Catalog Code: DDA 350
Course Title: 3D Animation II
Department: Digital Arts
Chairperson: Peter Patchen
School: School of Art
Term/Year: Fall 2020
Course Credits: 3
Location & Time: Monday and Wednesday, 9:30 - 11:50 PM, class meets virtually
Required or Elective: Required
Prerequisites: 3D Modeling I and II, 3D Animation I
Instructor: Claudia Herbst-Tait
E-mail: cherbst@pratt.edu
Phone: 718 636 3490
Fax: 718 399 4494
Office Hours: I am available and flexible, reach out any time for an appointment.
Office Location: 4W-16
Syllabus Version: August 21st, 2020
Course Description
This course builds on the foundation established in 3D Modeling I and II, and Animation I, with a focus on intermediate to advanced character animation techniques. Students will continue to apply the classic principles of animation, this time using robust characters that facilitate facial animation and lip sync to convey a full range of expression, gesture and convincing motion. In addition to two assignments, students will complete several in-class exercises, each demonstrating their mastery of a core principle, followed by critique and discussion.
Detailed Description:
With this course, students will take the next step in learning to refine movement in 3D space. Students use existing, fully rigged characters (links to suggested rigs will be provided by the instructor). During the second half of the semester, students may use characters that they have modeled and rigged for their Animation Studio III course provided that these rigs have been sufficiently tested and function well.
Students are expected to design and generate any other assets (such as simple backdrops, or props, etc.) exclusively themselves. Students will gain a deeper understanding of the methodologies and best practices used in the industry today, and how to achieve an efficient workflow. Technical issues will be addressed in each class, however, the most important end product is a great character performance.
Course Goal(s):
● To improve students’ understanding of core animation principles and how to apply them
● To improve students’ ability to create appealing, convincing and expressive motion
● To improve students’ ability to convey recognizable personalities types through motion
● To improve students’ abilities to critique and apply criticism
Student Learning Objectives:
● Students will be able to convey a character’s personality and create rich, fluid movement using the classic principles of Squash & Stretch, Anticipation, Easing, Follow through and others
● Students learn how to address problems typical to 3D animation, such as sliding feet and twinning
● Students will be able to use layout, staging and composition to enhance the readability of the scene
● Students will be able to use lighting and rendering techniques to enhance storytelling
● Students will create a series of portfolio quality pieces
COURSE REQUIREMENTS
Assignment/s:
1) Weight: Pushing, Pulling, Lifting
2) Acting
3) Lip Sync: Animating complex emotional reactions (students may use their Audio course work)
Short Exercises:
Timing & Spacing (arm up and down, slow in/out)
Shifting weight with attitude (arcs, moving hold, constraints)
Throwing a ball (anticipation, follow through, constraints)
Creating a dynamic run cycle
Quality of Motion
The focus of each assignment is on quality of motion; students will animate short clips and concentrate on revision and refinement, creating expressive, fluid motion with a solid sense of weight. Characters should have appeal and convey personality.
Assets
Assets and props should be kept to a minimum as our focus is on quality of motion. Using models from other classes is not allowed, however, students may use audio/sound files created in their Audio class.
Deliverables
Assignments can be handed in as Playblasts using shaded mode; while final files do not need to be rendered, all animations are expected to depict excellent staging, shot composition and editing. Also, it is recommended that students render one of their best projects for their portfolio. Final files must be delivered at HDTV 1080p (1920 x 1080) pixel aspect square, 30 fps. So as not to overburden students as they are working on their Animation Studio III film, no additional “final” assignment is given in this course.
Naming Convention
Please follow this naming convention for all files submitted. Example:
FA2020_DDA350_C_Tait_BallThrow_01.mov
FA2020_DDA350_C_Tait_RunCycle_01.mov
etc.
Useful references include
Acting for Animators
How to Cheat in Maya 2014
Technology
This course uses Maya 2019.
For online-only courses such as this one, it is highly recommended that students have a second monitor.
Students should use a three-button mouse.
WEEKLY BREAKDOWN
Week 1: Aug. 24th & Aug. 26th
Notes on our virtual classroom.
Syllabus overview
A holistic approach to animation (stage, character, pose, camera)
Pose to Pose vs. Straight Ahead: We’re beginning with Pose to Pose — why?
FK vs IK: when to use either and why
3D rigs: what makes a good rig for this course?
Review of Disney’s 12 Principles of Animation
Exercise: Timing & Spacing (arm up and down, slow in/out)
Watching references:
Spies in Disguise “First 4 Minutes” 4:33 min
Spider Verse “Miles Meets Parker Scene” 3:48 min
Spider Verse “Corpse Scene” 3:25 min
Homework (due Aug. 31st):
Identify the rig you want to work with, download it and familiarize yourself with it.
Complete the Timing & Spacing exercise we began in class, post on blog.
