Creating the Showreel.

When creating a showreel we had struggle, we realised that we were working in comics, and therefore not moving image, and a showreel would have to be unique. As soon as we were starting up a new business we decide to create a quick introduction video of the characters. When creating this in After Effects, I found that After Effects was moving my images in direction I had not told it too, this was because After Effects tries to move images mathematically, however strange it looks to us, to fix this I decided to key frame it as much as I had to until After Effects understood the direction I wanted it to follow. I found when rendering out the file it was 6.5 GB due to the image sizes, and animation with said images, especially the map, which had to remain a huge size as we were zooming in and out of it. I used music that was composed for us by an outside source, this was the same music used in the 2nd year 'Platypus Bill animation'. I knew I had to reduce the file size as it would not fit on the disk for submission. However this did not work, I tried Quicktime compressor, HandBrake compressor, Premier Pro compressor, Media Encoder and none worked, all made the video skip, loose frames, and distort although the settings were the same. Unable to fix this, I was ready to only submit a link,  or it on a memory stick, however I decided to upload this massive file to YouTube, and then rip it from YouTube using Clip Converter. I was then able to get the file under 1 GB, in 1920 x 1080p H264 as required. This did work well, however it still doesn't look as perfect as the big file. I then decided to re-render the footage several times looking at the bit rates, I tried 5,000 and 10,000, but both distorted the quality too much. I kept going up until it played the video to a great quality, I then rendered this out and I think its worked brilliantly in 50,000 bit rate, this came to 1.36 GB. I have however included a link to the 6.5 GB file in all its glory, which can be viewed at this address - https://www.youtube.com/watch?v=vHJBKYFZ5mM

12-Month Plan

This plan will demonstrate my goals for the next 12 months. It will mostly consist of our (my and my brothers) aims for next year, and how we plan to achieve them. It will also consist of skills I would like to improve on, Comic-Cons we will go to, and finally, other means of employment in the unlikely case this project fails.

Firstly, we will be constantly updating our social media pages to keep audiences interested in our project. This could be a status on our Facebook page regarding the next convention we will be at, or as teasing as a script titled “Sawyer: Brigs return”, or even the bio’s of the main characters. We would also like to further our online presence by starting profiles on Instagram, Tumblr, Pintrest and Linkin accounts.

I would also like to create a more in depth plan of each issue/volume in our first chapter of this saga. So far, there is four phases consisting of ten volumes, that count down from four:

Phase 1

Volume 1: Ambam Nico – learning about “The Cage” and the North’s “Food Chain Ruling.”

Volume 2: Nina Nisha (formally Akira) – learning about the war against East and Northern Empire, and the spell book that can unleash the ancient Dragon.

Volume 3: Sawyer Carson – learning about world building and Muati’s influence in the West.

Volume 4: Mato Makkapitew – learning about comic lore and history, and Gustave’s influence over transpiring events.

Phase 2

Volume 5: Jennifer Lulu – learning about Marv and his underground criminal world – an attempt to stop the competition: Muati.

Volume 6: Sawyer & Bill – discovering new depths to Marv while stopping Mauti’s slave mining programme – this will stop the funding to Bolons empire.

Volume 7: Ambam & Nina – learning about Vigor & Gustave in search for missing Mato.

Phase 3

Volume 8: Sawyer, Bill & Jenny – learning about Gustave’s history, and why he wants Jenny’s  feet.

Volume 9: Ambam, Nina & Mato – Journey to Umri Wa, learn more about Bolon’s army, his deep sea scouts, Captain Odobenus, The Carrigo Seas and monsters of the deep…

Phase 4

Volume 10: Ambam, Nina, Mato, Sawyer, Bill, Jenny & Umri Wa – Assault on “The Cage.”

After we have a more in-depth plan, it will allow us to create a rough timeline of events in our world. This will help our writing process in terms of including easter eggs to each others work and what may be happening across seas, and even ensure character that may appear in both our works don’t appear in two places at once.  Once we have this, we can develop a stage-by-stage plan for each individual volume, which our creative consultants will read over and perfect, doing this for the first 10 volumes and overseeing the overall arcs. I will then take a larger roll over writing the scripts.  During Extended Practice and other projects we have worked on we learnt that I create quirkier dialogue with better one-liners and emotional depth. Stuart will then take a larger roll over the storyboarding stage as he can do this far faster and often has a more imaginative thought process when it comes to page layout. I tend to think from a cinematic perspective. Though there are similarities, such as composition of a shot, I seem to think of these storyboards more like film storyboards and not comic storyboards. We will both then start colouring our individual volumes, as we have both learnt to do this equally fast and will share information such as colour swatches, and which brushes make a nice texture for certain materials should we discover them.

