UNIVERSITY OF MUMBAI ’S
GARWARE INSTITUTE OF CAREER EDUCATION &
DEVELOPMENT
Syllabus for the
Bachelor in Animation
Credit Based Semester and Gradi ng System with effect from
the A cademic Year
(2017 -2018)
AC 11 -05-2017
Item No.
UNIVERSITY OF MUMBAI ’S
Syllabus for Approval
Date: 11/05/2017 Signature :
Dr. Anil Karnik, I/C. Director, Garware Institute of Career Education &
Development
Sr. No. Heading Particulars
1 Title of the Course Bachelor in Animation
2 Eligibility for Admission 10+2 pass – with minimum 45%
marks Admissions on t he basis of
Written Test & Interview.
3 Passing Marks 50% passing marks
4 Ordinances /
Regulations ( if any)
5 No. of Years / Semesters
Three years full time/ 6 semester
6 Level Bachelor
7 Pattern Yearly / semester
8 Status New
9 To be implemented from
Academic Year From academic year 2017 -18
INTRODUCTION
A sequence of images creates an illusion of a moving object is termed as Animation. India is
one of the most preferred outsourcing countries. We not only do outsourcing services, we
are also a creator of original animation. Some of the popular original con tents are Chota
bheem, Little Krishna, Delhi Safari, Arjun, Road side Romeo etc. Animation is a combination
of entertainment and technology. It is composed of design, drawing, layout and production
of graphically rich multimedia clips. Time and space are important in animation. Those who
excel in drawing and creativity can choose animation as their career. An animator’s job is to
analyze the script thoroughly and get into the skin of the character. Creating idea,
storyboard, Character design, backgrounds, etc and using technical methodology to create
stunning visuals short movies is the ideal steps in making a successful animation feature.
Program Overview
The aim of this program is to make the students self reliant and equip them with the artistic
approac h, technical knowledge, mastering tools as well as the concepts of animation so they
can make a mark in the global world of animation. 2D animations are superficial whereas 3D
animations possess some depth. Our programme star ts with art and design, They learn basic
construction in drawing using Pencil & paper which is their canvas to produce frames that
define a sequence which is then moved at different speed that create an illusion of
movement. Then we introduce various software’s & techniques to master the skills of
animation.
Apart from drawing and character designing, 3D animators deal with mode lling, re ndering,
texture and lighting.,t his gives a depth to the animation. Virtual cameras do the job of focus,
resize, zoom and elucidating the characters.
At this institute you will be exposed to the best faculty in the industry. There will be tie ups
with domestic and international institutes so you will get to work on national and internal
projects. You can participate in film festivals and competitions w orld over.
Objectives of the course
The objective of animation course is to prepare students for the field of visual arts and
equip them with all the necessary tools that this field requires. Hollywood is a booming
industry with various job openings in the full length animation movies, television,
advertising etc. A full -length animation requires almost 500 animators to work on it. Apart
from films and television , Animation services are now the top requirements in every other
fields , like business, s ales, e ngineering and education etc., Even fields like fashion designing,
interior designing, medical, legal and insurance companies require animations for their
presentations and models. This program focuses more on creating computer graphic artist
who can perfo rm at any level and any process.
Career Options
After completing a course in animation, there is an ocean of opportunity for the students to
choose and work from. Students can have some flexibility to choose a career in television,
film and video games. Some of the careers options are:
Pre production Artist / Storyboard artist / Matte Painting artist / Layout Artist / 2D
animator / 3D Model ler / Texturing Artist / Character animator / 3D vfx artist /
Lighting Artist / Rendering Artist / Production Co ordinator /Short film maker / Editor
/3D Printing.
EXAMINATION PATTERN
Paper Subject Paper
type Marks
Assigne
d Theory
Hours/
Eqvt. Practical
hour Credits
Semester 1
1 Communication - 01 I+E 100 45 60 5
2 Previsualization - Art &
Design I+E 100 30 120 6
3 Design Thinking & Pre
Production I+E 100 30 120 6
4 Visual & Verbal Story telling I+E 100 30 90 5
5 Fundementals of Film
Making I+E 100 45 120 7
Total 500 180 510 29
Semester 2
6 Communication - 02 I+E 100 30 90 5
7 Character Development &
Behavioral Science. I+E 100 30 90 5
8 Introduction to Photography I+E 100 30 90 5
9 Motion graphics I+E 100 30 90 5
10 Project Submission I 100 0 210 7
Total 500 120 570 27
Semester 3
11 Animation Preproduction I+E 100 30 90 5
12 Character Design &
Development I+E 100 30 90 5
13 Backgrounds & Layout I+E 100 30 90 5
14 Storyboard & Animatics I+E 100 30 90 5
15 Classical Animation I+E 100 30 90 5
Total 500 150 450 25
Semester 4
16 Digital Art - Part 01 I+E 100 30 90 5
17 Digital 2D Part 01 I+E 100 30 90 5
18 Digital 2D Part 02 I+E 100 30 90 5
19 Fundamentals of 3D I+E 100 30 90 5
20 3D Asset Development I+E 100 60 120 8
Total 500 180 480 28
Semester 5
21 Digital Art Part 02 I+E 100 30 90 5
22 Advanced Character Modeling I+E 100 30 90 5
23 Fundamentals of Animation I+E 100 30 90 5
24 Rigging I+E 100 30 90 5
25 Character Animation I+E 100 60 120 8
Total 500 180 480 26
Semester 6
26 Technical Animation (Effects) I+E 100 30 90 5
27 Lighting & Rendering I+E 100 30 120 8
28 Compositing 01 I+E 100 30 30 3
29 Advanced CGI Compositing &
Editing I+E 100 30 30 3
30 Graduation Film I 200 15 210 8
Total 600 165 480 28
3100 975 2970 163
Prof. Anil V. Karnik Prof. Sanjay Deshmukh
I/c Director Hon’ble Vice Chancellor .
GICED University of Mumbai
Distribution of Topics Semester wise
YEAR 01
FIRSTSEMEST ER SECON DSEM ESTER
Communication - 01 Communication - 02
Pre-Visualization Art & Design Character development & Behaviorial
science
Design Thinking & Pre Production Introduction to Photography
Visual & Verbal Story telling Motion graphics
Fundementals of Film Making Project submission Year -01
YEAR 02
THIRDS EMEST ER FOURTHSEM ESTER
Animation Preproduction Digital Art - Part 01
Character Design & Development Digital 2D Part 01
Backgrounds & Layout Digital 2D Part 02
Storyboard & Animatic Fundamentals of 3D
Classical Animation 3D Asset Development
YEAR 03
FIFTHS EMEST ER SIXTHSEM ESTER
Digital Art Part 02 Technical Animation (Effects)
Advanced Character Modeling Lighting & Rendering
Fundamentals of Animation Compositing 01
Rigging Advanced CGI Compositing & Editing
Character Animation Graduation Film
Year 01
(is common for ANIMATION & VISUAL EFFECTS COURSES )
INTRODUCTION
If you are embarking on a creative path in your career, it is vitally important that you
understand how to communicate using a visual language —that is, without the use of
words. The process of first developing ideas and then realizing them as a finished pi ece of
work is possibly the most challenging aspect of your work as a designer. The fear of failure
at this point in the project can be so great that it can prevent you from succeeding. But
never fear —many tried -and tested -techniques are available that can streamline this
process and release your mind from the shackles of creative blocks. Drawing is the best way
to develop a strong, confident visual language. All good designers draw in some way or
another. Not all of them are professional drafts people. They may not use drawings as a
technique in their finished work, but you can be sure that they all use drawing somewhere
within their creative process. In other words, you don’t need to be really good at drawing,
but you do need to be prepared to give it a go and explore it as a means of developing
what’s referred to as an “artist’s eye.” With an artist’s eye you will learn to see and
represent the world visually, without the use of words. It’s a place where shapes, colours,
textures, and light become your word s.The fundementals of photography and the story
telling will help you express your visualization though camera and will be able to bind
audience through your storytelling.
Objectives of Semester 01
If you want to choose any of the 5 courses, then you need to be creative and passionate. This
Semester will make you think creatively and the various activities and workshops designed to
improve your creative thinking. It helps to think from the right side of the brain. Also, the art classes
will give confidence about your drawing skills. You will learn and practice skills like choosing the
drawing materials, creating a lighting look, exaggerating the perspective and creating contrast,
depth and shading of the object. Artistic knowledge and talent is an added advantage in any of the
creative field. The fundementals of photography classes will help you to understand the visual
language, visual art, composition and lighting and to end with in this semeser the most important
skill story telling, though it may be concept you are explaining to an ad agency or a feature film
script to producer. How do you keep them interested in the subect? It is through the Art of Story
telling, we teach you this skills with vario us interesting methods and workshops.
RSACE 1:1 COMMUNICATION - 01 TEACHING
HOURS 45
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 WHAT IS COMMUNICATION ? THOUGH THERE ARE NUMBER OF
MEANS OF COMMUNICATION WHY LANGUAGE IS THE ONLY WIDELY
USED INSTRUMENT? USING LANGUAGE AS A TOOL TO
COMMUNICATION. 2
UNIT 2 WHAT IS SYSTEM OF COMMUNICATION ? HOW IT IS COMMONLY
OWNED, ACCEPTED AND RECOGNIZED BY THE MEMBERS OF THE
COMMUNITY? WHA T IS PROCESS OF INFORMATION? HOW
COMMUNICATION IS AN ESSENTIALLY A SOCIAL AFFAIR. WHAT IS
ESSENTIAL FOR COMMUNICATION? 2
UNIT 3 DEVELOPING COMMUNICATION SKILLS : TANGIBLE (E.G. PHYSICAL
SETTINGS)AND NON TANGIBLE (INTELLECTUAL, EMOTIONAL,
PSYCHOLOGICAL) F ACTORS INVOLVED IN COMMUNICATION . 2
UNIT 4 LINGUISTIC COMMUNICATION : WE ARE CONCERNED WITH
LINGUISTIC COMMUNICATION : THAT IS THE TERM COMMUNICATE IS
TO S HARE, IT IS NOT JUST MERE TRANSMISSION OF MEANING FROM
ONE PERSON TO ANOTHER THROUGH SYMBOLS.
SUMMARISED AS: THE PARTICIPANTS (SPEAKER & LISTENER)
CHANNEL OR MEDIUM OF COMMUNICATION
SETTING AND TOPIC OF COMMUNICATION
MESSAGE FORM 2
UNIT 5 COMMUNICATION AS A NETWORK OF INTERACTION -PARTIES -
MEDIA - MODE - FUNCTION.
VARIOUS COMPONENTS OF COMMUNICATION , THE PROCESS OF
INITIATION IN COMMUNICATION, FACTORS WHICH IMPACT
COMMUNICATION, CHOICE OF CHANNEL OF COMMUNICATION
(SOCIAL -PHYSICAL FACTOR) 2
UNIT 6 BARRIERS IN COMMUNICATION: THESE BARRIERS OBSTRUCT AND
PREVENT THE ACHIEVEMENT OF THE DESIRED RESULTS. SOME OF
THESE ARE: ABSENCE OF A FRAME OF REFERENCE; POOR RETENTION (
ESPECIALLY FACE TO FACE COMMUNICATION), INATTENTION OF THE
RECEIVER, SEMANTIC DIFFICULTIES, VAGUENESS OF THE O BJECTIVE
TO BE ACHIEVED, MISINTERPRETATION OF THE MESSAGE, PSYCHO –
PHYSICAL FACTORS, SELECTION OF WRONG VARIETY OF LANGUAGE. 2
UNIT 7 IMPORTANCE OF COMMUNICATION : DEVELOPMENT OF IMPORTANT
,EFFICIENT TECHNIQUES OF COMMUNICATION, MAINTAINING THE
EFFICIENT SYSTEM OF COMMUNICATION, THE DOMINANT ROLE OF
ENGLISH IN THE PROFESSIONAL WORLD, RESEARCHES ON THE AREA,
GATHERING AND MARSHALING OF DATA , COMMUNICATION TO
MAINTAIN THE TEMPO OF GROWTH. 2
UNIT 8 NON VERBAL COMMUNICATION : ALL EXTERNAL STIMULI OTHER
THAN SPOKEN OR WRITTEN WORDS AND INCLUDING BODY MOTION,
CHARACTERISTICS OF APPEARANCE, CHARACTERISTICS OF VOICE AND
USE OF SPACE AND DISTANCING -. FACIAL EXPRESSIONS : EYE
CONTACT ,ADVANTAGES &DISADVANTAGES OF EYE CONTACT , SPACE
DISTANCING
ALL CLUES TOGETHER IS BODY LANGUAGE. 2
UNIT 9 LETTER WRITIN G: IT IS AN ESSENTIAL SKILL, DESPITE THE PREVALENCE
OF EMAILS AND TEXT MESSAGES, EVERYONE HAS TO WRITE LETTERS
AT SOME POINT: VARIOUS TYPES OF LETTERS(LETTERS OF
COMPLAINT, JOB APPICATIONS, THANK YOU LETTERS, LETTERS
REQUESTING CHANGES OR MAKING SUGGESTIONS,
OFFICIAL/BUSINESS LETTERS, GOVERNMENT LETTERS, ETC. 2
UNIT 10 IMPORTANCE OF COMMUNICATION IN ORGANISATIONS
DEVELOPMENT AND MAINTAINANCE OF COMMUNICATION
PATTERN( INSTRUCT, SPEAK, DIRECT, CONVEY)HOW
COMMUNICATI ON PLAY AN SIGNIFICANT ROLE IN THE RUNNING AND
GROWTH OF ORGANIZATION. STATE OF CONSTANT TOUCH WITH
OTHERS -GET MORE OF HORIZONTAL AND VERTICAL MOVEMENT OF
COMMUNICATION, THE COMMONALITY OF INTEREST TOWARDS THE
ACHIEVEMENT OF ORGANIZATIONAL GOALS. 2
UNIT 1 1 FUNCTIONS OF COMMUNICATION IN A ORGANIZATION : INTERNAL
(WITHIN THE ORGANIZATION): TO GENERATE AND DISSEMINATE
INFORMATION, TO DIRECT AND INSTRUCT EMPLOYEES, TO MAINTAIN
AND IMPROVE MORALE AND TO CULTIVATE A SENSE OF BELONGING.
EXTERNAL( OUTSIDE THE ORGA NIZATION): TO SELL AND OBTAIN
GOODS AND SERVICES, TO LIAISE WITH OTHER ORGANISATIONS AND
TO INCREASE GOODWILL. 2
UNIT 12 ORAL COMMUNICATION: FACE TO FACE CONVERSATION - PROVIDES
IDEAL CONDITIONS FOR CLOSE RANGE CONTINUOUS FEEDBACK .
DYADIC COMMUNICATION DEM ANDS ARTISTRY, HOW ONE COULD
ACHIEVE STANDARD IN DYADIC COMMUNICATION, FORMS OF DYADIC
COMMUNICATION, HELPFUL HINTS, TELEPHONIC CONVERSATION ,
INTERVIEWS
MEETINGS, PURPOSE, PROCEDURE, INSTRUCTION , DICTATION ,
ASSIGNMENTS. 2
UNIT 13 MEETINGS: THE GROUP MAY BE ASSIGNED A SPECIFIC TIME -BOUND
TASK OR MEET AT PERIODIC INTERVALS, THE PURPOSE OF MEETING,
TYPES OF PARTICIPANTS, AND COMMUNICATION PATTERN,
DIFFERENT TYPES OF GROUP DISCUSSIONS: MEETINGS, SEMINARS,
CONFERENCES, SYMPOSIUM, PANEL DISCUSSION AND CONVENTION
ETC.,
PURPOSE, PROCEDURE, CHAIRMANSHIP, PARTICIPATION, PHYSICAL
ARRANGEMENTS . 2
UNIT 14 SEMINARS AND CONFERENCES: WHY THERE’S A DEMAND FOR
ORGANIZATIONAL SEMINARS? HOW THIS IS THE BEST WAY TO BE
DONE IN GROUP, NOT BY INDIVIDUAL ,
TYPES OF DISCUSSION GROUPS , REGULATING SPEECH, CONDUCTING
SEMINARS . 2
UNIT 15 ORGANIZING CONFERENCES
EVALUATING ORAL PRESENTATIONS 2
UNIT 17 GROUP DISCUSSION : FACE TO FACE INTERACTION, DECISION MAKING
THROUGH EXCHANGE OF INFORMATION, OBSERVATION IN
CHARACTER OF INTERACTION, ACTIVE PARTICIPATION ANALISATION.
PROBLEMS FACED IN GROUPS: LACK OF DIVERSITY OF OPINION, THE
NUMBER OF PARTICIPANTS THAT WILL MAKE THE GROUP DISCUSSION
USEFUL, STRATEGY OF ACTION, PARTICIPANT FAIR CHANGE TO
OTHERS TO SPEAK ANDEXPRESS THEIR OPINION .
GROUP DYNAMICS
PURPOSES
ORGANIZATION 2
UNIT 18 AUDIO VISUAL AIDS : TYPES OF VISUAL AIDS AND THEIR USE ,
BASIC PRINCIPLES & GUIDELINES BLACK BOARDS, OVERHEAD
PROJECTOR, FILMSTRIP AND SLIDE PROJECTOR, MOVIE FILM
PROJECTOR, VIDEO TAPE RECORDER, AUDIO TAPE RECORDER, 2
UNIT 19 FORMAL REPORTS – DEFINITION : REPORTS ARE MAJOR FORM OF
PROFESSIONAL COMMUNICATION. VARIOUS USES OF REPORTS,
EXTENSIVELY USED IN ORGANIZATION -TO PROMOTE AND NURTURING
THE HEALTH OF AN ORGANIZATION AND ITS GROWTH. MASTERING
THE CRAFT OF WRITING ,LEARNING THE SCIENTIFIC PROCESS OF
INVESTIGATION,, ANALYSIS AND PRESENTATION. 2
UNIT 20 THE USE OF WRITTEN ENGLISH:
WHAT IS CREATIVE WRITING , PROFESSIONAL WRITING , SUBJECT
ORIENTED WRITING
TECHNICAL WRITING . 2
UNIT 21 STANDARD FORMAT IN WRITING STYLE
SENTENCE STRUCTURE AND LENGTH ,STANDARD FORMAT IN
WRITING,, FEATURES OF WRITING COMMUNICATION, PARAGRAPH
STRUCTURE AND LENGTH, FINAL DRAFT 2
UNIT 22 FORMAL BUSINESS COMMUNICATION
TECHNICAL PROPOSAL – DEFINITION
KEY FACTORS
TYPES
STRUCTURE 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
WRITING TECHNICAL PROPOSALS:
LETTER WRITING
BLOG WRITING
WRITING FILM REVIEWS
PREPARING BUSINESS PROPOSALS
EXCERCISES ON VARIOUS FORMATS AND THUMB RULE
IN COMMUNICATION.
60 HRS
READIN G BOOKS:
1. DEVELOPING COMMUNICATION SKILLS
2. ART OF PUBLIC SPEAKING: DALE CARNEGIE J.BERG ESENWEIN
3. ADAIR, JOHN. EFFECTIVE COMMUNICATION LONDON: PAN MACMILLAN LTD., 2003.
4. AJMANI, J. C. GOOD ENGLISH: GETTING IT RIGHT NEW DELHI: RUPA PUBICATIONS, 2012.
5. AMOS, JULIEANN. HANDLING TOUGH JOB INTERVIEWS MUMBAI: JAICO PUBLISHING, 2004.
6. BONET, DIANA THE BUSINESS OF LISTENING: THIRD EDITIONNEW DELHI: VIVA BOOKS, 2004.
7. BOVEE, COURTLAND L, JOHN V. THILL & BARBARA E. SCHATZMAN.
8. BUSINESS COMMUNICATION TODAY: TENTH EDITION. NEW JERSEY: PRENTICE HALL, 201
9. BROWN, MICHELE & GYLES BRANDRETH. HOW TO INTERVIEW AND BE
INTERVIEWEDLONDON: SHELDON PRESS, 1994.
REFERENCE LINKS:
10. HTTP://WWW.MAXIMUMADVANTAGE.COM/ADVANTAGES -OF-EFFECTIVE -
COMMUNICATION.HTML
11. HTTP://NETWORKETIQUETTE.NET/
12. HTTPS://PUBLIC.WSU.EDU/~BRIANS/ERRORS/
13. HTTP://USERS3.EV1.NET/~PAMTHOMPSON/BODY_LANGUAGE.HTM
14. HTTP://WWW.ALBION.COM/NETIQUETTE/CORERULES.HTML
15. HTTP://WWW.BBC.CO.UK/WORLDSERVICE/LEARNINGENGLISH/RADIO/SPECIA
LS/1535_QUESTIONANSWER/PAGE15.SHTML
16. HTTP:/ /WWW.COLOSTATE.EDU/DEPTS/SPEECH/RCCS/THEORY44.HTML
17. HTTP://WWW.DAILYWRITINGTIPS.COM/
RSACE 1:2 PRE VISUALIZATION
ART &DESIGN TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 IMPORTANCE OF ART AS A SUBJECT. HISTORY O F ART, FROM CAVE
DRAWINGS TO LANGUAGE & STORY TELLING 2
UNIT 2 WHO CAN B E AN ARTIST? DYNAMIC S SENSE, DE MO OF EXPRESSIONS,
IMPORTANT NOTES FOR AN ARTIST, 2
UNIT 3 ART APPRICIATION – INDIA & GLOBAL 2
UNIT 4 FUNDAMENTALS OF DRAW ING- EXPLORING LINES AND EFFECTS 2
UNIT 5 ANDREW LOOMIS FIGURE DRAWING, IMPORTANCE OF ANOTOMY
STUDY, LIVE STUDY, P ORTTAIT, RAPID SKETC HING 2
UNIT 6 KEN HULTGREN – THE ART OF ANIMAL DR AWING, ANIMAL STUDY, TIME
SKETCHES, MOVEMENT S TUDY 2
UNIT 7 NATURE DRAWING : BIRD LIFE STUDY, OUT DOOR SKETCHING, TOON
DRAWING, DOODLING, 2
UNIT 8 COLOR THEORY – PART 01 – PRIMIARY COLORS, SEC ONDERY COLORS
AND TREASURY COLORS_ THEORY OF COLOR RELA TIONSHIP/HARMONY:
MONOCHROMATIC, ANALO GOUS, DIAD,TRIAD, TE TRAD,
COMPLIMENTARY, SPLIT COMPLIMENTARY, ACHRO MATIC AND
POLYCHROMATIC THEORI ES OF SUCCESSIVE AND SIMULTANEOUS
CONTRAST, ADDITIVE A ND SUBTRACTIVE COLOR S. 4
UNIT 9 COLOR THEORY – PART 0 1 – COMPLEMENTRY COLORS, SEASON COLORS
(SPRING, SUMMUR & FA LL) 2
UNIT 10 COLOR THEORY – PART 0 2 – MOOD BOARDS, PANTONE COLORS, SPOT
COLORS, ETC. 2
UNIT 11 COLOR THEORY - PART 0 3–TO UNDERSTAND THE RE LATIONSHIP
BETWEEN VALUE, HUE, CHROMA SHOW & DISCER N,INCREMENTAL
DIFFERENCES IN VALUE GRADATION AND MATCH COLOR VALUES
GRADATION AND MATCH COLOR VALUES TO AN E STABLISED GRAY
SCALE. 4
UNIT 12 COLOR THEORY_PART 0 4- PHYSICS OF COLOR: CO LOR SYSTEMS , THE
COLOR WHEEL: MUNSELL , GOETHE, RUNGE, ITT EN. 2
UNIT 13 COLOR THEORY -PART 0 5-THEORIES OF SUCCESSI VE AND
SIMULTANEOUS CONTRAS T, ADDITIVE AND SUBT RACTIVE COLORS. 2
UNIT 14 FUNDAMENTAL OF DRAWI NG–PART 02 -PERSPECTIVE DRAWINGS ,
PRINCIPLES OF PE RSPECTIVE, ONE -POINT, TWO -POINT AND THREE
POINT PERSPECTIVE , PERSPECTIVE AS APPLI ED TO OBJECTS, FURNI TURE,
INTERIOR AND EXTERIO R OF THE BUILDINGS E TC. 4
UNIT 15 FUNDAMENTALS OF DRAWI NG –PART -03-STUDY OF OBJECTS FRO M
SURROUNDING, TO STUD Y THE FORM, SURFACE, INTRODUCTIO N OF
LIGHT AND SHADOW ON OBJECTS AND AN ASSES SMENT AND
REPRESENTATION OF AN IMPACT OF LIGHT ON S IMPLE FORM AND
OBJECTS - CHANGE IN MOOD, SURF ACE QUALITY, DENSITY , DRAMA AND
IMPACT 4
UNIT 17 FUNDAMENTALS OF DRAW ING – PART04 : DRAWING FRO M NATURE -
OUTDOOR STUDY OF PLA NTS AND TREES 2
UNIT 18 COLOR COMPOSITION -PRACTICAL UNDERSTAND ING OF MIXING
COLORS, HANDLING PAI NT AND ARTIST MATERI AL- TO CREATE COLOR
COMPOSITIONS USING D IFFERENT COLOR. 4
UNIT 19 COLOR COMPOSITION - SPECIAL EFFECTS OF C OLOR ( GOUACHE,
WATERCOLOUR, PASTELS ) 2
UNIT 20 COLOR EXPRESSION - COLOR AND NATURE, CO LOR PSYCHOLOGY,
SYMBOLISM, EXPRESSIO N-COLOR BASICS - (PHYSICS OF LIGHT, A DDITIVE
COLOR RELASHIPS, PIG MENTS . 2
UNIT 21 VISUAL THINKING : VISUAL QUAIRIES, WHA T WE CAN EASILY SEE,
STRUCTURING 2 DIMNET IONAL SPACE, USAGE O F COLOR, GETTING THE 4
INFORMATION VISUAL S PACE AND TIME, VISUA L OBJECTS, WORDS AND
MEANINGS, VISUAL AND VERBAL NARRATIVES, C REATIVE METASEEING.
UNIT 22 FUNDEMENTALS OF DES IGN –INTRODUCTION TO VISU AL ELEMENTS OF
DESIGN, THEIR CHARAT ERISTIC BEHAVIOUS AN D VISUAL ATTITUDES, TO
DISCUSS THE EXAMPLES OF ASTHETIC REPRESEN TATION OF VISUAL
ELEMENTS. TO DISCUSS THE PROBLEM O F ORGANISATION OF AN
OBJECTS AND GROUP OF OBJECTS OF ART AND DESIGN. I NTODUCTION
TO CONCEPT OF FORM F UNCTION AND BUEATY. 4
UNIT 23 FUNDEMENTALS OF DESI GN – PART 02 – THEORITICAL INTRODUC TION
TO GESTALTS LAW OF P ERCEPTION, PHENOMENO LGY AND
FUNDEMENTALS OF DESI GN, TO DISCUSS THE P ROBLEM FOR
SIMPLIFICATION OF FORMS AND GUIDING PRINCIPLES AND LAYOU T
DIVISION OF SPACE AN D GRIDS. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
DIFFERENT LINE PRACTICE
HATCHING EXERCISE
DOODLING
PERSPECTIVE DRAWING
OUTDOOR STUDY
LIFE STUDY
LIVE SKETCHES (POTRAIT & FULL FIGURE)
STORY BOARD
COLOR THEORY WORKSHOP
MOVEMENT STUDY
120 HRS
REFERENCE BOOK :
ART & FEAR : AUTHOR DAVID BAYLES
DRAWING ON THE RIGH SIDE OF THE BRAIN :
THE ILLUSION OF LIFE : BY FRANK THOMAS, O LLIE JOHNSTON.
REFERENCE LINKS :
HTTP://WWW.BARTELART .COM/ARTED/WHYDRAW.H TML DRAWING ON THE RIGH
SIDE OF THE BRAIN
HTTPS://EDUCATIONINJ APAN .WORDPRESS.COM/EDUCA TION -SYSTEM -IN-JAPAN -
GENERAL/THOUGHTS -ON-ART-EDUCATION -THE-IMPORTANCE -OF-LEARNING -TO-
DRAW/
RSACE 1:3 DESIGN THINKING & PRE
PRODUCITON TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 THE DESIGN PROCESS
IT IS DIFFICULT FOR INEXPERIENCED DIGITAL MEDIA DESIGNERS TO
START A PROJECT AND DIVE STRAIGHT INTO THE SOFTWARE WITHOUT
DEVELOPING A REALLY CLEAR IDEA OF WHAT IT IS THEY ARE INTENDING
TO CREATE. UNDERSTANDING OF DESIGN PROCESS. 2
UNIT 2 STAGE ONE – DEFINE
THE DESIGN STRUCTURE SHOULD BE ARRIVED AT AFTER A HEALTHY AND
DEBATING DISCUSSION BETWEEN, DESIGNERS, MARKETERS, BUSINESS
HEADS, AND COPYWRITERS. THE OUTPUT SHALL CLEARLY DRAW A
GUIDELINE AS TO WHAT THE CONCEPT, DESIGN, COLOR, IMAGERY, AND
CONTENT COMBINATION SHALL BE. 2
UNIT 3 STAGE TWO – IDEATE
BRAINSTORM A RANGE OF CRAZY, CREATIVE IDEAS THAT ADDRESS THE
UNMET USER NEEDS IDENTIFIED IN THE DEFINE PHASE. GIVE YOURSELF
AND YOUR TEAM TOTAL FREEDOM; NO IDEA IS TOO FAR -FETCHED AND
QUANTITY SUPERSEDES QUALITY. 2
UNIT 4 STAGE THREE – RESEARCH,
DO NOT JUST SETTLE WITH THE GENERIC INFORMATION OR BRIEF GIVEN
BY THE CLIENT. DRILL DOWN FURTHER TO UNDERSTAND THE
PRODUCT/SERVICE AND TRY TO ACHIEVE CLEAR AND CONCLUSIVE
INFORMATION ABOUT THE DESIGN OBJECTIVE, CUSTOMER
PREFERENCES, COMPETITORS' DESIGN OUTLOOK, PRIMARY FEATURES,
KEY VALUE PROPOSITION, AND SO ON. 2
UNIT 5 TESTING
THIS PHASE IS ALSO CALLED AS 'EXECUTE’ . THIS IS THE PHASE WHERE
THE FINAL SOLUTION IS TESTED ON A FULL SCALE BASIS. THE IDEA THAT
SEEMS THE BEST ACCORDING TO THE FEEDBACK OF THE CUSTOMERS
AND END USERS IN THE PROTOTYPE PHASE WILL BE EXECUTED. IN THIS
STEP, THE DESIGN THINKERS ARE SUPPOSED TO BE COLLABORATIVE
AND AGILE . 2
UNIT 6 RESEARCH – PART 02
ONCE THE BRIEF HAS BEEN DEFINED AND AGREED, A DESIGNER STARTS
TO SEARCH FOR INFORMATION THAT CAN BE FED INTO THE CREATIVE
PROCESS AT THE IDEATION STAGE. THIS RESEARCH CAN BE EITHER
QUANTITATIVE WITH HARD STATISTICAL FACTS ABOUT THE SIZE AND
COMPOSITION OF TARGET USER GROUPS, OR QUALITATIVE WITH
INFOR MATION ABOUT WHAT THAT USER GROUP BUYS OR CONSUMES
AND WHAT THEIR LIFESTYLE IS LIKE
PRIMARY RESEARCH:
A PRIMARY SOURCE OF RESEARCH IS THE FEEDBACK GENERATED 2
DURING THE LEARNING PHASE OF PROJECTS PREVIOUSLY UNDERTAKEN
WITH THE SAME OR SIMILAR CLIENT.
SECONDARY RESEARCH:
IT IS THE INFORMATION OBTAINED FROM GENERAL SECONDARY
SOURCES SUCH AS CONSUMER MARKET RESEARCH REPORTS.
UNIT 7 IDEA GENERATION
BASIC DESIGN DIRECTIONS, QUESTIONS AND ANSWERS
THEMES OF THINKING, INSPIRATIONS AND REFERENCES, PICTURE
COLLECTION
BRAINSTORMING: VALUE, INCLUSION, SKETCHING, DOODLING 2
UNIT 8 REFINEMENT 01 - THINKING IN IMAGES
FIRSTLY, IT IS IMPORTANT TO ACKNOWLEDGE THAT DESIGN THINKING IS
NOT ABOUT GRAPHIC DESIGN ONLY HOWEVER, DESIGNERS ARE OFTEN
USED TO COMMUNICATING THEIR THINKING VISUALLY AND
DRAWINGS, SKETCHES, PROTOTYPES, ETC. ARE OFTEN USED TO CONVEY
THE IDEAS CREATED WITHIN A DESIGN THINKING PROCESS.IN FACT,
IDEAS WHICH ARE HARD TO EXPRESS EASILY IN WORDS ARE OFTEN
GIVEN SHAPE IN THE FORM OF VISUAL METAPHORS. DES IGN THINKING
THUS EASILY INCORPORATES ABSTRACT THOUGHT PROCESSES –
SOMETHING THAT SCIENTIFIC THINKING MAY FIND MORE CHALLENGING
TO ACCOMMODATE.
4
UNIT 9 APPROPRIATION
THE APPROPRIATION OF PRE -EXISTING OBJECTS AND IMAGES HAS BEEN
USED EXTENSIVELY IN MODER N ART AND DESIGN. PABLO PICASSO USED
OBJECTS WHICH WERE NOT PREVIOUSLY ART, SUCH AS NEWSPAPER
CLIPPINGS (NOTABLY IN HIS WORK GUITAR, NEWSPAPER, GLASS AND
BOTTLE IN 1913). THESE WORKS PLACED THE OBJECTS IN NEW
CONTEXTS WITHOUT TRANSFORMING THE ORIGINAL CONC EPT. 4
UNIT 10 HUMOR
CREATIVE THINKING IS AN INTEGRAL INGREDIENT IN THE DESIGN
PROCESS. THUS USING CREATIVE THINKING AS THE BRIDGE ONE CAN BE
LED TO SEE AN INTERRELATION BETWEEN THE HUMOR THINKING
AND DESIGN THINKING.
PERSONIFICATION
PERSONIFICATION HELPS US UNDERSTAND OUR EXPERIENCES WITH
NON -HUMAN THINGS, AGAIN BOTH TANGIBLE AND INTANGIBLE,
THROUGH HUMAN CHARACTERISTICS. THEY GIVE THE EXAMPLE,
“INFLATION HAS OUTWITTED THE BEST ECONOMIC MINDS IN THE
COUNTRY”. 4
UNIT 11 VISUAL METAPHORS
A VISUAL METAPHOR IS AN IMAGE THAT CONNOTES SOMETHING OVER
AND ABOVE ITS DENOTATIVE ASPECT. IT CARRIES AN IDEA THAT
RESONATES WITH READERS OR AUDIENCES ON MANY LEVELS. 2
UNIT 12 REFINEMENT 01 – USAGE OF COLOR
COLOUR IS A CENTRAL COMPONENT OF DESIGN, AND IT IMPACTS
ENORMOUSLY ON THE AUDIENCE’S READING OF AN IMAGE. COLOURS
HAVE MEANING, MOOD, AND CULTURAL ASSOCIATIONS. A GOOD
DESIGNER CAN USE COLOUR TO MAKE HIS OR HER DESIGNS
ATTRACTIVE, BUT A GREAT ONE KNOWS HOW TO CHANNEL THE
VARIOUS LAYERS OF COLOUR TO MAKE THE DESIGNS STAND OUT AND 2
REALLY MAKE AN IMPACT.
