Malaysia Project (Cinema)

　It would probably not be wrong to say that Japanese cinema of recent years has received a decent level of international critical acclaim, given the number of films that have been honored with nominations and awards at international film festivals. This acclaim may be attributed to the historical fact that Japan’s film industry inherited cinematic expression techniques from the Studio era, which is now commonly considered to be the Golden era of Japanese cinema with masterpieces from internationally renowned filmmakers including Akira Kurosawa, Kenji Mizoguchi, and Yasujiro Ozu, and then proactively applied advanced digital technologies to film production. This approach took advantage of Japan’s status as an international leader in the area of digital technology. The Tokyo University of the Arts Graduate School of Film and New Media was established in 2005 in the midst of the transition from film to digital production, and the school is noteworthy as the first full-fledged cinema education and research center within a national university in Japan. Over the last few years, the Graduate School of Film and New Media has undertaken research projects on film education systems based on new types of film production that are suited to the digitalized cinema environment. Completed in fiscal 2015“, Digital Cinema Production Workflow Guidelines” is one of the outcomes of this research.

　The Graduate School of Film and New Media is in the process of building its own global network in the area of cinema education through international cross-appointment agreements and joint workshops with prominent cinema education institutions including École Nationale Supérieure des Métiers de l’Image et du Son (La Fémis), University of Southern California (USC), Korean Academy of Film Arts (KAFA) and Tehran University of Art. In holding this workshop, we recruited students from the global network that our graduate school has built, as well as ASEAN-based film education institutions that belong to the International Association of Film and Television Schools (CILECT).

　The cinema of Malaysia, the host country of this program, remains relatively unknown on the international scene, with the exception of a handful of world-famous filmmakers such as Mingliang Tsai. It may well be said that Malaysian cinema is still at the developing stage. However, the situation is changing, as Malaysian cinema is achieving greater prominence in Asia. For example, the entertainment industry is featured in the Malaysian government’s large-scale Iskandar urban development plan in the Johor Bahru region, and Iskandar is home to Pinewood Iskandar Malaysia Studios (PIMS), one of the largest media production studios in Asia. In addition, international coproductions are given preferential treatment for government subsidies. Another characteristic of Malaysian cinema that deserves special mention is that the language barrier, the toughest obstacle to be overcome when it comes to the world market, is relatively low in this country, where a wide variety of languages including Malay, English, and Chinese are spoken. Malaysia’s geographic proximity to Singapore, one of the economic giants in Asia, is a fact that also cannot be ignored. Malaysia’ s motion picture culture and cinema industry clearly have plenty of potential, given the lively economic, cultural and social exchanges already taking place.

　Collaborations between Malaysia and Japan have already begun at the industry level. Several years ago, IMAGICA, a major post-production house in Japan, made its way into PIMS and established a local company called IMAGICA South East Asia (ISEA). This company is actively involved in developing local human resources and has played a central role in enabling us to hold workshops at PIMS for this project this year and last year.

　This project aims to enable youth from ASEAN countries to experience the expanding possibilities of cinematic creativity and Japan’s visual technology and artistic expression in the fields of cinematography and editing in the ideal environment of a large-scale studio with the latest postproduction facilities, and it also offers a valuable opportunity to gain a deeper understanding of Japanese culture. In addition, we have great expectations that this project can become a foothold for film production networking for the next generation.

　The workshops enable participants to experience first-hand the expressive techniques and thought processes needed for film production, as well as passion for film production, through instruction from leaders in Japanese cinematography, production design and editing.

