I've had some concerns about students not being able to keep up with their weekly photo challenges etc.
Please keep in mind what is assigned each month:
Assignments are expected to be done on time and posted in a timely fashion. If this workload is too difficult, I suggest taking a look at how you use your class time, possibly consider signing out a camera overnight, or using your camera-phone when inspiration hits. If all else fails please come and see me - I can help!
Due to reported wandering of the halls it will required for you to leave your phone in class while you are out taking photos, and no visible phones during class time. When I can trust that work is being done I will give more freedom for taking photos.
Please make sure that you are erasing your images off the SD cards, and returning Tripods with the plates.
Thank you for your cooperation and understanding - I know by December everyone will feel much more comfortable with taking photos and understanding the camera functions. Keep up the great work, you should be very proud of the work you are accomplishing!
Ms. Pryor
Please keep in mind what is assigned each month:
- 3 photos per week - preferably taken outside of class time. You may come at lunch or after school to take photos, use photo’s taken with your phone, or sign out cameras over night/weekends. (12 per month)
- One blog post per week that tells a story about one of your WPC’s per week (4 per month)
- One Major project per month
- One – two small assignments per month
Assignments are expected to be done on time and posted in a timely fashion. If this workload is too difficult, I suggest taking a look at how you use your class time, possibly consider signing out a camera overnight, or using your camera-phone when inspiration hits. If all else fails please come and see me - I can help!
Due to reported wandering of the halls it will required for you to leave your phone in class while you are out taking photos, and no visible phones during class time. When I can trust that work is being done I will give more freedom for taking photos.
Please make sure that you are erasing your images off the SD cards, and returning Tripods with the plates.
Thank you for your cooperation and understanding - I know by December everyone will feel much more comfortable with taking photos and understanding the camera functions. Keep up the great work, you should be very proud of the work you are accomplishing!
Ms. Pryor
http://www.annecy.org/about/archives/2012/award-winners
http://www.newgrounds.com/portal/view/657201
http://www.newgrounds.com/portal/view/657201
https://g.co/doodle/mf2e6c
Making a Google GIF
FLASH TUTORIALS
1. MOTION TWEEN
2. SHAPE TWEEN
3. MOTION GUIDE
4. MASKING
5. WORKING WITH LAYERS
6. BLUR EFFECT
7. FADE IN FADE OUT
8. ZOOM IN ZOOM OUT
1. MOTION TWEEN
2. SHAPE TWEEN
3. MOTION GUIDE
4. MASKING
5. WORKING WITH LAYERS
6. BLUR EFFECT
7. FADE IN FADE OUT
8. ZOOM IN ZOOM OUT
http://www.benettonplay.com/toys/flipbookdeluxe/guest.php
http://www.zimmertwins.com/movie/create
Drawing with a tablet
https://www.youtube.com/watch?v=mhTqD1rA-po
https://www.youtube.com/watch?v=7cWVdK5xyTs - how to make a storyboard (files on the desktop)
https://www.youtube.com/watch?v=uPD9lNj01V4 - designing an environment (files on the desktop)
Google Gif
Japanese woodblock gifs
stop motion
short film
photoshop storyboarding
conceptual design
Storytelling and narrative
drawing skills
Digital drawing skills
Character development
sound and dialog
preproduction, production, post-production
-
http://www.zimmertwins.com/movie/create
Drawing with a tablet
https://www.youtube.com/watch?v=mhTqD1rA-po
https://www.youtube.com/watch?v=7cWVdK5xyTs - how to make a storyboard (files on the desktop)
https://www.youtube.com/watch?v=uPD9lNj01V4 - designing an environment (files on the desktop)
Google Gif
Japanese woodblock gifs
stop motion
short film
photoshop storyboarding
conceptual design
Storytelling and narrative
drawing skills
Digital drawing skills
Character development
sound and dialog
preproduction, production, post-production
-
SPRITES & GAME ANIMATION
WHAT ARE SPRITES IN ANIMATION?
