Lighting Techniques workshop

29/10/2012 - James Isaac, who's practice is 3D lighting, spoke to us about the importance of lighting in any work we carry out as visual communicators.

This was an extremely useful and enlightening discussion. Though his practice is within 3D, his advice was more general and can be applied in any visual practice.

"Light and illumination are inseparable components of form, space and light" (Le Corbusier - Essential CG lighting techniques for 3DS MAX, page 1, Darren Brooker)

"Lots of students focus on realistic lighting..by adding character, style this will make it interesting..." Pixar

thought:
As an artist I have heard this said often, Draftsmanship and technical drawing skills are useful to any artist, but audiences respond to art work that is visually interesting. Photo's can pick out detail and realism, art is to make the real more fantastic! I've always felt art is a representation of how the artist see's this world. The way we see things is affected by many things, not just by whats in front us (e.g. their mood, life experiences and what they appreciate)

When adding light into your work, its important, whichever medium you choose (3D, 2D, paintings etc.) to analyse ALL light sources. (indoor lights, lamps, flame etc.)

Studies on the different types of lighting and its effect on audiences and the story or message being portrayed in the visual work.

Case study -Pirates of the carribean

During the workshop with Isaac, I noted a particular comment he made, regarding the use of lighting, which was:

Your audience will notice when a film/scene is not lit well, though it looks correct, the audience may 'question' it, as they will understand that something is missing.

I remembered this comment particularly as this made sense, as I (as a member of the audience) have experienced this before. As a pre production artist, whilst watching films I will always Analyze each scene in its composition, form etc. However, I understand the use of lighting, until now I had never fully understood the power this truly has to communicate a scene to the audience. Light is the only way we are able to see things, therefore this makes perfect sense that the use of light should be considered as 'part' of the scene (what describes the scene).

As an example, to demonstrate this point, I will look at two films from the Prates of the Carribean franchise, 'Curse of the Black Pearl' and the latest 'On Stranger Tides'.



I had noticed the lighting and how it had been very cleverly designed and used in the 'curse of the black pearl', creating a dramatic atmosphere in the film.


I noted a particular effect, where the light had been designed in such a way, so the shadows were used to only reveal what part of the face you are intended to see.

Below are stills from the film to show the effect. I also made a quick sketch as an example of how I would storyboard this image. The light seems quite deliberately used here to focus the audiences attention.

The light through the prison bars, illuminates the characters eyes when he is listening.
The shadow across his mouth indicates he is silent.

When he speaks the light illuminates his mouth as well. 

Here his whole face is illuminated as he pushes his face close to the bars,
 to show this as an intense moment!

Compared to the latest edition of the series, 'on stranger tides'. I watched this and I noticed something did not make the film the same quality as the first had been. It was in the workshop that I realized this.

The lighting in this film is fairly basic, making the scenes seems 'flat'. The composition, characters and set design were all of the same standard as the rest of the series, however the lack of design and clever usage of lighting (for me) unfortunately let this film down, making it less impressive.

A couple of points to note from this study:

• Lighting can add depth to a scene.
• It can be used to focus the audiences attention to a specific area/character/feature etc.

Story and Beat boards

These links are a small collection of storyboard artists and their portfolios. I felt this would be good to look at, so I have a better understanding of the type of work I should be producing as a pre production artist:

JP Vine Studio
http://jpvine.com/2012/07/15/pirates-band-of-misfits-storyboards/
http://jpvine.com/2009/12/16/feature-beat-board/

Game storyboards:
http://jpvine.com/2009/12/20/game-cinematic-storyboard/

Scott Weiser - character animator
http://scottwiser.blogspot.co.uk/p/storyboarding-portfolio.html

RIDLEY SCOTT
I came across this interview with director, Ridley Scott who created films such as Alien and Blade runner. One of the first things he mentions when looking at a scene, he will notice the lighting first (another confirmation of the power and importance of lighting when negotiating a scene).


http://www.openculture.com/2012/05/ridley_scott_demystifies_the_art_of_storyboarding.html

He describes a method he uses, when starting to storyboard a scene. His technique is to create the look, mood, form etc. in a detailed drawing, then use thumbnails to depict the action or how the scene plays out. In this way the storyboard becomes more of a sophisticated 'comic'.

