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Events
  • Creative Action and the Otis Radio class present weekly broadcasts each Monday.

  • Objects In Crisis is a series of two-person exhibitions by students in the Photography 3 class. 

     

    Exhbition 1--November 18-22:  Greg Toothacre and Lani De Soto

    Reception: Thursday, November 20 @ 6 pm

     

    Exhibition 2--December 2-6:  Allison Mogan and Tia Chen

    Reception:  Thursday, December 4 @ 6 pm

     

    Exhibition 3--December 8-12: Yijia Liu and Cara Friedman

  • Mary Alinder

    Dec 02| Lectures
    More

     

  • Professor Julia Czerniak is educated in both architecture and landscape architecture, and serves as Associate Dean at the School of Architecture at Syracuse University. Through her own design practice, CLEAR, and most recently as the former inaugural Director of UPSTATE: Syracuse’s SOA’s Center for Design, Research and Real-Estate, Julia’s  research and practice draw on the intersection of landscape and architecture.

  • Alumni from Otis, Art Center, and CalArts are invited to celebrate the holidays at our second annual alumni holiday mixer. Eat, drink, be merry, and enjoy live music! Alumni are invited to bring a guest, but this event is closed to the public.

     

    RSVP by December 1

    www.CalArtsOtisArtCenter.eventbrite.com

O-Tube

Alumnus Jim Rygiel's VFX for Godzilla

Visual effects pioneer, alumnus Jim Rygiel ('86), who won three Oscars for the Lord of the RIngs trilogy, supervised visual effects for Godzilla. Sixty years ago, Japanese audiences thrilled to the film debut of a massive monster that ravaged Tokyo with atomic breath, armored plates and a name that combined the Japanese words for "gorilla" and "whale": Gojira. Rygiel's team reinvented the famous Japanese monster using contemporary CG tools.

"The difference with these creatures that we pushed was their movement through the environment. So when they're fighting in the city, you'll notice as Godzilla swipes his arm, he swipes it through a cloud or fog bank or a dust cloud that he's swiping through vortexes off of his hand. It's to get that interactive environment happening amongst these creatures in the city. When you go on the streets, there's lots of atmosphere and smoke and things burning. We had to carry that to the top, and to do that kind of interaction with that digital smoke simulations is extremely difficult to make it look correct and keep the scale right, and now make it seem like he's moving his hand through cigarette smoke."



 

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