FINALS Checklist for AN200

Upcoming Dates:

Monday, December 3rd: Final Day of Class! Bring a completed version of your final animation to class for us to view! Below will be a listing of everything you will need at the end of the semester:

Sunday, December 9th @ 12:00 NOON: Final deadline for updates of any previous assignments.

FINAL PROJECT DESCRIPTION:  Short character action animation!
Runtime: 18-20 Seconds
Full Color

Description:  Using the skills you have learned this semester, produce a short animated sequence!  You will take what you understand abotu character action, cinematography, and production to build a short story about a character moving a heavy object.

Questions to answer: How does your character lift a heavy object? What elements of their personality can you use to tell the audience about your character's personality? Does your character succeed or fail?

We will carry this project from beginning to end, starting with Storyboards and animatics, Building Layouts on top of those storyboards, and finishing with the animated production at the end.

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On the server, in the Classes —> AN200 section, create a folder with your first and last name.  You should submit animated videos of your assignments labeled as such.

Ball Bouncing Project:

lastname_p1_ballbounce1, 

lastname_p1_ballbounce2, 

lastname_p1_ballbounce3

Shape: Emotion Project:

lastname_p2_shapeproject

Character Action Part 1:

lastname_p3_characteractionsequence

lastname_p3_jumpinganimation

Character Action Part 2:

lastname_p3_researchproject(or lastname_p3_floursack)

Walk Cycle:

lastname_p4_walkcycletest1

lastname_p4_walkcycletest2

lastname_p4_walkcycletest3

lastname_p4_walkcyclefinal

Character Turnaround Project:
lastname_p5_modelsheet.png (completed model sheet of your project with color)
lastname_p5_characterturnaround.mov (completed movie of your turnaround)

Character Action 2 Storyboards:
lastname_p6_3pHstoryboards (storyboards exported from toonboom storyboard with proper format)
lastname_p6_fullboards (storyboards exported in full page format)

Character Action Designs:
lastname_p7_modelsheets (png or jpg files of your character model sheet)
lastname_p7_environmentdesigns (png or jpg file of your environment)

FinalCharacterAnimation: (your final project)
lastname_p8_finalproject (a movie file of your final animation)

Extra Credit: (any additional content you produce for credit should go here!)( each improves one assignment by 1/3 of a letter grade... the difference between a C+ and a B-, or a B and a B+)
lastname_9_referencevideos (reference videos shot for your projects!)
lastname_10_othermovies (any small animated sequences you have made!)
lastname_11_movie with title and end card (add a title and end card to turn your animation into a fully fledged short film!) (adds a boost to your final project's grade)

Be sure to CONVERT ALL VIDEOS! 
Final grades will be determined by the following:

1: Clarity of Action and Storytelling (At a glance, do we understand the story of your sequence?)

2: Composition/Spacing/Staging of Action: (Are you using the camera frame to the best of its ability?)

3: Timing of Action: (Are your sequences well-paced?)

4: Craftsmanship: (Clean lines? Clear lineart?)
5: Attendance
6: Organization of your final files (you will receive a separate grade for cataloguing and organizing all of the projects you have created in class so far!

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FINAL ANIMATION PRODUCTION NOTES:

things to remember when you’re working on your own!

• Make lots of TINY cartoons! (4 or 6 seconds, a set number of drawings, etc.)
• gives you experience
• gives you wisdom!
• Schedule your detail later! Sketch action first!
• Animation is about STORY first! Ask yourself what the story or theme is and make decisions based on that!
• Animation is a MARATHON, not a SPRINT!
• give yourself a small amount of time to do a small amount of drawings that covers a large action or scene in your story!
• 4 seconds of animation: give 10-15 minutes to sketch 8 drawings.
• Alternate method: start with sketching 3 drawings as a “beginning, middle, and end.” add 2 more between those until the story and action is good!
• KEEP IT SIMPLE! 
• complexity comes later!
• Click this link to find student pricing for toon boom harmony and storyboard pro!
• Click this link to find student pricing for the adobe creative suite!

