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Credit Value: 6.0
Credit Value Notes: N/A
Effective: Fall 2012
Prerequisites:
(ANIM30123) AND (ANIM30261) AND (ANIM30146)
Corequisites:
N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A |
Course
Name (short): Senior Animation Project
School: Animation Arts and Design
Program(s):
Bachelor of Animation
Program Coordinator(s):
Mark Mayerson
Course Leader or Contact: Christopher Walsh
Originator: Paulette Geffros
Designate: Paulette Geffros
Version: 11.0
Status: Approved (APPR)
Calendar Description
In this course, students integrate the concepts, principles and
theories investigated throughout the program with the applied skills
refined and mastered to date in order to design and develop a
professional quality independent film.
Typical Instructional Format
Independent Study
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56.0 |
Studio Course
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28.0 |
Total hours: |
84.0 |
Courses may be offered in other formats.
Section I Notes:
This course consists of extensive independent student work throughout
the semester with an average of two hours of collective lecture per
week as well as a menu of selected optional workshops. Students work
independently under the guidance of a mentor/producer with whom they
meet on a weekly basis.
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Detailed Description
In this course, students integrate the concepts, principles and
theories investigated throughout the program with the applied skills
refined and mastered to date in order to design and develop a
professional quality independent film. Students work in a thesis-
oriented environment that focuses on independent study, design,
development and pre-production under the guidance of a
mentor/producer. This independent learning is supplemented with a
master lecture series that includes guest speakers from the industry
who are experts in their craft, and complemented by an offering of
unique workshops. Specific topics may include, but are not limited
to, Drawing for Animation, Cinematic Art Direction, Expressive Life
Drawing, Experimental and Stop Motion Animation, Stop Motion
Animation, CG Applications (character, props and sets) and Special
Effects, Sound Design, and Screenwriting, Editing, and Cinematic
Storytelling. In addition, students design and adhere to a pre-
production schedule.
Program Context
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Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This required course is
designed in tandem with the
Capstone Senior Animation
Project. This pair of courses
allows the students to
integrate the previous
learning in the multiple
streams within the program in
a new context, and provides
extensive new learning
focused on the pre-production
and production processes of
an independent film. Students
design and develop an
animated film by means of an
effective production schedule
in the subsequent course that
is reflective of industry
requirements, and can be
screened at various industry
exhibitions and shows.
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Course Critical Performance and Learning Outcomes
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Critical Performance
By the end of this course, students will have demonstrated the
ability to create a professional story reel within a designated pre-
production schedule.
Learning Outcomes
To achieve the critical performance, students will have demonstrated
the ability to:
1. communicate ideas, believable action and emotion effectively by
employing principles of animation and performance in all aspects
of drawing;
2. integrate the concepts, principles and theories involved in the
physics of animation in all aspects of drawing;
3. create 2D and 3D characters and environments that reflect the
integration of graphic clarity, design principles, performance
principles and theoretical constructs;
4. refine personal narrative voice that holistically integrates the
elements of storytelling and performance in order to actively
engage the audience;
5. design layouts and backgrounds that incorporate principles of
composition, perspective and colour, with speed, accuracy and
dexterity, using a variety of media;
6. manage the pre-production of a student film, including the
aspects of cinematography, art direction and editing;
7. manage targets within the pre-production schedule to effectively
achieve completion of required tasks;
8. communicate ideas, emotion and intent effectively in visual,
oral, written and auditory forms;
9. create animation that incorporates the basic principles of
constructive anatomy and drawing using economy of expression;
10. incorporate technology effectively in the design and development
of the final film; and
11. create a "rough mix" soundtrack for their story reel that
reflects an understanding of the expressive capabilities of
dialog, music and sound effects.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Story Treatment 10%
Story Pitch & Concept Art 10%
Finished Storyboards & Script 10%
Leica Reel 20%
Production Plan 10%
Layout Package & Pose Test Reel 15%
Performance Test/Action Analysis 10%
Lecture Journal 15%
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.
