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89218 Immersive Media Studio: Experience

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2020 is available in the Archives.

UTS: Design, Architecture and Building: Design
Credit points: 12 cp
Result type: Grade and marks

Description

In this studio students can choose from a number of available project options (real or imagined) in which they plan an animation response that both challenges and engages the audience in ways that are new and innovative. In some instances students may negotiate a personally directed project (individual or group) relevant to their academic and professional interests.

Throughout this studio students research and design an immersive animation experience considered in relation to new animation delivery platforms, technologies, materials, audiences and the context in which the animation occurs. Students are encouraged to research, experiment and plan an animation experience that is well considered and results in a well-crafted animation design solution.

Subject learning objectives (SLOs)

On successful completion of this subject, students should be able to:

1. Ability to position work within a wider social and cultural context
2. Possession of professional levels of craft skills appropriate to the discipline
3. Possession of a cultivated habit of researching within design practice
4. Possession of a developed aesthetic sensibility
5. Capacity for sophisticated engagement with design language
6. Ability to contextualise work within current and historical animation practice and theory
7. A disposition to adopt practices and approaches that embed reflection
8. An understanding of ethical practice
9. Willingness to experiment, take risks, and explore alternative directions

Course intended learning outcomes (CILOs)

This subject also contributes to the following Course Intended Learning Outcomes:

  • Ability to undertake an ethical approach towards Animation. (A.2)
  • Ability to understand an international context, where Animation is seen as an integral part of cultural production. (A.4)
  • Ability to understand and challenge animation design conventions (I.1)
  • Ability to produce inspirational responses in the integration of animation learning experiences (I.3)
  • Ability to demonstrate professional skills in Animation production (P.2)
  • Ability to critically select and utilise both analogue and digital animation technologies (P.3)
  • Ability to locate and document appropriate animation research resources and to make active use of this information (R.1)
  • Ability to make active connections between diverse forms of information through animation design research and analysis (R.2)

Teaching and learning strategies

This studio aims to develop students’ skills in independent/self directed/negotiated research and practice. It provides an opportunity to integrate conceptual and practical skill sets developed through the other studios, and focuses on the completion of a major self-determined and self-generated project. The studio prioritises learning outcomes in: research, critical thinking, creativity, judgment, technical mastery, problem solving and conceptual thinking.

The emphasis is on independent/self directed/negotiated projects which are supported by tutorials and group critiques. A weekly 1 x 3hr studio session will include class discussions, student presentations and studio time for project development. Individual student meetings will be scheduled where applicable. Added to this there is an expectation of approx 10 hrs of self-directed practice outside class hours each week. Work will be evaluated based on aesthetic and conceptual qualities, innovative approaches to the medium, and overall effort.

In the studio sessions students will work on their design projects with a studio mentor. Prior to each studio session students will be required to prepare questions for their studio mentor relating to the design projects they are working on. At the beginning of each studio the mentor will discuss with the entire group the challenges they are facing with their projects. The mentor will then prompt students faced by similar challenges to form small groups to facilitate collaborative discussions. The mentor will be reviewing the work on a regular basis and will provide feedback verbally. It will be the students responsibly to record any feedback provided in studio. During pin-ups and presentations students will be expected to actively participate in collaborative peer review feedback exercises.

Content (topics)

The subject is organised around an initial ideas development period of weekly exercises to strengthen student's conceptual skills followed by the production of a final project.

Assessment

Assessment task 1: Research and Project Proposal

Objective(s):

This task addresses the following subject learning objectives:

1, 3, 4, 6, 8 and 9

This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.):

A.2, A.4, I.1, I.3, R.1 and R.2

Type: Presentation
Groupwork: Individual
Weight: 20%
Criteria linkages:
Criteria Weight (%) SLOs CILOs
Ability to position work within a wider social and cultural context 15 1 A.4
Willingness to experiment, take risks and explore alternative directions 14 9 I.1
Possession of a cultivated habit of researching within design practice 14 3 R.1
Ability to contextualise work within current and historical animation practice and theory 14 6 R.2
Ability to position work within a wider social and cultural context 14 1 I.1
An understanding of ethical practice 14 8 A.2
Possession of a developed aesthetic sensibility 15 4 I.3
SLOs: subject learning objectives
CILOs: course intended learning outcomes

