Finals Checklist for AN410:

Upcoming Dates:

Monday December 3rd: Final Day of Class! Bring your final project to class for us to view! Below will be a project description for your directed study, and a listing of everything we have worked on this semester so far!

Sunday December 9th @ 12:00 Noon: Final Deadine for updates on any previous assignments.



Directed Study Project Description:

Time Frame:  Second Half of the Semester.

Project Description:  The skill of a 3-D artist lies is one's ability to create purposeful 3-D content that satisfies the goals of the individual artist and the individual artwork in tandem. 3-D CGI is both a means to an end and a step in the process of larger projects.  Your directed study is a chance to develop your own artistic process and create a work of art (or works) that fit your specific goals as an artist.

Pick a specialization in the 3-D arts practices we have studied. (Examples: Modeling, lighting, texturing, cinematography, animation, sculpting, rigging, visual effects, etc.)  Develop 3-D content that demonstrates your exploration into this venue.

Come finals time, produce a completed work of art that demonstrates the sum of your experiences. Show us (the class) how this time has benefitted you by speaking about your development process, what you have learned, mistakes that were made, how you fixed those mistakes, and where you want to go next with your 3-D artist abilities.

Find a creative way to showcase the art you have developed. This can be in a series of images, a movie, or something else entirely!

Things to remember:

• Show it to us from multiple angles! We are making 3-D art afterall, and it is important for the audience to get the complete experience from the art that you have created.
• Package it professionally!  
• Do you have an environment? Put two or three renders on a single spread!  
• Did you model a character or an object? give us multiple angles!
• Remember to mark down important construction information! (Poly Count is important!)
• Do you want to use your art for a game or a movie? Pose your character!  Make it move!
• Do you want to make advertisements or spreads? Build a description for your scene!
• Some examples below of ways to showcase your art:

Artstation has a lot of artists that specialize in 3D arts with professoinal portfolios that demonstrate layout.
Sketchfab is an interactive website that allows users to display their projects in 3 dimensions.
A forum post that links to a bunch of overwatch character turnarounds.
Dead End Thrills is an art gallery of curated screenshots from video games.
Some general notes on building a 3-D gaming portfolio
A great example of a developed 3-D portfolio for clients.


SERVER AND FOLDER SETUP:

Make sure, no matter what you do, that a copy of everything can be saved and showcased on the computer! The layout for the first half of the semester is the same. For the second however, you will make a folder called "DirectedStudy" that contains a number of sub folders. See below:

On the server, in the Classes —> AN410 section, create a folder with your first and last name.  Create a week for each folder.  You should submit animated videos of your assignments labeled as such. Any final models created in Mudbox can be submitted via “File—> export screen to PSD”  In Maya, when exporting renders, be sure to check “save color-managed image” from the “save render” window.

Folder List: Week 1, Week 2, Week 3, Week 4, Week 5, Week 6(this week), Project Folders, Directed Study, Portfolio

Week 1: (making objects in mud box. We built a simple fruit or veggie in class. You went further with the HW.)

lastname_p1_objectmodel1

lastname_p1_simplehead1

Week 2: Building character faces in mud box. Revised objects from the first week of class.

lastname_p2_objectmodel2

lastname_p2_characterhead2

lastname_p2_finalmudboxobjects

Week 3: (submit an image render of this along with your project files! more info below.)

lastname_p3_finalheadrender (created with file —> export screen to PSD)

(note, submit 7 images: front, side, 3/4 front, 3/4 back, back, from above, and below. Label them with the suffix “1,” “2,” etc.)

Week 4: (Built a scene in maya and incorporated mud box models. Incorporated texturing methods from mud box and maya together including normal maps, displacement maps, and ambient occlusion.) Submit renders from at least 3 angles.

lastname_p4_finalscene1

lastname_p4_finalscene2

lastname_p4_finalscene3

Week 5: Built a new scene, and incorporated proper UV layouts and textures into your scene. Render from three perspectives.

Note: Include snapshots (command + shift + 4) of any UV maps you have created for your textures!

lastname_p5_classcarUV

lastname_p5_finalsceneUV1

lastname_p5_finalsceneUV2

lastname_p5_finalsceneUV3

SubFolder inside Week5: UVmaps (should contain screenshots of each uv map.)

Week 6: (make a playblast of your character action scene.)

lastname_p6_actionPlayblast

ProjectFolders(from before midterms): (include project folders and files from your final character face, and you final maya environment scene here.)