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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:
X
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Communication
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X
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Critical Thinking & Problem Solving
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X
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Interpersonal
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X
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Numeracy |
X
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Information
Management |
X
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Personal
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Notes: N/A
Prior Learning Assessment and Recognition
PLAR Contact: Angela Stukator
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 |
Notes: N/A
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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: Fall 2012
Professor: Multiple Professors
Textbook(s): n/a
Applicable student group(s): Students in the BAA (Animation) Program
Course Details:Producer: Christopher Walsh
Mentors: Steve Barnes, Nancy Beiman, Trevor Davies, Bruno Degazio,
Michel Hannan, Blair Kitchen, Mark Komza, Mark Mayerson, Mark
Palowich, Jason Thompson, Maury Whyte.
Description:
This course has been designed in tandem with the Capstone Senior
Animation Project. From a story concept developed in Semester 6,
students pitch a film project and work through the pre-production
process to prepare for the production process in the last semester.
They work independently, with the assistance of an advisor with whom
they must meet on a regular basis to confirm adherence to the
schedule and completion of appropriate milestone activities.
Additional applied learning is achieved through a series of weekly
collective lectures for all students, and workshops that students
elect to attend and/or those few which are designated by advisors.
WEEK LECTURE / MEETING / WORKSHOP
1 Welcome to the Project
Introduction to the Course, Expectations
Rationale for the Animation Independent Film
Production Meeting #1
Organization, Roles and Protocols, Contract,
Requirements for Story Treatment
WORKSHOP: The Good, the Bad and the Ugly
Plan, Breakdown,Schedule ¿ the process, Budgeting time.
2 Journals, Sketchbooks and Logs
Essential Tools of the Animation Artist
Inspiration,. Observation and Listening Skills
Personal Reflection & Self-Development
Production Meeting
Collect pre-production schedule and person/hours projection
(budget forecast)
Film Ideas and Critiques
The Story Reel
WORKSHOP: Ideas and Images
Color and the Color Script
3 Story Structure
Juxtapositioning of images for cinematic effect
Research sources and types of research
Drawing for the screen; Timing
Production Meeting
Person/hours projection & treatment pack
Pitch Preparation
WORKSHOP: ToonBoom StoryBoard
4 Screenwriting & Script Preparation
Differences between live action and animation
Bringing the story to the screen
Why is a script important
Writing dialog.
Production Meeting
Extended Production meeting (4h) for pitching session.
WORKSHOP: Character Design Critique
5 LECTURE: The Storyboard Artist
Production Meeting - Pitch Session
Workshop - Adobe Premiere
6 LECTURE: From Story Board to Story Reel
Production Meeting: Film Assets/Task List
Pitch Critique
WORKSHOP: FrameThief Stop Motion software
7 LECTURE: " A Typology for Animation Soundtracks".
Production Meeting: Prep for Refined packages
WORKSHOP: Scratch Voice Recording session
8 LECTURE: Character and Story
Production Meeting: Leica Reel Critique
WORKSHOP: ToonBoom Solo
9 LECTURE: 2D Animation - An Industry Perspective
Production Meeting: Tracking Time and Process
WORKSHOP: Animation and Design in Adobe Flash
10 LECTURE: A Typology of Animation Sound Tracks
Production Meeting: Leica Reel review
WORKSHOP: Temp Music Selection and Editing
11 LECTURE: Computer Animation - The State of the Art
Production Meeting: Leica Reel review
WORKSHOP: Character Rigging and Setup in Maya
12 LECTURE: Stop Motion Historical Review
Production Meeting: Leica Reel review
WORKSHOP: Digital Asset Management in Maya
13 LECTURE: Portfolio Panel Discussion
Production Meeting: Leica Reel review
WORKSHOP: How to Mix a Movie in 30 minutes in Adobe Premiere
14 LECTURE: FINAL EXAM
Production Meeting/Workshop SCREENING of FINAL LEICA REELS
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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