I had a look at some of the storyboards he created for the film ALIEN. You can see from the drawings how he has planned the scene. Using shading to show light and dark areas of the scene. Also, as it is storyboards for film, he notes a lot of camera angles and actions.

Another technique he suggested is to add abstraction to the design of his shots he will create an image in the storyboard, combining shapes and patterns into the scene.

This image is a recreation of the abstract example Scott uses to explain
how he uses this technique in his storyboards.

In this example, you can see how the abstract  design of the image
can be transferred through in cinematography

  images from: http://aliensarchive.tripod.com/aliens/production/storyboardlisting.html



LOU ROMANO
Lou Romano is an art director for Pixar studios, his work is published in  http://www.louromano.com/bio.html Originally published in 1904, Kwaidan was the culminating life work of Lafcadio Hearn (1850-1904) a writer of Greek/Irish descent who devoted the last 14 years of his life to living and working in Japan, writing books about the culture and translating into English the Kwaidan tales.
These images show the process Romano goes through







 http://louromano.blogspot.co.uk/2011/03/kwaidan.html

Another Technique I learnt when it comes to creating storyboards is from the advice of an animation workshop I attended, at the Barbican centre in London. Some key points they made are as follows:

• Most storyboards will be made in sequential order
• Important to note - how the images are arranged will inform the audience how they associated together
• Every scene should contain these four elements - character, scene, object and a value change e.g. lost to found, positive to negative etc.
• When writing a scene, remember - setup (establishing character and scene), action then resolve (value change)

Purpose of games

The purpose of any game is first to benefit all those who have opted-in. Even though the game may seem dysfunctional from the outside, the players all get something from playing in it. There is thus an underlying ulterior purpose.

The benefits of games are divided below into the broad purpose identity, control and avoidance, and then into sub-categories.

Identity games

One of our fundamental needs is for a sense of identity, and hence drives much of what we do. Games allow us to boost our sense of identity through our interaction with others.

Attention

Attention is a major and simple way of boosting a person's sense of identity, and if we are not getting any attention, our identity suffers. It happens when other people notice us and interact with us.

Even painful attention is better than no attention, which is why 'solitary confinement' is so often used as an extreme punishment. It is also why children who are not getting the attention they want will misbehave. Adults, too, use ways to get attention that often fall outside the realms of what is considered 'good behavior'.

Sympathy

Another way of getting attention is to evoke empathy or sympathy in other people. This has the greater advantage of people thinking kindly of us. It also may be reminiscent of child states where we were hurt and our parents comforted us.

Control games

Another fundamental need is for a sense of control, without which we may feel threatened and unsafe. Game players invite or coerce others into playing the game in which they are the rule owner and referee.

Social capital

Social capital appears as the balance of favors we owe one another. One way of gaining control over other people is to increase what they owe us. In dysfunctional games, this may be done by asserting or implying that they owe us one, even if this is not really true. In fact in many games, both people end up believing that they have gained social capital, which is a very good basis for further gaming and feuding.

Power

With power we can achieve our goals, and many games are about acquiring power, by whatever means. Power can be squandered, but in games it is often used to create more power. Just as the robber barons used their muscle to gain more power, so too do many people in the games they play.

Revenge

Vengeance games use aspects of power and social capital, and they are often retaliatory in nature, attempting to rebalance the social capital by punishing a person for their sins against the persecutor.

Falsehood

Making agreements that we do not complete or otherwise persuading through falsehood. Telling lies and appearing to be nice helps me in the short-term, but in the long term breaks down trust.

Avoidance games

Other games are intended simply to help get the player out of a hole. They may include control and identity aspects, but the main purpose is to save the player from having to act or accept responsibility.

Escape

Sometimes people just want to get away from things that hurt them.  They may also want to escape from having to face up to themselves.

Excuse

Excuses allow a person to attribute a cause outside of themselves for things they have done. If it wasn't me, then I am ok. It also allows the person to repeat the behavior without contravening their values.

Displacement

Displacement occurs where a person takes something that is troubling them and puts it somewhere else. Thus, for example, anger at your spouse may be a displacement of frustration at work.

http://changingminds.org/explanations/behaviors/games/game_purpose.htm

Purpose of narrative

Purpose of narration

Narrative derives from the latin verb narrare, which means 'to recount'.

