Wednesday, January 29, 2014

Assignment For FEB 3rd and FEB 5th!

Assignment: Due FEB 3rd! (B) and FEB 5th! (A)

A) DO ONE LEVEL 2 EXERCISE AT THIS LINK! NO TIME LIMIT, BUT HAVE GREAT CLEAN LINES and AWESOME ANIMATION!
http://www.animatorisland.com/51-great-animation-exercises-to-master/


B) WRITE THE FIRST DRAFT OF YOUR STORY!  You are creating the first iteration for your film.  We will read and revise your stories on that day, optimizing them for animation production.  Make sure you have the following:

A clearly defined Act I, II, and III, with all of the important major parts of your film Use the questions in the previous post as a guide.

Storytelling elements:
  • Inticing incident
  • Plot Point 1
  • Setbacks in act 2 (a minimum of 3)
  • Plot Point 2
  • Climax
  • Denouement/Resolution
  • A clear beginning, middle, and ending.


PARAMETERS FOR YOUR STORY:
  • In addition, while you are allowed to create any story you want, you must follow the following criteria:
  • 2 characters (both do not have to be the main character/protagonist) (if you are trying to use the environment as a character, you must let us know how you will make it into a living, breathing world.
  • Your character must go through a conflict of some kind. It does not have to be a physical one, but GREAT storytelling comes from watching characters deal with the hurdles that arise in one's life.
  • Time Constraints: 2 minutes minimum; 3 minutes maximum.  This gives you ample time to craft a solid short film that has a rich world.  Films that will be potentially longer or shorter must be approved my me on a case-by-case basis.


2.  CREATE A VISUAL DEVELOPMENT PACKAGE FOR YOUR FILM!  We talked about this on Monday.  You will need to research potential design styles for your characters, environments, and anything that will be in the film.  Knowing the ins and outs of your film is the first step to creating a great pitch!  Below is a detailed example of what you will need to have in your package:

  • 10 different examples of possible visual designs for your film (environment and character design!)
  • 3 that lend themselves to exactly the look and feel you first envision
  • 3 that are more experimental and are designs that stretch what you feel you are capable of. You can take a more graphic approach, or a realistic one.
  • And 4 that are targeted to maximize the potential of your film!  Look for designs that are technically sound too. (Designs you can implement pieces from  to make sure that you can actually finish your film and make it look well)

Friday, January 24, 2014

Assignment for Monday, Jan 27th!

In class, we reviewed everyone's 6-second acting tests.  We made note of the things that we did well, as well as the things that we needed to improve.  Remember that animated films, as magical as they are, are always created with formulas that help eliminate guesswork for making a successful film.  Some of these formulas are technical, like keeping characters on model, ways to get better at animating, and ways to build up your skill level. Others are conceptual, like the traditional Three Act Structure of cinema.  

-------------------------------------------------

1.  Revise your 6-second animation.  For DM335 Students, select one animation exercise to complete at this link:  http://www.animatorisland.com/51-great-animation-exercises-to-master/ in addition to making revisions to your other animation.  You have a choice between any level 2 exercise, or the level 1 exercise of a character thinking.z

2.  Review the formula for a movie's "Three Act Structure" at these links: http://tvtropes.org/pmwiki/pmwiki.php/Main/ThreeActStructure
http://www.cod.edu/people/faculty/pruter/film/threeact.htm
http://scripteach.com/?page_id=223

3.  Find one short animated film (no longer than 10 minutes) online that inspires you to create great cartoons and movies.  Watch the film, then break down the story into each act, and each major segment.  Make an outline - by ACT - of what those major plot points are.

Within that outline, be sure to point out these major sections of questioning:

ACT 1: (25% of your film's runtime)
    1. Who is(are) the protagonist(s)?
    2. What is the setting of the film?
    3. How does the film begin?
    4. What is the inciting incident? (What triggers the main plot of the story?  What is the protagonist looking for?)
    5. What is the major first plot point that moves the story into act II?
ACT 2: (50% of your film's runtime)
    1. What setbacks does the protagonist face in Act II?
    2. How does the protagonist deal with those major plot points?
    3. What is the second major plot point that finally kicks the protagonist's butt in gear? What is the jumping off point for Act 3?
ACT 3: (25% of your film's runtime)
    1. What is the climax of the film? Does the protagonist get what is wanted, what is needed, or something else entirely?
    2. In the Denouement, how does the film relax itself back to a state of equilibrium? How is everything resolved?
    3. How does the film end?
4.  Begin coming up with ideas for your story! Remember, it should follow the three act structure.  I will give extra parameters for writing and plotting your story on monday.

Monday, January 13, 2014

Welcome Back! (Spring 2014 Syllabus)

Class DM 225 - 2D Animation 1
Location - Mac Lab 4
Michael Shaw: Adjunct Professor
Contact:  mshaw@mca.edu
Office Hours: (Location and time TBA) Mon, Tue, Wed, Thu,: 6:55 - 8, or 3:35-4
(1 hour before or after class; will be finalized by end of first week.)