Notes from Monday: Nov 19th and Homework for this weekend:

CHECKING YOUR ANIMATIC:

• storytelling: Is the story clear/ clearly told?
• actions and presence: Can we clearly see what characters are doing and where they are going?
• avoid sequences that skip “too much” information
• Example: Character goes to fridge to open jar of jelly.
• Panel 1: Character at kitchen table.
• Panel 2: Character at fridge with jelly already in hand.
• What’s missing: Panel of character opening fridge to pull out jelly.
• Timing: ut or too slow?

Advice for Producing Longer Format Animation:

• Divide your sequence into small chunks!
• Set a small time limit for each part of your animation sequence.
• Small sequences are divided by actions.
• Setting small time limits helps you draw ONLY the MOST important drawings you need for that sequence.
• General average for fully complete 2-D animation:
• 6 seconds per week
• Always figure out timing first!
• Calendar and Homework:
• Nov 19-23: (Thanksgiving) Lineart Key and In-between animation.
• Nov 26-30: Color, Sound, and Title and End Cards (Treat this like a film! Figure out what you want the title and end card to look like)
• Dec 3: Watch Films 
• Dec 10: All academic work is due!

Notes from Monday, Nov 12

• Animating Small Sequences
• Storyboarding
• Animation Production Practices (Portfolios)
• Goal: Selecting Stories and Optimizing Storytelling
• We Divide the Animation Process into a PIPELINE:
• Our Animation Pipeline
• Pre-Production
• Thumbnails
• Sketches
• Storyboards
• Animatics
• Layouts
• Animation Production
• Post Production
• Sound Fx
• Compositing
• About Storyboards:
• think of them “as a sample of key drawings”
• together, they create a sketch of your animation
• we are able to see the film before the film is created!
• Questions to Ask Yourself When Developing A Story:
• Does the story resolve in an interesting way? 
• Does the story make sense to others? 
• Does the story’s content show a genuine struggle or problem to solve? Does it get resolved?
• What is the most interesting scenario to you? How can you make it more interesting?

Animation Preproduction Development:

• This does not have to be a complicated process.
• Thumbnails are selected and redrawn with respects to storytelling. This creates our STORYBOARDS.
• Our storyboards are set to time in a video-editing program. This creates our ANIMATIC.
• Our Animatic serves as a map for the final film. We develop LAYOUTS by creating drawings that show where and what the final artwork should look like. (and where the camera should go)
• From there, all the hard work is figured out, and we spend the rest of our time ANIMATING our idea!

 STORYBOARDING AND FILM NOTATION:

• Time Code:   Numbers that represent the current “run time” of your film.  (Ex:  00:00:01.12 = 1 second, and 12 frames.)
• TOON BOOM STORYBOARD HOTKEYS:

HOMEWORK:  Continue fleshing out your animatic!

Homework for Monday: Nov 7th

Purchase a pack of index cards!

Using your index cards, produce 4 possible scenarios for your next short animation! Details below:

Runtime: 6-15 seconds. Quality over quantity!

Story: Character lifts heavy object.

Production method: traditional media for sketches and pencil test, can be cleaned up on computer w/ color and final lineart.

Content needed on Monday: 

Character design w/ model sheet colored. Environment design. 

Thumbnails for key character poses and moments.  

Research and reference for character actions.

This weekend, produce the developmental materials for your new story! Be thorough! Next week, we will take the most important elements of each of your stories and begin producing them!  While you are free to start animating this weekend, I want you to make sure you fully develop your sequences ideas. Don’t be surprised if I ask you to change something or revise your story, or trim part of it to make a stronger film. ;)

Remember what we learned in class today!

For your film:

Show the Struggle.

How can you take something familiar and make it interesting!

Does your character succeed or fail?

GET THE REFERENCE!

MOVIES WE WATCHED (links will be posted soon):

Steamboat Willie

Jackie Chan - How to do Action Comedy by Every Frame A Painting.