In basic terms it is a graphic used to depict a character or feature in a 2D game.
These are computer graphics that may be moved on-screen and otherwise manipulated as a single entity. They are several 2D graphics images of one object or character for each of it's possible positions and states. The game engine displays the correct image based on the object's or character s position.
PROJECT OBJECTIVES:
Create a short >30 second animation using sprites. Your animation clip must have a background, and character interactions. You will use the 8 Flash techniques you completed in your previous tutorials.
The Sprite animation will be evaluated on the usage of the Flash techniques, story creativity, fluid character movements, and animation continuity.
AWESOME LINKS
http://sdb.drshnaps.com/
http://spriters-resource.com/
http://www.videogamesprites.net/
http://www.gsarchives.net/index2.php
WHAT ARE SPRITES IN ANIMATION?
In basic terms it is a graphic used to depict a character or feature in a 2D game.
These are computer graphics that may be moved on-screen and otherwise manipulated as a single entity. They are several 2D graphics images of one object or character for each of it's possible positions and states. The game engine displays the correct image based on the object's or character s position.
PROJECT OBJECTIVES:
Create a short >30 second animation using sprites. Your animation clip must have a background, and character interactions. You will use the 8 Flash techniques you completed in your previous tutorials.
The Sprite animation will be evaluated on the usage of the Flash techniques, story creativity, fluid character movements, and animation continuity.
AWESOME LINKS
http://sdb.drshnaps.com/
http://spriters-resource.com/
http://www.videogamesprites.net/
http://www.gsarchives.net/index2.php
character design + PRODUCTION model sheet
Character design involves developing the appearance and features of characters in an animation. Often an actual model (often referred to as a maquette) will be produced using modelling clay in order to get a better idea of the appearance of the character. Character Model Sheets and Expression Sheets are produced to help animators be consistent with the appearance of characters. Character Line-up Sheets are also produced to compare the scale of the characters against one another.
They provide the construction, structure, proportion, design, etc. for each character. Usually, several models sheets are needed for each character to show the physical and design nuances. Each animator, artist has their own style of drawing. The model sheet guides the 300 or so artists working on the production toward making all the characters look “ON MODEL”. “ON MODEL” means the model sheets have been followed to perfection as if one artist (instead of over 300 ) has drawn the character.
PROJECT OBJECTIVE:
is to create your own ORIGINAL character design (no tracing or copying). Sketch out possible designs for your character (minimum of 8 variations) in your sketch book. When you have finalized your character, create a CHARACTER MODEL SHEET with the 8 poses for it.
A CHARACTER ROTATION should include a front view, back view, 3/4 front (left & right), 3/4 back (left & right), and profile view (side) of the character. These views help the animator (s) understand the character's construction and proportion. The ability to turn a character is an element of animation which increases the character's believability.
The easiest and best way to draw out a rotation is to break down the character into its simplest forms. .. then you just rotate the forms.
Here's a design tip - make the ball of the head and the body different sizes (big head with small body or small head with a big body).
http://www.awn.com/tooninstitute/lessonplan/model.htm
Character design involves developing the appearance and features of characters in an animation. Often an actual model (often referred to as a maquette) will be produced using modelling clay in order to get a better idea of the appearance of the character. Character Model Sheets and Expression Sheets are produced to help animators be consistent with the appearance of characters. Character Line-up Sheets are also produced to compare the scale of the characters against one another.
They provide the construction, structure, proportion, design, etc. for each character. Usually, several models sheets are needed for each character to show the physical and design nuances. Each animator, artist has their own style of drawing. The model sheet guides the 300 or so artists working on the production toward making all the characters look “ON MODEL”. “ON MODEL” means the model sheets have been followed to perfection as if one artist (instead of over 300 ) has drawn the character.
PROJECT OBJECTIVE:
is to create your own ORIGINAL character design (no tracing or copying). Sketch out possible designs for your character (minimum of 8 variations) in your sketch book. When you have finalized your character, create a CHARACTER MODEL SHEET with the 8 poses for it.
