Alma has featured on the group blog a few times now, but hey, 'Happy Halloween'!
Wednesday, October 31, 2018
Tuesday, October 30, 2018
Picturesmith are a London-based animation studio specialising in mixed media, stop motion and 2D.
They are currently looking for a full-time 2D animator with experience in After Effects, Illustrator and Photoshop.
See HERE for full details!
Friday, October 26, 2018
Not strictly animation focused, but I know that many of you are keen photographers too, so I just thought I would flag up this competition - with BIG prizes at stake!
The winner of each category will receive £1,250, with the overall winner receiving a prize of £15,000. Prizes will be presented at an awards ceremony in London on 3 July 2019.
Wellcome Photography Prize 2019
'We invite photographers and other image makers from all disciplines to enter the Wellcome Photography Prize, which celebrates compelling imagery that captures stories of health, medicine and science.Previously the Wellcome Image Awards, our newly relaunched competition will reward pictures that show the importance of health in society and the impact health issues have on people and communities worldwide.
We’re looking for entries that can captivate people with stories of science and medicine, and start conversations about some of the health challenges humanity faces today.
Whether you are a research scientist, a documentary or clinical photographer, an artist, or a photojournalist, this is a great opportunity for you to inspire people to think differently about health, medicine and life.'
Closing date for entries - 17th December 2018
Full details HERE
Thursday, October 25, 2018
ACCESS:VFX "is a cross company initiative that promotes diversity and inclusion in the VFX and Creative industry. Many VFX companies, educational establishments and industry organisations have come together to create initiatives & events to help raise awareness and champion the important issue, helping to bring about change. Our partners include, The Mill, Third Floor, Framestore, DNEG, Next Gen, Blue Zoo, Escape Studios and many more."
ACCESS:VFX are holding a few different events for anyone that has an interest in the creative industry in particular - VFX, 2D and 3D animation.
The first being a VFX Careers Fair on the 30th October 2018 @10:00 - 12:00 at Westminster Kingsway College which includes stalls from studios, organisations and collectives such as: The Mill, Blue Zoo Animation, DNEG, Framestore, Escape Studios, Jellyfish Pictures, and The Foundry.
Get your tickets for free HERE!
The second being a collaboration between ACCESS:VFX and The University of West London consisting of a panel and networking event of inspirational people in the VFX industry on Tuesday the 30th October 2018 @18:00 – 21:00 at The University of West London (Food and drink will be served) Panelists include professionals from The Mill, DNEG and Blue Zoo.
Tickets are available free HERE!
The third event is open to 16 - 19 year olds and teaches you about what goes into making your favourite films, television programmes and commercials, VFX, 2D, 3D and participate in a Compositing demo! You will also have the chance to meet artists from leading studios and participate in a Q&A session. The event is on Wed 31 October 2018 @18:00 – 20:15 at Escape Studios.
Grab your tickets free HERE!
Sunday, October 21, 2018
|This is you...|
A message for our hard-working third years who are preparing their draft thesis for this Friday... I just wanted to wish you a productive last few days and to give you a further bit of an encouragement. Remember, the more you get done, the more helpful I can be, and the more complete and 'final' you make your drafts, the more I can really see what your intentions are and if you're nailing your arguments. Planning and delivering an 8000 word research-based academic document is not to be sniffed at; you're doing a difficult thing, so well done - and keep going.
You're required to hand-in a paper-copy to Campus Registry between 4-5pm and a digital copy through Turnitin. Turnitin has been set up to 'not remember' your drafts, so there's no danger of self-plagiarism when it comes to the final submission in January.
I will read and annotate your drafts as soon as humanly possible. When I'm ready to feedback, I'll publish named Monday morning tutorial timeslots on here so we can meet and discuss. What I try and do is email out the feedback proformas as soon as I've completed them, so you've got your feedback prior to any tutorial with me. Short version, when I'm done with your draft, I'll get in touch.