COURSE DESCRIPTION:
Welcome to DM 225!  This class is an intermediate course in animation production. Each week we will focus on a different part of the production process and build towards creating a polished web portfolio and a short animated film of exceptional quality.  The class is geared to refine your current animation abilities while enhancing the traditional drawing and technical software skills you already have.  This is done through emphasizing the more nuanced parts of animation production: Design and Layout.  We will spend time researching different artists and jobs in the industry to have a firm understanding of best practices in a professional animation studio setting.

The major blocks of study in this course are as follows:
I.  Animation Exercises and Practice: Flexibility, Weight Distribution, and LipSync
II. Preproduction:  Layout, Environment Design, Character Design, Story Design
III. Pitch Season: Pitching your short film in a class jury to be green-lit to production.
IV. Production: Producing an animated film as a team, gaining experience in the different job duties of an animation artist.
V. Post-Production/Compositing:  Utilizing school facilities and technologies to complete and refine your animated film.
VI.  Career research:  (Interspersed throughout the semester in every assignment.)

Each block of study is given ample time throughout the semester so every student can finish the class with confidence in one's own abilities.

METHODS:
The most important goal of 2D Animation 1 is to demystify the lengthy production process of animated films and reveal it to be a doable, manageable, and systematic method of art-creation. 

At the same time, the class is designed to enhance your foundation in traditional animation principles, techniques, and philosophies. This is achieved through weekly practice, research, and workshops for intermediate animation concepts.  Because an animated film is a heavy undertaking, the semester is divided into small weekly assignments.  Each assignment builds toward a complete film by semester's end.

Outside of class, students will be required to practice their animation and storytelling skills.  Outside class work will be given each week based on the in-class work given.  These assignments range from story development, to working on sections of one's individual film.





COURSE GOALS:
·      Students will demonstrate the ability to design, execute, refine and polish an animated short film.
·      Students will demonstrate a firm understanding and implementation of visual storytelling devices.
·      Students will demonstrate the ability to efficiently animate intricate scenes with prolonged character acting.
·      Students will effectively communicate emotion and character motivations through the animated medium.
·      Through collaboration, students will work together to produce high-quality animated films by understanding the benefits to great layout design, excellent pre-production development, and refined visual design and storytelling.
·      Through competition, students will create production packages that will showcase the raw essence of a film, long before the film itself is produced.


STUDENTS' PROFESSIONAL GOALS:
·      By semester's end, students will demonstrate a level of speed and accuracy when animating, equivalent to industry standards of a minimum of 6 seconds a week.
·      Students will showcase their work beyond the classroom by establishing a professional web presence.
·      Students will pursue their career aspirations, and refine their search with an informed perspective on industry standards and criteria.
·      Students will demonstrate experience gained from understanding both the competitive and collaborative sides of the animation industry.
·      Students will demonstrate mastery over the tools used to create an animated film, both analog and computerized.

-------------------------ASSIGNMENTS and REQUIREMENTS---------------------------

ATTENDANCE POLICY:

You are required to attend class everyday, on time.  Students are allowed to miss via MCA's handbook, 2 absences due to illness or emergency.  For every absence afterward, your final grade is lowered one full letter grade. Therefore, missing six (6) classes is the equivalent of failing the course. Three tardies equals one absence.   Notify me ahead of time if you will be late to class. Arriving more than 30 minutes into class will count as an absence, as will leaving early, or constant wandering in and out.

In this course you will need to use class time efficiently. This means not leaving early, wandering in and out, or arriving late.  Leaving class early constitutes an absence unless an arrangement has been worked out with me.  Assignments will require additional time out of class to complete as well.  If you miss an assignment due to lateness or absence, take the initiative by checking the syllabus and/or getting it from another student.  Notify me ahead of time if you will miss class that day.  If you then have questions, email me, or come see me after class or during office hours. 

TURNING IN ASSIGNMENTS:
Students are required to turn in assignments on time, on the blog and/or server, as instructed for each assignment.  Any assignments that require printing must have their work printed before class, unless otherwise instructed.  Failure to print assignments before class will result in that project being considered "Late," and subject to the same
penalties.

Late assignments will not be accepted for major critiques, final projects, midterms, and any other major assignments assigned at my discretion. An assignment that is turned in, on time, with a proficient level of work may be reworked and turned in again at a later date, for a higher grade.

For all other assignments, the class works on a 3 strike policy. Please make note of the following:

1st late project: -1 letter grades. (maximum: B)
2nd late project: -2 letter grades. (maximum: C)
A third late project will not be accepted.

You will have a maximum of 2 days to turn in your project for a grade, with your assignment dropping 1 additional letter grade for each day it is not turned in.

