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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Ghost in the Shell Reel
Ash Thorp
Original: MV5BMzJiNTI3MjItMGJiMy00YzA1LTg2MTItZmE1ZmRhOWQ0NGY1XkEyXkFqcGdeQXVyOTk4MTM0NQ_._V1_SY1000_CR0_0_675_1000_AL_.jpg | 675 * 1000px | 218.3 KB
Original: GHOST_IN_THE_SHELL_WEB_SOLOGRAM_2560_065.jpg | 10667 * 7054px | 11.9 MB
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Original: GHOST_IN_THE_SHELL_WEB_CITY_2560_009.jpg | 10667 * 7054px | 17.2 MB
Original: GHOST_IN_THE_SHELL_WEB_LOST_CONCEPTS_2560_012.jpg | 10667 * 7054px | 19.3 MB
Original: GHOST_IN_THE_SHELL_WEB_PROPS_2560_001.jpg | 10667 * 7054px | 20.7 MB
Original: GHOST_IN_THE_SHELL_WEB_PROPS_2560_002.jpg | 10667 * 7054px | 18.1 MB
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Early on in the film’s development, I met with Rupert to discuss some of the creative direction. He expressed his desire to paint the city with neon lights in a new form that he coined as “Solograms”, which are solid holograms. It is something in the realm of a particle system of light that can be moved and augmented in Z space. I loved the idea and instantly got to work building out concepts and ideas.
Pulling muse from the amazing original source material, I aimed to craft a look and style that would match Rupert’s vision, while still maintaining the essence of the original manga and anime. By merging physical buildings with the Solograms, old neon lights, and holograms, I aimed to paint a multi-layered facade over the city to bring it to life. I wanted it to feel as if the viewer was taking a psychedelic journey wavering between the realms of alternate reality and virtual reality. Once the designs were approved they moved over to the amazing people at Weta Workshop who did an incredible job bringing the 2D concepts to life in scale models that were then lit and shot for the final film. The images below with the Weta Workshop logo are photos of the actual models. I have always wanted to develop actual concepts and props for films ever since I was a young boy. It was an honor to adapt and build upon some of the iconic cars and props that I grew up adoring, such as Batou’s car and the Major’s bike.
During the post production phase of *Ghost in the Shell*, the VFX team wanted to explore how the Major’s suit would activate and work. Chris Bjerre and I did many different tests and simulations. The images capture some of the early research and development as we progressively discovered what the final effect would be in the film. Designing the logo and identity for the franchise was a great privilege. I did my best to pay homage to the past yet bring a fresh look and feel for this new film.
Links: http://altcinc.com/work/ghost-in-the-shell/
Pulling muse from the amazing original source material, I aimed to craft a look and style that would match Rupert’s vision, while still maintaining the essence of the original manga and anime. By merging physical buildings with the Solograms, old neon lights, and holograms, I aimed to paint a multi-layered facade over the city to bring it to life. I wanted it to feel as if the viewer was taking a psychedelic journey wavering between the realms of alternate reality and virtual reality. Once the designs were approved they moved over to the amazing people at Weta Workshop who did an incredible job bringing the 2D concepts to life in scale models that were then lit and shot for the final film. The images below with the Weta Workshop logo are photos of the actual models. I have always wanted to develop actual concepts and props for films ever since I was a young boy. It was an honor to adapt and build upon some of the iconic cars and props that I grew up adoring, such as Batou’s car and the Major’s bike.
During the post production phase of *Ghost in the Shell*, the VFX team wanted to explore how the Major’s suit would activate and work. Chris Bjerre and I did many different tests and simulations. The images capture some of the early research and development as we progressively discovered what the final effect would be in the film. Designing the logo and identity for the franchise was a great privilege. I did my best to pay homage to the past yet bring a fresh look and feel for this new film.
Links: http://altcinc.com/work/ghost-in-the-shell/
Director: Rupert Sanders
Lead Concept Artist: Maciej Kuciara
Lead Concept Artist: Vitaly Bulgarov
Concept Artist/Designer: Ash Thorp
Designer: Chris Bjerre
Reel Editor: Franck Deron
Lead Concept Artist: Maciej Kuciara
Lead Concept Artist: Vitaly Bulgarov
Concept Artist/Designer: Ash Thorp
Designer: Chris Bjerre
Reel Editor: Franck Deron
Ash Thorp’s (US) involvement in projects is a rotation of numerous roles from graphic designer, concept/digital artist, illustrator, animator, creative director, to director. He originally gained recognition for his UI (user interface) graphics in feature films, such as *Prometheus*, *Ender’s Game* and *Total Recall*. Soon after, Ash co-directed *Ares – Our Greatest Adventure*, with Chris Eyerman of 3AM featuring Neil deGrasse Tyson in a promotional trailer for the feature film *The Martian*. Recently Ash and fellow college Zaoeyo collaborated on a tribute to Akira called *Awaken Akira* which pays homage to the master work of Katsuhiro Otomo.
“Stay curious. Stay Humble. - Ash Thorp
“Stay curious. Stay Humble. - Ash Thorp