![]() Through weekly critiques from the instructor and students, elements and shape of the production storyboard are refined to its final form. present material as it is being developed. These elements include character model drawings styling sketches for costumes and sets experimental "inspirational" sketches exploring mood, color, and character relationships and experiments in animation and color test footage. From this basic research, the student will create and develop all the visual elements that lead to a final production storyboard. Students will create a storyboard from an assigned literary property (i.e., by Ray Bradbury, Grimm Bros., Virginia Woolf, or other authors) and research the chosen material visually in picture libraries, print and photo archives, and museum and gallery libraries. This class can be a development opportunity for Stop Motion, 3-D Animation and Experimental Animation techniques. Software used in the class, includes Adobe InDesign, Adobe Photoshop, Adobe Illustrator, and Adobe After Effects. The 2nd half of the semester is devoted to creating a motion test for the developed idea. ![]() The 1st half of the semester focuses on visual development for pitching a project by creating a set of style frames, mood boards, and storyboards, to an animatic. ![]() ![]() This course covers a fundamental animation production pipeline (workflow) for producing an animated film from start to finish. This course is an ideal next step for students who have completed Introduction to Animation Techniques students who are preparing to go into production level animation courses, such as Stop Motion, Intermediate Animation, Advance Animation and students who would like to start a path in motion graphics and visual effects or students who would like to spend the semester developing an idea for animation. Students are expected to complete all assignments and create a two to three minute "experimental" animation by the end of the semester. How to structure an experimental film, the use of sound as well as display and distribution mechanisms will also be discussed. There will be weekly assignments and in class review of the results. The spirit of experimentation, trusting your "what ifs" and how to learn and apply the results of experiments in the creation of finished works will be pursued throughout the class. A wide range of work will be presented in screenings, trips to galleries, guests and on line. The very nature of cinema/animation will be the jumping off point for an aesthetic and philosophical consideration of the phenomena of persistence of vision in the context of moving pictures. This production and workshop class explores a wide variety of experimental animation techniques and technologies, from the historic (including pre-cinema) to the present and on, looking to the future. During the second half of the semester students will complete a 15-30 second animated film with sound. raster art, compositing, rendering, using a Cintiq, and shooting stills with DSLR camera. Various technical topics covered include aspect ratio, frame rates, storyboarding, editing animatics, scanning, working with image sequences, alpha channels, vector vs. Students will be introduced to programs including Dragon Stop Motion, After Effects, Avid, Flash, and Photoshop. The first half of the semester consists of weekly exercises in which students explore various styles and methods of animation including optical toys, stop motion, traditional drawn, and 2D digital animation. Prior drawing experience is not necessary. It is the prerequisite for several of the other animation and visual effects courses. A freshman core production selection, but open to students at all levels. The Development & Alumni Relations TeamĪ beginning production course in which students learn the basic principles of animation, develop visual language, storytelling, observation, and communication skills.Clive Davis Institute of Recorded Music.Rita & Burton Goldberg Department of Dramatic Writing.Maurice Kanbar Institute of Film & Television.
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