Best of luck for the final push!
|This is also you.|
FAO CAA Yr 1: Project #2 / The What If Metropolis 2017: Examples Of Previous Student Work, OGR #1 Requirements & Your Creative Partnerships
At Tuesday's What If Metropolis ('WIM') briefing @ 2pm / Lecture Theatre 1, you'll once more encounter Computer Animation Arts' 'mysterious blue box' and everything about the way this brief works will become clear and your next creative adventure will begin in earnest!
If you haven't done so already, download the brief from myUCA.
If you haven't done so already, download the brief from myUCA.
By way of preparation, I want you all to spend some time looking at the brief and likewise these examples of previous student work, which should demonstrate quite clearly the relationship between concept art and the creation of highly original digital sets in Maya. Also included in this post is the date and requirements of your first OGR - which takes place very soon after the briefing. You need to think about your time management from the outset, as you have a lot to do in seven short weeks!
|Einheit / Digital set / Adri Lopian|
|Denoria / Digital set / Deanna Crisbacher|
|Haute / Digital set / Charlie Serafini|
|Obiton / Digital set / Eva Pennington|
|New Calyx / Digital set / Julien Van Wallendael|
Thursday, 1st November is your first 'WIM' Online Greenlight Review (OGR)
Your OGR is to be presented as a single Scribd presentation on your blog, beginning with your name, date, and project title. Save your documents as PDFs before uploading to Scribd, as this should mitigate against formating glitches. Your OGR presentations should be uploaded to your blogs on Wednesday 1st November. Written feedback will follow as a 'comment' on your OGR post.
'WIM' OGR Part 1: What do you need to present?
1) A brief written summary of your artist/designer's key principles/ideas/themes/concepts/works (i.e. you need to show me you've researched your WIM collaborator thoroughly and understand why they make the work they do).
2) A definitive influence map illustrating your artist/designer's key principles/ideas/themes/concepts/works (i.e. you need to show me that you're able to identify and isolate the visual language of your WIM collaborator effectively).
3) Your travelogue - minimum 1000 words: describe your city to me! (What it looks like, who lives there, what characterises the city, what makes it unique? Your travelogue should be highly descriptive, as you'll be using it from which to derive your thumbnails, concept art, production art and final digital set. You should of course give your city a name!).
4) Your thumbnails in response to your own travelogue (numbered please) - minimum 75.
5) In addition, your OGR should evidence that you are up-to-date with your film reviews and ongoing CG Artist's Toolkit project work (life-drawing/Maya tutorials/Nat's animation exercises etc). Students who use their OGR to manage their weekly tasks in this way manage their workloads more successfully.
Please note: your OGR should be a professionally presented, spell-checked, with an emphasis on graphic design, layout and project branding. For an example of what I'm looking for from you at this first creative checkpoint see below:
Please use your network of creative partners and social networks to ensure everyone has seen this post and is familiar with the requirements of the OGR 01/11/2017
And finally.... your Creative Partnerships!
Starting now, you're being grouped into creative partnerships for the duration of WIM 2017. What's a creative partnership? While we expect you're all following each other's blogs as a matter of routine, you're now being asked to give your specific and undivided attention to supporting the creative development of classmates in your respective creative partnership. Everyone likes receiving feedback, but not everyone is giving it and I want to see much more buzz and critical discussions going on between you all. It doesn't mean you suddenly stop taking an interest in everyone else's project development, it just means you now have additional specific responsibilities to your project partners. You're going to be going through lots and lots of ideas as you seek to establish your response to this new brief and I want to see you working together proactively - and standing up to each other too. If you think your partner's ideas aren't communicating, you should say so - constructively.
Your creative partnerships should feel active and exciting - you're learning how to collaborate and build professional working relationships - and no radio silence please. If you don't interact with others positively and proactively you're being unprofessional - simple as. Get involved. Be useful. Be honest. Come up with solutions. No 'lurking' please (that's the practice of being active on social media but not sharing or participating) - get out there and be a force for good!
