Zara Martin – exclusive Focus section cover shoot for FAULT Issue 18

 

Zara Martin - FAULT Magazine Issue 18 - inside Focus cover WEB

Zara Martin was shot in London by photographer Paul Whitfield and styled by Rachel Holland exclusively for the internal Focus section cover of FAULT Issue 18
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FAULT Issue 18 Focus section cover star Zara Martin never misses a VIP party. In fact, she’s usually the one who keeps it going all night when she’s spinning the tunes from behind the decks for the international glitterati crowd. Zara is also a model and TV presenter and you’ll often spot her on red carpet style lists or sitting on the front row at fashion week presentations with her countless celebrity friends, including Tali Lennox, Caroline Flack and Miquita Oliver. For FAULT’s RAW issue, we looked underneath the glamour with Zara to discuss her hidden talents, charity work and what her younger self wouldn’t believe about her now.

FAULT: Which came first: your modelling or DJing?

Zara: I started doing some work for MTV back in the day when there weren’t so many girl DJs. So it was the music connection that helped with the DJing but I’ve always had a model agency. I’m not super tall so I never did any catwalk stuff, more commercial work, so all the cool opportunities came from the DJing. The shows that I do on TV are mostly fashion or music based as well.

It’s slightly strange that my first job was given to me by Al Gore. It was really random.

So you’re a model, a DJ, a TV presenter and you’re creating a line of headphones… do you have any hidden talents?

Well, I’m working on doing some acting at the moment. I went to drama school before I got into all of this but I never finished it. So in my spare time I’m taking classes and auditioning. I’ll be in LA for pilot season and I’ve just got the trailer through for a short film I worked on with Director Wayne Che Yip called Toledo. I have an American accent in it and it’s all really weird. It’s based on a Charles Bukowski poem called ‘For The Foxes’.

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Interview by Olivia Pinnock

What new music are you really pushing at the moment?

I’ve liked Angel Haze for a really long time and it seems like she’s just blowing up at the moment [Ed: FAULT Online featured her recently]. So I’m like ‘see I told you!’ I really like her, she’s just wicked.

Other than that, I love it when acts collaborate and do something a little different like the Iggy Azalea/Charli XCX track ‘Fancy’ is amazing and it kind of reminds me of old Gwen Stefani. I still love The Weeknd, he does this cover of XO by Beyoncé that’s really good!

There are so many good artists about at the moment. It’s hard to pick just one. ..

You also manage to fit in time to be an ambassador for Women for Women International

Women for Women are the most incredible organisation. I met Brita [Fernandez Schmidt], who’s the chairwoman in the UK, and I immediately vibed with her. You know when you just meet someone with such pure energy you just have to know more about them? She’s so inspirational. Every time I see her I feel like I’m not doing enough! So I wanted to get involved. At the moment we’re just working out the best way and I’m trying to get some younger people involved in the organisation and hopefully we’ll be doing some events this year. You’ll be hearing more about it soon.

Zara Martin - FAULT Magazine Issue 18 - inside WEB 2

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

What advice would you give your younger self?

Stop messing around and do some work! I wasted a lot of time in night clubs but I have no regrets. I don’t like to live my life like that.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

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FAULT Focus: Moving Picture Company’s VFX Maestro Sheldon Stopsack

A flaring storm of future sentinels, engineered from Mystique’s DNA and harnessed by nanotechnology, has descended upon X-Men: Days of Future Past. These sentient creations incorporate 100,835 blades and 1019 moving parts inside faces that open up as extra weapons against adversaries. The forces of nature transcend into a seamless computer generated and 2D empyrean, all orchestrated by the Moving Picture Company: a portal from the ultimate heights of technological potential to the world at large.

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Close-up still shot of a Sentinel in X-Men: Days of Future Past

MPC is a global, feature film VFX (visual effects) studio that has recently worked on heavyweight, large-scale international productions including the X-Men trilogy, The Hunger Games, and Guardians of the Galaxy. Powered by technology right the way through from initial concept art to final compositing and stereoscopic workflow, and punctuated by a labyrinth of seemingly-supernatural forces and immersive interactive systems, MPC has been awarded a prestigious Gold Lion in Cannes, an Academy Award for its contribution to Ang Lee’s Life of Pi and a myriad BAFTA and Emmy awards.

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Sheldon Stopsack, VFX Supervisor at MPC

This week’s FAULT Focus interviewee is Sheldon Stopsack, VFX Supervisor at MPC. Since he first started in the industry back in 2002, Sheldon has progressed from his speciality in Lighting to oversee a combined symphony of R&D, CG modeling, Animation, FX and Lighting in his current role. Integrating bespoke and highly complex VFX has led to him managing multi-site projects for the likes of Skyfall, Harry Potter: the Deathly Hollows I and II, X-Men: First Class and The Chronicles of Narnia while he has also simultaneously spearheaded the company’s technological development projects (ACES implementation, Katana adaptation, etc) in London, Vancouver and Bangalore.