Nerf John Wick

Additional References;

Flooby Nooby: Storyboarding And The Exchange 

Introduction to Cinematography: Shot Types, Blocking, Rule of Thirds, Composition, and More!

Note for future referenceL  There are three books that will need to be in your library if you want to be the best at what you do, be it animation, illustration, or more cinematic photography. Those books are below:

Why are we learning shot types?  The only way for you to expand your knowledge as a visual storyteller is to know all of the formulas and conventions you have at your disposal.  Even one new frame could be the difference between an amateur production and presentation and a visual masterpiece of storytelling!

A list of helpful books for cinematic storytelling, good for both Animation and Live Cinema!

http://www.amazon.com/Cinematic-Storytelling-Powerful-Conventions-Filmmaker/dp/193290705X

http://www.amazon.com/Master-Shots-Vol-2nd-Techniques/dp/1615930876/ref=pd_bxgy_b_img_y

http://www.amazon.com/Master-Shots-Volume-Shooting-Dialogue/dp/1615930558/ref=pd_bxgy_b_img_z

THE RULE OF THIRDS:

http://digital-photography-school.com/rule-of-thirds

http://vimeo.com/14315821

IMPORTANT: THE 180º RULE!
https://www.youtube.com/watch?v=Bba7raSvvRo

VARIOUS CAMERA SHOTS:

Basic Shots: http://www.mediacollege.com/video/shots/

Advanced shots begin to manipulate the camera and treat it as more of a character in the film, moving and swaying between angles and shots to create a more lived in space:

Examples:  http://revision4gcses.wordpress.com/media-studies/camera-anglesmovementshots/

Dolly shots are some of the most advanced, yet easiest to preform in animation.  Dolly shots are where the camera trucks, weaving in and out of the scene, around characters, key environment elements, and other places.  (in short, move the camera from one side to the next)

Two Shot: A medium shot with two subjects.

Overhead shot (bird's eye view):  Camera is facing down from above.

Canted shot:  When the camera is tilted on it's axis so that normally vertical lines appear slanted to the left or right.  Ordinary expectations are frustrated.  Often used to create mystery and suspense in films to create a sense of unease in the viewer.

http://www.slideshare.net/StaceySmith1/camera-shots-and-angles-5618222

Handheld Shot:  "shaky cam"  sometimes played up in action scenes to suggest a state of unrest.

Remember that the shots you use already come loaded with information for your character to use.  Also remember that keeping the camera steady in some instances will give your character pivotal moments to come alive.

BONUS: Notes on camera angle diversity: Notes on camera diversity.

http://www.demotix.com/blog/advice/1072724/creating-shot-list-diversity-your-camera-angles-and-image-submissions

FOCUSED CASE STUDY that Teaches Cinematography: 
The Cinematography of the Incredibles, parts 1-3.

Staging and blocking for animation: 

Why do we stage and block shots?  To better plan our animation.  It's a good idea to have a list of documents for what our cartoon will be.  Printouts of our character and our character's expressions for easy reference.  Printouts or organized sketches for your characters.  Documents of the action and shot direction. Drawings of where you think your shots will be.  And, it makes you feel better about the work you do. Seeing the pieces of your cartoon come together creates a sense of pride in your cartoon, as if you are doing something important that many people are simply unable to do.  It's the truth.

Things to remember when planning cinematography:

Practice your draftsmanship!  Draw lighter in the beginning, sketch first, refine second!  We will animate our character through drawing frames!  Block out each shot.  Export your drawings out of Storyboard pro as a pdf.  You can board on paper, or photoshop, and scan in too.  but we will make an animatic of your work for the final.

STORYTELLING: Three Act Structure:

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

Class Cancelled Today

Hey Everyone,

Classes are cancelled today because I I messed up and got unexpectedly sick.  I was so excited to see what everyone was working on too! :(  

On the bright side, each of you already has a project you are working on.

AN200: Refining your environments for their character turnarounds.

AN410: Developing assets for your directed study.

AN325: Using the process we discussed to develop sequences of your film.