Your Creative Partnerships for the duration of WIM18 are:
Vincent @ https://vincent-lange.blogspot.com
Karris @ http://karrispalmer.blogspot.com
Katerin @ https://katerinmladenov.blogspot.com
Thursday, October 18, 2018
Acting class date change
Dan's acting classes will now take place on Wednesday 7th and Friday 9th November. Please make a note of the new dates and don't forget to share them if you feel someone may have missed this post.
Wednesday, October 17, 2018
The video essays below created by Tony Zhou (Every Frame a Painting) and Evan Puschak (The Nerd Writer) explore physical comedy and the staging of gags/action for film. Including, the importance of characterisation, physical performance, readability, using a single/static camera, selecting the correct camera angles, clear staging, and editing. These video's illustrate many of the fundamental elements you will encounter in making your film for the Collaboration project (and beyond). Please take the time to watch them either as a group or on your own.
Buster Keaton: The Art of the Gag
"Before Edgar Wright and Wes Anderson, before Chuck Jones and Jackie Chan, there was Buster Keaton, one of the founding fathers of visual comedy. And nearly 100 years after he first appeared onscreen, we’re still learning from him. Today, I’d like to talk about the artistry (and the thinking) behind his gags.- Tony Zhou / Every frame a painting".
Jackie Chan: How to Do Action Comedy
"Some filmmakers can do action. Others can do comedy. But for 40 years, the master of combining them has been Jackie Chan. Let’s see how he does it - Tony Zhou / Every frame a painting".
Edgar Wright: How to Do Visual Comedy
"If you love visual comedy, you gotta love Edgar Wright, one of the few filmmakers who is consistently finding humor through framing, camera movement, editing, goofy sound effects and music. This is an analysis and appreciation of one of our finest comedic voices. - Tony Zhou / Every frame a painting".
The Physical Comedy of Rowan Atkinson (Repost)
A closer look at the incredible physical comedy of Rowan Atkinson.
Some of you will know Rowan Atkinson as Mr Bean. However, throughout his career Rowan Atkinson has portrayed many different comedy characters. Including, various characters in the sketch comedy series Not the Nine O'Clock News (1979-82), on stage in one man shows, in sitcom comedies such as BlackAdder (1983-89) and The Thin Blue Line (1995-96), and multiple film roles such as Johnny English (2003-present), Four Weddings and a Funeral (1994), The Lion King (1994), and the Mr Bean films (1997-present).
What makes Rowan Atkinson' comedy successful is his ability to physically (and verbally) portray characters so precisely. In this video the Nerdwriter explores the nature of Rowan Atkinson's comedy and how skilled he is as a character based performer. In Rowan Atkinson's work there is a big emphasis on 'contrast' and 'accurate' characterisation. Whether that is a 'silly person in a serious situation' (Mr Bean), or a serious School Master reading out silly names (his stage show). This is particularly relevant to character animation and the Collaboration Project. One of Rowan Atkinson's less talked about works is Laughing Matters (1992) which is video essay on physical comedy - it is lost piece of 'educational gold' for animators. You can watch here or find it online.
Tuesday, October 16, 2018
Just a quick reminder that there is a very useful bank of resources available on myUCA, that you should all take some time to familiarise yourselves with... the guides cover aspects such as planning, time management, writing skills, presentation skills etc. Go and have a look!
Find the full list HERE
This is message for our hard-working first years in their final few days before their first crit presentation and submission! We know you're very busy and feeling the pinch and we know you're nervous about Friday, but there are things you can do to feel less nervous and take more control!
1) Make sure you're looking at the information we've provided you and you're paying attention to it. The information is there to make your lives easier and your goals crystal-clear. For your convenience, I'm including here the links to the original post re. your submission requirements, the advice and guidance re. What is an 'Art Of', and the examples of previous student submissions.