Week 2: Aug. 31st & Sep. 2nd
Review of animations (look for symmetry and staging)
Review of the Graph Editor ( curve types and uses, operators, etc.), Graph Editor Colors
Interacting with props: Constraints
Review of Disney’s 12 Principles of Animation
The importance of pauses in animation (don’t overanimate…)
Exercise: Shifting weight with attitude (arcs, moving hold, constraints)
Homework:
Review the Graph Editor documentation and familiarize yourself with its functionality, take notes (bullet points), post on blog.
Complete the “shifting weight” exercise started in class, post on blog.
Week 3: Sep. 7th (Labor Day, classes do not meet Monday) & Sep. 9th
Review of animations.
Graph Editor: Buffer Curves, Pin Channels
Using visual aids: Ghosting,
Visual aids: Editable Motion Trails
Advanced Skeleton review.
Exercise: Throwing a ball (anticipation, follow through, constraints)
Homework:
Students complete the “throwing a ball” exercise started in class for next Wednesday, post on blog and upload to the Google Classroom.
For Monday, write a two or three-paragraph analysis of Spiderverse “What’s Up Danger” scene: comment on timing, pacing, shot construction and editing.
Week 4: Sep. 14th & Sep. 16th
Review of animations.
Advanced Skeleton review, cont.
Creating a dynamic run cycle.
Copying keys (creating reciprocals)
Scaling frame ranges
Homework:
Students complete the “run cycle” exercise started in class, post on blog.
Week 5: Sep. 21st & Sep. 23rd
Review of animations.
Line of action
In class exercise: posing 3D hands with props.
Introduction of assignment 1: Pushing, Pulling, Lifting (due week 9)
Homework:
Week 6: Sep. 28th & Sep. 30th
Review of poses and 2D animatic.
Converting 2D into 3D animatic.
Color Types for Character Design
Interacting with props: Constraints, cont.
Homework:
Convert 2D animatic into 3D animatic.
Complete the first pass of animation for assignment # 1, post on blog.
Week 7: Oct. 5th & Oct. 7th
Review of animatics.
Using corrective blend shapes.
Homework:
Complete the second pass of animation for assignment # 1, post on blog. See Google classroom for details.
Week 8: Oct. 12th & Oct. 14th
We’ve been making excellent progress — Wednesday is an optional day, I will be here and our virtual classroom will be open, you may use the day to catch up or rest, or come to class.
Review of animations.
Refining and polishing a shot.
Homework:
Finalize assignment #1, due next week; post on blog.
Week 9: Oct. 19th & Oct. 21st
Review of finalized assignment #1
Assignment #2: Acting and Pantomime, expressing a state of mind, combining broad and subtle movement through a jump
Stanislavski's system of acting, the “art of experiencing” and seven questions to ask
Exercise: Identify two to three scenes of animation that depict effective acting and pantomime.
Homework:
Week 10: Oct. 26th & Oct. 28th
What motivates a “Pixar” character? What motivates a Reka Bucsi character?
Review of poses and 3D animatics.
Homework:
Complete first pass on acting and pantomime animation.
Week 11: Nov. 2nd & Nov. 4th
Work day & review of revised poses and animations.
Homework:
Complete second pass on acting and pantomime animation.
Week 12: Nov. 9th & Nov. 11th
Review of animations.
Discussion on race, class and gender in 3D features films.
Introduction of assignment 3, Lip Sync: Animating complex emotional reactions.
Facial animation & Lip Sync Notes
Thinking and feeling before or after verbal expression.
Homework:
Finalize acting and pantomime, post on blog.
Identify a short lip sync sound clip. Students are encouraged to use recordings they created in their Audio course.
Week 13: Nov. Nov. 16th & Nov. 18th
Review of finalized assignment #2
Exercise: animating a head turn, include squash & stretch. Include a shift in mood, the character is thinking for a moment and is about to speak.
Review of audio clips.
Homework:
Complete first pass of lip sync animation, post on blog.
Week 14: Nov. 23rd and Nov. 25th (THANKSGIVING — classes do not meet Wednesday)
Review of lip sync in progress
Catching up… working in class
Homework:
Finalize lip sync animation, post on blog.
Week 15: Nov. 30th & Dec. 2nd
Review of finalized assignment #3
Editing a highlight reel
Homework:
Students post a short highlight reel of portfolio ready quality
Rendering of best work/clip
Week 16: Dec. 7th & Dec. 9th
FINALS
Review of highlight’s reel
Quiz: The 12 Principle of Animation in your own words, Stanislavski method of acting
Methods of Assessment
A student’s progress is assessed based on …
overall quality of motion, timing and sense of weight.
ability to instill a character with life and personality.
level of professionalism as demonstrated during weekly critique and ability to meet deadlines.
UNDERGRADUATE GRADE SCALE DESCRIPTIONS
A= Exceptional Work
A-= Excellent Work
B+= Work of high quality
B= Very good work that satisfies goals of course
B-= Good Work
C+=Average Work
C= Barely adequate work
C-= Poor Work.
D= Poor Work; doesn't understand the assignments
F= Failure, no credit
Students are advised that incompletes are given only in cases of a documented emergency.
