step 2 digital animation - 2d/3d class at francis tuttle · production standards—2d animation:...

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Digital Animation Revised 8/6/2014 Page 1 Step 2 Digital Animation Activity Sheet Continue your journey towards achieving mastery as a Special FX Technician, 3D Modeler, 3D Animator, or Motion Graphics Artist. The ability to use animation is often in demand, whether theses skills will be used for animated characters, games, educational tutorials, or advertisements. Competencies Prepare with Purpose | Pursue | Persist | Polish | Produce | Problem-Solve | Perform with Promise master the following skills: Planning: Identify, produce and organize appropriate content to support and manage 3D projects. This includes Audience, Storyboards, Shots, Animatics, Project Requirements, Scope, and Scripts. Production Standards—2D Animation: Adopt habits to support industrystandard 2D animation requirements and solve challenges. These standards should be applied to realworld unpredictable situations and include: principles of animation, walk cycles, lipsynching, format and delivery output, and preparation and/or finishing of animations for modeling, 3D animation, motion graphics, and special effects. A detailed checklist of skills you may be required demonstrate is provided on the following page.

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Digital Animation • Revised 8/6/2014 • Page 1

Step 2 Digital Animation Activity Sheet Continue your journey towards achieving mastery as a Special FX Technician, 3D Modeler, 3D Animator, or Motion Graphics Artist. The ability to use animation is often in demand, whether theses skills will be used for animated characters,

games, educational tutorials, or advertisements. Competencies Prepare with Purpose | Pursue | Persist | Pol ish | Produce | Problem-Solve | Perform with Promise

master the fo l lowing sk il ls:

Planning: Identify,  produce  and  organize  appropriate  content  to  support  and  manage  3D  projects.  This  includes  Audience,  Storyboards,  Shots,  Animatics,  Project  Requirements,  Scope,  and  Scripts.  

Production Standards—2D Animation: Adopt  habits  to  support  industry-­‐standard  2D  animation  requirements  and  solve  challenges.  These  standards  should  be  applied  to  real-­‐world  unpredictable  situations  and  include:  principles  of  animation,  walk  cycles,  lip-­‐synching,  format  and  delivery  output,  and  preparation  and/or  finishing  of  animations  for  modeling,  3D  animation,  motion  graphics,  and  special  effects.  

A detailed checklist of skills you may be required demonstrate is provided on the following page.

Digital Animation • Revised 8/6/2014 • Page 2

Competencies Checklist: Demonstrate the skills you need to get the job! Planning:

o Identify, produce and organize appropriate content to support and manage 3D projects. This includes Audience, Storyboards, Shots, Animatics, Project Requirements, Scope, and Scripts.

o Create/Approve/Study storyboard to determine model requirements for story: complexity details, relationships between models and desired animation outcome.

o Identify appropriate uses of action and planning of shots in the storyboard. o Produce and/or gather concept art, assets, character sketches, environment sketches,

prototypes, and storyboard/animatic information. o Identify the purpose, audience, and audience needs when preparing projects and assets. o Study character sketches and storyboards to become familiar with the character, required

details, and identify areas that can’t be reproduced. o Identify and define authentic problems and significant questions for investigation. o Use multiple processes and diverse perspectives to explore alternative solutions. o Study scripts to become familiar with production concepts and requirements. o Confer with production team concerning constraints and limitations—environment, character,

scope of animation, (how it will deform,) and output; if developing 3D assets—triangles or quads, polycount limits.

o Exhibit knowledge of the critical elements in designing a production in the stages of pre-production, production, and postproduction.

! Identify the linkage from each stage to the next in processes and activities. ! Identify areas of artwork that are missing or need to be designed. ! Identify unique characteristics of model. ! Identify similarities and differences, if creating a family of similar models. ! Plan the development of models.

o Confer with production team to design a concept, a short script, and identify the resources needed to support and improve dramatic entertainment value of animation of motion graphics.

o Plan and manage activities to develop a solution or complete a project. ! Demonstrate knowledge of planning considerations—target audience, selection of appropriate software,

availability of hardware, selection of format, scope, delivery mode ! Define a production schedule ! Obtain media ! Sketch concepts and solicit feedback for improvements ! Build prototypes

o Use time management to produce animations according to a production schedule.

Production Standards—2D Animation o Adopt habits to support industry-standard 2D animation requirements and solve challenges.

These standards should be applied to real-world unpredictable situations.  Specifically, you must understand/explain/show evidence of the following competencies:

o Construct animations that incorporate walk cycles, jumps, turnarounds, voice (lip syncing), background sound, sound effects, and various camera movements.

o Develop video and animation content for delivery on the web, interactive advertising, motion graphics, and/or mobile devices.

o Utilize critical thinking and creative problem-solving techniques to identify and solve problems. o Animate to sound; create voice-overs for characters. o Incorporate the principles of animation: squash/stretch, timing/weight, archs, secondary

animation, anticipation, follow thru/overlap. o Design animations that incorporate various types of linking, motion, rollovers, and

interactivity. o Incorporate Video Alpha Channels, as needed. o Apply filters and blend effects to video and animations. o Combine technical skills, troubleshooting techniques, and creativity to construct a unique

animation that provides a solution for a client.

Digital Animation • Revised 8/6/2014 • Page 3

Resources and Skil l Mastery

College Credit: TECH 2003 DM05 Digital Animation

Certif ication(s):

Brainbench: Flash Adobe Certified Associate: Rich Media Communication using Adobe Flash Apple: Final Cut Pro Associate

What Use animation skills to create entertaining character animations, demonstrations, tutorials, and interactive experiences that can be delivered to audiences across platforms and devices.