We will do this process until we have two full finished volumes of approximately ninety pages each. Once this is done, will make a pitch to publishing company Image comics, as it is our number one choice of publisher. If they like our work, we will have full two volumes to show them, although this time we will ensure the work is as good as it can possibly be, and has not been rushed as with our last pitch to Image. If we don’t feel we can create sufficient work of a high enough standard we will wait to the next opportunity, though this is unlikely, as we should have two full volumes worth of work in four months time.

Image is our first choice for a number of reasons, their creator owned policy perhaps being the greatest one. This means all content they publish, the creator still owns all the rights too. This is something that appeals to us as we plan Wild-Life to become a massive trans media franchise, so selling the rights this early on would be a very poor decision in our long term plan. But Image isn’t just appealing for the creator owned policy, we have been told directly by Tim Perkins, Tula Lotay, Richard Starkings and Peter Doherty that this is a good, friendly company to work with, and it is also somewhere our work could flourish.

If Image do turn our pitch down our pitch, and we are confident it is of the upmost standard, we will also make pitches to Dark Horse, Titan Comics, and IDW publishing, all whom we have met with previously whilst making our faces known at comic conventions over previous years. If all this fails, we will then consider self-publishing. This is not our ideal scenario as Tim Perkins telling us that it costs “beyond a five figure number,” which is not plausible for us at this point. However, if this is our last option I will start a Kickstater campaign to fund our idea, whilst Stuart will start pitching the idea to toy, video game and animation companies, such as Papo, Schliech, Playtonic games and Man of Action Studios.

Whilst creating these volumes and working on pitches, we will also be visiting comic convention across the country for feedback on our work as we have been doing for the last four years. Here we will also hand out our business cards, regardless weather we have a table or not. Here are some of the conventions. For those which overlap such as Thought Bubble and London Film and Comic Con, we will attend them separately. 

MCM Manchester Comic Con 2015: 25^th – 26^th July – Manchester Central

MCM Ireland Comic Con 2015: 29^th-30^th August – RDS, Ballsbridge, Dublin

MCM Scotland Comic Con 2015: 26^th-27^th September – SECC Gasgow

Thought Bubble 2015: 9^th – 15^th November - Leeds Royal Armouries

London Film and Comic Con Winter 2015:  14^th and 15^th November – Olympia London

MCM Birmingham Comic Con 2015: 21^st – 22^nd November – The Nec.

London Super Comic Con  2016: March  – ExCel Centre London.

When we find a suitable publisher for our work, or self publish, we will start attending these events as a company with our own table. We want to be doing this no later than London Super Comic Con 2016. We will also have our creative consultants helping to sell the comics and merchandise as me and Stuart work on original, personal signed sketches for customers, something we have seen much of and is very popular and money making at these conventions. After filming London Super Comic Con, the organiser told us if we wanted a table, to show him our work and he will see what he can do once viewing it, an offer we will likely take him up on come 2016.

Something else we want to have is a website. We know a company that has previously done this to a high standard, we will be contacting Medusa Digital to ask for their professional advice, and cost. This website will include tabs for:

Character bios

Options to purchase the comics

A time line of events

Prints and pin up work

Memorabilia

Interactive Map

Contact us

News feed/links to Facebook and twitter (example, if we are attending an upcoming comic convention).

Another aspect we will be working on is motion-comic trailers. Each volume will have a trailer in the style of a motion comic being a minute to two minutes long. This will be done in After Effects, original sound by the same start up company Meg Sugden and Sophie Curwen used for their Keith Koala project: Villain Sound. These will then be posted on the official Wild-Life YouTube page as well as website.

Something we would like do over the next year is buy a graphic tablet and practice using it. Also I would like to have access to a cintuque to practice with. I have noticed they are becoming more prominent in the industry, as we found out filming London Super Comic Con. This I think could speed up my drawing process greatly/

Something else we have decided to look at is creating custom photoshop brushes, downloading more or perhaps even subscribing to them monthly. Using different brushes to describe texture has greatly improved our work recently, something our peers have picked up on, and it is something I wish to continue to work upon.

If Wild-Life were to fail as a project, I would start applying for jobs as a comic artist for other publishers that have work they need illustrating. This would build up my portfolio, CV and name so Wild-Life may stand a better chance of success in the future. If I was still unsuccessful, I would then apply for jobs as a concept artist for various film studios and video game companies, depending on who was hiring.

