Announcments

Next Friday lab is Holiday.

We will arrange the date for your Video presentation.

Blog 7-8-9 due on Monday 7th Nov before 9 am.

BLOG ASSIGNMENT # 9 Freak Factor

Create a link on your blog to http://changethis.com/manifesto/show/45.02.FreakFactor so that your audience can read David Rendall’s “FREAK FACTOR: Discovering Uniqueness by Flaunting Weakness”.

Then, summarize the article for your audience and critique whether Rendall’s nine
suggestions are valid.  Respond to three of the nine suggestions and discuss whether the
suggestions for overcoming weakness are valid.

• If you think the suggestion is valid, explain how you might implement the idea
into your own Creative Life.
• If you think the suggestion is invalid, explain why you think this is a bad way to
attempt to overcome weakness.
Spend about 250-300 words on each item.   Then, using another 250-300 words,
answer this question:

What have you found your strengths and weaknesses to be (as far as “the creative
process” is concerned)?

Grading Criteria
-- A thoughtful critique of three of Rendall’s 14 suggestions [5 points each x 3]
-- Discussion of your own strengths and weaknesses (re: Creativity) [10 points]
-- Did not meet length requirements (too long or too short) [-15 pts each]

Assignment: Project #7 VIDEO PRODUCTION

Due: In lab Week 10.  Late assignments will not be accepted. 


Five-person teams will use a pre-recorded audio scene from Project Four to create two
different video projects.  Both projects must use the same audio soundscape.  individual
scripts based upon a joke.  The final pieces will be edited and include titles.  Teams will
screen their videos in lab.  Following the screenings, each team will present a 5 minute
Powerpoint explaining their creative process in directing the videos.

1)  You must shoot ALL video footage on a cell phone or “still camera” (with video
capabilities) that costs less than $200 dollars.
2)  The video may not contain any zooms
3)  The video may not contain any camera moves
4)  The completed video must not contain any synchronous sound

Videos that do not adhere to all four limitations will not be graded (and will receive a zero).

First:  Choose one soundscape from Project #4, then decide how your team could portray the
same audio in TWO DIFFERENT visual ways (genre, visuals, tone, etc.)

Second:  For each of the two videos, choose the following roles to each of your team members
(nobody can do the same role twice!):

A) Director B) Camera Operator C) Producer D) Editor E) Set Design

Third:  Create two videos that meet the following criteria
A) Contains a variety of types of shots, including at least TWO establishing shots
B) Utilizes depth cues to manipulate the audience
C) Does not break the Rule of Thirds, 180 degree Rule or The 30 Rules.
D) One video must manipulate two of the following visual elements, while the other
video must manipulate the other two:  Line & Shape, Space, Movement, Rhythm.

Finally:  Prepare a 5-minute presentation (timed, in powerpoint) explaining:
A) How you utilized depth cues to manipulate the audience
B) How Video #1 manipulated two visual elements (Line & Shape, Space, Movement, Rhythm)
C) How Video #2 manipulated two other elements (Line & Shape, Space, Movement, Rhythm)
D) A subjective examination of which joke worked better and why

Criteria                          
Neither video was longer than 3 minutes 5
Consistently used the Rule of Thirds and Lead Room for framing 5
Scene cuts together without distraction 5
Audio is well mixed at set at appropriate levels 5
Subjects are shot at an angle (rather than at a 90 degree angle to the camera) 5
Video One utilized depth cues to manipulate the audience 5
Video Two utilized depth cues to manipulate the audience 5
Line and Shape were used to create additional meaning in at least one piece 5
Space (Deep, Flat, Ambiguous +/or Limited) created additional meaning in at least one piece 5
Movement were used to create additional meaning in at least one piece 5
Visual Rhythm were used to create additional meaning in at least one piece 5
Costumes and locations have been chosen/created for maximum impact 5
A particular aspect of the piece "sticks out as excellent" (e.g.: costumes, location, acting, etc.). 5
Powerpoint was easy to understand.  The students obviously practiced their
presentation and understood the concepts they were discussing.10
Did not use a soundscape from Project #4 as background audio -50
TOTAL  65

BLOG ASSIGNMENT #8 Brainwashed

Create a link on your blog tohttp://changethis.com/manifesto/show/66.01.Brainwashed so that your audience can read Seth
Godin’s “Brainwashed”.