UNIT 13 SHAPE
THROUGH COMPOSITION, A DESIGN CAN BE PLAYFUL, SERIOUS,
HUMO ROUS, OR MOVING. Y OU'LL EXPLORE THE CONCEPT OF TWO -
DIMENSIONAL SHAPE, A FOUNDATION PRINCIPLE IN DESIGN. AND HOW
SHAPES ARE DEFINED IN VARIOUS PLATFORMS AND INDUSTRY. 2
UNIT 14 TYPE FACES
YOU'LL EXPLORE THE TYPE TOOL, LEARNING HOW TO CREATE TEXT
BOXES, RESIZE TYPE, WRAP TEXT AROUND IMAGES, CREATE VERTICAL
COLUMNS OR FILL SHAPES WITH TE XT, ADJUST LEADING AND KERNING,
AND MAKE YOUR TYPE FOLLOW PATHS. JUST WATCH IT GO! YOU'LL
ALSO LEARN TO USE STYLES TO HELP AUTOMATE YOUR TEXT
FORMATTING IN LARGE DOCUMENTS. IN THE EXERCISE, YOU'LL DESIGN
THE TYPE FOR A BUS AD. 4
UNIT 15 PROTOTYPING - DEVELOPING DESIGNS
PROTOTYPES ARE OFTEN USED IN THE FINAL, TESTING PHASE IN
A DESIGN THINKING PROCESS IN ORDER TO DETERMINE HOW USERS
BEHAVE WITH THE PROTOTYPE, TO REVEAL NEW SOLUTIONS TO
PROBLEMS, OR TO FIND OUT WHETHER OR NOT THE IMPLEMENTED
SOLUTIONS HA VE BEEN SUCCESSFUL.
TYPES OF PROTOTYPE
LOW -FIDELITY PROTOTYPING
LOW -FIDELITY PROTOTYPING INVOLVES THE USE OF BASIC MODELS OR
EXAMPLES OF THE PRODUCT BEING TESTED.
HIGH -FIDELITY PROTOTYPING
HIGH -FIDELITY PROTOTYPES ARE PROTOTYPES THAT LOOK AND
OPERATE CLOSER TO THE FINISHED PRODUCT. 4
UNIT 17 IMPLEMENTATION
TRADITIONAL MEDIA HAS SKIPPED OVER SOMETHING VERY IMPORTANT
FOR QUITE SOME TIME: ENGAGING THEIR CUSTOMERS.
INSTEAD OF JUST BRINGING SOMETHING TO MARKET BECAUSE
SOMEBODY IN THE NEWSROOM OR IN ADVERTISING THOUGHT IT
WOULD BE A GREAT IDEA, THE DESIGN PROCESS FORCES YOU TO TAKE
INTO ACCOUNT YOUR CUSTOMERS’ NEEDS AND EMPATHIZE WITH THEM
BEFORE STARTING ANY FULL FLEDGED PRODUCT. IT’S NOT EASY, BUT
THIS KIND OF FLEXIBILITY HELPS YOU TO ADAPT TO THE W AY YOUR
CUSTOMERS CHANGE. 4
UNIT 18 DEFINING AND VISUALIZING CHALLENGES
DESIGN THINKING IS AN IDEOLOGY SUPPORTED BY AN
ACCOMPANYING PROCESS . A COMPLETE DEFINITION REQUIRES AN
UNDERSTANDING OF BOTH.
DEFINTION: THE DESIGN -THINKING IDEOLOGY ASSERTS THAT A HANDS -
ON, USER -CENTRIC APPROACH TO PROBLEM SOLVING CAN LEAD TO
INNOVATION, AND INNOVATION CAN LEAD TO DIFFERENTIATION AND A
COMPETITIVE ADVANTAGE.
HOW — THE PROCESS
THE DESIGN -THINKING FRAMEWORK FOLLOWS AN OVERALL FLOW OF 1)
UNDERSTAND, 2) EXPLORE, AND 3) MATERIALIZE. WITHIN THESE
LARGER BUCKETS FALL THE 6 PHASES: EMPATHIZE, DEFINE, IDEATE, 4
PROTOTYPE, TEST, AND IMPLEMENT.
UNIT 19
WHY — THE ADVANTAGE
WHY SHOULD WE INTRODUCE A NEW WAY TO THINK ABOUT PRODUCT
DEVELOPMENT? THERE ARE NUMEROUS REASONS TO ENGAGE IN
DESIGN THINKING, ENOUGH TO MERIT A STANDALONE ARTICLE, BUT IN
SUMMARY, DESIGN THINKING ACHIEVES ALL THESE ADVANTAGES AT
THE SAME TIME:
IT IS A USER -CENTERED PROCESS THAT STARTS WITH USER
DATA, CREATES DESIGN ARTIFACTS THAT ADDRESS REAL AND
NOT IM AGINARY USER NEEDS, AND THEN TESTS THOSE
ARTIFACTS WITH REAL USERS.
IT LEVERAGES COLLECTIVE EXPERTISE AND ESTABLISHES A
SHARED LANGUAGE AND BUY -IN AMONGST YOUR TEAM.
IT ENCOURAGES INNOVATION BY EXPLORING MULTIPLE
AVENUES FOR THE SAME PROBLEM. 2
UNIT 20 FLEXIBILITY
EACH PHASE IS MEANT TO BE ITERATIVE AND CYCLICAL AS OPPOSED TO
A STRICTLY LINEAR PROCESS, AS DEPICTED BELOW. IT IS COMMON TO
RETURN TO THE TWO UNDERSTANDING PHASES, EMPATHIZE AND
DEFINE, AFTER AN INITIAL PROTOTYPE IS BUILT AND TESTED. THIS IS
BECAUSE IT IS NOT UNTIL WIRE -FRAMES ARE PROTOTYPED AND YOUR
IDEAS COME TO LIFE THAT YOU ARE ABLE TO GET A TRUE
REPRESENTATION OF YOUR DESIGN. FOR THE FIRST TIME, YOU CAN
ACCURATELY ASSESS IF YOUR SOLUTION REALLY WORKS. AT THIS POINT,
LOOPING BACK TO YOUR USER RESEARCH IS IMMENSELY HELPFUL.
WHAT ELSE DO YOU NEED TO KNOW ABOUT THE USER IN ORDER TO
MAKE DECISIONS OR TO PRIORITIZE DEVELOPMENT ORDER? WHAT NEW
USE CASES HAVE ARISEN FROM THE PROTOTYPE THAT YOU DIDN’T
PREVIOUSLY RESEARCH? 4
UNIT 2 1 DESIGN RHETORIC
RHETORIC IS AN ART OF SHAPING SOCIETY, CHANGING THE COURSE OF
INDIVIDUALS AND COMMUNITIES, AND SETTING PATTERNS FOR NEW
ACTION”
” … ARISTOTLE’S REMARKS ON THE RISE OF RHETORIC AS AN ART OF
PERSUASION HAVE RELEVANCE TO THE ART OF DESIGN.”
“HOWEVER, IF TECHNOLOGY IS IN SOME FUNDAMENTAL SENSE
CONCERNED WITH TH E PROBABLE RATHER THAN THE NECESSARY –
WITH THE CONTINGENCIES OF PRACTICAL USE AND ACTION, RATHER
THAN THE CERTAIN ITIES OF SCIENTIFIC PRINCIPLE – THEN IT BECOMES
RHETORICAL IN A STARTLING FASHION.”
“IN THIS SENSE, TECHNOLOGY IS PART OF THE BROADER ART OF DESIGN ,
AN ART OF THOUGHT AND COMMUNICATION THAT CAN INDUCE IN
OTHERS A WIDE RANGE OF BELIEFS ABOUT PRACTICAL LIFE FOR THE
INDIVIDUAL AND FOR THE GROUPS.”
“DESIGN IS AN ART OF THOUGHT DIRECTED TO PRACTICAL ACTION
THROUGH THE PERSUASIVENESS OF OBJECTS AND, THEREFORE, DESIGN
INVOLVES THE VIVID EXPRESSION OF COMPETING IDEAS ABOUT SOCIAL 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
BEST OUT OF WASTE
THERMOCOL MODEL LING
CLAY MODEL LING
VARIOUS BRAIN STROMING EXCERCISES
MODEL OUT OF METAL STRINGS
SOAP CARVING
120 HRS
REFERENCE BOOK :
CHANGE BY DESIGN: HOW DESIGN THINKING TRANSFORMS – BY TIM BROWN
ART OF INNOVATION: LESSONS IN CREATIVITY FROM IDEO, AMERICA'S LEADING DESIGNER –
BY JONATHAN LITTMAN
DESIGN THINKING: UNDERSTANDING HOW DESIGNERS THINK AND WORK - BY NIGEL CROSS
HOW DESIGNERS THINK - BOOK BY BRYAN LAWSON
REFERENCE LINKS :
HTTP://WWW.SCIENCEDI RECT.COM/SCIENCE/ART ICLE/PII/S1877042811 029648
HTTP://EDORIGAMI.WIK ISPACES.COM/BLO OM%27S+DIGITAL+TAXON OMY
Jenkins, H., Clinton, K., Purushotma, R., Robinson, A. J., & Weigel, M. (2006). Confronting the
challenges of participatory culture: Media education for the 21st century . MacArthur
Foundation. Retrieved December 20, 2011 from http://www.digitallearning.macfound.org/
LIFE.”
UNIT 22 INTRODUCTION TO SERVICE DESIGN
A METHOD FOR DESIGNING EXPERIENCES THAT REACH PEOPLE
THROUGH MANY DIFFERENT TOUCH POINTS AND THAT HAPPEN
OVERTIME.
SERVICE DESIGN CAN BE BOTH TANGIBLE AND INTANGIBLE. IT CAN
INVOLVE ARTIFACTS AND OTHER THINGS INCLUDING COMMUNICATION,
ENVIRONMENT AND BEHAVIORS. WHICHEVER FORM IT TAKES IT MUST
BE CONSISTENT, EASY TO USE, AND HAVE STRATEGIC ALLIANCE. WITH
DESIGN RESEARCH , DESIGNS ARE MORE MEANINGFUL AND EFFECTIVE
BECAUSE THEY ARE GROUNDED IN A REAL -WORLD CONTEXT. THE GOAL
OF THIS COURSE IS TO INTRODUCE THE PROCESS OF DESIGN RESEARCH
AND TO HELP DESIGNERS UNDERSTAND HOW CRITICAL IT IS TO BEING
ABLE TO DEVELOP GREAT DESIGNS . 4
RSACE 1:4 VISUAL & VERBAL STORY TELLING TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 CAN YOU TELL A STORY – INTRODUCTION TO STOR Y TELLING . TO
BEGIN WITH A SMALL STO RY TELLING WORKSHOP (SELF
INTRODUCTION IN A CR EATIVE WAY) STORY TELLING - NARRATION &
PITCHING 2
UNIT 2 THE ART OF OBSERVATI ON – AND WR ITE 5 DIFFERENT CHAR CTERS
YOU CO ME ACRO SS. (THE CHARACTER I NTRODUCTION, THE
CHARACTERI ZATION, AND OULOOK) 2
UNIT 3 SPONTANEOUS CONVERSA TIONS, WATCHING MOVI E AND NARRATING
A SCENE, DEBATE DIS CUSSION AMONG THE ST UDENTS ROLE OF
DRAMA IN STORY TELLING 2
UNIT 4 STORY TELLING THROUGH CAMERA : SIMPLE IMPROVISATION AND
THEME BASED ON WHAT PEOPLE SEE COMMONLY AROUND
SURROUNDING AREAS 2
UNIT 5 HOW TO CREA TE DIFFERENT SOUNDS AND MOVEMEN TS TO MAKE
YOUR STORY INTERESTI NG. 2
UNIT 6 EXPRESSING VOCALLY B Y USING SIMPLE INTON ATIONS AND
INFLECTION, VOWELS, CONSONANTS, SYLLABLE S AND GIBB ERISH
SOUNDS 2
UNIT 7 LISTENING AND TELLIN G STORIES TO EACH OT HER; CREATING SOUNDS
FIRST ONLY WITH CONS ONANTS THEN ONLY WIT H VOWELS AND
FINALL WITH BOTH . 2
UNIT 8 STORY TELLING THROUGH USE OF SOUND & MUSIC
:MIMICKING SOUNDS OF ANIMALS,OF VENDORS, MACHANICAL AND
TRAFFIC SOUNDS AND T HE NATURAL ELEMENTS. 2
UNIT 9 HOW TO NARRATE STORI ES COMMONLY ASSOCIAT ED WITH
DIFFERENT REGIONS IN OUR COUNTRY. 2
UNIT 10 STORY TELLING IN CINEMA : HOW TO VISUALLY NARR ATE A
INCIDENT WHICH YOU H AVE EXPERIENCE IN YO UR LIFE. 2
UNIT 11 OUTDOOR ACTIVITY – BRINGING IN THE SOUN DS HEARD IN THE
ENVIRONMENT. 2
UNIT 12 THE ENACTMENT – HOW TO MOVE LIKE AN ANIMAL, SOUND LIKE A N
ANIMAL AND HOW TO CREA TE A STORIES USING T HESE SOUNDS AND
MOVEMENTS. 2
UNIT 13 DEVELOPING SENSORY A BILITY – UNDERSTANDING BASIC
FUNCTIONING OF DIFFE RENT BODY PARTS AND USING THESE AS
COMMUNICATING TOOLS. 2
UNIT 14 USING OUR OWN BODY P ARTS LIKE HAIR, CHEE KS, ELBOW, KNUCKLES
AND LIPS TO PRODUCE DIFFERENT SOUNDS THR OUGH CLAPPING
TAPPING AND STAMPING . 2
UNIT 15 FINDING THE STORIES FROM DIFFERENT MEDIU MS AND NARRATE A
STORY, COUNT THE NUM BER OF CHARACTERS, A ND ENACT TH EM. 2
UNIT 17 STORY TELLING AND ST RUTURED ARTICULATION – WHAT KINDS OF
STORIES INTEREST YOU ? DO YOU LIKE NARRAT ING STORIES OR DO
YOU LIKE LISTNING TO THEM? WHAT ATTRACTS YOU MOST ABOUT
THE STORY TELLING. 2
UNIT 18 STORY TELLING THROUGH EDITING HOW CAN YOU MAKE TEL LING A
STORY INTERESING, CA N YOU FEEL YOUR VOIC E MOVING UP AND
DOWN GOING SOMETIMES HIGH AND SOMETIMES L OW? 2
UNIT 19 VERBAL EXPRESSION, E NABLING SIMPLE USE O F INTONATION AND
INFLECTION IN SPEECH . 2
UNIT 20 DESCIRBING OUT OF RO UTINE ACTIVITIES AND EXPER IENCES IN ORDER
TO CREATE STORIES. 2
UNIT 2 2 INVENTING GAMES FOR STORY BUILDING SUCH AS BEGGINNING A
DESCRIPTION OF AN IN CIDENT WITH PHRASE S UCH AS “DO YOU KNOW
WHAT HAPPEN ON THAT DAY…? 2
UNIT 23 DEVELOPING THE STUDE NT’S IMAGINATION BY CREAT ING AN
INCIDENT THROUGH USI NG A PHRASE SUCH AS WHAT WOULD
HAPPEN IF I WERE TO HAVE WINGS / IF WE H AD TO COMMUNICAT E
ONLY THOUGH GESTURES / IF IN HAD TO LIVE UNDER WATER….ETC
THEY COULD ENACT WHA T THEY IMAGINE. 2
RSACE PRACTICAL EXCER CISE PRACTICAL
HOURS
STORY TELLING WORKSHOP
STORY TELLING USING ONLY VISUALS
STORY TELLING USING ONLY SOUNDS
90 HRS
READING REFERENCE :
THE ART OF STORYTELLING: EASY STEPS TO PRESENTING AN UNFORGETTABLE STORY
THE STORY FACTOR: INSPIRATION, INFLUENCE, AND PERSUASION THROUGH THE ART OF
STORYTELLING
THE LEADER′S GUIDE TO STORYTELLING: MASTERING THE ART AND DISCIPLINE OF BUSINESS
NARRATIVE (J -B US NON -FRANCHISE LEADERSHIP)
RSACE 1:5 FUNDEMENTALS OF FILM MAKING TEACHING
HOURS 45
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 INTRODUCTION TO CINE MA : THE HISTORY OF INDIAN CINEMA AND
WORLD CINEMA, THE FI LM MAKING FUNDEMENTA LS, WHAT IS A ROLE
OF A FILM MAKER, TH E FILM INDUSTRY IN I NDIA, THE ART AND
SCIENCE OF FILM MAKI NG, THE TECHNOLOGY A ND EQUIPM ENTS 2
UNIT 2 INTRODUCTION TO SCRI PT DEVELOPMENT:HOW T O WRITE A GOOD
SCRIPT, INSPIRATION TO A STORY,RESEARCH, COMMERCIAL STORY
TELLING,HOW TO WORK ON A PROJECT,TIME MA NAGEMENT, 4
UNIT 3 SCRIPT WRITING PART -2:RESEARCH MATERIAL FOR SCRIPT
DEVELOPMENT,INTERTES ING JOURNALS; INSPIR ATIONAL MUSIC: HOW
TO LET YOUR MIND FRE E, READY TO STRIKE I DEAS WHEN THEY
HIT;SURF INTERNET; R ESEARCH BY STUDING T HE TIME PERIOD;
CHARACTERS, CUSTOMS, FAHIONS, TECHNOLOGIE S, VALUES OF THE
WORLD. 4
UNIT 4 SETTING UP SPACE: HO W TO MAKE YOUR SELF ORGANISED, FIND A
QUIET PLACE, AMBIENC E WHICH WILL MAKE YO U INSPIRE, AVOID
NEEDLESS DISTRACTION , WRITING IS A ART O F FOCUS, BE PREPARED
WITH NOT E PAD; DEVELOPING A PREMISE: THE SET IS TO DEVELOP
STORY STR UCTURE FOR THE MOVIE . FICTION OR NON
FICTION;GENRE;FORMAT ;PLOT TYPE. 4
UNIT 5 SCRIPT DEVELOPMENT: PART 3:WORKING WITH THE WRITER,;STORY
STRUCTURE; 2
UNIT 6 PREPRODUCTION: BREAK ING DOWN THE SRCIPT; DETERMINING THE
BUDGET; SECURING THE FINANCING, SCOUT ING LOCATIONS, CASTI NG;
HIRING THE CREW; SEC URING EQUIPMENT; SCH EDULING THE SHOOT
DATES. 4
UNIT 7 SETTING UP AN OFFICE ; ESTABLISH HOME BA SE WHERE PRODUCTION
EFFORTS CAN BE COORD INATED. RESOURCES FO R THE SET UP; LEGAL
CONSULTATIONS; 4
UNIT 8 BUDGETING: CHOOSE A BUSINESS FO RMULA; PLAN; FORM A
COMPANY;
GETTING THE APPROPRI EATE QUOTE FOR EQUIP MENTS, LOCATIONS,
PERSONNEL, CAST AND CREW, SHAPE THE BUDG ET; WORKING WITH
THE LINE PRODUCER; TIPS TO KEEP BUDGET LOW. 4
UNIT 9 SCHEDULING: LINING T HE SCRIPT; SCEN E BREAKDOWN
SHEETS;DETERMINE THE NUMBER OF SHOOTI NG DAYS; MAKING THE
DAILY SCHEDULE;FINAL IZING THE SCHEDULE;P RODUCTION PROCESS 4
UNIT 10 LOCATIONS: INTRODUCT ION TO LOCATION DESI GN,FINDING
LOCATION; SECURING A LOCATION COMMUNITY R ELATIONS; FILM
COMMISSION S ; DURING PRODUCTIO N
; 2
UNIT 11 FILM PRODUCTION FUNDAMENTALS : PRODUCTION DESIGN:
INTRODUCTION TO PROD UCTION DESIGN; PROPS ; WARDROBE;
BUILDING SETS; SET D RESSING; CREATING A TIME PERIOD. A DAY O N
SETS; ORGANIZATION S HOTS 2
UNIT 12 DIRECTOR’S ROLE : DIRECTING DURING PRE -PRODUCTION, DURING
PRODUCTION, ACTIVITI ES, BREAK DOWN THE S CRIPT TO DETERMINE
STORY AND CHARACTER, STORY BOARD EACH CHA RACTER ANGLE,
WORKS WITH ACTORS TO HELP THEM TO UNDERST AND THEIR
CHARACTERS. DETERMI NING THE COVERAGE: B LOCK THE EN TIRE
SCENE FOR THE CAST A ND CREW,. REHERSAL -BLOCK SCENE WIH EACH
ACTOR. WORK WITH DEP ARTMENT HEADS SO TH EY HAVE A CLEAR
UNDERSTAND OF THE V ISION 4
UNIT 13 CINEMOTOGRAPHY :INTRODUCTION: WORKI NG WITH DOP, SHOOTIN G
STYLES,THE CAMERA, C HOOSING LENS, FIVE R INGS OF POWER, LENS
CARE, CAMERA SETTING S, WORKING WITH THE FRAME, RULES OF
COMPOSITION, SHOT TY PES, WORKING WITH A PRODUCTION
MONITOR, LIGHTING, G ETTING THE FILM LOOK , SHOOTING THE SCENE ,
KEEPING ORGANISED. 4
UNIT 14 THE DIRECTOR OF PHOT OGRAPHY : HIRING T HE DIRECTOR OF
PHOTOGRAPHY; CRAFTIN G THE LOOK; 4
UNIT 15 CAMERA : THE CAMERA: THE CA MERA IS THE EXTENSIO N OF THE
AUDIENCE; CHOOSING T HE LENSES, THE FIVE RINGS OF LENS, FOCUS ,
FOCAL LENGTH, EXPOSU RE, WHITE BALANCE. 4
UNIT 17 WORKING WITH THE PRO DUCTION MONITOR: EXP OSURE ON THE SET,
WORKING WITH PRODUCT ION CREW & CAST, 2
UNIT 18 LIGHTING: THE QUALIT Y OF LIGHTS, LIGHT M ETER, THREE POINTS
LIGHT, WORKING WITH SHADOWS, LIGHTING SC ENE 2
UNIT 19 LIGHTING OUTSIDE: OV ERHEAD AND R EFLECTORS, PROPER CO NTRAST,
LOW BUDGET OPTIONS 2
UNIT 20 AUDIO RECORDINGS: IN TRODUCTION TO AUDIO RECORDING;
PREPPING AUDIO;ROLE OF THE SOUND TEAM ON THE SET BEFORE
ACTION; RECORDING TO THE CAMERA,SYNC SOUN D;WIRELESS
MICROPHONE SYSTEMS.A MBIENT SOUND;WORKING WITH E XTRAS.
TIPS FOR RECORDING G OOD ON -SET AUDIO. 4
UNIT 21 INTRODUCTION TO EDIT ING: THE EDITING FUN DEMENTALS, THE
CRETIVE EDITING, THE SOFTWARES USED FOR E DITING, ANALOG AND
DIGITAL EDITING, THE EDITOR’S ROLE IN A F ILM. PRINCIPLES OF
EDITING. 2
UNIT 22 INTRODUCTION TO SOUN D: THE RE RECORDING PROCESS, FOLEY, THE
SOUND DESIGN. VARIOU S TECHNOLOGY AND CRE ATIVE PROCESS
INVOLVED IN SOUND DE SIGN. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
SINGLE SHORT FILM
PROCESS FILM
VISUAL CONTINU ITY FILM
OBSERVATON FILM
SHORT FILM ( 2 TO 3 MINUTES)
120 HRS
READING BOOKS
1.THE COMPLETE FILM PRODUCTION HANDBOOK BY EVE LIGHT HONTHANER, 2001, FOCAL
PRESS.
2.CONTRACTS FOR THE FILM AND TELEVISION INDUSTRY BY MARK LITWAK, 1994, SILMAN –JAMES
3.THE POWER FILMMAKING KIT -JASON J.TOMARIC
4.THE FILMMAKER’S HANDBOOK: A COMPREHENSIVE GUIDE FOR THE DIGITAL AGE (2013 EDITION)
BY STEVEN ASCHER AND EDWARD PINCUS
5.DIRECTING: FILM TECHNIQUES & AESTHETICS (FIFTH EDITION, 2013) BY MICHAEL RABINGER AND
MICK HURBI S-CHERRIER
READING LINKS :
http://guides.lib.berkeley.edu/c.php?g=4407&p=15594
SECOND S EMEST ER
INTRODUCTION
In this semester the focus is given more on personality Development and project
management, you will learn in -depth information about personalities. You will gain a better
understanding about those around you and also more about who you are and how you got
to be that way.
This course starts with a ba sic introduction of personality, It then goes on to look at theories
of personality development, and the main influences on personality development. You will
also delve into looking at basic personality traits, including values, beliefs, and nature versus
nurture. You will learn to improve your communication skills and how you can use that
information in career choices and to make changes. You will also learn fundamentals of film
making and motion graphics in this semester, which will help you to make meanin gful
corporate videos and excellent presentations and how to put all the information together to
use it to your personal or career advantage.
With this course you can literally stop wondering about why you or someone you know
behaves a particular way. It is essentials because in the media and entertainment industry
you may have to work with celebrity to labours. It is important for you to understand each
one’s personality to work efficiently and effectively .
This semester is especially helpful for those w ho are striving to learn more about who they
are, which direction their life should take, to learn more about others around them, overall
it help you to work professionally, with right attitude and as a good human being.
Objective :
The objective of thissemester is bring about personality development with regard to the
different behavioural dimensions that have far reaching significance in the direction of
organisational effectiveness. This semester helps students to improve their management
skills. T he students will have a better grip over the understanding of project management,
working as a team, working within the team, leadership skills. This semester will help them
to acquire the skills and ability to grapple with complex changes in the environme nt,
technology and processes.
RSACE 1:6 COMMUNICATION - 02 TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 PUBLIC SPEAKING : ACQUIRING CONFIDENCE BEFORE AN AUDIENCE:
CAUSE OF SELF -CONSCIOUSNESS, THE STRESS OF UNUSUAL
EXCITEMENT, OVER COMING STAGE FEAR. 2
UNIT 2 THE SIN OF MONOTONY , WHY IS MONOTONY ONE OF THE WORST AS
WELL AS ONE OF THE MOST COMMON FAULT OF THE SPEAKERS: HOW
TO GET BACK IN NATURE WITH THE POWER OF VARIETY. 2
UNIT 3 EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION , : BE
ABSORBED TO YOUR SUBJECT, ANTICIPATE THE PLUNGE WITH
ACCELERATION.
EFFICIENCY THROUGH CHANGE OF PITCH, EFFICIENCY THROUGH
CHANGE OF PACE, PAUSE AND POWER, EFFICIENCY THROUGH
INFLECTION. 4
UNIT 4 PUBLIC SPEAKING : VOICE MODULATION: VOICE CHARM,
DISTI NCTNESS AND PRECISION OF UTTERANCE, MULTIPLY POWER OF
SPEECH BY INCREASING THE TOOLS: LEARN TO GIVE YOU A
CONCEPTION OF THESE INSTRUMENTS, AND PRACTICAL HELP IN
LEARNING TO USE THEM. 4
UNIT 5 FACING THE AUDIENCE : WHAT EFFECTS DOES THE CONFIDENCE ON
THE PART OF SPEAKER HAVE ON THE AUDIENCE, SUCCESS OR FAILURE
LIES IN THE MENTAL ATTITUDE EVEN THAN MENTAL CAPACITY -
ACQUIRE THE CONFIDENT ATTITUDE. 4
UNIT 6 PRINCIPLES OF PUBLIC SPEAKING : HOW DO THE PRACTICAL
PRINCIPLES ARE ADOPTED BY THE SPEAKERS AND ACTORS -EITHER
NATURALLY OR UNCONSCIOUSLY - LEARNING TO BE NATURAL AND
IMPROVING ON YOUR GIFTS UNTIL YOU APPROACH THE IDEAL LEVEL. 4
UNIT 7 THE ART OF LISTENING -ADVANTAGES OF ACTIVE LISTENING, HOW TO
DEVELOP YOUR LISTENING SKILLS, ELEME NTS OF LISTENING,
LISTENING BUILDS BETTER FOUNDATION FOR PERSONAL &
PROFESSIONAL SUCCESS, IT REQUIRE INTENSE CONCENTRATION AND
GOOD DEAL OF MENTAL ENERGY. 4
UNIT 8 HOW TO ACHIEVE HIGHLY EFFECTIVE LISTENING SKILLS:
EVALUATE: YOU JUDGE WHAT SOMEONE IS SAYING AND AGREE OR
DISAGREE. PROBE: YOU ASK QUESTIONS FROM YOUR OWN FRAME OF
REFERENCE. ADVISE: YOU GIVE COUNSEL, ADVICE, AND SOLUTIONS TO
PROBLEMS. INTERPRET: YOU ANALYZE OTHERS' MOTIVES AND
BEHAVIORS BASED ON YOUR OWN EXPERIEN CES. 4
UNIT 9 ENGLISH GRAMMER : ANALYSIS OF SYSTEM AND STRUCTURE OF
LANGUAGE. INTRODUCTION TO TENSES, ACTIVE AND PASSIVE VOICE,
SENTENCES: SIMPLE, COMPOUND, COMPLEX, ANALYSIS OF COMPLEX
SENTENCES,
ANALYSIS OF COMPOUND SENTENCES. 4
UNIT 10 ENGLISH GRAMME R:TRANSFORMATION OF SENTENCES :SENTENCES
CONTAINING ADVERBS,, INTERCHANGE OF DEGREE OF COMPARISON,
INTERCHANGE OF ACTIVE AND PASSIVE VOICE, INTERCHANGE OF
AFFIRMATIVE AND NEGATIVE SENTENCES, INTERCHANGE OF
INTERROGATIVE AND ASSERTIVE SENTENCES. 4
UNIT 11 ENGLISH GRAMMER : SIMILES: A SIMILE IS A FIGURE OF SPEECH THAT
COMPARES TWO THINGS OR PERSONS WHICH ARE NOT SIMILAR.
METAPHOR: A FIGURE OF SPEECH IN WHICH A WORD OR PHRASE IS
APPLIED TO AN OBJECT TO WHICH IT IS NOT LITERALLY APPLICABLE. 4
UNIT 12 IDIOMS : EVERY LANGUAGE HAS ITS OWN COLLECTION OF WISE
SAYINGS -THEY TRANSFER UNDERLYING IDEAS -THESE ARE CALLED
“IDIOMS” A GROUP OF WORDS ESTABLISHED BY USAGE AS HAVING A
MEANING NOT DEDUCIBLE FROM THOSE OF THE INDIVIDUAL WORDS. 2
UNIT 13 PUNCTUATIONS : EXERCISES O N PUNCTUATIONS, PUNCTUATION
WORKSHEETS, WHEN TO USE SEMICOLON, COLON, PARENTHESIS,
CORRECT USE OF HYPHENS. 2
UNIT 14 HOW TO BUILD YOUR VOCABULARY: ANTONYMS, SYNONYMS, WORD
POWER EXERCISES, VOCABULARY BUILDING EXERCISE, WORD ORIGIN
,ANTHROPOLOGY : STUDY OF COMPARATIVE STUDY OF CULTURES AND
ITS DEVELOPMENT. 2
UNIT 15 LETTER WRITING II :: BUSINESS LETTERS, ORGANIZATIONAL LETTERS,
LETTER OF INTERNATIONAL CORRESPONDENCE. 2
UNIT 17 WRITTEN COMMUNICATION AND SOCIAL MEDIA :
EVOLUTION OF BRAND COMMUNICAT ION, HOW MEDIA
COMMUNICATION EVOLVED OVER THE YEARS, TRADITIONAL MEDIA
OUTLETS -TELEVISION, RADIO, PRINT ARE ONE WAY COMMUNICATION.
HOW PLATFORMS LINE ONLINE DISCUSSIONS OFFER FEEDBACK AND
USE TO IMPROVE THEIR PRODUCTS AND SERVICES. SOCIAL MEDIA
FALLS INTO TRANSACTIONAL MODEL. 4
UNIT 18 COMMUNICATION IN ORGANIZATION II : SOCIAL MEDIA MARKETING
COMMUNICATION: BLOG WRITING: HOW TO CREATE A BLOG, HOW
TO CHOOSE THE RIGHT TYPE OF BLOG, ARE YOU PASSIONATE
BLOGGER -EXERCISES, TYPES OF BLOG. - HOW TO NAIL YOUR BLOG
POST - PASSION ,KNOWLEDGE AND EXPERIENCE KEY TO BLOGGING.