FAULT: Sheldon, you worked as CG supervisor on recent projects for MPC like the most recent X-Men film and Guardians of the Galaxy – and have since been promoted to VFX Supervisor for various upcoming projects.   X-Men: Days of Future Past marks MPC’s second return to the Marvel based franchise. The CG sequences, make-up effects and pre-visualization was initially headed up by 12 different VFX studios – after it was originally engineered with 528 shots by MPC. Tell us about the challenges associated with the production stage of the ‘future Sentinel’ sequences?

Sheldon: The development of the future Sentinel was probably the biggest challenge MPC faced during the production of X-Men Days of Future Past. We were involved with the design of the Sentinels from an early stage. Our in-house Art Department provided a wide range of concept work for the killing machines.

The final design of the sentinel incorporated the idea of having hundreds and thousands of individual blades, similar to Mystique’s shape-shifting ability. The biggest hurdle there was the pure complexity of the asset, [all the] while maintaining flexibility. We needed to have control over each blade to allow flaring, transforming, swapping for varying blade instances and shader variations.

At the beginning we looked into existing technology that could be adapted for our needs. MPC’sin-house fur and feather system called Furtility was one of them, however it became quickly obvious that we would need to develop a new system that scaled better for our needs. We ended up developing a new system for which we build a low resolution version of the sentinel.

Individual blades were represented by a much simpler five sided geometrical shape that acted as a proxy. These were rigged up in a traditional way, ensuring optimal performance for animators. From the blade proximity we then cached out point cloud data for position and orientation. But also blade ID and various other primVars.

At render time, we then swapped out the proxy representation for a full scale render model. Dependent on the state of the sentinel at that time we could use different blade types (eg, damaged blades) or use primVars to drive various shader attributes to change the sentinel appearance (eg refracted ice for Iceman or glowing hot as Sunspot).

A sentinel attacks Storm (played by Halle Berry)

A sentinel attacks Storm (played by Halle Berry) in X-Men: Days of Future Past

The X-Jet, Cerebro’s crimson-hued virtual world where Xavier searches for mutants and Sunspot’s confrontation with the sentinels were all orchestrated in a CG environment by MPC. Tell me about the collaborative process with [Animation Supervisor] Benoit Dubuc and [VFX Supervisor] Richard Stammers – from concept to final composite? How were the fight sequences between the mutants and the Sentinels developed?

The orchestration of the sentinel fighting our hero mutants was an important part for us and, of course, for the client. Benoit handled this part incredible well. The challenge was introducing the correct mix of agility without competing with the scale and weight of each sentinel. Richard had a clear idea of what the character of these sentinel was supposed to be. Throughout the process Benoit and his team blocked out each individual shot and went through various iterations of animation. The challenge here is to find a consistent language. Even though the Sentinels are impersonal futuristic killing machines, it was important to have a uniform and distinct characteristic.

Sheldon and MPC’s work on display in Guardians of the Galaxy

Sheldon and MPC’s work on display in Guardians of the Galaxy

Your work on Skyfall was an altogether different challenge – a hybrid approach that included over 1300 visual effects shots ranging from the MI6 building’s explosion, the Komodo Dragon casino attack, the Merlin helicopter crash at the manor and the London Underground encounter. What was your methodology with regards to the CG sequences and explosions for Skyfall? How did you manage the workflow amongst the various VFX offices?

Projects like Skyfall are very different from a typical VFX project that requires unreal effects work. The goal here was almost to hide that fact that any visual effects work were used and to provide the audience with an experience that they don’t question – or ideally even notice. Even though realism always plays a key role in our work, it is much less forgiving on something like Skyfall where our work needs to blend in with the non VFX surroundings.

On Skyfall we had the pleasure to work with Steve Begg as the client VFX Supervisor. Steve is a real veteran in the business and planned the helicopter crash into the Manor as a miniature shoot. The resulting plates gave us a great basis to work from.

To add more realism to the crash we decided to replace larger parts of the helicopter adding more natural movement, vibration and crumbling. We re-projected the plates onto a roto-animated version which was matching the miniature shoot perfectly. This re-projection then got baked out into a texture pass and which we partly reused on the enhanced animated version.

Newly revealed areas or destructed parts were filled in with a full CG version of the helicopter, which obviously had to blend in perfectly. A similar approach was used for the Lodge itself. We had to sell the impact with a lot more fx simulated destruction with explosions, fire and smoke. In addition we spiced up the plates with a lot atmospherics such as wind and downdraft.

