Full Sail News

Generating Mobile Content for ESPN: Rob Barbieri

Any sports fanatic will attest to the fact that getting scores for a game or digging up player stats can be an urgent matter, one that cant necessarily wait until he or she gets home to look them up. It was with that need in mind that ESPN launched their Mobile/Digital Media Department, a division of the cable television network that specializes in delivering sports content on cell phones and other mobile devices.

As Production Assistant for the Mobile/Digital Media Department, Rob Barbieri is a member of the team responsible for editing video content that originally airs on ESPN for the companys smaller mobile branch, along with shooting original material for the mobile division. The Full Sail Film graduate has found himself in a position thats helping to shape the direction of a medium in its early stage of development.

Its so fresh, and the process can still be a bit of trial and error. Theres not just one defined formula yet on how things are done, Rob says of developing ESPN content for mobile devices. For fans that are always on the road, this technology allows them to always be able to get something they need, even if they arent home. Its really my job to find out what the fans want, and provide them content that fits within the mobile format and is still entertaining.

While some of the content that Rob works with is edited material from ESPN broadcasts, hes also been able to shoot his own material on location at some of the biggest sporting events of the year. The Summer and Winter X-Games have been fun highlights, he says. I would have never gone to Aspen twice on my own. I also got to go to Super Bowl XLI in Miami for free, and shoot material for both ESPNs website and for our Mobile department.

It all sounds like a sports fans dream just dont expect Rob to get too worked up over it. Im not really a big sports guy. I mean, I like watching the huge, everything-on-the-line games, but when it comes to ESPN, its all about statistics: this guy has a record 700 home runs, or 4 RBIs. I just dont care, he admits while laughing. It can be hard to hide it when youre interacting with people that talk about sports everyday, because as soon as someone asks you a question, your answer may sort of give you away.

Every day I have to prove myself production-wise in order to compensate for my general lack of sports knowledge, he adds. Full Sail definitely prepared me for that by giving me the experience with the equipment I use every day now. I actually got everyone here to start using Final Cut, since I knew how to use it from my days at Full Sail.

When I was in school, I thought that I wanted to do film, but Ive found that theres always a reason for why everything happens, Rob says. My experience at ESPN has been great. I mean, I was on the field at the Super Bowl. I was ten feet away from the players and got to witness the first few minutes of the game, from the kickoff all the way to the first return kick touchdown you dont have to be a sports fan to appreciate that.

Assistant Engineer at Chung King Studios: Michael Makowski

Ask Michael Makowski what the highlight of his career has been so far, and hell be hard pressed to name just one single experience that can top the list. As assistant engineer at the legendary Chung King Recording Studios in New York City, the Full Sail Recording Arts grads schedule constantly revolves around the recording and production of some of the hottest names in pop and urban music today.

Working around the creative flow of artists can be a tiring experience. Im currently working with Jim Jones, and lately weve been putting in about 100 hours a week, Michael says. It can be grueling, but at the same time, its a really fun and great experience to be working on music for a living.

Though Michaels tasks can vary from project to project, he received a huge recognition for his work on Amy Winehouses GRAMMY®-winning Back to Black earlier this year. Working with super-producer Mark Ronson to craft the vintage sounds on the album was an incredible experience for Michael.

We went through a lot of experimentation with microphones to really get that specific sound, Michael explains. When we recorded Amys vocals, we just set up a bunch of mics in front of her, and she sang a verse into each one. We would then listen to each take, and went with the mics that had grittiness to them, rather than a super clean sound. Mark was really going for an edginess on that record.

Mark Ronson was really great, just very laid back, he continues. I never got the idea that he was such a huge person in the recording industry from the way that he acted.

Wu-Tang Clan member Ghostface Killah, one of Michaels favorite artists, also got involved in the Winehouse sessions. When Ghostface heard the song You Know Im No Good, he really liked it and wanted to add vocals to the track, he laughs. I got to work with Ghostfaces engineers and he wound up putting the song on his album, Fishscale. My friends were Googling my name and called me up to tell me I was credited on Ghostfaces album I had no idea.

Since then, Michael has been busy with a slew of projects, including sessions with hip-hop heavyweights LL Cool J and Common, along with working on the set of the upcoming Notorious B.I.G. biopic (the filmmakers shot some scenes at Chung King). He may not be getting much sleep these days, but Michael certainly feels like hes living his dream.

My background at Full Sail helped me leaps and bounds. I had to study like crazy while I was there, because I didnt know a single thing about Pro Tools or any recording equipment, he says. Being on that gear every day was so amazing. When the management here at Chung King learned I was from Full Sail, they got so comfortable, because they knew that Id be so well-versed on everything, from the gear to the concepts. I really am lucky, because now I get to work with music every minute of the day.

Avid Employees Debut Horror Film at Full Sail

Were still months away from Halloween, but independent horror film Jack in the Box recently brought some early terror to campus when it premiered at Full Sail this May. The event was hosted producer and editor Michael Phillips, as well as sound designer and mixer Rob DAmico, who screened the film for students and staff, and later opened the floor for an intimate Q+A session.

Jack in the Box was written and directed by Frank Kerr, and tells the story of a group of aspiring actors locked in a room and forced to play a deadly game of musical chairs. The films tension escalates over 89 minutes, as characters are slowly taken out by an unseen villain, and the game is whittled down to one remaining winner.

Its more suspense horror than true horror we tried to break ourselves away from the competition, Phillips explained to a student after the credits rolled. Its all about building tension in the room theyre in, which was a creative choice.

Dimly lit, with a muted color scheme the room is as much a living, breathing character as any of the actors in the film. Phillips attributes much of the effect to the painstaking post-production process. Working as Principal Product Designer at editing innovator Avid, he was keenly aware of how a good editor can add new depth to a films look and feel and in this case dramatically ramp up the tension for an audience.

The goal was to make it look like it was all lit by one light bulb, so we eliminated highlights from the room in post production, Phillips explained. There was a lot of shadowing of corners on the Media Composer (Avids flagship editing system) because you really want to lead the eye to where you want it to be. Its always important that you keep the intensity up. And because it only takes place in one room, once we locked in that look, we were set.

Likewise, the audio editing was just as important to adding character to the environment even more so than your typical film, as they made the bold decision not to use a musical score. This approach had DAmico craft the audio cues to match the visuals, letting the stark noise of the room create an equally threatening atmosphere.

We decided that the room is the score, DAmico shared. So you focus in on the other areas, like the doors and the ambient noise. When youre doing a mix like this its really challenging, and you hope for the subtleties to translate the environment, and are not masked. Thats your number one priority for a film like this.

After two years of production, Phillips has recently submitted Jack in the Box to the Toronto Film Festival, and is also shopping it around to different studios for large scale distribution. In the meantime, he and Rob were thrilled by the response they had from their target audience of horror fans. Its the first time weve seen a complete cut on a big screen, Michael shared, and its really something.

Acclaimed Electronic Producer Carmen Rizzo Visits Full Sail

As a Grammy-nominated producer and engineer electronic musician Carmen Rizzo has worked with artists like Coldplay, Paul Oakenfold, Prince, Seal, and Alanis Morrisette to create remixes of some of their biggest tracks for clubs and radio. In addition to his work for chart-topping stars, Rizzo has also established a reputation as a producer for world music artists like Algerian singer Khaled and is a member of the Persian/Indian afelectronic group Niyaz. With such a diverse range of credits to his name, Rizzo had lots of insight to share when he came to Full Sail to speak with students about his two-decade career.

One thing Ive learned about this business is you have to be very humble, he explained during his introduction. I always tell people, you dont work for me and I dont work for you, we work for each other, were a team. As soon as you have that Im above you thing, I cant work like that.

After sharing stories about his rise through the industry, Rizzo went on to play some of his most popular remixes for artists like Ne-Yo and Coldplay. Picking out their favorite parts, students took the opportunity to ask questions ranging from what software plug-ins he uses, to his approach to creating a distinct sound and feel when working on a new mix of an established song.

Everyone has their own style, and I pride myself on instrumentation, he explained about what he brings to a session. If you can add something new, your reputation travels quickly.

Rizzo also assured students that hes All about the latest gear when working on a new project, which led to an unexpected surprise as he brought with him a number of pro audio tools to raffle off. The prizes included an M-Audio shoulder bag, Cakewalks Dimension Pro and Rapture suites, and the grand prize an M-Audio package featuring their latest editing software as well as the Fast Track Pro audio/MIDI interface.

Rizzos visit to campus offered an interesting perspective on one of the most sought-after careers for up-and-coming mixers, and the lecture hall was packed with students eager to hear from him. He even stayed late after the event and spoke with each student who came up for more advice on launching their own careers.

You can gain the knowledge from wonderful schools like this, but once you leave at the end of the day its about you vibe and if I can trust you, he shared about making the leap into the industry. You have to be a people person, and know how to jell with different personalities. What artists really want is someone in there that they can play with for 12 hours.

The New Fidelity: Mixing for the Digital Age

Once only available on physical formats like vinyl records and CDs, today the latest music is available to consumers and fans through a wide variety of methods. Whether on MySpace or on iPods, one of the most popular ways for contemporary music fans to get their fix is the MP3.

As compressed sound files, MP3s have some distinct advantages over their physical counterparts. The small digital files allow for quick transfer speed over the Internet, and being able to store an artists entire discography on a pocket-sized device is something that would have been unimaginable a decade ago. To achieve this speed and portability, the data that reproduces the music must be compressed. By stripping away non-essential aspects of the sound, a music file can be reduced to one-tenth of its original, non-compressed size.

But this convenience requires sacrifice in quality. Those non-essential elements of songs are the same elements that artists painstakingly labor over in the studio in an effort to give their music texture and dynamics. Focusing on making the highs higher and the lows lower, many songs end up just sounding loud.

We have at our disposal some of the best sound equipment with the ability to make great sound, legendary mixing engineer Jimmy Douglass, whose credits include the Rolling Stones, Jay-Z, and Missy Elliot, told Full Sail students during a guest lecture on campus last month. Unfortunately, most of the public is listening to music on a format thats worse than cassette.

Mastering engineer Herb Powers, who was also on hand for the lecture, expressed a similar distaste for the MP3s effect on audio fidelity. I was in the studio just a few weeks ago with [gospel artist] Kirk Franklin and he was bombarding me with all of these questions about the nuances of the music, and I finally just told him, Everything youre worried about, people wont be able to hear, he told students. I told him that his music is going to get played on lo-fi church systems and as MP3s on iPods. He was floored, but its the truth!