From Japan
Instructors	Katsumi Yanagijima [Director of Photography; Professor, Tokyo University of the Arts]
	Toshihiro Isomi [Production Designer; Professor, Tokyo University of the Arts]
	Ryuji Miyajima [Editor; Adjunct Senior Assistant Professor, Tokyo University of the Arts]
Assistant Instructors	Mami Morisaki [Cinematography]
	Keisuke Ikeda [Lighting]
	Masaki Murakami [Editing]
Director	Shogo Yokoyama [Project Assistant Professor, Tokyo University of the Arts]
Assistant Director	Toshihiro Hanyu [Freelancer]
Project Producer	Mitsuko Okamoto [Professor, Tokyo University of the Arts]
Workshop Assistants	Inori Kokai [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Cinematography Course]
	Nana Kitaji [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Art Direction Course]
	Yue Chen [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Art Direction Course]
	Macarena Natali De Oto [Research Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production]
Workshop Script Assistants	Risako Kifune [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
	Yusuke Takatoku [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
	Mie Tonoka [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
	渡部雅人 [Student, Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
Planning and Administration	Tokyo University of the Arts Graduate School of Film and New Media
General Management	UNIJAPAN
Project Chief	Takenari Maeda [Group Manager, International Promotion Group]
Project Administrator	Kiyomi Nakazaki [International Promotion Group]

From Malaysia
Local Coordination	Kentaro Kusaka [ISEA]
Post-production Management / Translator	Naoki Tanaka [ISEA]
Production Staff	Izmil Idris [ISEA]
Translator	Chiemi Cowan [Freelancer]
Art Assistant	Mary Grace Pacat
Supporting Organizations	Pinewood Iskandar Malaysia Studios (PIMS), RED Circle Projects

From Singapore
Instructor	Hideo Urata [Director of Photography, Professor, LASALLE College of the Arts]
Participating Educational Institutions	University of the Philippines Film Institute (Philippines)
	Wathann Film Institute (Myanmar)
	Jakarta Institute of Arts (Indonesia)
	LASALLE College of the Arts (Singapore)
	Ho Chi Minh City University of Theatre and Cinema (Vietnam)
	Sunway University (Malaysia)

《Project Name》

Digital Cinema Production Cinematography and Editing Workshops in Malaysia

《Dates》

November 17 to 21, 2017

《Venues》

Pinewood Iskandar Malaysia Studios（ PIMS）
　　Cinematography workshop　・Film Studio3 (set shooting)
　　　　　　　　　　　　　　　　・The premises of PIMS (location shooting)
　　　　　　　　　　　　　　　　・ISEA grading suite
　　　　　　　　　　　　　　　　・VIP room (orientation)
　　Editing workshop　　　　　 ・ISEA post-production room
　　　　　　　　　　　　　　　　・VIP room (orientation)

《Program Content》

Cinematography Workshop Schedule

16th · Workshop preparations (check equipment, content, location etc./meeting)
17th · Workshop orientation, staff introductions, etc.
　　　· Cinematography workshop
　　　　- Set up base lights
　　　　- Demonstration by instructor Yanagijima, etc.
18th・19th · Cinematography workshop
　　　　　　　- Studio shooting and lighting practice
　　　　　　　Host: Instructor Urata
20th · Cinematography workshop
　　　　- Location shooting and lighting practice
　　　　Host: Instructor Urata
21th · Grading workshop
　　　· Workshop overreview

Editing Workshop Schedule

16th · Editing workshop preparations
　　　　　- Check equipment and footage (Mr. Tanaka)
17th · Workshop orientation, staff introductions, etc.
　　　· Editing workshop
　　　　- rush screening
18th～20th · Editing workshop
21th · Editing workshop
　　　· Editing workshop screening
　　　· Workshop review

Art Department Schedule

14th · Art department prep
　　　　- Meeting with Brian (Red Circle)
　　　　- Meet with Mary (art staff)
15th · Art department prep
　　　　- Aging (with Mary)
　　　　- Building the set (Red Circle)
　　　　- Loading furniture
16th · Art department prep
　　　　- Aging (with Mary)
17th · Workshop orientation
　　　　- Staff introductions, etc.
　　　· Cinematography workshop
　　　　- Base light rigging
　　　　- Instructor Yanagijima demonstration
　　　· Instructor Isomi returns to Japan
18th・19th · Cinematography workshop
　　　　　　　- Studio shoot and lighting practice
　　　　　　　Host: Instructor Urata
20th · Cinematography workshop
　　　　- On-location shoot and lighting practice
　　　　Host: Instructor Urata
21th · Grading workshop
　　　· Cinematography workshop overview

《Participants》

Participants: 16 students
Students’ University Affiliation:
　　University of the Philippines Film Institute (Philippines)
　　Wathann Film Institute (Myanmar)
　　Jakarta Institute of Arts (Indonesia)
　　LASALLE College of the Arts (Singapore)
　　Ho Chi Minh City University of Theatre and Cinema (Vietnam)
　　Sunway University (Malaysia)
　　Freelance (Malaysia) *1

※ 1: Two students from Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production participated as assistants.

