54411 Context: Design for 3D and Hybrid Animation
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particular session, location and mode of offering is the authoritative source
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Subject handbook information prior to 2024 is available in the Archives.
Credit points: 6 cp
Result type: Grade and marks
Requisite(s): 54408 Context: Animation Character Rigging Advanced OR 82420 Context: Animation Character Rigging Advanced
Anti-requisite(s): 82027 Context: Design for 3D and Hybrid Animation
Description
This subject introduces students to animation pre-production using 3D animation. In this mode of practice, learning includes asset development and testing, applying lighting, staging, texturing and rendering for a 3D computer animation pipeline. In 3D animation the meticulous development of digital assets during preproduction differentiates 3D from traditional drawn animation and has some similarities with traditional miniature and puppet animation, reimagined to use digital techniques.
Modern animation production requires an appreciation of not only 3D but hybrid digital techniques blending and compositing multimodal elements. The subject examines the creation and integration of 3D animation in a matrix of production pathways and co-dependencies, including photographed and drawn imagery. Students expand the skills and techniques introduced in 54408 Context: Animation Character Rigging, exploring hybrid production techniques including integration of drawn, photographed and 3D-generated imagery.
Students develop 3D digital and hybrid techniques and practise using relevant software, demonstrate design and production solutions, and develop creative responses to the problems and tasks presented in class.
Subject learning objectives (SLOs)
| a. | Engage with strategies to manage complexity in production |
|---|---|
| b. | Create assets that display a design sensibility and experimentation |
| c. | Innovate through the application of technology |
| d. | Express and display creative skill in lighting, colour, texture, and cinematic composition |
| e. | Employ solutions to problems that go beyond software-led design and aesthetics |
| f. | Appreciate and apply professional standard practices, research methods, and techniques. |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Apply fundamental and higher-level animation and cinematic principles with understanding and professional proficiency. (1.1)
- Demonstrate a high level of craft and production value across multiple methods, aesthetics and techniques of the animation process (1.2)
- Contextualise work within current and historical animation practice and theory. (2.3)
- Act with transparency and exhibit personal and professional ethical integrity and broad social responsibility. (5.1)
Teaching and learning strategies
This subject is delivered as weekly lab sessions including an instructional lecture and one-on-one tutorial time to carefully guide students’ progress and understanding of concepts and material covered in the class. ln this respect, the labs provide a framework for continual feedback throughout the subject. Students are expected to engage with tutors in the second part of the class and discuss their work in progress around assignments or class exercise material. There is an expectation of a minimum of 10 hours per week of self-directed study outside class hours.
Group learning – working on projects as creative teams – is required in this subject and reflects the collaborative nature of the animation industry and modern professional practice in animation. The ability to work cooperatively and engage with creative partners in production and development is a highly valued skill and an attribute that is sought after in graduates from the course.
Content (topics)
This subject includes instruction and practise to develop students’ abilities to design, create and capture highly detailed environments for use in an animated film. To this end, the subject content comprises the concepts and technical aspects required for students to do the following:
- Research design and develop a highly performative lead character model for casting in an animation film.
- Demonstrate through testing, auditioning and refinement that all designs and final assets are fit for purpose.
- Review and reflect upon outcomes and techniques.
Assessment
Assessment task 1: World Building
| Objective(s): | a, c, d, e and f | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Groupwork: | Group, individually assessed | ||||||||||||||||||||||||
| Weight: | 35% | ||||||||||||||||||||||||
| Length: | 60 second montage sequence In-class short group reflective presentation | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Character in Place
| Objective(s): | a, b, c, d and f | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Groupwork: | Individual | ||||||||||||||||||||||||
| Weight: | 65% | ||||||||||||||||||||||||
| Length: | 10-15 second fully rendered, animated and composited sequence of your character situated into one ot two shots from your secret place world from task1. Sound is required, no music please. Short split screen performance of your "in-character" reference footage along side of your 3d character animation on netrual backgroud. Process journal as a 6-10 page PDF capturing and explaining the key production and creative attributes to this task. | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each class (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8)
References
Blazer, L. (2015). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Peachpit Press.
O’Hailey, T. (2015). Hybrid animation?: integrating 2D and 3D assets (Second edition.). Focal Press.
O’Hailey, T. (2019). Rig it right!?: Maya animation rigging concepts (2nd edition.). CRC Press, Taylor & Francis Group.
Furniss, M. (2007). Art in motion?: animation aesthetics (2nd ed.). John Libbey.
Buchan, S. (2006). Animated “worlds”
Hannes Rall (2019). Adaptation for Animation: Transforming Literature Frame by Frame. CRC Press. https://doi.org/10.1201/9781315714493
Hooks, E. (2017). Acting for animators (4th edition.). Routledge, Taylor & Francis Group.
Gillett, J., Evans, A., & Labelle, J. (2007). Acting on impulse?: reclaiming the Stanislavski approach?: a practical workbook for actors . Methuen Drama.
Bacher, H. P. (2008). Dream worlds?: production design in animation (1st edition). Focal Press, an imprint of Elsevier. https://doi.org/10.4324/9780080926926
Bacher, H. P. (2015). Sketchbook?: composition studies for film . Laurence King Publishing.
Bacher, H. P., & Suryavanshi, S. (2018). Vision: color and composition for film . Laurence King.
Rosen, A. von, & Kjellmer, V. (2021). Scenography and art history?: performance design and visual culture . Bloomsbury Visual Arts.