|
Detailed Description
This course is designed to introduce students to storyboard as it
relates directly to narrative structure. Emphasis is also placed on
the full storyboard process from initial sketch to final sequential
panels. Topics include additional elements of narrative structure,
and storyboard techniques used in television, film, internet and
video games. Through interactive lecture, discussion, demonstration
and studio work, students increase their ability to translate
narrative concepts into an effective visual communications process.
Program Context
| |
| Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This course is part of the
core component of the first
year of the Bachelor of
Applied Arts (Animation). It
is the second in a series of
six Story and Storyboarding
courses whose development
reflects comprehensive and
thoughtful scope, content
analysis, and sequence in
the delivery within the
Story stream. In addition,
it reflects continuity,
integration and balance
through the other streams at
an introductory level and
reflects the complexity and
logic of the design of the
BAA Animation Program. It
prepares students for the
remaining courses within the
stream and for building
connections to storytelling,
character, animation and
performance to courses in
other streams within the
program.
|
Course Critical Performance and Learning Outcomes
| |
Critical Performance
By the end of the course, students will have demonstrated the ability
to visualize a story using the mechanics of storyboarding and the
structure of cinema effectively for purposes of developing an
animation sequence.
Learning Outcomes
To achieve the Critical Performance, students will have demonstrated
the ability to:
1. Identify the production needs accommodated by storyboards in terms
of the workflow.
2. Incorporate film making principles (e.g. shot selection, cinematic
angles, continuity) in a variety of assignments and activities.
3. Compare storytelling practices for selected target audiences.
4. Incorporate the fundamental techniques and mechanics of effective
storyboarding (e.g. dialogue, action notes, director's notes,
scene and panel labeling) into sequential narratives.
5. Create storyboards based on a given story idea.
6. Complete required tasks in accordance within prescribed timelines.
7. Analyze one's own work and that of peers critically, objectively
and constructively.
8. Incorporate the use of specialized terminology related to film and
storyboards in verbal and written assignments.
9. Discuss narrative structure through an analysis of universal
themes found in various genres of literature and film.
10. Create storyboards that reflect character arcs and two-character
dynamics.
|
Evaluation Plan
Students demonstrate their learning in the following ways:
| |
Lecture Exam 20%
Carmen 5%
Dressed To Kill 10%
The Big Picture 5%
Shipwrecked 15%
Sequence Analysis 10%
Suddenly Seymour 15%
Ant and The Dove 20%
Total 100%
Late Policy
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.
|
Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:
| |
Essential Employability
Skills
Essential Employability Skills emphasized in the course:
|
|
Communication
|
|
Critical Thinking & Problem Solving
|
|
Interpersonal
|
|
|
Numeracy |
|
Information
Management |
|
Personal
|
Notes: N/A
Prior Learning Assessment and Recognition
PLAR Contact: Mark Mayerson
Students may apply to receive credit by demonstrating achievement
of the course learning outcomes through previous life and work experiences.
This course is eligible for challenge through the following
method(s):
| Challenge Exam |
Portfolio |
Interview |
Other |
Not Eligible for PLAR |
| |
X |
X |
|
|
Notes: Both are required.
|
|
Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.
Effective term: Winter 2013
Professor: Multiple Professors
Textbook(s): n/a
Applicable student group(s): Students in the BAA Animation Program
Course Details:Module 1
Lecture - Jason Thompson
Studio - Maury Whyte
Week 1
General Introduction
Lecture Topic: Designing the Frame: Working with Screen Ratios
Scene analysis: CITY LIGHTS (Chaplin, 1931) THE GENERAL (Keaton,
1926), PLAYTIME (Tati, 1967), SLEEPING BEAUTY (Disney, 1959), MALE
(Tezuka, 1962)
Studio
Introduction, expectations review of Outline
Narrative inspired by music.
Silly Symphonies, Looney Tunes, Merry Melodies etc.
Style, Communication and the intended audience (Television
Commercials)
Opera: Bizet's Carmen (1995) Director: Mario Cavalli
In-class sequence analysis Freeze-Frame(5%)
Week 2
Lecture Topic: Structural Approaches to Storytelling, part 1
Scene analysis: CITIZEN KANE (Orson Welles, 1941) THE GREAT PIGGYBANK
ROBBERY (Clampett, 1944)
Studio
Film Editing, Montage, Assembly
Eye Direction as critical to continuity
In-class Group Project: Dressed To Kill (1980) Director: Brian De
Palma sequence deconstruction (10%)
Script format.
Sequence Analysis Project Assigned (10%)
Week 3
Lecture Topic: Structural Approaches to Storytelling, part 2
Scene Analysis: CITIZEN KANE, part 2; A HARE GROWS IN MANHATTAN (Friz
Freleng, 1944) UP ¿Married Life¿ (2009), DREAMS AND DESIRES FAMILY
TIES (Joanna Quinn, 2008)
Studio
In-class Group Project: Dressed To Kill Sequence deconstruction
(continues)
Week 4
Lecture Topic: Conflict and Character
Scene Analysis: TOY STORY (Wrong story emphasis), BLACK FRIDAY from
WAKING SLEEPING BEAUTY; ALADDIN excerpt; HERCULES excerpts
Studio
Screen-composition as critical to narrative.