Be sure to keep any project files you submit organized for viewing! Name components, textures, image packages, and any components you create in your project files! I should see a proper project folder setup here!

MAIN FOLDER ---> Directed Study: (Your directed study materials should be divided among these 7 folders. I will grade each individually as part of your project, as each covers a different stage in development of your project!

Subfolder: "research"
Place all research materials you compiled in preparation for your directed study here. If part of your research included websites, make an ORGANIZED list of websites in a word file, name and date it, and place it in this folder. Arrange any images or videos you have otherwise.

SubFolder: "project files"
Place your project files here.  Make sure you optimize your files so they can be opened, and make sure ALL TEXTURES or LIGHTS are accounted for! I should be able to open your project and have access to all of your files and the like without needing to reconnect anything!

SubFolder: "renders"
Place rendered images or video of your project here. These are NOT play blasts, but full renders! Make sure you check your settings so we get full resolution, 1920x1080 images! Remember that we need multiple images from multiple points of view! No haphazard angles! Your choices matter and remember that this is part of the art that will be on display next semester!

SubFolder: "presentation materials"
Take the final artwork you have developed and create some type of package for us to view our professional work. If you are uploading it to a website, screenshot the images and layout from the website and place them here. Otherwise, any images created, documents printed, or examples produced will go here. Make sure these are also high-resolution.

SubFolder: "process"
Build either a video or series of images that documents the process of your project. Show us in images and/or video what you did to create your project! (This part is a key in any portfolio you make!)

SubFolder: "additional notes"
Write a short outline of things you have learned while working on this project. focus on mistakes made, how you fixed them, and what you would do next. This is a reminder for you, as well as a short list of notes for me to keep as well!

SubFolder: "extra credit" (Equivalent to 1/3 of a letter grade, or the difference between a C+ and a B-, or a B and a B+)
Any additional 3-D artwork you have created in your spare time can go in this folder. Include a document that describes what you were creating, how you tried to create it, and what you would do differently next time.

Finals grading will be determined by the following:

1: Organization of content and files. (Name everything!)

2: Surface Development: Clear silhouettes, avoidance of triangulation, efficiently designed models

3: Texturing Quality and Craftsmanship: Creation of well-designed UV maps on necessary models, textures that supplement the models crafted with minimal detection of seams.

4: Lighting Quality: Proper use of lighting to present models with respects to three dimensions. Use of cinematic or realistic lighting is carefully crafted, with necessary shadows.

5: For your playblasts(animation project before midterms):  Clarity of action, believable movement, proper timing and staging.
6: Directed study documentation: Proper categorization of research materials.
7: Directed study final project (where elements apply): 

• Quality of lighting, 
• texturing, 
• modeling, 
• animation, 
• cinematography, 
• edgeflow, 
• polycount, 
• and overall look of final creation.

8: FINAL PROJECT: Your presentation package for Monday! Keep it simple, and showcase your art the best way you can!


SOME FINAL NOTES FOR DEVELOPING 3-D ART!
In practicing: Quantity over quality: Make a lot of small things to build your skills! Spend longer times on bigger projects, but give yourself specific timelines so you can constantly create new projects!

In portfolio: QUALITY over QUANTITY! The point of any 3-D artist portfolio is to demonstrate that you understand the fundamentals needed to produce high-level art.  One amazing 30-second sequence is better than a terrible few minutes!   A really high quality model of an object or environment from a few different angles is better than lots of environments with questionable texturing.

Whether you are looking for industry positions or are more into conceptual development, focus on getting great at the specific skills you need most! 3-D is a huge avenue, and you do not need to know everything to become great at your specific skill set!
Job and Internship Search: Be specific about what you are looking to do! Want to work as a texture artist? Build a portfolio that centers around excellent texturing! Want to be a lighting artist? Practice lighting simple scenes!

Class Cancelled Today

Hey Everyone,

Classes are cancelled today because I I messed up and got unexpectedly sick.  I was so excited to see what everyone was working on too! :(  

On the bright side, each of you already has a project you are working on.

AN200: Refining your environments for their character turnarounds.

AN410: Developing assets for your directed study.

AN325: Using the process we discussed to develop sequences of your film.

While things are a little unorthodox today, drop items on the class server or email short video clips or screenshots to me for any questions you may have. When I'm awake, I'll send you feedback. For any other questions, feel free to contact me. We'll return to our regularly scheduled classes on Wednesday.