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Voldemort’s killer spell in action, as visualized by MPC

How did you transform the fantasy world of wizards in the climactic showdown with Harry Potter and Lord Voldemort as Lighting Supervisor for Harry Potter and the Deathly Hollows I & II?

As Lighting Supervisor at the time I was overseeing the entire processes from Look Development of all character and assets to final Lighting all shots MPC was involved in.

It was a great experience to be involved in the last two Potter Movies which brought the series to an end. MPC obviously had a long history with the Potter Franchise and we wanted to finish it with a spectacularly high quality of VFX. Even though both parts were worked on almost simultaneously, we took a huge leap between the two by introducing a complete new shader library, which was a further step for us into the physical based direction. This made it a bit more difficult to re-use existing Look Development that was done for the first part, but the benefit of having a more accurate shading and lighting result made it worth the effort.

With the last two Potter movies we were also facing a new level of complexity when it came to fx rendering – and it certainly gave us a taste of which direction the industry was going and what future requirements would need to tackle.

Marvel's Guardians Of The Galaxy L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt) Ph: Film Frame ©Marvel 2014

Marvel’s Guardians Of The Galaxy
L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt)
Ph: Film Frame ©Marvel 2014

What other projects can we expect from you and MPC in the near future?

MPC just finished working on The Guardians of the Galaxy and it has a wide range of new projects already lined up, including Disney’s The Jungle Book, Batman V Superman: Dawn of Justice, Night at the Museum 3, Frankenstein, Into the Woods, Cinderella and The Hunger Games: Mockingjay: Part 1.

I am currently preparing my next gig, which is Terminator: Genesis

Interview: Rocio Frausto
Edit: Nick Artsruni
Images: Courtesy of MPC (unless otherwise stated)

FAULT ‘Sounds of 2014′ feature in Issue 18 – Alpines and Marie Naffah

 

FAULT Magazine Issue 18 - Our Sounds of 2014 section, opened by Ella Eyre, also features the impressively talented duo Alpines and MTV’s Unsigned Artist of 2014 winner Marie Naffah.

Alpines released their debut album entitled Oasis via their own label, Untrue Records, in late May. In the midst of writing and producing Oasis, they discussed their journey so far with us at FAULT – from meeting at a wedding back in 2009, to touring with Florence and the Machine, to now releasing their own record. 

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Photography & Interview by Miles Holder
Click here to order your copy for delivery worldwide!

FAULT: As a fairly new band you’ve shot straight to touring, supporting some big names including Florence and the Machine. Was it hard to stay focussed on your own album?


Catherine:
In the last 4 years we’ve constantly been learning at a fast pace but you have to stay grounded and true to your vision to keep living in the industry.
Bob: There have been a lot of ups and downs in the last few years just getting to this point. Although it’s only our first record it feels like we’ve come such a long way.

What is your FAULT?


Bob:
I’m impatient, and I know I am but I just can’t do anything about it.
Catherine: I’m a bit of a workaholic I can’t switch off. I think that’s part of being a creative.

 

Check out Alpines brand new single – ‘Zero’ – for which the video was just unveiled today! ‘Zero’ is Alpines’ 7th single and their third from the Oasis album:

Marie Naffah is currently riding high on the success from winning MTV’s Unsigned Artist of 2014. She describes the experience as ‘surreal’ as she tries to ‘define’ her musical style. However the young musician appears grounded and has a clear strategy for progressing in the shark-tank that is the music industry so we’ll continue to watch for the remainder of 2014 and beyond…

Get the full shoot and interview – only in FAULT Issue 18. Click here to order your copy for delivery worldwide!

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

 

FAULT: What is your FAULT?

Marie: I think when people meet me they expect me to be all made up and in heels but I’m not that kind of gal and it throws people off

 

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

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Example – FAULT Issue 18 star announces new single and UK tour dates

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18  Click here to order your copy of this issue!

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18
Click here to order your copy of this issue!

Elliot John Gleave, aka FAULT Issue 18 star Example, has just announced the release of his fourth single from most recent album, Live Life LivingThe release of ’10 Million People’, a tribute to the UK’s clubbing culture in the early ’90s, on 5th October coincides with the start of Example’s live tour of the UK. The latter kicks off in Llandudno, North Wales for the start of a nationwide tour which will see Example play 90 minute sets filled with tracks from his 5 studio albums to date (and much more).