If all this were to fail, I do have an upcoming company to go back to that is getting large in which I would cosplay as Iron Man for children’s parties and nightclub events, touring across Europe. Both this and my job as a bar man at Fab Cafe are very realistic and easily obtainable possibilities for work as I continue building Wild-Life for future pitches. I have also considered taking the free six month studio space in Leeds that college offers to third years leaving, as can with a weekend job afford to rent a flat in the outskirts of Leeds, and I work in this space in my five days off a week.  This I am confident will allow me to put more hours into Wild-Life whilst earning money, and be able to improve my work. I will continue this strategy for a further two years after my 12 month plan, and possibly longer. I do not feel I would ever give up on Wild-life, even if it rests as a illustration hobby I do in my spare time, as it has been something I have been working on in my spare time for the last three years anyway. In the unlikely case at some point in the future I truly do feel Wild-Life has no future, I will in all probability start another project with Stuart, and apply for jobs as a concept artist in the film, animation, and video game industries, and get involved with other creative projects happening. And possibly return to it many years down the line after I have built a name for myself in the creative industry. 

Peparing for End oF Year Show

This is what we hope our end of year show section will look like. This includes all the main pieces we completed, and a few to see how we crated the project including:

• Our map.
• A printed image of our collective image of the main characters.
• Multiple versions of our printed comic.
• Printed images of our anatomy and expression studies.
• Our action figures we have built. 
• Replica examples.
• The necklace we had made.
• Printed posters for the live action film.
• Enlarged pictures from the comic.
• Full scale cardboard cut outs of the main characters.
• Me and Callum, wearing the Wild-Life hoodies we had made.

If we do not get this amount of space, we will firstly take down the enlarged comic pages, then the movie posters, and if necessary our expression and anatomy work. We would be insistent on having space for the map, collective picture, figures, jewellery and replicas, as well as wearing our Wild-Life hoodies. We would also push for the card board cut outs.  

Writing a 12 month plan.

I found writing the years plan very difficult, not because of what to say, but how to say it. Me and Stuart were asked to write separate plans, however our project and future being the same, it was difficult to write them separately. We decided to go over our years plan in bullet points, making sure we included everything thing we wanted to do and then went our separate ways to write it up from there.

Business Cards

For our business cards we decided to create four different backs, showing different characters, just to have a variety amongst them, and hint at a larger world. All of these contained the same information as you can see below. We used a website recommended by a graphic designer, called MOO Print Limited. 

Social Media Presence

You can view our social media presence on both Facebook and Twitter at the following links. We intend to continue updating these, weekly or more, with more content and posts about what we are currently working on, with some behind the scenes sketches of the upcoming issues as we pencil them. We also intend to create more social media accounts such as Tumblr, LinkedIn, Pintrest, Instagram. We will also be uploading content with what we have handed in this module.

Facebook - https://www.facebook.com/Wild.Life.BrownTwins

Twitter - https://twitter.com/Wild_Life_comic

BBC Path Yorkshire

After calling the BBC for a spot in their Path Yorkshire talent search, we got a response confirming our attendance. We were told this was the BBC looking for fresh new talent and ideas to broadcast. Thrilled we went expecting to pitch Wilf-Life, however after the overview, we learnt it was more about them wanting YouTubers. A new audience they wanted to obtain, looking for fun, eccentric people and ideas to upload to their channel. Not really what we wanted, however we quickly came up with some ideas we could make, a mocumentry about hamsters living in a doll house in a domestic lifestyle with ordinary situations, or perhaps making it a western, using guinea pigs with saddles as horses. This was all thinking on the spot as we did not think Wild-Life was suited to this. We got a call back some time later saying they would be in touch in their next search, but we were unsuccessful this time. We did not mind this outcome, as we had our Extended Practice module to complete, along with our jobs and flat to hold down. However this maybe a post-uni thing we try at again. I will include a screenshot of this email in my submission as the information in it is confidential and we were asked not to distribute it.  

Potential Companies to Pitch to: Titan Comics

Titan Comics is a large publisher, most famous for works suck as Tank Girl and Doctor Who, among many more. When looking into their terms of submissions, I was pleasantly surprised to find exactly what we are after. Although not as perfect as Image, this is a close second on our list, and we will be making a pitch to them as soon as university is over. Below, you can have a quick read of their guidelines, and I have added a link for further reading - http://titancomics-wanted.tumblr.com/guidelines

GUIDELINES FOR NEW PITCHES

The chances of us picking up your title are vastly improved if you are approaching us as a writer/artist team, or if you are an artist writing your own title.