While this shift in listening trends has been met with plenty of resistance from some, not everyone in the industry is vehemently against the MP3 movement. Its kind of hard to say if its better or worse its just different, Kori Anders, mix assistant at Patchwork Studios says. Since graduating Full Sail, Kori has worked on albums from T-Pain, Ciara, and Akon. Obviously a lot of people love the analog sound, but youve got to look at whats relevant today. When we mix, we keep in mind which format will be the predominant one and mix accordingly so that the mastering engineer will be able to work with it like, lets keeps the hooks a little bit lower because I know theyre going to get raised up in mastering.

Full Sail Recording Arts grad Michael Makowski, who has recorded with artists such as Common and Kanye West and was an assistant engineer on Amy Winehouses GRAMMY®-winning Back to Black, also attests to studios catering to other formats when mixing. Ringtones are such a newfound wealth to labels and artists these days. Kanye will take music hes working on and put it through a program that turns the song into a ringtone, and hell play it on his cell phone in the studio just to see how it comes out, he shares.

Michael indicates that though the way we listen to music may be demanding more and more compression, measures can still be taken to ensure that fidelity doesnt suffer. As an engineer, Im always trying to use the best mic or preamp to get the best sound. There are certain artists, like Christina Aguilera, who will convert a song into MP3 format in the studio and do a separate MP3 mix right there, so that the quality is the best that it can possibly be.

Powers went a step further, indicating that the power to preserve the quality of music lies in the hands of the consumer. From the consumer, to the artist, to the engineer, lets champion the form and the sound, he urged students. I have nothing against [digital] content delivery [but] encode at a higher rate, and buy hard drives because theyre cheap as hell! I remember when two gigs cost me a thousand dollars now you can get that on an iPhone. Just buy more hard drives and fill them up with bigger files!

Editing The Shield, Arrested Development: Hunter Via

The action may occur on the set, but anyone in the film industry will tell you that the place where the real magic occurs where a production truly comes together is in the editing process. Its a work environment that demands both a creative mind and technical proficiency. Its also a job that Hunter Via knows quite well. Since graduating from Full Sails Film degree program, Hunter has worked in Hollywood as an editor for a variety of projects in both film and television, including three seasons of FXs The Shield, the pilot for Foxs Arrested Development, and the adaptation of Stephen Kings The Mist.

Im on a project from the moment that the cameras roll all the way through the end of post-production where they color-correct and print the film, Hunter explains. As an editor, sometimes you can see whats best for the picture, better than the writer or director can. I have a semi-objective perspective because Im not as personally attached to the footage, so sometimes Im able to see the big picture before they do.

At its best, the editing process often becomes an intimate and involved procedure handled by both Hunter and the director of the project. My director on The Mist was [three-time Oscar nominee] Frank Darabont, Hunter says. I was a little bit nervous going into it, but I learned that I have the most amount of fun when the director is in the editing room. He was very open sharing ideas and having ideas thrown at him, which was awesome.

Whereas the director on my current film, The Lena Baker Story, is a first-time director, so I was able to walk him through a lot of the process. It was a lot of fun to show him how these things work. You get into a very intimate relationship with your director, because theyre trusting you to see the project through to completion.

With the recent HD boom in the industry, Hunter has found the equipment and technology that he utilizes constantly evolving, and its that type of fast pace that keeps his job interesting.

Full Sail taught me how to be extremely versatile and open; its not just about learning how to use one or two pieces of equipment. You get exposure to so many things that when you get out into the field it all makes sense. I graduated eight years ago, and I still find myself ahead of the curve compared to a lot of the people I find myself working side by side with, he laughs. Full Sail is so far ahead of things in terms of the latest and greatest in technology, it can take a long time for the real world to catch up!

Sharing His Gift of Recovery Through Film: Brian Dery

Remarkable inspiration, incredible strength, and admirable perseverance these are common themes found at the core of Triple Knot Productions documentary films. After his own struggle and recovery from paralysis stemming from Guillain-Barre Syndrome, a virus that attacks the neurological system, Full Sail Film grad Brian K. Dery founded Triple Knot to tell the stories of others who have remained strong during hard times.

Brians last film, Abilities to the Xtreme: Pursuing the Dreams, recently won a Telly Award, a great milestone in Triple Knots three-year history. Still, Brian insists that it isnt recognition that drives him to make these films.

I used to be the guy who was all about Hollywood and getting Oscars, but when I moved out to California, I realized I didnt want anything to do with it, he says from his office in the Tampa area. After being paralyzed, recovering, and meeting others who have had similar experiences, I love what I do. I just want to expose these stories to motivate and educate others, to show them that life isnt so bad when youre down like that.

Abilities to the Xtreme tells the story of Justin, a young man who suffered amputations on both of his arms due to a rare blood disease called Meningococcemia, and his quest to become a professional skateboarder. Brian says that the interaction between himself and the subjects of his documentaries can be an inspiring process.

I try not to use the word disability; what is a disability, anyway? All of the subjects of my films inspire me, because they are able to do a lot of great things. I hate typing on my laptop, he cites as an example. Whereas on my last documentary, Justin has amputations below his elbows and hes typing away to this girl on MySpace, flipping open his cell phone, text messagingthese peoples lives definitely inspire me to get up every day and live my life.

Triple Knot recently attained 501(c)(3) non-profit status, and with more documentaries on the way and a growing staff (many of who are from Brians network of Full Sail peers), Brian has big plans for the future of his company, including filming the 2012 Paralympics in London, England. Theres also a more personal project that may bubble to the surface further down the line.

Everyone wants me to tell my own story of paralysis and recovery, but Im not ready to do it yet. I feel like I have a lot more to accomplish to make my own story really amazing, he says. Right now, every day is a new chapter and a blessing for me. I look forward to telling a new chapter in other peoples lives and learning new ways in how they adapt and overcome their challenges.

Lauren Fitton: Set Lighting Tech for Hell's Kitchen, Boston Legal

It may be a stereotype, but the task of lifting heavy equipment and running electrical cable on Hollywood sets tends to be thought of as being male-dominated. But dont tell that to Lauren Fitton as a set lighting technician, the Full Sail Film grad has gone above and beyond in proving that she can hang with the boys.

I think that its pretty impressive to see a woman doing this kind of job. Its not like Im super buff or anything, Lauren says. I feel proud that I can make a living off of something that Im pretty good at.

Lauren has put her skills to work on television shows like Boston Legal, Desperate Housewives, and each season of Foxs reality show Hells Kitchen. Shes also worked in film and on special events like the world premiere of Pirates of the Caribbean: At Worlds End at Disneyland. Though she does some work as a camera assistant, most of Laurens work is in the lighting department, and a typical day on set includes setting up the lights and running the power distribution for the set, and on some shoots, working with the gaffer and best boy electric to determine what type of lighting a location needs.

Its a lot of hard work, she admits. When I got out here, my first paying job was on the first season of Hells Kitchen as a Production Assistant, but towards the end the shows electricians liked me so much that they brought me under their wing. During the wrap, I knew all about the equipment because of my experience at Full Sail, and that really impressed them. I think a lot of recent film school graduates are clueless when it comes to those things.

Though the knowledge that Lauren gained at Full Sail has certainly given her an advantage in her career, there were certain elements of the job that nothing could prepare her for. With so many job opportunities in such a fast-paced industry, shes had to be ready for a gig at any moment.

I have trouble committing to social plans because I never know when somethings coming up, she laughs. I constantly have my phone on. In this line of work, the first person who answers the phone and says yes is the one who gets the job. Its frustrating to miss a job because you didnt hear the phone ring; Ive missed out on jobs because I was in the restroom!

[[inline1 right]]Lauren also admits that the gender issue has reared its head at times. As an electrician, I work mostly with men. But generally, most of the guys I work with are pretty open to a young woman working alongside them. It is a lot of hard work, but I like the challenge and I think that people definitely respect women who do this kind of stuff.

Larry Katz

Cloverfield packed theaters this January, with moviegoers feeding off the buzz of its cryptic marketing campaign. And with the films secrets finally revealed, we were able to sit down with Full Sail Film graduate Larry Katz, who opened up about his work as a Second Assistant Director on the surprise blockbuster.

It was really cool the way the whole production was able to keep it all secret, he shares. I was really impressed that everyone pulled it off, but part of our job is discretion. I signed in blood many non-disclosure agreements, so I knew what it was about, but I couldnt tell anybody! That was a really unique experience.

Throughout Cloverfields production the team took careful steps to ensure that none of the plot details leaked to the public. This meant that many of the extras were kept in the dark about what was going on during their scenes, even when cameras were rolling. There was the day when we were shooting that sequence where the Statue of Libertys head comes rolling down the street, Larry begins. And we had all these extras, but we couldnt even tell them what they were reacting to. They were told that it was a meteor, and that this was a disaster movie!

That kind of crowd control is just one of the roles Larry has as a Second A.D., with his job requiring him to keep track of all areas of a film production you normally dont think about as a viewer. In one of the most demanding jobs on set, he spends a large part of his time arranging and maintaining schedules for talent, locations, props, and vehicles ¬ all the organizational details that keep a film shoot running smoothly.

Ultimately the Assistant Directors have to make sure that everything is there for the director, and that all the background action is set and choreographed, he explains. So you have to know everything thats going on every camera, every piece of equipment, every piece of cable. All the departments rely on my department to know whats happening at all times and to know whats required of them with regards to special equipment. You have to be super-organized if you want to be on this side of the industry, but its really cool being in the middle of it all!

Looking over Larrys film credits, you start thinking about the daunting task hes had scheduling those components not only for a project like Cloverfield, but also for the likes of Live Free or Die Hard, Pirates of the Caribbean: At Worlds End, and the upcoming terrorist thriller Eagle Eye. All of the films have featured intense stunt work, with hundreds of effects shots to both coordinate and, more importantly, pull off safely.

My department is also responsible for safety on the set, Larry says. So with each film, everything is thoroughly rehearsed, and you try to anticipate every single thing that could happen. Also for a lot of the shots in these films, you just have one chance at it, because its hundreds of thousands of dollars of equipment and pyrotechnics. Its stuff that you can only do once! So its kind of a controlled disaster, and Im always really excited before a big shot!

Not many people can say theyve been on the sidelines of these memorable action scenes, and you can tell it means a lot to Larry as he stops to talk about these one-of-a-kind experiences. Those moments are what he feeds off of during his long days (and nights) on set and are something he gets a healthy dose of while working Second Unit.