4
UNIT 19 BUSINESS CORRESPONDENCE : STRUCTURE OF BUSINESS LETTERS:
LEARNING OBJECTIVES, STRUCTURE: BUSINESS LETTER, THE TONE OF
THE LETTER WRITING: FOR SHORTNESS, SIMPLICITY ,STRENGTH,
CLARITY.THINGS TO AVOID, THINGS TO AVOID, RECOMMENDATIONS. 2
UNIT 20 BUSINESS LETTERS : FORM OF BUSINESS LETTERS BLOCK FORM, THE
SEMI BLOCK FORM, SIMPLIFIED LETTER OR NOMA’S LETTER COMPLETE
BLOCK FORM, HANGING INDENTED FORM,
SELF EXAMINATION QUESTION PAPERS. 2
UNIT 21 BUSINESS LETTERS: OFFICERS AND QUOTATIONS( REPLIES TO
INQUIRIES): OBJECTIVES, STRUCTURE, POINTS TO REMEMBER 2
UNIT 22 LETTERS -GRANTING AND REFUSING REQUESTS : IT SHOULD NOT BE
WRITTEN IN ROUTINE AND DULL FASHION -ENCLOSURES -CATALOGUES,
PAMPH LETS ETC -STATING THE ACTION TAKEN, MAKING SPECIFIC
REFERENCE TO THE ENCLOSURES, MOTIVATING ACTION OR BUILDING
GOODWILL. 2
UNIT 23 MAKING THE OFFER: OBJECTIVE: OPEN UP NEW BUSINESS
CONNECTIONS OF TO PLACE ON A FIRM, FIRM BASE ON ALREADY
EXISTING FEEBLE CONNECTION. , CODE OF HONESTY, CONFIDENCE
THROUGH THE MEDIUM OF CORRESPONDENCE. 2
UNIT 24 FIRM OFFER – FIRM OFFER OR AN OFFER WITHOUT
ENGAGEMENT, THIS OFFER IS MADE SUBJECT TO THE STOCK BEING
UNSOLD.SOME TYPICAL OPENING SENTENCES AND SOME TYPICAL
CLOSING SENTENCES. MODEL LETTERS, EXERCISES 2
UNIT 25 ORDERS: LEARNING OBJECTIVES: TO UNDERSTAND THE MEANING OF
ORDERS AND ITS EXECUTION, TO UNDERSTAND THE CANCELLATION OF
THE ORDER AND WHEN IT HAS BEEN OCCURRED, AND HOW TO WRITE
A ORDER LETTER? MODEL LETTERS, AND EXERCISES 2
UNIT 26 INTRODUCTION TO GIVING A ORDER LETTER, GENERAL HINT S:
GENERAL HINTS FOR DRAFTING AN ORDER, CONFIRMATION
/ACKNOWLEDGMENT OF THE RECEIPT OF ORDER, LETTERS ADVISING
THE EXECUTION OF ORDERS, LETTER ADDRESSING INABILITY TO
EXECUTE ORDER, ACKNOWLEDGMENT OF RECEIPT OF GOODS AND
MAKING PAYMENT, CANCELLATION OF THE ORDER. 4
UNIT 27 COMPLAINTS AND ADJUSTMENTS : OBJECTIVES: TO UNDERSTAND
COMPLAINTS, ADJUSTMENT AND ITS CATEGORIES, TO WRITE A MODEL
LETTER FOR COMPLAINTS AND ADJUSTMENTS HAVE PROVIDED, HOW
TO STRUCTURE THE LETTERS: NATURE OF COMPLAINT, REPLY TO
LETTERS O F COMPLAINTS, MODEL LETTERS 4
UNIT 28 TRADE REFERENCES OR STATUS INQUIRES: OBJECTIVES OF THE
LETTER: TO UNDERSTAND THE TRADE REFERENCE FOR WHICH HERE
HAVE GIVEN IMPORTANT POINTS REGARDING THE PROSPECTIVE
CUSTOMER, TO KNOW THE POINTS TO BE INCORPORATED AND TO
REMEMBER WHILE DRAFTING REPLIES TO STATUS INQUIRES.TO WRITE
THE MODEL LETTERS FOR SELF ASSESSMENT. STRUCTURE OF THE
LETTER: POINTS TO BE INCORPORARATED IN A STATUS INQUIRY
LETTERS, RIGHTS AND RESPONSIBILITIES OF THOSE GIVING CREDIT
INFORMATION, POINTS T O REMEMBER WHILE DRAFTING REPLIES TO
STATUS INQUIRIES , MODEL LETTERS. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
PUBLIC SPEAKING, WRITTEN COMMUNICATION,
SOCIAL MEDIA, CORRESPONDENCE
PROFESSIONALISM, TEAM BUILDING &
LEADERSHIP DRAMATIC, NON DRAMATIC,
STORY, PLOT, SUB -PLOT, 3 ACT STRUCTURE
WRITING - FROM CONCEPT TO SCENE
PREPARING FOR END -OF-TERM PROJECT 90 HRS
READING BOOKS:
1. DEVELOPING COMMUNICATION SKILLS
2. ART OF PUBLIC SPEAKING: DALE CARNEGIE J.BERG ESENWEIN
3. ADAIR, JOHN. EFFECTIVE COMMUNICATION LONDON: PAN MACMILLAN LTD., 2003.
4. AJMANI, J. C. GOOD ENGLISH: GETTING IT RIGHT NEW DELHI: RUPA PUBICATIONS, 2012.
5. AMOS, JULIEANN. HANDLING TOUGH JOB INTERVIEWS MUMBAI: JAICO PUBLISHING, 2004.
6. BONET, DIANA THE BUSINESS OF LISTENING: THIRD EDITIONNEW DELHI: VIVA BOOKS, 2004.
7. BOVEE, COURTLAND L, JOHN V. THILL & BARBARA E. SCHATZMAN.
8. BUSINESS COMMUNICATION TODAY: TENTH EDITION. NEW JERSEY: PRENTICE HALL, 201
9. BROWN, MICHELE & GYLES BRANDRETH. HOW TO INTERVIEW AND BE
INTERVIEWEDLONDON: SHELDON PRESS, 1994.
REFERENCE LINKS:
10. HTTP://WWW.MAXIMUMADVANTAGE.COM/ADVANTAGES -OF-EFFECTIVE -
COMMUNICATION.HTML
11. HTTP://NETWORKETIQUETTE.NET/
12. HTTPS://PUBLIC.WSU.EDU/~BRIANS/ERRORS/
13. HTTP://USERS3.EV1.NET/~PAMTHOMPSON/BODY_LANGUAGE.HTM
14. HTTP://WWW.ALBION.COM/NETIQUETTE/CORERULES.HTML
15. HTTP://WWW.BBC.CO.UK/WORLDSERVICE/LEARNINGENGLISH/RADIO/SPECIA
LS/1535_QUESTIONANSWER/PAGE15.SHTML
16. HTTP://WWW.COLOSTATE.EDU/DEPTS/SPEECH/RCCS/THEORY44.HTML
17. HTTP://WWW.DAILYWRITINGTIPS.COM/
RSACE 1:7 CHARACTER DEVELOPMEN T &
BEHAVIORAL SCIENCE TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 DEVELOPING ONESELF - GETTING ONE'S DESIGN -DEALING WITH
ISSUES, COMPLAINTS, ANGER, LOW SELF -ESTEEM, UNWORKABILITY
4
UNIT 2 LEARNING TO BE & LEARNING TO BE WITH OTHER PEOPLE (UNESCO) -
PEOPLE WITH GREAT COMMUNICATION SKILLS TEND TO HAVE A
BETTER AND IMPRESSIVE PERSONALITY - EFFECTIVE COMMUNICATION
SKILLS STREN GTHEN THE BOND AMONG INDIVIDUALS 2
UNIT 3 HOW TO IMPROVE ONE’S PERSONALITY WITH THE HELP OF GOO D
COMMUNICATION? – BE A BETTER LISTENER – READ MORE AND
EXPAND YOUR INTEREST S 2
UNIT 4 STUDY OF HUMAN BEHAVIOUR - PSYCHOLOGY & BEHAVIOURAL
SCIENCE IN TODAY’S WORLD - BEHAVIOURAL DEVELOPMENT GROOMS
AN INDIVIDUAL AND HELPS HIM MAKE A MARK OF HIS/HER OWN -
PERSONALITY DEVELOPMENT GOES A LONG WAY IN REDUCING STRESS
AND CONFLICTS . 2
UNIT 5 PRONOUNCIATION OF WO RDS AND PERSONALITY DEVELOPMENT -
SPEECH AND PERSONALITY DEVELOPMENT ARE ONE OF THE MOST
IMPORTANT ASPECTS OF AN INDIVIDUAL ESPECIALLY DURING HIS/HER 4
FORMATIVE YEARS. DEVELOPING AND ENHANCING OUR
COMMUNICATION AND SPEECH HELPS US TO BE BETTER PRESENTERS
OF OUR IDEAS. AT THE SAME TIME, PERS ONALITY DEVELOPMENT IS A
MEANS AND A METHOD THAT HELPS US TO DEVELOP OUR PERSONA
LITY SUCH THAT WE CAN BECOME BETTER, SMARTER AND BRIGHTER
INDIVIDUALS.
UNIT 6 HOW TO OVERCOME SHYN ESS AND GAIN MORE CO NFIDENCEFOR
COMMUNICATION - BEING SHY OR FEELING ANXIE TY IS NOT A DISEASE
OR SIGN OF ANY DISABILITY. IT IS ONLY THAT PERHAPS YOU TEND TO
TAKE YOUR STRENGTHS FOR GRANTED AND FOCUS TOO MUCH ON
YOUR WEAKNESSES. THE SECOND GOOD NEWS IS THAT THERE IS
ABSOLUTELY NO NEED TO UNDERGO A MAJOR CHANGE. ALL YOU
NEED IS SO ME TWEAKING BY MAKING SOME IMPORTANT AND USEFUL
ADDITIONS TO YOUR THINKING, STYLE, HABITS AND APPEARANCES. 4
UNIT 7 HOW CAN YOU IMPROVE YOUR PERSONALITY AT YOUR
WORKPLACE - PERSONALITY DEVELOPMENT PLAYS AN IMPERATIVE
ROLE AT WORKPLACE AS IT DECIDES THE WAY AN INDIVIDUAL
INTERACTS WITH HIS FELLOW WORKERS AND RESPONDS TO VARIOUS
SITUATIONS - PERSONALITY DEVELOPMENT CLASSES AT THE
WORKPLACE EXTRACT THE BEST OUT OF INDIVIDUALS AND
ENCOURAGE THEM TO DELIVER THEIR LEVEL BEST . 4
UNIT 8 MOTIVATION AND TECHNIQUE FOR A POSITIVE LIFE - START WITH
WRITING DOWN YOUR ACCOMPLISHMENT FEELINGS. BY THIS, IT
MEANS THAT IT’S IMPORTANT FOR ALL OF US TO WRITE DOWN WHAT
WE WANT TO ACHIEVE, BECAUSE AS THEY SAY WHEN IN WRITING ITS
EASIER FOR ANYONE TO FOLLOW IT OR STRIV E TO ATTAIN IT. IN
TERMS OF PHYSICAL ACTIVITIES OR OTHERS, WRITING DOWN OUR
GOAL MAKES ONE CLEAR AND FOCUSED. THESE FEELING CAN BE
SUMMED UP AS FEELING HEALTHIER, MAKING A PRODUCTIVE DAY
AND FEELING HAPPIER AND PUSHING ONESELF. THIS ALWAYS WORKS. 4
UNIT 9 STAGESOFMOTIVATION : THE FIRST TYPE OF MOTIVATION IS BASED
ON AN EMOTIONAL FEELING. THE EMOTION THAT WE ARE REFERRING
TO COULD BE OF A POSITIVE OR NEGATIVE NATURE. IT IS SOMETHING
WHICH KICK -STARTS OUR DESIRE. WHEN YOU READ SOMEONE’S
SUCCESS STORY OR SOMET HING THAT YOU ARE PASSIONATE ABOUT IT
FUELS YOUR MIND. ALSO THERE ARE TIMES WHEN PEOPLE GET
SUDDENLY MOTIVATED ON HEARING SOME BAD NEWS. BOTH THE
POSITIVE AND NEGATIVE TYPES ARE VERY TEMPORARY. THE INITIAL
BURST OF ENERGY VANISHES AND IS NOT SUSTAINED BY T HE
INSPIRATION OR WAKE UP CALL. 4
UNIT 10 WHAT ARE COMPONENTS OF PERSONALITY – THE COMPONENTS OF
PERSONALITY ARE HABI TS, ATTITUDES, INTER EST, VALUES, PRINCIP LES
AND INTELLECTUAL CAP ACITY 2
UNIT 11 STEPS TO IMPROVE YOU R PERSONALITY – BE A BETTER LISTENER ,
READ MORE AND EXPAND YOUR INTEREST, BE A GOOD
CONVERSATIONALIST 2
UNIT 12 STUDY OF CHARACTERS FROM EPICS, LITERATURE & CINEMA 2
UNIT 13 IMPORTANCE OF CHARAC TER IN PERSONALITY D EVELOPMENT -
CHARACTER REFERS TO THE SUM OF AN INDIVI DUAL’S QUALITIES AND
CHARACTERISTICS WHICH DIFFERENTIATE HIM/HER FROM OTHERS. AN
INDIVIDUAL’S CHARACTER IS ACTUALLY AN AMALGAMATION OF
HIS/HER QUALITIES WHICH MAKES HIM UNIQUE AND HELPS HIM
STAND APART FROM THE REST. 4
UNIT 14 WRITING AND PERSONAL ITY DEVELOPMENT - MANY PEOPLE MAY
NOT AGREE TO THIS BUT WRITING IS ALSO ONE OF THE MOST
IMPORTANT PARTS OF YOUR PERSONALITY AND HENCE MORE AND
MORE SCHOOLS, UNIVERSITIES AND INSTITUTES ARE NOW
INTRODUCING WRITING IN THEIR PERSONALITY DEVELOPMENT
COURSES AND/OR WORKSHOPS. WHAT YOU WRITE ALWAYS GIVES A
GLIMPSE OF WHAT YOU THINK AND WHAT YOU FEEL AND THIS IS
WHAT REFLECTS YOUR PERSONALITY AND YOUR INNER BEING. HENCE
DEVELOPING YOUR WRITING SKILLS IS ALSO AN INTEGRAL PART OF
PERSONALITY DEVELOPMENT. 4
UNIT 15 SOFTSKILLS AND PERSO NALITY DEVELOPMENT - SOFT SKILLS ARE
ESSENTIALLY PEOPLE SKILLS -- THE NON -TECHNICAL, INTANGIBLE,
PERSONALITY -SPECIFIC SKILLS THAT DETERMINE ONE'S STRENGTHS AS
A LEADER, SPEAKER, LISTENER, NEGOTIATOR, AND CONFLICT
MEDIATOR. 2
UNIT 17 HOW DOES BODY LANGUAGE A FFECT THE DEVELOPMEN T OF THE
PERSONALITY? - FOR ACHIEVING EFFECTIVE PERSONALITY, PROPER
BODY LANGUAGE IS REQUIRED. BODY LANGUAGE IS A NON -VERBAL
COMMUNICATION WHICH IS EXPRESSED THROUGH FACIAL
EXPRESSIONS, GESTURES, POSTURE, AND BODY MO VEMENTS. THESE
GESTURES AND POSTURES SAY A LOT ABOUT OUR PERSONALITY. 4
UNIT 18 COMMUNICATION AND EF FECTIVE LISTENING SK ILLS – LISTENING
SKILLS ARE MORE POWE RFUL THAN COMMUNICAT ION SKILLS –
LISTENING WITH EMPAT HY – GIVING OPPORTUNITY T O OTHERS TO
SPEAK OUT 2
UNIT 19 COMMUNICATION AS POW ER FOR HUMAN BEING – IT IS NOT WHAT
YOU SAY BUT HOW YOU SAY MAKES A DIFFEREN CE –
COMMUNICATI ON IS CONSIDERED TO BE ONE OF THE HYGIEN E
FACTORS FOR LIFE – COMMUNICATION IS THE BIGGEST PROPERTY OF
HUMAN BEING WITH POW ER IN IT. 2
UNIT 20 COMMUNICATION TECHNI QUES – DEFINE ACRONYMS – REDUCE
JARGONS – LEVEL OBJECTIONS – USE HUMOUR – AECDOTES AND
STORIE S – ASK FOR FEEDBACK – INCREASE YOUR VOCABU LARY –
ELIMENATE AUDIBLE PA USES – ENUNCIATE CLEARLY – PRACTICE
PRONOUNCNG WORDS PRO PERLY – EXERCISE TOUNGE, JAW S AND
LIPS – MAKE EYE CONTACT - GESTURES 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
DEVELOPING ONESELF - GETTING ONE'S
DESIGN -DEALING WITH ISSUES, COMPLAINTS,
ANGER, LOW SELF -ESTEEM, UNWORKABILITY
LEARNING TO BE SOCIAL & LEARNING TO BE
WITH OTHER PEOPLE ,STUDY OF HUMAN
BEHAVIOUR - PSYCHOLOGY & BEHAVIOURAL
SCIENCE
STUDY OF CHARACTERS FROM EPICS,
LITERATURE & CINEMA
CREATING & BUILDING CHARACTERS 120 HRS
REFERENCE LINKS :
HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ SELF -HELP/THE -PROCESS -OF-
PERSONALITY -DEVELOPMENT.HTM
HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ SELF -HELP/THE -FACTORS -OF-
PERSONALITY -TRAITS.HTM
HTTPS://WWW.UNIVERSA LCLASS.CO M/ARTICLES/BUSINESS/ COMMUNICATION -
STUDIES/UNDERSTANDIN G-THE-SELF -FOR-BETTER -COMMUNICATION.HTM
HTTPS://WWW.UNIVERSA LCLASS.CO M/ARTICLES/SELF -HELP/THE -ROLE -OF-
NONVERBAL -COMMUNICATION -IN-EFFECTIVE -COMMUNICATION.HTM
- HTTP://WWW.PERSONALITYDEVELOPMENT.ORG/WP -
CONTENT/UPLOADS/2011/12/IMAGE21. PNG
HTTPS://BOOKS.GOOGLE.CO.IN/BOOKS?ID=2OBX1DRWHGSC&PG=PA1&LPG=PA1&DQ=PERS
ONALITY+DEVELOPMENT+MEANING&SOURCE=BL&OTS=MFGEPVW0AY&SIG=ZLWUUWGLSL
68IASWV -4R_BUR6S4&HL=EN&SA=X&VED=0AHUKEWJR4 -
FC8DRSAHXERO8KHEPTCGW4CHDOAQG7MAY #V=ONEPAGE&Q=PERSONALITY%20DEVELOP
MENT%20MEANING&F=FALSE
HTTP://WWW.MANAGEMENTSTUDYGUIDE.COM/IMPORTANCE -OF-CHARACTER -IN-
PERSONALITY -DEVELOPMENT.HTM
HTTP://WWW.ESSENTIALLIFESKILLS.NET/IMPROVEYOURPERSONALITY.HTML
HTTP://WWW.GLOBALTALENT.CO.IN/UPLOADS/DOWNLOADS/COMMUNICATION -SKILLS --
PERSONALITY -DEVELOPMENT.PDF
HTTPS://WWW.AIAA.ORG/UPLOADEDFILES/EDUCATION_AND_CAREERS/CAREER_CENTER/P
RESENTATION_ARCHIVES/2005/101 -WAYS -TO-IMPROVE -YOUR -COMMUNICATION -SKILLS -
2005.PDF
RSACE 1:8 INTRODUCTION TOPHOTO GRAPHY TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 HISTORY OF PHOTOGRAP HY
"PHOTOGRAPHY" IS DER IVED FROM THE GREEK WORDS PHOTOS
("LIGHT") AND GRAPHEIN ("TO DRAW"). THE WOR D WAS FIRST USED
BY THE SCIENTIST SIR JOHN F.W. HERSCHEL I N 1839. IT IS A METH OD
OF RECORDING IMAGES BY THE ACTION OF LIGHT, OR RELATED
RADIATION, ON A SENS ITIVE MATERIAL. 2
UNIT 2 PHOTOGRAPHY THE TRAD ITIONAL METHOD
TRADITIONAL PHOTOGRA PHIC PROCESS CONSIST S OF THREE MAIN
PHASES, EXPOSING, DE VELOPING & PRINTING. A LIGHT SOURCE
FALLING ON A SUBJECT GETS REFLECTED. IT I S SENT THROUGH A LENS
SYSTEM TO FORM A IMA GE ON A LIGHT SENSIT IVE FILM. THE LATENT
IMAGE IS THEN DEVELO PED TO A VISIBLE IMA GE, FURTHER CHEMICAL
DEVELOPMENT IS STOPP ED, EXISTING IMAGE I S FIXED AND THEN
WASHED TO GIVE A NEG ATIVE IMAGE. IN PRIN TING PROCESS
NEGAT IVE IMAGE IS PLACED BETWEEN A LIGHT SOUR CE AND A LIGHT
SENSITIVE PAPER TO C REATE A POSITIVE LAT ENT IMAGE WHICH IS
LATER DEVELOPED AND FIXED IN A MORE OR L ESS SIMILAR PROCESS
LIKE THE NEGATIVE. 2
UNIT 3 OBSERVATON OF LIGHT SENSITIVE MATERIALS.
ANOTHER IM PORTANT EVOLUTION IN PHOTOGRAPHY IS THE I NTEREST
OF HUMAN RACE TO STU DY ABOUT LIGHT SENSI TIVE MATERIALS.
MORE THAN 2,000 YEAR S THE ANCIENT PHOENI CIANS (THE FIRST
CIVILIZED NATION IN THE WORLD) KNEW THAT A CERTAIN SNAIL LEFT
A YELLOW SLIME THAT TURNED PURPL E BECAUSE OF ITS EXP OSURE TO
SUNLIGHT . 2
UNIT 4 OBSERVATON OF COLOR .
COLOR AS SUCH DOES N OT EXIST IN THE WORL D; IT EXISTS ONLY IN
THE EYE AND BRAIN OF THE BEHOLDER. OBJECT S REFLECT MANY
DIFFERENT WAVELENGTH S OF LIGHT WAVES, BU T THESE LIGHT WAVES
THEMSELVES HAVE NO C OLOR. DIFFERENT WAVE LENGTHS INDUCE
DIFFERENT TYPES OF C ONES. THE RESULT OF THIS REACTION IS
VISUALIZED AS COLOR IN OUR BRAIN. THERE ARE THREE DIFFERENT
TYPES OF CONES IN OU R EYE WHICH RESPOND TO THREE MAIN AREAS
OF ELECTRO MAGNETIC SPEC TRUM, RED, GREEN AND BLUE.
2
UNIT 5 DIFFERENT TYPES OF C AMERAS
INSTANT COLOR FILM W AS INTRODUCED BY POL AROID IN 1963. LIKE
POLAROID'S CONTEMPOR ARY INSTANT BLACK -AND -WHITE FILM, THEIR
FIRST COLOR PRODUCT WAS A NEGATIVE -POSITIVE PEEL -APART
PROCESS WHICH PRODUCED A UNIQUE PR INT ON PAPER. THE
NEGATIVE COULD NOT B E RE -USED AND WAS DISCARD ED. DIGITAL
CAMERAS DIFFER FROM THEIR ANALOG PREDECE SSORS PRIMARILY IN
THAT THEY DO NOT USE FILM, BUT CAPTURE AN D SAVE
PHOTOGRAPHS ON DIGIT AL MEMORY CARDS OR I NTERNAL STORAG E
INSTEAD. THEIR LOW O PERATING COSTS HAVE RELEGATED CHEMICAL
CAMERAS TO NICHE MAR KETS 2
UNIT 6 PHOTOGRAPHIC PRINTS
TRADITIONALLY, LINEN RAG PAPERS WERE USED AS THE BASE FOR
MAKING PHOTOGRAPHIC PRINTS. PRINTS ON FI BER-BASE PAPER
COATED WITH A GELATI N EMUL SION ARE QUITE STABL E WHEN
PROPERLY PROCESSED. THEIR STABILITY IS E NHANCED IF THE PRINT IS
TONED WITH EITHER SE PIA (BROWN TONE) OR SELENIUM (LIGHT,
SILVERY TONE).
THE NEXT INNOVATION IN PHOTOGRAPHIC PAPE RS WAS RESIN -
COATING, OR WATER -RESISTANT PAPER. THE IDEA IS TO USE
NORMALLINEN FIBER -BASE PAPER AND COAT IT WITH A PLASTIC
(POLYETHYLENE) MATER IAL, MAKING THE PAPE R WATER -RESISTANT.
THE EMULSION IS PLAC ED ON A PLASTIC COVE RED BASE PAPER. THE
PROBLEM WITH RESIN -COATED PAPERS IS THA T THE IMAGE RIDES ON
THE PLA STIC COATING, AND IS SUSCEPTIBLE TO FADIN G.
2
UNIT 7 FILM VS DIGITAL
COLOR FILM HAS NOW B EEN RELEGATED TO A N ICHE MARKET BY
INEXPENSIVE MULTI -MEGAPIXEL DIGITAL CA MERAS AND THE
CONVENIENCE OF MAKIN G NON -PHOTOGRAPHIC COLOR P RINTS AT
HOME. FILM CONTINUES TO BE THE PREFERENCE OF SOME
PHOTOGRAPHERS BECAUS E OF ITS HIGH IMAGE QUALITY (WHEN USED
WITH A HIGH -QUALITY CAMERA AND L ENS) AND ITS DISTINC TIVE
"LOOK." IN MEDIUM AN D LARGE FORMATS, ITS EFFECTIVE PIXEL
COUNT HAS NOT YET (A S OF 2010) BEEN EQUA LED BY ANY
COMME RCIALLY AVAILABLE AN D REASONABLY PRICED DIGITAL
CAMERA. 2
UNIT 8 CHRONOLOGY OF PHTOGR APHY PROCESSS
PHOTOGRAPHY WAS ONE OF THE MOST IMPORTAN T INVENTIONS OF
THE NINETEENTH CENTU RY. THE MEN AND WOME N WHO WORKED
WITH PHOTOGRAPHIC MA TERIALS FACED MANY C HALLENG ES.
SOLVING ONE PROBLEM OFTEN CREATED ANOTHE R. ONE PROCESS
REPLACED ANOTHER AS PHOTOGRAPHY BECAME C HEAPER, EASIER,
SAFER AND MORE DURAB LE. HOWEVER, SEVERAL PROCESSES WERE
OFTEN POPULAR AT THE SAME TIME, MUCH LIKE FILM AND DIGITAL
PICTURES ARE BOTH PO PULAR TODAY. 2
UNIT 9 INTRODUCTION TO DIGITAL PHOTOGRAPHY
DIGITAL CAMERAS HAVE A LENS, APERTURE, AN D SHUTTER, BUT THEY
DO NOT USE FILM. INS TEAD, DIGITAL CAMERA S USE A SOLID -STATE
DEVICE CALLED AN IMA GE SENSOR.
ALTHOUGH THE IMAGE Q UALITY IS NOT AS GOO D AS CONV ENTIONAL
PHOTOGRAPHS, DIGITAL IMAGES ARE CONVENIEN T BECAUSE THEY DO
NOT REQUIRE CHEMICAL S OR PAPER TO PROCES S. THEY CAN BE
DISPLAYED ON A WEB P AGE, SENT VIA E -MAIL, STORED ON A
COMPUTER HARD DRIVE OR A COMPACT DISC, A ND PRINTED ON A
PAGE. 2
UNIT 10 EYE OF THE PHOTOGRAPHER
EYE OF THE PHOTOGRAPHER, THIS SUBJECT TRAIN YOU TO ASK
YOURSELF THREE FUNDAMENTAL QUESTIONS AS YOU DEVELOP THE
PERFECT COMPOSITION THROUGH YOUR VIEWFINDER. LEARN TO
EFFECTIVELY CAPTURE EXPRESSIVE MOMENTS WITH ACCURACY AND
ART AS YOU DEVEL OP A KEEN SENSE OF EFFECTIVE PHOTOGRAPHIC
STORYTELLING.
2
UNIT 11 TYPES OF CAMERAS
CAMERAS, WE WILL STUDY A COMPREHENSIVE HISTORY OF CAMERAS.
FROM PINHOLES TO POINT -AND -SHOOTS, YOU’LL DEVELOP A BROAD
BACKGROUND UNDERSTANDING OF CAMERA HISTORY, ENDING WI TH
AN ANALYSIS OF THE OPTIONS AVAILABLE TO YOU TODAY.
2
UNIT 12 LENSES AND FILTERS
IN LESSON 1.3: LENSES AND FILTERS, WE’LL LOOK MORE CLOSELY AT
THE TWO ESSENTIAL ELEMENTS IN ANY PHOTOGRAPH WORKFLOW AS
WE EXPLORE CAMERA FUNCTION VIA LENSES AND FILTERS. WE’LL
START BY DISCUSSING BASICS SUCH AS CAMERA AND LENS
COMBINATION OPTIONS, DIAPHRAGM AND APERTURE, THEN MOVE
ON TO MASTER F -STOPS AND FOCAL STRENGTH.
2
UNIT 13 HOW TO USE YOUR CAMERA
IN LESSON 1.4: HOW TO USE YOUR CAMERA, WE’RE GOING TO ADD
TWO MORE T ECHNIQUES TO YOUR GROWING ARSENAL OF CREATIVE
CONTROLS. BEGINNING WITH A COMPREHENSIVE REVIEW OF YOUR
CAMERA’S VIEWING SYSTEM, BY THE END OF THIS LESSON YOU’LL
HAVE MASTERED TECHNIQUES FOR ADJUSTING BOTH DEPTH OF FIELD
AND SHUTTER SPEED. 2
UNIT 14 DEVELOP ING YOUR EYE
IN LESSON 2.1: DEVELOPING YOUR EYE, WE WILL BEGIN TO HARNESS
YOUR NATURAL ABILITY TO CREATE BEAUTIFUL IMAGES AS WE 2
CHANNEL THE MOST EFFECTIVE PHOTOGRAPHIC TECHNIQUES OF
VISUAL ORGANIZATION AND STORYTELLING. LEARN TO EMPHASIZE
YOUR MESSAGE THROUGH EFFECTIVE SUBJECT PLACEMENT AS WE
ARRANGE ALL ELEMENTS OF YOUR IMAGE CA REFULLY WITHIN YOUR
COMPOSITION
UNIT 15 IMAGE CAPTURE
IN LESSON 2.2: IMAGE CAPTURE, WE BEGIN TO EXPLORE THE
MECHANICS BEHIND HOW IMAGES ARE RECORDED DIGITALLY,
INCLUDING A BR IEF BIT OF CONTEXT REGARDING HOW THEY’RE
CAPTURED ON ACTUAL FILM. AT THIS POINT, YOU SHOULD BE WELL
VERSED IN DIGITAL IMAGE SENSORS AND WILL BEGIN TO
ADDITIONALLY UNDERSTAND THE INTRICACIES OF FILM EXPOSURE AS
WELL. 2
UNIT 17 EXPOSURE
EXPOSURE, WE WILL HELP YOU EXPLORE YOUR PERSONAL JUDGMENT
REGARDING CORRECT, AESTHETICALLY PLEASING EXPOSURE. WE’LL
START BY EXPLORING THE ROLE YOUR EQUIPMENT PLAYS IN
EXPOSURE DETERMINATION THEN MOVE ON TO MASTER THE 5 BASIC
EXPOSURE MODES AS WE CONTINUE TO HELP YOU ACHIEV E THAT
PERFECT, WELL -LIT SHOT. 2
UNIT 18 WORKFLOW AND IMAGE EDITING
WORKFLOW AND IMAGE EDITING, WE'RE GOING TO COVER THE
WORKFLOW AND IMAGE EDITING THAT YOU'LL BE DOING IN POST -
PRODUCTION, THE PHASE OF WORK THAT BEGINS WITH THE CAMERA
AND THE CAPTURE OF IMAGES IN RAW, JPEG OR TIFF FORMATS. FROM
BACKING UP FILES TO DELIVERING PROOFS, BY THE END OF THIS
LESSON YOU’LL HAVE MASTERED A SEAMLESS, EFFECTIVE PERSONAL
WORKFLOW. 2
UNIT 19 NATURAL AND AVAILABLE LIGHT
NATURAL AND AVAILABLE LIGHT, WE WILL DISCUSS WHA T IT’S LIKE TO
WORK WITH BOTH NATURAL AND ARTIFICIAL LIGHT. WHEN COVERING
AVAILABLE LIGHT PHOTOGRAPHY, YOU’LL LEARN TO EFFECTIVELY
CAPITALIZE ON AND USE THE LIGHT THAT ALREADY EXISTS IN A SCENE.
BY THE END OF THIS LESSON, YOU LEARN TO ACTUALLY SEE LIGHT ON
A DAILY BASIS THROUGH THE EYES OF AN EVER -DILIGENT
PHOTOGRAPHER. 2
UNIT 20 ARTIFICIAL LIGHT -FLASH
ARTIFICIAL LIGHT -FLASH, WE’LL BEGIN BY EXAMINING THE VARIOUS
TYPES OF FLASH UNITS AND HOW THEY WORK, AND THEN WE’LL
TEACH YOU HOW TO USE APPROPRIATE FLASH L IGHTING TO ITS BEST
ADVANTAGE. FROM POP -UP FLASH TO WIRELESS, BY THE END OF THIS
LESSON YOU’LL BE ABLE TO ACHIEVE THE PERFECT ARTIFICIAL
LIGHTING SCENARIO TO CAPTURE WHATEVER MOOD YOU’RE HOPING
TO ACHIEVE IN YOUR FUTURE SHOTS.
LEARN HOW TO TAKE BETTER PHOTOS 2
ANYTIME – ALL NYIP COURSES ARE ONLINE, SO YOU DECIDE
WHEN CLASS IS IN SESSION. START WHEN YOU’RE READY AND
STUDY IN YOUR FREE TIME.
ANYWHERE – LOG ON AND WORK ON YOUR COURSE FROM
ANY INTERNET -CONNECTED DEVICE – COMPUTERS, TABLETS,
AND SMARTPHONES, NO MATTER WHERE YOU ARE IN THE
WORLD.
AT YOUR OWN PACE – WITH NO DEADLINES OR DUE DATES,
YOU ARE IN CONTROL OF HOW QUICKLY YOU PROGRESS
THROUGH THIS COURSE.