《Languages》

Japanese, English (consecutive interpretation)

《Screenplay》

Risako Kifune [Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
Yusuke Takatoku [Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
Mie Tonoka [Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]
渡部雅人 [Tokyo University of the Arts, Graduate School of Film and New Media, Department of Film Production, Scriptwriting Course]

《Day 1: Orientation》

The workshops began with an orientation held at ISEA, where the workshop instructors and assistants were introduced, the participants gave self-introductions, details were presented on the intent and content of the workshops, and the schedules for each workshop were reviewed. Then, the participants split into groups for cinematography and editing and the workshops got underway.

Cinematography Workshop

The focus for this cinematography workshop was“ lighting with limited light sources.” In keeping with this concept, the setting for the screenplay used in the workshop was an abandoned building. Participants experienced how to control the light by rigging the lighting from scratch while thinking about how to recreate the light sources in the studio for the natural lighting called for in each scene, including sunlight, moonlight, and lightning.

First, the instructors explained the cinematography workshop’s concept and goals and each of their aims. For the cinematography workshop, the participants were split into A and B teams and the instructors gave them instruction in both cinematography and lighting for each scene from the script. The instructors split into groups and explained the overall direction of the workshop and the students’ roles. Then, the instructors worked with the students to rig the basic lights and did a demonstration of lighting and cinematography for one scene from the script.

Editing Workshop

For the editing workshop, the same footage was distributed to all participants and they each were instructed to edit based on their own interpretation of the material. Each participant completed a short film within the timeframe of the workshop with advice from the instructor. For the first day of the editing workshop, the instructor gave an explanation of the overall direction for the workshop, the editing workflow, and the footage to be used for editing. Then, computers with the footage to be edited were distributed to all of the participants, and each person commenced with their editing work.

《Days 2 to 4: Cinematography and Editing》

From Day 2 to Day 4, the participants followed the schedule prepared by the organizing staff. Each instructor made decisions on the specific activities based on the progress of their workshop.

On-set shooting (with stage set)

For the cinematography workshop, we had the participants experience shooting and lighting on a studio set. With the concept of“ lighting with limited sources of light” as the focal point, the participants in each team decided their production roles based on the script (abandoned building) distributed in advance, and they worked on camera angles and the lighting set-up while consulting with the directing assistant.

The sets were constructed and aged in advance based on plans prepared by the organizers. The participants had rigged the basic lights with the instructor on the first day, and they each shot the scenes while talking with each other about camera and lighting ideas. Part of the wall in the set could be removed, which not only expanded the range of camera positions within the set, but also enabled the participants to experience shooting methods that are only possible in studio set situations. The instructors listened to the participants’ aims for the shoot and what they wanted to get across and gave them advice on methods for better expressing their ideas through cinematography and lighting as the workshop moved forward.

They needed to set up the lighting from scratch in the studio. The script called for both daytime and nighttime lighting, so participants got to experience completely different processes of creating light. They experienced how cinematic expression changes and how the lighting set-up changes with daytime and nighttime lighting, even within the same scene. Also, participants referred to demonstrations from the instructors as they worked on lighting that uses shadows, techniques for maneuvering the camera in response to an actor’s movements, and camera techniques using a smoke machine.

At the end of each workshop, all of the participants got together with the instructors to watch the dailies and have the footage critiqued. Participants gained a concrete understanding of how camera technique impacts visual expression by comparing the footage shot by participants with footage shot by the instructor under the same conditions. Also, instructor Urata ran the overall cinematography workshop as the host, which enabled instructor Yanagijima to give the students more in-depth feedback and comments about cinematography technique.