I really love the Second Unit because it has a slightly different vibe, he shares. We handle a lot of the down and dirty work and its become a niche that I really excel in. The A.D. department is also a great fit for me too, and I was drawn to it even while at Full Sail because a film cant do one shot without the A.D. being right there and saying Roll camera! That really appealed to me, to be right there for every part of the shoot!

Music Programmer, Artist Management, and DJ: Larissa Chaney

Larissa Chaney was a pretty ambitious toddler. Ever since I was three years old, I told people that I was going to work with music and move to Los Angeles, she laughs. I was told by so many teachers that every kid changes their mind, and that my goals would change. But nope, I never did!

Remaining firm about that decision so early on has paid off very well for Larissa. After graduating from Full Sail with an Entertainment Business Bachelors Degree, she relocated to (yep, you guessed it) L.A. and has found herself immersed in the music scene ever since, juggling a variety of roles and positions that utilize her passion, the skills she developed at Full Sail, and her naturally social personality.

After years of experience as a drum n bass artist under the name DJ Narcotica, Larissa understands both the business and the artist side of the music industry. Thats why she was asked to be the Creative Assistant Director for Westbay Recordings, the home label for Nathan Hayes (a.k.a. Atlantic Connection). As one half of famed drum n bass duo Basic Operations, Hayes approached Larissa to handle his bookings throughout the country, promotions, and all other aspects of the business side of his career.

I love working with Nathan, she enthuses. It doesnt even seem like work to me, because everything I handle for him relates back to my passion for music and this business. And the connections I continue to make and the things I learn are also helpful to my own musical career.

In addition to her position at Westbay Recordings, Larissa is also a music programmer at Helio, a wireless phone company whose major markets include Japan, Korea, and parts of the west coast of the U.S. What we do is sort of similar to iTunes, in that we do playlists and have downloads available through the phone service, she explains. Its my job to seek out tons of new music all day, finding tunes that we want to add to our program, and then putting out requests to secure the music.

Its very cool, because I kind of have to be a psychic and predict what songs will blow up on the charts before they really get exposed, and then add them to our rotation. I never thought that I would have a job that Id look forward to, but life is awesome right now, she laughs. I love my job! Its also a great job for me because I can scout out other artists in the electronic music scene and be able to network more for both Atlantic Connection and my own career.

With a new Atlantic Connection album dropping in May and her own solo career continuing to flourish, spare time has become something of a rarity in Larissas life. Its extremely difficult to juggle all of it, she admits. But its so worth it. Sometimes personal things have to get pushed aside a little bit. For me, its all music all the time.

Its amazing to me that Im doing what I always wanted to do, even since I was a little kid, she quickly adds. All I wanted to do was come out to L.A. and make music. For me to be able to make that dream come true is incredible. Im living that dream every day.

Online Gaming At EA: Ashley Bennett

The success of Xbox Live and the Playstation Network has helped bring online gaming to the mainstream, and with more casual gamers jumping on these services than ever before, studios have had expanded their games content for todays online arena.

As the worlds top game publisher, Electronic Arts has been a big proponent in pushing online functionality in their popular sports franchises, as well as recent titles in the Battlefield, Need for Speed, and Burnout series. Helping deliver this content to online gamers has been Full Sail Game Development graduate Ashley Bennett, who works as a Field Engineer at Electronic Arts Global Online Studios.

EAs Global Online Studios are based in groups around the world, including Ashleys native England, where he and his team are responsible for producing online middleware for the companys studios worldwide.

Its interesting to be in the position Im in because you get to see so much of whats going on within EA, which being such a huge company is a hell of a lot, he says. Our group works on pretty much every game EA produces that has any kind of online component. This includes handling matchmaking, online stats, leaderboards, and uploading ghost data for time trials. Its cool because Im privy to all the different games that are coming out, the plans theyve got, and how it all works.

Ashley started at EA nearly two years ago and has seen the role of online gaming take a major role with the latest generation of consoles. Designers have had to expand their own approach to gameplay to offer entirely new experiences online, which have taken the form of sports rankings, map packs, as well as innovations in head-to-head play. EA has also recently begun integrating some social networking aspects into their titles.

One big thing we have is EA Sports World, which is like a portal for all of our sports games, he explains. While youre playing our games you can do things like upload videos and screenshots. Then you can go to the website and view your gameplay stats or customize a character on there that will then appear in the game then you can share the videos and things on Facebook. Its really become about integrating the games more with peoples lives. For gamers it gives them more reasons to be interacting with our products.

That social aspect has become an important feature for todays gamers, giving them a bigger sense of identity in these vast online communities. Its also the kind of personal experience that Ashley sees as a big factor in continuing to give gamers added value long after beating their favorite games. [Online gaming] is going to have to keep getting more user-focused, he explained. It needs to keep evolving to keep the concepts fresh and keep players playing. Its really all about adding more and more features to keep people stimulated. Im really excited to be a part of that, and its one of the main reasons I got into this area.

And as much as hes helping push the medium, dont expect to challenge Ashley Bennett to an online match anytime soon. I love seeing how they implement our online stuff into the final games now I just wish I had more time to play them, he says laughing. I have a huge stack right now waiting for me!

Malcolm McDowell Visits Full Sail

Full Sails Film department was recently honored to welcome celebrated actor Malcolm McDowell to campus. In the industry for over four decades, McDowell has given many memorable performances, with his credit list including such classics as A Clockwork Orange, O Lucky Man!, and Time After Time, as well as recent TV roles on Heroes and Entourage.

During his visit, the actor toured our film facilities with Dave Franko, Program Director of the Film degree. Their stops included the soundstages, editing suites, and the Virtual Set where our students shoot their own feature films. I think its an amazing facility, McDowell commented of his time on campus. I had no idea it was this great! Its really beautiful.

He also made an impromptu stop by the Digital Cinematography class, and spoke with students for a few minutes about his own experiences shooting digitally definitely an unexpected surprise for the room of movie fans.

After the tour McDowell hosted a discussion as part of the Florida Film Festival, which saw a number of Full Sail students and instructors in attendance to hear the actor speak about his career. He spent two hours with the packed house, highlighting his journey through the industry, and sharing stories about working with such Hollywood legends as Stanley Kubrick, Peter OToole, and Laurence Olivier.

McDowell also took the time to field some diverse questions from the audience, which spanned from his first film if, all the way up to his role as Dr. Loomis in Rob Zombies recent Halloween remake. Zombie rocks, man, he responded to a question from a student. Hes so much fun to work with. You expect Charles Manson or something with the way he looks, but hes the sweetest, most sensitive guy, with a great sense of humor. I think he made a really fun film, and I would work with him again in a heartbeat.

Another student then took the opportunity to ask about his powerful performance as Alex in Stanley Kubricks cult classic A Clockwork Orange, the role that launched McDowell to stardom. From that moment on, it was a double-edged sword for me; they wanted me to play that part a million times over, he shared. I just refused to do it, because you could only do that once. It was so magical that you dont ever want to touch it again.

During his visit, Malcolm McDowell offered students rare insight into the film business. His energy and dedication to his craft was inspiring to our up-and-coming filmmakers; even after more than 40 years, hes still pushing himself to create something new with each project.

I love film, I think its a very exciting medium, he said. I just love the whole way that a film is put together and that you can create so many incredible things, and the amazing emotions that come through. Its just so much fun to screw around with that!

Jack Geckler

The Mummy: Tomb of the Dragon Emperor is set to be a highlight of the upcoming summer movie season, bringing back Brendan Fraser as explorer Rick OConnell for the first time in seven years. The film is currently in post-production, with teams of artists, animators, and editors fine-tuning it for an August 1 release date. Part of this crew includes Full Sail Computer Animation graduate Jack Geckler, who is helping create the films hundreds of effects shots at Digital Domain one of the industrys leading effects studios.

I really cant say much about the story, he shares during a quick break. But getting put on it was so cool for me because I really enjoyed the first two Mummy films. I like that style of action, and was really excited to be involved with the new one. After learning more about the plot it really brings more to the table and I think the fans will be really happy.

Jacks title at Digital Domain is Massive Technical Director and Animator, which has him working with the Massive software. This is a complex crowd simulation package used to implement hordes of animated characters into a scene. The program uses elements of fuzzy logic to give each model their own unique artificial intelligence, and has become a powerful tool in creating realistic visuals for the film and television industry.

Massive was created specifically for the Lord of the Rings series to handle the big fight sequences, where there are hundreds of thousands of characters, he explains. Since then, most anything involving huge crowd scenes is almost all done in Massive. You can do a lot with it, and its really been fun to work with on this project.

The latest Mummy installment will be the first in the series since 2001s The Mummy Returns. In that half-decade, the industry has seen tremendous advances in digital graphics, an evolution Jack has experienced firsthand while working of previous projects like Beowulf, National Treasure 2: Book of Secrets, and The Golden Compass. The growth in technology, along with fan expectations, has pushed the current Mummy team to take the films effects work to an entirely new level.

The software being used and the amount of detail it can create is just insane, he shares. Every studio is trying to push their next film as far as they can, and Im still blown away when I look at the stuff were doing, and how real that looks. To give you an example of where were at in just a few years, a lot of the shots on Golden Compass had along the lines of maybe 25 animals in the background of a scene. [That number] has now been bumped up to what Massive can really do, where youre putting in 10,000-plus.

With the franchise relaunching with the support of todays digital technology, The Mummy: Tomb of the Dragon Emperor will undoubtedly deliver new thrills when it hits screens this summer. As a movie fan at heart, Jack is excited to kick back with some popcorn, and see his work up on the screen with an audience.

Im still like a kid when it comes to that, he shares. I bring my wife to the theater, and to see the look on her face is what makes each project complete for me. That, and to get the call from my dad, and hear his reaction. That makes it all worthwhile!

New On-Campus Entertainment Business Bachelor's Program

Adding even more versatility to its business education options, Full Sail is now offering an Entertainment Business Bachelor of Science program on its Florida campus. Previously available exclusively as part of Full Sail Universitys innovative online education program, the Entertainment Business Bachelors curriculum is designed to help students successfully blend their artistic passion and creativity with marketable business-management skills.

Our new on-campus Entertainment Business degree came from demand by students, and I think its great for Full Sail to offer such a breadth of business training to people with different needs, explains Entertainment Business Bachelor Program Director Ani Gasti.