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
PORTRAIT SHOOT
EXPERMENTATION WITH SHUTTER SPEED
EXPERMENTATION WITH APPRETURE
DIFFERENT LIGHT (DAY LIGHT, FLASH LIGHT,
NIGHT LIGHT)
EXPERIMENTATION WITH ISO 90 HRS
REFERENCE BOOK & LINKS :
2. Understanding Exposure, 3rd Edition: How to Shoot Great Photograph s with Any Camera by
Bryan Peterson
3. The Photographer’s Eye: Composition and Design for Better Digital Photos by Michael
Freeman
4. Extraordinary Everyday Photography: Awaken Your Vision to Create Stunning Images Wherever
You Are by Brenda Tharp and Jed Manwarin by Jim Miotke
5. BetterPhoto Basics: The Absolute Beginner’s Guide to Taking Photos Like a Pro by Jim
Miotke
6. The Art of Photography: An Approach to Personal Expression by Bruce Barnbaum
7. David Busch’s Mastering Digital SLR Photography by David D. Busch
RSACE 1:9 MOTION GRAPHICS TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 WHAT IS MOTION GRAPH ICS – INTRODUCTION – THE RULES OF
DESIGN – DESIGN IS ALL ABOUT VISUAL COMMUNICATION WHICH IS
STRONGER THAN WORDS ALONE. THERE ARE RU LES REGRADING
COLOR, TYPOGRAPHY AN D COMPOSITION. MOTIO N DESIGNERS AL SO
USE MOTION AND SOUND TO COMMUNICATE IDEAS 2
UNIT 2 THE DESIGN PROCESS – PREPERATION – JOT DOWN THE IDEAS A ND
SKETCHES THAT COME T O YOUR MIND – UNDERSTANDING BRIEF IS
IMPORTANT - IT CAN INCLUDE INFOR MATION ABOUT TARGET
AUDIENCE , PREFFERED COLOR SCHEMES, FONTS , LOGOS, PROGRAM
INFORMATION BEOFRE YOU GIVE VIS UAL REPRESENTATION 2
UNIT 3 – VISUAL RESEARCH – TECHNICAL RESEARCH – EXPERIMENTATION -
SKETCHBOOKS 2
UNIT 4 DEVELOPMENT – MOODBOARDS – STORYBOARDS – WHY DO WE USE
STORYBOARDS – SOFTWARE – PAL DIMENSIONS – NTSC DIMENSIONS 2
UNIT 5 PHOTOGRAPHING ARTWORK – CREATING YOUR OWN CO MPOSITE
IMAGES – POST PRODUCTION 2
UNIT 6 TESTING – AUDIENCE TESTING – TECHNICAL TESTING DE LIVERY, TIME
MANAGEMENT - SCHEDULING 2
UNIT 7 WHAT IS COMPOSITION – ELEMENTS OF COMPOSIT ION INCLUDE
SPACE, SHAPE, LINE , SIZE, DEPTH, MOTION, COLOR, TEXTU RE 2
UNIT 8 FUNDEMENTALS OF ADOB E AFTER EFFECTS, THE INTERFACE, THE
WORKSPACE, TOOLS AND EDIT PARAMENTER 4
UNIT 9 TITLE GRAPHICS AND E FFECTS IN AFTER EFFE CTS, THE VARIOUS
TECHNIQUES AND TIPS TO CREATE STUNNING M OTION GRAPHICS
EFFECTS 4
UNIT 10 ARRANGEMENTS OF COMP OSITION – FRAMING, STAGING 2
UNIT 11 USE OF GRIDS – SCREEN DIVISION – THE RULE OF THIRDS - DIVINE
PROPORTION - BREAKING THE GRID – PERSPECTIVE GRIDS 2
UNIT 12 PRINCIPLES OF COMPOS ITION – UNITY – LIMITATIONS – HARMONY –
REPETITION – VARIETY - DIRECTION - GROUPING 2
UNIT 13 GESTALT THEORY – CONT INUITY, BALANCE , SY MMETRY , HIE RARCHY ,
CONTRAST, MOVEMENT 2
UNIT 14 FUNDEMENTALS OF EDIT ING IN ADOBE PREMIER , THE INTERFACE, THE
WORKSPACE, TOOLS AND EDIT PARAMENTER 2
UNIT 15 TITLE GRAPHICS AND E FFECTS IN AFTER EFFE CTS, THE VARIOUS
TECHNIQUES AND TIPS FOR EDITING. 2
UNIT 16 COLOR – COLOR PERCEPTION – COLOR AND MEANING – THE ARTISTS
COLOR MODEL – COLOR THEORY 2
UNIT 17 HUE,SATURATION & BRI GHTNESS - COLOR AND TEMPERATUR E –
COLOR MANAGEMENT 2
UNIT 18 EDITING – THE PRINCIPLES OF ED ITING – EDITING APPLICATIONS –
TOOLS 2
UNIT 19 TECHNICAL – VIDEO FORMATS – ASPECT RATIOS – WIDESCREEN 2
UNIT 20 DIGITAL VIDEO PLATFO RMS – CHANNELS – TRANSPERENCY – MASKS 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
TITLE GRAPHICS
TITLE ANIMAITON
INFO GRAPHIC PRESENTATION
KEYING & COMPOSITION 90 HRS
READING REFERENCE
DESIGN ESSENTIALS FO R THE MOTION MEDIA A RTISTS BY ANGIE TAYL OR
ADOBE AFTER EFFECTS IN CLASSROOM
ADOBE PREMIER IN CLA SSROOM
RSACE 1:10 PROJECT SUBMISSION (1ST YEAR) TEACHING
HOURS 20
PROJECT / PORTFOLIO SUBMISSION DETAILS TIME ALLOTED
SUBMISSION GUIDLINE :
PROJECT TITLE
DURATION OF THE PROJECT
PROJECT LEADER AND LIST OF TEAM MEMBER
CONTACT DETAILS OF THE MAIN TEAM.
SUMMARY OF PROJECT
INTRODUCTION.
THE RESEARCH AND APPROACHES.
FINAL SUBMISSION.
OUTCOMES / FINDINGS / EVALUATION.
CONCLUSION
ACKNOWLEDGEMENTS.
4
THE FINAL PROJECT PROVIDES THE STUDENT WITH THE TIME TO
DEVELOP A NY ONE FO THE FOLLOWING DEPENDS UPON THE
SPECILIZATION THEY CHOOSE FROM 2ND YEAR.
(1) ART PORTFOLIO – IF A STUDENT CHOOSES ANIMATION
FROM 2ND YEAR.
(2) MOTION GRAPHICS DEMOREEL – IF A STUDENT CHOOSES
VISUAL EFFECT FROM 2ND YEAR.
(3) SHORT FILM – IF HIS / HER ELECTIV E SUBJECT IS FILM ART /
FILM PRODUCTION / SREEN WRITING.
FINALIZING THE WRITING 2 -5 MINS FILM
PRE PRODUCTION & PLANNING, BUDGETING ETC.
FINALISING LOCATIONS AND ATORS, REHEARSALS
SHOOTING & EDITING
ADDITIONAL EDI TING & SOUND WORK WITH BASIC MIX ING
(2 TRACKS )
10
YEAR – 02
THIRD SEMESTER
RSACE 3.1 1 ANIMATION PREPRODUCT ION TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 WHAT IS PRE PRODUCTI ON? – IT ENTAILS ALL PLANN ING PRIOR TO
PRODUCTION & MAIN CO NCEPTS ARE TURNED IN TO A STORY. IT IS
WHERE IDEAS ARE STRE AMLINED, SHAPED AND REFINED PRIOR TO
THE PRODUCTION PROCE SS. RESERCH PROCESS, COLLECTING
REFERENCES IN THE FO RM OR IMAGES AND VID EO DETAILS CREATE A
ROADMAP FOR THE PROJ ECT AND DEVELOPING I NPUTS FOR THE
PRODUCTION PROCESS. 2
UNIT 2 STEPS IN PRE PRODUCT ION – IDEA & CONCEPT DESIG N - THIS IS THE
INITIAL STEP THAT WILL SERVE AS THE IMPETUS FOR CREATING AN
ANIMATED FILM. WHETHER IT IS A SHORT FILM, A FULL -LENGTH
ANIMATED FI LM OR PART OF LIVE ACTION -SHOTS, IT ALL BEGINS
WITH THE IDEA, CONCEPT DESIGN. IT SIMPLY REFERS TO THE
GENERAL UNIFYING IDEA OR THEME THAT PROVIDES THE GENERAL
DIRECTION. 2
UNIT 3 SCRIPTING - THE SCRIPT IS JUST A WRITTEN DESCRIPTION OF THE
ANIMATION AND CONTAINS INFORMATION ABOUT EACH SCENE.
SOME OF THE IMPORTANT INFORMATION WRITTEN IN A SCRIPT
INCLUDES THE DIALOGUE, SET DESIGN, CHARACTER DESCRIPTIONS,
CHARACTER ACTIONS, AND CAMERA POSITIONS, ETC. THE SCRIPT IS
BASICALLY A BLUE PRINT FOR THE WHOLE ANIMATION. THIS STEP IS
IMPORTANT BECAUSE IT GIVES AN OVER VIEW OF WHAT THE ENTIRE
ANIMATION IS GOING TO BE AND ALLOWS THE STORYBOARD ARTIST
TO PRODUCE A CLEAR AND CONCISE STORYBAORD. 4
UNIT 4 BACKGROUNDS & LAYOUT S –LAYOUT TAKES ALL THE UPSTREAM
ASSETS SUCH AS BACKGROUND AND PROPS FROM ART
DEPARTMENT, CHARACTERS FROM CHARACTER DESIGNERS,
STORYBOARDS FROM THE STORY DEPARTMENT AND THEY PUT THEM
TOGETHER AND LAY THEM OUT ACCORDING TO WHAT THE
SEQUENCE AND SHOTS CALL FOR ACCORDING TO THE SCRIPT AND
STORYBOARD. 2
UNIT 5 VOICE RECORDING – FIRST TEMPERORY “ SCRATCH” VOIC ES ARE
RECORDED BY ARTIST AS PER THE FINAL SCR IPT. LATER WHEN THE 2
STORY & DIALOUGE ARE FINLIZED, PROFESSION AL ACTORS ARE
INVOLVED IN RECORDIN G THE CHARACTER VOIC ES, READING THE
SCRIPT AND IMPROVISI NG. ACTORS MUST RECO RD LINES SEVERAL
DIFFERENT WAYS AND T HE BEST READING IS EVEN TUALLY
ANIMATED. SOMETIMES SCRATCH VOICES ARE S O GOOD, THEY ARE
NOT REPLACED.
UNIT 6 EXPOSURE SHEETS - EXPOSURE SHEETS ARE USED BY THE ANIMATOR
TO KEEP TRACK OF ALL THE DRAWINGS THAT THEY’RE GOING TO BE
ANIMATING, THE TIMING OF EAC H DRAWING, THE ORDER THEY GO
IN WHEN SHOOTING AS WELL AS THE LEVELING – PRODUCTION
NUMBER – SCENE NUMBER – SCENE FOOTAGE OR SCENE LENGTH –
DESCRIPTION, ANIMATOR – NUMBER OF DRAWINGS 2
UNIT 7 CHARACTER DESIGNING : CHARACTER DESIGN COVERS ALL REALMS
OF STORYTELLING, WHETHER IN THE FORM OF A SHORT FILM,
SINGLE SHOT, MUSIC ALBUM, GAME, ETC; IN WHATEVER FORMAT
YOU CHOOSE TO TELL YOUR STORY, YOUR CHARACTERS HAVE TO BE
BELIEVABLE. THE CHARACTER DESIGN AND DEVELOPMENT (TU RN
AROUNDS, MODEL SHEET, EXPRESSIONS, ETC) ARE ESSI ENTIAL TO
TAKE IT TO THE PRODUC TION. THE ARTIST HAVE TO BE FAMILIARISE
THEMSELVES IN GREAT DETAIL WITH THE REAL IN ORDER TO
IMAGINE THE UNREAL. 2
UNIT 8 LAYOUT: ESSENTIALLY A LAYOUT ARTISTS TAKES THE STO RYBOARDS
AND TRANSLATES EACH SCENE INTO A USABLE SET OF DRAWINGS
FOR THE ANIMATORS. IN THE OLD PAPER AND PENCIL DAYS THEY
WOULD BE KEPT IN A FOLDER AND PASSED ONTO THE ANIMATORS
AND BACKGROUND ARTISTS, NOW THEY'D BE STORED DIGITALLY IN
MOST CASES IN SHARED FOLDERS.
ELEMENTS OF A LAYOUT
THE FIELD GUIDE AND CAMERA GUIDE, DOPE SHEETS, THE
CHARACTER POSES, THE CLEANED UP BACKGROUND, THE OVERLAYS
OR UNDERLAYS, AND EFFECTS ELEMENTS. EVERY ELEMENT SHOULD
BE LABELED 2
UNIT 9 STORYBOARDING -ONCE THE STORY AND CONCEPT ART IS
ESTABLISHED, THE STORYLINE IS FINALIZED USING STORYBOARDS.
HOW TO CONVERT YOUR SCRIPT OR IDEA INTO A WORKING
STORYBOARD WITH ILLUSTRATIONS , SERIES OF BRAINSTORMING
ACTIVITIES MIGHT BE CONDUCTED TO COME OUT WITH A
STORYBOARD. THE STORY BOARD WILL DEFINE THE CAMERA ANGLES
AND THE VISUAL CONTINUTY . THE CAMERA ANGLES AND
MOVEMENTS SHOULD ENHANCE THE STORY TELLING ASPECTS ON
THE SCREEN. 2
UNIT 10 ANIMATION TIMING - AFTER THE STORYBOARD HAS BEEN SOLIDIFIED
ON BOARDS THE NEXT STEP IS TO TIME THEM. SO FAR WE HAVE
ESTABLISHED THE LOOK OF THE SHOW BUT WE DON’T KNOW HOW
LONG IT WILL TAKE FOR AN ACTION IN EVERY SCENE TO TAKE PLACE.
ON ANIMATED PROJECT THE SHOW IS PRE EDITED DOWN TO THE
EXACT FRAME BEFORE THE PRODUCTION STAGE OFFICIALLY BEGINS.
SINCE THE ANIMATING PROCESS IS EXTRA ORDINARILY TIME
CONSUMING AND EXPENSIVE IT IS IMPORTANT TO FIGURE OUT THE
DETAILS OF WHAT IS REQUIRED FOR EACH SCENE PRIOR TO IT
ENTERING THE PRODUCTION STREAM. 2
UNIT 11 ANIMATICS - THIS IS THE FINAL STAGE OF PRE -PRODUCTION IN
WHICH THE COMPLEX ANIMATION SEQUENCES AND VFX -HEAVY
SCENES ARE VISUALIZED INSIMPLIFIED FORMS OR MOCK -UPS
KNOWN AS ANIMATICS . THE INTEGRATION OF VISUALS, ROUGH
VOICE OVER AND THE MUSIC WILL GIVE A FAIR IDEA FOR THE
PRODUCER AND DIRECTOR ABOUT THE ENTIRE FIL M. 2
UNIT 12 PROJECT PLANNING - ONLY AFTER THE STORY IS FINLIZEDAN
ESTIMATED TIMELINE IS GIVEN FOR THE PROJECT, ALSO BASED ON
THE TIME LINE AND THE MANPOWER THE COSTING IS WORKED OUT.
WE KNOW OF ANIMATION COMPANIES THAT WILL QUOTE A FIXED
PRICE PER RUNNING MINUTE/SECOND OF ANIMATION.
VIDEO RESOLUTION: FIX THE VIDEO RESOLUTIONS, A HIGH -
DEFINITION FOOTAGE INCREASES THE REQUIRED LEVEL OF DETAIL IN
THEMODELS AND MATERIALS AND INCREASES RE NDERING TIMES.
SCENE COMPLEXITY: HOW MANY ANIMATED OBJECTS ARE IN THE
SCENE? ARE THERE CHARACTERS OR OTHER ORGANIC SUBJECTS
THAT WILL BE FEATURED? HOW MANY DIFFERENT SCENES ARE THERE
IN THE ANIMATION?
COMPOSITING: WILL THE ANIMATION BE INTEGRATED WITH LIV E
ACTION (VIDEO) FOOTAGE?
CAD MODELS : DO ACCURATE CAD MODELS EXIST THAT COULD BE
LEVERAGED IN THE ANIMATION?
AUDIO: DO YOU ALREADY HAVE A PRERECORDED NARRATION OR
RIGHTS TO MUSIC THAT YOU WOULD LIKE
TO USE, OR WILL WE BE RESPONSIBLE FOR THE AUDIO PORTION AS
WELL?
2
UNIT 13 POST PRODUCTION PLAN NING : MUSIC & FOLAY, EDI TING & FINAL
OUTPUT FORMATS 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1)OUTDOOR SKETCHING – LANDSCAPE, PERSPECTIVE DRAWING,
OBJECT STUDY AND STILL LIFE.
(2) CREATE A STORY BOARD FOR A 1 MINUTE STORY SEQUENCE –
WITH DIALOGUE AND ACTION NOTE
(3) CREAE AN ANIMATICS OF THE STORY BOARD WITH ROUGH
SOUND AND VOICE OVER. 90 HRS
REFERENCE BOOKS
ANIMATION FROM PENCI L TO PIXEL
FORCE CHARACTER DESI GN FROM LIFE DRAWING S
HOW TO MAKE ANIMATION FILMS – BY TONY WHITE
REFERENCE LINKS
https://www.slideshare.net/Veetildigital/pre -productionpost -process -in-3d-animation
http://www.awn.com/animationworld/producing -animation -storyboarding
http://www.awn.com/animationworld/prod ucing -animation -development -process
http://www.digitalbrew.com/pre -production -production -post -production -defined/
http://www.rmcad.edu/academics/3d -animation -pre-production
https://www.ryankingslien.com/blo g/animated -movies -steps -in-pre-production
http://www.freelance -animation.com/HTML/Animation_Process.html
http://media -freaks.com/the -process -of-3d-animation/
https://www.slideshare.net/dmadzel/gridway -digital -the-3-d-animation -process -and-workflow
http://pixar -animation.weebly.com/pixars -animation -process.html
http://pellacini.di.uniroma1. it/teaching/projects10/lectures/01_pipeline.pdf
RSACE 3.12 CHARACTER DESIGN &
DEVELOPMENT TEACHING
HOURS 30
UNITS COVERAGE MODULES TIME
(LECTURES)
UNIT 1 INTRODUCTION TO CHAR ACTER DESIGN – AS ANIMATION MOVES
AWAY FROM THE TRADIT IONAL ROOTS TOWARDS EVER GREATER
TECHNICAL SOPHISTICATION, ONE THING REMAINS CONSTANT: THE
NEED FOR UNIQUE AND INTERESTING CHARACTERS FOR ANIMATORS TO
BRING TO LIFE. WITH AN EMPHASIS PUT VERY STRONGLY ON DRAWING,
YOU WILL BE GUIDED THROUGH THE FUNDAMENTALS OF CHARACTE R
DESIGN. THE MOST IMPORTANT THING ABOUT "CHARACTERS" IS
KNOWING
THE WHO’S AND WHAT’S OF YOUR CHARACTER.
ALL THE INFORMATION ABOUT YOUR CHARACTER WILL BE
DERIVED OUT OF YOUR STORY. 2
UNIT 2 THUS CREATING A GOOD CHARACTER IMPLIES THAT YOU MUST DESIGN
THAT CHARACTER IN SUCH A WAY THAT PEOPLE WILL LOVE AND RELATE
TO IT ON A VERY INTIMATE LEVEL. IT’S ALL ABOUT THE PERSONALITY
THAT YOU EMPOWER YOUR CHARACTER WITH, AND THAT UNIQUE
PERSONALITY CAN DERIVE FROM THE WAY IT LOOKS, TALKS, WALKS,
THINKS, ETC. CHARACTE R DESIGN CREATES LOVABLE OR MEMORABLE
CHARACTERS , WHETHER THEY ARE GOOD OR BAD, CUTE OR WEIRD,
HAPPY OR SAD.
TAKING INTO ACCOUNT THAT A CHARACTER MUST BE DESIGNED AND
NOT MAGICALLY SUMMONED INTO EXISTENCE, THERE ARE A FEW BASIC
PRINCIPLES OR GUIDELINES WHICH ONE CAN USE AS THE BASE FOR
CREATING A SUCCESSFUL CHARACTER.
FUNCTION – STYLE – PERSONALITY - EXAMPLES 2
UNIT 3 THE CHARACTER DESIGNING PROCESS CAN BE DIVIDED AS FOLLOWS:
1. ATTRIBUTES AND PROPORTIONS
2. EXPRESSIONS 2
3. MODEL SHEET
4. POSES AND GESTU RES
5. COLORS
UNIT 4 THE CHARACTER DEVELOPMENT
1. VISUAL DEVELOPMENT
2. MODELING
3. LOOK DEVELOPMENT
4. ATTITUDE POSSES
5. CHARACTER EXPRESSIONS 2
UNIT 5 THE MOST EXCITING AND MOVING STORY WON'T WORK IF THE
CHARACTERS ARE SHALLOW AND DULL. THEREFORE THE CHARACTER
CREATION SHOULD BE DONE VERY THOROUGHLY AND THE PROJECT
SCHEDULE SHOULD PROVIDE A GENEROUS TIMEFRAME FOR THIS PHASE.
EACH CHARACTER HAS TO BE CAREFULLY MODELED AND RESEARCHED.
THE CHARACTER HAS TO BE INTRIGUING, CONVINCING AND BELIEVABLE.
YOU SHOULD KNOW WHAT YOU ARE WRITING ABOUT AND GET AS
MUCH INFORMATION AS NECESSARY ABOUT A CERTAIN CONTEXT
WHICH IS REQUIRED FOR THE CHARACTER DESIGN IN ORDER TO GET
AUTHENTIC CHARACTERS . 2
UNIT 6 EMOTIONAL BONDING - CHARACTERS ARE THE HEART AND SOUL OF
THE STORY. THEREFORE IT IS ESSENTIAL TO EVOKE EMPATHY, SYMPATHY
OR INTEREST FOR/IN THE PROTAGONIST RIGHT FROM THE START AND
ENABLE THE AUDIENCE TO CONNECT WITH HIM OR HER. AS IN REAL
LIFE, FIRST IMPRESSIONS ARE NOT T O BE UNDERESTIMATED:
"CHARACTERS, LIKE PEOPLE, MAKE GOOD OR BAD FIRST IMPRESSIONS.
WHEN CHARACTERS FIRST SHOW UP IN A STORY, WE START TO LIKE
THEM − OR DISLIKE THEM − RIGHT AWAY". BY INTRODUCING A
CHARACTER TO THE AUDIENCE THE CREATOR SHOULD THEREFORE TRY
TO GIVE AN INTRIGUING FIRST IMPRESSION OF THE 'HERO', WHICH
DOESN'T MEAN THAT THE AUDIENCE NECESSARILY HAS TO LIKE HIM. 2
UNIT 7 DEFINING A CHARACTER – WHEN TRYING TO UNDERSTAND
CHARACTERS, CHARACTERS ARE WOVEN WITH UNIQUE PERSONALITY
TRAITS, AS THE WRITE R/ANIMATION EXPERT -DWIGHT V.
SWAIN POINTED OUT THAT CHARAC TERS "ARE LIKE TAPESTRIES; EACH IS
WOVEN OF MANY THREADS. BUT SOME THREADS ARE MORE VIVID AND
VISIBLE THAN OTHERS, LIKE STRANDS OF RED THROUGH A GRAY
FABRIC". THIS COMPARISON EMPHASIZES THE IMPORTANC E OF
DIVERSITY AND COMPLEXITY AS WELL AS THE SIGNIFICANCE OF
OBVIOUS AND MORE SUBTLE QUALITIES AS PARTS OF GOOD
CHARACTER DESIGN.
UNIT 8 DEEPENING THE CHARACTER – THE CREATION OF A BACKGROUND AND
CHARACTER BIBLE WILL GIVE A DEEP INSIGHT OF THE CHARACTER –
HOW TO COMMUNICATE THE BACKGROUND – MOTIVE, GOALS AND
NEED OF THE CHARACTER AND DEFINING THE BEHAVIOURAL PATTERN
OF THE CHARACTER. 2
UNIT 9 VISUALIZATION OF THE CHARACTERS - THEIR BODY LANGUAGE
(POSTURE AND GESTURE), FACIAL EXPRESSION, CLOTHING, HAIR -STYLE,
MAKE -UP OR ITEMS THEY USUALLY CARRY WITH THEM CAN GIVE US
HINTS ABOUT WHO THEY ARE, WHAT THEY ARE LIKE AND WHICH
LIFESTYLE THEY PREFER. SINCE PHYSICAL APPEARANCE HAS OBVIOUS 4
POWERS TO INFLUENCE HOW PEOPLE THINK ABOUT THEMSELVES AND
OTHERS AND USUALL Y CAN BE SEEN AS THE BASIS FOR THE FIRST
IMPRESSION WE GET ABOUT SOMEONE WE MEET FOR THE FIRST TIME,
THE VISUALIZATION OF A CHARACTER IS A CRUCIAL ASPECT OF
CHARACTER DEVELOPMENT.
UNIT 10 CONCEPT ARTISTS – IT IS OFTEN REFERED TO AS VISUAL DEVELOPMENT
IS THE INITIAL DESIGN USE TO DEVELOP THE LOOK AND FEEL OF A
PROJECT. THE PROJECT CAN BE ANYTHING FROM ANIMATED FILMS TO
VIDEO GAMES. VISUAL DEVELOPMENT ARTISTS WILL USE THE STORY
AND CHARACTERS TO BUILD A BASIC CONCEPT THAT IS USED AS A
GUIDELINE FOR THE ENT IRE PROJECT. THE CONCEPT ART WILL DEPICT A
SCENE IN THE STORY. 2
UNIT 11 CHARACTER DEVELOPMENT - THIS IS BASICALLY WHEN AN IDEA FOR A
STORY IS CREATED AND THE CHARACTERS ARE MADE RESEARCH AND
BRAINSTORMING IS DONE TO REALLY GET IN TOUCH WITH THE
CHARACTE RS. THE CHARACTER DEVELOPMENT IS PURELY DEPENDS
UPON THE PR OJECT BUDGET AND THE DETAILING REQUIRED WITH IN
THE TIMELINE AND BUDGET. THIS WAY THE STORY DEVELOPS IN A
MORE NATURAL AND REALISTIC WAY. INFACT GOOD PROGRESSIVE
DEVELOPMENT CAN MAKE IT EASIER TO SEE THE GROWTH IN THE
CHARACTERS AND PLOTS.
4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1) LIFE STUDY – POTRAIT, FULL FIGURE, MOVEMENT STUDY AND
OUTDOOR RAPID SKETCHES.
(2)DESIGN A CHARACTER WITH (CHARACTER BIBLE, EXPRESSION CHART,
ATTITUDE POSSES, TURNAROUND AND MOUTH CHART. 90 HRS
REFERENCE BOOKS
ANIMATION FROM PENCI L TO PIXEL
FORCE CHARACTER DESI GN FROM LIFE DRAWING S
HOW TO MAKE ANIMATIO N FILMS – BY TONY WHITE
REFERENCE LINKS
http://storyofanimation.blogspot.in/p/concept -art.html
http://www.dsource.in/course/char acter -design -animation/attributes -and-proportions
https://www.disneyanimation.com/careers/opportunities/developing -appealing -characters
http://artistryingames.com/concept -art-concept -art-important/
RSACE 3.13 BACKGROUNDS & LAYOUT S TEACHING
HOURS 30
UNITS COVERAGE MODULES TIME
(LECTURES)
UNIT 1 LAYOUTS - THE APPROVED STORYBOARDS ARE SENT TO THE LAYOUT
DEPARTMENT. THE ARTISTIC TEAM OF THE LAYOUT DEPARTMENT IS
THE ONE THAT COLLABORATE CLOSELY WITH THE DIRECTOR IN
FINALIZING THE SCENES, COSTUMES AND APPEARANCE OF THE
CHARACTERS. 2
UNIT 2 IMPORTING THE REFERENCES - THE FIRST STEP IN DRAWING THE
BACKGROUND AND POSING IS TO IMPORT YOUR REFERENCES FROM
DIGITAL OR PAPER FORMAT.
IMPORTING THE STORYBOARD - THE LAYOUT AND POSING PROCESS IS
BASED ON THE STORYBOARD. IN ORDER TO START LAYOUT AND
POSING, YOU NEED TO IMPORT Y OUR STORYBOARD INTO THE SCENE
FROM DIGITAL OR PAPER FORMAT.
A DIGITAL STORYBOARD CAN BE CREATED USING TOON
BOOM STORYBOARD AND IMPORTED TO TOON BOOM
ANIMATE.
A PAPER STORYBOARD CAN BE SCANNED USING THIRD PARTY
SOFTWARE AND IMPORTED INTO ANIMATE AS A BITMAP
IMAGE. 2
UNIT 3 INTRODUCTION TO TOONBOOM HARMONY –
OVERVIEW OF HARMONY, OPENING A SCENE, STAGING INTERFACE,
STAGE TOOLBARS, VIEWS, ETC.
THE LOCATION DESIGN CAN BE DESIGNED DIRECTLY IN TOON BOOM
ANIMATE OR DONE ON PAPER AND SCANNED IN.
IMPORTING AN ANIMATIC - IF YOU HAVE AN ANIMATIC AVAILABLE,
YOU MAY DECIDE TO IMPORT IT. THE ANIMATIC WILL GIVE YOU THE
CORRECT TIMING TO EXPOSE YOUR ANIMATION POSES. 2
UNIT 4 SETTING THE CAMERA –ONE OF THE IMPORTANT PROCESS IN LAYOUT
IS DEFINING THE CAMERA ANGLES. IT IS VERY IMPORTANT TO SET THE
CAMERA FRAME BEFORE ADDING ANY MORE ELEMENTS SO THAT YOU
CAN CORRECTLY PLACE THE CHARACTERS, BACKGROUNDS AND
PROPS .
STEPS IN SETTING UP YOUR CAMERA POSIT ION,
IN ORDER TO SET THE CAMERA, YOU MUST ADD A CAMERA LAYER TO
YOUR SCENE IF IT IS NOT ALREADY PRESENT. 2
HOW TO ADD A CAMERA IN TOONBOOM :
MENU OPTIONS
THE CAMERA WILL OFTEN BE ANIMATED. IF YOU PLAN TO NOT ONLY
DRAW A CAMERA MOVE, BUT ALSO TO CREATE IT, HOW TO ADD AND
ATTACH A PEG TO THE CAMERA.
STEPS TO ADD A NEW PEG IN THE TIMELINE VIEW:
1. HOW TO SELECT THE CAMERA LAYER IN THE TIMELINE VIEW,
2. HOW TO ADD PEG BUTTON IN THE TIMELINE VIEW LAYER
TOOLBAR
HOW TO SET AND POSITION YOUR CAMERA AND ALSO POSITION
OTHE R ELEMENTS, CHARACTERS, AND BACKGROUND. HOW TO
POSITION THE CAMERA WHILE REFERRING TO THE STORYBOARD OR
ANIMATIC. DEPENDING ON HOW YOU SELECT AND MOVE THE
CAMERA IT CAN BE STATIC OR ANIMATED.
UNIT 5 STATIC CAMERA
HOW TO POSITION YOUR CAMERA WITHOUT ANIMATING IT:
1. HOW TO SELECT TRANSFORM IN THE TOOLS TOOLBAR,
DISABLE THE ANIMATE MODE AND SELECT THE TRANSFORM
TOOL.
2. HOW IN THE TIMELINE VIEW, SELECT THE CAMERA PEG.
3. HOW TO POSITION THE CAMERA, IN THE TOP OR SIDE VIEW,
ANIMATED CAMERA
STEPS TO POSITION YOUR CAMERA AND ANIMATE IT:
1. DIFFERENT SET OF TOOLS IN THE TOOLS BAR
2. HOW TO SET CAMERA PEG.
3. HOW TO GO TO THE FIRST FRAME WHERE THE CAMERA WILL
START MOVING IN THE TIMELINE VIEW.
4. HOW TO POSITION THE CAMERA - TOP OR SIDE VIEW IN THE
CAMERA
5. HOW TO GO TO THE LAST FRAME WHERE THE CAMERA WILL
MOVE, IN THE TIMELINE VIEW.
6. HOW TO SET AS MOTION KEYFRAME - IN THE TIMELINE VIEW,
AND MAKE SURE THE FIRST KEYFRAME IS MOTION KEYFRAME.
2
UNIT 6 SKETCHING THE LAYOUT AND POSING - NOW THAT THE REFERENCES
AND THE CAMERA HAVE BEEN SET, YOU CAN START DRAWING YOUR
BACKGROUND LAYOUT AND POSING.
CREATE A ROUGH SKETCH OF THE SCENE BACKGROUND AND EACH
CHARACTER POSE; BASE THESE ON THE LOCATION DESIGN AND THE 2
STORYBOARD. IF THE STORYBOARD HAS THREE DIFFERENT
CHARACTER POSES, DRAW EACH POSE AT THE CORRECT SCALE AND
POSITION REFERRING TO THE OFFICIAL CHARACTER MODEL.
1. HOW TO SELECT CELL IN THE TIMELINE OR XSHEET VIEW,
SELECT THE CELL IN WHICH YOU WANT TO DRAW.
2. DIFFERENT SETS OF TOOLS
3. PURPOSE OF GRIDS.
4. COLOUR SELECTION
5. HOW TO BEGIN TO SKETCH YOUR DRAWING IN THE CAMERA
OR DRAWING VIEW.
6. HOW AND WHEN TO ENABLE ONION SKIN
UNIT 7 INDICATING THE CAMERA POSITIONS - TO SHOW CHANGES IN
CAMERA POSITION, OR IF YOU HAVE A POSITION INDICATOR OTHER
THAN T HE TOON BOOM ANIMATE CAMERA FRAME, YOU CAN DRAW
A SAMPLE SHOWING THE ACTUAL MOVES. THIS CAN BE STORED IN
THE LIBRARY AND REUSED FOR ALL OF YOUR SCENES. 2
UNIT 8 DRAWING THE CAMERA FRAME SAMPLE –
STEPS TO DRAW A CAMERA FRAME:
1. HOW TO ENABLE THE SAFE AREA OPTION.
2. HOW TO ADD NEW DRAWING LAYER IN THE TIMELINE OR
XSHEET VIEW
3. HOW TO SELECT THE CELL IN WHICH YOU WANT TO DRAW IN
THE TIMELINE OR XSHEET VIEW
4. HOW TO CREATE A PALETTE FOR THE CAMERA FRAME IN THE
COLOUR VIEW.
5. HOW TO SELECT THE APPROPRIATE TOOL FOR THE SELECTION.
6. HOW TO TRACE OVER THE CAMERA FRAME IN THE CAMERA
VIEW. YOU CAN ALSO TRACE OVER THE SAFE TV FRAME.
7. HOW TO TRACE THE CAMERA FRAME CENTRE.
2
UNIT 9 THE FUNDAMENTAL CONCEPTS OF LAYOUT MADE CLEAR FOR THE
STUDENTS . MANY ANSWERS TO HOW, WHAT, WHO AND WHY
LAYOUT IS CREATED ARE COVERED BY USING VARIATIONS OF
ANIMATION STUDIO TECHNIQUES AND GUIDELINES.
WHAT IS PERSPECTIVE - PERSPECTIVE IS A THEORY OF DRAWING,
WHICH ALLOWS THE ARTIST A WAY TO GRAPHICALLY DEPICT THREE -
DIMENSIONAL OBJECTS ON PAPER OR OTHER MEDIA, AS THEY EXIST
IN SPACE. THE RULES OF PERSPECTIVE ARE MANY, BUT ARE BASED ON
THE ASSUMPTION THAT A SINGLE EYE, FROM A FIXED POINT OF VIEW,
IS LOOKING AT THE SUBJECT BEING DRAWN.
2
UNIT 10 EYE LEVEL -THE LEVEL AT WHICH YOU ARE STANDING AND LOOKING
AT AN OBJECT IS KNOWN AS THE EYE LEVEL. A BABY WILL SEE
EVERYTHING FROM THE FLOOR UPWARD. A SIX -FOOT ADULT WILL SEE
THE SAME ROOM FROM A HIGHER POINT OF VIEW. A BIRD LOOKING
DOWN ON A CITY STREET WILL HAVE A MUCH GREATER EYE LEVEL. 2
UNIT 11 POINT OF VIEW (P.O.V.): CAN BE DESCRIBED AS WHAT YOU SEE FROM
WHERE YOU ARE LOOKING .
STATION POINT: THIS IS THE POINT FROM WHICH THE VIEWER IS 2
LOOKING FROM.
LINE OF SIGHT: WITHOUT GOING IN TO UNNECESSARY DETAIL, THINK
OF THE LINE OF SIGHT AS WHAT CAN BE SEEN FROM YOUR POINT OF
VIEW.