- Submission requirements @ https://ucarochester-cgartsandanimation.blogspot.com/2018/10/fao-caa-yr-1-invisible-cities-2017.html
- What is an Art Of? @ https://ucarochester-cgartsandanimation.blogspot.com/2018/09/fao-caa-year-1-invisible-cities-2018.html
- Previous student submissions @ https://ucarochester-cgartsandanimation.blogspot.com/2018/09/fao-caa-yr-1-environment-invisible.html
You're no doubt worrying about 'your grades' already and fretting about my feedback. At the beginning of term, I shared with you (via email) three examples of feedback forms. These are the forms you will receive when I've marked your submissions. If you haven't looked already at these forms, I want you to look at them now. You can find them in a folder on myUCA/Environments/InvisibleCities (scroll down to the bottom of all the resources and you'll find it). I've included a range of grades: a 'B+', a 'C-' and a Fail. Please focus on the written feedback - on what I'm saying to the student in relation to what they submitted and how they spent their first five weeks.
Finally, some reassuring words about Friday's presentation: it is not an audition 'X-Factor-style', where you are fighting to stay on the course. It's your chance to talk about the ideas behind your three paintings and for us to have a chat about those ideas. You've all presented already (a few times in fact!) and Friday is no different: your biggest voice, banish your inner-monologue, and when in doubt, look at what's on the screen and 'say what you see!'. It's really important you prepare for your presentations: think about what you're going to say before you say it. Be strict - stay on message. If you get stuck, I'll be there to ask a question or two to get the ball-rolling again!
The REALLY important bit of advice is 'avoid the melodrama' - don't spend this week whipping yourselves up into a froth of fear and anxiety on social media; don't feed negativity, don't dramatise your stress - just get ready and give your time and energy to doing the best job you can.
Best of luck! Be amazing!
Unfortunately, I am unable to make into to University today. However, anyone wishing to contact me can either send me an email directly (email@example.com) or create an @Alan post on their blog. Year three Maya class tomorrow will take place as normal.
Monday, October 15, 2018
Friday, October 12, 2018
Firstly, I wanted to congratulate you all on uploading your project schedules and submission inventories. I hope you found the process of forecasting the future of your film projects to be useful and it has stopped things from feeling too 'floaty'. Floatiness is the arch-enemy of all year 3 projects!
I now have another goal/milestone/deadline for you in our shared quest for graduation greatness! We'd like you to submit your '2nd Pass Animatics' to your blogs on Friday 9th November. Many of you had '1st Pass Animatics' as part of your original Premise submissions, but lots of things will have changed since then - tweaks, revisions, problems found, problems solved and so on - and we're all keen to know your stories are being as told as effectively, dynamically and creatively as possible.
Your 2nd Pass Animatic should be your very best effort to commit to the nitty-gritty of your storytelling. If there's a structural problem in your film, this is the moment to fix it. If there's an elaborate camera-move or series of transitions you've not yet resolved, you do that here. Your 2nd Pass Animatic might be a 'Frankenstein' film of different parts - recycled from your original animatic, new drawn scenes, 3D pre-vis sequences etc: the goal isn't that your 2nd Pass is particularly pretty - the goal is to lock your film down in terms of structure, camera, timing, rhythm and emotional impact etc. If you've got complicated camera moves or transitions, use Maya to communicate your action in a way doing more drawings may not.
Your 2nd Pass Animatic should include titles and placeholder sound; foley work (diegetic sound effects) are always a key part of ensuring your film communicates your intentions; don't underestimate their influence in terms of effective storytelling. By committing now to this next refinement, you'll save yourself time and energy later. Written feedback will follow on your blog - and of course as part of our tutorials together.
2nd Pass Animatic deadline / Friday 9th November
Tuesday, October 09, 2018
What follows are instructions for your crit presentations and reminders of what you need to present and submit on Friday, 19th October. Please use your network of creative partners to ensure that everyone has seen this information and understood it. Any queries, please leave a comment and I'll clarify.