Objective: Students will combine storyboarding, camera, and animation techniques as they create cartoons, and other short animations. Animations will contain animated text, character movements that include walk cycles and turnarounds; voice (lip syncing), background sound, and sound effects. Skills will evolve to encompass rotoscoping and tracking. Why The ability to use animation is often in demand, whether theses skills will be used for 2D animated characters, games, educational tutorials, or Internet advertisements. How

Instruction: Principles of Animation Cartoon Animation, Illustrations, Voice-Overs Video Integration Techniques/Camera Angles, Movements, Shots, Lighting, Storyboarding Video Editing Rotoscoping/Tracking Tools & Techniques

Digital Animation • Revised 8/6/2014 • Page 4

Creative Blitz Portfolio Challenge Develop an awesome animated digital story

Project Guidelines—READ & PREPARE before starting Creative Brief: Children’s Story

Client: Dana Myers

Industry: Education (Children, ages 3 – 6)

Project Goals: Inspire children through the tale of a “Veggie Duck” that overcomes modern obstacles kids relate to, and comes out better. Objectives:

• Message should be age-appropriate and inspirational. • Message should incorporate a “veggie duck” that transforms into our Purple Duck mascot—

beautiful on the inside and out—an ambassador of learning and self-improvement ☺ • Message could utilize “veggie duck” as the narrator of the story YOU write. • Message could utilize “veggie duck” as the narrator of a song that you convert to a story.

Examples: Story can be based on The Ugly Duckling, the Little Duckling that Could, or make up your own inspirational tale. (Storyboard/script must be pre-approved in all circumstances.) Target Market: Gender: M & F Age: 3 - 6 Additional Info: Write to inspire children to believe in themselves and their abilities; Encourage confidence, appreciation for learning new things, and stimulate the desire to find beauty in others and in the world and to make it an even better place. Message: Inspirational, with a modern spin. Initial reference ideas:

• Obstacles may include bullying, teasing, physical challenges, etc.; Children must relate • Keep story simple • Begin with a 2D “veggie duck” scene and transform to a beautiful world with a happy ending! • Use a modern spin: healthy eating habits, exercise, learning, anti-bullying, etc.

Technical requirements listed on following page

Digital Animation • Revised 8/6/2014 • Page 5

Technical requirements: • Deadline: 30 hours • Length: 60 - 90 seconds; 15 fps; intentionally select your screen size. • Before starting, document your plan for completion of this project in Basecamp. Include dates, phases, etc. • Refer to the Information Sheet for Video formats, working with cameras, and other instruction provided during

this course, such as How to Create Character’s with Personality. Note, some additional resources have been included on the class site, on the course page.

• Review rubric prior to starting for quality indicators for success; research/implement client requests. • Story Structure and Storyboard, including sketches, camera angles, shots, script, explanation of message –

must include a beginning, middle, and ending to the “story”. • Your story must incorporate at least two of each of the following shots/angles:

o Wide/Establishing Shot o Close-Up Shot o Pan, use for emphasis, but sparingly o Zoom, use for emphasis, but sparingly o Extreme Close-Up Shot o Closing Shot

• You must be able to identify the following in your outline, http://flocabulary.com/fivethings/ 1. Plot 2. Character 3. Conflict 4. Theme 5. Setting

• Develop a good naming scheme applied to assets/layers/scenes (Use Grab to demonstrate.) • Use Photoshop/Illustrator/Toon Boom Harmony/Flash/After Effects/Final Cut Pro to create a 2D Veggie Duck

scene that should be incorporated into story. Entire landscape and initial duck can be composed only of vegetables or fruits, with the possible exception of a pond and/or the sky.

• Your instructor is the client and at this point, you should schedule a meeting to select final design before development. Be sure to have documentation referenced above for sharing with the client, including a date for delivery.

• Once a final section has been made for development, make revisions as needed to Basecamp. You should also save versions. You must be able to explain the design process and describe troubleshooting techniques used to solve any problems.

• You may use a variety of media and techniques, including stop-motion, video, 2D animations and scenes, play-doh, sock puppets, etc.

• Main character should have personality, appeal, and charm, (See Instructor to check out “How to Create Characters w/Personality” text)

• Prior to starting, develop a detailed story structure plan, storyboard, (use either form provided,) outline, script, and message that inspires kids to overcome obstacles and be their best. All must be pre-approved by instructor before beginning work.

• Prior to developing final animation, develop an animatic to test your ideas. http://en.wikipedia.org/wiki/Storyboard

• Should include audio (Can be background music—must be royalty free; or recorded voice-over, or both. Refer to freeplaymusic.com for background music selections.)

• Message should be entertaining, inspirational, positive, informational; appropriate for ages 3 – 6. • All aspects of message must be grammatically correct. • Print & complete self-evaluation on rubric and email your completed reflection to instructor. • Schedule a meeting with client for final approval and payment. • Should be delivered for a variety of purposes. (Save in web and video formats) • Peer Reviews completed by at least 5 peers, immediately after animatic, prior to starting final

animation/story. (Instructor will assign at least one peer.) • Any graphics used that you do not develop yourself may come from http://www.photospin.com or other

royalty-free source. • Story must include credits and you should change metadata to reflect you are the creator. • Publish animation, as completed in phases to Behance, using the Work in Progress section to communicate

regularly with your client to keep them updated. • Update Basecamp regularly. • Prior to publishing, complete self-evaluation and reflection. • Schedule a meeting with client for final approval and payment.

Digital Animation • Revised 8/6/2014 • Page 6

Note: A bonus point (subject to be multiplied by 5) may be awarded for inclusion and explanation of any advanced scripting techniques or formulas to achieve random unique results in animation and/or utilizing a method for the audience to start the story and “turn pages” of book.

This is for a Quack award and will be featured in your portfolio to validate your skills. Do your best ☺

You are responsible for reviewing the rubric prior to beginning for additional requirements, and to be sure you earn all your points. During production, problem-solve and refine your design as needed to submit an awesome project you will be proud of showcasing in your portfolio.

Digital Animation • Revised 8/6/2014 • Page 7

Skill Requirements & Resources

The bottom line . . .

• In order to receive credit and acquire skills that will help you prepare and succeed, complete assignments from the weekly milestones outlined below. You may be required to demonstrate these skills to your instructor, so be prepared. In addition to credit for competencies attained, your final course grade will reflect your productivity, so it’s important you don’t slack--stay on track!