While things are a little unorthodox today, drop items on the class server or email short video clips or screenshots to me for any questions you may have. When I'm awake, I'll send you feedback. For any other questions, feel free to contact me. We'll return to our regularly scheduled classes on Wednesday.

Thanks,

~Shaw

Midterms Checklist For AN200

Upcoming Dates:

Monday, October 1st: Bring to class a video of your first walk cycle, completed.  Also bring sketched out ideas for your next character walk cycle!  Your midterm project will be to create a walk cycle with PERSONALITY! Give your character an interesting walk! For this project, you are allowed to design a character to animate. I will give notes on character design for animation next week. Check out the rest of the "Walks" section of Animator's Survival Kit for ideas on constructing interesting walks!

Friday, October 5, 2018: Turn-In for midterms assignments. (All assignments due before 4:30 PM. Key Animation for your walk cycle with personality should be completed by this date!)

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On the server, in the Classes —> AN200 section, create a folder with your first and last name.  You should submit animated videos of your assignments labeled as such.

Ball Bouncing Project:

lastname_p1_ballbounce1, 

lastname_p1_ballbounce2, 

lastname_p1_ballbounce3

Shape: Emotion Project:

lastname_p2_shapeproject

Character Action Part 1:

lastname_p3_characteractionsequence

lastname_p3_jumpinganimation

Character Action Part 2:

lastname_p3_researchproject(or lastname_p3_floursack)

Walk Cycle:

lastname_p4_walkcycletest1

lastname_p4_walkcycletest2

lastname_p4_walkcycletest3

lastname_p4_walkcyclefinal

Be sure to CONVERT ALL VIDEOS! Midterm grading will be determined by the following:

1: Clarity of Action and Storytelling (At a glance, do we understand the story of your sequence?)

2: Composition/Spacing/Staging of Action: (Are you using the camera frame to the best of its ability?)

3: Timing of Action: (Are your sequences well-paced?)

4: Craftsmanship: (Clean lines? Clear lineart?)

Recap of Notes from Today, September 24th, and Wednesday, September 19th

SEPTEMBER 24TH

INBETWEENING FOR ANIMATION AND PENCIL TESTS:

• purpose
• fluidity
• context and quality of movement
• difference between teleporting and “clear” action.
• Key Drawings - Give the story.
• In-between Artist:  Dedicated animator that fleshes out character action sequences.
• IN-BETWEENS ALSO SOLIDIFY YOUR PRESENCE IN YOUR FILM
• “if you can not see it, or hear it, and no one acknowledges it, it DOES NOT EXIST.”
• SCANNING IN IMAGES:
• FRAME PADDING: adding zeroes to keep your files in alphabetical order
• Example:  Shaw1 —>  Shaw0001
• COMMON PITFALLS FOR WALK CYCLES:
• Remove any of the following in version 2:
• Sliding (skating) feet.
• Key drawings for feet that  are not drawn in the same general area.
• Body Parts that are stretched (too long or short)
• Stretched or smushed body parts to cover a large or small area.
• Switching/ Confusing the left and right arm or leg. (switch places)
• Check your drawings and make sure each foot carries one FULL STEP.
• Jagged Movement (things appear jittery)
• #1 Check to make sure you have your keys
• C D P U C’ D’ P’ U’ C
• Make sure your body parts are moving forward in a CONSISTENT MANNER. 

SEPTEMBER 19TH

HOMEWORK:

Produce 3 walk cycle pencil tests!

Each pencil test will be NINE(9) Drawings!

• Story: “__________” walks, taking two steps forward.
• F1: Contact (start with first foot)
• F4: Down
• F7: Passing Position
• F10: Up
• F13:Contact* (next foot in front)
• F16: Down*
• F19: Passing Position*
• F22: Up Position*
• F25:Contact** (First foot is in front again)
• advice: Flip through your paper: See if the animation is correct.
• If you would like: Scan in your drawings and time them out in toonboom.
• Recommendation: Scan your drawings using the library copier.
• Advice2: As you are working:  When you finish, make your lines darker.