A new CG animated adaptation of Italo Calvino’s Invisible Cities is in pre-production. In response to the source material allocated to you at the briefing, you have been commissioned to produce 3 fully-resolved concept paintings of one of Calvino’s fantastical cities.
You have been asked to visualise your chosen city in three different types of shot:
1) Exterior Establishing Shot
2) Exterior Low Angle Shot
3) Interior Establishing Shot
Your concept paintings should be 16:9 and painted digitally.
You are asked to maintain a comprehensive blog archiving and annotating your creative development for the duration of the project. You should use the blog to reflect critically upon your own creative practise, the wider cultural and thematic context of the project, and engage collaboratively with your creative partners, peers and tutors.
1) Your 3 finished concept paintings.
2) Your Invisible Cities 'Art Of' as Scribd document.
3) A minimum of a 100 developmental thumbnails exploring all of Calvino’s cities.
4) Animated GIFs of your digital paintings in progress.
5) Research into your source material presented as a Scribd document.
6) Your influence maps.
7) Your One Point, Two Point & Three Point perspective exercises.
8) Your Concept Artist ‘Who’s Who?’ as a Scribd document.
9) Reviews of the Space Oddities Film programme. Please note – in addition to and support of your own critique, your reviews must include a minimum of 3 quotations from 3 different published sources + poster art + supporting stills. Please note - Harvard Method must be used for all quotations and all illustrations to be referenced correctly. Reviews are to include bibliography and illustration list.
10) All Digital painting exercises from Photoshop workshops.
11) Your final submission must include a short reflective statement. A reflective statement is a statement in which the student considers their experience of a project. Reflective statements are used to understand past events, learn lessons and identify best practice.
You will present on crit day from a blog-embedded Scribd document that should, in terms of structure, follow the order of slides as given below.
- Title page, giving your name, unit title and date of presentation.
- The name of your city.
- Your definitive 'visual concept' influence map.
- Your final exterior establishing shot.
- Your build-up sequence of your exterior establishing shot.
- Your final exterior low angle shot.
- Your build-up sequence of your exterior low angle shot.
- Your final interior establishing shot.
- Your build-up sequence of your interior establishing shot.
- Your three concept paintings together.
We expect a high level of professionalism from CAA students, so please give the preparation of your crit presentation the requisite care and attention. Your presentations should be branded, spell-checked and polished. Don't clog your content with unnecessary typography etc. Your presentation should serve your content sympathetically. Sensibly, your Crit Presentation and Art Of should share a visual language - but they're not the same presentation (see examples below).
Keep it simple - only include what you've been asked to include.
Example Crit Presentation
Example Art Of
Important: please note, your Invisible Cities crit starts at 10am sharp. You need to be in the CAA baseroom by 9.45am at the latest.
Please note: unauthorised non-attendance at a final crit will be counted as a non-submission of work.
Non-submission of work = fail at 0%
The order in which you'll be presenting will be randomised, which means any one of you may be presenting first!
If circumstances beyond your control* prevent you from attending on time, you must contact Hazel Searles before 10am. Your project management and professionalism counts - there is an assessment criteria against these skills, remember!
And a note to any 2nd/3rd years - your input on crit day, as always, is welcome!
*But not issues in regard to last-minute technical problems that reflect poor project management. No student should be working on the morning of crit day. Thursday is your deadline, not Friday.
Newly founded design studio in London -
PandaLove Design Studio
Full details and how to apply HERE!
Monday, October 08, 2018
Collaboration OGR Requirments
Overall: The main goal of the group OGR is to bring together all of the different 'strands' of your project into a unified presentation and demonstrate that your idea works. In addition, by presenting your work as a 'team' for the first time you are demonstrating how successfully you've been able to collaborate so far.