Along with exposition, argumentation and description, narration, broadly defined, is one of four rhetorical modes of discourse. More narrowly defined, it is the fiction-writing mode whereby the narrator communicates directly to the reader.

dramatic structure of narratives are

• exposition (the introduction of setting, situation and main characters);

• complication (the event that introduces the conflict);

• rising action, crisis (the decisive moment for the protagonist and his commitment to a course of action);

• climax (the point of highest interest in terms of the conflict and the point with the most action);

• resolution (the point when the conflict is resolved); and

• moral (the learning from the story, why the actors or players in the story did what they did; was it good, was it bad, did it have a good reason for doing so, was it guided by good choices; were these choices the founding value of the society the people live in)

http://answers.wikia.com/wiki/What_is_the_purpose_of_a_narrative

I want to explore a little of the science behind narrative and why they have developed it on such a way. (could this be genetic?)

http://www.newyorker.com/online/blogs/books/2012/05/can-science-explain-why-we-tell-stories.html

This comment is from one of the film directors of the 3D animated film, by Disney, TANGLED:

"The story is an acorn from which everything else grows"

NATHAN: "I think everything comes from story. If your story’s not working, if your sequences aren't right, then you have nothing...Your story will tell you what your lighting needs to look like, what your characters should be designed like, all of those things. If you don’t have your story down, if you don’t have your beat board working, I don’t know how you do the rest. That’s why with animated films, even with some of the Disney ones that haven’t been as strong, the ones that haven’t worked, it’s because their story wasn't in place."

http://www.bleedingcool.com/2011/01/28/nathan-greno-and-byron-howard-on-tangled-animation-storytelling-and-their-next-action-movie/

Blitz games

Blitz game studios is an independent game company, at Leamington spa, UK. The work they carry out for games can be divided into 5 divisions:

• family
• mature
• serious
• game technology
• education

They also hold open days for students, who are interested in games and animation. This link is to the next one, to be held 2013:

http://www.blitzgamesstudios.com/open-days/sample-briefs/

To attend the open day, students must hand in work relating to a brief, distributed by Blitz games. They say, in the games industry everyone will work to a brief (description of a task for any given project). The brief you receive will be based on what you choose as your proffesional practice  I had a look at the sample briefs, to find out what work would be required for a game Artist:

Game Designers

Provide an analysis of a piece of level or games design work you have completed.

For a design of an entirely new game or new level for a pre-existing game that you have made (individually or as part of a team) simply provide:

• Full video walkthrough with voice over (or subtitled commentary) focusing on game flow, pacing and player experience. Tell us about the process you went through when making your demo, what decisions you made, problems you faced and where you diverged from your original plan and why.

Optionally:(game artists)

• Planning documentation you produced to show the intent when designing your game or level (e.g. maps, game-flow storyboards – tell us what you were aiming to achieve when you set out).
• if you are submitting a game you have made, please provide us with a copy of it and the means to run it.

GAMES - pre production

I'l be investigating the pre production processes for designing games. I have researched the methods associated with film design and animation, for the purposes of the live brief (PICTURING TIME animation). I can make comparisons between these processes, the aim being to explore how the final animation would be converted into a game.

The 'Pre production' phase

The link below:

http://uk.ign.com/articles/2006/03/16/the-game-production-pipeline-concept-to-completion

goes through the production pipeline for making a game. The pre-production team usually consists of producers, designers, programmers, artists and writers. All the games design documents are created in this phase of the process.

High concept

 which will start with the 'high concept', often just one single line describing the game. Such as a futuristic racing game or ninja tournament game.

http://en.wikipedia.org/wiki/Video_game_development#Pre-production

Pitch

After the 'high concept' has been established, the next step in the pre production phase is the 'pitch' a.k.a. 'concept document', 'game proposal'. This step is where the idea for the game and its profitability is pitched to a publisher. Often it will be pitched within a company to managers. This may be verbal, but publishers usually like to see a written documents. If the pitch is successful, then the game can do into development.

Concept 

Once the game reaches this stage of development the 'concept document' or 'game plan' is created, and is much more detailed than the 'pitch'. 