Homework For Monday, Sept 17th:

Using what you have learned about character action:

A. Add context to your scene that you started on Monday! Build up the action and improve the content of your story!  We started with four panels. Can you flesh that story out?

B. Revise your homework from last week! You probably see a lot of improvements you can make to your scenes!  Review the homework post below for more information!

C. Clean up your jumping animation!  Make it a little cleaner and make it tell a more effective story!

Homework For Monday, Sept 10th and Notes from today (9/5/2018):

Using what you have learned so far, create one(1) of the following:

OPTION A:  

A 6-7 second RESEARCH project, where you try to recreate one animated character action scene from another animated work of art. This is good for people that want to try to break down the structure of another animation artist's work.

• As with before, DO NOT cut the camera.
• Have the entire character in frame when you animate the sequence.

OPTION B:

A 6-7 second FLOUR sack animation, where you animate a sack of flour moving about.  This is good for people who want to better harness their fundamentals!  Use the same approach you used for your simple 3-D object to create this animation. Give the sack a name, a simple story to tell, and try to tell that story! There are a lot of references for animating flour sacks online, as well as information on why this is one of the first "characters" animators learn how to draw. 

• As with before, DO NOT cut the camera.
• Have the entire character in frame when you animate the sequence.

Regardless of your choice, I STRONGLY suggest doing a google search for "flour sack animation" to get a myriad of examples! I also have some general notes on character animation that will help you this weekend. Think of it as an introduction to making characters that builds off of our animated sequences of simple shapes!

Bring ALL of your assignments to class to turn in on Monday!

NOTES FROM TODAY:

Production Checklist (for an animated sequence):

• 1. What is the story about? 
• make the sentence you write “active”
• If the story is good…
• 2. Is the character(s) acting in a well paced manner?
• look at your artwork as if you are your audience.
• pacing —> timing?
• too fast? less timing. (less frames)
• too slow? extend timing. (more frames)
• 3. Can we CLEARLY see the most important action taking place?
• context in the number of key drawings, breakdowns, and in-betweens (in that order)
• list your actions in your sequence. 
• check off each one that is shown clearly.
• put a star next to the ones that need more attention.
• for the drawings that need more attention: 
• determine what type of drawing you need (key, breakdown, in-betweens)
• add a select number of them. (less than ten to start.)  re-review your artwork. Go to question 2. If the answer is yes, go to 3. If good, then you’re set!
• 4. HOW does it look with respects to craftsmanship/ polish?
• Visual aesthetic: Line quality, color theory, size of line art!
• Question: Are your characters and objects held together with line, or with volume?

Introduction to Character Animation (we will talk heavily about animating characters on Monday!):

When animating a character on screen, follow these four simple rules.

1. Start with a simple mass.
• Use basic 3-D shapes to construct your character.
2. Stack your simple mass.
• Stack your shapes on top of each other to achieve accurate bends in the body and limbs.
3. Find your center of gravity!
• Draw a line down the center of your character. That line will help you bend your character in different ways.
4. Remember to move that mass!
• Animation is about movement over time. Be sure to stretch, push, and pull your characters by manipulating the mass underneath. Skin works like a sheet: If you move everything underneath, everything on the surface moves with it!

Homework for Wed September 5th:

Important Dates to Remember:

• Monday: September 10th: Bring your receipt from the business office to receive your paper and peg bar! 
• Wednesday: September 12th: Bring your light table and your animation paper to class! We will begin our WALK CYCLE PROJECT!
• I will update these dates following our labor day holiday!

Content for this class's last assignment is below:

PROJECT 2:   THE SHAPE/EMOTIONS PROJECT! (PROJECT SHAPE FEELS)

NOTE: DO NOT DRAW A FACE ON YOUR CHARACTER.  SHOW THE EMOTION THROUGH BODY LANGUAGE AND ACTING!


