For on-line syllabus go to http://JohnCraigFreeman.net and follow the Courses link.
Still from Jesse Macdonald.
PROFESSOR: John (Craig) Freeman
PHONE: (617) 824-8862
OFFICE HOURS: 180 Tremont Street, room 1111, MTW 11:00-11:50 a.m. or by appointment
¥ To introduce students to artists that shaped and continue to shape animation history
¥ To assist students in further developing their visual literacy, critical thinking and communication skills
¥ To guide students towards discovering advanced pictorial and animation principles
¥ To apply these skills to express themselves creatively and critically.
¥ Complete all required reading
¥ Complete required software training
¥ Present a project proposal
¥ Present progress on the project
¥ Present the completed final project during scheduled exam
ASSIGNMENTS: Propose, develop and complete an original, portfolio ready short animated movie which includes a fully animated character. You will be evaluated based on the projects originality, expressive creativity, conceptual depth and technical expertise. It can be narrative or abstract but should be rich in interpretive possibility.
Each student will present a project proposal to the class. We will discuss the proposal and either approve the project or recommend changes. Students will be evaluated on the quality of the idea, the proposal and the presentation. Test your work and equipment ahead of time. The Proposals must include a concept narrative, a script (if applicable), concept art, a storyboard and a production schedule.
¥ The concept narrative should be concise and to the point and should be around 750 words. The content will make up the oral part of the presentation to the class.
¥ If your concept is abstract or non-narrative, you do not need a script.
¥ The concept art should include sketches of the character and the set as well as reference images (top, side and front).
¥ The storyboard should include high quality digital color illustrations at a 1280 x 720, 72 dpi.
¥ The production schedule should be organized and succinct. Include specific dates. A typical production schedule consists of concept development, script writing, concept art, storyboard, modeling, texturing, lighting, audio, animating, dynamics, rendering, compositing, editing, titles, credits, and final output. Your list must be specific to your needs.
Presentations are formal and should be prepared as a PowerPoint presentation. The files must be saved in a folder titled lastname_firstname. Be sure that linked movie files are included in a folder with the .pptx file. The proposal must be turned in along with your software training notes at the pages.emerson.edu/
Courses/semesterYear/courseNumber/Assignments_In/Proposal folder prior to the critique.
Proposals that do not conform to these specifications or that are turned in late will result in a lower grade.
Students will present the progress of their project during a prescheduled time. The presentation must include a Maya project directory and a movie file.
¥ The Maya project directory must be optimized and include nothing but the necessary files and folders.
¥ The movie must be saved as a self contained QuickTime file titled lastname_firstname.mp4 set at:
Video: H.264 Decoder, 1280 x 720, Millions
Audio: AAC, Stereo (L R), 44.100 kHz
Data Rate: 5,000 kbits/s
All movies must include audio, titles and credits.
The files must be saved in a folder titled lastname_firstname and turned in along with your software training notes at the pages.emerson.edu/Courses/
semesterYear/courseNumber/Assignments_In/Progress_Presentation folder prior to the critique.
Projects that do not conform to these specifications or that are turned in late will result in a lower grade.
Each student will present the finished project during the scheduled final exam time in the form of a movie file.
¥ The movie must be saved as a self contained QuickTime movie titled lastname_firstname.mp4 compressed with the settings above. All movies must include audio, titles and credits.
The file must be saved in a folder titled lastname_firstname and turned in along with your software training notes at the pages.emerson.edu/Courses/
semesterYear/courseNumber/Assignments_In/FinalProject folder prior to the critique.
Projects that do not conform to these specifications will result in a lower grade. Late final projects will not be accepted.
¥ CD-R or DVD-Rs as needed.
¥ Project Proposal: 20%
¥ Progress Presentation: 20%
¥ Software Training: 10%.
¥ Participation and Attendance: 10%.
¥ Final Project: 40%
I will meet with each student individually at mid-semester to evaluate performance up to that point. An Incomplete will only be issued if there are extenuating circumstances related to illness or critical personal emergency and only after administrative notice has been received.
COURSE CALENDAR: Subject to changes as necessary
Presentation Schedule Sign-up
Assignment: Proposal (see above)
Software Training: Chapter 3 Polygonal Modeling (review), Lesson 1: Modeling a polygonal mesh from a reference image
Reading: The Art of Maya, Character Animation, 3D Characters, Skeletons. pp. 109-113.
Lab Operations: Lab policies
Software Training: Chapter 5 Subdivision Surfaces (review), Lesson 1: Modeling a subdivision surface
Reading: The Art of Maya, Kinematics, Skinning Characters. pp. 114-117.
Software Training: Chapter 6 Animation, Lesson 4: Nonlinear animation with Trax
Reading: The Art of Maya, IK/FK Blending, Animating Characters. pp. 118-121.
Software Training: Chapter 6 Animation, Lesson 5: Inverse kinematics
Reading: The Art of Maya, Walk Cycles, Facial Animation. pp. 122-125.
Software Training: Chapter 7 Character Setup, Lesson 1: Skeletons and kinematics
Reading: The Art of Maya, Materials and Textures, Shading Your Models, Surface Materials. pp. 127-131.
Software Training: Chapter 7 Character Setup, Lesson 2: Smooth skinning
Reading: The Art of Maya, Texture Maps, 2D Texture Placement. pp. 132-135.
Software Training: Chapter 7 Character Setup, Lesson 3: Cluster and blend shape deformers
Reading: The Art of Maya, 3D Texture Placement, UV Texture Coordinates. pp. 136-139.
Software Training: Chapter 8 Polygon Texturing, Lesson 2: UV unfolding
Reading: The Art of Maya, Reflections, Bumps and Displacements. pp. 140-143.
Software Training: Chapter 8 Polygon Texturing, Lesson 3: Normal mapping
Reading: The Art of Maya, File Textures, Photoshop File Textures, Creating Texture Effects. pp. 144-149.
Reading: The Art of Maya, Digital Cinematography, How Light Works, Light Effects. pp. 151-145.
Reading: The Art of Maya, Casting Shadows, Depth Map Shadows. pp. 156-159.
Reading; The Art of Maya, Lighting Setups, Scenery Lighting. pp. 160-163.
Reading: The Art of Maya, How Cameras Work, Camera Moves. pp. 164-167.
Studio: Work on final projects
Software Training: Chapter 10 Dynamics, Lesson 1: Particles, emitters, and fields
Reading: The Art of Maya, Rendering, Rendering Scenes, Tessellation. pp. 169-173.
Reading: The Art of Maya, Artifacts and Anti-Aliasing, Render Output. pp. 174-177.
Reading: The Art of Maya, Rendering Optimization, Rendering for Compositing. pp. 178-181.
Reading: The Art of Maya, mental ray, Maya Vector. pp. 182-185.
Reading: The Art of Maya, Effects, Adding Effects, Opti-FX. pp. 187-191.
Reading: The Art of Maya, Particle Effects, Effects. pp. 192-195.
Reading: The Art of Maya, Paint Effects, Brushes. pp. 196-199.
Reading: The Art of Maya, Tubes, Brush Strokes. pp. 200-203.
Reading: The Art of Maya, Working with Paint Effects, nCloth. pp. 204-207.
Reading: The Art of Maya, Fur and Hair, Fluids. pp. 208-211.
Due: All late work must be turned in or it will not count on final grades
Wed. 12/15/10 Due: Final Projects
3:30 – 5:30 Final Exam Schedule