Thanks,

~Shaw

Expedited Notes: Constraints vs Parenting

PARENTING VS. CONSTRAINTS WITH LOCATORS

(getting objects to follow the actions of other objects)

• Simple Parenting: Click child object, shift select parent object.
• Either press “P” or 
• middle mouse drag one object into the other in your Outliner Window.
• Constraints Summary:
• 1. Create 3 Locators (create —> Locator)
• Place them in close proximity, either by duplicating or moving into place.
• Names:
• Object Locator (cup, sword, etc.)
• Hand Locator
• Surface locator (table, floor, etc.)
• 2. Constrain the Object locator to the object.
• Select the Object locator, then the object you want your character to hold.
• Animation Menu —> Constrain —> Parent ()
• Make sure translate and scale is checked.
• Weight 1.
• 3. Parent the hand locator to the wrist joint control. 
• click locator first, then click the joint. Hit p.
• 4. Check the locator: There should be a parent constraint node in your box. Remember these settings:
• Locator W(weight) setting: 0 = off. 1 = on.
• 5. Constrain the object locator to the hand locator.
• Object is clicked first so it becomes the parent.
• 6. (optional but recommended if your character lets go of the object:) Constrain the surface locator to the object locator as well.
• 7.  Animate in channel box! Note, will not show up in timeline as red ticks unless right clicking and selecting “Display key ticks —> Channel Box!”
• on frame before grab: key Hand Locator and surface locator at 0.
• Frame of grab: Key Hand Locator at 1.
• Frame of release: Key hand Locator at 0 and Surface locator at 1.
• Go back and animate the translate and rotation of your surface locator so it drops into place.

Notes: Constraints and Parenting

Constraints tutorial:

Constraints are used for advanced manipulation of objects when animating characters.

• good for picking up and putting down objects.
• good for grabbing multiple objects in a short time without needing to animate the object itself.

Constraints Tutorial:

We  are building a switch we can turn on and off within 2 frames to make objects stick and unstick from other objects. Frame before, turn off current setting. Frame after, turn on opposite setting.

• Create —> Locator (create two or three of them.)
• Position in middle of object.
• Duplicate and make 1 more. Control D
• Name: hand_locator
• Name: object_locator
• can make one extra one for the floor of your world if you plan to have your object get released, or whatever surface the object rests on when not in use. (Name: floor_locator) This locator will have it's translate controls animated so the object can be dropped in the same position. (See: One Step Further)
• Make the object_locator the leader to everything else.

Constraints vs. parenting:  You can KEY the relationships of constraints in your channel box. Parenting can’t be changed once set without breaking everything.

For this method, we use both: constraints and parenting. (you can use parenting inside constraints)

Cont:

• select object_loc
• shift select object mesh.
• Animation MENU: Constraint —> Parent.
• parent constraining gives you control of rotation, translation, scale.
• check translate_All
• check Rotate_All
• weight: 1. (this will change whether or not the constraint works.)
• In channel box, everything is now blue for object. 
• Now, when I select locator, object moves.
• Q&A: In parenting VS constraints, what you select is important. You click parents first when establishing constraints.  When you do simple parenting instead, the child is selected first.
• Why? Constraints —> Parent establishes child relationships in menus.
• Simple Parenting: Child object is given a parent to follow from your outliner.
• Make the HAND locator follow hand.
• go to frame that switch will occur. Select hand_lc, and then shift-select wrist control.
• Create standard parent by hitting “p”.
• HAND LOCATOR IS NOW CHILD TO WRIST CONTROL of RIG.
• Make Hand locator be a leader of object locator. That way I can turn off the relationship when I don’t want it. 
• Hand_Loc selected. shift-click cup locator to select it too.
• go to frame where you want switch to occur.
• Constraints —> Parent. (settings should be same as before, but if not, remake them.)
• THIS CREATES A NODE IN YOUR SHAPE HISTORY THAT CAN BE KEYFRAMED.
• Go to Hand_Loc_weight channel in channel box.
• Key it:  When set to 0, the object is not attached to hand.
• When set to 1, the object is attached.
• Procedure for keying. (0 off, 1 on.)
• go to the frame before contact.
• Key “0” under weight.
• go to the frame after:
• Key “1” instead.
• Note: If the number fluctuates when playing back, check and make sure these tangents are set to LINEAR to avoid any splines.