GOAL: Create a 6 to 10 second animation, where a primitive 3-D object (CUBE, BOX, TRIANGULAR PYRAMID, RECTANGULAR PYRAMID, TRIANGULAR PRISM ) that you have named displays a single emotion!

STORY:  *insert character name here*   feels   *insert emotion name here*. (_____ feels like _____)

The strategy: You are going to give simple inanimate objects human characteristics!  This is the most common practice for young animators, and professionals trying to get an audience to relate to a character, scenario, or prop on-screen!

• mark in the corner of your drawing if it is a Key(K), breakdown(B), or Inbetween(I)!
• create an environment for your character to act within!
• DO NOT CUT THE CAMERA IN THIS PROJECT!
• does not have to be complex, but does need to be an environment that the character is living within!
• Think about the cubes you saw on http://the12principles.tumblr.com. Those cubes are characters! They move with vigor and personality!  I want yours to do the same! Think about how you can assign an inanimate object human characters through movement! Would a cube jump up and down when it's happy? Or slump over when it's sad?
  
  
  I know this may be difficult, but I promise challenging yourself now will give you a stronger set of skills by the end of the semester! 

I will grade based on the following!

1. Craftsmanship!  (are your lines cleaned up? I suggest creating your animation first as a sketch, then making a lineart layer!
2. Timing! (Are your actions well-paced?)
3. Acting and Locomotion! (Does your character act? Can we understand the emotion(s) your character goes through?
4. Storytelling (Is your film about the SINGLE emotion you chose to be the most important one? Do we see your character acting within its environment and stage?)
5. Professionalism!  (Did you come to class with your toonboom project folder, your files, and an EXPORTED MOVIE of your film that has ALREADY been converted?)

As an additional note, please bring your updated Ball Bounce to class on next wednesday!

Lastly, If you finish your shape emotion project, and bring a developed "head turn" animation from what we started in class, you will recieve extra credit on this assignment!  Be aware that extra credit is only valid if you FINISH your Shape Emotion project first!

Video Tutorials!

(Introduction to Toon Boom Harmony: Divided into three 10-minute sections)




(A thirty-minute demonstration of starting your shape project!)

NOTES FOR WEDNESDAY'S CLASS!

A. Read the following excerpt (pages 24-63) from the animator's survival kit, provided at this link!

B. Create 3 Ball bounces for me in ToonBoom Harmony! Each ball bounce should represent a ball of a different size and weight!  Bring your work to class finished! We will make these into videos at the start of class Monday!

Below is a list of notes that we have covered in class today:

• Remember to make a sketch layer first to draw your animation, then make a cleanup layer to continue working!
• It may help to work alongside another classmate to make sure your work is telling a good story!

Below are notes from today as well as an image of the interface with some notes from class.





NOTES:

Remember to use a brush size of 15 or lower!

CONTROLS:

• 1 & 2: Zoom in and out.
• Hold Spacebar and Click:  Pan Camera and Drawing
• Hold Option and Command: Rotate Canvas
• Shift + M: Reset your view.
• F5: Creates Holds, and extends drawing frames.
• Comma and Period Keys:  Previous and Next Frame, Respectively.
• ((, & . Keys:  Move forward and backward 1 frame))
• F and G Keys:  Move between Key Drawings!
• Option + Shift + R: Create Empty Drawing
• + and - keys: Increase and Decrease Exposure (Can also right-click your drawings in the timeline and select “Set Exposure to X”

CONCEPTS:
Onion Skinning: Turns on light table, lets you see through your drawings.
Frames Per Second: The unit of measurement we use to measure the time of drawings we create.
Animation: Done at 24fps.

TERMINOLOGY:

1. Key Drawings: Main drawings that tell the story.
2. Breakdown drawings: Drawings created between the Keys that further "breaks down" the action with greater nuance and context!
3. (for monday) "Inbetween" drawings: Drawings done between the Keys, Extremes, and Breakdown drawings that fleshes out the movement and acting with detail!
4. On Model: Drawing a character or object with PROPER PROPORTIONS!
5. Extreme drawings:  The minimum number of key drawings needed to tell the story visually.