Weekly Milestones: Digital Animation (Refer to Course page for addit ional resources) Week Hrs File(s) to be completed; special instructions to receive credit. Toon Boom Harmony—Digital Tutors Week 1: 15 • Visit – the class site, animatedfuture.com, to view resources and specific

assignments/requirements for the course Digital Animation.

• Read – the guidelines for the creative blitz.

• Note – weekly breakdown of milestones, indicating when, where, and how assignments are to be submitted. This should also help you establish goals to maintain adequate progress. Reminder: your progress grade is determined by the amount of hours successfully completed.

• Complete – project management documentation using Basecamp. Be sure to document the start date on the calendar using the course guideline and the calendar to establish goals for when assignments should be completed.

• Prepare – Conquer milestones, completing the tasks below at the end of each week, as indicated:

• Complete The 12 Principles of Animation in Toon Boom Harmony, 2.5 hours. Take the quiz.

• Complete Introduction to Character Design in Toon Boom Harmony, 2 hours. Take the quiz.

• Complete Introduction to Key Frame Animation in Toon Boom Harmony, 1.5 hours. Take the quiz.

• Update Portfolio/Publish—select at least 2 Lessons to publish to Behance, including any quiz and course certificates earned.

Introduction to Animation – Resources (Take notes; can use on test)/Camera Techniques Week 2: 15 • Complete Introduction to Character Rigging in Toon Boom Harmony, 1.5 hours. Take the

quiz.

• Complete Introduction to Walk Cycles in Toon Boom Harmony, 1.5 hours. Take the quiz.

• Complete Character Lip Syncing in Toon Boom Harmony, 1 hour. Take the quiz.

• Complete Character Rigging with Deformers in Toon Boon Harmony, 2 hrs. Take the quiz.

• Update Portfolio/Publish—select at least 2 Lessons to publish to Behance, including any quiz and course certificates earned.

Digital Animation • Revised 8/6/2014 • Page 8

Week 3: 15 • Check out Resources ! Animator’s Survival Kit, (text – check out from instructor); review Dope Sheets,

Animatics, walk cycles, resources available. Can also use Google, Internet ! How to Create Characters with Personality, (text – check out from instructor);

• 5 Elements of a Good Story, http://flocabulary.com/fivethings/

• Getting to know your Camera, watch all 13 lessons, http://www.learn.usa.canon.com/galleries/galleries/tutorials/eos101_cll.shtml Take at least 10 different types of shots with our camera. Be prepared to demonstrate how to use our Still and Digital cameras to the instructor.

• Storyboard and shoot a 15 second intro video (brief intro of yourself, goals, and your Creative Blitz Portoflio Projects, After editing, it should end with a link to your Behance portfolio. It can include still pics, video footage, PS files, an outline, etc.) Be specific concerning shots—close-ups; wide angles, etc. ! NOTE: You will use this footage to demonstrate your FCP skills. Review the

checklist below to be sure you have incorporated the techniques you will be demonstrating.

• Video CoPilot Basic Training After Effects Tutorials

• Refer to Checklist/Notes on following pages for Challenges

• Update Portfolio/Publish—upload Challenges from Checklist to Behance. In Basecamp, post a discussion answering the following questions.

! Comment on your experience so far. What has been challenging? Any successes? Frustrations? Do you need additional reinforcement for a particular skill? Suggestions/Comments?

! Comment on your progress. Are you ahead of schedule, behind, or on schedule? If you are behind schedule, what are your plans to get back on track?

• Update your goals as needed and make adjustments to the calendar.

• Review your Creative Blitz and start the planning process – script, storyboard, etc.

Digital Animation • Revised 8/6/2014 • Page 9

After Effects Checklist/Notes—Video CoPilot Basic Training 1. Basics - Introduction

o Create a Composition o Import Footage o Place footage in composition o RAM Preview o RAM Preview w or w/o audio toggle o Change Composition Settings (Length, frame rate, etc.) o Change work area o Zoom in/out o ALT w/ Zoom--zooms around mouse o ~ Zooms into any panel your mouse is over

2. Basics – Effects o Reset Workspace o Make new Comp using button – matches footages exactly: rate, length, etc. o F3 toggles Effects Control Panel o Order of effects matters when adding multiple effects. o Add an effect o Search for an effect w/Effects Palette; to add – drag to instance on timeline or drag directly on footage in

comp window. o Turn off effect temporarily, duplicate, and delete effects o Which effects are good for making backgrounds? Generate effects. Effect>Generate>Ramp o Effect>Color Correction>Change to Color allows you to change the color of something, such as a shirt o All effects can be keyframed, or animated.

Digital Animation • Revised 8/6/2014 • Page 10

3. Basics – Animation o Transformations:

o Anchor point – A; (pivot point for the layer); Change w/Pan Behind Tool o Others include: position - P, scale - S, rotation - R, and opacity - T. All can be animated using the

stop watch, playhead, and settings. o Animate opacity of clip, so that it fades in over the duration of 1 second –use current time indicator to move.

When keyframing, the CTI location is critical. o A change in position provides a motion path. Using shift, constrains to straight lines, left to right, or up to

down. o When setting the work area, rather than dragging, you can use the position of the playhead and N for the end

of the work area, or B for the beginning of the work area. o If you select on a keyframe, and use the toggle F9, it converts the keyframe to a Bezier keyframe, ease in,

ease out. You can also lengthen or shorten an animation by moving the keyframe around. o To use the built-in motion blur provided by AE, use the toggle switch (bouncing ball,) at the top of the panel to

toggle off or on. o You can copy/paste keyframes so that they appear again later in the timeline. To reverse the animation,

simply drag the beginning keyframe to the opposite side of the ending keyframe. o You can select a range of keyframes, and hold down Option to grow the animation so that it spreads out and

lasts longer, as a group with the values staying relative in the distance from each other. o If you have clip collapsed and hit S and then Shift + P, you get the Scale AND Position transform options. o Effects applied using the Effects Control Panel can also be seen in the Timeline. o Hitting “U” while a layer in the timeline is selected brings up all properties in a clip that have keyframes

applied. (So the view is isolated somewhat.) o Hitting “U” twice while a layer in the timeline is selected, brings up all parameters that have been changed from

their default values. o Stacking order of layers is important. o The transparency toggle allows you to see what is transparent in the background. o The eye switch turns off/on; the Solo switch allows you to solo one or more layers; If you parent one layer to

another using the pickwhip, they remain connected with that association. o If you add an adjustment layer to the top of the composition and then apply an effect, such as blur, to the

adjustment layer—it impact all layers beneath it, not just a specific layer. Great for color correction and other adjustments that need to be made globally.