Within the article, Godin talks about seven layers of reinventing yourself.  Briefly (150
words or less, total) summarize three of the layers:

#1: Acknowledging the Lizard;
#2: Any two of the other seven layers that “speaks to you” (except Acknowledging the Lizard)
• Connect
• Be Generous
• Make Art
• Acknowledge the Lizard
• Ship
• Fail
• Learn

In a 400-500 word essay:
• Discuss how the Layers you summarized may, in some way, be connected to this
Blog that you are creating this quarter.  Speculate on whether or not these various
exercise make you a “better… artist, person, student, etc”

or…

• Explain why these exercises are worthless and a waste of time (of course, giving
suggestions on what might be a better use of time in class about the Creative
Process).

Grading Criteria
-- A summary of two “Layers” from S. Godin’s article [5 points each x 3]
-- Presentation and explanation of a meaningful “Howl” [10 points]
-- Did not meet length requirements (too long or too short) [-10 pts]

Animation Fundamentals

 

Bouncing Ball

 Bouncing Ball Explained

How to Make A Stick Figure Walk 

 Lipsynce

 

BLOG ASSIGNMENT # 7 Scene Deconstruction

 Blog 7-8-9 Due: week 10


STEP ONE
Find, or post, a scene from a movie on YouTube (or a similar site). Make sure the scene
has strong (and interesting) thematic characteristics. Create a link on your blog to the
clip.

STEP TWO
Describe, in 100 words or less, what you think the theme of the movie is, and how that
theme is exemplified in this scene. Inform the audience whether the theme is active or
didactic and explain why.

STEP THREE
Write a brief critique of the scene (250-300 words) discussing how two of the topics
listed below help to reinforce the theme that you recognized.
- Line
- Shape
- Space
- Rhythm
- Movement

Also, make sure to use two of the six binary terms from Week One.
Grading Criteria
-- Linked to a scene with strong thematic elements [5 points]
-- Described the theme and correctly identified whether it was active or didactic [5 points]
-- Critiqued the scene discussing two of the required topics. [5 points each x 2]
-- Correctly utilized two of the six binary terms from Week One [5 points]
-- Written elements did not meet length requirements [-10 pts

User Manual - Pencil

http://pencil-animation.org/wiki/doku.php?id=en:users:manual:0.4.3b:index

Overview

A Pencil document is organized in layers. There are currently four types of layers: bitmap image, vector image, sound and camera. The Time Line window at the bottom of the screen shows the existing layers. By default, a new document contains a bitmap layer and a vector layer on top of it, but you can add and delete layers as you wish (using either the or buttons next to “Layers”, or the menu Layer).

The names of the layers can be changed to represent what you've put in each by double-clicking on the name of the layer in the timeline. A window will pop up, allowing you to edit the layer's name. Click OK when you have changed it to the name you want and the new name will appear in the timeline.

Each layer has a track which enables you to change it as a function of time. This is done by inserting keys (the little gray rectangles) at certain frames in the track. Each key contains information about what the layer should show or produce at the frame where the key is located. To add or delete keys at a particular frame in a layer track, use the or buttons next to “Keys” (shortcut: type “return” to create a new frame). For image layers (ie bitmap and vector), each key corresponds to a different image. The sequence of these images creates an animation. The current frame is indicated by the red bar and can be changed by moving the red bar to scrub through your animation (or use the left and right arrows). To play the animation, use the controls in the time line. Note that you can loop the animation, as well as set the number of frames per seconds.
(note, you can loop and change the frame rate of the animation whilst the animation is playing; this is great in terms of frame rate to find the best speed of your animation).

Layers

To select a layer that you want to edit, just click on it in the layer list (or use the up and down arrows). You can change the layer order by dragging their name. The order affects the way image layers are displayed on top of each other; it does not affect the sound and camera layers. Layer properties, such as their name, can be changed by double-clicking on the name (see above).
Layers can be activated or deactivated by clicking the circle at the very left of their icon. A deactivated image layer is hidden from the canvas view.