“Hold” - A single drawing lasting longer than a single frame, on screen.

WELCOME TO AN200! =D

Course# AN200 | Intro to Animation

Location: Mac Lab 3 – Room 004

Instructor: Michael Shaw

Time: Monday and Wednesday 9:00 AM | 11:30 AM

Contact: mshaw@mca.edu; 901.282.3902

Office Hours:  Monday and Wednesday: 6:30 – 8:00 PM, Mac Lab 3

COURSE DESCRIPTION:

Welcom to AN200! In this course, students will learn the fundamentals of traditional animation production. Below are the major blocks of study covered in the course:

I.  Introductory Animation Procedures, Timing and Principles

II. Walk Cycles and Locomotion

III. Weight and Object Interactions

IV. Flexibility and Emotion

V. Storytelling and Performance (subtle action, dynamic action, foreshortening)

VI. Storyboarding

VII. Portfolio Construction

Methods of Study – The Flow of Class is as Follows:

Class Readings:

Each topic we cover in class will have an accompanied reading or video that provides more information and instructions on the current study.  These readings are meant to give you means to practice in-class content on your own! We will hold class discussions where you are expected to ask questions, present new information, and help each other learn new techniques!

Interactive Demonstrations:

The best way to learn how to animate is to practice hard, and see how others animate!  Keep what works, and scrap what does not! This semester will have many interactive demonstrations on learning the fundamentals of animation and animated storytelling. You will produce a mix of exercises and more developed content that will supplement everything you’re learning in your other courses.

Projects and Workflow

Each week, you will be given an assignment to accomplish that will investigate the possibilities of story and visual development of an animated short. The purpose of these assignments is to prove that the process of making a film is not magic, but a series of calculated steps that help you hone in and further develop your creativity.  You will be able to combine each assignment into a professional portfolio by semester’s end, and have all the tools needed to begin applying for internships, and exploring new content that piques your interests!

Short Weekly Exercises:

Inbetween your longer weekly and bi-weekly projects, we will do short 30-45 minute animation exercises as a class! These will serve as a way to help you actively practice your drawing and animation abilities, and see very quickly how all of the content of each lesson is applied in a practical setting! We will do art jams where we will try to make short-format content (6-10 seconds) in an even shorter working time (30-45 minutes). These projects can also serve as jumping off points to improve your portfolio outside of class.

DEPARTMENTAL OUTCOMES:

Students will demonstrate the capability to organize and present concepts verbally.

Students will demonstrate the capability to organize and present concepts audibly. 

Students will produce evidence of an understanding of the methods of audio production.

Students will be able to coherently communicate the content their audio productions.

Students will demonstrate the time management skills necessary to complete the entire sound creation process.

Students will demonstrate the capability to effectively publish their audio production via the web, and integrate it into their current body of work.

PROFESSIONAL OUTCOMES:

Students will demonstrate the ability to write an artist statement.

Students will demonstrate the ability to document their work.

Students will demonstrate basic computer/software literacy applicable to their field.

Students will demonstrate the ability to give a public presentation about their work.

Students will demonstrate the ability to research to stay current in their field.

Students will demonstrate basic knowledge of communication etiquette in their field.

Students will demonstrate the ability to work collaboratively.

-------Assignments and Requirements ------

You are required to attend class everyday, on time.  We will start class @ 9AM every day, unless otherwise noted.  As with the Student Handbook, students who misses 6 days of class will fail the course.  This will be strictly enforced. Prior to this event, any student that must miss a day needs to notify me ahead of time, long before the start of class.  Anyone who wonders into class at least 30 minutes after class begins will be considered absent for the rest of the day. 4 absences result in a loss of one letter grade. Three tardies equate to one absence. If you miss, you must catch up on assignments via consulting other students first, and myself via email. I reserve the right to notify students ahead of time for any day that MUST NOT BE MISSED due to course content be it finals, assessments, midterms, or other coursework.