On-campus students will attend their courses in Full Sails state-of-the-art Entertainment Business Center, which offers multiple classrooms and labs, and a lecture auditorium for guest speakers, as well as a café and large student lounge for relaxing between classes. The on-campus program and the online program offer the same courses, curriculum, and interactivity. Over the 21-month program, students will study Business Law, Business Statistics & Data Analysis, Entertainment Business Venture & Financing, Intellectual Property, and Music Business Law & Contract Negotiations, and many other courses.

I think that theres going to be an interesting synthesis of material, and that both delivery methods are going to be stronger because of the other one, Gasti says. Something great can happen online that our instructors can then bring into the classroom, and vice-versa.

* To Request More Information about Full Sails new on campus Entertainment Business Bachelor of Science Degree program, please visit: http://www.fullsail.edu/request-information.html

Sebastian Krys

2007 was a huge year for Sebastian Krys. The Full Sail Recording Arts graduate took home the prestigious Producer of the Year award at the Latin GRAMMYs for his work on 11 albums from the likes of Luis Fonsi, Daniela Guzmán, and Jennifer Peña.

Its the type of accomplishment that most professionals in the recording industry hope for throughout their career, but Sebastian is no stranger to such accolades. A brief look at his track record reveals why: after a decade of working in recording arts, hes nabbed a total of 11 awards from NARAS four GRAMMY® Awards and seven Latin GRAMMY® Awards and hes received more than 20 nominations. Hes worked on projects with everyone from Marc Anthony and Shakira to the Black Eyed Peas and Will Smith. Its been a crazy year, he says. But honestly, its been a crazy 1992 to 2007.

After graduating from Full Sail and gaining experience at Nickelodeon and Crescent Moon Studios (owned by Emilio Estefan), Sebastian launched Arju Productions. As an independent one-man endeavor, Arju finds Sebastian wearing a lot of hats in the studio process, from producer and mixer to songwriter and developer of new artists.

Though the bulk of Sebastians experience has been with artists working in what are perceived as Latin genres, its a distinction that the producer doesnt give much credence to. I dont really think of Latin pop or Latin rock as real genres. Its pop or rock; the language doesnt really define the genre, Sebastian says. Good music is good music.

Moving to America from Argentina at the age of nine, he grew up playing several instruments and by the time he had relocated to Orlando for college, he was a guitarist in a punk rock band. Fairly early on, I knew that I wanted to get involved in the production of music, Sebastian reflects. It was a chance sighting at one of his gigs that played a significant part in shaping his future.

My band was playing a show, and I saw one of Full Sails production trucks on the side, recording the set, he says. I was so amazed. It was the first time I had seen that type of equipment, and I was hooked! I knew what I wanted to do, but I didnt know how to go about getting there. A lot of other schools require an audition on an instrument in order to get admitted. I played in a punk band you didnt have to be a good guitar player for that! Full Sail understood you didnt have to be a trained musician to work in production.

Today, his stellar credits are a far cry from those modest punk roots. But Sebastian still maintains a sense of humility despite the several awards attached to his name. In fact, his personal policy regarding his overachievement at the GRAMMY®s is dont ask, dont tell.

Its just surprising to me that Ive been put in this position where I get an award for this work that Ive done. I was never one of those guys who always got 100 percent on tests, he laughs. After a while, its become kind of embarrassing for me.

Creative and Innovative Internet-Based Advertising: Dustin Mershon

The growth of the Internet has given us new expectations in terms of usability and design when surfing our favorite web pages and Full Sail graduate Dustin Mershon is helping keep the medium evolving as a Digital Media Developer at ichameleon/group/. Youve probably even clicked through some of the pages hes helped create, with his work seen on innovative sites for companies like Coca-Cola, Guinness, Snickers, Mentos, and Becks.

With Internet advertising becoming more sophisticated, its been Dustins job to promote these companies using the latest philosophies in web content delivery. Speaking with him about these trends, Dustin explained the careful job designers have to balance technology with a more organic and natural interactive experience for todays web-savvy users.

All the eye candy helps, but what it really comes down to is the idea, he says. The more successful [websites] might not be the most intricate or on the cutting edge, but they have an idea that people are going to tell their friends about like, I saw this site today and it was so funny and cool! Thats the thing that attracts people to go somewhere new, and gets more exposure to a brand.

This approach has allowed the team at ichameleon/group/ to inject some humor and creativity into the sites they develop. This includes some innovative 3D animation work for Becks beer, as well as a recent campaign for Wrigleys. The Wrigleys gum project was one of my favorites, Dustin shares. The style was all illustrated, and it kind of reminded me of Monty Python, where they did a lot of cutout animation. It was kind of goofy and crazy, and pretty much anything went as far as what we could deliver for style and animation. I really love that kind of freedom to just roll with something.

This blend of art and advertising is one of the ways the web is distinguishing itself as a unique delivery method for companies wanting to reach new customers. And while you might think some of the more iconic products would have strict guidelines on their branding, Dustin has been surprised by the amount of freedom his team has been given.

We do a lot of microsites for new advertising plans, so its not so much based on the image of that brand, rather than it is about that particular campaign, Dustin explains. So from that aspect theyre open to trying new things online more so than with print or television. I think what theyre trying to do is to gain as much interest and as much traffic as they can, so they want something thats going to garner a lot of attention by showing people something they havent seen before. Thats really exciting for us.

As he gears up for his latest round of projects, Dustin is also excited about the possibility of pushing your online experience even further in the future. Upcoming features like increased personalization, member profiles, and applications that allow home pages to adapt to your interests will be the key to really taking advantage of what the web can offer.

I think the idea of having deeper online applications is really the future, he explains. Instead of just going to a site and seeing some information, its really going to be about using a site for your own needs with it keeping track of all your settings and then evolving with your interests so it becomes the kind of place that you want to visit every day.

As ingrained in our lives as the Internet has become, designers are only beginning to scratch the surface of what they can offer online. That potential is one of the things that drew Dustin to the industry, and each week at ichameleon/group/ has brought him new challenges as they find fresh ways to approach his work.

I must say that this is my dream job, working with like-minded people striving to create the best possible sites for our clients, he shares. When I came here it was immediately an atmosphere where they nurtured anything and everything you had to contribute. The Internets really hitting its stride, and this is a perfect fit for me.

Eric Schall: Digital Modeling at McFarlane Toys

Since graduating from Full Sails Computer Animation program, Eric Schall has brought to life such iconic pop culture heroes as Homer Simpson and Halos Master Chief. Working as a Senior Modeler at McFarlane Toys, Eric has been responsible for a number of the figures and sculptures that are probably lining your desk right now.

I decided to focus on modeling before I graduated from Full Sail, but I never thought it would lead me to produce toys, he explains. I didnt even realize it was a possible career path, but after I found out that McFarlane was using a digital modeling department in addition to their traditional sculpting department to help make their figures, I gave it a shot. It was great to find out that a lot of the same skills I was taught applied, and its been an amazing experience so far.

The opportunity to work alongside an artist like Todd McFarlane was also a big draw for Eric. McFarlanes unique vision has brought us some of the most creative characters and artwork in modern comics, with the Spawn series alone redefining the look and feel of a superhero. This same twisted innovation can be seen in McFarlanes toy line, which has become renowned for its intricate attention to detail.

One of the conflicts that arise from turning digital characters into toys is that there are techniques you can use in for detail in games and film that dont necessarily carry over into modeling for product, Eric explains about the companys approach. All of the detail brought out by cool things like normal maps, bump maps, textures, and dynamic lighting have to be modeled. So well do a high-res version in Maya first, then take it to the 3D printer, and give a physical printout to the traditional sculptors to go and finish in detail. There are people here who know anatomy very well, and that has really helped us make the toys look so great.

Turning a popular video game or cartoon character into a physical form is an intensive process, as the team has to think about the way these fictional characters would move and react in real life. From concept to completion, it can take the team of modelers, sculptors and painters up to six months to nail down a new series of figures.

With something like Halo, you want to make it as accurate as possible because theres such a huge fan base, Eric begins. But there are also certain things that might not translate so well from the screen to a 3D object. For example the Master Chiefs armor moves and deforms in the digital realm but in some poses and movements the polygons might be intersecting we cant do that with an articulated toy. So one of our biggest challenges is balancing accuracy with articulation and playability.

[[inline1 right]]After nearly two years at McFarlane Toys, Eric has been a part of the growth of this art form, and the ornate beauty of one of his most recent projects the Ice Dragon from McFarlanes Dragon Series Six is testament to the true artistry at work. Being able to sit back and look at these pieces, he finds the tactile interaction with his creations to be the biggest reward.

It is extremely cool to hold something that you modeled just a few days before, and actually having it on your desk, he explains. Thats what I love most about these projects I work on you can sit them all on your desk and they really work as a piece of art. They also have a lot of staying power too, because they reach the collectors market. So its really cool to think about people out there actually collecting something Ive worked on!

Full Sail Becomes a University

With a history that spans three decades, an alumni base of over 27,000 graduates, a continually expanding campus, and programs that include Associate, Bachelor, and Master of Science Degrees, Full Sail takes great pride in announcing that it has been awarded University status by its state regulatory agency and national accrediting body.

We appreciate all the support from the educational community and the entertainment industry that has led to this milestone in our history, says Full Sail University President Garry Jones. As Full Sail University, we will continue to grow and carry on the tradition of empowering students with the knowledge necessary to pursue their educational and career goals, through our long-standing tradition of accelerated, real world education and immersive, project-based learning.

"Full Sail's dedication to innovative curricula is to be commended and is consistent with what today's dynamic, technology-rich global economy demands from its professionals. Its progressive educational approach puts students and graduate success squarely at the forefront of the institution's mission."
- John Couch, vice president of Education, Apple

The caliber and reputation of graduates from Full Sail is widely known and respected throughout the industry and, to me, speaks to education that is current and relevant. I want to congratulate Full Sail on the University distinction and thank them for their service to the entertainment and media industry and for their commitment to helping students fulfill their career aspirations.
- Nick Johnson, Vice President of Digital Media Sales, NBC Universal

Web Design & Development Building Opens

Full Sails campus is constantly changing to meet the needs of our students, and the unveiling of the new Web Design & Development Building marks another step in that expansion. The facility opened its doors this March, and offers a dedicated creative environment for students in the Web Design & Development Bachelors program. The building spans 17,248 square feet, and is highlighted by six lecture halls offering integrated classrooms and labs.