NEXT LEVEL (1 step further)

• constrain the SURFACE_loc (floor, table, etc) to object_loc as well.
• Note: be aware that you will now have two channels for locators. If both are set to 1, they both affect the object at the same time. 50/50 influence over your grabbable object.
• Same process for keying the object down. This way, you can lock in an object to a surface to keep it from moving if it needs to be set back down in the same position.
• Surface locator 0 at first.
• Set locator to 1 on setting when you want it to sit back on table.
• EVEN FURTHER: can animate surface locator position so I can affect how the object touches the ground after grabbing. I can make it follow anything i want.
• Animation workflow:
• hand_loc = 0
• hand_loc = 1
• hand_loc = 0, surface_loc = 1 (if I want to give control of object to anything else, or put the object on the ground.
• (optional) animate the translation of that surface locator so when you let go of the object, it drops down wherever you want it to go.
• This way, we don’t have to animate the object locator. We 
• NOTE:  If you keyframe object to character’s hand, the action is much less_intuitive.  This is why we do it with locators instead. easier for more complex action.

TO SUMMARIZE:

• click the object, click the child.
• Constraints -> Parent.
• Make sure translate, rotate, scale are selected.
• Weight 1 to start. (can be 0 in the future.)
• Other Locator should be for the wrist.
• Simple parent hand locator to wrist.
• Make hand locator a constraint parent to object.
• Hierarchy:
• Wrist control from rig
• hand locator (simple child of wrist)
• weight of 1: turn on grab.
• weight of 0: turn off grab.
• Object locator (constrained child of hand)

Midterms Checklist For AN410

Upcoming Dates:

Monday, October 1st: Bring to class your progress on this small animated scene! Look through the list of character rigs I have provided for you and pick (1) one to build a character animation sequence during midterms next week! There are a lot of different rigs with different levels of skill and detail in them. The big goal for each of you is to develop your ability to convey believable movement, action, and performance.  Come to class with sketches and thumbnails based on an animated sequence no longer than 8-12 seconds.

Friday, October 5, 2018: Turn-In for midterms assignments. (All assignments due before 5:00 PM. Key Animation for your walk cycle with personality should be completed by this date!)

On the server, in the Classes —> AN410 section, create a folder with your first and last name.  Create a week for each folder.  You should submit animated videos of your assignments labeled as such. Any final models created in Mudbox can be submitted via “File—> export screen to PSD”  In Maya, when exporting renders, be sure to check “save color-managed image” from the “save render” window.

Folder List: Week 1, Week 2, Week 3, Week 4, Week 5, Week 6(this week), Project Folders

Week 1: (making objects in mud box. We built a simple fruit or veggie in class. You went further with the HW.)

lastname_p1_objectmodel1

lastname_p1_simplehead1

Week 2: Building character faces in mud box. Revised objects from the first week of class.

lastname_p2_objectmodel2

lastname_p2_characterhead2

lastname_p2_finalmudboxobjects

Week 3: (submit an image render of this along with your project files! more info below.)

lastname_p3_finalheadrender (created with file —> export screen to PSD)

(note, submit 7 images: front, side, 3/4 front, 3/4 back, back, from above, and below. Label them with the suffix “1,” “2,” etc.)

Week 4: (Built a scene in maya and incorporated mud box models. Incorporated texturing methods from mud box and maya together including normal maps, displacement maps, and ambient occlusion.) Submit renders from at least 3 angles.

lastname_p4_finalscene1

lastname_p4_finalscene2

lastname_p4_finalscene3

Week 5: Built a new scene, and incorporated proper UV layouts and textures into your scene. Render from three perspectives.

Note: Include snapshots (command + shift + 4) of any UV maps you have created for your textures!

lastname_p5_classcarUV

lastname_p5_finalsceneUV1

lastname_p5_finalsceneUV2

lastname_p5_finalsceneUV3

SubFolder inside Week5: UVmaps (should contain screenshots of each uv map.)

Week 6: (make a playblast of your character action scene.)

lastname_p6_actionPlayblast

ProjectFolders: (include project folders and files from your final character face, and you final maya environment scene here.)

Be sure to keep any project files you submit organized for viewing! Name components, textures, image packages, and any components you create in your project files! Midterm grading will be determined by the following:

1: Organization of content and files. (Name everything!)

2: Surface Development: Clear silhouettes, avoidance of triangulation, efficiently designed models

3: Texturing Quality and Craftsmanship: Creation of well-designed UV maps on necessary models, textures that supplement the models crafted with minimal detection of seams.