Location shooting (ISEA balcony)

The ISEA balcony was used for the on-location shooting in the workshop. Lighting equipment was kept to a bare minimum, and the workshop focused on how to control natural light, how to use the camera for on-location sets, and how to shoot with special camera equipment.

The key point for controlling natural lighting was figuring out how to create consistent lighting in a single scene while taking into consideration the direction of the sun and the use of the board reflector. Also, the instructor demonstrated camera movements that are often used for on-location shoots, such as the 180-degree pan.

Editing

The goal of the editing workshop was to edit a short film within the allotted timeframe, and participants used editing software provided by the organizers to edit the footage according to their own interpretations. The editing instructors checked the participants’ editing progress and their intentions and gave advice as appropriate about how to better express themselves through editing.

In addition to allowing free interpretation the footage, the workshop imposed no limits on editing style or the use of music, sound effects or VFX. As a result, the participants completed eight short films with completely different styles and interpretations using exactly the same footage. Also, the instructors used the same footage during the workshop period to edit short films under the same conditions as the students, and they screened their pieces at the end of the workshop. Participants got feedback from the instructor three to four times during the workshop, but they were prohibited from viewing each other’s pieces until the final critique. The ISEA technical staff joined the workshop as an editing technical assistant and gave backup support for the workshop and did troubleshooting for equipment issues.

《Final screening and review session》

Cinematography workshop

The final day of the cinematography workshop consisted of screening rush dailies, a lecture by the instructor on grading, and participants trying out grading for themselves.

Through the screening of the rush dailies, participants were able to understand the different impressions you get of footage when it is seen through the viewfinder, the on-set monitor, and in a movie theater environment. Also, when the footage was projected on a big screen they saw focus mistakes that they didn’t notice through viewfinder and saw that tiny things are recognizable on the big screen, which drove home the importance of viewing footage on a big screen.

For the grading lecture, instructor Yanagijima used his own footage to explain the actual aims and outcomes for grading. In the end, participants supervised a grader in grading the footage that they were in charge of for the shoot.

Editing workshop

For the final day of the editing workshop, the instructors and participants gathered for a critique of the eight works. Participants presented their work and described their intentions and aims, and then the instructors critiqued the edited piece.

Wrap Party

After the conclusion of the workshops, the participants and teaching staff held a wrap party. The workshop participants had a chance to socialize and made concerted efforts to speak with the staff and instructors.

Positive feedback

Cinematography Workshop Participants

・I learned practical skills. In other words, this was a great chance to learn how to create a scene. I will be able to have confidence on film shoots in the future.
・I got to work with other countries’ film culture. I saw how other angles can make a differenc e in framing . I learned the importance of teamwork, working with whatever we have, and communication with the production designer to help create a better look.
・I learned about the importance of communication on set, pointers on managing the camera as a camera assistance, and the importance of creating depth in frame. I got to network with friends from many countries. I learned about the importance of understanding what the director wants.
・I learned how to use the Arri Alexa Plus properly and how to light for it, and the importance of efficiency and space during the shoot. I learned different perspectives and nomenclature for cinematography through multi-cultural/multi-national representatives, and Irealized the importance of the DP’s job via film and images and lighting.
・The mentors were incredibly patient and kind and gave me a lot of insight on the purpose, meaning and expressions behind shots that went beyond just technique. Also, I learned how important basics and techniques are.
・I learned about lighting set up and making image effects, camera angles for the story, and motion camera.
・I learned too much for a five-day workshop, and met an idol of mine! I learned about cinematography techniques, theory and even the attitude needed to work in the camera department. I liked everything about this workshop, so thank you to the best mentors ever and thank you Imagica!
・I learned how to create day and night lighting in the studio and how to shoot with an Alexa Arri camera. I learned how to collaborate with others systematically, how to create my own style, and I experienced different cultures and made new friends. Thank you for creating this chance for teenagers from different countries.
・I learned how to light the set and how to communicate and tell assistants what I think.