Throughout their degree program, Web Design & Development students cover a number of disciplines, ranging from client and server scripting to interface design and usability, and facilitys unique setup gives instructors the versatility to provide practical examples of their curriculum on the fly.

Were really happy to have this space, explains Bill Bain, Program Director for Web Design & Development. Having the lecture and lab rooms be one and the same is a big benefit. There are multiple projects per course, and each of the rooms is equipped to handle anything students need to cover. They can totally focus on design for this medium here.

Each room has been designed to complement Full Sails Apple LaunchBox program, which gives each incoming student their own MacBook Pro loaded with the latest web development software. Adding a new level of interactivity to lectures, students are able to connect to our campus-wide Wi-Fi network and participate in class discussions and projects from their seats. Need some creative feedback on a project? Just upload it to the buildings server, and get input from the entire class.

Were really happy about the Apple program and being able to offer that technology and interaction to our students, Bain says. This is the space for them to try new things with it, and itll be interesting to see what that experience brings to the classroom. I think its going to be a great way to expand your work.

Since even the most dedicated students need a break at some point, the Web Design building also offers a large lounge with plenty of open space to work on projects, meet with classmates, or even just surf the web or catch a nap between classes. Theres also a gallery area which features a row of 24-inch widescreen iMacs displaying current student projects allowing students across the program to see what their peers are creating.

The lounge area lets students branch out and have their own space away from the classroom, which is really cool, says Bain. Itll be a meeting place, and a lot of interactive social networking will be going on there, both on the web and in person. The gallery also showcases our best student work and has some pretty slick implementation into the building.

Walking through the halls of the Web Design & Development building is inspiring on its own, and the staff is eager to see the projects that come out of this new digital think tank. The integration of design and technology has given students a fresh creative area to explore the latest innovations in their field and maybe even help build some new ones.

Were hoping that students will be able to utilize this building to encourage their creativity, Bain says. I think it will really inspire them to have a place thats so focused on what theyre studying. This is a place where you can not only learn, but also see what your colleagues are accomplishing. I think the interesting thing is going to be how all these factors influence their work, and we cant wait to see what they deliver!

2008 Florida Film Festival

The 17th annual Florida Film Festival is once again coming to Orlando, showcasing 160 different films from more than 20 countries. The festival produced by the Orlandos independent Enzian Theatre has been an outlet for independent cinema worldwide for the past 23 years, and has hosted hundreds of notable celebrities including Paul Newman, Christopher Walken, Oliver Stone, and John Waters. This years festivities also mark the 15th year that Full Sail has been involved with the event.

As we maintain our commitment to excellence in the film education industry as well as to bringing the industry to Central Florida we are honored to stand beside filmmakers, producers, directors, actors, the Enzian Theater, and everyone who vows to celebrate the art of filmmaking, Full Sail Film Program Director Dave Franko says.

This festival is very important to our students because it can provide a public venue for their independent films, Franko adds. Our students can also get involved as volunteers and attend the seminars offered during the festival. And the Academy of Motion Picture Arts and Sciences has accepted the Festival as a qualifying festival in the category of short films that qualification is inspiring to young filmmakers to submit their films and distribute their press kits to potential clients.

The scope of cinematic expression in this years Festival is found not simply in terms of the volume of submissions or its demographics but in the variety of types of filmmakers and the issues they explore, says Florida Film Festival Executive Director Shanon Larimer. This year we are screening films that embody risk-taking, diversity, and aesthetic innovation.

With a variety of films being offered on the big screen, including documentaries, animated features, and short films, one could literally sit and watch movies for the entirety of the event. But attendants neednt be wary of sticking to their chairs over the course of 10 days; this years Festival continues the tradition of offering up a wide selection of parties and special events.

Things kick off March 28 at the Enzian Theatre when the first independent film is premiered, followed by an opening night party at Citrus Club in Downtown Orlando. The sold-out event will feature wine makers and a wide selection of master chefs. The evenings guests of honor include master chef and No Reservations host Anthony Bourdain and New World Cuisine founder Norman Van Aken. Full Sail will also be hosting its own Filmmaker Welcome Party at Slingapours and the Tuk Tuk Room in downtown Orlando on April 2. The partygoing culminates at the end of the ten-day festival with a wrap party at the Winter Park Racquet Club, where actress Jennifer Tilly will host a night of celebration and networking between the Festival community and the film industrys movers and shakers.

Parties aside, the event is still about one thing: the films, and the Florida Film Festival is a one-of-a-kind opportunity for filmmakers and aspiring filmmakers alike. As a media arts college here in Orlando, Franko says, we are very fortunate to have the Enzian Theatre and this festival in our own backyard.

Sound for EPCOT Concerts: Michael Weyand

When youre running audio at a 260-acre theme park, you need to be prepared to handle some pretty diverse setups. As an Audio Technician at Walt Disney Worlds EPCOT resort in Orlando, FL, Show Production graduate Michael Weyand has covered everything from park-wide audio for live events to helping put together their annual tree-lighting ceremony this past Christmas. Its made me appreciate the park more because I know what it takes to make it that magic place for people, he shares. People dont realize all the work that goes on behind the scenes!

Mike is currently preparing for EPCOTs busy upcoming concert season, where hell once again be stationed at the America Gardens Theater. This outdoor venue is one of the focal points of the parks World Showcase section, and is the only venue on Disney property that hosts a regular concert series with national acts. Some of the artists Mike has worked with in the past have included the Beach Boys, the Four Tops, and Little Richard.

When we do the concert series were changing over the stage for a new performer every three or four days, he explains. Each band has their own specifications as to what they want, and its a lot of fun when youre able to shape new sounds every night. When we hosted Little Richard, we had a total of 18 mixes on stage for all the members of his band, which included 2 bass players, 2 drummers, multiple guitarists and a full horn section. So it can be a lot of long nights but the end result is always pretty amazing.

Mike also sees a lot of variety offstage, as he and the rest of EPCOTs audio and lighting crew in which there are around 80 full time techs, working in daily operations, special events, and planning and management are often sent throughout the Walt Disney World property to help put together the hundreds of other events hosted onsite each year. These can range from professional baseball games to live music and theater productions held at a variety of locations throughout Disneys four theme parks, and countless other entertainment facilities.

When we have special events, they pull crew from all parks, based on the labor requests of the event planner, Mike explains. Tomorrow I might be at the Wide World of Sports complex for the Atlanta Braves spring training, and the next day I could be an additional technician at Downtown Disney or at the Magic Kingdom for Night of Joy. So Im constantly getting to meet new people and do new things, and its all such a great learning experience.

And as much fun as hes having working on these productions, Mikes biggest payoff comes from the opportunity to build this kind of entertainment for the millions of families that travel to the Walt Disney World resort from around the world each year.

There is a lot of magic to the park that never goes away, he shares. And its especially cool when youre working at something like the tree-lighting ceremony the park has at Christmas when you could see these families creating memories. And when it makes me feel that good, I realize that Ive made somebodys day really great. Thats really what I love most about what I do working at a park thats all based around imagination.

Full Sail at Game Developers Conference 2008

The annual Game Developers Conference (GDC) is one of the largest events in the gaming community. The gathering was founded in 1987, and brings together artists, animators, programmers and designers from across the globe to share the latest advancements in video game design and technology.

This year saw a number of Full Sail staff head to the Moscone Center in San Francisco to participate in the five days of gaming-themed seminars and events. Forty staff members from across our degree programs were in attendance, as well as a number of current students and graduates helping make this years conference the most well-attended in its history.

There were over 18,000 attendees and over 300 exhibitors this year, explains Rob Catto, Program Director for the Game Development program. You could tell that it was bigger in scope than usual, and that there was a special buzz to the events.

It really struck me as being a lot more active than previous years Ive attended, adds Robert Coble, Full Sails Game Development Career Advisor. The industry itself is really healthy, and it just had a really great vibe this year because of that.

GDC has been hailed for its great blend of education and entertainment, offering over 400 seminars and panel discussions, as well as a career fair, and a slew of new game and technology demos. This years conference was no exception, with a number of keynote lectures from top game designers, as well as previews of such eagerly-anticipated titles as Street Fighter IV and Gears of War 2.

This is the place where game professionals go to network, talk about their craft, as well as educate each other about whats up and coming in the video game industry, Coble explains. Its a great place to stay current on what youre doing, as well as meet other people who share the same passion for making games and further your career.

Another highlight for attendees is the Independent Games Festival (IGF), the worlds largest annual competition recognizing fresh talent outside of the mainstream gaming industry. Full Sail students have previously won spots at the IGF showcase, and this year saw a number of innovative applicants to the festival. The Independent Games Festival is always a crowd favorite, and its inspiring to see all the talent out there, Catto offered. Its also a great way to get your skills noticed by potential employers.

During their GDC trip, Catto and Coble also took the time to host an industry outreach booth where they met with representatives from different gaming studios, and showcased student projects from our Digital Arts programs. The Full Sail booth was located on the floor of GDCs career pavilion, which offers an open forum for up and coming artists and programmers to meet with recruiters from a variety of development houses.

I noticed more companies taking an active role in recruiting this year, Coble shares. We had a lot of representatives from top technology companies come by to speak to us about finding potential employees, and wanting to know how they could get in touch with our graduates. It was cool because these people there are not just looking programmers, but also artists, animators, and sound designers as well.

The career fair also attracted a number of current Full Sail students and recent graduates, who the staff encouraged to make the most of this great employment opportunity. The career pavilion was bigger than ever this year, and the whole reason these companies are there is to meet new employees, Coble assures. If you go up and introduce yourself and prove that youre somebody that they need to talk to, then youre actually making their job a lot easier for them.

David Rhodes

The Star Wars films have spawned more video games than any other franchise, but none have been quite like the latest entry, Star Wars: The Force Unleashed. The dark and violent previews for the game have shown a different kind of Star Wars than were used to.

Its a lot more mature in terms of the story and what you do, explains Full Sail graduate David Rhodes, whos working at LucasArts as a Character Technical Director on the game. Its a step outside of the main story, and fills in a lot of gaps that nobody knew about before.

As a Character TD, David has been closely involved with the artists and modelers as they build a game that will take players further in the bleak direction seen at the end of Episode III. With a foot firmly planted on the dark side, the game puts you in the role of an apprentice of Darth Vader in the years between the two Star Wars trilogies. Your mission: destroy the last remaining Jedi littered across the galaxy.

