Embedded Files
Project 3 - DETAIL Brief
Project 3 - DETAIL Brief
Please carefully READ the Project 3: BASIC Brief first, then carefully READ and thoroughly understand ALL these additional details.
Please carefully READ the Project 3: BASIC Brief first, then carefully READ and thoroughly understand ALL these additional details.
For every project, there is a BASIC brief, set by SAE, which are the minimum requirements. You must read it first, and follow it, down to every last detail.
For every project, there is a DETAIL brief by your lecturer, which explains important details for all students, plus additional requests, and guidelines for advanced students. Following the DETAIL brief will result in better practise, better training for client service, freedom from avoidable errors, and a better chance of a higher grade.
Please pay attention to your client-service instructions, as you would when working for a client in industry, and wanting to be paid. Client service is part of your training. And newsflash: we don't give you instructions for petty reasons.
BASICS
BASICS
Checkpoint Milestone 1: Due Week 10
Checkpoint Milestone 1: Due Week 10
12 to 18 loose background thumbnails/roughs,
maximum 27.ALL backgrounds must be composed for a 1920x1080p (16x9) camera, in the correct frame format, and specifically designed for shots, to be used in your short scene storyboard, with good camera angles to tell your story. Thumbs do not require characters; you may optionally draw a few simple, loose silhouettes. All of them will need spaces for characters to be posed in, to tell the story.
All students must please choose a single approved template file for thumbnails/roughs:
- Good for doing 1 page, total 12 roughs.
- Good for doing an optional 2 or 3 pages.
Collect, show, and use good reference that is strongly relevant to the story, genre, action, and style. Start this BEFORE drawing. A sequence from film, tv, animation or storyboarding is needed, not just random stills. The reference source must show professional and commercially-successful screen composition, and look convincing to your facilitator.
- For early learners, following reference very closely is normal and okay.
- Some tracing is okay, and may be required in some cases or students. It should be modified and/or combined with your own work. Tracing over geometric shape tools, perspective grids, etc. is routine and okay.
Show depth - foreground, middle ground, and background. Use contrast depth perspective.
- Usually this is fastest with contrast reduction, using silhouette shading. Please use the simplified silhouette technique from Week 10 to generate roughs quickly.
Draw your roughs in low opacity/low-contrast, and preferably use low-saturation construction blue.
Do not color background roughs. Focus on dynamic composition instead!
Use some extra-wide shots - you can always zoom/crop a wide artwork. Use at least one ultra-wide establishing shot. 300% to 500% wider views are best for establishing shots, because they can be easily zoomed into. Camera pans/zooms should be annotated and/or shown. Establishing shots typically require pan/zoom, a ground plane, and must stage the location for the story.
Use dynamic composition.
You must consult Storyboarding Fundamentals to plan good composition and camera angles in your scene.
Use high angles more for establishing shots. No more than 25% of your shots should be high angles!
Must have more lower angles for large spaces to stage action in, and show status/importance, so lower the horizon more often! Most acting and action shots need lower angles. Dramatic low angle shots look great, with a low-horizon ground plane, to stage action in!
Avoid symmetry, especially with the subject dead-center. It's static and boring, especially when everyone does it, over and over again. Only 10% of your frames (1 frame every 10) can be symmetrical compositions, and no more!
Most compositions should use Rule of thirds, or off-center composition.
Avoid dead-straight 0 degrees front-on or 90 degree side-on shots, About 20% (1 in 5) is okay, and no more. Especially with the subject dead-centre and symmetrical.
Most shots should use 22 to 45 degree angles (angles are our friends!)
Avoid too many POVs - about 10% is the limit. It's NOT a video game. Use 3rd-person cinematic narrative composition, such as Over-The-Shoulder.
Use Screen Direction. Most of your shots should be flowing from left to right, or right to left.
Even roughs should have loose perspective construction, with consistent horizon line, consistent vanishing point(s), and consistent covergence/orthogonal lines.
Roughs should be loose and drawn quickly, to allow for rapid testing, fast feedback, client service, discarding and replacing with new ideas. Do quantity before quality; this is the process.
- All thumbnails/roughs must be contained together in a single Photoshop master file, TIF/PSD.
Export JPG/PNG copies, for student web pages.
If you are making more than one page, you must neatly organize all pages as Layers, Layer Groups and Layer Comps together in one Photoshop file. - Advanced students, you may want to discuss the option to go straight to full size roughs, if you have a good reason, such as: you're got a clear vision and a good reference sequence. You will simply need the regular 2K 1920x1080p storyboard template. Even if working at large size, you must only do LOOSE ROUGHS and DRAW QUICKLY in LOW CONTRAST. Layer Comps are absolutely essential for this method, and you must label the work as ROUGHS.
Due in class Week 10 for feedback, and completed by end of the week.
- ONE Fine-Quality Production Background - 4K
In Perspective.
Clean, sharp, and clear.
- This one piece of artwork is an animation production background, not a storyboard background, so it's tightly drawn to fine quality and style. Only one of these is required! All other backgrounds should be loose, rough, and quickly drawn, to suit storyboarding!
All students must use an approved large background template: MINIMUM sizes:
3840x2160px 4K - DEFAULT - for digital - your artwork layers must be inside the 4K artboard layer group.
3508x2480px A4 300ppi - only for printing for traditional as a guide - do not use for a digital drawing.
Open the file in Photoshop, Window > Layer Comps > select the Layer Comp thumbnail buttons, to display the Artboard layer group you need to put your layers into.
- If you need a larger background, ask for a 6K or 8K template.