While many titles on our publishing schedule are the result of Titan matchmaking between a writer and artist, having a project that is ready to go - or that we can see promise in and wish to help shape into a great series – is more likely to see your submission given the green light.

We are still open to writer-only pitches, and do read all submitted plots, so an electrifying concept will still make it through, but please bear in mind that it’s more difficult to make a quick judgment on plot/script-only submissions and calibrate your expectations accordingly.

WHAT SHOULD I INCLUDE IN MY PITCH?

1. A SIGNED SUBMISSION AGREEMENT

Titan Comics has the highest regard for creators and for the ownership of original properties, and this agreement should in no way be misconstrued as license for Titan Comics to appropriate your creations.

This agreement protects Titan Comics, and you, from any liabilities involving coincidental similarities to works-in-progress or other submissions.

It is only required for original pitches, stories, scripts, series proposals and characters. You do not have to sign it if you are only sending art samples or previously published script samples.

Story proposals or scripts arriving without a signed agreement will be deleted or destroyed without review. You can download a copy of the agreement here.

A new agreement must be submitted with each new idea, proposal, script, etc., and must be signed by ALL involved creators and copyright holders.

Please note that Titan Comics does not review unsolicited scripts, story ideas, or proposals pertaining to licensed properties currently published by Titan Comics, or any property not owned by the submitter. Such material will be deleted or destroyed without review.

2. COMPLETE SYNOPSIS

Titan’s preferred format for new and original series is for stories to be told in four or five issues, each of around 20-22 pages in length.

We are happy to receive pitches for ongoing series, but please bear in mind that the first four/five issues should be a story arc that is satisfying and complete in and of itself, while leaving open the potential for more. If you have an idea for a 100-issue series, that’s absolutely fantastic, but please bear in mind we are unlikely to greenlight more than the first volume to start with.

A synopsis for such a story should be between two to five pages in length, indicating issue breaks / cliffhangers where appropriate.

Tell us exactly what happens in the course of the story, and how, noting plot and character specifics, while omitting unnecessary detail. Most importantly, tell us how the story ends.

Please write the synopsis clearly, and spoil the story thoroughly – unlike solicitation copy, we don’t need to be tantalized with questions and mysteries. We want to know all the details, and that you’ve thought through every aspect of your plot.

Paragraph-long biographies of your principal and recurring characters are also useful. How do they begin the story, what are their central conflicts, and how are they changed by the story’s conclusion?

Keep your synopsis as straightforward as possible, as this is the part of any pitch that will grab and hold our interest.

Please ensure that your synopsis (and every page of your pitch), has your name, the name of your project, and appropriate contact details (email, phone) in the header or footer.

3. FULL SCRIPT

If you are pitching a limited series, please send us a minimum of eight pages of script from the first issue (a full issue script is always appreciated).

Alternatively, if you are a previously published professional, samples of your previously published work will do just fine.

If the work is already completed, or your first issue is well on the way to completion, please feel free to submit lettered art instead.

If you’re new to comics, or looking for useful resources, you can download our Script Format Guideshere, here and here.

Every comics writer tackles their scripts slightly differently, but these suggestions make for great guideposts to finding your own preferred style.

When putting your pitch together, consider the following questions: is the plot clear and easy to follow? Are the characters consistent to themselves, and their actions believeable?

Does the script communicate everything clearly to the artist – would somebody you don’t already know be able to pick up the script and draw it to your satisfaction?

Does it take advantage of the comics form, and tell a visually-driven story, rather than one that relies on captions or extensive prose?

Does enough happen in the first issue – to establish the lead characters, themes and conflicts of your story, and with a strong enough ending or cliffhanger to bring the readers back for more? While we love stories that slowly reveal their mysteries and provide plenty of twists along the way, please make sure that your #1 has enough incident and meat on its bones to satisfy and tantalize in its own right, rather than just being a teaser, prologue or atmospheric overture for the story as a whole.

4. SAMPLE ART PAGES / CHARACTER TURNAROUNDS

If you have an artist on board, seeing art samples is essential. Similarly, if you already have a colorist and/or letterer as part of your team, seeing samples of their work, and how they will work together as a team, is paramount.

Titan prides itself on providing editorial support to every creator-owned title. Some books may require only a little design assistance and typo-spotting, other creators may work more in depth with an editor in order to shape the project into the very best version it can be.