Game design document

Pre production artists role

the link below:
shows a job description for a pre production artist. Though its outdated, I found the job description to be quite useful in understanding the skills I would need to demonstrate, to progress as a pre production artist.
http://www.cgarena.com/job/3357

Key skills listed here include:

• the ability to storyboard
• Draftsmanship/ drawing skills
• knowledge of Photoshop, illustrator and flash
• knowledge of 2D animation
• Staging and composting skills

Another example here is a job descriptoon for a concept artist for a games company (Konami):

http://www.indeed.com/viewjob?jk=2c128e9e2c9154bb&qd=DgxYZa-nqPVrOtYWnIqDF9gkM9Udsrexu7YsWHdddbJoqzlmMZFZuANI_UXpbeUPi9ySgRR091YwtrWwLrVP9Jh2Af4EP_fuveFn4icmDTxb9Ho5RRIV4qLYqP_LX5FE&rjs=1&atk=17aejatj718a14tg&jsa=7527&inchal=apiresults&utm_source=publisher&utm_medium=organic_listings&utm_campaign=affiliate

Key skills here include:

• Drawing skills traditional/ digital
• Eye for light, value, weight, colour and composition
• Ability to understand and translate gameplay elements in visuals that enhance these elements
• strong visual story telling skills
• 3D skills here (maya,3ds max) are a plus

(I have not listed qualities such as experience, as I am focusing, at this point, on the skills I will need to develop as a pre production artist.)

It seems it is important to understand animation processes. Understanding 2D and 3D will be more of an advantage. 

Composition, colour and value can be all be developed by looking at paintings and other art (in particular art with a narrative) as well as work by pre production artists. Hans. Bacher claims (dreamworlds) a film that seems great is not usually so by accident. Most great films are composed and designed in a way that each scene will be able to communicate the mood, atmosphere and narrative through composition, colour, value etc. to the audience.


As an example I've chose a few well known paintings for there use of light and composition.

Bal du Moulin de la Galette by Pierre-Auguste Renoires

The painter here uses light to show the people outdoors. You can tell its a sunny day as light seems to shine down in patchs, as though through the leaves of trees. Shadows are not dark in this painting as light would still shine through the leaves, so light/pale blues are used. Cool colours are used to represent shadows. The characters in the painting stand out more this way as they are contrasted against the background. The weight of the Painting flows from the right forefront, and appears to taper round to the horizon.

This quick sketch shows how I might be able to show this in a story board

 

Cafe terrace at night by Vincent van Gogh

This painting is done in portrait view, which works beautifully with the composition of the painting. Below I've tried converting the composition and lighting effect into a storyboard image. Storyboard images need to show images that wil be suitable for a screen format (landscape)
  I love this painting as it shows an effective method of using light to stage the action in a scene. Also the use of depth points the eye towards this part of the 'screen'

Sunday afternoon on the island of Grande Jatte by Georges Seurat

This painting divides the screen almost into three parts. 

The colour at the front is very cool, showing characters at the forefront in shadow, detail with block, contrasting shadows. The warmer colour make up the middle of the image.

I experimented with this composition of colour, so that the image moves from cool to warm in opposite order to how they are usually used. For example, when we see an image like this:


  We can tell by the tones and colours (as well as the depth and composition) that the car is sat on the grass in front of us. As the fields and trees extend into the distance, the colour we percieve these at become duller and 'cooler'. Cool colours are blues, greends, pale colours etc. Warm colours are reds, yellows, oranges etc. and bold

Animation about Time

Professor Philip Zimbardo conveys how our individual perspectives of time affect our work, health and well-being. Time influences who we are as a person, how we view relationships and how we act in the world


Whilst looking up other animations about time I came across this animation. Very simple technique, but relays information to the audience very clearly and effectively - as the story is drawn it forms a mind map.

Ludology vs. Narratology debate

"This disagreement has been called the ludology vs. narratology debates. The narratological view is that games should be understood as novel forms of narrative and can thus be studied using theories of narrative (Murray, 1997; Atkins, 2003). The ludological position is that games should be understood on their own terms. Ludologists have proposed that the study of games should concern the analysis of the abstract and formal systems they describe. In other words, the focus of game studies should be on the rules of a game, not on the representational elements which are only incidental (Aarseth, 2001; Eskelinen, 2001; Eskelinen, 2004). The idea that a videogame is “radically different to narratives as a cognitive and communicative structure”^[8] has led the development of new approaches to criticism that are focused on videogames as well adapting, repurposing and proposing new ways of studying and theorizing about videogames.^[9][10] A recent approach towards game studies starts with an analysis of interface structures and challenges the keyboard-mouse paradigm with what is called "ludic interfaces"."