o Another way to make a background: Layer>New>Solid

Digital Animation • Revised 8/6/2014 • Page 11

4. Basics – Keying and Transparency o When keying out a color, select layer: Effect>Keying>Keylight

o Screen Color option to remove color; use toggle to show transparency, if needed. o Screen Matte option, increase Clip Black option to clean clip up further. You can also decrease clip

White option and increase the Gain slightly. o A mask is like a cookie cutter; you can draw a mask with the pen tool. (Notice a mask has been added to layer,

and has several properties—all of which can be keyed.) o Mask shape is the path drawn with the pen, and can be used to make adjustments to mask. o Feathering softens the edges of the selection. o Opacity is available as well as Expansion, which is used to grow/shrink the edges of the mask.

o A garbage mask utilizes the pen tool to draw a selection around items you do NOT want to include in the shot. o You can then place another background developed in photoshop or using stock footage, etc. o Layer transfer modes affect the blending of one layer with another, also similar to Photoshop. The transfer

modes are available via a toggle at the bottom of the window, or by using F4. o Multiply shows through anything that is white; screen does the opposite o Transfer modes are great for compositing

o The Track Matte function allows you to add transparency to a layer that does not already have a transparent track. They transfer transparency from one source to another.

o Add a new layer (pre-matte w/black and white,) on top of existing, change TrkMat of bottom layer so that it uses new pre-matted layer as its transparency source. This new layer can be scaled and animated, as needed.

! Luma Matte – anything that is black is now transparent; anything that is white shows through. (You can brighten the white using curves adjustment, if needed.) If you INVERT the matte, it shows the opposite.

! Alpha Matte uses an existing alpha channel from the upper layer. o If you select a layer in the timeline, select different footage from the project panel and then hold ALT as you

drag, the new footage replaces the selected layer. Challenge: Make a silhouette of yourself with a vignette, as was demonstrated in the video.

Digital Animation • Revised 8/6/2014 • Page 12

5. Basics – Motion Tracking NOTE: Clip you download has already been trimmed.

o Composition vs Viewer—when you motion track, you do so in the Viewer o Window>Tracker Controls (Track or Stabilize options.) Stabilize helps with camera shake. o Track Point: Inner Square is the track area—give it something high contrast, if possible, to search

for from frame to frame. Outer area is the search area. Make it large enough so that from one frame to the next, hour track area can be found. However, if it’s too large, motion tracking can take longer and can be inaccurate.

o A consequence of tracking may result in extra around the edges, either black or white—depending on whether transparency is toggled on. A solution for this is to scale the video larger.

o Tracking can also be used to replace a portion of a video with another, such as replacing one sign with another.

o You can start by adding a layer solid that matches the sign color. o Hide layer solid, open video in Viewer, and Track motion, not stabilize, the video. In this instance, you

can select Perspective Corner Pin as the type, which brings up 4 tracking points you will use to select the corners of the sign. Be careful when selecting the trackers, to move the entire section. There will be times you may wish to move the point away from the tracking in order to achieve higher contrast and it automatically offsets tracking data, but it is not necessary in this example.

o After analyzing, in this example, you will not want to apply the data to the movie, but to the solid layer. Edit Target>Solid Layer and then Apply.

o When you return to the comp and Show the layer solid, you will have achieved your goal. o To add new signage: Select Solid Layer, Layer>Pre-Compose, keeping all attributes, and then Okay.

o If you ALT+Double-Click on the Solid Layer, it opens up in the Viewer Window at its original size, although the original comp is still fine.

o On this screen in the Viewer Window, you can use the Text tool to add new signage.

Digital Animation • Revised 8/6/2014 • Page 13

o Sometimes you use Null objects with tracking data. Null objects do not render, but help store data you can use for other things.

o Example: Speech Bubble following character. ! Track ear, apply tracking data to null object; add solid layer, use pen tool to shape into a

speech bubble; add text layer. Position accordingly at frame 1. Parent Speech bubble and text layer to Null object.

! You can hide Null object, if desired. Also can add a drop shadow to solid layer speech bubble. Effect>Perspective>Drop Shadow.

o Another way to use tracking data: lens flair ! Add a black solid ! Effect>Generate>Lens Flair ! Change Layer Transfer Mode to Screen ! Turn off Speech Bubble and Text layers, if desired ! To change the Lens Center Flair to follow the null object, you can select the Null Object, and

hit P to bring up Position. Next select the Black solid, bring up the Effects, then the Lens Flair. If you ALT+Click the stopwatch for the flair center, an expression/script editor pops up; you can use the Pickwhip, to link to Position of the Null Object, making sure the Flair Center Expression data is always the same as the Null Object Position data.

! You can remove a formula by ALT-Clicking the Stopwatch. ! Rather than using an expression, you can also copy/paste the actual keyframes from one

layer to another, such as from the Null Object Position to the Flair center 6. Basics – Time ReMapping

o R-click on clip in Timeline and select Time>Time Stretch; change value to 200% to make it twice as long. When you slow clips down in AE, every other frame is duplicated twice.

o Use the frame blending switch (toggle) to blend the frames. If you click again on the Frame blending switch, you will use a function called Pixel Motion that allows frames to be blended based on their motion—it analyzes the frames and creates intermediate frames, so that each frame is unique. You can go through one frame at a time with the FN + up/down arrow keys to see the differences.

o A Speed Ramp enables you to go really fast AND really slow, all within the same clip. o R-Click on clip, Time>Enable Time Remapping o On the Time Remap option, set at least three keyframes, separating the time elements. You can move

keyframes closer together for faster motion, and further apart for slower motion. Challenge: Take your silhouette, add a speech bubble using motion tracking, and then slow down the video.