We work alongside creative teams to bring our extensive experience in cover design to bear on every issue, and to maximise each title’s exposure through Previews, and to retailers in the comics market and wider book trade.

Potential Companies to Pitch to: Vertigo

Vertigo have published famous works such as V for Vendetta, Sandman, The Invisibles, Preacher, American Vampire and Hellblazer. Although I would usually consider their tone and work too dark for Wild-Life, series' such as The Invisibles and the DC element sways my mind, its has everything Wild-Life could be. Although this would not be my first choice, its a possibility. However this is all they had to say at this time "At this time, DC Entertainment does not accept unsolicited artwork or writing submissions."

However, I found this really good site, that directs you to some of the biggest comic publishing names, and how to sumbit work to them, however this is mostly for portfolio sketches to work for the company, besides Image, which we already know is a creator owned content publisher.
http://comicbooksubmissions.com/

Potential Companies to Pitch to: From Software

From Software is the machine behind the releases Dark Souls, Dark Souls 2 and Bloodborne. Although these games are insanely hard to complete, and targeted at a slightly older audience, I think the way they design fantasy lands and monsters, and create the gameplay (hints and tips, health. ect) in such imaginative ways. Although a little further from what I originally had in mind, I think this company could create a great Wild-Life game. But alas, this is what they had to say about accepting submissions. A disappointing outcome. All this can be found on their official page - http://www.fromsoftware.jp/pc_en/policy_site.html

As a general rule, FromSoftware declines to accept any ideas, notes, diagrams, concepts and any other suggestions submitted regarding new products, technology, designs, manufacturing methods, advertising, marketing, etc. (hereinafter, “Ideas, etc.”) except in cases where we explicitly ask our customers to do so. Please be advised that you are deemed to have made your submission in agreement with the following terms if you make a submission to us in spite of this policy:

• FromSoftware does not guarantee that it will keep your Ideas, etc. confidential, or that it will treat them as information that has a proprietary value.
• FromSoftware is under no obligation to examine, evaluate or adopt your Ideas, etc.
• Even in the unlikely event that FromSoftware adopts an idea that is either identical or similar to all or part of the Ideas, etc. submitted by you, FromSoftware is not liable for any claims by you with regards to the submission of the Ideas, etc., including the payment of compensation to you.

Potential Companies to Pitch to: Dark Horse

Dark Horse Comcis is a publisher that usually works with light hearted fantasy or monster stories such as Star Wars, Hellboy, Angel, Blacksad and Conan among many more. Dark Horse have a creator shared policy, and therefore would not be as good for us as image but still a strong possibility, I have been a fan of their work for many years and they came recommended by Richard Starkings in person after Image. I think the audience they tailor to fits ours well, and I could see this publisher being the home of Wild-Life, however in the submissions website it states "This Agreement shall be construed solely under Oregon substantive law (except where the Supremacy Clause of the Constitution of the United States requires federal law to apply). The parties having chosen the substantive law to apply, no other choice of law (including Oregon's) applies. Any dispute shall be settled in the state of Oregon; if dispute resolution is required, it shall be conducted in Oregon." I am unsure if this means our copyright will not hold up, or not. However being british means I have automatic protection, plus we made sure we copyrighted our work for for overseas protection. 

Potential Companies to Pitch to: AreaNet

AreaNet created the MMO Guid Wars, and more impressively Guild Wars 2. This is another company that could create a fantastic Wild-Life game. With the endless lands to explore, and amazing designs and creatures that fill it, I feel this is a developer that really knows how to make a MMO sandbox game immersive and interesting. I could easily see Wild-Life in this style and setting, and I think it would work brilliantly.

Potential Companies to Pitch to: Riot Games

Riot Games is the developer behind League or Legends. This MMO has a similar vibe to Wild-Life, with the fantasy designs, this idea of groups of players pitted against each other could work well with the story of Wild-Life, with each team playing as characters fighting for the North, West, East or South, fighting for land. There are many game companies, or companies in general that are brilliantly suited to Wild-Life's needs. This is the benefit of having an idea that can fall so easily into a trans-media subject. Unfortunately, while Riot games are taking in staff, its only to model the next game, and they send all of their idea submissions onto a fan page where they may take up the idea, but do not promise to credit you in any way.

Potential Companies to Pitch to: Games Workshop

Games Workshop create the small board games with figurines in large environments. Much like Heroclix, or the board game Risk, which are all also good options, however I think our world would be more suited to Games Workshop as they offer the environments and scale that our world has. I feel this could be a huge successes. The designs and audience is similar to what I expect from Wild-Life. My only issue with this is that is very hard to submit ideas to them, other than finding them at a convention in person. After looking hard, all I could find was the following information concerning freelance art at -http://jobs.games-workshop.com/current-vacancies/

Do you want to create fantastic art of the highest quality for Games Workshop products to tight deadlines?