The secret apprentice has got some internal issues too, so it all makes for a really interesting story, he offers. It is kind of gritty, but I think its a really good turn in tone for Star Wars, because we have to find new ways of keeping this story entertaining to fans.

The games combat system also reflects this shift, giving players a number of aggressive Force effects to wield. Abilities like telekinesis, lightning, and other powers are employed to level enemies. One of the most powerful cinematics weve seen shows the apprentice bringing down a massive Star Destroyer just with his Force powers.

You can make combination attacks with the Force, and choose multiple different ways to destroy something, David explains. Youll also be using the Force to change your environments, and even use them as a weapon. And with some of the technology were using, theyll react realistically in terms of physics.

The team at LucasArts is also pushing the level of realism with the animation and rigging technology employed in The Force Unleashed. This includes layering the characters and monsters with lifelike clothing something David had worked with at his previous gig at Rhythm and Hues Studios, where he worked on such effects-driven films as Alvin and the Chipmunks and The Golden Compass.

This game is getting closer to movies but its all done in real time, David explains. Its one more thing to bring people in and make it all seem more realistic. It makes you more entranced by the things around you, and you have this virtual world with characters that look and feel real.

The capabilities of todays hardware have pushed the possibilities of the medium to a point where artists like George Lucas are able to use video games to expand upon their films. David explained that the Star Wars creator has taken an active role onThe Force Unleashed, with the technology offering him the freedom to give rabid fans an experience they couldnt get in theaters.

George Lucas has headed up our story because hes really pushed for telling stories through video games, David shares. The graphics are getting so close to movie quality its like an interactive storytelling medium, and we can deliver elements of the movies that people have always wanted to play.

Working with the team at LucasArts on the latest Star Wars game has been inspiring for David, with the storyline and technology expanding the possibilities of what we can expect from a Star Wars game. And as involved as hes been on the project, hes just as excited as us to see the game hit shelves this summer if only as a fan of the series.

Im a Star Wars geek and played most every game based on it, so to actually be working on one is just amazing, he shares. Its kind of funny because I actually try to distance myself a little from my work to make sure theres still some surprises when I finally get to play the game! I dont know the whole story, so Im excited to play through it and see what sorts of secrets are revealed!

OSCAR '08: Record Number of Full Sail Grads on Nominated Projects

Oscar season is always an exciting time at Full Sail, and this years ceremony will be no exception as the nominations for 2008s Academy Awards resulted in a record number of graduates with credits on some of the biggest films in contention. In total, 51 Full Sail graduates were involved in the production of 18 Oscar-nominated films in 18 separate categories.

This year we have the most grads working on Academy Award nominated films in the history of Full Sail, explains Dave Franko, Program Director for Film. Im very proud of our grads, our school, and all the teachers throughout our degrees. Its a very exciting time!

The list features a diverse collection of credits, with graduates from the Film, Computer Animation, Digital Arts & Design, and Recording Arts programs represented in multiple positions. Three of the five films up for this years Best Picture statue No Country For Old Men, Michael Clayton, and There Will Be Blood feature Full Sail grads in the credits. Daniel Cramer, H. Haden Hammond, Darrick Akey, Aaron Randall, and Christian Labarta worked on these acclaimed productions.

Its a very special list this year, Franko continues. You see a lot of serious dramas just great films. And when I look at our list of graduates and see that someone like Christian Labarta worked on the sets for There Will Be Blood, it makes you very proud of those grads who are pursuing their goals.

This years nominations also show the breadth of roles our graduates are taking. Besides traditional filmmaking positions, Full Sail also had a number of graduates working on the audio, visual effects, and editing departments of these films. Some of the other categories featuring grad credits include Best Sound Editing, Best Visual Effects, Best Art Direction, Best Documentary Feature, Best Make-Up, Best Original Screenplay, and Best Animated Feature.

You see so many different grads in so many different areas because of todays technology, Franko explains. How we produce and make films is very different than how it was just ten years ago. With all the visual effects, you have Digital Arts, Computer Animation, and even Game Development graduates that are now being recognized for their contributions.

Compared to some award events, the Academy of Motion Picture Arts & Sciences recognizes a select and rather small group of projects each year during the Oscars, offers Jay Noble, Full Sails Director of Career Development. Working as part of the crew on a film that is recognized by the Academy is a testament to our graduates own hard work in the industry and the tremendous potential of their career.

* The 80th Annual Academy Awards ceremony will take place on Sunday, February 24, and will be broadcast live on ABC at 8pm EST. Jon Stewart will host.

Kris Klein: Modeling Set Lead at Pixar

We recently welcomed Digital Media graduate Kristifir Klein back to campus to share his experiences as a Modeling Set Lead at Pixar Animation Studios. During his visit Kris spoke with current students about the industry, and was able to give them a sneak peak at the companys big summer film, WALL-E.

Kris also took the time to sit down with our video team to look back on his career since graduation, which has included work on such blockbusters as Monsters Inc., Finding Nemo, The Incredibles, and Ratatouille. He also offered some great advice for up and coming
artists wanting to launch their own careers in animation.

Digital Media Alliance Florida Celebrates 5th Anniversary at Full Sail

Full Sails Motion Capture Studio was the stomping ground for the Digital Media Alliance Floridas 5th anniversary, a celebration for the statewide, non-profit organization that supports all aspects of digital media and has counted Full Sail as one of its first institutional members since 2003.

Alongside a panel session comprised of some big names in the digital media field and other vendors from the industry sharing their latest developments, a former Cirque du Soliel dancer, equipped with one of our motion capture suits, was also there to demonstrate the awesome capabilities found in our Motion Capture Studio. We spoke to the experts on-site to discuss the importance of this breakthrough in technology.

Writing For Reality Television: Jessica Pollak and Troy DeVolld

The reality TV program trend that has swept the entertainment industry in recent years relies on more than just a rolling camera and some wacky onscreen characters. Writers (commonly referred to in their niche of the industry as story producers) play a major part in shaping what winds up in the final cut of an episode. At our recent Writers Panel, Full Sail grads and reality television writers Jessica Pollak and Troy DeVolld visited campus to share the insight theyve gained from working in the industry. The two gave tips as to how to land a job as a writer, and answered questions from an eager group of students in the Entertainment Business Auditorium.

DeVolld, who graduated from Full Sail with a Film and Video Production degree in 1996 and has gone on to work as a writer/producer on projects like The Bachelor, The Surreal Life, and Dancing With The Stars, pointed out early on in the lecture that the experience of working on reality television is completely dependent on the nature of the show itself.

The way these shows work is different almost every time, he told students. I have shows that I have written 12-page outlines for, and shows where Ive written full, 70 to 80-page scripts for an hour-long show. As far as whats on the agenda for any given day, for a show like The Surreal Life you can shoot an entire season in maybe 10 days because everything is so structured; this is whats going to happen today, this is what the characters will do in the morning, at noon theyll go here, and then theyll go here at four oclock.

[[inline1 left]]Then you have a show like The Osbournes, where youre basically just following them around and waiting for something to happen. Theres no real consistency. The last show that I worked on, the only thing I had a paper script for was the voice-over. Everything else, I cut the roughs that I then sent to my editors.

Pollak, who graduated in 2005 with an Entertainment Business Bachelor Degree along with an Associate in Film and Video Production has written for the hit teen show South of Nowhere and recently co-wrote and will co-executive produce a TV pilot for Powerup Films titled Pray For Us Sinners. Having recently graduated from Full Sail, she was able to provide a fresh perspective to students who are gearing up to search for jobs in the film industry both as writers and as producers on-set.

Its important to be honest about what you want, and be honest about what your knowledge is coming in, she told the group. If you dont know about gear or something thats being used on set, nine times out of ten people will be happy to explain it to you. Honesty is one of the most important qualities I look for in the hiring process.

This industry is so great because you never stop learning. So when you first begin your job, I dont think its important to worry about not knowing everything youre going to need because youll learn along the way, its like on-the-job-training. If youre shooting on December 23, and its an outside shoot and you only have one day before Christmas break and you dont have a cover slip and it starts snowing outside you learn pretty quick! she laughed.

Always be vocal as you come up in your career about what your intentions are and what it is that you want to do, DeVolld echoed. Ive gotten offers before to direct reality television shows, and I havent taken them because it hasnt interested me, but its a direct result from having worked in this field for so long. Theres always an opportunity for an open door in this business.

WMS Gaming Visits Full Sail

Beyond console and PC games, Full Sail graduates have found a number of unique ways to employ their talents in the gaming industry, whether its cell phone gaming, military simulators, or even, in the case of one grad, Vegas-style slot machines.

Game Development graduate Wissen Cabanayan is currently working as an Associate Software Engineer at WMS Gaming, one of the industrys biggest producers of slot machines. Cabanayan recently returned to campus with fellow programmers and personnel from the WMS recruiting department, and spent the day touring our Game Development facilities and speaking with students.

What brought me to WMS is their innovation both [in] hardware and software, Wissen shared during a break from the tour. Its how they attack things, and come about with new games. Its a good challenge, and it really pushes you to the point where you become better in your field.

Since he works in one of the less-publicized areas of the industry, we took the opportunity to ask Wissen what its like designing for the format, and how it differs from more traditional gaming outlets.

We have to make sure that a game attracts the right audience, he offered. You have to think if the theme itself is aimed to a certain age level nothing that could seem like it was targeted to a younger crowd. We have to be careful about that.

Wissens peers from WMS went on to outline the specifics of their industry later that evening, as they hosted a unique recruiting event for students. The presentation was helmed by Lead Producer Brad Rose, along with Darren Ng (Lead Gaming Software Engineer), Jason Jesunas (Senior Recruiter), and Yvonne Tagge (Director of Recruiting).

Brad spoke at length about the slot machine industry, stressing to students WMS commitment to innovation in their field, and what the company looks for in potential employees. Our core values are innovation, tenacity, passion, quality, and integrity and thats in everything we do from game design to the people we hire, Brad explained. Were challenged every single day.

He later fielded questions from students that covered everything from the development cycle of their projects (typically 12 to 15 months), to the possibility of the company branching out into online gaming something which Brad said was on our radar. He also spoke at length about the wide range of their employment opportunities, which painted a broader picture than you might expect.

Theres so many different things we can do with the platform, Brad explained. Right now we have over 50 graphic artists and animators that work with us. Many of them came from the video game world, television, and movies. We were also the first company to bring digital audio into the gaming industry, and have our own recording studio on site.

In an interview with Wissen at the end of the evening, he offered his own take on what makes the slot machine industry a great arena for those looking to do something a bit different with their game design training.

