This animation was created on Silicon Graphics Indy workstations at Syracuse University, second semester, senior year. Two other animations were also finished within the same time period. The amount of hours spent on Irreverence went far beyond most student work as it was, and another short piece using shape deformations in Alias was tacked on to the end of this animation. Ultimtely, that half was lost because of bad compression. CD writing technology was not available at the time because it was too expensive for the department of Visual and Performing Arts.

Doctor Soupy's frequently had to work the other deparments to use their equipment, but ultimately, the entire macromedia interactive portfolio on old Mac zip disks were irretrievable within a few months after graduation. Maya was realeased that year, but it was to be offered to the next class. The class of '98 was forced to use outdated technology, and were not informed of any possiblity of job contacts.

Proffessor "favorites" list made matters worse for students who were shut out of classes they should have taken. The Visual and Performing Art's rivaly with the Newhouse School of Public Communications made it impossible for a work study to land any job experience. People did not respond well to the proffessor, even within the department because of the "not real art" stereotype at the time. Two and a half years of trying to get into Jerome Witkin's figure dawing anatomy class with limiting results is unexceptable. 90% of the multi-talented students in Computer Graphics voiced similar complaints durring evaluations. Even the "favorites" turned on her. Bummer. At least they all had personal computers. Ten years later....

_Irreverence_
Character Animation
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3D Computer Animation .mov 60 megs
©1998 Creature Convention

This animation runs the spectrum of game character animation. There is a stance loop which runs into walking, roaring, and attack sequences. The character on revolving treads features a hydrolic shock system mounted to his lower body. He is also able to remove the huge gun from his back.

Particle systems were used to render smoke from powerplant chimneys and for the exhaust from the pipes of Metro Iron's dual chassy. The atmosphere in the animation is thick and rich. Headlights through the fog and innovative camera angles frame Cyclops whose eye is fixed on a target. His body moves with center of gravity equations which effected his arm positioning accordingly. The sound track is equally brilliant, featuring Queansryche, Phish and DreamTheater all mixed togther into one.