Are you excited by illustrating the unique worlds of Warhammer and Warhammer 40,000 into evocative battle scenes and vignettes whilst adhering strictly to Games Workshop’s intellectual property?

You will be able to provide faithful and accurate artwork that will be used in Games Workshop products. This will be on a freelance basis, to agreed deadlines. You will need basic knowledge of Games Workshop’s intellectual property and a desire to learn more. You will  also need a basic knowledge of the English language. (We will only use English in our communication to you.)

Other Essential Information

Closing date: We are always looking for new people who can do this job. Because of this, there is no closing date for this advert.

How to Apply

If you wish to apply you must send us a letter  telling us why you want to be a freelance artist and some samples of your work (PDF or jpegs, no more than five attachments, 5mb in total). This is a great opportunity for you to let us know that you understand what we are looking for.

We will then ask you to complete a test piece for us and, if acceptable, you will be paid for this. All our correspondence will be via email. Because of the potential volume of responses we cannot guarantee to respond to every application. However we will endeavour to respond to successful applicants within 30 days of your application.

Please send your application letter to freelanceartsubmissions@gwplc.com.

As great a job as this could be, I don't I could apply for a job like this concerning Wild-Life, and would be better off pitching to them in person. 

Potential Companies to pitch to: Blizzard Entertainment.

Blizzard Entertainment is the company behind the enormously successful MMO game World of Warcraft.  The work they have done on this game, and to the scale it is could be a great direction for Wild-Life to go, we have a huge world, with a large, monstrous characters with fantasy elements all thrown in. Playing a Wild-Life game like this could prove to be one of the best directions for it to go. With books and comic to go with it, as well as figurines for the board game or card game in a War-Hammer like way.  This could be another company to look into.

Potential Companies to Pitch to: Ubisoft

Ubisoft are one of the biggest game companies, but what attracted me to them was how they explored different genre, places and times with their Assassins Creed series. Each instalment looks at a different era and landscape, creating a entertaining, fresh game with each sequel. These landscapes and times are tending to get more and more different with the more recent series. However all accurately display these times and places whilst making them fun, the atmosphere often reminds me of Red Dead. This company I think could do a great job of our world, especially with what I played in Black Flag, and how you could control ships and search underwater areas - a cool idea for antro aquatic characters. As fantastic as this company is, I would not submit my ideas to them online, as this is their policy:

Ubisoft's Unsolicited Ideas Policy
Ubisoft appreciates your enthusiasm and the time and energy you spend playing our games. Ubisoft’s company policy, however, does not allow us or any of our employees to accept or consider any unsolicited ideas, suggestions, proposals, comments or materials (“Submissions”). The purpose of this policy is to avoid potential misunderstandings or disputes if products, services or features developed or published by Ubisoft might appear to be similar or identical to ideas that may have independently occurred to you.
Terms of Idea Submissions
If, despite our request that you not send us your ideas, you still choose to submit them to Ubisoft, then regardless of what your letter says, the following terms shall apply to your Submissions. You agree that:

• 1. The Submissions shall be deemed non-confidential and non-proprietary.


• 2. Ubisoft shall have no obligations concerning the Submissions, including but not limited to, no obligation to review or return any materials or acknowledge receipt of any Submissions.


• 3. Ubisoft may use, redistribute, or disclose the Submissions worldwide without any restriction, in any way and for any purpose whatsoever, commercial or otherwise, without any compensation or credit obligation to you or any third party.

All of this information can be found at this address - https://www.ubisoft.com/en-US/contact-us.html

Potential C

Potential Companies to Pitch to: Man of Action

Man of Action studious are a company that specialise in animated T.V shows and comics. They have created such work as Ben 10, Generator Rex and Big Hero 6. They also work on multiple Marvel shows. Thanks to the speakers Sarah Muller and Andrew Burrell who came in from the BBC, who we briefly talked with, we know that our work is suitable for them, being a trans-media idea, and being suitable for action figures, comics, tv shows and movies, and can be targeted at this audience, I believe our work is a good match for this company. She thinks they would especially like us and our work.  She mentioned how they are western lovers and even dress the part as I do. She gave us their details to send a portfolio to after Uni, and it is one of the thinks on our endless to do list when we finish.