Digital Animation • Revised 8/6/2014 • Page 14

7. Basics – 3D Integration o Use the 3D Layer Switch to convert 2D layers into 3D o You can add a new camera: Layer>New>Camera

o Camera can see 3D layers and now has options to Orbit Camera, Track XY, and Track Z camera tools.

o “C” toggles between the camera tools. o You can now animate the camera and switch to different cameras from the Viewer window. You can

also Ease In/Out of these animations. o Layer>New>Light

o Spotlight – points in a direction o Point Light –Illuminates from the center (light bulb) o Ambient Light – brightens everything

o Layer>Light Settings allows you to change the light. You can also change many of these parameters within the timeline.

o If you cast shadows, layers must be configured to receive/cast shadows as well. o If you hit AA you can access the 3D layer properties. If you have several layers selected and hit AA and then

turn on Casts Shadows, for example, they will all do this in one step. o Remember—you can use the space bar with your mouse to move around within the comp w/o moving

the comp. o You can use AA on the light to change some of its 3D properties-shadow diffusion changes the softness of

the shadow, etc. o Depth of field property can be turned on allows you to simulate a real camera lens where you have a focal

plane, where something is in and/or out of focus. You can then manipulate the Focus Distance and Aperture settings to achieve the look you want.

o Some FX, such as CC Particle World, can see 3D and recognize it. Add a new black solid layer and then this effect. Orbit around to see that it is 3D. (You should not turn on 3D for this layer.) Many effects are 3D aware.

Digital Animation • Revised 8/6/2014 • Page 15

8. Basics – Titles, Part 1 o Text tool usually includes character and paragraph options o If the text is either selected, or you use the arrow key to select the text, you can use the arrow key to cycle

through font options. o You can change several options, including the stroke, which has its own options. o Tracking happens at the point that coincides with the alignment. For example, if text is aligned at the center,

tracking occurs from the center. o Effects & Presets>Text—MANY different text presets available.

o You can drag these effects to either the composition or the timeline, and the animation will begin, based on the location of the playhead.

o Reminders ! “U” will bring up the keyframes for your animation. ! “UU” will bring up all the properties that have been changed. ! You can move a keyframe from the first to the end to reverse the animation. You can also

move the keyframes around together to change where they occur. o If you use the menu arrow from the Effects Palette and select Browse Presets, you can

preview these presets. If you double-click on one of these previews, it is applied to your layer. o You can animate layers together by parenting. OR you can pre-compose these layers, which nests, or

combines them into a separate composition, so that they all show up as a single layer. o To show all the layers of a pre-comp, you can either ALT + double-click the layer in the timeline or

double-click on the comp in the project window. o To add a drop shadow to text, Effect>Perspective>Drop Shadow. o To add a gradient to a solid, Effect>Generate>Ramp o You can make the text layer 3D, add a camera and a new solid layer, and add a 3D particle effect to

the new solid. This will enable the particles to interact with the comp and work in 3D space. o If changing particle effects, F3 brings up the effects controls palette, with several parameters. o The “producer” parameter is the same as an “emitter”. o You can copy/paste effects from one layer to another.

Digital Animation • Revised 8/6/2014 • Page 16

8. Basics – Titles, Part 2 o You can use a Null Object to animate text

o You can make the Null Object 3D, if desired o You can parent the camera to the null object to help with animation. o You can move the Null Object in the Z space to simulate the camera moving in or out of the scene.

o Because particles must be “born” you may wish to offset the Particle layer to accommodate for this. o You can also change the radius property of particles to make the field larger. In doing so, you may need to

increase the birth rate. You can increase the life span, but would need to decrease the birth rate. o Under Physics>Animation> you can change the Vortex and the Velocity to give a “warp” appearance. o If animation is choppy, select one of the keyframes, usually the ending, and hit F9 to ease in/out. o You can use the Pan Behind tool to move the pivot point of a layer to a different area of the comp. (Such as a

logo rotating around an image.) o The order of 3D layers do not matter as much when rendering. o You can use the “Title Safe” toggle to turn on guides to be certain text is within the proper viewing area. o You can trim/extend layers using the in/out points in the Timeline. o Use an adjustment layer to impact all layers beneath it globally. o For some different effects, you can change the orientation of the null object. o Because particles don’t show motion blur with the switches, you can apply a Force motion blur to the

adjustment layer for best results. o To line layers up in Z space, you can use the top view.

Challenge: Use your name and a picture of yourself to make a great intro. Consider using some of the effects and techniques from the video, such as 3D layers, cameras, drop shadows, particles, etc.

Digital Animation • Revised 8/6/2014 • Page 17

9. Basics – Expressions o To add an expression to a value, ALT+click on the Stopwatch for most any parameter, which brings up an

input box with a default formula. o Wiggle (12,25). If in the Position parameter, this says: Instead of using the stated value for the position,

wiggle the position 12X a second for 25 units, which could be pixels, depending on your settings. (How many times per second, How much)

o The parameter numbers turn red to indicate there is an expression handling the values. o Effect>Expression Controls>Slider Control ; you can place your cursor in the second value of the formula,

delete it, and use the pick whip to select the Slider control. o The Slider Control is now a parameter in the timeline that can be animated through keyframes, which allows

you to vary the wiggles so they are not constant. o You can link expressions together. o To remove an expression, ALT+click on stopwatch o The = sign, if selected, tells AE not to use the expression. o You can copy/paste expressions, if desired. o The right arrow near Expressions will bring up some preset expressions.