4: Lighting Quality: Proper use of lighting to present models with respects to three dimensions. Use of cinematic or realistic lighting is carefully crafted, with necessary shadows.

5: For your playblast:  Clarity of action, believable movement, proper timing and staging.

Animation Notes (ongoing)

Location for Rigs: http://www.nelsonhurst.com/844/top-character-rigs-for-may-free-and-premium

Homework for September 10th:

Okay class -- we have learned a lot with respects to texturing and modeling!  Your homework for this weekend is to build a scene. (read a scene, not just a single model) using the skills we have learned!


Below are a couple of methods you can approach this assignment:

• Build a scene in Maya, and incorporate a model or two you have created and modeled in Mudbox.
• Build a bunch of objects and texture them in mudbox.
• Build a detailed object in Mudbox and texture it in Maya.
• Build an object in Maya, texture it in Mudbox, and then apply those textures in Maya.

For this assignment, bring your project to class! We will discuss lighting methods in Arnold and Mental Ray next week, as well as ambient occlusion! Contact me if you have any questions!

Next week, I will ask begin asking you to submit files and renders of your projects!  Keep a copy of your project files and bring them to class!

UV Layout Notes:

MAKING CUSTOM UV MAPS 

Below is a series of notes for creating proper UV maps for your Model! It’s labeled by steps:

1. CREATE A BASIC BLINN SHADER FOR MODEL. TURN DOWN REFLECTIVITY and SPECULAR COLOR in Attribute Editor.  (At the end, you turn the color of this shader to match the basic color of your object's skin, clothing, etc.)

I. THE MAIN GOAL:  We need to move and sew uv edges. 

To do this, we cut our models like a sheet of paper, cutting in 3 areas:

• Cut one end,
• Cut the other end,
• Cut down the middle of the object.
• Unfold, repeat.

II. Select Model in Object Mode. Open UV editor by going to UV >>> UV Editor.

• Under UV EDITOR Menu, Click Polygons >> Layout

III. Mapping a character:

• What we're doing: We are making a series of strategic cuts in spots, unfolding it, and laying it out.

A. Display >> Polygons >> Texture Border Edges will show thick lines along neighboring wireframes.

• Step 1: Do planar mapping. This makes sure we have one solid model to work from.

• Step 2: Save new model, delete history!
• Step 3: Make series of strategic cuts. Turn on Symmetry.
• To make these cuts, please go Under the UV Editors' Menu and click POLYGONS >>> SPLIT UVs.
• EXAMPLE:  CUTS TO MAKE if your were modeling an anthropomorphic character::
• A. One at the of shoulder.
• B. One at wrists.
• C. One going along bottom of arm.
• >>Note: Want to hide seams as much as possible.
• D. Glove seam through half of hand to inside of thumb. Pinky to Writs. Can use g to cut.  
• E. Neck Edge Loop.
• F. Face: Bottom of neck through front of face.  Great if you don’t have to cut face up.
• G, One around back of ear.
• H. Back of head.
• I. Pelvis of legs.
• J. Ankle
• K. Back of leg.
• L. top of neck to shoulder. This cut is similar to the shoulder seam of most shirts.
• M. armpit to waist.  
• N. crotch

IV. Select all UVs. (you do this by right clicking in your perspective or UV editor view, and selecting UV mode, much like we would select Edge, or Object, or Vertex Mode)

• Polygons —> Unfold —> Options
• Method: Unfold 3D.  Hit apply, Close.
• ——> UVS are laid out wonderfully!

Take them out and see how they look.

Click: Check Display UV Distortion. (Located as a Blue and White Button in your UV editor. (2 from the Magnet Icon)

A. Check the Space in UVs vs how much it takes up.

• You want as much surface area as possible for your UVs. They will serve as a COLORING BOOK for us in Mudbox.
• Can edit the positioning of your UVs using the following tools:
• Select UV Shell tool. (Under tools menu)
• UV mode, and selecting your Move, Scale and Rotate Tools.
• All previous commands for selecting multiple parts (including holding shift) apply when working out the UVs of characters.
• Anywhere you see white is proportional!
• Blue: More space devoted to texture image than necessary.
• Red: Less space devoted than recommended.