----Turning in Assignments -----

Each Assignment will be due on a scheduled date, given at the beginning of the assignment.  Often, this will be the day before the class, to give students time to listen to, and review other students’ work.  Part of your grade will be your review of the creations of your peers. We will remain objective throughout, even when we are delving into content that goes beyond our personal taste.  When it comes to late assignments, assignments will drop a letter grade each day they are late. After 3 days, I will not accept your assignment.

Supplies:

1)    1 ream of 10f Ingram Bond Animation Paper and 1 plastic peg bar Additional paper can be purchased for $55.00 We will need to place an order soon. Details provided on Wednesday.

2)    Folder and Sketchbook for taking notes. You are required to keep track of your notes. This includes any sketches you create in this class. You will also be required to turn in your sketches for review from time to time, so be sure to keep your sketchbook on hand during class!

3)    $100 Deposit to check out audio equipment. Upon completion of the class, or the major, you may receive this deposit back. This single deposit can count for multiple classes within the department. If you still have your deposit from last semester, you can check out as available.

4)    External Hard Drive: Can purchase online and use with other classes. If you already have it, great! If not, it’s an investment that can last you long beyond your undergraduate career.  The Computers primarily use USB 3.0 connections. The hard drives listed below are examples, compatible with mac and PC, but require formatting to go cross-platform.

Western Digital Brands:

3TB My Book |  http://tinyurl.com/HD4mac

3TB My Book Essential | http://tinyurl.com/HD4win

5)   Light Box: You will need to purchase a lightbox for your animated projects! Below are a few very cost effective options for you to use! You need something big enough to cover a piece of 10f paper, or 8.5” x 11”Huion L4S: 12.20" x 8.26"

Huion 17" With Angled Surface (drawing area is the same)ME456 Tracer: A4 Size (9" x 12")

AGPtek Light Table (A4 Size)

6)    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)  http://www.amazon.com/Your-Career-Animation-Survive-Thrive/dp/1581154453

Framed Ink: Drawing and Composition for Visual Storytelling - Marcus Mateu_Mestre (16.00) http://www.amazon.com/Framed-Ink-Drawing-Composition-Storytellers/dp/1933492953/ref=sr_1_1?ie=UTF8&qid=1421179351&sr=8-1&keywords=framed+ink

7)    Pencils, tablets, erasers, etc!  I recommend obtaining a pack of non-photo blue, regular blue, and red pencils for sketching characters and drawings!

8)    3 Packs of 4x6 Index Cards! (These are great for storyboarding and rapid idea development.

9)    (If you do not want to check out pens each day) WACOM INTUOS TABLET PEN. ($58.00) tablet pens will be provided at the start of class each day, but will need to be returned at the end. Additional tablet pens can be checked out via the security desk. https://tinyurl.com/wacompen4students

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 the beginning of class on their scheduled dates unless otherwise noted. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. I can not grade what does not exist!  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.)

Copyright

You must receive copyright permission for all non-public domain media used in your film projects. 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.

Accommodations for Students with Disabilities

Students with a special learning need are encouraged to let their instructor know at the beginning of the course. Reasonable accommodations (such as extended time for exams, readers, scribes, and interpreters) are provided on an individual basis as determined by documented need. It is the student’s responsibility to provide authorized documentation to Student Affairs or Achievement Center Support Staff as early in the semester as possible.

Course Content and Title IX Reporting

Students should be aware that information disclosed to faculty (whether through assignments or as a personal disclosure) that indicate experiencing sexual harassment, abuse, or violence while a student at Memphis College of Art, requires that your instructor as a “mandatory reporter” disclose this information to Student Affairs staff to ensure students’ safety and welfare are addressed. Student Affairs staff will contact you, and/or those involved, to make you aware of accommodations, remedies, and resources available at Memphis College of Art.

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 "OSHA (Occupational Safety and Health Administration) Guidelines” materials located throughout the institution.

A tentative schedule for this semester can be viewed by clicking on this link. You will need to login with your MCA password to view. (Subject to change at instructor’s discretion)