PICTURE PLANE: THIS IS SIMILAR TO THE FIELD OF VISION. HOWEVER,
THE IMAGES WE ARE LOOKING AT HAVE BEEN CROPPED OR ADJUSTED
SO THAT ONLY A SMALL PORTION CAN BE SEEN. LOOK THROUGH THE
VIEWFINDER OF ANY STILL CAMERA TO FIND THAT ONLY A PORTION
OF THE WORLD CAN BE SEEN AT ANY ONE TIME. BY MOVING CLOSER
OR FARTHER AWAY, MORE OR LESS OF THE VIEW CAN BE SEEN
THROUGH THE VIEWFINDER.
UNIT 12 FIELD OF VISION : SIMILAR TO THE PICTURE PLANE, THE FIELD OF
VISION IS ALL THAT CAN BE SEEN FROM THE VIEWER S EYES WHILE
STANDING AT A STATIONARY POINT.
CONVERGENCE: IS THE POINT IN WHICH ALL LINES MEET AT ONE
POINT IN SPACE. IT IS LIKE THE ROW OF SUBWAY SUPPORT BEAMS OR
A SUBWAY TRACK THAT EXTENDS FAR OFF INTO THE DISTANCE. ALL
THE LINES APPEAR TO MEET TOGETHER AT THE ONE DISTANCE
VANISHING POINT.
2
UNIT 13 DIMINUTION : THIS IS THE ACT OF DECREASING OR REDUCING SOME
THINGS AS THEY ARE PLACED IN PERSPECTIVE.
VANISHING POINT (VP): THIS IS A POINT WHERE THE EDGES OF AN
OBJECT ALL SEEM TO LINE UP IN THE DISTANCE.
FORM & STRUCTURE
EVERY OBJECT THAT EXISTS IN SPACE HAS FORM. EVERYTHING FROM
BUGS TO BUILDINGS, MOUNTAINS TO MOTORBIKES, OCEANLINERS TO
APPLES, HAS FORM.
IN ORDER TO DRAW ANY OBJECT THAT HAS THE ILLUSION OF REAL
FORM ON PAPER, A SENSE OF DEPTH MUST BE ADDE D TO THE
OBJECTS APPEARANCE. SINCE THE PIECE OF PAPER IS FLAT AND TWO -
DIMENSIONAL, THE ARTIST MUST UNDERSTAND WHAT THE INTERNAL
STRUCTURE IS THAT MAKES UP THAT OBJECT AND APPLY PERSPECTIVE
TO CREATE BELIEVABLE THREE -DIMENSIONAL FORMS. 2
UNIT 14 FORESHORTENING : FORESHORTENING IS TAKING AN OBJECT AND
PLACING IT IN TWO - OR MORE -POINT PERSPECTIVE WHILE BRINGING
A PART OF THE OBJECT CLOSE TO THE VIEWERS EYE.
GROUND LINE : THE GROUND LINE IS NOT ALWAYS THE SAME AS THE
HORIZON LINE. THERE ARE CONFLICTING DEFINITIONS OF WHAT THIS
ACTUALLY IS, OR IS NOT, BUT IT TENDS TO BE DESCRIBED AS THE
FLOW OR LAY OF THE DISTANT ENVIRONMENT EDGE. 2
UNIT 15 PERSPECTIVE GRID OR GROUND PLANE : WITH THE VANISHING 2
POINTS ESTABLISHED ON THE HORIZON LINE, LINES CAN BE DRAWN
ON THE GROUND , BACK TO THESE POINTS TO SHOW THE CONTOURS
OF THE ENVIRONMENT. IN ANIMATION, THIS IS A VERY CRUCIAL
STAGE OF BACKGROUND AND CHARACTER LAYOUT SETUP TO ENSURE
THE CHARACTERS STAY SOLIDLY ON THE GROUND.
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1) OUTDOORS LANDSCAPE S TUDY.
(2) PERSPECTIVE SKETCHES (ONE POINT, TWO POIN T AND THREE
POINT SKETCHES)
(3) CHOOSE A MASTER BACK GROUND FROM ANY ONE OF THE
ANIMATION FILMS AND CREATE VARIOUS LAYOU TS FOR
DIFFERENT SCENES AND SEQUENCES. 90 HRS
REFERENCE BOOKS
LAYOUT AND COMPOSITI ON - BY ED GHERTNER
SETTING THE SCENE : THE ART AND EVOLUTION OF ANIMATION LAYOUT – by FRASER
MACLENE
ANIMATE TO HARMONY: THE INDEPENDENT ANIMATOR'S GUIDE TO TOON BOOM BOOK
REFERENCE LINKS
http://badgerart.blogspot.in/2012/09/what -is-layout -anyway.html
https://www.toonboom.com/resources/tips -and-tricks/layout -and-posing
http://www.awn.com/animationworld/animation -layout -getting -perspective
RSACE 3.14 STORYBOARD & ANIMATI CS TEACHING
HOURS 30
UNITS COVERAGE MODULES TIME
(LECTURES)
UNIT 1 WHAT IS STORYBOARDIN G? – THEY ARE THE HAND DR AWN VERSION
OF THE MOVIE AND SER VE AS THE BLUEPRINT FOR THE ACTION AND
DIALOUGE. EACH STORY BOARD ARTISTS RECEIV E SCRIPT PAGES OF A
MAP OF THE CHARACTER S EMOTIONAL CHANGES THAT NEED TO BE
SEEN THROIUGH ACTION S.
2
UNIT 2 UNDERSTANING THE SCRIPT BASICS – IT IS IMPORTANT FOR EVE RY
STORY BOARD ARTIST TO BE ABLE TO IDENTIFY THE ELEMENT OF A
SCRIPT AND TO BE ABLE TO INTERPRET THE WRITTEN WORDS.
EVEY SCRIPT HAS 5 FUNDEMENTALS ELEMENTS : SLUGLINE, ACTION,
CHARACTER, DIALOGUE AND WRYLY
EACH OF THESE COMPONENTS PROVIDES ESSENTIAL INFORMATION
FOR A STORY BOARD ARTIST TO DEFINE THE CAMERA ANGLES. 2
UNIT 3 UNDERSTANING THE SCRIPT BREAK DOWN : THE STORY BOARD 4
ARTIST SHOULD BE ABLE TO UNDERSTAND HOW TO BREAK THE
SCRIPT OR SCREENPLAY INTO VISUALS. IT WILL HELP HIM TO
VISUALIZE AND UNDERSTAND EACH ELEMENT IN THE SCENE EG :
INTERIOR, EXTERIOR, DAY OR NIGHT, CAST, CHARACTER POSITION,
PROPS POS ITON, TRANSITION, EFFECTS, TIMI ING ETC.
UNIT 4 STORYBOARDING (THUMB NAIL)
STORYBOARDS ARE PICTURES WHICH SHOW WHAT YOUR
MOVIE WILL LOOK LIKE.
THUMBNAIL STORYBOARDS ARE THE FIRST SKETCHES OF THE
STORYBOARDS FOR A SCENE. USUALLY, THESE QUICK
SKETCHES ARE NO BIGGER THAN YOUR THUMBNAIL.
STORYBOARDS ARE IMPORTANT AS: MAKE DECISIONS AND
CONTINUITY
HOW TO DRAW THUMBNAIL STORYBOARD – POSITION OF THE HEADS
– BODY OPTIONAL – CAMERA ANGLE – THE LENS IS THE THING –
RECOMMENDED FRAME SIZE STORYBOARDING – ADVANCE
STORYBOARDS – VOCABULARY OF STORYB OARDS – CAMERA AND
CHARACTER MOVEMENTS – LENS D ISTORTION
4
UNIT 5 IMPORTANT ASPECTS TO CONSIDER : ASPECT RATIO , CONTINU ITY,
VISUAL LOGIC , DIFFERENCE OF OP INION, THE CAMERA ANGLE, LINE
OF ACTION, THE FRAMING AND ANGLES, DIFFERENT CUTS, ETC. 2
UNIT 6 ANIMATICS – THEY ARE ANI MATED STORYB OARDS. THEY ARE USED
FOR VARIOUS PURPOSES DEPENDING ON THE MED IUM FOR WHICH
THEY ARE BEING PRODU CED. ANIMATICS ARE U SED EVERYDAY IN THE
ADVERTISEMENT INDUST RY TO TEST COMMERCIA L. THEY ARE USED
TO PREVIEW SCENES OF LIVE ACTION FILMS BE FORETHEY ARE SHOT.
YOU WILL ALSO FIND A NIMATICS IN THE PRE PRODUCTION STAGES OF
ANIMATION AND IN THE VIDEO GAME INDUSTRY.
2
UNIT 7 ANIMATIC PRODUCTION – USUALLY ANIMATICS WA S SOMETHING TO
DO ON THE PAPER. HOW EVER, RECENTLY ANIMA TIC CLIENTS CHOSE
TO TEST THEIR COMMERCIAL OR FILM USING PHOTOS AN D VIDEOS.
ANIMATION BASED AROU ND PHOTO IS CALLED A S PHOTOMATIC. AN
ANIMATIC BASED AROUN D RE -PURPOSED VIDEO IS CA LLED VIDEO
MATIC OR RIPO MATIC. THE PROCESS OF ANIMA TIC –
ANIMATICS ALLOW AGENCIES AND BRANDS TO TEST TH EIR IDEAS
WITH FOCUS GROUPS BEFORE PUTTING THEM INTO PRODUCTION.
WITH TESTING, YOU’LL LEARN WHETHER OR NOT YOU SHOULD
PROCEED WITH THE IDEA, AND YOU CAN ALSO TEST AND IMPLEMENT
CHANGES THAT MAKE THE MESSAGE MORE EFFECTIVE. HERE’S WHAT
YOU NEED TO KNOW ABOU T HOW TO MAKE AN ANIMATIC.
2
UNIT 8 STEP 1 - THE FIRST STEP IN CREATING AN ANIMATIC IS THE CREATIVE
BRIEF CALL WITH THE ANIMATICS ARTIST . GENERALLY, A PRODUCER,
DIRECTOR, DESIGNER, AND ILLUSTRATORS FROM THE COMPANY WILL 2
BE ON THIS CALL —THESE PEOPLE WILL SUPERVISE THE PROCESS.
YOU’LL DISCUSS THE CONCEPT, CHARACTERS, WARDROBE,
BACKGROUNDS, PRODUCT, DEMO SEQUENCES, AND MORE.
AFTER THE BRIEF, THE STORY BOARD ARTIST WILL SHARE A
DIRECTOR’S BOARD . DIRECTOR’S BOARDS ARE TYPICALLY ROUGH
BLACK -AND -WHITE FRAMES PR ESENTED IN A STORYBOARD FORMAT
TO HELP THE ANIMATICS ARTIST TO ALIGN ON STORY FLOW AND
ANGLES.
UNIT 9 STEP 2 - THE SECOND STAGE OF PRODUCING AN ANIMATIC FOCUSES
ON THE LOOK OF THE ARTWORK ITSELF (INSTEAD OF THE MOVEMENT
OF THE STORY OR CHARACTERS). THE ARTWORK WILL AFFECT THE
STORYLINE AS WELL AS THE VIEWER’S UNDERSTANDING OF THE
MESSAGE. AT THIS STAGE, DEPENDING ON THE STYLE OF ART
CHOSEN, THE ANIMATICS ARTIST MAY PRESENT VARIOUS
DELIVERABLES:
2D ILLUSTRATED STORYBOARDS.
3D CHARACTERS AND BACKGROUNDS. 2
UNIT 10 STEP 3 – ANIMATION -
IN THE ANIMATION STAGE, THE ANIMATIC ARTIST BRINGS THE
ARTWORK TO LIFE IN FULLY REALIZED ANIMATION, WITH FULL AUDIO
AND EDITORIAL TREATMENT. THE ARTIST CONTINUES SHOWING FULL
EDITS AND ADDRESSING AGENCY AND BRAND COMMENTS ON AUDIO,
ANIMATION, AND EDITORIAL AT EVERY STAGE UNTIL THE FINAL SHIP
DATE. IF YOU’RE WORKING WITH A 3D ANIMATIC, CAMERA
MOVEMENT, ANGLES, CHARACTERS, AND ENVIRONMENTS CAN ALL BE
ADJUSTED EASILY, AS ALL ELEMENTS LIVE IN 3D.
IN AFTER EFFECTS.
WITH FLASH ANIMATION.
USING 3D ANIMATION. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
1. CHOOSE A SCRIPT – ANIMATION OR LIVE AC TION AND CREATE
THUMBNAIL STORY BOAR D
2. SELECT ONE OF THE AN IMATED FILMS AND STU DY THE SHOT
DIVISION AND WRITE T HE LOGING BEHIND THE SHOT
DIVISION
3. CREATE A STORY BOARD FOR A SEQUENCE IN AN Y OF THE
RELEASED ANIMATED FI LMS OR LIVE ACTION FILMS . AND
COMPARE YOUR STORY B OARD WITH FINAL MOVI E.
90 HRS
REFERENCE BOOKS
STORY BOARDING ESSEN TIAL – BY DAVID HARLAND ROU SSEAU AND BENJAMIN R EID
THE STORYBOARD ARTIS T : A GUIDE TO FREEL ANCING IN FILM, TV A ND ADVERTISING.
REFERENCE LINKS
hhttp://animatedstoryboards.com/producing -an-animatic/
ttp://www.aboutanimatics.com/production.html
http://www.connect.ecuad.ca/~mrose/resources/storyboard_notes.htm
RSACE 3.15 CLASSIC ANIMATION TEACHING
HOURS 30
UNITS COVERAGE MODULES TIME
(LECTU
RES)
UNIT 1 WHAT IS CLASSIC ANIMATION? - TRADITIONAL ANIMATION, (OR CLASSICAL
ANIMATION, CEL ANIMATION, OR HAND -DRAWN ANIMATION) IS AN
ANIMATION TECHNIQUE WHERE EACH FRAME IS DRAWN BY HAND. THE
TECHNIQUE WAS THE DOMINANT FORM OF ANIMATION IN CINEMA UNTIL THE
ADVENT OF COMPUTER ANIMAT ION - 2D ANIMATION FIGURES ARE CREATED
OR EDITED ON THE COMPUTER USING 2D BITMAP GRAPHICS OR CREATED AND
EDITED USING 2D VECTOR GRAPHICS . THIS INCLUDES AUTOMATED
COMPUTERIZED VERSIONS OF TRADITIONAL ANIMATION TECHNIQUES,
INTERPOLATEDMORPHING , ONION SKINNIN G AND INTERPOLATED
ROTOSCOPING. 4
UNIT 2
ANIMATING STEPBYS TEP:
ATTITUDEANDDYNAMICS,IN‐BETWE ENS,ADDINGM OUTHS,STAGI NGAND
CAMERAANGLES,
WORKINGWITHC HARACTERS,CLEAN‐UP,DRAW INGTE RMINO LOGY,P OV,HORIZO
N,PERS PECTIVE,VANISH INGP OINT,
FORESHO RTENI NG,PLA NE,DRAWINGU PONL IFE. 4
UNIT 3
2DANIMAT IONOV ERVIEW:SCRIPT,STORYBOARD,SOUNDTRACK,T RACKBREAKD
OWN,DESIGNS,ANIMATIC(LEICA REEL),
LAYO UTS,DOPES HEETSANDPRODUCTIONFOLDERS,PENCILTES TS,POSE
TESTS,CLEAN‐UP,INKANDPAINT,BACKGROUN DS,
CHECKING,FINALSHOOT /COMPOSITE,FINALEDITA ND DUB,TOOLS,LIGH T
BOX,PEGHOLESANDPEGBARS, FIELD SIZES,GUIDES,
LIMI TATIONS,TVCUT‐OFF,SAFETITLI NG 2
UNIT 4
2DANIMAT IONBASICS: KEYS,IN ‐BETWEENS,ANDT IMING, CHARTS
ANDIN‐ BETWEENCO UNTING,STRAIGHT‐AHEAD
ANIMATION,SLOWING‐INANDSL OWING‐OUT, WORKING INTH IRDS,
HOWTO IN‐BETW EEN,PATHS OF ACTI ON, SUPERIMPOS ITIONS,
MULTI PLESUPERIM POSITIONS,DO PE(EXPOSURE)S HEETSANDPRODUCTION FOLD
ERS, 4
UNIT 5
CREATING3DMOVEMENT: BLOCKINGO UT,KEYPOSES,
IN‐BETWEENS,FINETUNI NG,TIMING,TI MELINES, F‐CURVES, 2
CON STANTTESTI NG,TRADITIONALPRINCIPLESOF MOVEMENT, THEVALUEOF
CARIC ATUREVS.MOTIONCAPTURE, SLIDERS AND LIPSYNC
UNIT 6 THE ESSENTIALS FOR ANIMATORS : THE
DOPES HEET,FRA MELINES,ANI MATO R’SNOTES,AUDIOBREAKDO WN,AN IMATION
LAYERS,SH OOTINGOR CAME RAINSTRUCTIONS, RULESFOR DOPESH EETS,THE
PRODUCTIONFOLDER,SPECIALINSTRUCT IONS,MA TERIALUSED FROMOTHER
SCENES,MATER IALUSED IN
OTHER SCENES,AT TACHEDDO PESHEET,FLIPPI NGANDP EGBARS,USINGP EGBARS,
TOPP EGSVS.BOT TOMPEGS,BOT TOMPEGS
FLIPPING,TOP PEGSFLIPPING,WHOLESCENEFLIPPING 4
UNIT 7 STUDENTS WILL STUDY ANIMATION USING THE FOLLOWING PERSPECTIVES:
HISTORICAL, AESTHETIC, TECHNOLOGICAL, CULTURAL, AND SOCIAL. THIS
COURSE WILL COVER CLASSIC FILM ANIMATION FROM AROUND THE WORLD.
THERE IS THE OBVIOUS GLOBAL CONNECTION THAT COMES FROM THE STUDY
OF ANIMA TION HISTO RY AROUND THE WORLD. 2
UNIT 8 ESSENTIAL QUESTIONS:
1. HOW CAN AN ANIMATOR CONTROL THE SPEED / TIMING OF AN ANIMATION?
2. WHY IS IT IMPORTANT TO SKETCH OUT DESIGNS BEFORE ANIMATING?
3. HOW DO THE PRINCIPLES OF ART AND DESIGN FIT INTO ANIMATION?
4. WHO ARE THE IMPORTANT FIGURES IN THE HISTORY OF ANIMATION? 4
UNIT 9 TYPES OF CLASSIC ANIMATION : CARTOON (CEL) ANIMATION / S TOP MOTION
ANIMATION , DIRECT (CAMERA LESS, SCRATCH) ANIMATION, CUT -OUT
ANIMATION, PROGRESSIVE (PAINTED) ANIMATION, PIXILLATION, LIGHTINING
DOODLES (PIKA PIKA) AND EXPERIMENTAL ANIMATION. 4
RSA
CE PRACTICAL EXCERCISE PRACTI
CAL
HOURS
1. LINE OF ACTION SKETCHES
2. OUTDOOR MOMENT STUDY (HUMAN AND ANIMALS)
3. ALL 12 PRINCIPLES OF ANIMATION – HAND DRAW ASSIGNMENTS.
4. 2D TRADITIONALANI MATION(5 0 KEY DRAWINGS (OR)5 SECONDS
ANIMATION )
5. KEYFR AME, INB ETWEEN&C LEANUPDRAWIN GS (50 DRAWINGS)
6. RESEARCH ONE OF THE EXPERIMENTAL ANIMATION AND SUBMIT
YOUR OWN VERSION. 90 HRS
REFERENCE BOOK :
ANIMATIONFROMPENCILSTOPIXELS – BY TONY WHITE
ANIMATOR’S SURVIVAL KIT – BY RICHARD WILLIAMS
REFERENCE LINKS
HTTP://ONEFRAME -CREATINGCLASSICANIMA TION.BLOGSPOT.IN/200 7/10/WHAT -IS-CLASSIC -
ANIMATI ON.HTML
HTTP://WWW.TRADITION ALANIMATION.COM/
HTTP://WWW.PROARCH3D .COM/TRADITIONAL -ANIMATION -2D-ANIMATION -PROCESS/
RSACE 3.16 DIGITAL ART PART 01 TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 GETTING TO KNOW THE WORK AREA: STARTING TO WORK IN
ADOBE PHOTOSHOP, USING THE TOOLS, USING THE OPTIONS BAR
AND OTHER PANELS, UNDOING ACTIONS IN PHOTOSHOP,
CUSTOMIZING THE WORKSPACE, FINDING RESOURCES FOR USING
PHOTOSHOP, CHECKING FOR UPDATES, TOOLS PANEL OVERVIEW 4
UNIT 2 BASIC PHOTO CORRECTIONS: STRATEGY FOR RETOUCHING,
RESOLUTION AND IMAGE SIZE, GETTING STARTED, ADJUSTING THE
COLOR IN CAMERA RA W, STRAIGHTENING AND CROPPING THE
IMAGE IN PHOTOSHOP, REPLACING COLORS IN AN IMAGE, 4
UNIT 3 WORKING WITH SELECTIONS: HOW TO USE THE QUICK SELECTION
TOOL, AND MOVE A SELECTED AREA, HOW MANIPULATE
SELECTIONS, USING THE MAGIC WAND TOOL, SELECTING WITH THE
LASSO TOOLS, ROTATING A SELECTION, SELECTING WITH THE
MAGNETIC LASSO TOOL, CROPPING AN IMAGE AND ERASING WITHIN
A SELECTION, R EFINING THE EDGE OF A SELECTION 4
UNIT 4 PHOTO RESTORATION : ADJUSTING SATURATION WITH THE SPONGE
TOOL, REPAIRING AREAS WITH THE CLONE STAMP TOOL, USING THE
SPOT HEALING BRUSH TOOL, USING CONTENT -AWARE FILL,
APPLYING THE UNSHARP MASK FILTER, SAVING THE IM AGE FOR
FOUR -COLOR PRINTING 4
UNIT 5 LAYER BASICS: USING THE LAYERS PANEL, REARRANGING LAYERS,
APPLYING A GRADIENT TO A LAYER, APPLYING A LAYER STYLE,
FLATTENING AND SAVING FILES 4
UNIT 6 CORRECTING AND ENHANCING DIGITAL PHOTOGRAPHS: ABOUT
CAMERA RAW FILES, PROCESSING FILES IN CAMERA RAW, MERGING
EXPOSURES AND APPLYING ADVANCED COLOR CORRECTION,
CORRECTING DIGITAL PHOTOGRAPHS IN PHOTOSHOP, CORRECTING
IMAGE DISTORTION, ADDING DEPTH OF FIELD 4
UNIT 7 MASKS AND CHANNELS: CREATING A MASK, REFINING A MASK,
CREATING A QUICK MASK, MANIPULATING AN IMAGE WITH PUPPET
WARP, WORKING WITH CHANNELS . 4
UNIT 8 DIGITAL PORTFOLIO – LEARNING DIGITAL AND TECHNICAL SKILLS TO
CREATE A DIGITAL PRT FOLIO WITH INTERACTI VE MEDIA SUITABLE
FOR DISTRIBUTION INC LUDING CURRENT DELIV ERY MEDIA AND A
PORTFOLIO WEBSITE – EQUIPPING WITH KNOWL EDGE IN
FUNDAMENTALS OF VISU AL DESIGN AND WORK W ITH INDUT SRY 2
STANDARD AUTHORING S OFTWARE PROGRAMS
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
10X10 INCHES - SYMMETRY DESIGN USING BASIC
PRINCIPLES OF COLOUR
(PRIMARY, SECONDARY OR TERTIARY COLOURS)
DIGITAL PHOTO RESTORATION (DUST REMOVAL,
COLORING, SCRATCH REMOVAL ETC)
DOUBLE EXPOSURE EXERCISE
VECTOR DRAWINGS
DIGITAL PAINTING 90 HRS
REFERENCE BOOK :
ADOBE PHOTOSHOP CS6 CLASSROOM IN A BOOK – BY BRIE GYNCILD
PHOSHOP CC VISUAL QUICK START GUIDE – BY ELAINE WEINMANN AND PETER LAUREKAS
REFER ENCE LINKS
HTTP://WWW.DIGITALAR TSONLINE.CO.UK/FEATU RES/ILLUSTRATION/86 -BEST -PHOTOSHOP -
TUTORIALS -UPDATED/
HTTPS://WWW.PHOTOSHO PTUTORIALS.WS/
HTTP://WWW.PHOTOSHOP ESSENTIALS.COM/
RSACE 3:1 7 DIGITAL 2D PART 01 ( TOON BOOM) TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 INTRODUCTION TO DIGITAL ANIMATION : ANIMATION IS USED TO
DESCRIBE THE PROCESS OF SEQUENCING DRAWIN GS, COMPUTER
GENERATED ARTWORK, O R PHOTOGRAPHS OF MOD ELS TO CREATE
ILLUSION OF THE MOVI NG IMAGE 2
UNIT 2 HISTORY OF ANIMATI ON. THE GRADUAL DEVELO PMENT OF
ANIMATION REALLY GAI NED MOMENTUM DURING THE NINETEENTH
AND THE TWENTITH CEN TURIES – TRADITIONAL ANIMATIO N.
TRADITIONAL STOP FRA ME ANIMATION STARTED IN EARLY 1900S. IT
WAS CREATED BY PHOTO GRAPHING A SERIES OF DRAWN IMAGES THAT
WERE THEN TRANSFERRE D TO FILM AND PLAYED BACK TO GIVE THE
OPTICAL ILLUSION OF A MOVING IMAGE -
4
UNIT 3 COMPUTER ANIMATION – IT IS AMUCH YOUNGER ART FORM AND HAS
NOT YET DEVELOPED AS FAR AS TRADITIONAL A NIMATION. THE
TENDENCY OF UNTRAINE D COMPUTER ANIMATORS IS TO RELY ON THE
COMPUTER’S IMMENSE C APABILITIES TO EXACT LY REPLICATE REAL
WORLD PHYSICS – STOP FRAME ANIMATION – CELL AN IMATION – 2
ROTOSCOPING -
UNIT 4 ANIMATION TYPES – KEYFRAMES – TWEENING – INTERPOLATION –
VELOCITY – MOTION PATH STRAIGHT AHEAD ANIMATION - POSE TO
POSE ANIMATION – COMPUTER GENERATED A NIMATION. THE LAWS
OF PHYSICS – MASS – GRAVITY – WEIGHT – DIRECTIONAL FORCE –
DAMPING FORCE – ACCELERATION – DECELERATION - RESISTANCE 2
UNIT 5 THE RULES OF ANIMATI ON – TIMING – SQUASH AND STRETCH –
EXAGGERATION – STAGING – ANTICIPATION MOTIVAT ION –
SECONDARY ACTION – OVERLAP – FOLLOW THROUGH – BALANCE –
RYTHM – CAMERA MOV EMENT APPLYING THE R ULES – MY ANIMATION
PROCESS – TEXT ANIMATION – SOUND EFFECTS – PANNING AND
ZOOMING – TIME REMAPPING 2
UNIT 6 TOON BOOM – WHAT IT IS USED FOR IN ANIMATION – FEATURES AND
TOOLS OF TOON BOOM STARTING YOUR PROJECT: LAUNCHING TOON
BOOM STUDIO, CREATING AND OPENING A PROJECT, ORGANISING
YOUR WORK, USER INTERFACE LANGUAGE, ADDING TEMPLATE
COPYRIGHT, SETTING THE LOCATION, PLANNING YOUR PROJECT 4
UNIT 7 DRAWING AND DESIGN: DRAWING BASIC, DRAWING IN THE DRAWING
OR CAMERA VIEW, RELATIVE SIZE OF CHARACTER AND PROPS,
SKETCHING, TRACING, ERASING, PAN VIEW, WORKING WITH TEXT,
MORE DRAWING TOOLS. 2
UNIT 8 HOW TO PAINT IN TOON BOOM – COLOR DISPLAY MODES – USING
THE PAINTING TOOLS – CLOSING GAPS – SELECTING A COLOR IN
DRAWING – EDITING GRADIENTS, T EXTURES AND PALLETS 2
UNIT 9 HOW TO IMPORT BITMAP IMAGES – IMAGES WITH KEYING –
MULTILAYERED PSD , A I AND PDF FILES – ADOBE FLASH – SCANN ING
AND CAPTURING IMAGES 2
UNIT 10 EXPOSURE AND LENGTH OF A DRAWING – YOU WILL LEARN HOW T O
USE ‘SET EXPOSURE’ C OMMAND TO ADJUST AND TWEAK THE TIMING
OF ANIMATION SEQUENC E – YOU WILL LEARN HOW T O CUT AND
IMPORT YOUR ANIMATED IMAGES. 2
UNIT 11 LAYER AND T IMING: UNDERSTANDING THE TIME LINE AND EXPOSURE
SHEET, LAYERS AND COLUMNS, FILLING EXPOSURE, MANAGING
DRAWINGS, BONES: ABOUT THE SKELETON EFFECTS, CHOOSING YOUR
CHARACTER, ADDING THE SKELETON, ANIMATING THE SKELETON. 2
UNIT 12 SOUND AND LIP SYNC: IMPORTIN G SOUND FILE, SOUND DISPLAY,
SOUND PLAYBACK, EDITING A SOUND., LIP SYNC SCENE SETUP:
IMPORTING THE SCENE ELEMENTS, POSITIONING THE SCENE
ELEMENTS, CLONING AND DUPLICATING ELEMENTS, SETTING THE
CAMERA. 2
UNIT 13 ANIMATING DIGITALLY USING TRADITIONAL TECHNIQUES – FEATURES
LIKE THE ONION SKIN, THE LIGHT TABLE, THE STATIC LIGHT TABLE ,
REPOSTION OF DRAWING TOOLS 2
UNIT 14 YOU WILL LEARN HOW T O SUMMON THE FORCES OF NATURE AND
SEIZE CONTROL OF THE M WITH ALL NEW RAIN, FOG, SNOW, HAIL,
VOLCANO AND CLOUD EF FECTS – SHAKE, RATTLE AND RO LL WITH
GROUND TREMBLING EFF ECT – SOFTEN EDGES AND CRE ATE AN
ILLUSION OF DEPTH WI TH THE NEW BLUR EFFECT – CREATE A
DRAMATIC ATMOSPHERE BY CASTING SHADOWS – MASK, CUT AND 2
SHAVE ANYTHING USING THE CLIPPING EFFECT – MAKE THE SUN RISE
OR SET PLUS ANIMATE ANY COLOR TRANSITION USING COLOR
TRANSFORM EFFECT.
UNIT 15 YOU WILL LEARN HOW T O EXPORT DRAWING TO PDF – EXPORT MOVIE
– EXPORT TO YOUTUBE AN D FACEBOOK – EXPORT SNAPSHOT 2
UNIT 16 EFFECTS ANIMATION -THIS COURSE IS AN INTRODUCTION TO THE
PRINCIPLES OF EFFECTS ANIMATION IN BOTH TWO -DIMENSIONAL AND
THREE -DIMENSIONAL PROJECTS, HAND DRAWN AND CG. TOPICS WIL L
INCLUDE WATER, FIRE, SMOKE, SHADOWS AND OTHER NATURAL
PHENOMENA. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1)10 SECONDS 2D ANIMAT ION
(2) DIALOGUE AND LIP SYNC OF TWO CHARACTE R INTERACTION.
(3) 12 PRINCIPLES OF ANIMATION ASSIGNMENT – DIGITAL VERSION. 90 HRS
REFERENCE BOOK :
TOON BOOM STUDIO
DESIGN ESSENTIALS FO R MOTION MEDIA ARTIS TS
REFERENCE LINKS
HTTPS://WWW.TOONBOOM .COM/RESOURCES/VIDEO -TUTORIALS/TOON -BOOM -ANIMATE
HTTPS://WWW.DIGITALT UTORS.COM/SOFTWARE/T OON -BOOM -HARMONY -TUTORIALS
HTTPS://WWW.LYNDA.CO M/TOON -BOOM -TRAINING -TUTORIALS/1482 -0.HTML
RSACE 3:18 DIGITAL 2D PART 02 ( FLASH) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE TIME
(LECTURES)
UNIT 1 INTRODUCTION : THE OVERALL PROCESS OF CREATING A 2D
ANIMATION IS DIVIDED INTO THREE PARTS: PRE -PRODUCTION,
PRODUCTION, AND POST -PRODUCTION . ADOBE FLASH CAN BE USED
FOR PRE PRODUCTION AND PRODUCT ION. DIFFERENCE BETWEEN
TOONBOOM AND FLASH. 2
UNIT 2 GETTING ACQUAINTED: STARTING FLASH AND OPENING A FILE,
GETTING TO KNOW THE WORKSPACE, WORKING WITH THE LIBRARY
PANEL, UNDERSTANDING THE TIMELINE, ORGANIZING LAYERS IN A
TIMELINE, USING THE PROPERTIES INSPECTOR, USING THE TOOLS
PANEL, UNDOING STEPS IN FLASH, PREVIEWING YOUR MOVIE,
PUBLISHING YOUR MOVIE , SAVING YOUR MOVIE, FINDING RESOURCES
FOR USING FLASH, CHECKING FOR UPDATES . 2
UNIT 3 UNDERSTANDING FRAME RATES IN FLASH ANIMATION – LEARN WHY
IT IS IMPORTANT TO THINK ABOUT THE FRAME RATE WHEN WORKING
WITH ANIMATIONS. 2
UNIT 4 ANIMATION TIMELINE AND KE Y FRAMES – USE TIME LINE AND KEY
FRAMES AND LAYERS IN YOUR ANIMATION PROJECTS TO BEST EFFECT. 2
UNIT 5 ANIMATING FRAME BY FRAME – VIEW MULTIPLE FRAMES OF A FRAME
BY FRAME ANIMATION USING THE ONION SKIN TOOLS. 2
UNIT 6 EXPLORING MOTION TWEENS – CREATE MOVEMENT WITH FLASH AS
WELL AS MINIMIZE FILE SIZE USING MOTION TWEENS. MANIPULATING
MOTION TWEENS – LEARN ABOUT MOVING, SPLITTING, JOINING AND
REVERSING MOTION TWEENS IN FLASH AND MORE. 2
UNIT 7 WORKING WITH GRAPHICS: UNDERSTANDING STROKES AND FI LLS,
CREATING SHAPES, MAKING SELECTIONS, EDITING SHAPES, USING
GRADIENT AND BITMAP FILLS, MAKING PATTERNS AND DECORATIONS,
CREATING CURVES, CREATING TRANSPARENCIES, CREATING AND
EDITING TEXT 2
UNIT 8 USING MOTION PATHS IN ANIMATION – SEE HOW MANIPULATING
MOTION PATHS CAN ACHIEVE SPECIAL RESULTS IN YOUR ANIMATIONS.