Lighting Review:

Basic Lighting and Rendering:

To select: Create ——> Lights ——>  (type of light)

Types of Lights:

• Directional Light: Works like the sun. Light entire scene in one direction
• Intensity: On all lights: Will change the intensity of the light itself and the brightness of that intensity.
• Spotlight:  Works from a single infinite point. Lights in a cone shape, outward towards an object.
• Drop-off will change the softness of the light itself.
• Ambient lights: Creates a soft light that paints the entire scene in a specific blend of light and light color.
• Point Lights: Operates like a candle. A miniature star that emanates from a single, solitary point in space.  The light gets softer as it moves through the air.
• Area light:  A light that emits in a specific direction, marked by a box and an indicator.
• Volume Light: A light that emits all objects inside a cage. Light will not escape outside that wire cage.

THESE LIGHTS OPERATE AND CONTROL THE WAY LIGHTS AND SHADOWS EMIT.

NEXT, WE CONTROL THE WAY LIGHT BOUNCES OFF THE OBJECTS USING….

• Material Choice
• Renderer Choice

Materials:

• Blinn: Used to generate basic highlights and reflections
• Lambert: Used for a matted look.
• mia_material: The most commonly used shader for Mental Ray Rendering. Used to achieve a variety of effects — like glossiness, reflections, specularity — as well as textures (rubber, concrete, gold, metal, etc.)
• mudbox shader: Shader specifically for mudbox properties.
• Arnold Shader (arn_shad): Used for arnold rendering properties

Renders:

• Maya Software: Basic render that calculates lighting based on the software controls in Maya.
• Maya Hardware: Basic render that calculates lighting based on the hardware of the computer.
• Maya Hardware 2.0: New(ish) renderer that produces a much more realistic image much faster.
• Mental Ray: Lighting engine commonly used to achieve realistic lighting settings by taking advantage of a number of controls that effect the way light interacts with objects and cameras.
• Arnold: New render to maya that is also used for more realisting lighting:  Lights via QUADRATIC lighting setups with realistic dropoff. Part of using Arnold's render settings involves setting your lights to either CONSTANT or QUADRATIC dropoff.
• Intensity may need to be turned up as well on your lights, as your lights calculate for realistic space and resistance.

RAYTRACING SHADOW ATTRIBUTES:

• Light angle: Adjusts the softness of the light.
• Shadow rays: Adjusts quality of the light.
• Ray Depth Limit:  The number of times light bounces off of objects before is dissipates into shadow.

Homework for Wednesday, September 5th

Using what you have learned in class, produce two higher-quality models! One face or character body, and one more inanimate object!

• As usual, bring your projects with you to class.
• Create a rendered photoshop image of your artwork by using FILE ---> Export Screen to PSD.
• Remember that you can also make models in maya and Send them to mudbox to use!
• If you do remember to make your mudbox and maya scene files first, save them, and THEN send your art from one to the other using FILE ---->  Send to MAYA/MUDBOX --> Add to current scene.
• These skills will give you the foundation needed to understand the big picture of high-level CG art.  If you have any questions, feel free to contact me!

Homework for Monday, August 27th

Use what you have learned today to sculpt two things!

• A simple object. You are free to use any basic model that Mudbox offers for this assignment.
• You are allowed to paint this one as well!
• A simple head. We have a lot we need to cover when it comes to modeling characters, so do the best you can!
• Extra notes:
• Model ONE(1) character face and ONE(1) object! Not two character faces, or two objects.
• We will continue working on these on Monday, but please take these as far as you can with your time. The more you learn from your mistakes, the better!

Welcome to AN410!

SE# DM410: Advanced 3-D Computer Animation

Location: Mac Lab 3 - Room 004

Instructor: Michael Shaw

Time: Monday and Wednesday 1:00 PM - 3:30 PM

Contact: mshaw@mca.edu | 901.282.3902

Office Hours: M and W: 6:30 PM - 8:00 PM

Course Description:

Welcome to DM 410!  This course explores the finer workings of producing 3-D computer-animated content and the processes we have at our disposal for achieving this!  The course takes advantage of ALL the tools we have at our disposal to take creative approaches at creating characters, environments, animated movies, effects, and everything in between!  This class is unique in the sense that you are given a choice for specialization during the midpoint of the semester! In spending the first half to pursue a number of different intermediate goals, you develop the necessary skills to investigate new forms of art making in the second half of the semester.

Think: How do you see yourself using 3-D CG art? Where does it fit into your future portfolio?

---------

Methods of Study – The Flow of Class is as follows:

---------

Class Readings / Video Demonstrations:

Due to the nature of our content, each week, students will be given video demonstrations and reference material to cover new material discussed in class. This will serve as preparation for the next class’s content as well as permanent resources for you!