A CHARACTER ROTATION should include a front view, back view, 3/4 front (left & right), 3/4 back (left & right), and profile view (side) of the character. These views help the animator (s) understand the character's construction and proportion. The ability to turn a character is an element of animation which increases the character's believability.
The easiest and best way to draw out a rotation is to break down the character into its simplest forms. .. then you just rotate the forms.
Here's a design tip - make the ball of the head and the body different sizes (big head with small body or small head with a big body).
http://www.awn.com/tooninstitute/lessonplan/model.htm
CHARACTER WALKING CYCLE
PROJECT LESSON LINK from ANGRY ANIMATOR
Walk Cycles are one of the most difficult tasks for an animator...because you have to understand the mechanics of motion and bring that across convincingly, but then - as if that wasn't enough? You must infuse a character and personality into that walk through your timing, spacing and poses. However difficult, though, if you can learn to master a walk cycle then you can animate just about anything.
Many events are happening at the same time, and it can seem overwhelming. A single mistake on your first drawing can wreck the rest of the scene. However, the process can be broken down into a series of steps which can go some distance in simplifying the process.
A walk cycle can be described by four distinct poses: Rinse-Lather-Repeat.... whoops I mean...
CONTACT - RECOIL - PASSING - HIGHPOINT - repeat
You can cover the cycle of a full stride in 8 frames.
For your first practice walk cycle, it's best to try a stick figure. It's good practice, anyway, as a great way to build your animations is to start by drawing stick figures to get the motion down before building actual solid shapes on top of those stick figures; it can save you a lot of time, and a lot of correction work, as it's much easier to work out timelines and difficult motion issues in stick figures than in detailed forms.
MECHANICS OF A WALK CYCLE: Walk cycles encapsulate all of the principles of animation. They also deal with complex issues of weight and timing, in order to be convincing. Offsets, Overlap and Follow Through on every joint are what will keep the motion natural and prevent it from looking robotic.
TIMING AND PACING OF A WALK CYCLE: The timing or pacing of the walk can define the character and personality of the walk. Timing and Poses will define the weight and construction of your character and even add elements of character as well.
CHARACTER, STATE OF MIND, AND PERSONALITY: Character and personality are what make the walk real and make the audience identify with it on an emotional level. Disney always said "the mind is the pilot" and that is where every motion you create must start. Before even drawing a pose, you need to establish in your mind where your character's head is at.
Your final project result will be a strong example of a walking cycle using a character of your own creation. The walking cycle should have 8 poses, I will let you choose whether you want to draw in pencil/pen first, or draw directly into FLASH.
PROJECT LESSON LINK from ANGRY ANIMATOR
Walk Cycles are one of the most difficult tasks for an animator...because you have to understand the mechanics of motion and bring that across convincingly, but then - as if that wasn't enough? You must infuse a character and personality into that walk through your timing, spacing and poses. However difficult, though, if you can learn to master a walk cycle then you can animate just about anything.
Many events are happening at the same time, and it can seem overwhelming. A single mistake on your first drawing can wreck the rest of the scene. However, the process can be broken down into a series of steps which can go some distance in simplifying the process.
A walk cycle can be described by four distinct poses: Rinse-Lather-Repeat.... whoops I mean...
CONTACT - RECOIL - PASSING - HIGHPOINT - repeat
You can cover the cycle of a full stride in 8 frames.
For your first practice walk cycle, it's best to try a stick figure. It's good practice, anyway, as a great way to build your animations is to start by drawing stick figures to get the motion down before building actual solid shapes on top of those stick figures; it can save you a lot of time, and a lot of correction work, as it's much easier to work out timelines and difficult motion issues in stick figures than in detailed forms.
MECHANICS OF A WALK CYCLE: Walk cycles encapsulate all of the principles of animation. They also deal with complex issues of weight and timing, in order to be convincing. Offsets, Overlap and Follow Through on every joint are what will keep the motion natural and prevent it from looking robotic.