USING THE MOTION EDITOR - CUSTOMIZE AND DUPLICATE
ANIMATIONS EASILY SING THE MOTION EDITOR. 2
UNIT 9 ANIMATING WITH PRESET AND CUSTOM EASES – APPLY EASING TO
MAKE TWEENS APPEAR MORE REALISTIC. ANIMATING WITH MOTION
PRESETS – ADD ANIMATIONS EASILY AND CREATE A MOTION PRESET
TO REUSE THROUGH OUT YOUR DOCUMENTS. 2
UNIT 10 CREATING AND EDITING SYMBOLS: IMPORTING ILLUSTRATOR FILES,
ABOUT SYMBOLS, CREATING SYMBOLS, IMPORTING PHOTOSHOP FILES,
EDITING A ND MANAGING SYMBOLS, CHANGING THE SIZE AND
POSITION OF INSTANCES, CHANGING THE COLOR EFFECT OF
INSTANCES, UNDERSTANDING BLEND EFFECTS, APPLYING FILTERS FOR
SPECIAL EFFECTS, POSITIONING IN 3D SPACE 2
UNIT 11 ADDING ANIMATION: ABOUT ANIMATION, UNDERSTANDING THE
PROJECT FILE, ANIMATING POSITION, CHANGING THE PACING AND
TIMING, ANIMATING TRANSPARENCY, ANIMATING FILTERS,
ANIMATING TRANSFORMATIONS, CHANGING THE PATH OF THE
MOTION, SWAPPING TWEEN TARGETS, CREATING NESTED
ANIMATIONS, USING THE MOTION EDITOR, EASING , ANIMATING 3D
MOTION, PREVIEWING THE ANIMATION 2
UNIT 12 ARTICULATED MOTION AND MORPHING: ARTICULATED MOTION WITH
INVERSE KINEMATICS, CONSTRAINING JOINTS, INVERSE KINEMATICS
WITH SHAPES, ARMATURE OPTIONS, MORPHING WITH SHAPE TWEENS,
USING SHAPE HINTS, SIMULATING PHYSICS WITH INVERSE KINEMATICS 2
UNIT 13 USING ACTION SCRIPT 3 FOR ANIMATION – USE ACTION SCRIPT TO ADD
ANIMATION TO A DOCUMENT EITHER BY REFERENCING AN EXISTING
MOTION TWEEN OR BY COPYING THE ANIMATION FROM A TWEEN
SPAN TO ACTION SCRIPT 3 COD E. 2
UNIT 14 WORKING WITH SOUND AND VIDEO: UNDERSTANDING THE PROJECT
FILE, USING SOUNDS, UNDERSTANDING FLASH VIDEO, USING ADOBE 2
MEDIA ENCODER, UNDERSTANDING ENCODING OPTIONS, PLAYBACK
OF EXTERNAL VIDEO, WORKING WITH VIDEO AND TRANSPARENCY,
USING CUE POINTS , EMBEDDING FLASH VIDEO
UNIT 15 LOADING AND CONTROLLING FLASH CONTENT: LOADING EXTERNAL
CONTENT, REMOVING EXTERNAL CONTENT, CONTROLLING MOVIE
CLIPS, CREATING MASKS 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1)CREATE A CHARACTER WITH FLASH RIG SETUP
(2) ANIMATION USING MOTI ON TWEENING
(3) PREPARE MOUTH CH ART AND EXPRESSION C HART SYMBOLS
(3) FLASH BACKGROUND . 90 HRS
REFERENCE BOOK :
ADOBE FLASH PROFFESS IONAL CS6 – CLASSROOM IN BOOK.
REFERENCE LINKS
HTTP://WWW.JOHNATHAN -ANDREWS -ACADEMY.ORG/CERTIFICATION -IN-DIGITAL -2D-ANIMATION/
HTTP://WWW.ADOBE.COM/DEVNET/FLASH/LEARNING_GUIDE/ANIMATION.HTML
RSACE 3:19 FUNDAMENTALS OF 3D TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 INTRODUCTION 3D - THE MAYA INTERFACE : NAVIGATING IN MAYA,
MAYA LAYOUT, BUILDING A DECORATIVE BOX, MAPPING THE BOX’S
REFERENCE PLANES WITH HYPERSHADE, ORGANIZING WORKFLOW
WITH LAYER EDITOR, MODELING THE DECORATIVE BOX, EDITING THE
DECORATIVE BOX, CONTINUING THE DECORATIVE BOX, FINISHING
THE DE CORATIVE BOX. 4
UNIT 2 INTRODUCTION TO 3D MODELLING & ANIMATION - MODELING
CONCEPTS - SPACE, OBJECTS, AND STRUCTURES, BUILDING WITH
NUMBERS, VERTICES, EDGES, AND FACETS, MOVING THINGS
AROUND, FILE FORMATS ETC. MODELING PROMINENTLY USED IN
GAMES, MOVIES, AND ON TELEVISION, 3D GRAPHICS ARE TOOLS OF
CREATION USED TO ENHANCE HOW MATERIAL AND LIGHT COME
TOGETHER TO MANIPULATE OBJECTS IN 3D SPACE. A GAME -
CHANGER WRITTEN FOR THE NON -TECHNICAL MIND, ESSENTIAL
SKILLS FOR 3D MODELING, RENDERING, AND ANIMATION EXAMINES
THE COMPLEXITIES OF 3D COMPUTER -GENERATED ART, AND
OUTLINES THE BASICS OF HOW THINGS WORK AND ARE USED IN 3D. 4
UNIT 3 CARTOON CHARACTER MODELLING & TEXTURING - MODELING
TECHNIQUES - CURVED LINES, GEOMETRIC PRIM ITIVES, SWEEPING,
FREE - FORM OBJECTS, BASIC MODELING UTILITIES, REAL TIME
POLYGONAL MODELS WORKING CLOSELY WITH THE ART
DEPARTMENT , CREATE BASIC MODELS AND CARTOON CHARACTER 4
USING THE TOOLS LEARNED , MODELERS TURN THE 2D CONCEPT ART
AND TRADITIONALLY SCULPTE D MAQUETTES INTO HIGH DETAIL,
TOPOLOGICALLY SOUND 3D MODELS.
UNIT 4 INTRODUCTION TO MATERIALS, TEXTURES, SHADERS -
SHADERS: SHADERS ARE SCRIPTS WHICH CONTAIN THE ALGORITHMS
THAT TELL THE COMPUTER HOW TO RENDER EACH PIXEL.
MATERIALS: MATERIALS DEFINE HOW A SURFACE IS TO BE
RENDERED. THIS IS ACHIEVED BY SELECTING A SHADER FOR THE
MATERIAL AND THEN SETTING THE PUBLIC PROPERTIES OF THE
UNDERLYING SHADER.
TEXTURES ARE PATTERNS THAT CAN BE USED TO CHANGE THE 4
UNIT 5 CAMERA, OBJECT & MOTION PATH ANIMATION – THE TECHNIQUE
OF MOTION PATHS IS ESPECIALLY USEFUL FOR LAYING OUT COMPLEX
CAMERA MOVES. CRANE SHOTS, UNDERWATER SHOTS AND FLYING
CAMERAS IN PARTICULAR CONSISTING OF SEVERAL INDIVIDUAL
MOVES – AS EXPLAINED EARLIER THE MOTION PATH TECHNIQUE
WORKS BY ANIMATING AN OBJECT – CAMERA IN THIS CASE – ALONG
A PATH DEFINED IN 3 DIMENSIONAL SPACES. THE PATHS ARE DRAWN
WITH A SIMPLE CURVE MODELLING TOOL AND EDITED JUST AS ANY
OBJECT IN 3 DIMENSIONAL SPACE WOULD BE EDITED. 2
UNIT 6 BASIC OBJECT ANIMATION - OBJECT ANIMATION IS A FORM OF STOP
MOTION ANIMATION THAT INVOLVES THE ANIMATED MOVEMENTS
OF ANY NON -DRAWN OBJECTS SUCH AS TOYS, BLOCKS, DOLLS, ETC.
WHICH ARE NOT FULLY MALLEABLE, SUCH AS CLAY OR WAX, AND
NOT DESIGNED TO LOOK LIKE A RECOGNIZABLE HUMAN OR ANIMAL
CHARACTER. 2
UNIT 7 LIGHTING - LIGHTING STRATEGIES AND MOOD, TYPES OF LIGHT
SOURCES, BASIC COMPONENTS OF A LIGHT SOURCE, LIGHTING THE
SCENE, BASIC POSITIONS OF LIGHT SOURCES 2
UNIT 8 RENDERING CONCEPTS - LIGHTS, CAMERA, AND MATERIALS, COLOR
MODELS, STEPS IN THE RENDERING PROCESS, HIDDEN SURFACE
REMOVAL, Z -BUFFER, RAY TRACING, GLOBAL ILLUMINATION AND
RADIOSITY, IMAGE - BASED LIGHTING, NON - PHOTOREALISTIC
RENDERING, HARDWARE RENDERING, FILE FORMATS FOR RENDERED
IMAGES 2
UNIT 9 WORKING WITH AUDIO - SOUND IS JUST AS CRUCIAL AN ASPECT TO
YOUR ANIMATION AS YOUR VISUALS. WHETHER YOU'RE LOOKING TO
CREATE A SCORE, AMBIENT NOISE, DIALOG, OR A COMPLETE
SOUNDTRACK, YOU'LL NEED SOUND FOR YOUR PIECE. THIS NUTS -
AND -BOLTS GUIDE TO SOUND DESIGN FOR ANIMATION WILL EXPLAIN
THE T HEORY AND WORKINGS BEHIND SOUND FOR IMAGE, AND
PROVIDE AN OVERVIEW OF THE SYSTEMS AND PRODUCTIONPATH TO
HELP YOU CREATE YOUR SOUNDTRACK . 2
UNIT 10 LIP SYNCHRONIZATION - ACCURATE LIP -SYNCHING IS AN IMPORTANT
STEP TOWARDS MAKING A CONVINCING ANIMATED CHARACTER. TO
LIP-SYNCH AN ELEMENT YOU WILL FIRST NEED TO HAVE A SOUND
AND A DRAWING ELEMENT CONTAINING THE A CCORDING MOUTH
SHAPES . 2
UNIT 11 HUMAN ANATOMY STUDY - IT IS THE BASIC STRUCTURE OF ANY
BASIC LIVING CREATURE AND THEREFORE IT WILL ONLY MOVE IN 2
ACCORDANCE TO THE HINGES OR THE ROTATORS THAT ARE PUT IN
PLACE TO ALLOW THE FREEDOM OF MOVEMENT WITHIN THE
CONFINES OF GRAVITY.SKELETAL MUSCLE AND THEY ARE LIKE GIANT
RUBBER BANDS WITH THE ELASTIC BANDS RUNNING IN WHAT EVER
DIRECTION THEY NEED TO CONTRACT IN.
UNIT 12 RIGGING AND POSING -A CHARACTER RIG IS ESSENTIALLY A DIGITAL
SKELETON BOUND TO THE 3D MESH. LIKE A REAL SKELETON, A RIG IS
MADE UP OF JOINTS AND BONES, EACH OF WHICH ACT AS A
"HANDLE" THAT ANIMATORS CAN USE TO BEND THE CHARACTER
INTO A DESIR ED POSE.A CHARACTER RIG CAN RANGE FROM SIMPLE
AND ELEGANT TO STAGGERINGLY COMPLEX. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(4) SUBMIT A INORGANIC M ODEL
(5) OBJECT ANIMATION – 20 SECONDS
(6) SIMPLE PRODUCT MODEL WITH SHADING, TEXTUR ING AND
WITH 3 POINT LIGHTIN G. 90 HRS
REFERENCE BOOK :
INTRODUCTING AUTODES K MAYA
THE ART OF 3D COMPUT ER AND EFFECTS .
REFERENCE LINKS
HTTP://WWW.JIMMC.IN/ 3D-ANIMATION -VFX-COURSES.PHP
HTTPS://WWW.CITYU.ED U.HK/UG/201516/COURS E/SM3147.PDF
HTTPS://BOOKS.GOOG LE.CO.IN/BOOKS?ID=5G -
5IYASSK8C&PG=PA315&L PG=PA315&DQ=CAMERA,+ OBJECT+%26+MOTION+PA TH+ANIMATION&SO
URCE=BL&OTS=69ZRV9MC 47&SIG=KP_U -
9OQDUQCEPOHHIG308ECY _U&HL=EN&SA=X&VED=0A HUKEWJSOOTG7 -
NSAHUIQY8KHRLIBHE4CH DOAQGYMAA#V=ONEPAGE& Q=CAMERA%2C%20OBJECT %20%26%20MOT
ION%20PATH%20ANIMATION& F=FALSE
HTTPS://WWW.CODEMENT OR.IO/UNITY3D/TUTORI AL/AN -INTRODUCTION -TO-MATERIALS --
STANDARD -SHADER -IN-UNITY
RSACE 3:20 3D Asset Development TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 WHAT IS ASSET DEVELO PMENT - THE CREATIVE CONTINU ITY
THROUGH -THE ANIMATION PRODUCTION IS MAINTAINED BECAUS E
OF ASSET MANAGEMENT SYSTEM . CREATING A DIGITAL ASSET LIKE
CHARACTER MODELS, PR OPS, ENVIRONMNET & S ET MODELING WITH
PROPER TEXTURING AND RIGGING. THESE ASSES TS ARE USED AS
REFERENCIN METHOD DU RING ANIMATION PRODU CTION . THIS
ALLOWS PRODUCTION TEAK TO TEST AND CONFIRM THE ASSET
INTEGRATION AND MANA GE THE SUCCESSFUL TRANSFER OF
MATERIALS FOR THE PR ODUCTION. 2
UNIT 2 MODELING CONCEPTS - SPACE, OBJECTS, AND STRUCTURES, BUILDING
WITH NUMBERS, VERTICES, EDGES, AND FACETS, MOVING THINGS
AROUND, FILE FORMATS FOR MODELING . CURVE MODELLING - CODE
DRIVEN MODELLING – BLENDER. RATIONAL B SPLINE MODELLING –
PRIMITIVE MODELING. 4
UNIT 3 BEGINNING POLYGONAL MODELING: PLANNING YOUR MODEL,
POLYGON BASICS, POLY EDITING TOOLS, PUTTING THE TOOLS TO USE :
MARKING A SIMPLE HAND, CREATING AREAS OF DETAILS ON A POLY
MESH, MODELLING A CLASSIC STEAM LOCOMOTIVE, SUGGESTIONS
FOR MODELLING POLYGONS. COMPONENTS OF POLYGO NAL MODEL -
FACES – EDGES - VERTICES 2
UNIT 4 MODELING WITH NURBS, SUBDIVISIONS, AND DEFORMERS: NURBS,
USING NURBS SURFACING TO CREATE POLYGONS, CON VERTING A
NURBS MODEL TO POLYGONS, EDITING NURBS SURFACES, PATCH
MODELING: A LOCOMOTIVE DETAIL, USING ARTISAN TO SCULPT
NURBS, MODELING WITH SIMPLE DEFORMERS, THE LATTICE
DEFORMER, ANIMATING THROUGH A LATTICE, SUBDIVISION
SURFACES, CREATING A STARFISH, BUI LDING A TEAKETTLE 6
UNIT 5 PRACTICAL EXPERIENCE: BEGINNING THE WAGON PROJECT, USING
REFERENCE PLANES, MODELING THE SIDE PANELS, MODELING THE
WAGON BODY, INSERTING THE HANDLEBAR, MODELING THE WHEELS,
MODELING THE WOOD RAILINGS, ADDING EXTRA DETAILS, BUILDI NG
A DECORATIVE BOX 2
UNIT 6 MAYA SHADING AND TEXTURING: MAYA SHADING, SHADER TYPES,
SHADER ATTRIBUTES, TEXTURING THE AXE, TEXTURES AND SURFACES,
TEXTURING THE RED WAGON, PHOTOREAL MAPPING: THE
DECORATIVE BOX . 2
UNIT 7 MENTAL RAY SHADING TECHNIQUES: SHADING CONCEPTS, CREATING
BLURRED REFLECTIONS AND REFRACTIONS USING STANDARD MAYA
SHADERS, BASIC MENTAL RAY SHAD ERS, CAR PAINT MATERIALS, THE
MAYA MATERIAL, CONTROLLING EXPOSURE WITH TONE MAPPING,
RENDERING CONTOURS
4
UNIT 8 TEXTURE MAPPING: UV TEXTURE LAYOUT, BUMP AND NORMAL
MAPPING, DISPLACEMENT MAPPING, SUBSURFACE SCATTERING 2
UNIT 9 JUMPING IN HEAD FIRST WITH BOTH FEET. : YOU PUT THE U IN UI,
PROJECT OVERVIEW, THE PRODUCTION PROCESS: PLANNING
CREATING A PROJECT. , CREATING A PROJECT, THE PRODUCTION
PROCESS : CREATING AND ANIMATION THE OBJECT, HIERARCHY AND
MAYA OBJECT STRUCTURE, OUTPUTTING YOUR WORK:
PLAYBLASTING. 2
UNIT 10 CREATIVE DEVELOPMENT AND THE DIGITAL PROCESS : THE
PRODUCTION PROCESS OF COMPUTER ANIMATION, PRODUCTION
TASKS, ANIMATICS STORY REELS AND PRE VISUALIZATION,
MODELLING, ROUGH AND FINAL SCENE LAYOUT, RIGGING, TEXTURE
PAINTING, CHARACTER ANIMATION, EFFECTS, ANIMATION AND
TECHNICAL ANIMATION, REVIEW AND APPROVALS OF DAILIES,
LIGHTING AND RENDERING, MEDIA ASSET MANAGEMENT AND
TECHNICAL SUPPORT, ASSEMBLING A DEMO REEL. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
(1)SUBMIT A - CHARACTER / CREATURE / CYBORGE – (ONLY FACE OF
FULL BODY)
(2) SUBMIT AN OBJECT, CHARACTER OR A SET - WITH PROPERLY
TEXTURE.
90 HRS
REFERENCE BOOK :
INTRODUCTING AUTODES K MAYA
THE ART OF 3D COMPUT ER AND EFFECTS .
REFERENCE LINKS
HTTPS://WWW.LIFEWIRE .COM/3D -MODEL -COMPONENTS -1952
HTTPS://I.MATERIALIS E.COM/BLOG/HOW -TO-GET-STARTED -WITH -3D-MODELING -AN-INTERVIEW -
WITH -3D-MODELING -EXPERT -JONATHAN -WILLIAMSON/
HTTP://WWW.QUIMNIN.I NFO/ARTICLES/TYPES -OF-3D-MODELING/
YEAR - 03
RSACE 3:21 DIGITAL ART 02
(PHOTOSHOP) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 VECTOR DR AWAING TECHNIQUES . LEARNING ABOUT BITMAP
IMAGES AND VECTOR GRAPHICS. HOW TO CREATE PATHS AND USE
THEM TO WITH ARTWORK? HOW TO USE PEN TOOL IN ORDER TO
CREATE A VECTOR IMAGE. 2
UNIT 2 VECTOR DRAWING TECHNQUES. CREATING VECTOR OBJECTS FOR THE
BACKGROUND. HOW TO WORK WITH DEFINED CUSTOM SHAPES?
IMPORTING A SMART OBJECT. 2
UNIT 3 ADVANCED LAYERING . HOW TO CLIP A LAYER TO A SHARP? HOW TO
SET UP A VANISHING POINT GRID? HOW TO PLACE THE IM PORTED
ART WORK? ADDING THE ART WORK IN PERSPECTIVE. HOW TO ADD
A LAYER STYLE? 2
UNIT 4 ADVANCED LAYERING. PLACING THE SIDE PANEL ART WORK AND
ADDING MORE ART WORK IN PERSPECTIVE. HOW TO ADD
ADJUSTMENT LAYER? WORKING WITH LAYER COMPS AND
MANAGING LAYERS. HOW TO FLATTENING A LAYERED IMAGE?
MERGING LAYERS AND LAYER GROUPS. HOW TO WORK WITH
STAM PING LAYERS? 2
UNIT 5 RETOUCHING AND RESTORATION OF AN IMAGE . WHAT TYPE OF
ADJUSTMENTS CAN HELP ENHANCE AN IMAGE? REPAIRING AN
IMAGE WITH ADJUSTMENTS, FOCUS AND TONING TOOL. HOW TO
USE RETOUCHING AND HEALING TOOLS? HOW TO REFINE THE
EDGES? 2
UNIT 6 HOW TO CREATE COMPOSITIONS IN PHOTOSHOP? WHAT ARE THE
FEW PARAMETERS THAT SHOULD BE KEPT IN MIND WHILE MAKING A
COMPOSITION? WHAT ARE SOME ADVANCED TECHNIQUES TO
CREATE EFFECTIVE COMPOSITIONS? HOW TO USE TEXTURE EFFECT
TO ENHANCE THE IMAGE? 2
UNIT 7 ADVANCE D COMPOSITING. HOW TO ASSEMBLE A MONTAGE OF
IMAGES? HOW TO APPLY FILTERS? HAND -COLOURING ELECTIONS ON
A LAYER. HOW TO APPLY SMART FILTERS? HOW TO ADD DROP
SHADOWS AND A BORDER? 2
UNIT 8 ADVANCED COMPOSITING. MATCHING COLOUR SCHEMES A CROSS
IMAGE. HOW TO AUTOMATE A MULTISTEP TASK IN ORDER WORK
SMARTLY? HOW TO STITCH A PANORAMA? 2
UNIT 9 WHAT IS MEANT BY FILTERS AND DISTORTIONS? HOW TO MAKE
CORRECTIONS WITH DAILY FILTERS? HOW TO APPLY FILTERS FOR
SPECIAL OCCA SIONS? HOW DISTORTING WITH LIQUEFY COMMAND
WORK? 2
UNIT 10 FILTERS AND DISTORTIONS . WHAT ARE THE DIFFERENT TYPES THAT
CAN BE USED TO ENHANCE THE IMAGE? HOW TO APPLY THE
UNSHARP MASK FILTER? 2
UNIT 11 THE USAGE OF LIGHT TO ENHANCE AN IMAGE. HOW TO BALANCE
LIGHTING PROPERLY WHEN COMPOSITING ELEMENTS? HOW TO
CREATE GLOW AND LIGHTING EFFECT? HOW TO USE LIGHT EFFECTS
TO BRING SPARKLE OR CHANGE THE LUMINOSITY OF AN IMAGE?
HOW TO ADD OR REMOVE SHADOWS? 2
UNIT 12 WHAT ARE PHOTOSHOP ACTIONS? HOW TO MANAGE ACTIONS?
HOW TO USE IT TO PERSONALISE YOUR WORK FLOW? WHAT ARE THE
ADVANTAGES AND DISADVANTAGES OF ACTION? 2
UNIT 13 PAINTING WITH THE MIXER BRUSH . HOW TO SELECT BRUSH
SETTING? HOW DOES THE MIXING COLOURS WORK? HOW TO
CREATE A CUSTOM BRUSH PRESET? HOW TO MIX COLOURS WITH A
PHOTOGRAPH? 2
UNIT 14 WORKING WITH 3D IMAGES. HOW TO CREATE A 3D SHAPE FROM A
LAYER? HOW TO MANIPULATE 3D OBJECTS? USING THE 3D PANEL TO
ADJUST LIGHTING AND SURFACE TEXTURE. 2
UNIT 15 WORKING WITH 3D IMAGES . HOW TO ME RGE TWO DIMENSIONAL
LAYERS ONTO 3D LAYERS? HOW TO IMPORT 3D FILE? MERGING 3D
LAYERS TO SHARE THE SAME 3D SPACE. HOW TO ADD A SPOT LIGHT?
HOW TO PAINT ON A 3D OBJECT? USING REPOUSSE TO CREATE 3D
TEXT. LEARNING HOW TO CREATE 3D POSTCARD. 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. MAKE A VECTOR IMAGE.
2. MAKE A DIGITAL PAINTING
3. MATTE PAINTING COMPOSITION USING AT LEAST 4 OR 5 IMAGES. 90 HRS
REFER ENCE BOOKS
1. ADOBE PHOTOSHOP C C FOR PHOTOGRAPHER B Y MARTIN EVENINGS
2. PHOTOSHOP CC: THE MISSING MANUAL BY LESA SNIDE R
3. PHOTOSHOP CC BIBL E BY LISA DANAE, BRA D DAYLEY
REFER ENCE LINKS
HTTP://ABDUZEEDO.COM /AWESOME -MAGNETO -DIGITAL -PAINTING -CASE -STUDY -ERIC -VASQU EZ
HTTPS://PAINTABLE.CC /LUNA -CASE -STUDY/
HTTPS://WWW.RESEARCH GATE.NET/PUBLICATION/ 237021035_MULTISPECT RAL_IMAGING_FOR_DI
GITAL_PAINTING_ANALY SIS_A_GAUGUIN_CASE_S TUDY
HTTPS://VFXFORFILM.W ORDPRESS.COM/2013/01 /03/MATTEPAINTING/
HTTPS://WWW.FXGUIDE. COM/FEATURED/CINEMAT ICS-CASE -STUDY -MASS -EFFECT -3/
RSACE 3:22 ADVANCE CHARACTER MO DELING TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 CHARACTER MODELING –PART I - IN THIS ADVANCED CHARACTER
MODELING CLASS STUDENTS WILL DEVELOP HIGH POLY MODELS
WORKING BETWEEN BOTH MAYA AND ZBRUSH. DIGITAL SCULPTING
AND TEXTURING WILL BE A KEY FOCUS OF THIS CLASS. STUDENTS
WILL LEARN THE INTERFACE AND TOOLS IN ZBRUSH WHILE
DESIGNING AND MODELING THEIR OWN CHARACTERS. BY THE END
OF THIS COURSE STUDENTS WILL HAVE AN UNDERSTANDING OF THE
INDUSTRY APPROACH TO DEVELOP CHARACTER MODELS AND BEGIN
TO ASSESS IF THIS IS THE CREATIVE DIRECTION TH EY WOULD LIKE TO
EXPLORE FOR THEIR PORTFOLIOS. 4
UNIT 2 CHARACTER MODELLING –PART II -THIS COURSE EXPLORES MORE
ADVANCED DESIGNS AND HUMAN ANATOMY IN THE DEVELOPMENT
OF MALE AND FEMALE CHARACTER MODELS. STUDENTS WILL WORK
WITH THE AVAILABLE TOOLS TO ADD RE ALISM TO THESE DESIGNS.
TIME IS SPENT DEVELOPING LOW POLY MODELS THAT ARE WELL
BUILT AND DYNAMIC. STUDENTS WILL WORK WITH PRE -DESIGNED
CHARACTERS AND REAL LIFE REFERENCE MATERIAL TO ENSURE
THAT THE MODELS ARE TO PROPORTION AND HAVE PROPER
ANATOMY. 6
UNIT 3 INTRODUCING SCULPTURE - THIS COURSE TEACHES INTRODUCTORY
SCULPTURE FOR MODELERS AND ANIMATORS. IN THIS COURSE,
STUDENTS WILL TRANSFER THEIR KNOWLEDGE OF ANATOMY,
DRAWING OF ANATOMICAL FEATURES, AND CHARACTER DESIGN IN
DEVELOPING A 3 DIMENSIONAL SCULPTURE. THIS COURSE EXPLORES
THE MATERIALS, TOOLS AND INDUSTRY PRODUCTION TECHNIQUES
USED IN PRODUCING SCULPTURES CALLED MAQUETTES. THE END
RESULT WILL BE A FINISH ED PAINTED MAQUETTE OF THEIR
PERSONAL DESIGN. 4
UNIT 4 ENVIRONMENTAL MODELING - THIS ADVANCED STUDIO COURSE
EXPLORES THE DESIGN AND DEVELOPMENT OF 3D ENVIRONMENTAL
MODELING AND DESIGN. STUDENTS WILL WORK WITH A PRE -
DEVELOPED CONCEPT AND FOLLOW THE REQUIRED SPECIFICATIONS
AND CONCEPT TO DEVELOP PROFESSIONAL ENVIRONMENTS AND
THEN TRANSLATE THEIR RESEARCH INTO PRODUCING DYNAMIC
ENVIRONMENTS. STUDENTS WILL ALSO LEARN TO CONSIDER
STAGING, ATMOSPHERE AND ENVIRONMENTAL MOOD TO ENHANCE
THE PROFESSIONAL LOOK OF THE ENVIRONMENT. TOPICAL
COVERAGE INCLUDES EFFECTIVE ADVANCED ENVIRONMENT
DESIGN, COMPOS ITION, MATTE PAINTING (FUNDAMENTALS)
ACTION AND STRATEGIES FOR CREATING A PROFESSIONAL DEMO
PRESENTATION. THE FINAL GOAL OF THIS COURSE IS TO EXPLORE
ENVIRONMENTAL DEMO REEL OPTIONS.
4
UNIT 5 TEXTURE AND LIGHTING - STUDENTS WILL BE INTRODUCED TO THE
TEXT URING PROCESS I N ADOBE PHOTOSHOP AND EDITING TOOLS
AND TECHNIQUES, IN CONJUNCTION WITH THE AUTODESK MAYA
UV AND MATERIAL TOOLSET TO CREATE A WIDE VARIETY OF
TEXTURES, RANGING FROM BASIC SURFACES SUCH AS WOOD AND
FABRIC TO PHOTO -REALISTIC TEXTURES BASED ON PHOTOGRAPHS
TO TECHNIQUES USED FOR TEXTURING GAME AND FILM
ENVIRONMENTS. STUDENTS WILL ALSO BECOME FAMILIAR WITH
WORKING WITH THE HYPERSHADE AND SHADER NETWORKS TO
DEVELOP AESTHETICALLY PLEASING TEXTURES. THE UV TEXTURE
EDITOR AND ITS TOOLS WILL BE A KEY C OMPONENT TO THE
DEVELOPMENT OF MATERIAL IN TEXTURING AND LIGHTING.
4
UNIT 6 CHARACTER DESIGN FOR ANIMATION - THIS COURSE EXPLORES THE
DESIGN AND PRODUCTION OF CHARACTERS FOR THE ANIMATION
AND VIDEO GAME INDUSTRY. STUDENTS WILL LEARN THE
PRINCIPLES OF GOOD CHARACTER DESIGN, FROM RESEARCH TO
FINAL DETAILING, WHILE FOCUSING ON CHARACTER DEVELOPMENT,
STYLE AND PERSONALITY. STUDENTS WILL APPLY PRINCIPLES AND
TECHNIQUES OF DESIGN AND ANATOMY TO ACHIEVE THE
EXPRESSIVE, WELL -DEVELOPED, APPEALING CHARACTERS. BY THE
END OF THIS COURSE, STUDENTS SHOULD BE ABLE TO WORK WITH
A VARIETY OF STYLES, ARCHETYPES AND BODY STRUCTURES TO
CONSTRUCT THEIR CHARACTERS. 4
UNIT 7 CHARACTER CONSTRUCTION – STUDENTS WERE EQUIPPED WITH
FILM KNOWLEDGE, SOME EXAMPLE FILMS ON STOP MOTION
ANIMATION LIKE PARANORMAN, FRANKENWEENIE, CORALINE AND
THE PIRATES! BAND OF MISFITS ARE SOME OF THE REFERENCE
FILMS THAT HAVE RELIED ON STOP -MOTION FIGURE
CONSTRUCTION FOR T HEIR SUCCESS. LEARNING ON IDEAL
PREREQUISITE FOR UNDERSTANDING HOW TO MAKE STOP -MOTION
ANIMATION FILMS. STUDENTS WILL DESIGN THEIR OWN STOP -
MOTION FIGURE —SCULPT THE PARTS, BUILD A WIRE STRUCTURE,
LEARN VARIOUS JOINTING METHODS AND DETAILED SCULPTING
WITH P OLYMER CLAYS. THE FIGURE WILL BE ASSEMBLED, PAINTED
AND DRESSED. 4
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
SKETCHING FROM REAL TIME CHARACTERS -LIFE
SKETCHES,FIGURE DRAWINGS , ANOTOMY STUDY
3D CHARACTER MODELING
CLAY MODELING, Z BRUSH SCULPTING
ENVIRONMENT MODELING
SHADING & TEXTURING (
BUILIDING A STOPMO TION CHARACTER (WITH CLAY OR ANY
OTHER MATERIAL)
90
REFER ENCE BOOKS
1. 3D ART ESSENTIALS : THE FUNDAMENTAL OF 3D MODELING AND TEXT URING BY AMI CHOPINE
2. CHARACTER ANIMATI ON FUNDAMENTALS: DEVELOPING SKILLS FO R 2D AND 3D BY STEVE
ROBERTS.
3.INTRODUCTING AUTOD ESK MAYA
4. THE ART OF 3D COMPUT ER AND EFFECTS .
REFERENCE LINK
1. HTTP://WWW.OOCITIES.ORG/THREEDINDIA/FILES/3DBOOK.PDF
2. HTTP://WWW.INSTRUCTABLES.COM/ID/INTRO -TO-3D-MODELING/
3. HTTP://WWW.PEACHPIT.COM/ARTICLES/ARTICLE.ASPX?P=30594
4. HTTP://WWW.CDICOLLEGE.CA/ONTARIO/PROGRAMS -AND -COURSES/ART -AND -DESIGN/3D -
MODELIN G-ANIMATION -ART-AND -DESIGN/
RSACE – 3:23 FUNDAMENTALS OF ANIM ATION TEACHING
HOURS -30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 FUNDAMENTALS OF ANIMATION - IN THIS COURSE, STUDENTS WILL
BE LEARNING THE BASIC PRINCIPLES OF ANIMATION. STUDENTS
WILL PARTICIPATE IN SEVERAL PRACTICAL PROJECTS DESIGNED TO
ILLUSTRATE THE FUNDAMENTAL PROCESSES OF ANIMATION. THE
COURSE WILL EXPLORE THE TRADITIONAL TECHNIQUES OF
ANIMAT ION AND HOW THEY APPLY IN THE MODERN WORLD OF CG
ANIMATIONS. THE COURSE WILL EXPLORE THE DIFFERENT TYPES OF
ANIMATION INCLUDING STOP -MOTION, TRADITIONAL, 3D
ANIMATION AND EXPERIMENTAL ANIMATION. 4
UNIT 2 INTRODUCTION TO ANIMATION PROCESS - THE BASIC CONC EPTS OF
STORYBOARD, LAYOUT, EXPOSURE SHEETS, EXTREMES, TIMING,
INBETWEENING, WEIGHT, SQUASH -AND -STRETCH, OVERLAPPING
ACTION, HOOK -UPS, ARCS, WALK CYCLES AND HEAD TURNS WILL BE
COVERED IN THESE COURSES. DRAWING SKILLS WILL BE
EMPHASIZED, AS WILL THE IMPORTA NCE OF ONE DRAWING IN THE
CONTEXT OF MANY. BASIC CONSTRUCTION, LINE OF ACTION,
PERSPECTIVE AND LOOKING —BEFORE TOUCHING PENCIL TO
PAPER —ARE ESSENTIAL TO DEVELOPING GOOD DRAWING SKILLS
AND PERSONAL STYLE. STUDENTS WILL SOLVE PICTORIAL PROBLEMS
THROUGH THESE MEANS. CHARACTER MODE L SHEETS, ANIMAL
ANATOMY AND LIVE MODELS WILL BE DRAWN. 6
UNIT 3 STORYTELLING AND STORYBOARDS - FOCUSING ON THE ART OF
NARRATIVE STORYTELLING, WITH THE BASIC COMPONENTS OF
WHAT MAKES A GOOD STORY (CHARACTER, ACTION, CONFLICT,
HUMOR, IRONY, GAGS, AND DIALOGUE) AND HOW THEY INTERSECT
TO CONSTRUCT AN ANIMATED FILM. THROUGH LECTURE AND 4
DEMONSTRATION, STU DENTS WILL STUDY HOW TO PITCH IDEAS TO
THEIR PEERS, AND THEN CREATE STORYBOARDS TO VISUALIZE THEIR
NARRATIVES .