There are several 'stands' to this project, all of which you should include in your OGR even if they are in the early stages. These include...
- A Script and Storyboards/Animatic (rough): This is your ideas in both an early written and visual form (some of you are using a 'post-it-note' approach to develop both of these). This is one of the most important aspects of your project so try not make this OGR submission a 'first draft' submission. Take time to rework and refine each 'skit' and where possible try to consider the short as a whole. For example, if you are using title cards in between each skit, include them in your storyboard/animatic. Don't draw too detailed either (very rough is fine) as long as the images convey the idea - Don't forget to work at 16:9 ratio, stage each scene, and use a single camera. Finally, try to edit your images over time into an animatic to see how it plays. Simply, scan them in (if not digital) and edit them on a timeline to describe performance. This often reveals story/performance 'gaps' and timing issues. Remember, the goal is to 'find your comedy' and that can take several tries and extra images. A good way to work is to look at the personality of your characters, if you know them well enough they generally have the answers to whats needed.
- Character Designs (Using Moom): Explore character designs for your skits using Moom as base. As mentioned above, knowing the personalities of your characters is vital in understanding your comedy. In this project we're using Moom as a 'blank' to inject personality into and onto. This is an important distinction when thinking about character design and your comedy performance. For example, externally a Victorian Strongman may require a stripey costume, slicked down hair and curly mustache, but if we know that he is nervous/clumsy on the inside that may change the way we think about him on the outside. Suddenly, his hair and mustache are not so perfect, his costume becomes baggier, and the way he lifts weights is haphazard. Try to think about what your characters require on the outside as well as what your skit needs from them on the inside. With this in mind, you may want to pose Moom first to understand the internal personality and then think about what that personality requires on the outside whilst painting over him.
- Presentation Document: Make sure that your OGR document is graphically designed and suitably presented. This is an online OGR so write/design your document so that a person who knows nothing about your work can understand it. For example, treat your page layout like a story of how your project has and is being built, with a view to building upon the document in the future - To construct your final Making Of document. Make sure to include your research and influences in the document as part of your projects 'story'.
- Blogging/Basecamp: Make sure that you have (and continue too) blog your process on both your group (studio) and personal blogs. This includes keeping your discussions going on Basecamp and uploading any relevant files. Both platforms represent evidence of your collaboration and are the heart of your project.
If there are any questions, please ask. I will be seeing you all for group tutorials tomorrow.
Saturday, October 06, 2018
I've been following Jean-Denis Hass's Spungella blog for years now... A tip-top resource, full of practical advice re. character animation and workflow. I suggest you add his blog to your reading list and follow him on Twitter etc...
Friday, October 05, 2018
Deadpool 2 (PG-13 Re-release)
Ryan Reynolds shared a picture (above) of Deadpool on Twitter this week. In the photo Deadpool is seen taking on the role of the Grandfather (played by Peter Falk) in a recreation of The Princess Bride (1987). Fred Savage, who played the young boy in the 1987 can be seen reprising his role too. There hasn't been any official announcement yet but its thought to be a shot from a PG-13 re-release of Deadpool 2 scheduled for the December. If this is the case it is likely that Deadpool 2 (PG-13) will use the same narrative framing device to account for the adult sequences being cut from the original film.
Wednesday, October 03, 2018
FAO Everyone... Exhibition at the V&A - Design/Play/Disrupt; Explore the design and culture of contemporary videogames
One to visit if you get a chance!
Design/Play/Disrupt - Explore the design and culture of contemporary videogames
This exhibition provides a unique insight into the design process behind a selection of groundbreaking contemporary videogames. Design work, including concept art and prototypes, feature alongside large-scale immersive installations and interactives.
Full information HERE
On until 24th February 2019.
Tuesday, October 02, 2018
'They're here!' As of this week all our new first years are present and correct - and this is the complete list of their blogs for your reading list. Note No 19 - Sandy E - who joined us on Monday. Be sure to add everyone to your reading lists and support them all 'little and often'.