In-class discussion and lessons:

Often we will reflect on the material in class via group discussion. This is an opportunity to field questions and prepare us for content creation.  Often we will consider strategies, methods, and established concepts, then innovate our own.

Interactive Demonstrations:

For our class: Demonstrations will often be given with an interactive twist. You will be asked to demonstrate a skill, which we will then add on to, piece by piece.  This will be done to help you learn, implement, and master new techniques for art making within this class! 

In addition to this: You can download any autodesk software we use from the Autodesk website for free. They will be compatible with the computers in Mac Lab 3, so you will be able to do work from home computers/laptops, granted you have the proper software updates! The goal of all class work and lessons will be to give you the tools necessary to develop into a better artist, character modeler, designer, and animator!

Projects:

Projects will be divided into two types:

In-Class projects will be shorter assignments tied to demonstrations. These are projects that will help you understand and implement new concepts.  Often they will be due at the end of class, or by the end of the following class.

Large-scale projects will be the longer assignments that work towards the portfolio you will turn in at the end of the semester.  These projects include short films, models, environments, and animation tests that we will produce throughout the semester.  For some of these assignments, you will be given the choice to work together as a group, or alone. Prior to the first assignment where this is a possibility, we will have a day where we discuss group dynamics. Each project will be executed in stages including the following: Investigation; Brainstorming; Creation; Reflection; Revision.  

Reflection time will be given for the day after a project is turned in. We will take a day to review all assignments, and come back to class with our findings in an open discussion. This process gives you the tools to leave what (for many of you) is your final animation class with the ability to direct yourself into new avenues of animation exploration!

Class time will be divided between instruction and implementation, both often occurring at once.  You will be notified of any scheduled studio days for projects. On those days, I will be in class and serve as a guide to help with problems, critique assignments, and answer questions!

Fields of Study Include:

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1. Character Modeling and Character Sculpting: Modeling via Mudbox. Vertices and Polygons vs. Sculpting via subdivision modeling programs.

2. Character Creation and Kinematics: How to create structures for a 3-D character or object of your creation, or integrate pre-fabricated resources into your workflow. How to make the subsequent form function properly within an animation.

3. Character Animation using Pre-Constructed Rigs: 

4. Blocking in Character Action:

5. Working sound and audio into 3-D animation:

6. Optimization: Making an animated 3-D production in a Reasonable Time

7. Lighting and texturing: 

8. DIRECTED STUDY: A half-semester long investigation into a topic of your choice, where I instruct you in the creation of 3-D art that fits into your larger goals as an artist, or your experimental studies in class!

    Keep these questions in mind:

            -What are you wanting to develop?

            -How is it made?

            -How will you create it?

            -How do you showcase your artwork in its appropriate environment?

Notes:

DEPARTMENTAL OUTCOMES:

•    Students will demonstrate the capability to organize and present concepts verbally.

•    Students will demonstrate the capability to organize and present concepts audibly. 

•    Students will produce evidence of an understanding of the methods of audio production.

•    Students will be able to coherently communicate the content their audio productions.

•    Students will demonstrate the time management skills necessary to complete the entire sound creation process.

•    Students will demonstrate the capability to effectively publish their audio production via the web, and integrate it into their current body of work.

PROFESSIONAL OUTCOMES:

•    Students will demonstrate the ability to write an artist statement.

•    Students will demonstrate the ability to document their work.

•    Students will demonstrate basic computer/software literacy applicable to their field.

•    Students will demonstrate the ability to give a public presentation about their work.

•    Students will demonstrate the ability to research to stay current in their field.

•    Students will demonstrate basic knowledge of communication etiquette in their field.

•    Students will demonstrate the ability to work collaboratively.

•    Immediately submit an online tech request to report any problems with a lab computer or printer. 

-------Assignments and Requirements ------

You are required to attend class everyday, on time.  We will start class @ 1:00 every day, unless otherwise noted.  As with the Student Handbook, students who misses 6 days of class will fail the course.  This will be strictly enforced. Prior to this event, any student that must miss a day needs to notify me ahead of time, long before the start of class.  Anyone who wonders into class at least 30 minutes after class begins will be considered absent for the rest of the day. 4 absences results in a loss of one letter grade. Three tardies equate to one absence. If you miss, you must catch up on assignments via consulting other students first, and myself via email. I reserve the right to notify students ahead of time for any day that MUST NOT BE MISSED due to course content be it finals, assessments, midterms, or other coursework.