UNIT 4 INTRODUCTION TO STOP MOTION - A WIDE RANGE OF STOP -
MOTION ANIMATION TECHNIQUES, WITH A STRONG EMPHASIS ON
CHARACTER DESIGN, WILL BE EXA MINED IN THIS COURSE. SUBJECTS
INCLUDE: SIMPLE ARMATURE CONSTRUCTIONS, CLAY AND PUPPET
ANIMATION, REPLACEMENTS, BEGINNING CASTING, BACKGROUNDS,
RIGGING, AND A VARIETY OF SCULPTURE TECHNIQUES AND
MATERIALS. IN THE FIRST SEMESTER, STUDENTS WILL PARTICIPATE
IN HANDS -ON MODEL BUILDING AND ANIMATION EXERCISES TO
FAMILIARIZE THEMSELVES WITH THE POSSIBILITIES OF THE FIELD.
DURING THE SECOND SEMESTER, STUDENTS WILL DESIGN AND
EXECUTE A SHORT ANIMATED PROJECT. GUEST LECTURES, FIELD
TRIPS AND SCREENING OF BOTH COMMER CIAL AND INDEPENDENT
WORK WILL BE INCLUDED. 4
UNIT 5 GROOMING FOR ANIMATION : STUDENTS WHO WANT TO EXPLORE
THE DYNAMIC MEDIUM OF ANIMATION WHILE FINDING THEIR
PERSONAL STYLE AND VISUAL AND POETIC VISION. EMPHASIS WILL
BE PLACE ON INNOVATION, INVENTION AND EXPERIMENTATION.
WHETHER PURSUING A NARRATIVE OR NON -NARRATIVE PROJECT,
STUDENTS WILL RECEIVE A SOLID GROUNDING IN THE BASICS OF
DRAWN ANIMATION, AS WELL AS VARIOUS APPROACHES TO THE
MEDIUM SUCH AS STOP -MOTION, SEQUENTIAL DRAWING,
GRAPHICS, COMPUTER ANIMATION, MIXED MEDIA AND SOUND.
STUDENTS WILL GAIN AN UNDERSTANDING OF CHARACTER/OBJECT
DEVELOPMENT, PERFORMANCE, DESIGN, STORY AND PLOT
NECESSARY FOR THE FLOW AND RHYTHM OF ANIMATION. EACH
STUDENT WILL COMPLETE FOUR SHORT (30 SECONDS TO 2 MINUTES
IN LENGTH). 4
UNIT 6 ANIMATION FROM FILMMAKERS PERSPECTIVE - THIS TOPIC
PRESENTS AN INTRODUCTION TO THE LANGUAGE, PROCESS AND
APPLICATION OF VISUAL STORYTELLING FOR ANIMATORS. IT WILL
FOCUS ON THE AESTHETICS OF THE MEDIUM AND THE TECHNICAL
TOOLS AVAILABLE TO VISUALLY CONVEY A STORY. THROUGH
SCREENINGS, LECTURES AND DISCUSSIONS, STUDENTS WILL
BECOME FA MILIAR WITH BASIC ASPECTS OF FILMMAKING,
INCLUDING COMPOSITION, STORYBOARDING, LENSING AND
LIGHTING. AREAS OF EXPLORATION INCLUDE EDITORIAL AND
NARRATIVE STRUCTURE, RHYTHM AND PACE. SCENE STUDY AND
EDITING CHOICES THAT MAXIMIZE A CHARACTER’S PERFORMANCES
WILL BE EMPHASIZED. 4
UNIT 7 CREATING UNFORGETTABLE CHARACTERS - THIS TOPIC WILL DELVE
INTO THE PROCESS OF CREATING ANIMATED CHARACTERS.
METHODS OF RESEARCHING, CREATING A BACKSTORY AND
UNDERSTANDING CHARACTER PSYCHOLOGY WILL BE DISCUSSED
AND ANALYZED. CLA SSIC CHARACTERS SUCH AS BUGS BUNNY,
DAFFY DUCK, WILE E. COYOTE, AND BEAVIS AND BUTT -HEAD WILL
BE SCREENED AND STUDIED. STUDENTS WILL DESIGN AND PRODUCE
A PROFILE ON A CHARACTER OF THEIR OWN CREATION. 4
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
REFERENCE BOOKS
1. INTRODUCING AUTODESK MAYA 2014 BASIC GUID E BY DARIUSH DERAKSH ANI
2. THINKING ANIMATION B Y ANGIE JONES AND JA MIE OLIFF.
3. STOP STARING – BY JASON OSIPA
4. CHARACTER ANIMATI ON – 2D SKILLS FOR BETTER 3D BY STEVE ROBERTS.
5. THE ART OF 3D COM PUTER ANIMATION AND EFFECTS – BY ISAAC KERLOW
REFERENCE LINK
1. HTTPS://WWW.UDEMY.COM/AUTODESK -MAYA -THE-BASICS -FOR-BEGINNERS/
2. HTTPS://DESIGNMODO.COM/MAYA -TUTORIALS/
3. HTTPS://KNOWLEDGE.AUTODESK.COM/SUPPORT/MAYA/LEARN -
EXPLORE/CAAS/CLOUDHELP/CLOUDHELP/2016/ENU/MAYA/FILES/GUID -DC60577E -1A09 -4D51 -
BD6E -6400F4F5EFD7 -HTM.HTML
4 HTTPS://WWW.PREMIUMBEAT.COM/BLOG/4 -PLACES -FIND -FREE -REFERENCE -FOOTAGE -
CHARACTER -ANIMATION/
HTTP://WWW.CREATIVEBLOQ.COM/AUDIOVISUAL/IMPROVE -CHARACTER -ANIMATION -41411447
RSACE - 3.24 RIGGING TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
LECTURE
UNIT 1 CHARACTER RIGGING : BEFORE A 3D CHARACTER MODEL CAN BE
HANDED OVER TO THE TEAM OF ANIMATORS, IT MUST BE BOUND TO A
SYSTEM OF JOINTS AND CONTROL HANDLES SO THAT THE ANIMATORS
CAN POSE THE MODEL. A CHARACTER RIG IS ESSENTIALLY A DIGITAL
SKELETON BOUND TO THE 3D MESH. LIKE A REAL SKELETON, A RIG IS
MADE UP OF JOINTS AND BONES, EACH OF WHICH ACT AS A "HANDLE"
THAT ANIMATORS CAN USE TO BEND THE CHARACTER INTO A DESIRED
POSE.
A CHARACTER RIG CAN RANGE FROM SIMPLE AND ELEGANT TO
STAGGERINGLY COMPLEX. A BASIC SETUP FOR SIMPLE POSING CAN BE
BUILT IN A FEW HOURS, WHILE A FULLY ARTICULATED RIG FOR A
FEATURE FILM MIGHT REQUIRE DAYS OR WEEKS BEFORE THE
CHARACTER IS READY FOR PIXAR -LEVEL ANIMATION. 2 1. ACTING FOR ANIMATION WORKSHOP
2. EXPERIMENTAL ANIMATION
3. STOP MOTION ANIMATION
4. 3D ANIMATION (12 PRINCIPLES OF ANIMATION
ASSIGNEMTNS)
5. IN ORGANIC ANIMATION - EACH INDIVIDUAL STUDENTS
HAVE TO CREATE A ANIMATION SHOT (30 SECONDS TO 2
MINUTES) 90
CHARACTER TDS WORK CLOSELY WITH ANIMATORS TO MAKE SURE
ANY SPECIFIC TECHNICAL ISSUES ARE ACCOUNTED FOR, BUT THEIR
PRIMARY DUTY IS TO TAKE A STATIC 3D MESH AND MAKE IT READY FOR
ANIMATION —A PROCESS CALLED RIGGING.
UNIT 2 PLACING THE SKELETON: PLACEMENT OF A SKELETON IS PERHAPS THE
EASIEST PART OF THE RIGGING PROCESS. FOR THE MOST PART, JOINTS
SHOULD BE PLACED EXACTLY WHERE THEY WOULD BE IN A REAL
WORLD SKELETON, WITH ONE OR TWO EXCEPTIONS.
JOINT HIERARCHY: IN ORDER FOR A RIG TO WORK PROPERLY, THE
BONES AND JOINTS MUST FOLLOW A LOGICAL HIERARCHY. WHEN
SETTING UP A CHARACTER'S SKELETON, THE FIRST JOINT YOU PLACE IS
CALLED THE ROOT JOINT . EVERY SUBSEQUENT JOINT WILL
BECONNECTED TO THE ROOT EITHER DIRECTLY OR INDIRECTLY
THROUGH ANOTHER JO INT.
2
UNIT 3 FORWARD KINEMATICS: FORWARD KINEMATICS (FK) IS ONE OF TWO
BASIC WAYS TO CALCULATE THE JOINT MOVEMENT OF A FULLY RIGGED
CHARACTER. WHEN USING FK RIGGING, ANY GIVEN JOINT CAN ONLY
AFFECT PARTS OF THE SKELETON THAT FALL BELOW IT ON THE JOINT
HIERARCHY.
INVERSE KINEMATICS: IK RIGGING IS THE REVERSE PROCESS FROM
FORWARD KINEMATICS, AND IS OFTEN USED AN EFFICIENT SOLUTION
FOR RIGGING A CHARACTER'S ARMS AND LEGS. WITH AN IK RIG, THE
TERMINATING JOINT IS DIRECTLY PLACED BY THE ANIMATOR, WHILE
THE JOINTS ABOVE IT ON THE HIERARCHY ARE AUTOMATICALLY
INTERPOLATED BY THE SOFTWARE.
AN IK CHAIN CONSISTS OF A GROUP OF JOINTS WHOSE ROTATIONS ARE
MANIPULATED BY AN OBJECT CALLED AN EFFECTOR. THE FIRST JOINT
IN AN IK CHAIN IS KNOWN AS THE ROOT OF THE CHAIN. I T’S ALSO THE
ROOT OF THE HIERARCHY, BUT MAY NOT BE THE ROOT OF THE ENTIRE
SKELETON. THIS JOINT MAY ALSO CONTAIN DATA THAT HELPS
POSITION THE CHAIN, DEPENDING ON THE SOFTWARE. 4
UNIT 4 DEGREES OF FREEDOM/CONSTRAINT - WHEN RIGGING, KEEP IN MIND
THAT JOINTS LIKE THE ELBOWS AND KNEES LIMITED TO A SINGLE
DEGREE OF FREEDOM IN THE REAL WORLD, MEANING THEY CAN ONLY
BEND ALONG ONE AXIS. LIKEWISE, A HUMAN NECK CANNOT ROTATE A
FULL 360 DEGREES.
TO HELP PREVENT UNREALISTIC ANIMATION, IT'S A GOOD IDEA TO SET
UP JOINT CONSTRAINTS WHEN YOU'RE BUILDING YOUR RIG. 2
UNIT 5 SQUASH AND STRETCH - ANOTHER CONSIDERATION THAT MUST BE
MADE IS WHETHER THE RIG WILL SUPPORT SQUASH AND STRETCH, OR
WHETHER THE CHARACTER WILL BE CONSTRAINED TO REALISTIC
MOTION. SQUASH AND STRETCH IS AN IMPORTANT PRINCIPLE IN
EXAGGERATED CARTOON ANIMATION, BUT TYPICALLY DOESN'T LOOK
RIGHT IN REALISTIC FILM/VFX WORK. IF YOU WANT YOUR RIG TO
MAINTAIN REALISTIC PROPORTIONS, IT'S IMPORTANT TO SET A
CONSTRAINT TO LOCK THE POSITION OF EACH JOINT IN RELAT ION TO
THE REST OF THE RIG. 4
UNIT 6 FACIAL RIGGING - A CHARACTER'S FACIAL RIG IS USUALLY ALTOGETHER
SEPARATE FROM THE MAIN MOTION CONTROLS. IT'S INEFFICIENT AND
INCREDIBLY DIFFICULT TO CREATE A SATISFACTORY FACIAL RIG USING A
TRADITIONAL JOINT/BONE STRUCTURE, SO MORPH TARGETS (OR
BLEND SHAPES) ARE USUALLY SEEN AS A MORE EFFECTIVE SOLUTION. 2
UNIT 7 SKELETONS - MOST SINGLE -SKIN CHARACTERS ARE DEFORMED USING A
SKELETON MADE UP OF BONES AND JOINTS. AS WITH THE HUMAN
SKELETON, THE RIGID BONES ARE CONNECTED BY JOINTS. IN MOST 3D
PACKAGES, BONES ARE HELPER OBJECTS THAT DON’T RENDER. THEY SIT
INSIDE THE SKIN OF A CHARACTER AND ACT AS A GUIDE FOR THE
DEFORMATION UTILITY THAT ACTUALLY DEFORMS THE MESH OF THE
CHARACTER. 4
UNIT 8 MANIPULATING A CHAIN
YOU MANIPULATE THE IK CHAIN USING THE EFFECTOR. AS YOU MOVE
THE EFFECTOR, THE JOINTS OF THE CHAIN ROTATE ACCORDINGLY. THIS
MAKES POSING AND ANIMATING A CHARACTER EASY, BECAUSE YOU
NEED TO CONSIDER THE POSITION OF ONLY A SINGLE EFFECTOR,
RATHER THAN THE ROTAT ION OF MANY JOINTS.
WHAT HAPPENS WHEN YOU PULL THE EFFECTOR BEYOND THE LIMITS
OF THE JOINTS? MOST SOFTWARE KEEPS THE JOINTS AT A FIXED
LENGTH, SO THE FULLY EXTENDED CHAIN SIMPLY AIMS ITSELF AT THE
EFFECTOR. SOME SOFTWARE, HOWEVER, CAN ALLOW THE JOINTS TO
STRETCH, EXPANDING THE LENGTH OF THE ENTIRE CHAIN TO MEET THE
EFFECTOR. THIS SORT OF EFFECT CAN BE USED FOR CARTOONY
SQUASHING AND STRETCHING MOTIONS. 2
UNIT 9 JOINT LIMITS
TO PREVENT JOINTS FROM BENDING THE WRONG WAY, YOU MAY
NEED TO INFORM THE SOFTWARE EXACTLY WHAT THE LIMITS ARE FOR
A SPECIFIC JOINT. MOST PACKAGES ALLOW FOR THESE LIMITS TO BE
CONFIGURED ON A JOINT -BY-JOINT AND AXIS -BY-AXIS BASIS. SOME
PACKAGES HAVE DIFFERENT TYPES OF JOINTS AND LET YOU SPECIFY A
JOINT AS EITHER HINGED (TWO -DIMENSIONAL) OR BALL AND SOCKET
(THREE -DIMENSIONAL).
2
UNIT 10 REST POSITIONS AND GOALS
MANY PACKAGES HAVE INCORPORATED THE IDEA OF A DEFAULT JOINT
POSITION, ALSO KNOWN AS A REST OR GOAL POSITION, FOR A SERIES
OF SKELETON JOINTS. SETTING A DEFAULT POSITION FORCES THE
CHAIN TO RETURN TO THE DEFAULT SHAPE WHEN THE EFFECTOR IS
MOVED TO ITS DEFAULT POSITION. THE DEFAULT POSITION IS USUALLY
THE ONE IN WHICH THE JOINTS WERE ORIGINALLY CREATED, BUT
SOME PACKAGES ALLOW FOR IT TO BE REDEFINED AT ANY TIME.
2
UNIT 11 CONTROLLI NG IK CHAIN DIRECTION
YOU’LL ALSO NEED TO CONSIDER THE OVERALL DIRECTION OF THE
CHAIN ITSELF. THE KNEES ARE A GOOD EXAMPLE: A CHARACTER’S
KNEES CAN POINT EITHER STRAIGHT AHEAD OR OUT TO THE SIDES.
BOTH OF THESE SOLUTIONS ARE ACCEPTABLE, BUT MANIPULATING
THAT ANGLE REQUIRES SOME EXTRA CONTROL. DEPENDING ON THE
SOFTWARE, SEVERAL METHODS CAN BE USED TO SPECIFY HOW THE
JOINT SHOULD BEND. THE ANGLE IS OFTEN A SEPARATE ATTRIBUTE 2
THAT CAN BE MODIFIED OR ANIMATED.
UNIT 12 MIXING FORWARD AND INVERSE KINEMATICS
WHILE IK IS ALMOST ALWAYS USED FOR LEGS, IT’S NOT ALWAYS THE
BEST OPTION FOR OTHER PARTS OF THE BODY. SINCE FORWARD
KINEMATICS IS BASED ON ROTATIONS, ITS DEFAULT MOTION CAUSES
THE JOINTS TO MOVE ALONG ROTATIONAL ARCS, WHICH LOOKS MORE
NATURAL BECAUSE IT IS THE WAY REAL SKELETONS WORK. THIS IS
MUCH MORE DESIRABLE THAN IK’S DEFAULT MOTION, WHICH IS A
STRAIGHT LINE. OF COURSE, THERE ARE MANY TIMES WHEN YOU WILL
NEED IK TO LOCK DOWN THE HANDS, BUT WHEN THE HANDS ARE FREE,
FK CAN BE MUCH EASIER TO ANIMATE.
IN OR DER TO MEET THESE DIFFERING NEEDS, MOST ADVANCED
PACKAGES OFFER SOME METHOD OF SWITCHING BETWEEN FK AND IK,
OFTEN BY LETTING YOU CHANGE THE INFLUENCE OF THE IK EFFECTOR.
WHEN IT’S AT 100 PERCENT, IK IS FULLY ENGAGED; CHANGE THAT
INFLUENCE TO ZERO AND FK IS FULLY ENGAGED.
2
REFERENCE BOOKS
1. INTRODUCING AUTOD ESK MAYA 2014 BASIC GUIDE BY DARIUSH DER AKSHANI
2. STOP STARING – BY JASON OSIPA
3. HOW TO CHEAT IN M AYA – ERIC LUHTA & KENNY R OY
REFERENCE LINK
HTTPS://WWW.LIFEWIRE.COM/WHAT -IS-RIGGING -2095
HTTP://WWW.PEACHPIT. COM/ARTICLES/ARTICLE .ASPX?P=483773
HTTPS://WWW.PINTERES T.COM/EIGENKAZUKI/RI GGING -TIPS/
RSACE -3:25 CHARACTER ANIMATION TEACHING
HOURS 60
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 VISUAL LANGUAGE SKILLS -THE AESTHETICS OF A SHOT, PSYCHOLOGY
OF LINE, SHAPE, COMPOSITION, LIGHTING AND COLOUR ARE COVERED
IN STORY/VISUAL LANGUAGE .
LIFE DRAWING IS ESSENTIAL FOR ALL ANIMATION STUDENTS, AS
STRONG DRAWING SKILLS BUILD CONFIDENCE AND ALL ANIMATORS
BENEFIT FROM SIMPLIFIED STRUCTURAL DRAWING FOR PLANNING
ANIMATION. 3D ANIMATORS LEARN MAYA FUNDAMENTALS IN
ANIMATION INTERFACE, PREFERENCES AND FILE MANAGEMENT, AND
BASIC MODELING IS INTRODUCED FOR CREATING PROPS AND 4
ENVIRONME NTS
UNIT 3 HISTORY OF ANIMATION IS OFFERED FOR AN IN -DEPTH LOOK AT HOW
THE ART FORM HAS EVOLVED .THE CONVENTIONAL CARTOON
APPROACH HAS ALWAYS THRIVED, AN INFLUENCE THAT IS STILL
PREVAILING IN CONTEMPORARY ANIMATION’S MOST RECENT
INCARNATION, WEB ANIMATION.THE CARTOON STYLE IS VERY
POPULAR, PERHAPS IT ESSENTIALLY LIES IN THE NEEDS OF CHARACTER
DESIGN WHEN APPLIED TO ANIMATION.AN ANIMATED CHARACTER, BY
NECESSITY, HAS TO BE EASY TO DRAW, CONSISTENTLY PROPORTIONED
FROM ALL VIEW POINTS, AND SHOULD NOT INVOLVE TOO MUCH
PENCIL MILEAGE.
2
UNIT 4 ACTING FOR ANIMATION -CHARACTER AWARENESS -THE STUDY OF
ANIMATION THROUGH MORE DETAILED BODY MECHANICS
INTRODUCES ACTING, CHARACTER AWARENESS, THINKING AND
DEALING WITH THE ENVIRONMENT TO STRENGTHEN CONTENT
BELIEVABILITY. STORY/VISUAL LANGUAGE ADVANCES TO DEAL WITH
THE PSYCHOLOGY OF CINEMATIC IMAGE, ACTING AND STORY
STRUCTURE WHILE STORYBOARDING ASSIGNMENTS PREPARE YOU
FOR TERM 3 ASSIGNMENTS AND TERM 4 DEMO PROJECTS.
LIFE DRAWING CONTINUES, ADVANCING BODY CON STRUCTION
AWARENESS AND DYNAMIC POSING. IN MAYA CLASS, ORGANIC
MODELING IS TAUGHT USING EXISTING CHARACTER MODELS,
BUILDING CLOTHING, HAIR AND PROPS THAT WILL SUPPORT YOUR
STORYTELLING EFFORTS THROUGH CHARACTER ANIMATION. 4
UNIT 5 ADVANCE OBSEVATION TECHN IQUES IN DESIGNING -THE COURSE
TAKES AN INNOVATIVE LOOK AT ‘THE ANIMATOR AS ACTOR’ ROLE.
YOU WILL OBSERVE ,IN STORY/VISUAL LANGUAGE YOU WILL DEVELOP,
STORYBOARD AND CREATE ASSETS FOR YOUR TERM 4 DEMO PROJECT.
WORKSHOPS IN ADOBE PREMIERE PREPARE YOU FOR CREATING,
EDITING AND ADDING AUDIO TO STORY REELS AND FINAL PROJECTS.
LIFE DRAWING ADVANCES BODY CONSTRUCTION AW ARENESS AND
DYNAMIC POSING. THE APPLICATION OF TECHNIQUES LEARNED IN
MAYA 1 AND 2 AID IN THE BUILDING OF SETS AND CHARACTER ASSETS
FOR THE SHORT STORY PROJECT. 4
UNIT 6 THE TERM IS FOR HONING CHARACTER ANIMATION SKILLS WHILE
CREATING YOUR CHARACTER ANIMAT ION DEMO REEL.
HARMONY CLASSES INTRODUCE SOFTWARE COMPONENTS SPECIFIC
TO YOUR FILM PROJECT.
LIGHTING AND RENDERING ARE TAUGHT IN THE MAYA COURSE TO
HELP ENHANCE THE VISUAL PRESENTATION OF YOUR DEMO REEL
PROJECT, AS WELL AS PROVIDING VISUAL POLISH ON PREVI OUS
ANIMATION ASSIGNMENTS.
LIFE DRAWING ADVANCES BODY CONSTRUCTION AWARENESS AND
DYNAMIC POSING TO HELP STRENGTHEN YOUR ANIMATION POSES.
YOU ALSO EXPLORE ARTISTIC EXPRESSION THROUGH LINE AND 4
PROPORTION.
UNIT 7 CHARACTER ANIMATION –THE PROGRAM BEGINS WITH TRADITIONAL
EXERCISES USING PENCIL AND PAPER THAT ALLOWS A STUDENT TO
EXPLORE THE BASICS OF DRAWING FOR ANIMATION BEFORE
PROGRESSING TO A MORE CHALLENGING ACTING SCENES. ONCE THE
BASICS ON PAPER ARE GRASPED THE STUDENTS TRANSITION TO
DIGITAL ANIMATION AND BEGIN USING PROGRAMS LIKE TV PAINT ,
TOON BOOM HARMONY AND AFTER EFFECTS. THEY ALSO PARTICIPATE
IN WIDE VARIETY OF FILM MAKING RELATED COURSES LIKE LAYOUT,
CHARACTER DESIGN AND STORYBOARDING 4
UNIT 8 THE STUDENTS TAKE THEIR 2D ANIM ATION SKILLS INTO 3D PLATFORM
USING MAYA AND EXPERIENCE ANIMATING A CG CHARACTER. THE
STUDENTS ALSO ENCOUNTER ANOTHER ASPECT OF A 3D WORKFLOW
SUCH AS BASIC MODELING, RIGGING, LIGHTING AND RENDERING. 4
UNIT 9 ANIMATION CYCLE – THIS SUBJECT INTRODUCES STUD ENT TO
GENERIC WALK CYCLE, AND WALK CYCLE WITH PERSONALITY. THEY
WILL LEARN HOW TO CREATE THE ANIMATION CYCLES WITH A 3D
CHARACTER IN MAYA AND APPLY THE PRINCIPLES OF ANIMATION TOP
MAKE THE ANIMATION CYCLE LOOK INTERESTING AND BELIEVABLE. 4
UNIT 10 PRE VI Z / ANIMATICS – PRE VISUALIZATION OR ANIMATION IS THE
REFERENCE VIDEO FOR AN ANIMATOR. THE PRE -PRODUCITON TEAM
WILL LOCK THE CAMERA ANGLE AND ROUGH TIMING BASED ON THE
DIALOGUE AND ROUGH MUSIC. THE ANIMATOR WILL KEEP THIS
TIMING FOR REFERNECE TO DO THE ANIM ATION. 4
UNIT 11 UNDERSTANDING OF RIGGING – THE SUBJECT CONTINUES WITH A
FOCUS ON MOVING BEYOND SIMPLE CHARACTERS TO MORE REALISTIC
DETAILED RIGS. TOPICS INCLUDING CONTROL OF CLOTHING,
MUSCULAR DEFORMATION SYSTEMS. THOUGH THE USE OF
ADVANCED TOOLS RIGS INCORPORATING ADVANCED FACIAL
CONTROL, SURFA CES THAT DYNAMICALLY REACT TO BOTH EXTERNAL
AND ENVIRONMENTAL AND MUSCULAR FORCES WILL BE REVIEWED
AND DICUSSED. 4
UNIT 12 STAGING AND BLOCKING – STAGING IS A PROCESS WHERE THE
CHARACTERS ARE PLACED AS PER THE CAMERA ANGLE AND ROUGH
PROPS AND SETS. BLOCKING – IS A PROCES S WHERE A POSE TO POSE
ANIMATION IS CREATED AND THE ANIMATION SUPERVISOR WILL
WORK CLOSELY WITH THE ANIMATOR TO GET THE CORRECT KEY
POSSES. 4
UNIT 13 BODY MECHANICS – THEY WILL LEARN HOW TO ANIMATE A 3D
CHARACTER DOING COMPLEX ACTIO N SEQUENCES AS RUNNING,
JUMPING AND CLIMBING OVER OBSTACLES. 4
UNIT 14 CHARACTER ANIMATION I – THIS MODULE EXPLORES THE
BACKGROUND OF NATURIST CHARACTER MOVEMENT AND ADVANCE
KEY FRAME ANIMATION TECHNIQUES. STUDENTS WILL LEARN HOW TO
ADD PERSONALITY AND LI FE TO THEIR CREATIONS 4
UNIT 15 CHARACTER ANIMATION II – THIS MODULE COVERS THE
FUNDAMENTALS OF QUADRUPLED ANIMATION.
4
RSACE PRACTICAL EXERCISES HOURS
SHORT FILM DOMOREEL PROJECT: 120
A SHORT FILM, AS DESIGNED AND STORY BOARDED, OR COMPLETING
A SEQUENCE OF ASSIGNMENTS TO STRENGTHEN YOUR SKILLS AS A
CHARACTER ANIMATOR.
CHARACTER POSES :
STUDEN TS HAVE TO CREATE ATTITUDE POSES USING RIGGED
CHARACTERS – MINIMUM 10 POSES OF THE FOLLOWING
(1) HUMAN CHARACTERS
(2) ANIMAL CHARACTER
(3) CREATURE / BIRD ETC.
CHARACTER ANIMATION ASSIGNMENTS :
USING PRE BUILT RIGS STUDENTS PRODUCE A SERIES OF NATURALISTIC
ANIMAL MOTION EXERCISES. STUDENTS WILL LEARN HOW TO
ANIMATE FACIAL EXPRESSION AND EYE MOVEMENTS TO PRODUCE
DYNAMIC CHARACTER PERFORMANCES.
LIFE DRAWING ASSIGNMENTS – THE SUBJECT OFFERS STUDENT THE
OPPORTUNITY TO DEVELOP THEIR SKILLS OF OBSERVATION AND
DRAWING BY INTRODUCING THEM TO STUDY OF HUMAN. THEY WILL
EXAMINE THE CONSTRUCTION OF THE HUMAN BODY IN ORDER TO
UNDERSTAND THE TOPOLOGY OF HUMAN FORM.
REFERENCE BOOKS
1. INTRODUCING AUTODE SK MAYA 2014 BASIC G UIDE BY DARIUSH DERA KSHANI
2. STOP STARING – BY JASON OSIPA
3. HOW TO CHEAT IN M AYA – ERIC LUHTA & KENNY R OY
REFERENCE LINK
HTTP://WWW.ANIMWORK. DK/EN/CHARACTER_ANIM ATION.ASP
HTTP://MAGES.EDU.SG/ ACADEMICS/PROGRAMMES /ADVANCED -DIPLOMA/ADVANCED -DIPLOMA -
ANIMATION
HTTP://MEDIA -FREAKS.COM/THE -PROCESS -OF-3D-ANIMATION/
RSACE -3:26 TECHNICAL ANIMATION (EFFECTS) TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 NCLOTH AND HAIR ARE EXTREMELY POWERFUL AND SURPRISINGLY 4
EASY TO USE DEPENDING ON THE REQUIREMENTS OF THE SCENE. YOU
CAN CREATE SOME INTERESTING DYNAMIC MOVEMENTS TO THE
OBJECTS IN YOUR SCENE WITHOUT THE NEED FOR COMPLEX
EXPRESSIONS AND CONNECTIONS. NCLOTH AND HAIR SYSTEM S CAN
ALSO INTERACT WITH MAYA PARTICLES AND FLUIDS AS WELL,
LAYERING SUCH DYNAMIC SIMULATIONS IS SOMETIMES REQUIRED TO
CREATE THE VERY SPECIFIC AND UNUSUAL DYNAMIC MOTIONS WE
FREQUENTLY SEE IN SCIENTIFIC ANIMATIONS.
UNIT 2 CREATING AND NCLOTH CELL - . NCLOTH IS NOT JUST FOR
SIMULATING CLOTHING. BY ADJUSTING SETTINGS ON THE NCLOTH
OBJECT AND THE NUCLEUS SOLVER YOU CAN SIMULATE ANYTHING
FROM WATER BALLOONS TO CHAIN MAIL. ONE OF THE NICEST
ASPECTS OF THIS SYSTEM IS THAT, WHEN USING LOWER RESOLUTION
OBJECTS, THE INTERACTION IS FAST ENOUGH THAT YOU CAN
EXPERIMENT WITH COMBINATIONS OF SETTINGS WHILE THE
SIMULATION IS RUNNING AND FINE TUNE THOSE TO GET THE TYPE OF
MOTION YOU WANT. 2
UNIT 3 PASSIVE NCLOTH OBJECTS - PASSIVE OBJECTS ARE NON CLOTH
OBJECTS THA T CAN INTERACT WITH NCLOTH OBJECTS. WHEN
WORKING WITH COLLISION OBJECTS YOU HAVE SEVERAL OPTIONS FOR
BALANCING THE SPEED AND ACCURACY OF THE SIMULATION. IF YOU
SELECT THE PLANE AND OPEN ITS ATTRIBUTE EDITOR TO THE
NRIGIDSHAPE1 NODE, UNDER QUALITY SETTINGS YOU’LL SEE THE
COLLISION FLAG OPTION. THIS CAN BE SET TO FACE, VERTEX, OR EDGE.
THE FACE SETTING IS THE MOST ACCURATE AND SLOWEST TO
CALCULATE. 2
UNIT 4 PRESSURE - AT THIS POINT YOU’RE READY TO ANIMATE THE
ROUNDING OF THE CELL. THIS WILL BE ACCOMPLISHED I N AN
EXTREMELY SIMPLE MANNER. YOU’LL EDIT THE SETTINGS ON THE
NCLOTH SHAPE, NUCLEUS WILL THEN APPLY THESE SETTINGS AND THE
ANIMATION WILL OCCUR AUTOMATICALLY AS NUCLEUS
INTERPOLATES BETWEEN THE INITIAL STATE AND THE APPLIED
SETTINGS. 2
UNIT 5 THERE ARE TW O WAYS TO CALCULATE PRESSURE – ONE IS THE
PRESSURE SLIDER AND PRESSURE DAMPING SLIDERS ARE THE ONLY
TWO CONTROLS. THESE CAN BE KEYFRAMED TO TUNE THE EFFECT.
THE OTHER IS THE SETTINGS ON THIS MODEL OFFER MORE PRECISE
CONTROL AS THIS MODEL CALCULATES THE VOL UME OF THE CLOTH
COMBINED WITH THE INFLOW AND OUTFLOW OF AIR. THE PUMP
RATE VALUE DETERMINES THE RATE AT WHICH AIR IS ADDED WITHIN
THE VOLUME. 2
UNIT 6 DYNAMIC CURVES - MAYA’S DYNAMIC HAIR SYSTEM CAN BE USED FOR
MUCH MORE THAN CHARACTER HAIRSTYLES. THE MOST USEFUL
PROPERTY OF THE SYSTEM FOR THE PURPOSE OF CREATING SCIENTIFIC
ANIMATIONS IS THE ABILITY TO TURN A REGULAR NURBS CURVE IN TO
A DYNAMIC CURVE. THIS IS SIMILAR TO CREATING A SOFTBODY CURVE
HOWEVER; LIKE CLOTH, THE INTERACTIONS AND COLLISIONS
BETWEEN CURVES ARE MUCH MORE REALISTIC AND EASIER TO SET UP.
LIKE NCLOTH, ONCE YOU CONVERT A CURVE INTO A DYNAMIC CURVE,
YOU CAN ADJUST ITS QUALITY BY CHANGING THE PARAMETERS ON
THE HAIR NODE, THIS CAN BE DONE WHILE THE ANIMATION IS
PLAYING ALLOWING YOU TO EXPERIMENT WITH THE SETTINGS UNTIL
YOU GET SOMETHING YOU LIKE. 2
UNIT 7 CREATE A HAIR CACHE - WHEN YOU CREATE A HAIR CACHE THE
DYNAMICS OF THE CURVE ARE STORED IN A FILE OR A SERIES OF FILES.