10. Basics – Rendering o To share your project, export it: Compoeition>Add to Render Queue o Render Settings – usually BEST; Output Module tells it what settings to use—you may use this most.

o QuickTime Lossless very common; Animation is great, uncompressed and large file size; Photo JPEG is common; I like Apple Pro Res codecs.

o You will also set the location. o Codec – Compressor/Decompressor – may have some compatibility problems, practice. o Best to NOT use the Export function for movies. Use the Render Queue.

o You can select arrows for pre-sets or click on the link to customize the settings. o When rendering, default is 8 bits per channel, which can result in color banding. ALT+click on this setting in

the project window to pull up 16 bpc; probably don’t need 32 bpc unless film, high end compositing. Challenge: Render your work and upload to Behance.

Digital Animation • Revised 8/6/2014 • Page 18

Adobe After Effects CC Week 4: 15 • Complete Quick Start guides to After Effects, Volumes 2-4, Digital Tutors.com and

do the Update Portfolio/Publish—select at least 2 Lessons to publish to Behance. Non-Linear Editing/Camera Techniques Week 5: 15 • Lynda, Final Cut Pro X Essential Training

• Use your storyboard completed earlier, incorporate stills and video footage, and the edit a video that tells story about you, your goals, and a link to your portfolio, using the techniques you have learned. Use a variety of shots, transitions, add audio, etc. Maximum 20 seconds. Use appropriate, royalty-free music.

• Publish your video to YouTube and then embed it to Behance.

• Prepare for Adobe ACA certification through Certiport OR Apple Certified Associate: Final Cut Pro X certification.

After Effects CC/Take Charge of Your Learning! Week 6: 15 • Lynda Fundamentals of Character Animation, 3 hrs 32 min (Take notes for quiz—do not

spend more than two days on this.)

• Take 2D Animation Principles Quiz in blackboard.

• Start thinking about your Veggie Duck story—do you have a script or outline in mind?

You can select reinforcement from any combination of the following: (6 hours, or 2 days worth of training).

• At the end of the week, publish all work completed to Behance.

• Share any unique resources you found in Basecamp Classmate’s Corner.

• Digital Tutors Tutorial(s)—suggestions: Creating a Vector Car Animation in After Effects

• Lynda.com Tutorial(s)—suggestions: creating Animated Characters in After Effects

• Classroom Textbook: How to Cheat in After Effects

• Video Copilot Tutorial

Digital Animation • Revised 8/6/2014 • Page 19

Certify/Application – Creative Blitz (refer to Project Guidelines/Rubric prior to starting) Week 7 15

• Polish – Research Criteria/Rubric/Requirements for creative blitz.

Note – this is for your portfolio as well as a Quack Award, and should represent your best work. Be sure your project demonstrates the skills you have acquired. The instructor is now your client.

It’s time for you to start to intentionally integrate the art of storytelling, artistry, and technical skills in a matter that will please the audience. Be entertaining, engaging, and awesome ☺

• Plan – a prototype/storyboard/cinematic/script for your ideas before starting. • Develop your prototype(s), animatic, storyboard, outline, script, and/or other

documents needed to document your planning and intentions. (Refer to Creative Blitz guidelines and rubric for specific requirements.) These documents will be drafts, but enough work should be completed to satisfy the planning requirements for a great project.

• Document your plan using Basecamp. Be sure to share your project with the client. • Publish your documents to the Work in Progress section of Behance. • Solicit at least five reviews from your peers. Specifically, they should address the

following: • Provide at least 3 suggested improvements (Be specific, not vague) • Provide at least 3 positive comments • Rate the overall project, using a scale of 1 – 4, with 4 being exceptional.

• Develop a plan for revisions based on these comments, documenting what will be done and the timeline established for these changes on the calendar.

• Check for file formats, resolutions, miscellaneous delivery requirements, etc. • Meet with the client to review your plans and revisions, and to define a date this

project will be delivered.

• Continue working on project.

Digital Animation • Revised 8/6/2014 • Page 20

Week 8 15 • Perform – Submit a stellar product--maintain the Passion for Excellence! ! Continue Creative Blitz. ! Review Creative Blitz rubric, making sure all requirements are being met. ! Publish versions of your completed work to the Work in Progress section of Behance. ! Finalize Creative Blitz.

Progress Update/Reflection/Publish Creative Blitz/Share Your Success ! Review Creative Blitz rubric, confirming all requirements have been met. ! Print and then complete a self-evaluation, using the rubric. ! Publish your Creative Blitz to your Behance portfolio. ! Submit a reflection of your work using Basecamp.

• Evaluate your experiences with this unit of study. Be sure your answers to the following questions are grammatically correct, and written in paragraph form, appropriate for viewing by a potential employer.

o What was your favorite part of the course? What skills have you acquired and what do you feel are your strong points? Did you learn less or more than you thought you would?

o What challenges did you encounter? What additional reinforcement is needed, and how can instruction for this unit be improved? What else did you wish to learn about this subject?

o Evaluate your final project. How do you think it turned out? Does it accurately represent the client’s preferences? Do you think it is an effective product? What do you like about the product? What was the most challenging part of designing the product? What corrections were made, based upon peer suggestions and the self-evaluation? What problem0solving techniques did you employ, and what was necessary to research/solve? Explain the selection process for the final design, including any colors and the rationale for why you made the final selection. What would you do differently next time for a similar project?

• Evaluate your progress. When was this project due? Did you complete the project on time, late, or early?

• What unique resources did you find? Please provide a link to each resource and explain why they were helpful.

• Payday--Schedule a time for final review/delivery/payment from the client, and submit your work for a Quack Award. Reserve a spot in the Loft3d Creativity team meeting, where you will celebrate and showcase your achievements that reach epIK Dimensions!

Complete any preparations for certifications to be achieved. Prepare for and Take the Adobe Certified Associate exam or Final Cut Pro Associate exam. (Can substitute Brainbench w/permission; ACA/Apple Certification Prep materials on class site.)