Assessment task 2: Work in Progress Assessment

Objective(s):

This task addresses the following subject learning objectives:

2, 5, 7 and 9

This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.):

I.1, P.2 and P.3

Type: Presentation
Groupwork: Individual
Weight: 30%
Criteria linkages:
Criteria Weight (%) SLOs CILOs
Possession of professional levels of craft skills appropriate to the discipline 25 2 P.2
Capacity for sophisticated engagement with design language 25 5 P.2
A disposition to adopt practices and approaches that embed reflection 25 7 P.3
Willingness to experiment, take risks and explore alternative directions 25 9 I.1
SLOs: subject learning objectives
CILOs: course intended learning outcomes

Assessment task 3: Completed Project and presentation

Objective(s):

This task addresses the following subject learning objectives:

1, 2, 3, 4, 5, 6, 7 and 8

This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.):

A.2, A.4, I.3, P.2, P.3, R.1 and R.2

Type: Presentation
Groupwork: Individual
Weight: 50%
Criteria linkages:
Criteria Weight (%) SLOs CILOs
Ability to position work within a wider social and cultural context 13 1 A.4
Possession of professional levels of craft skills appropriate to the discipline 13 2 P.2
Possession of a cultivated habit of researching within design practice 13 3 R.2
Possession of a developed aesthetic sensibility 13 4 I.3
Capacity for sophisticated engagement with design language 13 5 I.3
Ability to contextualise work within current and historical animation practice and theory 13 6 R.1
A disposition to adopt practices and approaches that embed reflection 11 7 P.3
An understanding of ethical practice 11 8 A.2
SLOs: subject learning objectives
CILOs: course intended learning outcomes

Recommended texts

Ament, V 2009, The foley grail: the art of performing sound for films, games and animation, Focal Press, Elsevier, Boston, USA.

Amidi, A 2006, Cartoon modern: style and design in fifties animation, Chronicle books, San Francisco, USA. Bacher, H 2007, Dreamworlds: production design for animation, Focal Press, Oxford , UK.

Beiman, Nancy. Prepare to Board: Creating Story and Characters for Animated Features and Shorts, Focal Press USA 2007.

Bendazzi, Giannalberto. Cartoons: One Hundred Years Of Cinema Animation, Indiana University Press, Bloomington and Indianapolis, 1994.

Birn, Jeremy. Digital Lighting and Rendering,New Riders, Berkley CA, 2006 Brain, Dave. Drawing for Animation, GDC Publishing, Washington USA, 2006.

Beiman, N 2007, Prepare to Board: Creating Story and Characters for Animated Features and Shorts, Focal Press USA. Bendazzi, G 1994, Cartoons: One Hundred Years Of Cinema Animation, Indiana University Press, Bloomington Indianapolis, USA.

Beauchamp, R 2005, Designing sound for animation, Focal Press, Burlington, USA. Birn, J 2006

Digital Lighting and Rendering,New Riders, Berkley CA. Brain, D 2006

Drawing for Animation, GDC Publishing, Washington USA. Canemaker, J 2001

Walt Disney’s nine old men and the art of animation, Disney Editions, New York, USA. Corsaro, S & Parrott, C 2004

Hollywood 2D Digital Animation: The New Flash Production Revolution, Macromedia Press, USA. Faber, L & Walters H 2004

Animation Unlimited: Innovative Short Films Since 1940, Laurence King Publishing, London. Flaxman, T 2007

Maya Character Modelling and Animation, Charles River Media, Boston, Massachusetts, USA. Gray, C 2004

Visualizing research : a guide to the research process in art and design, Ashgate, Burlington, USA. Greenebaum, K and Ronen, B 2004

Audio Anecdotes: Tools, Tips, and Techniques for Digital Audio, A K Peters Ltd, London, UK.