----Turning in Assignments -----

Each Assignment will be due on a scheduled date, given at the beginning of the assignment.  Often, this will be the day before the class, to give students time to listen to, and review other students’ work.  Part of your grade will be your review of the creations of your peers. We will remain objective throughout, even when we are delving into content that goes beyond our personal taste.  When it comes to late assignments, assignments will drop a letter grade each day they are late. After 3 days, I will not accept your assignment.

Supplies:

•    Sketchbook and Notebook for taking notes. You will want to keep track of your notes and illustrations. I expect you to make comments and constantly critique your own work, in addition to others! 

•    $100 Deposit to check out audio equipment. (Optional) 

*  Autodesk Software can be downloaded for free from their website.

•    External Hard Drive: Can purchase online and use with other classes. If you already have it, great! If not, it’s an investment that can last you long beyond your undergraduate career.  The Computers primarily use USB 3.0 connections. The hard drives listed below are examples, compatible with mac and PC, but require formatting to go cross-platform. 

•    ADDITONAL:

◦                     Lynda.com through the Memphis public library:  This is an amazing website with a myriad of materials for learning the ins and outs of a number of software programs.  I will also provide some extra resources later this semester! More details in time!

GRADING:

Each assignment will be awarded a grade based on the following rubric. Plus(+) and minus(-) will denote more or less intricate mastery of objectives.  Students will be allowed to turn in higher-quality versions of their projects midterm for a higher grade.

Group assignments will be graded on individual achievement, and group achievement.  Both grades count 50% of any group assignment.

A - Excellent.  Assignment objectives are completed above and beyond the course requirements to great effort and great success.  Technical and conceptual skills are on display in a masterfully coherent manner with clean craftsmanship.

B - Proficient. The assignment completed demonstrates most mastery of the skills presented, and objectives are completed beyond course goals. Much effort, and a clear and concise direction shines through the final result. There are still a few issues that can be pushed further.

C - Competent.  The assignment completed demonstrates relative mastery of the skills presented, and objectives are completed to average sufficiency.  Assignments are successful, and craftsmanship and technical skills are on display -- All are completed at an average level.

D - Deficient.  The assignments completed are missing demonstrations of the skills presented, and/or required objectives have yet to be completed. There are conceptual and technical flaws and hurdles that have not been overcome.

F - Failure.  The majority of the project is either not completed, and/or objectives for assignment are not met.

Final Grades will be based on a comprehensive average of all of your projects, as well as midterm and final milestones for portfolio upkeep.

*Your portfolio upkeep factors into your grades for each major assignment handled out of class.*

Assignments are due at the beginning of class. on their scheduled dates. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer. You should have multiple copies on multiple sources at all times. No files are safe unless backed up to 3 locations. (Example: Personal hard drive or flash drive, school network, personal computer, or web service.  Note: you can store work on dropbox. We will discuss cloud storage.)

Copyright

You must receive copyright permission for all non-public domain media used in your film projects. Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org/. Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use.

LEARNING ACCOMMODATIONS:

            In compliance with MCA policy and equal access laws, I am available to discuss  appropriate academic accommodations that you may require as a student with a disability. Request for academic accommodations need to be made during the first week of the semester, except for unusual circumstances, so arrangements can be made.

HEALTH and SAFETY PRECAUTIONS

            As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice.  This can be a serious and very painful condition that is far easier to prevent that cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen - visit his site below.

            http://eeshop.unl.edu/rsi.html

            http://www.mydailyyoga.com/yoga/rsi.html

DEPARTMENT AND LAB POLICIES:

 •    Main MCA computing info site = mca.edu/labs -- go here for answers to frequently asked questions and online tutorials for MCA specific technologies.

•    No Food or Drinks in Lab.

•    Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.

•    Leave your workstation in an orderly fashion. All materials left on the desktop will be deleted. Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin. 

•    Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.  

•    Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard and mouse should be placed in their proper positions.

COPYRIGHT:

You must receive copyright permission for all non-public domain media used in projects. (Music, film footage, etc.)  Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org.  Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use. We will discuss fair-use policies during class.

EPA MANDATE:

Memphis College of Art students and faculty are required to follow the standards detailed in the "OSHA (Occupational Safety and Health Administration) Guidelines” materials located throughout the institution.

A tentative schedule for this semester can be viewed by clicking on this link. You will need to login with your MCA password to view. (Subject to change at instructor’s discretion)