Listen to the track here:

 

 Check out more from our shoot with EXAMPLE for FAULT ISSUE 18 – the RAW ISSUE in this online teaser

…or order your copy of the issue here

EXAMPLE UK OCT-NOV  ’14 TOUR DATES:

OCTOBER 2014
Fri 17 LLANDUDNO NORTH WALES ARENA
Sat 18 STOKE VICTORIA HALL
Sun 19 GRIMSBY AUDITORIUM
Tue 21 NEWCASTLE O2 ACADEMY
Wed 22 CARLISLE SANDS CENTRE
Thu 23 YORK BARBICAN
Sat 25 LEEDS O2 ACADEMY
Sun 26 BATH PAVILION
Mon 27 BOURNEMOUTH O2 ACADEMY
Wed 29 NEWPORT CENTRE
Thu 30 PLYMOUTH PAVILION

NOVEMBER2014

Sun 02 SOUTHEND CLIFFS PAVILION
Mon 03 MARGATE WINTER GARDENS
Tue 04 FOLKESTONE LEAS CLIFF HALL
Thu 06 EASTBOURNE WINTER GARDENS
Fri 07 NOTTINGHAM ROCK CITY
Sat 08 SHEFFIELD O2 ACADEMY
Mon 10 LEICESTER O2 ACADEMY
Tue 11 PORTSMOUTH GUILDHALL
Thu 13 LONDON O2 ACADEMY BRIXTON
Mon 17 CAMBRIDGE CORN EXCHANGE
Tue 18 NORWICH UEA
Wed 19 LIVERPOOL UNIVERSITY MOUNTFORD HALL
Fri 21 BIRMINGHAM O2ACADEMY
Sun 23 HULL CITY HALL
Tue 25 GLASGOW BARROWLAND
Thu 27 MANCHESTER O2 APOLLO

TICKETS ON SALE 9.00AM FRIDAY 22 AUGUST
GIGSANDTOURS.COMTICKETMASTER.CO.UK

For further information please go to: www.trythisforexample.com

Ariana Grande and FAULT Issue 15 star Big Sean release new track, ‘Best Mistake’

So, FAULT Issue 15 Music cover star Big Sean is at it again! Check him out on this new track by 21 year old singing sensation Ariana Grande: ‘Best Mistake’.

 

 

Here’s the shot of the Detroit-born rapper with model Elle Evans in FAULT issue 15 that went viral as soon as it was published. Sean split from his girlfriend at the time, Naya Rivera, shortly afterwards…

 

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Big Sean was shot by Steven Gomillion & Dennis Leupold (GNL Studios) and styled by April Roomet exclusively for the Music section cover of FAULT Issue 15
To get your copy of this back issue click HERE

STROMAE – Exclusive shoot for FAULT Issue 18

 

FAULT Magazine Issue 18 – the RAW Issue features Belgian solo artist Stromae.  Stromae first burst onto the scene in 2010, when his trackAlors On Danse’ caught the attention of everyone from Kanye and Will.iam to Anna Wintour and Nicolas Sarkozy.  

Photographer WOLAND and styling team A+C STUDIO photographed Stromae on location at DISCO Club, London.

The Belgian solo artist has a strong belief in the notion that there are two sides to every story. In Stromae’s case, the attention-grabbing visuals and catchy club beats of his music occasionally overshadow the other side to his personal story: that of a sharp, inquisitive and sensitive young writer and composer.

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All Clothing by Mosaert (Stomae’s own fashion label.)

 

FAULT: Your music has tackled homelessness (‘Formidable’), absent fathers (‘Papaoutai’) and STDs (‘Moules Frites’). What first compelled you to write about such harsh issues?


Stromae: 
That’s life. I think that to hide these issues is the worst solution. I was never concerned with music that was just about having fun. That’s great but it’s not my life; my life has always had problems, I just prefer to dance on them.

In light of the success of modern hip-hop artists like Drake and Frank Ocean, do you find it’s easier for male rappers to show a sensitive side and to tell a story beyond the swag and braggadocio?

Yeah I think it’s much easier than before. For me, it’s thanks to people like Kid Cudi – the people who crossed that line between hip-hop and dance music. They come from the same family but in Belgium that was a really different line to cross. If you were doing hip-hop you couldn’t be carrying a skateboard but people like Kid Cudi, Technotronic and Snap! just changed that.

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Interview by Will Ballantyne-Reid

There are many dualities in your music- the puppets in ‘Papaoutai’, the cross-dressing in ‘Tous Les Me?mes’. Was this a conscious decision?

I love telling two sides of a story, and really I find it difficult to have just one opinion! I like to hear what other people think and see both sides. Obviously my vision will always be a part of my songs but I like to keep a certain degree of openness- I don’t want it to be all about me. I don’t think that my life is that interesting!

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Get the full shoot and interview – only in FAULT Issue 18. Click here to order your copy for delivery worldwide!

What is your FAULT?

That’s a difficult question because I can always find a way to make something out of my faults [laughs]! One of my faults in the past has been not composing when I’m on tour.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40