Faber, Liz and Helen Walters. Animation Unlimited: Innovative Short Films Since 1940, Laurence King Publishing, London, 2004.

Flaxman, Tereza. Maya Character Modelling and Animation, Charles River Media, Boston, Massachissets 2007.

Greenebaum, Ken and Ronen Barzel. Audio Anecdotes: Tools, Tips, and Techniques for Digital Audio, A K Peters, Ltd, 2004.

Halas, John. Masters Of Animation, BBC Books, London, 1987.

Halas, John & Whitaker, Harold. Timing for Animation, Focal Press/ Elsevier USA 2002

Hart, John. The Art of the Storyboard. Focal Press/ Elsevier USA 1999

Thinking Animation : Bridging the Gap Between 2D and CG, Thomson Course Technology PTR, USA 2007

Animation unlimited: innovative short films since 1940, Laurence King, London, UK. Halas, J 1987

Masters Of Animation, BBC Books, London, UK. Halas, J & Whitaker, H 2002

Timing for Animation, Focal Press/ Elsevier, USA. Hart, J 1999

The Art of the Storyboard, Focal Press/ Elsevier USA . Jones, A and Oliff, J 2007

Thinking Animation : Bridging the Gap Between 2D and CG, Thomson CourseTechnology PTR, USA. Hooks, E 2003

Acting for animators: a complete guide to performance animation, Heinemann, Portsmouth, USA. Krasner, J.S , 2004

Motion graphic design, fine art animation: principles and practices, Focal Press, Boston, USA. Levy, D.B c2009

Animation development: from pitch to production, Allworth Press, New York, USA. Milic, L 2006

The animation producer’s handbook, Allen & Unwin, Sydney, Australia. Osipa, J 2005

Stop Staring: Facial Modeling and Animation Done Right, Wiley c2010 O'Hailey, T c2010

Hybrid animation : integrating 2D and 3D Assets, Focal Press, Burlington, MA. Pilling, J 2001

Animation: 2D and beyond, Rotovision, Hove, UK. Preibe, K.A . 2011

The Advanced Art of Stop Motion Animation, Boston Course Technology, Boston, USA. Roberts, S 2007

Character Animation in 3D: 2D skills for better 3D, Focal Press, Burlington,USA Zarra, M 2010

Core animation : simplified animation techniques for Mac and iPhone development, Addison Wesley Professional, Toronto, Canada. Robinson,R 2005

Unsung Heroes of Animation, John Libbey Publishing, Hertfordshire, UK. Russett, R & Starr, C. 1988

Experimental Animation: Origins Of A New Art, (Rev. ed.), Da Capo Press, London & New York. Shaw, S 2003

Stop Motion: Craft Skills for Model Animation, Focal Press/ Elsevier USA.

Roberts, Steve Character Animation in 3D, : Use traditional drawing techniques to produce stunning CGI animation, Focal Press/ Elsevier USA 2004

Russett, Robert and Cecile Starr. Experimental Animation: Origins Of A New Art, (Rev. ed.), Da Capo Press, London and New York, 1988.

Shaw, Susannah. Stop Motion: Craft Skills for Model Animation, Focal Press/ Elsevier USA 2003

Tumminello, Wendy. Exploring Storyboarding, Thomson/Delmar Learning, New York, 2005 Webster, Chris.

Animation: The Mechanics of Motion, Focal Press/ Elsevier USA 2005TumminelloW 2005

Exploring Storyboarding, Thomson/Delmar Learning, New York. Webster, C 2005

Animation: The Mechanics of Motion, Focal Press/ Elsevier USA. Wells, P 2008

Re-imaging animation: the changing face of the moving image, Worthing AVA Academia, UK. Whitaker, H 2002

Timing for animation, Focal Press, Oxford, UK. Williams, R 2008

Animation masterclass presents: the animators survival kit animated DVD set, Faber, London. Winder, C 2001

Producing animation, Focal Press, Boston, USA. Withrow, S c2009, Secrets of digital animation : a master class in innovative tools and techniques, Rotovision, Hove, UK.