Rachel Cogley is a modelmaking student from Wexford. Rachels passion for design and creativity was sparked at a young age, miniatures and film captured her interest and created a desire to turn imagination into a physically reality. This led her to pursue a four-year degree in modelmaking in IADT. She now hopes to further her career as a modelmaker in film and experience the entirety of the entertainment sector from an artist’s perspective. After dedicating her time to study in IADT, Rachel now looks forward to opportunities to travel the world while also continuing to build a professional skill set and create through the experiences and influence the future has to offer.
The Korean Temple is a 1:80 Diorama, inspired by the Temple Taeansa, located in South Korea. The Diorama captures the beauty of Korean culture whilst embracing its surrounding geographical environment. The sacred Korean Temple sits upon a granite base with steps leading to its entrance, positioned on the lower ground level is where a stone pagoda sits, this is where relics and funerary objects are traditionally placed. The temple itself is referenced to traditional designs and patterns of Korea including the unique wood painting technique Dancheong and exquisite architectural features. Surrounding the Temple, nature is captured through trees and vibrant flora. The colours chosen brings that Springtime essence to life, a time in which tourist and natives are drawn to visit the Temples of Korea. Among the greenery are trails that pass through the trees allowing full exploration of the Temple grounds.
[Thesis not connected to final project]
My thesis focuses on the evolutionary advancements being made in film technology, examining films that have made a huge impact with their unique technology from the late 90’s to the 21st Century. I investigate the developing technology that is leading us into a new digital era, uncovering the brains behind performance capture, de-aging techniques, and digital immortality, as well as the impressive progressive technology of Artificial Intelligence. Taking into account the remarkable use Digital Humans bring to the industry in some cases it has fallen short to its potential, causing a disconnect with the films audience as it finds itself deep into the uncanny. Using Sigmund Freuds theory of the uncanny, his findings are applied to instances of uncanny in film and where the technology failed to deliver a realistic digital actor. This paper takes an analytical approach to acknowledging the advantages and disadvantages CGI and Digital Humans will have throughout Hollywood, investigating the impending loss of many jobs whilst embracing opportunities for those in the digital employment sector. With a network of jobs interlinked to create the final output of a film, cutting that link to the physical world raises concerns for those who are dependent on their human performance and creative jobs to make a living. However, with this new digital era digital actors are being utilised for safer work environments therefore bringing employment to those digitally trained in the respected sectors. Although actors have adapted to new film techniques throughout film history actors are now becoming hesitant to the path film technology is heading in, especially regarding digital resurrection and most importantly questioning who owns their digital actors’ form. Whilst critically analysing the current laws, my paper investigates the ways actors are protected in the event of exploitation of their likeness, whether they fall under the protection of Copyright laws and discusses the unnerving lack of laws passed surrounding the issues raised within the film community as a result of this digital era.