Quack Award It’s time to do your very best work—this project will be featured in the Quack

Award entries ☺

Digital Animation • Revised 8/6/2014 • Page 21

Digital Animation • Revised 8/6/2014 • Page 22

NAME:

Digital Animation • Revised 8/6/2014 • Page 23

Alternate Storyboard Template (Script must accompany) NAME/TITLE: _____________________________________________________

NOTES/CAMERA ANGLES ILLUSTRATION PROPS/SOUNDS/FX

Instructor Approval/Date: __________________________________________________________

Digital Animation • Revised 8/6/2014 • Page 24

Peer review Prior to beginning, ask the instructor to assign a classmate to conduct periodic peer reviews. Overview Revision is an important part of the design process. In addition to conducting review and redesign cycles personally and with your client, using peer review can also be beneficial to your project. Peer review occurs in many professional environments, and it is an essential skill to starting learning. When giving a peer review, be sure to make both positive and negative points. Give critiques as suggestions, not commands. When receiving peer review, do not feel disenchanted or think you did a bad job based on one review. Every review is different and what one person may not approve, the next person may find exemplary. Once you have a draft developed of your project, upload it to Behance, have your assigned classmate read this document and review your work to give suggestions. It’s a good idea if you have someone review it again before you present your final project to the client. They should use the Final Evaluation Grade Rubric form as a guide. Evaluatee: Process for presenting work for peer review • Ask the instructor to assign a peer for review purposes—you want a different, objective perspective. • When presenting your work for a peer review, state the purpose, audience, and goals of your project and point out any concerns you have. • After someone else reviews your work, your first response should be to reiterate their suggestions, make sure you understand their comments, and ask for additional clarification, if needed. If it will improve your project, incorporate these ideas into your final design. • Solicit at least four more peers for reviews. Evaluator: Guidelines for giving comments and suggestions • Before making any comments, review the goals of the project and then the entire project, making sure you understand the student’s intentions. • Point out the strengths as well as the weaknesses of the project (composition, storyboard, research, design, technical skills, timing, so on). • Offer suggestions, not commands. For instance, do not say “You should do this....” Instead, use “I” statements: “I see that...” or “I’m confused about....” • Be respectful and considerate of your peer’s feelings. Do not say or write anything you wouldn’t want to hear about yourself. There is no reason to be rude. • Make sure your comments are clear and specific so your peer knows what you are referring to. Give specific examples and point to techniques, examples, script writing, and so on to make your point. (Comments such as “This is unclear” or “This is too vague” are too general to be helpful. Rather, make a comment such as “I’m confused by this scene because it seems out of place.”) • When you are writing your comments, reread them before giving them to your peer. Make a list of at least three positive comments and a list of at least three suggested improvements. Share these comments in the appropriate section of Behance, where the draft is published. Make sure your comments make sense and are easy to follow.

Digital Animation • Revised 8/6/2014 • Page 25

Name: Delivery Date:

Digital Animation—Creative Blitz (Multiply final values by 5) Category Excellent

4 Good

3 Satisfactory

2 Needs

Improvement 1

Points Received

Self/Teacher Project Planning, Research, Storyboard, Animatic, Preparations before starting

Story Structure, Storyboard sheets were detailed and included script, camera angles/shots, props. Story had a beginning, middle, plot, character with appeal and charm, conflict, theme, appropriate setting, and an ending. Storyboard completed, uploaded to Behance, & approved prior to starting. Animatic completed prior to final.

Story Structure, Storyboard sheets were prepared and included script, camera angles/shots, props. Story had a beginning, middle, and an ending. Storyboard completed, uploaded to Behance, & approved prior to starting. Animatic completed prior to final.

Storyboard lacked necessary information and/or details. Story did not support theme as primary focus. Storyboard/animatic not completed prior to starting. All uploaded to Behance for review.

Storyboard not completed prior to beginning and/or animatic not completed and/or not uploaded to Behance for review.

Reflection and Self-Evaluation

Reflection and self-evaluation completed and submitted. Reflection was grammatically correct, used paragraphs, answered all questions, and was appropriate to share with potential employer. Links to resources used were shared and explanation of why resource was helpful provided.

Submitted prior to evaluation. Reflection had a few errors, or some answers were missing.

Reflection and self-evaluation submitted prior to evaluation, but had a few errors, or some answers were missing.

Reflection and/or self-evaluation not submitted prior to evaluation and/or was lacking information or required corrections.

Digital Animation • Revised 8/6/2014 • Page 26

Project management. Weekly updates to project and Behance. Communications with client regarding achievements and progress.

Project was thoroughly planned & documented before starting. More than one update was published to Behance and Basecamp. Design process and techniques were documented using Grab and/or IShowU, Multiple versions of work were saved. Client was updated weekly regarding progress and achievements.

Project planned & documented. At least one update published to Behance and Basecamp. Multiple versions of work saved. Client updated regularly.

Project was planned before starting. No updates were published to Behance and Basecamp. Client was familiar with progress and achievements.

No evidence project was planned before starting. Client was unfamiliar with progress and achievements during design process.

Peer Review and Problem-Solving

Thorough peer reviews completed (immediately after animatic)’ revisions made based upon peer suggestions and self-evaluation before starting final. Student took initiative in problem-solving and correcting as needed, and was able to explain revision and problem-solving process to instructor.

At least 5 peer reviews completed; revisions made based upon suggestions and self-evaluation. Problem-solving skills and explanation of techniques used were adequate.

Less than 5 peer reviews completed on time; revisions made based upon peer suggestions. Problem-solving skills need improvement and/or student couldn’t explain problem-solving process.

Peer review lacking or done late; and/or design lacked revisions for improvements; and/or there was a lack of problem-solving.

Shots, Angles, file naming scheme, requirements

All criteria listed was represented. Story is appealing, fun, and engaging. Story included a variety of shots/angles, including at least one of each: • Wide/Establishing

Shot • Close-Up Shot • Pan/Zoom, use for

emphasis, but sparingly

• Extreme Close-Up Shot

• Closing Shot • Grab shot shows

naming schemes for assets, filenames, layers, scenes, formulas/scripting. Credits incorporated.

Most criteria listed was represented and animated according to specifications. Grab shots may lack a few details, but were taken prior to evaluation.

Most criteria listed was represented and animated according to specifications.

No consideration given to specifications and/or detail not adequate to support animation. Grab shots not completed prior to evaluation.