CLASS BLOG, CRITIQUE, AND STUDENT WEB PRESENCE:
All assignments will be posted in full detail to the class blog, located at
http://mcadm225.blogspot.com. The blog will be updated/checked regularly, so     
students are free to reply to assignment postings with questions, comments and concerns.
As we complete projects in the class, we will develop a web presence to showcase our work. (Creating blogs via blogger. or tumblr.) We will also use these blogs to communicate outside of class.

As pitching is important for every artist of an animation production, you will be encouraged to speak up and share feedback.  Remember to be open and honest, but stay cordial.

IN CLASS DISCUSSION, CRITIQUE, AND EXERCISES:
            You will be expected to do original analysis of your work, as well as the work of  
your peers and professional artists.  We will do this through communication via blogs, and through in-class critique.  As pitching is important for every artist of an animation production, you will be encouraged to speak up and share feedback.  Remember to be open and honest, but stay cordial.

VISITING ARTIST LECTURES:
You are required to attend 50% of these lectures and post a short review to your blog.
Materials and Supplies

1. Textbooks:
The Animator's Survival Kit, Expanded Edition: A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators. Richard Williams ($25.00)

Your Career in Animation: How to Survive and Thrive - David B. Levy ($14.46)

Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation - Francis Glebas ($29.95)

2.  External Hard Drive for saving work: About $130
Can purchase online, and use with other classes. An investment purchase that should last you the rest of your undergraduate career.
Note: The computers now use primarily USB 3.0 connections.  The Hard drives listed below are compatible both with mac and pc, but require formatting to go cross-platform.  If you use firewire connections, you will need a firewire-to-USB converter.  Check the model number online to see if it runs at 7200 rpm, for optimized performance.

Western Digital Brands:
3TB My Book |  http://tinyurl.com/HD4mac
3TB My Book Essential | http://tinyurl.com/HD4win

3. A sketchbook for storing all of your ideas, and in-progress work. Must be separate from other classes, but can contain your personal work within.

GRADING:

Each assignment will be awarded a grade based on the following rubric. Plus(+) and minus(-) will denote more or less intricate mastery of objectives.  Students will be allowed to turn in higher-quality versions of their projects midterm for a higher grade.

Group assignments will be graded on individual achievement, and group achievement.  Both grades count 50% of any group assignment.

A - Excellent.  Assignment objectives are completed above and beyond the course requirements to great effort and great success.  Technical and conceptual skills are on display in a masterfully coherent manner with clean craftsmanship.

B - Proficient. The assignment completed demonstrates most mastery of the skills presented, and objectives are completed beyond course goals. Much effort, and a clear and concise direction shines through the final result. There are still a few issues that can be pushed further.

C - Competent.  The assignment completed demonstrates relative mastery of the skills presented, and objectives are completed to average sufficiency.  Assignments are successful, and craftsmanship and technical skills are on display -- All are completed at an average level.

D - Deficient.  The assignments completed are missing demonstrations of the skills presented, and/or required objectives have yet to be completed. There are conceptual and technical flaws and hurdles that have not been overcome.

F - Failure.  The majority of the project is either not completed, and/or objectives for assignment are not met.

Final Grades will be based on a comprehensive average of all of your projects, as well as midterm and final milestones for blog upkeep.

*Your blog upkeep factors into your grades for each major assignment handled out of class.*

Assignments are due at 9a.m. on their scheduled dates. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer. You should have multiple copies on multiple sources at all times. No files are safe unless backed up to 3 locations. (Example: Personal hard drive or flash drive, school network, personal computer, or web service.  Note: you can store work on dropbox. We will discuss cloud storage.)

LEARNING ACCOMMODATIONS:
            In compliance with MCA policy and equal access laws, I am available to discuss  
appropriate academic accommodations that you may require as a student with a disability. Request for academic accommodations need to be made during the first week of the semester, except for unusual circumstances, so arrangements can be made.

HEALTH and SAFETY PRECAUTIONS

            As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice.  This can be a serious and very painful condition that is far easier to prevent that cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen - visit his site below.
            http://eeshop.unl.edu/rsi.html
            http://www.mydailyyoga.com/yoga/rsi.html


DEPARTMENT AND LAB POLICIES:
Immediately submit an online tech request to report any problems with a lab computer or printer. 
Main MCA computing info site = mca.edu/labs -- go here for answers to frequently asked questions and online tutorials for MCA specific technologies.
No Food or Drinks in Lab.
Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.
Leave your workstation in an orderly fashion. All materials left on the desktop will be deleted. Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin. 
Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.  
Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard and mouse should be placed in their proper positions.

COPYRIGHT:
            You must receive copyright permission for all non-public domain media used in projects. (Music, film footage, etc.)  Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org.  Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use. We will discuss fair-use policies during class.

EPA MANDATE:
            Memphis College of Art students and faculty are required to follow the      standards detailed in the "EPA (Environmental Protection Agency) Materials
            Handling Protocols - September 2007"