POLICIES
PRATT INSTITUTE-WIDE INFORMATION
Academic Integrity Policy
At Pratt, students, faculty, and staff do creative and original work. This is one of our community values. For Pratt to be a space where everyone can freely create, our community must adhere to the highest standards of academic integrity.
Academic integrity at Pratt means using your own and original ideas in creating academic work. It also means that if you use the ideas or influence of others in your work, you must acknowledge them.
At Pratt,
• We do our own work
• We are creative and
• We give credit where it is due.
Based on our value of academic integrity, Pratt has an Academic Integrity Standing Committee (AISC) that is charged with educating faculty, staff, and students about academic integrity practices. Whenever possible, we strive to resolve alleged infractions at the most local level possible, such as between student and professor, or within a department or school. When necessary, members of this committee will form an Academic Integrity Hearing Board. Such boards may hear cases regarding cheating, plagiarism, and other infractions described below; these infractions can be grounds for citation, sanction, or dismissal.
Academic Integrity Code When students submit any work for academic credit, they make an implicit claim that the work is wholly their own, completed without the assistance of any unauthorized person. These works include, but are not limited to exams, quizzes, presentations, papers, projects, studio work, and other assignments and assessments. In addition, no student shall prevent another student from making their work. Students may study, collaborate and work together on assignments at the discretion of the instructor.
Examples of infractions include but are not limited to:
Plagiarism, defined as using the exact language or a close paraphrase of someone else’s ideas without citation.
Violations of fair use, including the unauthorized and uncited use of another’s artworks, images, designs, etc.
The supplying or receiving of completed work including papers, projects, outlines, artworks, designs, prototypes, models, or research for submission by any person other than the author.
The unauthorized submission of the same or essentially the same piece of work for credit in two different classes.
The unauthorized supplying or receiving of information about the form or content of an examination.
The supplying or receiving of partial or complete answers, or suggestions for answers; or the supplying or receiving of assistance in interpretation of questions on any examination from any source not explicitly authorized. (This includes copying or reading of another student’s work or consultation of notes or other sources during an examination.)
For academic support, students are encouraged to seek assistance from the Writing and Tutorial Center, Pratt Libraries, or consult with an academic advisor about other support resources. Refer to the Pratt website for information on Academic Integrity Code Adjudication Procedures.
Attendance Policy
General Pratt Attendance Policy
Pratt Institute understands that students’ engagement in their program of study is central to their success. While no attendance policy can assure that, regular class attendance is key to this engagement and signals the commitment Pratt students make to participate fully in their education.
Faculty are responsible for including a reasonable attendance policy on the syllabus for each course they teach, consistent with department-specific guidelines, if applicable, and with Institute policy regarding reasonable accommodation of students with documented disabilities. Students are responsible for knowing the attendance policy in each of their classes; for understanding whether a class absence has been excused or not; for obtaining material covered during an absence (note: instructors may request that a student obtain the material from peers); and for determining, in consultation with the instructor and ahead of time if possible, whether make-up work will be permitted. Consistent attendance is essential for the completion of any course or program. Attending class does not earn students any specific portion of their grade, but is the pre-condition for passing the course, while missing class may seriously harm a student’s grade. Grades may be lowered a letter grade for each unexcused absence, at the discretion of the instructor. Even as few as three unexcused absences in some courses (especially those that meet only once per week) may result in an automatic “F” for the course. (Note: Students shall not be penalized for class absences prior to adding a course at the beginning of a semester, though faculty may expect students to make up any missed assignments.)
Pratt Institute respects students’ requirements to observe days of cultural significance, including religious holy days, and recognizes that some students might need to miss class to do so. In this, or other similar, circumstance, students are responsible for consulting with faculty ahead of time about how and when they can make up work they will miss.
Faculty are encouraged to give consideration to students who have documentation from the Office of Health and Counseling. Reasonable accommodations for students with disabilities will continue to be provided, as appropriate.
Refer to the Pratt website for information on Attendance.
Students with Disabilities
The instructor will make every effort to accommodate students with both visible and invisible disabilities. While it is advisable that students with disabilities speak to the instructor at the start of the semester if they feel this condition might make it difficult to partake in aspects of the course, students should feel free to discuss issues pertaining to disabilities with the instructor at any time. Depending on the nature of the disability, and the extent to which it may require deviations from standard course policy, documentation of a specific condition may be required, in compliance with conditions established by the campus Learning Access Center, and in compliance with the Americans with Disabilities Act. Students who require special accommodations for disabilities must obtain clearance from the Office of Disability Services at the beginning of the semester. They should contact Elisabeth Sullivan, Director of the Learning Access Center, 718-636-3711.
Religious Policies
In line with Pratt’s Attendance Policy, Pratt Institute respects students’ requirements to observe days of cultural significance, including religious holy days, and recognizes that some students might need to miss class to do so. In this, or other similar, circumstance, students are responsible for consulting with faculty ahead of time about how and when they can make up work they will miss.