Winter Schedule

here is a tentative schedule to help you address the important milestones of the production calendar…

Week 4 Jan26th  Rough Animation due (All shots)

Week 5 Feb1st Begin Final Animation(10%)

Week 6 Feb9th Final Animation(30%)

Week 7 Feb 16th Final Animation(60%)

Week 8 Feb 23rd Final Animation(90%)

Week 9 Mar 2nd FINAL ANIMATION DUE

Final Deliverables…DUE DEC 9th Wed 12noon

Deliverables:
Design Package:20%
Story Reel:40%
Play Blast (Final Animation):40%

Resume: Due Thursday Dec 3rd before class.

DESIGN PACKAGE: This is the visual template that will define the look of your film.  It must contain:

Conceptual art that details lighting, color, and mood of your film. 4 environment layout paintings. 8.5 by 11 72 dpi.

Character Design: sketches of poses and expressions of character in situations. Final Character Design. Full body front, profile and 3/4 view.  Facial expressions (5 to 6).  Full Character poses (5 to 6) Head rotation:Front, Side, 3/4 View.  8.5 x 11 72 dpi

Have your design package either in PDF, Powerpoint, or  a slide presentation that faculty can click pages back and forth.

STORY REEL: The story reel is the template for all production.  Once finalized, it CANNOT be compromised in any way without the expressed written permission of DPA faculty.  The Story reel must possess the highest quality in screen direction(Staging), timing, and character and story development.  It is subject to revision and editing according to the DPA faculty discretion.  Failure to adhere to the finalized story reel will result in penalty of grade and reassignment to an alternative project.  STORY REEL must contain ONLY storyboards, no play blast or 3D animation.

ANIMATION (Play Blast):  Animation will have several layers of development: Blocking/Layout, Rough Pose, and Final Animation.  Once final animation is approved by DPA faculty it will proceed to final render.  Through out the process, scenes will be implemented into the story reel to give the film a progression of completion.  It is up to the story lead to make sure scenes and shots are continuously updated into the reel.  (You may composite the storyreel onto the layout reel to show context).

SCORE AND FOLEY: The story reel should have audio and dialog (if necessary) to enhance and aid in the timing of the film.  Scratch recordings and CD samples are permitted.

At the beginning of the semester the Design packages will be presented for approval and green lighted for production.

RESUME: At the end of each production semester each team member must produce a resume detailing his or her achievements in this production.  Therefore it is important that you keep a log of all your efforts and contributions in order that you have a detailed resume with specific dates and duties to such a production.  This will not only hold you accountable to a group production, but also aid in your final resume for the professional world outside of Clemson.

Resumes due Thursday NOON!

Everyone needs to write up a resume detailing their accomplishments for this semester.  It should be one page with your contact info at the top and your primary and secondary job titles, roles and tasks.

It should be formatted in a clean and clear itemized fashion.

refer to the link below.

Upload your resumes in your production folder labled: RESUME

naming convention: lastname_first_(production title).doc

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Ryan Cushman

103 Calhoun St.

Clemson, SC 29631

mp3man4@gmail.com

December 8, 2008

Digital Production Arts, DPA Studio 860 film, “Western –Fall of Man”

http://westernshort.blogspot.com

Job Titles: Senior Animator, Character TD, Environmental Artist, Assistant Modeler

Responsibilities:

Senior Animator: Character animated the cowboy in scenes #7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 31, and 32.  I filmed and studied myself and others walking and acting in order to understand cowboy movement.  Received feedback and implemented it across the board while communicating with the animation team about deadlines and goals.

Character TD: Completed several different versions of a complex rig to enable the cowboy to be maneuvered in a believable manner.  Gave controls that supply control to the animators that make the rig as “break-proof” as possible while allowing a great deal of performance.  I compiled and implemented scripts to help streamline the process in the future.  I also did cloth research and implemented tests to determine whether that was a direction we wanted to go. 

Environmental Artist: Utilized both Vue 6 Infinite and Vue 7 xStream to both create concept art and eventually implement the environments within Maya 2008.  I based these images off of research done by myself and others.

Assistant Modeler: I created an early incarnation of the revolver and of cacti and trees for use in our scenes.

Software Skills: Maya 2008, Nuke, Final Cut Pro, Photoshop, zBrush, Vue 7 xStream, and QuickTime Pro.

Programming Skills: C++, C#, Java, and Python

Shane Acker Visit and lecture Wed 11th 5:45pm 119 McAdams

Presentations for Dream Works and Shane Acker

Next week Dream Works is visiting and the week starting tuesday nov 1oth and thursday nov 12th Shane Acker is going to attend our critiques.  You are going to have the exclusive opportunity to showcase your project to these key industry officials.  This is a rare moment to make a huge impression and open a door for future contact and possibly employment.  To make sure this goes smoothly, we want you to organize your presentation in a concise, clear and well edited presentation.  That means doing a power point presentation that show cases the design, story and technical development.

This is how the projects should be presented…

1) a synopsis that distinctly describes the film in one sentence. Then proceed to describe what you are going to show them…Story Reel, Design Package and Technical Research.

2) story reel movie (fully boarded no play blasts) Editing should be tight and competent sound effects and soundtrack  should be implemented.

3) Design Package Power point presentation that illustrates the character designs, layout and color designs and additional photo reference. (see deliverables post)

4) Technical Research Power point presentation that show cases the effects and technical development.

This is the order to present and you can allow the viewer to interact and ask questions after each segment or give them the option to question after the entire presentation.

The overall presentation shouldn’t last more than 10 minutes.  Shane’s visit will be the big one so we will have time to iron out bugs or wrinkles in your presentation.  Be sure to practice and project your voice in a clear and audible manner so everyone can hear and understand.

This is a critical skill and will serve you in future interviews as well as work related pitches that will be required of you in the studio environment.

GOOD LUCK!

Design Examples

In order to produce a film, solid design must guide the technology.

Here are some examples you should follow to see how you should develop your design, character, environment and color.

http://www.nytimes.com/interactive/2009/05/17/movies/20090517_UP_FEATURE.html

http://features.cgsociety.org/story_custom.php?story_id=4144

Pixar Production Process

http://www.animationartconservation.com/making_ratatouille.html

Who is John Lasseter and what is his philosophy about animation?

What narrative works where inspiration for Ratatouille? What narrative works are you incorporating into your project?

What Films did Pixar look to for inspiration for Ratatouille?  What films are you inspired by?

What is a color script and who is in charge in implementing it?  Who is that person on Ratatouille?

Production Pipeline Chart

Great Interview with Pixar’s Pete Doctor

http://www.publicbroadcasting.net/kuer/news.newsmain?action=article&ARTICLE_ID=1492250

Art Direction

I can appreciate what Vue can do, but without proper art direction you can get lost in all the attributes and parameters it gives you.  I think Vue is great for live action, but you are going to lose something when  you have a 3D character that isn’t 100% realistic.  We have limitations with our ability to create hyper realism, so it’s best to solve your dilemma with art direction and proper research.

Here are some good paintings to get inspired and use as a pallete and possible

Joe Waano-Gano (Native American, 20th century), “Southwestern Landscape”, c. 1940; oil/canvas, 22” x 28”, signed. Los Angeles painter. Waano-Gano was a Cherokee Indian, and his specialty was western landscapes and scenes of Indian life. styles…

Albert_Bierstadt

more bierstadt