- Coyle Loughran @ https://thegravevelgra.blogspot.com
- Vincent Lange @ https://vincent-lange.blogspot.com
- Ren Beaument @ https://beaumontanimation.blogspot.com
- Victor Njue @ http://vknjue-animation.blogspot.com
- Karris Palmer @ http://karrispalmer.blogspot.com
- Ted Stapleton @ https://tedsuniblog.blogspot.com
- Ksavera Jurkute @ https://ksaverajurkutecomputeranimationarts.blogspot.com
- Molly Barker @ https://mollysuniartblog.blogspot.com
- Thomas Dent @ http://caatom.blogspot.com
- Grace Sansbury Chance @ https://sansburychance.blogspot.com
- Shannon Fisher @ https://shannonfisheranimation.blogspot.com
- Ting Zhao @ http://tingzhaoucarochester.blogspot.com
- Sandy T @ http://tserepianimation.blogspot.com
- Odette Brown @ https://adisasterousblog.blogspot.com
- Terry Brunt @ https://tdbucaanimation.blogspot.com
- Olivia Richer @ https://oliviaricher.blogspot.com
- Louis Belden @ https://legendoflouis.blogspot.com
- Katerin Mladenov @ https://katerinmladenov.blogspot.com
- Sandy E @ http://sandyanimation.blogspot.com
- Oliver Castle @ http://tacitacorporis.blogspot.com
Monday, October 01, 2018
It's already the beginning of week 3 of the Autumn term. As of tomorrow - Tuesday, October 2nd - you have 100 days until the submission of your Minor project - Thursday, January 10th.
100 Days = 14.2 Weeks = 3.2 months
This isn't a long time in CGI terms, but it is a transformative amount of time in terms of future-proofing your Major project and thus ensuring your final animation is industry-standard and festival-ready (or put more simply still - bloody amazing!).
You're now required to do two things:
1) Devise and publish to your blog your Minor Project Schedule - a week-by-week breakdown of the next 100 days as it relates to your project's workflow. Your schedule should be as detailed as possible, with activities, outcomes and deadlines very clearly indicated Your schedule should be a professionalised document and your best attempt to timetable your Minor project from start to finish. Your Minor Project Schedule will be available to assessors and external examiners as a means by which your 'Professionalism and expert project management' can be measured.
2) Devise and publish to your blog your Minor Project Submission Inventory- an indexing of what you intend to submit for your Minor Project submission in January. Your submission inventory needs to be specific and unambiguous - a bullet-pointed list of elements and assets comprising your goal for the January hand-in. For example, if you're making an animated short, you'll need to submit 'a final pass animatic and locked 3D pre-vis' and animation-ready characters - that means your character models are 100% Alan-certified fit-for-purpose assets that are ready to go. In addition, you should have assembled your creative teams of collaborators - composers, voice-artists etc. As part of your Minor Project submission, we are asking you to include complete annotated shot-lists (see Kingdom Of Sound examples available on myUCA/Minor) and, of course, your Art Of documentation.
Don't let these two things freak you out: if you give sufficient time and energy to these two activities as outlined, you will be creating the conditions for a less stressful experience of the coming weeks. I suspect many of you are wondering where to start/what to do/how to begin - and probably wasting valuable time procrastinating and worrying and just thinking, 'There's too much to do!'. Stop - just do these two administrative things instead.
The deadline for publishing your Minor Project Schedule and Submission Inventory to your blogs is Sunday 7th October. We can then discuss your plans as part of next week's tutorials and Maya class etc if needs be. Make a start tonight!
We're organising an 'Animation Careers' event at Rochester on Wednesday October 31st (which is the Wednesday of Reading Week), with invited speakers, course alumni and so on. We'll provide more details soon, but this is just an announcement so you 'save the date'. More on here soon.