include, live streaming, unique content and the introduction of specially curated bundles known as the Jingle Jam Games Collection.
boomsatsuma launches a new BA (Hons) Visual Effects Degree, with the appointment of John Rowe as Head of Animation and Visual Effects, Nov 21.
Extending boomsatsuma’s Higher Education skills training into the expanding Creative Industries sector, the new BA (Hons) Visual Effects, and newly announced BSc (Hons) Web Design and Development Degrees, are in-line with the national strategy for digital skills training, with transferrable skill sets that cross over into many industry sectors.
John Rowe has written the Visual Effects focussed course content, with industry support and approval, and he will lead its delivery to students from September 2022. He brings extensive experience and expertise in 3D visual effects, including his previous role creating digital courses at the National Film and Television School. John states:
“This course will give students the skills they need to gain employment in the expanding creative industries. It is driven by the needs identified by employers, both now and in the future, so we are listening closely to our commercial partners when constructing course content. It is particularly focused on training and empowering the storytellers of the future, using state-of-the-art technologies and software.
“boomsatsuma has a proven history of connecting the diverse communities across the West Country with creative companies, through education pathways that empower students to find their own voices, which I am delighted, and proud, to be a part of.”
The new Visual Effects degree supports boomsatsuma’s ambitious plans to develop socially diverse talent for the creative and tech sectors. It complements boomsatsuma’s existing degrees in Filmmaking (Production and Post Production) and Game Art and will be designed to encourage people to think about visual effects and game engines not just for the creative industries, but also for other sectors – from health to architecture.
For more course information and details on how to apply follow the link to https://www.boomsatsuma.com/visualeffects.
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