Program(s): Bachelor of Animation
Program Coordinator(s): Mark Mayerson
Course Leader or Contact: N/A
Version: 13.0
Status: Approved (APPR)

Section I Notes: Course Contributors: Tony Tarantini and Maury Whyte

Detailed Description
This course is designed to introduce students to the fundamentals of visual language and how it relates to the cinematic world. Topics include film terminology, mental visualization, basic structure of a story arc, character background, archetypes and oral traditions. Visual literacy is developed through knowledge of film structure, composition and scene continuity. Through interactive lecture, discussion, demonstration, the use of film clips and studio work, students develop their drawing skills and their ability to visualize ideas and concepts in the form of a drawn storyboard.

Program Context

 Critical Performance
By the end of this course, students will have demonstrated the ability
to implement cinematic language into a visual linear story.

Learning Outcomes
To achieve the critical performance, students will have demonstrated
the ability to:

1. Identify the production process of animated film from initial idea
   to final projected image.

2. Explain the expectations for a storyboard artist within a studio
   and within a variety of professions and industries.

3. Discuss effective film making principles and story telling 
   practices.

4. Incorporate the use of specialized terminology related to film
   structure in verbal and written assignments.

5. Explain the importance of staging in story development.

6. Discuss how storyboard mimics the live action camera. 

7. Develop gestural drawings that create the illusion of movement
   through economy of line.

8. Identify some of the fundamental elements of story (e.g. plot,
   setting, conflict, character, resolution, protagonist) in a   
   variety of selected films.

9. Interpret story development from a variety of selected film clips.

10. Evaluate the concept of archetype in the historical context and
    definition of hero.

11. Draw storyboards based on a variety of simple scenarios.

12. Complete required tasks within prescribed timelines.

13. Create a unique character functioning within a specific conflict
    situation and defined setting in a simple story.

14. Draft an individual reflective artist's statement.

Students demonstrate their learning in the following ways:

Lecture
In Class Test                         20%
Story
Artist's Statement Paper              10%
Story Panels  (4 @ 5%)                20%
Two quizzes @ 15%                     30%
Test                                  20%
Total                                100%

Late Policy for all courses in the program: 

All assignments are due within the first 15 minutes after the start 
of class on the due date. Late projects, submitted after the first 15 
minutes of the start of class will receive a 20% grade reduction. 
Late projects submitted the following week will receive a 30% grade 
reduction. There will be no submission of work after the last day of 
semester unless arrangements have been made and documented by the 
professor.

Work that is more than one week late will not be graded unless a 
prior arrangement has been made with the professor; the arrangement 
must be documented on email or a memo, with the new due date 
identified. There will be no resubmission of work unless, under 
exceptional circumstances, this has been agreed to or suggested by 
the professor.  Again, a hard copy of the agreement is necessary.

If there is a valid reason for the late project, the student must 
email the professor at least 3 days before the due date.  If the 
reason is deemed to be valid, there will be no late penalty.  A new 
due date with be set by the instructor.

The basic late policy as laid out above will be followed, except in 
the instance that an instructor requires a variation in policy. That 
variation will be provided to the student in writing as part of the 
actual assignment, which will be handed out by the instructor.

Textbook(s): 
Katz, Steven. Shot by Shot. Visualizing from Concept to Screen.

Suggested Reading: 	
Culhane, Shamus. From Script to Screen. 
Mascelli, Joseph V. The Five C's of Cinematography.
Macaulay, James and Schwartz, Zack.  "And Then What Happened?".

Lecture - Jason Thompson
Labs - Maury Whyte

WEEK 1 	MODULE 1- STORY LECTURES
        Lecture Topic
        - Analysis In Visual Storytelling: An Introduction

        STORY
        - Introduction to Visual Concepts
	- Expectations and Procedures 
	- Overview of the Production
	- The Role of the Storyboard Artist in Animation
	- The Role of the Storyboard Artist in other Venues 

WEEK 2	Lecture Topic
        - The Magic Lantern: Documentary
        - Scene Analysis: Fantasmagorie (Emile Cohl. 1908)
        
        STORY
        - Introduction to Fundamental Elements of Story
	- The Storyboarding Process
	- Interpretation of Story through Film Analysis
        - The Artist's Statement Paper Assigned

WEEK 3	Lecture Topic
        - Framing Up The Shot: What Does The Camera See? - Part 1
        - Scene Analysis: Pocoyo ¿Big Sneeze(Zinkia Entertainment, 
          2006)

        STORY
        - Introduction to Storyboards (simple scenarios)
	- Film making Principles and Storytelling Practices
	- IN-CLASS STORYBOARD DUE

WEEK 4	Lecture Topic
        - Framing Up The Shot: What Does The Camera See? - Part 2
        - Scene Analysis: Children of Men (Alfonso Cuarón, 2006)

        STORY
        - Film Analysis
        - Review of Concepts and Principles
        - QUIZ #1

WEEK 5	Lecture Topic
        - What Happens When We Cut?
        - Scene Analysis: Harold and Maude (Hal Ashby, 1971)

        STORY
        - Storyboard and the Relation to Live Action Camera
	- Staging, Posing, Gesturing
	- Storyboard Design (Rule of Thirds)
	- ARTIST'S STATEMENT PAPER DUE

WEEK 6	Lecture Topic
        - Structural Aspect of Storytelling- An Introduction
        - Scene Analysis: The Wizard of Oz (Victor Fleming, 1939)
        - Brief Review For Test

        STORY
        - Film Analysis
	- Film making Principles and Storytelling Practices 
	- Directorial Styles
	- IN-CLASS STORYBOARD DUE

WEEK 7	Lecture Topic
        - TEST 1
        - Scene Analysis: TBA

        STORY
        - Gestural Drawing
	- Economy of Line

WEEK 8	MODULE TWO- LAYOUT LECTURES
        Lecture Topic 
        - Layout Analysis In Visual Storytelling: An Introduction
        - Scene Analysis: Nightmare Before Christmas Documentary
        - Return test

        STORY
        - Film Analysis
        - The Archetype in Story

WEEK 9	Lecture Topic
        - Colour Analysis In Visual Storytelling
        - Scene Analysis: Fantasia (Walt Disney, 1940)

        STORY
        - Film Analysis
        - Extension of Storyboards (simple scenarios)
        - Film making Principles and Storytelling Practices
        - IN-CLASS STORYBOARD DUE

WEEK 10	Lecture Topic
        - Lighting Analysis In Visual Storytelling- Part 1
        - Scene Analysis: Visions of Light Documentary- Vittorio 
          Storaro (1992)

        STORY
        - Film Analysis
        - Review of Concepts and Principles
        - QUIZ #2

WEEK 11	Lecture Topic
        - Lighting Analysis In Visual Storytelling- Part 2
        - Scene Analysis: TBA

        STORY
        - Character and Conflict 

WEEK 12	Lecture Topic
        - Filling Up The Frame- Effective Use of Visual Layers
        - Scene Analysis: Pocoyo- Umbrella (Zinkia Entertainment,2006)
        - Brief Review For Test

        STORY
        - Film Analysis
	- Film making Principles and Storytelling Practices
	- IN-CLASS STORYBOARD DUE

WEEK 13	Lecture Topic
        - Test 2
        - Scene Analysis: TBA

        STORY
        - Film Analysis
	- Film making Principles and Storytelling Practices
        - ARCHETYPE ASSIGNMENT DUE

WEEK 14	Lecture Topic
        - Putting It All Together: Visual Storytelling Analysis
        - Scene Analysis: TBA
        - Return Test

        STORY
        - Summary and Review
	- Critique
	- FINAL TEST