Editing Workshop Participants

・Creativity is something to keep no matter how many rules are imposed. I learned how to extract/alter footage that is given to produce new footage (especially if footage is limited). Every work/film is different even if the footage is the same. It is a matter of how you use the footage. Editing style always depends on the editor, and you need to learn your own style.
・I learned about kan-kyu (slow fast editing), exploring different creative options, and creating stories from footage with other intended narratives.
・I learned about kan-kyu (slow fast editing), seeing the video you edited from different perspectives, and I patiently learned how to use Adobe Premium Pro. Action cuts are difficult. Creativity is important in editing. Different people have different creativity in storytelling. Always give your audience a break. Challenge your limits.
・I learned how big the possibilities are in the editing process and the importance of being thorough in selecting shots and actions. To be an editor is to be creative, not just assembling and rerunning the action.
・I learned how to use digital editing in the best way. I also learned how to take my ideas into editing. I realized that editing is not easy because I have to tell my story through editing images and sound and effects with my experiences and skills. I learned about how to connect with other foreign friends to improve my skills and develop my film idea through teamwork, even though the film is made by individuals.
・I learned about expanding your creativity. Editing can do so much in terms of changing the mood, tone, pacing, rhythm and even the story. Creative input as an editor is important, although editors have to work with directors and producers. Different editors have different styles (depending on their country).
・I learned about editing style and creative possibilities.
・Editing is a tool for expressing the human soul, people, and countries! Editing has many possibilities, like life itself!

Art Assistants

・I learned how to work with girls majoring in production design. It is important to be aggressive in sharing ideas with other people.
・I learned about how your choices impact your images, communication between the production team, lighting ratio, color grading, building sets and flats, and being prepared on set. I loved the food.
・I joined the workshop as a production design assistant, and I learned so many things about making film sets in different environments, such as wooden studio floor – this is something I learned working in the Pinewood Studios. Making moss texture with real moss and wooden tips was also interesting and I want to try the technique again if I have the chance to make some abandoned buildings in the future.

Negative feedback

Cinematography Workshop Participants

・There was not enough demonstration on lighting.
・Some people don’t know the tools yet, so a bit slower is better.
・At first the pace was a bit too fast and it was culture shock, but that worked because I was challenged to catch up and now I want to learn more. Thank you.
・The lights were so big, and there were no small ones. I know it was our task, but it was difficult for lighting.

Editing Workshop Participants

・There was not enough interaction with the mentor, assistants and other students.
・Technical difficulties
・Since this workshop is held in Asia, I wanted to edit using material from Asia.

Art Assistants

・Non-spicy food for lunch is better, but otherwise thank you to the Imagica staff !

We recruited participants from six ASEAN countries (Malaysia, Singapore, Vietnam, Philippines, Myanmar and Indonesia) for this project.

Many of the students came from different cultural backgrounds and had to communicate using a language other than their mother tongue. The participants experienced not only the challenges of communication that transcends language and culture, but also the importance of understanding each other in film production. Also, we expect that participants were able to fully appreciate cinema as a common language for mutual understanding that goes beyond language and culture.

Last year’s film production workshop was based on the Agile production system, but this year we held workshops specialized in cinematography and editing with the goal of acquiring more advanced film production techniques. As a result, the cinematography workshop was able to spend time practicing cinematography without being pressed by the production schedule. Also, we were able to set aside time to review the dailies on the day they were shot, and it was very meaningful for students to get feedback on their footage while the experience of the shoot was still fresh. In addition, the instructor held camera demonstrations under the same shooting conditions as the students, and the students had the precious experience of seeing the gap between themselves and the instructor in terms of cinematography thought processes and techniques.

It was also important that the organizers were able to prepare the script and book actors in keeping with the workshop concept so that the participants could focus on filming and lighting. The organizers were also able to build a stage set that reflected the intentions of the script, and the actors were informed in advance of the cinematography workshop aims and the premise that this was a workshop and not intended to create a finished work. As a result, it was possible to direct the filming on the fly without obstructing the workshop’s aims. These preparations and the flexible response on set made it possible for the participants to have an experience in line with the instructors’ intentions.

Also, there is no mistaking that instructor Urata’s role as the host greatly enriched the participants’ level of understanding and learning at the cinematography workshop. Instructor Urata was able to take a bird’s eye view of the workshop through his dual perspectives as a professional director of photography and film school instructor, which gave students the valuable opportunity to raise important questions with instructor Yanagijima, far beyond what you would expect given their level of experience.