Determining the essential "Story Beats"
In-Class individual project: The Big Picture (5%)
Individual project Assigned: "Shipwrecked" storytelling 60 seconds
(15%)
Interim deadlines detailed and discussed.
Week 5
Lecture Topic: Mise En Scène- ¿Putting In The Scene¿ for Animated
Films
Scene Analysis: THE JOURNAL OF EDWIN CARP; DEDUCE YOU SAY, RHAPSODY
IN BLUE, TRIPLETS OF BELLEVILLE
Studio
"Shipwrecked" interim deadlines: Beat Analysis, Research, Preliminary
Character & Location design.
One on One review of progress.
Week 6
TEST- 20% of ANIM 10172 mark
Studio
"Shipwrecked" interim deadlines Beat Analysis, Research, Preliminary
Character & Location design.
One on One review of progress (continues).
WEEK 7: FAMILY DAY HOLIDAY, NO SCHEDULED CLASSSES
Studio
"Shipwrecked" Final Deadline
Storyboard as pre-editing: the importance of the cutting strategies.
The evolution of editing styles and film assembly.
Screen: The Cutting Edge (2004) Director: Wendy Apple
WINTER BREAK
MODULE 2- LAYOUT LECTURES
Week 8: Return Test
Lecture Topic: Continuity and Structure in Feature and Short Animation
Scene Analysis: HOW TO SKI, LADY AND THE TRAMP, THE UNICORN IN THE
GARDEN (UPA)
Studio
Shipwrecked assignment group review.
Clarity: the Strength of simplicity
Review: The stage-line (180° rule) in practice.
Scene Planning: Character and camera blocking.
Sequence analysis: Little Shop of Horrors- Suddenly, Seymour (1986)
Director: Frank Oz
Individual In-Class analysis (Character/composition) (15%)
Sequence Analysis Project Final Deadline
Week 9
Lecture Topic: Colour Analysis In Sequential Storytelling
Scene Analysis: BAMBI (Walt Disney, 1942)
Studio
Sequence analysis: Little Shop of Horrors - Suddenly, Seymour (1986)
Director: Frank Oz (continues)
Mapping A Sequence: Individual In-Class analysis (Character/Camera
Blocking)
Week 10
Lecture Topic: Sound Design in Animation and Live Action Films
Scene Analysis: PSYCHO (1960, Alfred Hitchcock), DR. STRANGELOVE
(Stanley Kubrick, 1964), DOUGH FOR THE DO-DO (Warner Brothers), DUMBO
(¿Casey Junior¿)
Studio
Aesop's Fable as a narrative's source
The Premise as a narrative's anchor.
Screen: The Grasshopper and the Ants (1934) Director: Wilfred Jackson
Screen: The Tortoise and The Hare (1935) Director: Wilfred Jackson
Individual Assignment: The Ant and the Dove (20%)
Interim deadlines detailed and discussed.
The value of Contrast in storytelling.
Week 11
Lecture Topic: Maintaining Visual Continuity Through Layout
SCOTT CAPLE, GUEST LECTURER
Studio
The Ant and the Dove, interim deadlines
Setting up a sequence: starting at the end.
The struggle to find clarity and simplicity.
Screen: City Lights (excerpt)(1931) Director: Charlie Chaplin
Week 12
Lecture Topic: The Living Frame: Interplay of Screen Forces
Scene Analysis: HOW TO TRAIN YOUR DRAGON, THE BONEKNAPPER DRAGON
(DreamWorks)
Studio
The Ant and the Dove, interim deadline
One on One review of progress.
Week 13
TEST- 20% of ANIM 19014 mark
Studio
The Ant and The Dove, Final Deadline
Design and Film Narrative: the importance of a cohesive vision.
Screen: The Hidden Art of Hollywood (2004) Director: John J. Flynn
Week 14
Lecture Topic: Putting It All Together: Sequential Storytelling
Analysis
Return Test
Screening TBD
Studio
Return and Review The Ant and The Dove assignment.
One on One review of semester grades and performance.
Academic Honesty
The principle of academic honesty requires that all work submitted for evaluation and course credit be the original,
unassisted work of the student. Cheating or plagiarism including borrowing, copying, purchasing or collaborating on
work, except for group projects arranged and approved by the faculty member, or otherwise submitting work that is not
the student's own violates this principle and will not be tolerated. Instances of academic dishonesty, including
assisting another student to cheat, will be penalized as detailed in the Student Handbook.
Students who have any questions regarding whether or not specific circumstances involve a breach of academic
honesty are advised to discuss them with the faculty member prior to submitting the assignment in question.
Discrimination and Harassment
Sheridan is committed to provide a learning environment that respects the dignity, self esteem and fair treatment
of every person engaged in the learning process. Behaviour which is inconsistent with this principle will
not be tolerated. Details of Sheridan's policy on Harassment and Discrimination are available in the Student Handbook.
|