The industry just keeps on changing, he shared. And being a part of that is really uplifting each day I go into work. Were still trying to figure out new technologies to make it more interesting to the players, and I love being a part of it.

New 25-foot LED Display Will Highlight Student Work

The recent addition of a 25-foot Times Square-style LED display to the Full Sail campus is not only a testament to the spirit of the schools cutting-edge technology, but also serves as a window into the world of its students and curriculum.

Positioned on the roof of the Entertainment Business building as part of Full Sails fully functional studio backlot, the screen along with its 147-foot ticker will display news and special events on campus, as well as showcasing student work for all to see.

This is a huge new opportunity for students to get an audience for their projects, says RG Lacandola, a Full Sail Digital Media graduate and content wrangler for the LED display. Theres a lot of great stuff being made on campus every single month. Now its going to be much easier to show it off. A 25-foot screen is hard to miss.

Using technology provided by Barco (whose other clients also include the American Airlines Arena, the Detroit Auto Show, and the Consumer Electronics Show), the screen will also have audio capabilities to work in conjunction with installed speakers along the walkway. Along with impressive examples of final projects, demo reels, and other academic work that is slated to air on the screen, Lacandola indicates that there are no limits as to how the display may be used.

Youve got all these MacBook Pros, youve got all these great ideas, he says, referring to the creative think tank that comprises Full Sails student body. A contest for the best five-minute cartoon, documentary, short moviethose would be a lot of fun.

The gear from Barco is really cream of the crop, adds Full Sails Director of Industry Relations Scott Dansby. Students will have the opportunity to interview for work-study positions where theyll learn to develop content and maintain the display. Its also not a realm that many people know about. Students who get to spend some time learning this stuff will really have an edge.

Full Sail Grads Have Big Night at the GRAMMY Awards

True to form, the 50th annual 2008 GRAMMY® Awards yielded some one-of-a-kind musical performances, surprises at the podium and, of course, huge victories for 29 Full Sail graduates who worked on the award-winning projects.

Amy Winehouse, performed her hits Rehab and You Know Im No Good via satellite from London and was the big winner of the night, taking GRAMMY® wins for Best New Artist, Record of the Year, Song of the Year, Best Female Pop Vocal Performance, and Best Pop Vocal Album. Full Sail Recording Arts grads Franklin Socorro (Recording Engineer), Michael Makowski (Assistant Engineer), and James Wisner (Mix Assistant) all had a hand in making of Winehouses smash hit Back to Black.

The Album of the Year award was given to Herbie Hancock for his album River: The Joni Letters, on which Full Sail grad Brian Montgomery worked as Assistant Engineer.

But those werent the only wins for Full Sail grads. Phil Tan was the Mix Engineer on Best Contemporary R&B Album winner Because of You by Ne-Yo, while Dale Parson served as Assistant Engineer on Kanye Wests Graduation, which won for Best Rap Album. The hip-hop producer/rapper gave an all-star performance of his smash club hit Stronger with surprise help from electronic duo Daft Punk, and also delivered a tear-jerking tribute to his recently-deceased mother with Hey Mama.

Full Sail President Garry Jones, Recording Arts Program Director Bill Smith, and Director of Alumni Relations Jay Noble were in Los Angeles for the award show and were able to meet with several nominated graduates.

Each of these reunions reminds me of the importance of people pursuing dreams, of choosing a career that thrills, and in applying ourselves in heroic ways towards the fulfillment of a rewarding career, Jones said. The GRAMMYs are symbols of Full Sail alumni achieving this quest.

Jordan Young

Studio engineers are known for keeping busy schedules, but in the city that never sleeps, they can expect to get even less downtime. Jordan Young, also known as DJ Swivel, can attest to that. As Fabolous official engineer, and the assistant to world-renowned mixing engineer Ken Duro Ifill, Jordan is there for every project that one of the best mixers in urban music puts his name on, including recent projects from hip hop recording artist Jay-Z and pop sensation Britney Spears.

The Recording Arts grad notes that his tasks on the job can vary depending on whom hes working with. When Im working with Duro, he does most of the mixes so Im just helping him as an assistant, Jordan explains. But when we were working on Jay-Zs last album American Gangster, for example, some of the producers like Pharrell [Williams, of the Neptunes] came in and wanted to work on some of the productions. Since Duro isnt into recording, I would do that. I recorded Say Hello and I Know off of that album.

Being in session with one of the biggest stars in hip hop might seem like a nerve-racking experience, but Jordan shrugs off any anxiety associated with such a scenario. Im not star-struck anymore, he insists. The only times that I ever felt that way in my two years with Duro was on my first day working on a Mariah Carey record when Styles P and Fabolous came into the studio and my first time meeting and working with Jay-Z, just because hes one of my favorite artists. But Ive seen him and worked with him since then and it hasnt been weird. Hes just a regular guy.

Though Duro typically operates on a normal 9-to-5-work schedule, Jordan finds himself in the studio at all hours of the day working on other related projects. Duro owns Desert Storm, which is Fabolous label, so Im there doing all of Fabs recordings; plus if Duro has another project, Ill also be there with him. For the first half of 2007, I was working with Fab into the night, get out at 9 a.m., and then get a text message from Duro telling me to meet him at another studio to work on something else I was going 24 hours. There was actually one session with Fabolous that lasted 68 hours three days straight, locked up in the studio.

While that certainly sounds like a grueling schedule, Jordan is hardly complaining. Since I started, Ive been working every day, 100 hours a week, and I havent felt like Ive been at a day of work, he exclaims. Its all fun for me; I still enjoy it, and I wake up every day looking forward to being in the studio. If Im not in the studio for two or three days, thats when I start to feel anxious and want to get back in.

Though he initially entered Full Sail with the intention of becoming a producer, his time spent engineering is something he considers invaluable to his career path and development in the music industry. Working with Duro, my mixes have gotten a lot better; just being in the studio, you sort of absorb things. Ive noticed my ears picking up things I normally wouldnt pick up, he says. I have no complaints about what Im doing, and where Im headed now. The biggest thing for me is that when I graduated Full Sail, I was one at the top of my class and totally focused and dedicated towards the schedule and my exams; that sort of stuff translates into your music. I never understood it at the time, but having that sort of work ethic in the business translates into your mixes sounding better, and you pay better attention to things with more focus.

Being able to sit down and make a record sound great is fun for me. I never feel like Im not pursuing what I want. I havent had a holiday in two years, and I still dont feel burnt out yet. Im living my dream at this point.

GRAMMY '08: Nine Full Sail Grads Onboard With Akon

Akons sophomore album Konvicted has spawned four blockbuster singles and sold over 2.7 million copies in the U.S. alone. The disc also netted four GRAMMY® nominations this year, including Best R&B Contemporary Album, Best Rap/Sung Collaboration, Best R&B Performance by a Duo or Group, and Best Pop Collaboration with Vocals. Konvicted is also notable for featuring nine graduates of Full Sails Recording Arts program on its credit list as mixers and engineers.

With the 2008 GRAMMY® ceremony quickly approaching, we caught up with three of the busy Full Sail grads Kori Anders, Marc Lee, and Mike Sroka to get a look inside the sessions that produced the multi-platinum record.

Working as a Recording Engineer early in the sessions, it didnt take long for Marc Lee to realize that hed be capturing something special on the album if only from the caliber of musicians he saw walking through the studio doors. What was great about those sessions was Akon and his team, Marc explained, [was that] they definitely were real musicians and the songs didn't sound like a lot of what Im hearing today like four bars looped out for 4 minutes! Akon is one of those talented artists that make it look easy.

[[inline1 left]]Also adding his input to the album as a Recording Engineer was Mike Sroka, who helped deliver one of its biggest hits, Smack That. Throughout the production he found Akons dedication to his music inspiring, especially with how much he packs into a typical work week. Hes an around-the-clock kind of guy very prolific, Mike shared. He actually left in the middle of a session one day, flew to L.A. and did that song [Sweet Escape] with Gwen Stefani, then came back here! It was cool because I got to hear that right away when he got back.

[[inline2 right]]After wrapping up work on on T.I.s GRAMMY®-winning King, Kori Anders came in during the last stages of production to work as a Mix Assistant alongside another Full Sail grad, Leslie Brathwaite. Fine-tuning the album with Akon, the pair helped put the final touches to tape during the mixing process.

Leslie and I have a good rapport, and its cool because were good friends even outside of the music business, he explained about their working relationship. We would get the Pro Tools files from the tracking engineer and I would go and I would assign the different tracks to the different outputs of the actual mixing console so Leslie could manipulate the kick, the snare, and the vocals. Then there would be times that Id be working on a mix, and Akon would come in and want to add a certain part here or there. So I also took care of some recording during the mixing little ad-libs or sounds that Akon wanted to add to the record.

Throughout each stage of production, the one thing that each of these grads shared in was the relaxed atmosphere Akon brought to the sessions definitely not the norm when working on such an anticipated release. The whole experience was a highlight, one of the most fun albums Ive had to work on, Kori stressed. With Akon, its just the vibe that he brings to the studio, and his sessions run like no other that Ive done. The environment is really laid back and we let things organically develop as theyre supposed to. He looks at it like its not brain surgery, no ones going to die if the record doesnt have this or that!

The only downside to Konvicteds recognition? Each of these grads is going to be too busy with their latest projects to see how the album performs at the Grammy ceremony; theyll be giving up their seats at the Staples Center in Los Angeles to work alongside the likes of Usher and Stephen Marley.

I wont be attending the ceremony, Ill probably be working through it, Kori explained. On my plate right now is David Banner, the Shop Boyz, and Usher. Its all been an awesome experience, and I really love what I do!

The following grads worked on Konviction:

Kori Anders (2003) Mix Assistant
Leslie Brathwaite (1992) Mix Engineer
Kirke Bray (2005) Recording Engineer
Miguel Bustamante (2001) Assistant Engineer
Rick DeVarona (2002) Assistant Engineer
Marc Lee (2004) Recording Engineer
Rob Skipworth (2000) Assistant Engineer
Mike Sroka (2000) Recording Engineer
Tony Terrebonne (2004) Record & Mix Engineer

GRAMMY '08: Grads Talk About Their Work With Amy Winehouse

Without a doubt, one of pop musics most talented (and notorious) figures of 2007 was U.K. singer/songwriter Amy Winehouse. Her breakthrough album Back to Black was met with critical praise and chart success upon its domestic release last January, driven in part by her throwback style that drew inspiration from girl-group soul of the 60s.