http://en.wikipedia.org/wiki/Game_studies

This passage, describes the different practices that have emerged in the study of games. Games have only been around since the early 1970's. There are claims that the games industry surpasses that of the film industry, this claim would suggest that the audience for games is greater than that for film. However, according to kristen thompson, the games industry combines sales of software (games) with hardware (consoles, accessories) in its figures, whereas film only show figures relating to sales of 'software' (films sales and rentals. This would not include sales of DVD players, consoles etc.) So with all 'hardware' removed from this equation, the games industry will account to half of the film industries total sales globally.
http://gamepolitics.com/2010/12/28/games-v-movies-numbers#.UIkeLcUmdAM



The earliest recorded video game was created by William Higinbotham, 1958. Claims that an earlier game was created 1948, almost 10 years earlier by Thomas t. Goldsmith Jr. and Estle R. mann, who patented their game "Cathode-Ray Tube Amusement Device". However, the player was required to place pictures/illustration onto the screen, whereas Higinbotham's game which displayed its visuals on the screen.

The game was played on a brookhaven national laboratory oscilloscope. Players queued up to play.

William Higinbotham

"Tennis for two"
"Tennis for Two was first introduced on October 18, 1958, at one of the Lab’s annual visitors’ days."

"Higinbotham realized how static and non-interactive most science exhibits were at that time. As head of Brookhaven Lab’s Instrumentation Division, he would change that. While reflecting on his creation, Higinbotham wrote, “it might liven up the place to have a game that people could play, and which would convey the message that our scientific endeavors have relevance for society." 
http://www.bnl.gov/bnlweb/history/higinbotham.asp

It wasn't until 1962 the first game created for the computer, by Steve Russell, who created the game 'spacewars'. The aim of the game was to shoot obstructions/ asteroids in space.
http://inventors.about.com/library/inventors/blcomputer_videogames.htm

The earliest games created were built with one function, with no narrative whatsoever, and still were successful as games. As games developed and graphics, functionality and networking has become more complex across this medium, games are being recognized by narratologists as a medium for story and narration.

Games such as Zelda, Final fantasy and Assassins creed could all be considered story driven games. All are extremely successful, but the same can be said for games like Mario brothers, Sonic the hedgehog and street fighter. Its difficult at this point to really know what it is about these games that make them so successful. Some clear parameters need to be made on arguments made by:

• Ludologists
• Narratologists

Both parties have clear ideas on what makes a game successful and what games purposes have within society today. 

With that in mind I will then look at the purposes of a game (games meaning any board game, book, video etc. and key devices that are specific to games) and then the purpose of a story and the devices that make a story successful (or unsuccessful). I'll be able to compare the two forms, and hopefully find a formula that shows how these two mediums can be combined.

Ludology

etymology: 'Ludo' latin for game, ludology simply means the study of games, particularly of board games, until recently as games have developed.

Though ludology would include video game theory, it goes beyond this as this area of study includes ALL games. It takes a formal approach to the study of games and its place in media ecology.
http://www.ludology.org/2001/07/what-is-ludolog.html

David Jaffe, creator of the game 'God of War', believes stories in video games is a set back and claims this has even stunted the development of video games.

"Jaffe claimed the industry has mistakenly focused on storytelling since the early 90s, and elaborated in a recent interview, "I think with...the advent of CDs for game storage, and then high end graphics and voice actors and all this -- cutscenes -- games kind of got off on a bit of a wrong track that was very appealing, but it wasn't necessarily the only track we should have got off on. And I think that's what the lesson taught me" - Gamesutra
http://www.1up.com/news/god-war-creator-calls-story

Narratology

narratology is primarily the study and representation of narrative within literature, film and digital media.
http://www.narratology.net/

narratologist Stephen Dinehart, founder of the Narrative Design Explorer, which combines lugology, narratology and game design to create interactive storytelling or a term he coined as 'transmedia storytelling'.

"He was final nominee for “Best Writing for a Game Production” for Company of Heroes: Opposing Fronts at the 2nd Annual Canadian Awards for the Electronic & Animated Arts(2007), and the game won “Nokia Award for Outstanding Innovation in Gaming."
http://en.wikipedia.org/wiki/Stephen_Dinehart

I will explore the purposes of games and narration in depth and compare later on for my own study and conclude my response on the ludology vs. narratology debate. I hope to identify the future for both practices within games, individually and combined.

