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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
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| 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.
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Course Critical Performance and Learning Outcomes
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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.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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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.
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Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:
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Essential Employability
Skills
Essential Employability Skills emphasized in the course:
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Communication
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Critical Thinking & Problem Solving
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Interpersonal
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Numeracy |
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Information
Management |
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Personal
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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 |
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X |
X |
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Notes: Both are required.
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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 2015
Professor: Multiple Professors
Textbook(s): n/a
Applicable student group(s): Students in the BAA Animation Program
Course Details:Module 1
Lecture - Barnabas Wornoff
Studio - Maury Whyte
Week 1
General Introduction
Lecture Topic: Alternative Storytelling
Analogy, Spoof, Parable, Metaphor, Subtext, Hoaxes
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: Visual Sequences
The shot, the cut, the montage
Scene analysis: CITIZEN KANE (Orson Welles, 1941)
UP - Pixar, Team America.
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: Principles of form in motion pictures
Function, similarity and repetition, difference and variation,
development and unity/disunity
Studio
In-class Group Project: Dressed To Kill Sequence deconstruction
(continues)
Week 4
Lecture Topic: Structural Approaches to Storytelling Part 1
The bones, the hero, the protagonist, antagonist.
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: Conflict and Character
Objectives, Obstacles, Conflict
Studio
"Shipwrecked" interim deadlines: Beat Analysis, Research, Preliminary
Character & Location design.
One on One review of progress.
Week 6
Family Day, no scheduled class
Studio
"Shipwrecked" interim deadlines Beat Analysis, Research, Preliminary
Character & Location design.
One on One review of progress (continues).
WEEK 7:
TEST- 20% of ANIM 10172 mark
Watch film, answer questions.
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:
Lecture Topic: The Story of Titles
Dexter, Madmen, Game of Thrones
Colour scripts - Paranorman
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: Kinetic Typography
Norman McLaren, Saul Bass
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: Mise En Scène- ¿Putting In The Scene¿
1. Setting
2. Costume and makeup
3. Lighting
4. Figure movement (acting)
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: Imitation and Inspiration
Stylistic Adaptations and originality
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: Transmedia
Story, backstory, secondary characters, creating worlds¿
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: Inspiration in storytelling
29 Ways to stay creative, make mistakes, tell stories.
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.
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