If the currently selected layer is an image layer, it is shown in the canvas view at full opacity. By default, the other image layers are semi-transparent, to help you focus on the selected layer. However, if you wish to see all the image layers at full opacity (as they will appear in the final rendering), press the circle above all the layers to turn it black. If on the contrary, you want to concentrate on the selected layer and hide all the other layers, press again the circle to turn it blank.

Drawing

The first thing you might want do to with Pencil is drawing. In fact, disregarding the tracks and animation controls in the the time line (which can be all hidden by dragging the vertical separator in the time line), one can use Pencil as a drawing program. Using the standard drawing tools (pen, pencil, brush, paint bucket…), you can draw a picture in one of the image layers. By default, the first selected layer in a new document is a bitmap image layer. Note that you can draw anywhere inside the main window: it is a canvas with unlimited space.

Bitmap drawing

The drawing tools behave more or less as one might expect. The size, colour, etc, of each tool can be specified in the Options palette. If a tablet stylet is used (which is recommended!), the pressure is used to affect the width and/or opacity of the selected tool. If you don't have a stylet (but only a mouse), it might be easier to draw with the polyline tool than the pencil or pen tools. Simply click different points on the canvas, and a smooth curve going through these points is created. When you are done, double-click on the last point (or press return). If you just want to draw a straight line, click to define the starting point and double-click to define the ending point.

Vector drawing

When a vector image layer is selected, you can use the same tools to draw on this layer. The main difference is that all your drawings and strokes are converted to geometrical shapes. As a result, you can zoom or enlarge your drawing without getting any “pixel” (aliasing) effect. When you change a colour in the Colours palette, the colour is automatically changed in the vector image. The points of vector curves can be adjusted using the finger tool. That makes vector images ideal for finished “clear-cut” drawings (typically a character in an animation), while you might prefer bitmap images for quick drafts or more complex/fuzzy images (typically a background in an animation). Note 1 - the pencil tool is intended for curves which will not be displayed in the final drawing. Hence, these invisible curves are only displayed as dashed curves, which you can hide and show using the button. To draw visible curves, use the pen or polyline tool.
Note 2 - for vector images, the paint bucket tool (used to fill a contour) is not 100% reliable, because this operation is non trivial for vector shapes (trust me on that!). Thus, you might need to click several times at different locations before having the desired contour filled. If it does not work, check that the contour is closed (zoom in and/or use the outline display button - or press F1). If you find a gap, close it with the pen, pencil or polyline. If it still does not work, redraw over some junctions to make sure all curves are connected.

Zoom and rotation

Using the hand tool, you can move the canvas in all directions. You can also zoom in and out by holding the command key (Apple on the Mac) and dragging the hand. Alternatively, you can drag with the right button of your mouse. You can also rotate the canvas by holding the ALT key, but be aware that some tools such as the painter bucket are not yet working when the image is rotated. To go back to the original view, simply double-click with the hand tool, or double-click the hand tool button.

Animating

Now we want to make some animation. As mentioned above, the point is to create several key images in an image layer.
It may help you to think first of the extreme key frames in your animation and draw them first (then you can move the frame around afterwards as you expand).
Key Frames
This would for example be (if you imagine a swinging ball on a string), the right most, middle and left most frames of the ball moving. The trick is then working out how fast you want it to move, and how you want your ball to change speed.
Thinking about this will help you to understand what you do and don't need as an animator; when you (or if you already do) more complicated animations, you will want to be very conservative about drawing only the frames you really need, as you will often have deadlines and be working with hundreds of frames.
Frames per second?
Generally, filmed sequences will use a timing of 25 frames per second (fps).
Now that we know this, as an animator, you may find drawing 25fps is not needed at all. Often animators and the audiences watching them are happy using and watching 12fps. Although this will give you less flexibility in terms of seamless seamless SEAMLESS detail, 12fps is more than likely what is best to use in most circumstances.
But mess around with the fps and experiment, this is very important.