The zoo

I collected these references for the way they show animals behind bars. In my own animation I want to be able to create a desolate atmosphere. 

Dodo

Its difficult to really depict the dodo in a realistic way. There have been many paintings and drawings of representations of what the birds may have looked like. The dodo skeletons in some museums would be made up of bones from other birds, according to research by on the dodo at oxford.

"The dodos were a curiosity, and some were brought to Europe by wealthy collectors. One
of these birds was exhibited in John
Tradescant’s London museum. His collections
were later left to Elias Ashmole and so came to
Oxford, where now only the mummified head
and foot remain. Although minimal, these
specimens represent the most complete
remains of a single dodo, and are of great
value to scientists today. "

"Fat or thin?
The best information about the dodo might be
expected to come from the people who saw the
bird in its native habitat. Unfortunately, most
of the written accounts tell us more about 17th
century attitudes to nature and the writers’
own concerns than they do about the dodo
itself. Images produced by some of the first
Europeans to visit Mauritius in 1598 showed
very thin birds. In a scene from Admiral Van
Neck’s account, a rather athletic dodo is
striding off into the distance. This is in
marked contrast to the fatter, European
representations."

http://www.oum.ox.ac.uk/learning/pdfs/dodo.pdf

http://en.wikipedia.org/wiki/Dodo

Ian livingstone

Ian Livingstone, born 1949 in Cheshire, UK, is most known for co writing the adventure game stories and board games 'Dungeons and dragons'

Ian Livingstone is co founder of GAMES WORKSHOP with Steve Jackson and John Peake. The store was founded in 1975, crafting and selling board games, but with the success of 'Dungeons and dragons', the shop become the main distributer for Dungeons and dragons and publisher. They also published other stories they wrote, i.e. the 'Fighting Fantasy' book series
http://www.games-workshop.com/gws/home.jsp

In the interview below Livingstone describes how fans of the books are given the oppurtunity to create a phone app game using the Fighting Fantasy books.

http://www.fightingfantasy.com/




An observation from this: the devices used for game play will differ across different gaming platforms, e.g. books use chance to determine battle outcomes, computer games use the players skill to control the games protagonist. But all gaming outlets (i.e. books, computers, board games etc.) will have the aim of 'winning'.

The narratives in the 'Fighting Fantasy' allow the fundamental aspects of the game to be ported from one medium to the next and still remain the same game, simply played differently.







http://www.gamebasedlearning2009.com/conference/speakers/907-spekers/181-ian-livingstone-co-founder-eidos-chair-computer-games-skills-council-skillset-

http://en.wikipedia.org/wiki/Ian_Livingstone

Yuri Norstein

Textures to represent creatures. Different methods of characterization and representation in this animation form. The animals themselves are symbolic and the collage effect gives the characters some substance. There is little detail in the scenes and background, as it is set in a fog.





http://en.wikipedia.org/wiki/Yuriy_Norshteyn

"Yuri Norstein is widely regarded as one of the most innovative animators of all time. Born in Russia in 1941, his family were evacuated during WWII and taken to Moscow in 1943."

He created some 50 films before he had the chance to direct his own films.
http://www.acmi.net.au/yuri_norstein.htm

Designing animal characters

review of the book: http://www.goodreads.com/book/show/1446922.The_Art_Of_Animal_Character_Design

Richard Williams books 'Animators survival kit' has some great tips and things to look for when it comes to animating animals, in particular quadrupeds' (four legged animals).

A particular example he uses is 'does a horse walk like a man and an ostrich'.


He also uses these types of diagrams to explain the walk cycles of a qaudrupeds, using a dog as an example. He explains how the muscles will squash and stretch as the dog lifts its paws off the floor. Also the tertiary movements of the legs and the body (the shoulders follow the movement of the leg as the dig walks forward.)



Most animation practitioners, in any principle, have found the Muybridge collections to be some of the most useful references for studying movement of people and animals.

  This is a character sheet of the horse character from the Disney film 'Mulan'. The design of the character does well to represent the horse through its form, but has stylized the character through the use of full round shapes. This adds weight to the character and overall gives it an appealing quality.