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Target Market, Objective, Message, Communication & Collaboration.

Animation is unique, designed for target market and met all objectives specified. Message was entertaining, appropriate, and achieved goals and provided sufficient details. Community forums utilized for problem-solving and/or review of work; links to resources were shared with client and peers, including an explanation of their value.

Animation is unique, age appropriate, and integrated most of client requests. Links to resources were shared, including an explanation of their value.

Animation met all specified objectives and was entertaining. Additional details at could have improved story. Links for resources were not provided.

Animation did not meet all objectives and/or there was no collaboration with others regarding problem-solving or sharing resources.

Grammar & Message; Length, Calculation of Frames Per Second. Bonus Opportunity

Story was evident, told in an engaging, entertaining manner, and was primary focus of animation. Story had a beginning, middle, and an ending. No errors in grammar, spelling, etc. Length was accurately calculated to support 60-90 seconds at given technical specs. A bonus point may be awarded for explanation of any advanced scripting techniques/formulas to achieve random results in story or to start story/turn pages.

Story was evident, told in an engaging, entertaining manner, and was primary focus of animation. Story had a beginning, middle, and an ending. No errors in grammar, spelling, etc. Length was accurately calculated to support 60-90 seconds at given technical specs.

Story had a beginning, middle, and an ending; there were two or fewer errors in grammar, spelling, etc. Length was within 10 seconds of specified time. Student explained calculations needed for time requirements.

Story was not communicated; and/or was not complete; and/or there were more than two errors in grammar, spelling, etc. Student could not explain calculations needed for time requirements, or length exceed 10 seconds of specified time.

Originality

All products developed show significant evidence of originality and are unique. Majority of content and ideas are fresh, original, and inventive. No copyright laws are violated.

Work shows evidence of some originality however resembles existing design.

Efforts show evidence of some originality; however, not unique. May have violated copyright laws.

Products developed are copied or very closely resemble existing products.

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Effective Use of Time; Pride and Quality of Work Established Delivery Date: Actual Delivery Date:

Design was not rushed, and was also completed on time. Time was taken to critique design and make improvements so that final version represents student’s best work. Design submitted in a timely manner, according to guidelines. All products submitted are at a high level of quality, appropriate for portfolio.

Design was rushed and/or completed up to two days late. Design was average and could have been improved prior to publishing. Most products submitted were at an average level of quality, but appropriate for portfolio.

No delivery date established. Design was average and could have been improved prior to publishing. Most products submitted were at an average level of quality, and needed minor revisions prior to publishing to portfolio.

Improvements required, but not made. Design was rushed when more time would have resulted in improvements or was delivered later than two days. Product not ready for portfolio.

Animation Techniques, Student Understanding, Audio

Animation techniques employed exceeded a basic skill level. Royalty-free audio used at appropriate levels. Student could compare techniques used to skills acquired during instruction; explanation was thorough, and demonstrated understanding.

Animation techniques were adequate. Student could compare techniques used to skills acquired; explanation was basic and/or didn’t demonstrate a clear understanding.

Animation techniques were basic; more advanced techniques would have improved, or student could not explain techniques, or audio not appropriate level.

More than one item in this category was not met.

Creative Artistry

All products developed are very creative, engaging, and appealing. Good design principles have been applied. Exceptional creative artistry.

Product is creative and/or appealing. Good design principles applied. Product is clean and simple.

Products developed are average.

Animation is not appealing; principles of design are lacking.

44 Points Possible--Points Earned:

Digital Animation • Revised 8/6/2014 • Page 29

Technical Competencies: 4 - Skilled; 3 - Moderately Skilled; 2 - Limited Skill; 1 - No Exposure

Skill Competency Rating

Managing  Gather  assets,  time  mgmt,  naming  conventions.  Thorough  documentation  and  planning  in  Basecamp.  Uploaded  all  assignments  and  quiz/course  completion  certificates  to  Behance.  

Introductory  Video/Design  Principles  Quiz  (1  point  each)   Production  Standards—2D  Animation  During  this  portion,  you  can  pull  up  files  previously  completed,  and  explain  where/how  these  techniques  were  applied,  or  you  may  be  asked  to  perform  some  of  these  tasks  from  scratch.   Toon  Boom  Harmony/Cameras/Storytelling Explain/demonstrate  keyframe  animation.   Demonstrate  character  rigging.   Demonstrate  one  of  the  following:  walk  cycle,  jumping,  running,  etc.   Demonstrate  lip  syncing.   Show  instructor  10  shots  taken  with  camera,  explaining  different  shots   Review  video  introduction  storyboard  with  instructor.  Does  it  have  a  beginning,  middle,  end?  Are  shots  planned?  Is  storyboard  thorough?  Will  message  be  entertaining  and  engaging?  Describe  the  use  of  Dope/Exposure  sheets.  

After  Effects Explain  the  interface   Volume  2  Project—  Be  prepared  to  demonstrate  each  of  the  following:    

Keyframe  animation;  Transformations;  Parenting;  Expressions;  Masks  

Volume  3  Project  Be  prepared  to  demonstrate  each  of  the  following:  

Color  Correction;  Pre-­‐Composing;  Mattes;  Creating  an  animation  preset;  Tracking  

Volume  4  Project  Be  prepared  to  demonstrate  each  of  the  following:  

Using  a  camera  and  a  null  object;  Using  the  graph  editor;  Working  in  3D  Space,  Using  various  effects,  Rendering  

Reinforcement  Activities   Final  Cut  Pro  (Use  intro  project  to  demonstrate  skills  attained)   Explain  the  interface   Importing  footage  of  different  types   Reviewing/Marking  footage  for  use   Title,  lower  third   Video,  Still  pics,  outline  incorporated   Incorporate  audio,  background  sound   Appropriate  transitions,  action/title  safe  layout;  good  design  principles   Resize  video  clips  to  show  video  beside  other  video,  outline  or  still  pic   Explain  and  demonstrate  Formatting/exporting  options   Demonstrate  four  unique  things  you  learned,  not  on  this  list.  

Total—24  points  possible:  

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