NOT ONLY DOES THIS ENSURE THAT THE ANIMATION WILL BE
CORRECT WHEN ITS TIME TO RENDER, IT ALSO ALLOWS YOU TO ADD
DEFORMERS TO THE HAIR CURVE. YOU’LL TAKE ADVANTAGE OF THIS
SO THAT THE HAIR AND THE ORIGINAL CHROMOSOME CURVE CAN BE
ANIMATE D TOGETHER - USE HAIR AS AN IK SPLINE CURVE. THE JOINT
CHAIN CAN BE CONTROLLED USING A SPLINE IK, TO ADD ANOTHER
LEVEL OF DYNAMIC MOTION YOU CAN CONVERT THE SPLINE IK CURVE
INTO A DYNAMIC HAIR CURVE. 2
UNIT 8 CONSTRAIN CLOTH TO HAIR - IT’S FAIRLY SIMPLE T O ATTACH AN
NCLOTH OBJECT TO A HAIR CURVE INDIRECTLY USING A LOCATOR AND
AN NCONSTRAINT. IN THIS EXERCISE YOU’LL SEE HOW YOU CAN USE
THIS TECHNIQUE TO ANIMATE THE SEPARATION OF CHROMOSOMES
DURING ANAPHASE. THIS SECTION WILL GO THROUGH SETTING UP
JUST PART OF THE ANIMATION, COMPLETING THE ANIMATION IS
SIMPLY A MATTER OF EXPANDING THE TECHNIQUES SO THAT BOTH
SETS OF CHROMOSOMES ARE ANIMATED. 2
UNIT 9 NCLOTH CELL DIVISION - THERE ARE NUMEROUS APPROACHES FOR
CREATING BELIEVABLE CELL DIVISION ANIMATION IN MAYA . IN THIS
SECTION YOU’LL SEE SOME OF THE POSSIBILITIES OFFERED BY NCLOTH.
THE GOAL OF THIS LESSON, AS WELL AS THE OTHERS IN THIS SECTION,
IS TO MAKE YOU AWARE OF THE MANY CHOICES YOU HAVE AND
INSPIRE YOU TO CREATE YOUR OWN SOLUTIONS TO THE PROBLEMS
POSED B Y SCIENTIFIC VISUALIZATION. YOU’LL USE NCLOTH TO
ANIMATE ONE SIDE OF THE CELL DIVISION. LATER ON YOU’LL CREATE A
CACHE AND DUPLICATE THE RIGHT SIDE OF THE CELL TO CREATE THE
LEFT SIDE OF THE CELL. BY USING APPLYING A CACHE TO BOTH HALVES
OF THE CELL YOU’LL ONLY HAVE TO CREATE A NCLOTH SIMULATION
FOR ONE SIDE OF THE CELL. 2
UNIT 10 COAT THE GEOMETRY WITH PARTICLES - TO CREATE THE LOOK OF A
SINGLE CELL OBJECT DIVIDING INTO TWO CELLS, YOU CAN USE COAT
EACH CELL HALF WITH A SINGLE PARTICLE OBJECT SET TO THE BLOBBY
SURFACE RENDER TYPE. 2
UNIT 11 YOU MAY NOTICE THAT THE DIVIDED CELLS ARE RATHER LUMPY. THIS
IS BECAUSE F OR EACH HALF OF THE CELL ONLY HALF THE VERTICES ARE
BEING COVERED – THE PARTICLES ARE ATTRACTED TO THE GOAL
BASED ON THEIR PARTICLE ID NUMBER SO SOME VERTICES ARE LEFT
OPEN BECAUSE THE CORRESPONDING PARTICLE IS ON THE OPPOSITE
HALF OF THE CELL. THE EASIEST WAY TO REMEDY THIS IS TO PERFORM
A SMOOTH OPERATION ON EACH OF THE CELL HALVES AND THEN
RAISE THE MAX PARTICLE COUNT ON THE PARTICLE SHAPE NODE SO
THAT ENOUGH PARTICLES ARE CREATED. THEN RAISE THE RADIUS AND
THRESHOLD OF THE BLOBBY SURFACE PARTICLES. THIS WILL SMOOTH
THE SURFACE OF THE CELLS SOMEWHAT BUT IT’S NOT A PERFECT
SOLUTION. 2
RSACE PRACTICAL EXERCISES HOURS
CREATE A FLAG ANIMATION
CREATE A GARMENT FOR A CHARACTER AND WALK CYCLE
WITH PROPER CLOTH ANIMATION
USE THE SAME CHARACTER TO CREATE A REALISTIC HAIR 90
CREATE A CREATURE CHARACTER AND ADD FUR.
REFERENCE BOOKS
1. INTRODUCING AUTOD ESK MAYA 2014 BASIC GUIDE BY DARIUSH DER AKSHANI
REFERENCE LINK
HTTP://WWW.MOLECULAR MOVIES.COM/IMG/PDF_T UTORIALS/NCLOTHHAIRM ITOSIS.PDF
HTTP://WWW.CREATIVEB LOQ.COM/3D/HOW -CREATE -REALISTIC -3D-HAIR -AND -FUR-91412900
HTTPS://IN.PINTEREST .COM/PIN/47301876709 2813141/
RSACE -3:27 LIGHTING & RENDERING TEACHING
HOURS 60
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 FUNDAMENTALS OF LIGHTING DESIGN – HOW DO YOU TELL
GOOD LIGHTING FROM BAD? IT STARTS WITH VISUAL GOALS OF
LIGHTING DESIGN, THE MOTIVATION FOR LIGHT SOURCES AND
WALKS STEP BY STEP THROUGH HOW LIGHTING DESIGNERS
CHEAT TO ACHIEVE THE RESULTS THEY WANT 2
UNIT 2 LIGHTING BASICS AND GOOD PRACTICES – WHEN AND HOW TO
START THE PROCESS OF LIGHTING DURING A PRODUCTION. 3
POINT LIGHTING, HOW TO CHOOSE BETWEEN ALL TYPES OF
LIGHTS IN YOUR 3D PROGRAM ADJUSTING CONTROLS AND
OPTIONS ON LIGHTS. UPDATED WITH NEW EXAMPLES: IES
PHYSICALLY BASED LIGHTS, OBJECTS AS LIGHT SOURCES ETC. 4
UNIT 3 SHADOWS AND OCCLUSION – CREATING DIFFERENT LOOKS WITH
SHADOWS. CONTROLLING RAYTRACED HARD AND SOFT
SHADOWS FROM DIFFERENT TYPES OF LIGHTS. DEPTH MAP
SHADOWS, HOW TO FIX BIAS AND FRAMING ISSUES, FIXING
LIGHT LEAKS A ND ARTIFACTS. NEW COVERAGE OF OCCLUSION 4
SANDWICH TECHNIQUE AND OCCLUSION PASSES WITH
DISPLACEMENT AND REFLECTIONS. CHEAT AND TRICKS TO FAKE
AND MANIPULATE SHADOWS AND OCCLUSION.
UNIT 4 LIGHTING ENVIRONMENTS AND ARCHITECTURE – LIGHTING SETS
AND ENVIRONMENTS WITH NATURAL LIGHT OR ARTIFICIAL
LIGHTS BY DAY OR NIGHT. NEW EXAMPLES OF SPILL LIGHT,
GLOBAL ILLUMINATION TECHNIQUES, SIMULATING GLOBAL
ILLUMINATION, BREAKING UP SPACES WITH VARIED LIGHTING,
WORKING WITH VOLUMETRIC FOG AND ATMOSPHERE, NEW
FOCUS ON UNDERWATER LIGHTING. 4
UNIT 5 LIGHTING CREATURES, CHARACTERS AND ANIMATION –
CREATING DIFFERENT LOOKS IN CHARACTER LIGHTING; HOW TO
LIGHT CHARACTERS IN MOTION AND FOLLOW EMOTIONAL
SHIFTS IN SCENES. ADJUSTING KEY, SPILL, BOUNCE, FILL, RIM AND
KICK LIGHTS TO MODEL; CHARACTERS WITH LIGHT. STRATEGIES
FOR DEVELOPING CHARACTER LIGHTING RIGS AND LIGHTING
MULTIPLE CHARACTERS. MIXING CHARACTER LIGHTING WITH SET
LIGHTS AND GLOBAL ILLUMINATION. TIPS AND EXAMPLES FOR
LIGHTING AND RENDERING CHARACTER EYES, SKIN SHADING AND
SUBSURFACE SCATTERING, AND LIGHTING CHARACTER HAIR. 4
UNIT 6 CAMERAS AND EXPOSURE – UNDERSTANDING EXPOSURE ON
REAL CAMERAS, F - STOPS, SHUTTER SPEED, SHUTTER ANGLE, THE
ZONE SYSTEM, HOW TO SHOOT IMAGES TO CREATE HDRI.
MATC HING WITH LIVE ACTION CINEMATOGRAPHY AND
SIMULATING CAMERA ARTIFACTS IN 3D: MATCHING DEPTH OF
FIELD, NEW DETAIL ABOUT ADJUSTING MOTION BLUR, LENS
BREATHING, CHROMATIC ABERRATIONS AND LENS DISTORTION. 4
UNIT 7 COMPOSITION AND STAGING – PLANNING CINEMATIC
PRODUCTIONS USING DIFFERENT TYPES OF SHOTS, USING
REALISTIC CAMERA RIGS TO SIMULATE CONVINCING CAMERA
MOVES, PLANNING SHOTS THAT WILL CUT TOGETHER WELL
WHEN EDITED, WORKING IN DIFFERENT DIGITAL AND FILM
FORMATS AND ASPECT RATIOS, USING LIGHTING TO HELP
IMPROVE YOUR COMPOSITION AND ENHANCE VISUAL
STORYTELLING. 2
UNIT 8 THE ART AND SCIENCE OF COLOR – NEW FOCUS ON THE LINEAR
WORKFLOW, HOW TO AVOID PROBLEMS WITH GAMMA AND
COLOR SPACES, AND WHY THE LINEAR WORKFLOW MATTERS IN
LIGHTING AND COMPOSITING. CREATING A COMPELLING SCENE
THROUGH DEVELOPING A CONSISTENT COLOR SCHEME.
UNDERSTANDING DIGITAL COLOR F ROM THE RGB STANDARD TO
BIT DEPTH AND OPEN EXR HALF FLOATS. THE MEANINGS OF
DIFFERENT COLORS AND USING COLOR TO INFLUENCE THE
EMOTIONAL IMPACT OF A SCENE. SIMULATING A FILM COLOR
BALANCE AND MATCHING COLOR KELVIN TEMPERATURES FOR
THE REAL LIGHT SOURCES. 4
UNIT 9 SHADERS AND RENDERING ALGORITHMS – EXPLORE THE BASIC
COMPONENTS OF MATERIALS AND SHADERS, DIFFERENT KINDS
OF SHADERS, AND WHAT KIND OF LOOKS YOU CAN CREATE.
UNDERSTANDING VOCABULARY SUCH AS DIFFUSE, GLOSSY, AND
SPECULAR, BRDF, BSSRDF, ENERGY CONSER VATION AND
PHYSICALLY BASED SHADERS. DIFFERENT KINDS OF RENDERING
ALGORITHMS: REYES, RAYTRACERS, APPROACHES TO GLOBAL 4
ILLUMINATION AND UNBIASED RENDERERS.
UNIT 10 DESIGNING AND ASSIGNING TEXTURES –THIS CHAPTER
FEATURES EXAMPLES OF MANY TYPES OF MAPPING, THE
DIFFERENCES BETWEEN DISPLACEMENT, BUMP MAPPING,
NORMAL MAPPING AND POLYNOMIAL TEXTURE MAPPING,
DIFFERENT STRATEGIES FOR ALIGNMENT BETWEEN MAPS AND
GEOMETRY SUCH AS UV MAPS, PROJECTIONS, AND PTEX, AND
TUTORIALS ON CREATING TEXTURE MAPS, EQUALIZING LEVE LS
TO CREATE BETTER TILING MAPS. 4
UNIT 11 RENDERING IN LAYERS AND PASSES FOR COMPOSITING –
APPROACHES TO SPLITTING YOUR SCENES INTO RENDER LAYERS
AND RENDER PASSES, HOW TO RECREATE A COMPLETE SCENE
FROM RENDERED ELEMENTS AND THE BENEFITS TO THE LOOKS
DEVELOPMENT PROCESS OF MULTI PASS RENDERING AND
COMPOSITING. USING STRAIGHT VS PRE MULTIPLIED ALPHA
CHANNELS. COMPOSITING EXAMPLES UPDATED TO USE NUKE AS
WELL AS WORKAROUNDS IN PHOTOSHOP THAT ANYONE CAN
FOLLOW. COMPOSITING WITH A LINEAR WORKFLOW. 6
UNIT 12 PRODUCTION PIPELINES AND PROFESSIONAL PRACTICES – HOW
FEATURE FILMS MOVE THROUGH A MULTI DEPARTMENT
PRODUCTION PIPELINE FOR VISUAL EFFECTS OR ANIMATED
FEATURE PRODUCTION. UNDERSTANDING WHAT ALL THE
DEPARTMENTS DO, HOW LIGHTING FITS IN WITH A LARGER
PIPELINE AND HOW LIGHTING TDS PUT TOGETHER ASSETS FROM
MANY DEPARTMENTS IN BUILDING A SHOT. NEW FOCUS ON
STRATEGIES SUCH AS LIGHTING KEY SHOTS, REFERENCING AND
SHARING LIGHT RIGS THAT LET MULTIPLE LIGHTERS EFFICIENTLY
COLLABORATE TO LIGHT FEATURE FILMS AND OTHER LARGER
PROJECTS. 4
RSACE PRACTICAL EXERCISES HOURS
CREATE A 3 POINT LIGHTING FOR A POTRAIT CHARACTER
SUBMIT 10 PHOTOGRAPHS WITH DIFFERENT MOODS IN
OUDOOR AND INDOOR LIGHTING.
LIGHTING A COMPLETE SET – INTERIOR
LIGHTING A 3D HOUSE – EXTERIOR (MATCH IT WITH THE
REAL PHOTOGRAPHS)
3D MULTI LAYER RENDERING 120
REFERENCE BOOKS
1. INTRODUCING AUTODESK MAYA 2014 BASIC GUID E BY DARIUSH DERAKSH ANI
2. COLOR AND LIGHT : A GUIDE FOR THE REALIS T PAINTER (JAMES GUM EY ART)
3. DIGITAL LIGHTING AND RENDERING – 1ST AND 2ND EDITION. – BY JERMY BIM
REFERENCE LINK
HTTP://WWW.3DRENDER. COM/LIGHT/
HTTPS://DOC.LAGOUT.O RG/OTHERS/GAME%20DEV ELOPME NT/DESIGNING/DIGITAL %20LIGHTING%
20AND%20RENDERING.PD F
HTTPS://WWW.3DARTIST ONLINE.COM/NEWS/2015 /04/24 -THINGS -YOU -NEED -TO-KNOW -ABOUT -
LIGHTING/
RSACE-3:28 COMPOSITING I TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 INTRODUCTION: STEREO COMPOSITING, MULTI -PASS CGI
COMPOSITING, 3D COMPOSITING, ADOBE PHOTOSHOP, PRODUCTION
TIPS, MAKING THE GOOD COMPOSITE, THE QUEST FOR REALISM, THE
SLICE TOOL, FLOW GRAPHS, THE COLOR CURVE 2
UNIT 2 PULLING MATTES: LUMA KEY MATTES, CHROMA KEY MATTES,
DIFFERENCE MATTES, BUMP MATTES, KEYERS, COLOR DIFFERENCE
MATTES, ADOBE AFTER EFFECTS MATTE 2
UNIT 3 REFINING MATTES: THE MATTE MONITOR, GARBAGE MATTES,
FILTERING THE MATTE, ADJUSTING THE MATTE SIZE 2
UNIT 4 DESPILL: THE DESPILL OPERATION, DESPILL ARTIFACTS, DESPILL
ALGORITHMS, REFINING THE DESPILL, UNSPILL OPERATIONS 2
UNIT 5 THE COMPOSITE: THE COMPOSITING OPERATION, THE PROCESSED
FOREGROUND MET HOD, THE ADD -MIX COMPOSITE, REFINING THE
COMPOSITE, STEREO COMPOSITING 2
UNIT 6 CGI COMPOSITING: PREMULTIPLY AND UNPREMULTIPLY, MULTI -PASS
CGI COMPOSITING, HDR IMAGES, 3D COMPOSITING, A SHORT COURSE
IN 3D, MATCHMOVING, CAMERA PROJECTION, SET EXTENSION, 3D
BACKGROUNDS 2
UNIT 7 BLEND OPERATIONS: IMAGE BLENDING OPERATIONS, ADOBE
PHOTOSHOP BLENDING MODES, SLOT GAGS 2
UNIT 8 COLOR - CORRECTION: THE COLOR OF NATURE, THE BEHAVIOR OF
LIGHT, MATCHING THE LIGHT SPACE 2
UNIT 9 CAMERA EFFECTS: MATCHING THE FOCUS, DEPTH OF FIELD, LENS
FLARE, VEILING GLARE, GRAIN 2
UNIT 10 ANIMATION: GEOMETRIC TRANSFORMATIONS, MOTION TRACKING,
WARPS AND MORPHS 2
UNIT 11 GAMMA: WHAT IS GAMMA? THE EFFECTS OF GAMMA CHANGES ON
IMAGES, THE THREE GAMMAS OF A DISPLAY SYSTEM, THE DIM
SURROUND EFFECT, THE GAMMA OF VIDEO, THE GAMMA OF FILM 2
UNIT 12 VIDEO: HOW VIDEO WORKS, HI -DEF VIDEO, TELECINE, WORKING WITH
VIDEO, WORKING WITH VIDEO IN A FILM JOB, WORKING WITH FILM IN
A VIDEO JOB, WORKING WITH CGI IN A VIDEO JOB 2
UNIT 13 FILM: THE F ILM PROCESS, TERMS AND DEFINITIONS, FILM FORMATS,
FILM SCANNERS, FILM RECORDERS, DIGITAL INTERMEDIATE 2
UNIT 14 LOG VS. LINEAR : DYNAMIC RANGE IN THE REAL WORLD, THE
BEHAVIOR OF FILM, REPRESENTING FILM DATA IN LOG FORMAT,
DIGITIZING FILM, BIT DEPTH, BANDING 2
UNIT 15 LOG IMAGES: CONVERTING LOG IMAGES, WORKING WITH LOG
IMAGES 2
RSACE PRACTICAL EXERCISES HOURS
3D MULTI LAYER COMPOSITING
RE LIGHTING
COLOR CORRECTION 30
REFERENCE BOOKS
1. NUKE 101
REFERENCE LINK
RSACE -3:29 ADVANCED CGI COMPOSITING &
EDITING TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 KEYING: INTRODUCING NUKE’S KEYING NODES, HUEKEYER, THE IBK:
IMAGE BASED KEYER, KEYLIGHT, COMBINING KEYER NODES USING THE
TREE . 2
UNIT 2 COMPOSITING: USING THE PROJECT SETTINGS PANEL, SETTING UP A
HIGH -RES STEREO SCRIPT, COMPOSITING A STEREO PROJECT,
RENDERING AND VIEWING STEREO TREES , COMPOSITING 3D MULTI
LAYER RENDERING, SCENE RELIGHTING. 4
UNIT 3 THE NUKE 3D ENGINE: 3D SCENE SETUPS, MOVING IMAGES WITH A 3D
SCENE, RECONCILE3D: TRANSFORMING 3D DATA INTO 2D DATA, FINAL
DISCLOSURE 2
UNIT 4 CAMERA TRACKING: CALCULATING REFLECTION MOVEMENT USING
CAMERA TRACKING, 3D TRACKING IN NUKE, LOADING A PRE -
GENERATED CAMERATRACKER N ODE, ALIGNING THE SCENE, CREATING
THE REFLECTION 2
UNIT 5 CAMERA PROJECTION: BUILDING A CAMERA PROJECTION SCENE,
TWEAKING THE GEOMETRY, ANIMATING THE CAMERA, TWEAKING THE
TEXTURE, USING A SPHERICAL TRANSFORM TO REPLACE SKY, 2
COMPOSITING OUTSIDE THE SCANLIN E RENDER NODE, 2D
COMPOSITING INSIDE 3D SCENES
UNIT 6 CUSTOMIZING NUKE WITH GIZMOS: ABOUT SAFETY AREAS, BUILDING
THE GIZMO’S TREE, CREATING USER KNOBS, SCRIPTING WITH A LITTLE
TCL, TESTING THE GIZMO’ TREE, WRAPPING IN GROUPS,
MANIPULATING THE NUKE SCRIP T IN A TEXT EDITOR, TURNING A
GROUP INTO A GIZMO, USING THE THE VIEWER INPUT PROCESS,
MORE ABOUT GIZMOS 4
UNIT 7 CUSTOMIZING NUKE WITH PYTHON: PYTHON SCRIPTING BASICS,
CREATING A BUTTON WITH PYTHON, ADDING A HOT KEY, MAKING
CUSTOMIZATION STICK WITH MENU.PY FILE
UNIT 8 TOURING ADOBE PREMIERE PRO: NONLINEAR EDITING IN ADOBE
PREMIERE PRO, PRESENTING THE STANDARD DIGITAL VIDEO
WORKFLOW, ENHANCING THE WORKFLOW WITH HIGH -LEVEL
FEATURES, INCORPORATING OTHER CS5 COMPONENTS INTO THE
EDITING WORKFLOW, ADOBE PRODUCTION PREMIUM WORKFLOW,
TOURING THE ADOBE PRE MIERE PRO WORKSPACE, THE WORKSPACE
LAYOUT, CUSTOMIZING THE WORKSPACE 2
UNIT 9 SELECTING SETTINGS, ADJUSTING PREFERENCES, AND MANAGING
ASSETS: SELECTING PROJECT SETTINGS BY SEQUENCE, THREE TYPES OF
SETTINGS, SPECIFYING PROJECT SETTINGS, SEQUENCE SETTINGS,
ADJUSTING USER PREFERENCES, IMPORTING ASSETS, TAKING A
CLOSER LOOK AT IMAGES, IMAGE TIPS, MANAGING MEDIA IN BINS,
EXPLORING ADDITIONAL BIN FEATURES, HAVING MULTIPLE BINS OPEN
AT ONCE, FINDING ASSETS, FINDING ASSETS WITH THE MEDIA
BROWSER 2
UNIT 10 IMPOR TING AND MANAGING TAPELESS MEDIA: USING A TAPELESS
WORKFLOW, PANASONIC P2, SONY XDCAM, AVCHD, DIGITAL STILL
CAMERAS THAT SHOOT HIGH -DEFINITION VIDEO, USING THE MEDIA
BROWSER, IMPORTING XDCAM MEDIA, IMPORTING P2 MEDIA, P2
FOLDER STRUCTURE, IMPORTING AVCHD M EDIA, MIXING MEDIA
FORMATS 2
UNIT 11 SHOOTING AND CAPTURING GREAT VIDEO ASSETS: TIPS FOR
SHOOTING GREAT VIDEO, GET A CLOSING SHOT, GET AN ESTABLISHING
SHOT, SHOOT PLENTY OF VIDEO, ADHERE TO THE RULE OF THIRDS,
KEEP YOUR SHOTS STEADY, FOLLOW THE ACTION, USE TRUCKING
SHOTS, FIND UNUSUAL ANGLES, LEAN FORWARD OR BACKWARD, GET
WIDE AND TIG HT SHOTS, SHOOT MATCHED ACTION, GET SEQUENCES,
AVOID FAST PANS AND SNAP ZOOMS, SHOOT CUTAWAYS, USE LIGHTS,
GRAB GOOD SOUND BITES, GET PLENTY OF NATURAL SOUND, PLAN
YOUR SHOOT, CAPTURING VIDEO, THREE DV/HDV -CAPTURING
SCENARIOS, CAPTURING AN ENTIRE TAPE, USI NG BATCH CAPTURE AND
SCENE DETECTION, USE A CLIP -NAMING CONVENTION, USE SCENE
DETECTION, TACKLING MANUAL ANALOG MOVIE CAPTURE,
CAPTURING HDV AND HD VIDEO 2
UNIT 12 CREATING CUTS -ONLY VIDEOS: USING A STORYBOARD TO BUILD A
ROUGH CUT, ARRANGING YOUR STORYBO ARD, AUTOMATING YOUR
STORYBOARD TO A SEQUENCE, EDITING CLIPS ON THE TIMELINE,
TRIMMING A CLIP, USING THE RIPPLE EDIT TOOL, MOVING CLIPS TO,
FROM, AND WITHIN THE TIMELINE, USING THE CURRENT -TIME
INDICATOR TO ESTABLISH THE EDIT POINT, ADDING CLIPS TO THE
TIMELINE WITH THE SOURCE MONITOR, WORKING WITH SOURCE
MONITOR EDITING TOOLS, MORE PRACTICE, ADJUSTING CLIPS IN THE 2
TRIM PANEL, USING OTHER EDITING TOOLS
UNIT 13 ADDING VIDEO TRANSITIONS: USING TRANSITIONS WITH RESTRAINT,
ADDING WHIMSY, ADDING VISUAL INTERE ST, TRYING SOME
TRANSITIONS, SEQUENCE DISPLAY CHANGES, CHANGING PARAMETERS
IN THE EFFECT CONTROLS PANEL, USING A/B MODE TO FINE -TUNE A
TRANSITION, WORKING WITH THE EFFECT CONTROLS PANEL’S A/B
FEATURE, DEALING WITH INADEQUATE (OR NO) HEAD OR TAIL
HANDLES, A PPLYING TRANSITIONS TO MULTIPLE CLIPS AT ONCE,
ADDING AUDIO TRANSITIONS 2
RSACE PRACTICAL EXERCISES HOURS
ROTOSCOPY – 50 FRAMES
MULTI LAYER COMPOSIT ING & COLOR CORRECTI ON- 100
FRAMES SEQUENCE
KEYING – 100 FRAMES SEQUENCE.
90
REFERENCE BOOKS
NUKE 101
THE FOUNDRY NUKE X 7 FOR COMPOSITORS – BY PROF SHAM TICKOO PURDUE
ADOBE PREMIER IN CLA SS ROOM
EDITING DIGITAL VIDE O – BY ROBERT M GOOD MAN .
REFERENCE LINK
HTTP://NATURALRECORD SSTUDIOS.COM/WHAT -IS-CGI-ANIMATION/
HTTP://WWW.LSBU.AC.U K/COURSES/COURSE -FINDER/VFX -BA-HONS#MAIN_CONTAINER
HTTP://BLOG.TED.COM/ 10-TIPS -FOR-EDITING -VIDEO/
HTTPS://BLOG.POND5.C OM/11099 -13-CREATIVE -EDITING -TECHNIQUES -EVERY -VIDEO -EDITOR-
SHOULD -KNOW/
RSACE -3:30 GRADUATION PROJECT TEACHING
HOURS
UNITS DESCRIPTION Hours
GRADUATION PROJECTS SUBMISSION GUIDELINE .
PROJECT TITLE
DURATION OF THE PROJECT
PROJECT LEADER AND LIST OF TEAM MEMBER
CONTACT DETAILS OF THE MAIN TEAM.
SUMMARY OF PROJECT
INTRODUCTION.
THE RESEARCH AND APPROACHES.
FINAL SUBMISSION.
OUTCOMES / FINDINGS / EVALUATION.
CONCLUSION
ACKNOWLEDGEMENTS.
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INTRODUCTION
RSACE SHORT FILM DELIVERABLE ARE PLANNED IN LINE WITH THE
INDUSTRY WORK FLOW. THE STUDENTS ARE TAUGHT INDUSTRY
PRODUCTION PROCESS WORK FLOW VALIDATED BY SOME OF THE BEST
OF THE ANIMATION VETERANS AND STUDIOS IN INDIA. EACH SEMESTER
IS ALIGNED IN LINE WITH THE INDUSTRY PRODUCTION PRACTICE S AND
TO TOP IT UP THE FINAL GRADUATION FILM WILL MAKE THE STUDENTS
UNDERSTAND THE REAL PRODUCTION NITIGRITIES, WORKING AS A
TEAM, WORKING WITHIN THE TEAM, MEETING DEADLINE, FULFILLING
THE EXPECTATION OF THE SUPERVISORS AND DELIVERING THE
GRADUATION FILM W ITHIN THE TIMELINE GIVEN.
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ANIMATION SHORT FILM EVALUATION
FOR SHORT FILM ,MINIMUM 6 MONTHS TIME WILL BE PROVIDED FOR A GROUP
OF STUDENTS. MINIMUM 10 OR MAXIMUM 15 STUDENTS WILL BE WORKING
ON A SHORT FILM. THE PRODUCTION SCHEDULE AND THE REVIEW MECHANISM
WILL BE PROVIDED TO ONE OF THE STUDENTS IN CHARGE FOR ONE POINT CO -
ORDINATION (LIKE PRODUCTION COORDINATOR IN THE INDUSTRY) .
RSACE FACUTY AND INDUSTRY PROFESSIONALS WILL REVIEW THE PROJECT AT
VARIOUS STAGES TO ENSURE THE DESIRE QUALITY IS ACHIEVED.
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GRADUATION PROJECTS BRIEF
THE FINAL GROUP PROJECT IS A GRADUATION FILM IT CAN BE A 2D ANIMATION
SHORT FILM. / 3D ANIMATION SHORT FILM / EXPERIM ENTAL FILM /
THE FORMAT: HD DIGITAL VIDEO.
THE STUDENTS FROM B ACHELORS IN ANIMATION WILL LEARN TO WORK AS A
TEAM ENVIRONMENT, ON VARIOUS TECHNIQUES INVOLVED IN ANIMATION
(THEY WILL TEAM UP WITH 10 TO 15 IN A GROUP) MAXIMUM. THEY WILL
LEARN TO CREATE MOD ELS WITH PROPER MESH FLOW. CLEAN -UP ,
OPTIMIZATION OF THE MODELS AND CREATING BLEND SHAPES, THE PROPER
WORKFLOW OF THE ASSET DEVELOPMENT PROCESS. STUDENTS WILL LEARN TO
CREATE SHADERS AND TEXTURING WITH ALL THE GUIDELINE PRESCRIBED, AND
WILL WORK ON THE FI NAL GRADUATION FILM (THEY WILL APPLY ANIMATION 210
PRINCIPLES, MANIPULATE TIMING ETC).HERE THEY WILL GET EXPOSURE ON 3D
VFX, LIGHTING & COMPOSITING TECHNIQUES AND LEARN ADVANCED LIGHTING
AND RENDERING. THEIR FINAL PROJECT FILM WILL SERVE AS A PLATFORM FOR
THEM TO EXHIBIT THEIR TALENT. STUDENTS WILL DEVELOP FILM FROM
CONCEPT TILL COMPLETION AND WILL BE GUIDED BY THE FACULTIES,
THROUGH OUT THEIR PROJECT. IT WILL BE A UNIQUE OPPORTUNITY FOR EACH
AND EVERY STUDENT TO APPLY THEIR CREATIVE SKILLS,. THE INSTITUTE WILL
CHOOSE THE BEST OF THE GRADUATION FILMS TO BE SENT FOR FESTIVALS
ACROSS THE WORLD.
ONE OF THE STUDENT WILL TAKE A ROLE OF A PRODUCTION CO ORDINATOR,
WHO WILL BE IN CHARGE ALLOCATING THE SYSTEMS, SUPERVISING ON THE
DELIVERABLES, THE PRODUCTION TEAM’S RE SPONSIBILITY TO DELIVER THE
FILM BY DEADLINE.
UNIVERSITY OF MUMBAI
GARWARE INSTITUTE OF CAREER EDUCATION & DEVELOPMENT
Ordinances, Regulations and Syllabus Relating to
Bachelor in Animation
(THREE YEARS FULL -TIME COURSE)
MARKS GRADE POINTS
GRADE
75 TO 100 7.5 TO 10.0 O
65 TO 74 6.5 TO 7.49 A
60 TO 64 6.0 TO 6.49 B
55 TO 59 5.5 TO 5.99 C
50 TO 54 5.0 TO 5.49 D
0 TO 49 0.0 TO 4.99 F (FAILS)
The performance grading shall be based on the aggregate performance of Internal
Assessment and Semester End Examination.
The Semester Grade Point Average (SGPA) will be calculated in the following manner:
SGPA = CG / C for a semester, where C is Credit Point and G is Grade Poi nt for the
Course/ Subject.
The Cumulative Grade Point Average (CGPA) will be calculated in the following manner
:
CGPA = CG / C for all semesters taken together.
R. __________ PASSING STANDARD FOR ALL COURSES :
Passing 50% in each subject /Course combined Progressive Evaluation (PE)/Internal
Evaluation and Semester -End/Final Evaluation (FE) examination taken together. i.e.
(Internal plus External Examination)
R. __________
A. Carry forward of marks in case of learner who fails in the Internal Assessments
and/ or Semester -end examination in one or more subjects (whichever
component the learner has failed although passing is on total marks).
B. A learner who PASSES in the Internal Examination but FAILS in the Semester -
end Examination of the Course s hall reappear for the Semester -End Examination
of that Course. However his/her marks of internal examinations shall be carried
over and he/she shall be entitled for grade obtained by him/her on passing.
C. A learner who PASSES in the Semester -end Examination but FAILS in the
Internal Assessment of the course shall reappear for the Internal Examination of
that Course. However his/her marks of Semester -End Examination shall be
carried over and he/she shall be entitled for grade obtained by him/her on
passing
R. __________ ALLOWED TO KEEP TERMS (ATKT)
A. A learner shall be allowed to keep term for Semester II irrespective of number of
heads/courses of failure in the Semester I.
B. A learner shall be allowed to keep term for Semester III wherever applicable if
he/she passes each of Semester I and Semester II.
OR
C. A learner shall be allowed to keep term for Semester III wherever applicable
irrespective of number of heads/courses of failure in the Semester I & Semester
II.
D. A learner shall be allowed to keep term for Semester IV wherever applicable if
he/she passes each of Semester I, Semester II and Semester III.
OR
E. A learner shall be allowed to keep term for Semester IV wherever applicable
irrespective of number of heads/courses of failure in the Semester I, Semester II,
and Semester III
F. A learner shall be allowed to keep term for Semester V wherever applicable if
he/she passes each of Semester I, Semester II, Semester III and Semester IV.
OR
G. A learner shall be allowed to keep term for Semester V wherever applicable
irrespective of number of heads/courses of failure in the Semester I, Semester II,
Semester III, a nd Semester IV.
H. The result of Semester V I wherever applicable OR final semester shall be kept in
abeyance until the learner passes each of Semester I, Semester II, Semester III,
Semester IV , Semester V wherever applicable.
OR
I. A learner shall be allowed to keep term for Semester VI wherever applicable
irrespective of number of heads/courses of failure in the Semester I, Semester II,
Semester III, Semester IV and Semester V.