Onion skin

The traditional way of drawing key images is to use the previous (or next) key image to guide the drawing of the current key image, by displaying the previous (or next) key images in semi-transparency. This is called onion skin. You can use the onion skin buttons to activate or deactivate the previous and next onion skins.

Adjusting keys

To test and improve your animation you can change the location of keys. Click to select one key and drag it where you want. To select several keys, use the hold the SHIFT key. Often you will want to extend the time between two keys, which implies moving all the subsequent keys. To do that, hold the ALT key and click the second key; this will automatically select all the subsequent keys.

Importing images

If you feel more comfortable with drawing sketches on real paper, you might want to import existing drawings in Pencil. You can import a bitmap image at a particular frame in a bitmap layer by using the Import image… command in the Layer menu. Alternatively, you can drag and drop bitmap images from an external window onto the canvas. A key is created for each imported image. This is particularly useful when you have a lot of images. By default, the top left corner of each image is set to the centre of the view. If you want to import your images at a particular location, use the select tool and drag a rectangle on the canvas. The images will be imported in the rectangle. If the images are larger than the rectangle, they will be rescaled. Note that you can also paste images from the clipboard, ie from other applications by copying/pasting.

Cameras

A camera layer lets you define a particular view, with a certain aspect ratio, within your unlimited canvas. What's more, you can define a view for each key of the camera track, and the view is linearly interpolated between the keys. To do that, simply create a camera layer, move the red scrub to the desired frame and use the hand tool to adjust the view inside the camera viewing frame. By double-clicking on the camera name, you can set the resolution of the camera viewing frame.

Sound

Pencil has some elementary sound support. To add some sound, create a sound layer. Then select the “Import sound…” command in the Layer menu and choose a sound file (only WAV format is supported on Windows; the Mac version can import any format that can be read by QuickTime). This will create a triangular key in the sound track. The key indicates where the sound will start to play. You can move this key as any other key. A sound layer does not play any sound when it is deactivated. All sounds can be turned on and off for the whole animation by pressing the sound button in the the time-line controls.

Note that the sound will not play if its starting key is at the end of the time line, simply because Pencil stops playing when it reaches the last key of the document. You may need to add a key in some layer to be able to hear the sound.

Example

Vector drawing

Here is a typical example to draw one frame. We start in a bitmap layer and use the pencil tool to sketch a character:

Once the draft is finished, we go to a vector layer and use the pen tool to “ink” the character, ie draw clean lines on top of the draft. In order to draw precisely, you might need to zoom in the picture. To do that, select the hand tool and right click on the picture (or click with Apple-key on the Mac) and drag the mouse. You will get a dynamic zoom into the centre of the picture. If you experience some difficulty drawing with the pen tool (especially with a mouse instead of a stylet), you can also use the polyline tool .

The next step is to put some colours. Select the paint bucket tool and select a colour in the palette (click the black square to show the colour palette). The palette comes with a limited number predefined colours. You can change them at any time and add as many colours as you want. Once you've picked a colour, click with the paint pucket tool inside a region you want to fill. Make sure there is no gap in your drawing. Sometimes, the program fails to fill the region. In this case click at another place or zoom in the region an try again.
If you like, you can add shadows to your picture. To do that, use the pencil tool. Used with vector layers, this tool creates dashed path which do not appear in the final version of your animation. These paths will define the border of the shadows. Then you can fill these regions with darker colours.

To hide or show these paths, press the button . Finally, click on the circle next to the bitmap layer to hide the original sketch.
To create an animation, you have to sketch several frames and test that your animation works well. Then you can ink your drawings using the method described above.

Bitmap drawing

If you wish, you can use only bitmap layers. In that case, make sure you have a bitmap layer below the bitmap layer that you ink: this way, clicking with the paint bucket will put colours not in the current layer, but in the layer below it, which preserves your original drawing.

Saving and exporting your animation

You can save your work in a specific XML format, along with a folder containing the bitmap data. This is the format currently used by Pencil to save a document. You can also export your animation as a sequence of PNG images, or as a Flash movie or a QuickTime movie (Mac OS X only). Note that the current view is used for the export,ie either the working view or the camera view if a camera layer is selected. It might be possible to export to other vector formats such as SVG in the future.