The participants’ questionnaires also demonstrate the outcomes of their experiences at this cinematography workshop, including learning about the theory and practice of cinematography and lighting, the director of photography’s attitude, on-set communication, and the importance of mutual understanding. These outcomes also show that this cinematography workshop enabled participants to experience many things beyond what they can learn at their usual film sets and school settings.

For the editing workshop, we prepared footage for a short film without dialogue based on prior discussions with the instructor. We aimed to minimize the burden of elements such as dialogue so that students could focus as much as possible on film editing, given that this workshop had participants from six ASEAN countries. The material used for editing was an action short film with a complete length of six to ten minutes. The editing work was mainly done individually in a style tailored for editing. The participants each used the prepared material and edited the footage based on their editorial intentions.

After participants had made some progress with their editing, instructor Miyajima viewed each work and had the participant explain his or her editorial intentions and then responded with advice based on his understanding of their aims. The participants got concrete advice based on actual footage, such as adding unused shots and deleting or switching around scenes. Through this process, the participants got to make their own decisions and found new modes of expression through trial and error as they worked on editing their pieces. It was fascinating to see the participants’ interpretations and wide-ranging creativity, as some students used the advice to dramatically improve their editing, whereas others found a new approach that went in a completely different direction. The instructors and all of the participants were surprised to see how the same material turned into completely different works depending on the editor’s visual interpretation. This editing workshop placed no restrictions on the use of music, sound effects and VFX, and so the students’ individuality also came through in the sound and other effects beyond the visuals.

Without a doubt, instructor Miyajima’s extensive experience as a professional editor gave him the necessary skills to grasp the participants’ editorial intentions and unique styles and deliver onpoint advice. The questionnaire responses show that this workshop enabled many participants to deepen their understanding about the creativity and potential of film editing. Instructor Miyajima was also very satisfied with the overall direction of this editing workshop and with the improved knowledge and editing techniques for the individual participants. The participants and instructor alike were able to experience first-hand that the language of film editing has no borders.

Through holding separate workshops focused on cinematography and editing, participants were able to gain specialized knowledge and techniques not possible with the film production workshop. That was a major outcome of this workshop. Also, having six ASEAN countries participate not only fostered international cultural exchange, but also enabled participants to experience the language of cinema as a language that is shared throughout the world. However, because of the large number of participating schools, it is a fact that there were differences in the knowledge and technical level of the participants and as a result some participants couldn’t keep up with the work and needed additional time. Students without specialized knowledge might benefit from a general production workshop that covers more ground, rather than workshops in specific areas. To deal with the varying skill levels of the students, for the next workshop we should survey participants in advance and offer workshops matching their level (either practiced-based or focused on a specific field).

We have held workshops with ASEAN countries over the past three years, and feedback from the participants leads us to objectively conclude that this year’s workshop was the most fulfilling in terms of individual mastery of techniques. At the same time, we should keep in mind that last year’s film production workshop enabled participants to learn more deeply about communication and other skills for team-based film production, rather than individual expertise. We were able to clarify these two educational outcomes, which is important for this project. We would like to utilize these results for planning workshops in the future.

Also, it was significant for Asian film education that we recruited participants from film schools in six ASEAN countries for this year’s project. We held this program using the network of the International Association of Film and Television Schools (CILECT). It is unprecedented for a film school to offer a film workshop at this scale, and the CILECT Asia-Pacific Association (CAPA) has high expectations for this project in the future.

Over the past three years, this project has made significant contributions to the expansion of film education in ASEAN countries and has become a source for film education methods developed in Japan. In the future, we want to increase the number of participating countries and institutions and contribute to the spread of Japanese film education in Asia.

Both instructors and participants told us that they are truly glad to have been able to participate in this year’s program. We have been able to develop this program to this level thanks to the enthusiasm and dedication of the Malaysian staff, and the precious time taken from the busy schedules of instructors Yanagijima, Urata, Isomi and Miyajima, as well as the assistant instructors.

We wish to take this opportunity to express our gratitude for their contributions to this project.