TIMING AND PACING OF A WALK CYCLE: The timing or pacing of the walk can define the character and personality of the walk. Timing and Poses will define the weight and construction of your character and even add elements of character as well.
CHARACTER, STATE OF MIND, AND PERSONALITY: Character and personality are what make the walk real and make the audience identify with it on an emotional level. Disney always said "the mind is the pilot" and that is where every motion you create must start. Before even drawing a pose, you need to establish in your mind where your character's head is at.
Your final project result will be a strong example of a walking cycle using a character of your own creation. The walking cycle should have 8 poses, I will let you choose whether you want to draw in pencil/pen first, or draw directly into FLASH.
Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is employed in a variety of disciplines including filmmaking, television production, theatre, sound recording and reproduction, live performance, sound art, post-production, and video game software development. Sound design most commonly involves the manipulation of previously composed or recorded audio, such as sound effects and dialogue. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A sound designer is one who practices the art of sound design.
When sound was introduced to motion pictures, initially it was seen as an inevitable reaction to the action on screen, something Sound Designer Walter Murch refers to as the Shadow of Sound. This idea mirrored real life where sound acts as a shadow to physical events. If you see a dog bark, you sure as hell expect to hear one. It’s physically impossible to disconnect the two events in the real world, just as you can never escape your shadow. SOUND DESIGN VIDEOS:
What is Foley Sound?
Wall-E Sound Design PART 1
Wall-E Sound Design PART 2
The Sound of Monsters University
Heavenly Sword Game Sound Design
Skyrim Game Sound Design
Creating Video Game Monster Sounds
Bad Foley (Star Wars)
SFX DOWNLOAD LINKS:
http://www.soundjay.com/
http://sweetsoundeffects.com/
http://www.grsites.com/archive/sounds/
http://www.mediacollege.com/downloads/sound-effects/ OBJECTIVE
To recreate the sound design for an existing Animated feature movie trailer. You and a partner will delete the the existing sound and play in your own choice of musical scores, sound effects, voice overs, and dialogue. A successful project will make the viewer believe that they are watching and taking in a professional creation.
GUIDELINES
- Take an existing MOVIE/ANIMATION CLIP/GAME TRAILER and redo the entire sound design
- Sound bytes can be downloaded on your own or taken from the digital sound collections provided
- Minimum of 3 sound effects must be created and recorded on your own
- Make sure the movie trailer sound is full and does not have lots of empty portions, as professional as you can make it
When sound was introduced to motion pictures, initially it was seen as an inevitable reaction to the action on screen, something Sound Designer Walter Murch refers to as the Shadow of Sound. This idea mirrored real life where sound acts as a shadow to physical events. If you see a dog bark, you sure as hell expect to hear one. It’s physically impossible to disconnect the two events in the real world, just as you can never escape your shadow. SOUND DESIGN VIDEOS:
What is Foley Sound?
Wall-E Sound Design PART 1
Wall-E Sound Design PART 2
The Sound of Monsters University
Heavenly Sword Game Sound Design
Skyrim Game Sound Design
Creating Video Game Monster Sounds
Bad Foley (Star Wars)
SFX DOWNLOAD LINKS:
http://www.soundjay.com/
http://sweetsoundeffects.com/
http://www.grsites.com/archive/sounds/
http://www.mediacollege.com/downloads/sound-effects/ OBJECTIVE
To recreate the sound design for an existing Animated feature movie trailer. You and a partner will delete the the existing sound and play in your own choice of musical scores, sound effects, voice overs, and dialogue. A successful project will make the viewer believe that they are watching and taking in a professional creation.
GUIDELINES
- Take an existing MOVIE/ANIMATION CLIP/GAME TRAILER and redo the entire sound design
- Sound bytes can be downloaded on your own or taken from the digital sound collections provided
- Minimum of 3 sound effects must be created and recorded on your own
- Make sure the movie trailer sound is full and does not have lots of empty portions, as professional as you can make it