Given Back to Blacks wonderfully vintage, unified production aesthetic, its not surprising that Winehouse has scored six nominations at the 2008 GRAMMY® Awards, including Album of the Year, Record of the Year, and Best New Artist. Winehouse knocked the album out in two different session periods; working with producers Mark Ronson and Salaam Remi (in New York and Miami, respectively), and the records 10 tracks capture a Motown vibe that hasnt graced the pop charts in quite some time.

Recording engineer Franklin Socorro, whos up for his own GRAMMY® for Album of the Year, assistant engineer Michael Makowski, and mix assistant James Wisner all contributed to this smash project, but thats not the only thing that they have in common theyre all also Full Sail Recording Arts graduates.

Franklins been working as Salaam Remis recording engineer for the past four years, and says the recording of Back to Black was a unique and comfortable experience. The sessions were done at Salaams place in Miami; his house has a studio inside of it, so it was a really relaxed atmosphere. Theres always artists hanging out in the kitchen, and we turned the living room into a live room, but theres still a couch in it, Franklin describes. We have a proper studio which has a vocal booth and control room, but Amy wanted to sing in the living room by the window.

Working with Salaam is really easy, because he has been in studios since he was 14, so he knows all of the gear and how to mix records, he continues. So his direction isnt like with other producers who say, Oh, just make it better. Hes able to describe exactly what he wants, like Brighten up the snare, give the kick drum some bottom, we need more vocals in the chorus. Its not some random, vague direction it makes my job super-easy, and makes it easy to work for him.

Michaels experience as assistant engineer to Mark Ronson was memorable for the creative sparks between the producer and Winehouse. After transferring the Ronson-produced music which was mostly tracked out on one-inch 16-track reel-to-reel tape to Pro Tools, Michael captured Winehouses vocals in New York Citys Chung King Studios.

When you hit record, she would literally sing one take all the way through on every song we did, he marvels. The whole song, one perfect take all the way through. No punching in 20 million times! Shed get done and say, Alright Mark, I know you want to comp some things, so Ill just do a second take all the way through, and maybe shed phrase some things differently, but again it was another flawless take! After maybe the third time, Mark would just be like, Ok, once again, Amy, youre amazing what do you want me to say? he laughs.

Though both grads knew they were involved in something special, both admit that they were surprised that the record was as huge as it has become. They also were a bit surprised at the destructive antics that kept Winehouse in the tabloids all year. People ask me all the time [if Amy seem troubled in the studio], and I always say that she is the most nice and honest person youll ever meet. There was no inkling of any problems, so its very strange to see her on TV, because meeting her in person is a very different experience, Franklin says. She cooked us dinner one night; it was a very fun, relaxed, family atmosphere.

She was very grunged out, as she is today, Michael offers. She talked up how heavily she drank, but I didnt really get the vibe that she was into anything else. I think a lot of people really took to her because shell talk about how screwed up she is as a person, whereas everyone else today is Miss Perfect she tells real life stories and what her flaws are, and people recognize that as being honest.

Regardless of the singers troubles, the graduates are very thrilled to have their names attached to such a high-profile project. This is my first nomination, and I am very excited, Franklin says. Im going to be at the ceremony its kind of surreal right now.

Grad Returns to Full Sail to Talk Motion Graphics

Full Sail graduate Jayson Whitmore recently returned to campus for the first time since founding Royale, a Los Angeles-based motion graphics company. Jayson and Royale co-founder Brien Holman hosted a unique lecture for students about their experiences, including the start-up of the company, the ins and outs of working with clients, and other aspects of being successful in the digital design industry.

Using the foundations we had built throughout our careers, we decided to jump ship from the companies we were working for and do it ourselves, Jayson explained to the students gathered in Full Sail Live. And I think weve done some pretty amazing work together!

Royale specializes in cutting-edge motion graphics and the company is involved in multiple areas of the entertainment industry. Since launching in mid-2007, Jayson, Brien and fellow partner Jennifer Lucero have attracted an impressive collection of clients.

As the two told Fullsail.com after the event, their companys work for the likes of Comedy Central, Diesel and Flaunt magazine was built on a mutual trust between Royale and their clients.

"Flaunt and Diesel gave us full support to speak to their brands and still make the project our own," Jayson said. "Working with branded entertainment gave us the freedom to make a relevant piece for Flaunt and Diesel while showing our own capabilities. We were also able to collaborate with some amazing people that helped this project stand out and give our new company a creative voice."

"Using the pages of Flaunt as the medium, we used torn pages to create a world that the Diesel models live in," said Brien. "Also, knowing the potential for still images to look out of place, we came up with a stylistic solution of mixing stop motion with 2D and 3D animation to help the static images feel more integrated into the world. When all of it blends to the point where you can't discern the technique you know it's working."

Jayson and Brien also explained to the students about the creative process behind some of the eye-popping ads theyve created, showing off their storyboards, rough edits, and original concept videos. But the creativity at Royale extends beyond the work they produce; the companys work environment mirrors a similarly refreshing approach. Having worked with numerous firms throughout their career, Jayson and Brien put a lot of thought into creating a workplace that is dedicated to supporting the creativity of its artists.

When you run a business you cant always be the artist and the entrepreneur! You just dont have enough time, Jayson said. Because of that we spend our profit within our company to make sure that you as an artist are taken care of, because that makes our creative process better, and makes our lives easier. The better you are, the better we are. So we really respect anybody who comes and works for us, because youre working with us, not for us.

Jayson Whitmore has worn a number of different hats on his journey to Royale, and his new role as business owner has seen him channel his experiences to create the kind of company hes always dreamed of working for. Thinking back on how far theyve come since their own days in school, he and Brien wrapped up their lecture by reassuring students that theres a whole world of opportunities waiting for them in the digital arts maybe even at Royale.

The only difference between us and you guys is 7 to 10 years of experience thats all, Brien offered. You know all the software and hardware, and If you believe in yourself, youll do it.

I hope that every single one of you goes out there and rocks it, Jayson followed. And hopefully some of you will say hello to us too, because wed love to have you! Brien and I are just the spark, the rest of what we do comes from everyone else who becomes a part of our family.

Teaching Kids the Art of Recording at the Downtown Music Lab

Its afternoon in downtown Roanoke, Virginia, and junior and high school students are leaving school for the day. However, there are a few students that are forgoing the typical after-school activities of basketball and TV-watching and engaging in something a little unexpected for the average 13-year old: recording and mixing an album in an actual studio.

Thats the concept that drives the Downtown Music Lab, a non-profit, after-school music and recording studio for students in grades 6-12. With five studio rooms for attendees to write, record, and rehearse in, the DML is a creative hub for young and aspiring singers, rappers, bands, and musicians to learn hands-on just what it takes to create and complete a record in the studio. Its the type of opportunity that Executive Director and Full Sail Recording Arts grad Charlie Hamill yearned for as an aspiring musician growing up.

Ive always been a very question-oriented guy, and when I was young there was always recording equipment all over the house, he recalls. Thats why I went to Full Sail, and thats the very reason that I jumped on board here at the Music Lab, so that I could answer questions from kids who dont understand power amps, mixers, or guitars. When I was young, people who worked in music schools kind of treated most people in general like they didnt have the time. Theres definitely no secret society here; when you join up to be a member, theres nothing that we wont teach you about music and technology.

[[inline1 right]]While the annual student fee is a reasonable $125, scholarships are available for students and no one is turned away based on their ability to pay. The DMLs philanthropic slant is largely dependent upon grants and donations. As executive director for a nonprofit, after-school music program, I spend a lot of time working on making sure that we have money, Charlie says. Running a studio business in a small town is hard; adding the nonprofit element adds to that difficulty. The goal is to always spend more time teaching the students and less time writing grants.

After graduating Full Sail and working in a variety of studio environments, Charlie was attracted to the Downtown Music Labs unique role in the industry and in the world of education.

Giving studio time to kids is a lot more fun than begging poor adults to pay for it! he laughs. When I first signed on, I thought there was no way that I was going to be dealing with all these children and giving them this equipment. It sounded like a disaster to me! What I found out real quickly is that students come here, fill out a pretty lengthy application with their parents, pay their fee, and then they feel like theyre a part of something thats pretty important, and they dont want to blow it.

A listen to the DLMs Myspace page reveals that the lineup of musicians that pass through the doors is pretty diverse. From punk and hip-hop to singer/songwriters and pop artists, students are given free reign to pursue any direction that theyd like, regardless of how much experience they may have coming into the program. And when hes not handling the administrative duties for the building, Charlie puts his years of studio experience to use by helping students in that pursuit.

Ive got full-time staff members who teach the kids lessons on their instruments, show [them] how to work equipment, helping them record, he says. I jump into the studio to help them in whatever they need, whether its mixing songs or showing them the settings on a guitar amp.

Almost everybody here has been really good and mature and thrilled to be able to be here. Throughout the course of the year we have classes that we teach that are very similar to Full Sails, whether its recording for a couple of weeks, a guitar-and-amp series, or classes in computer technology, Charlie says. The kids look forward to these classes, and other opportunities like our annual CD and our live performances.

Students have gotten the chance to perform with acts like the Sugarhill Gang, Tower of Power, and the Harlem Gospel Choir thanks to the DMLs live series, which offers students approximately 15 different chances during the year to play music outside of the school in front of large audiences an opportunity that many adult bands, quite frankly, rarely get.

When I was in high school, I never got to open for Tower of Power in front of 800 people! Charlie exclaims. Its almost more rewarding to see the parents elation because I know the kids are digging it, but you can tell that the parents feel like one of the things that theyre doing for their children is definitely working, and that its something extraordinary. We all definitely know were onto something here, and its a very rewarding feeling.

For more information about the Downtown Music Lab, including finding out about donating to the organization, visit www.downtownmusiclab.com.

The Quest to Become the Ultimate Gamer at Otronicon 2008

The Orlando Science Center was once again the center of all things video game-related at this years Otronicon. With a history of showcasing the latest developments in technology while also providing a look at how the format has evolved over the years, the conference is an opportunity for die-hard gamers and regular families alike to get some hands-on interaction with the most beloved game titles in the industry.

Inspired by the weeklong event, Tracy Wiu entered Otronicon v.3 with a mission to become the Ultimate Gamer by mastering all of the games and exhibits that the event had to offer. Did she rise to the challenge, or did she come face-to-face with the dreaded Game Over screen?