Must be extra-extra-wide view, and suitable for camera pans & zooms. A slow zoom/pan with a big scene would be at least 200%, and sometimes may be up to 500%. For most purposes, this background should be your establishing shot. Advanced students - you may ask about any potentially-better ideas.
Do not place characters in this background.
Must be an angled, asymmetrical composition, with rule of thirds.
- Use sharp tips (0.5mm / 5px or less), for detail.
- Construct your perspective background in low opacity, low contrast blue with horizon line, vanishing point, and convergence lines (orthogonal lines). Use math, rulers, and straight line tools, precisely to 1-millimeter accuracy, before inking, shading or color. Please evidence your construction, with clean construction lines, as well as the final inked and shaded frame.
Use clean line inking, silhouette fills, and at least 1 tone of shading. Digital ink, fills and shading must please be separate layers. Fills and Shading are essential for fine-quality backgrounds.
A color background is okay but not necessary. Spending your time on the storyboards and drawing the right number of character keyframes for clear storytelling is way more important. Backgrounds should be lower in contrast and saturation than characters, thank you.
- See Sydney > Week 9 > Perspective
- See Topics > Perspective
Due in class Week 10 for feedback, submit @ end of the week.
Project page
Use ONE unique Project page containing all work for each Project only, making it easy to find and grade.
Use a General unit page for the weekly skills training exercises, as neatly-presented images, with headings or captions.
You can also put any short notes here.Due in class Week 10 for feedback, complete by end of the week.
Project Folder, GDrive, Master Files
- All students must please use an approved template, and supply working Photoshop TIF master file(s) with all layers, layer comps, vector objects, and features in high quality, editable working condition. Non-standard software will not be supported. This will affect your grade.
- Traditional students, please digitize your work, crop, correct, cleanup, and finish in Photoshop, according to Digital Image Standards.
- Embed your GDrive Project folder at the bottom of the Project page in your GSite. Always save files to a project folder, keep all project files organized together, and supply all working project files. Yes, everything. Synchronize your entire shared GDrive folder for this unit and project with a backup device, weekly.
Due in class Week 10 for feedback, complete by end of the week.
007-Background-Roughs-Example-Silhouette.tifSimplified silhouette-style, small thumbnail roughs, example
Simplified silhouette-style, small thumbnail roughs, example
Best for making roughs quickly. See Week 10 simplified silhouette skills. Recommended for most students.
You can also use this example file as an approved template.
005-Background-Roughs-Example-Detail.tifDetailed-style, small thumbnail roughs, example
Detailed-style, small thumbnail roughs, example
Some advanced students may prefer this
010-Storyboard-Roughs-Template.vhero-A4-9Up.tifBackground ROUGHS TEMPLATE
Small Rough Thumbnails, minimum size for pagesBackground ROUGHS TEMPLATE
You must please use an approved template file, and camera frame format.
perspective-background-sharp.tifFINE-quality Production Background, example
FINE-quality Production Background, example
Clean line, silhouette fills, shading, medium-contrast darks.
005-Background-Template.vhero-4k.tifFINE Production Background 4K TEMPLATE
FINE Production Background 4K TEMPLATE
BASICS
BASICS
Checkpoint Milestone 2: Due Week 12
Checkpoint Milestone 2: Due Week 12
STORYBOARD
STORYBOARD
Scene requirements:
Scene requirements:
The character should have a clear motive, and be engaged with a visual problem, task, or activity. This is a storytelling scene, part of a short, a movie, or a tv show, and must please include emotion. The more conflict, the better. The character's attitude should be expressed with significant changes of body pose and expression. Make your scene more engaging by escalating the character's problems, and/or their reactions. What does the character want? Why? What do they do, to get what they want? Do they fail, succeed, or both?
Format: FULL HD 1920x1080p (2K)
As Photoshop layer comps, formatted into a click-through-each-frame slide show, or an animatic.
- You must COMPOSE in an APPROVED 2K STORYBOARD TEMPLATE. Please do not use a 4K template for storyboards.
- If you want to do small roughs/thumbnails first, please compose in the approved small roughs/thumbnails TEMPLATE. Warning - do not use small thumbnail roughs for ANY purpose after Week 11.
- Click-through GSite image carousels, or Google Slides are okay for slide shows.
Use JPGs/PNGs exported from Photoshop layer comps; see the Storyboard Fundamentals Layer Comp workflow.
Please, kindly DON'T use playable slide shows! That's what ANIMATICS are for. - For ANIMATIC specifications, see Additional Requests and stretch goals below.
- Students draw digitally by default, using supported software only. If you're approved to do traditional paper/scan for medical reasons, you must compile the scans into Photoshop layer comps.
Minimum 27 frames (regardless of the number of shots).
Do the big story beats (plot points) first; these are the most important! Then do in-between shots-keyframes.
30 seconds minimum screen duration, plus around 7 to 10 seconds of establishing shot time. Maximum 75 seconds.
Use a TIMER and ACT OUT your scene, before you draw!
Please DO NOT exceed your screen duration, or your excess work will not be reviewed. Grading time is valuable, and remember this is ANIMATION. It's expensive. Make your timing snappy, get to the point, and don't waffle. Keep the attention of your audience (and more importantly, your facilitator/client).
Organize and label clearly, by Shot and Keyframe.
- Use neatly organized layer groups, and layer comps.
- Shot numbers are most important. See annotation.
- Use the Photoshop Type Tool, or follow this link, to learn NEAT handwriting.
Composition and Visual Requirements:
Online Guide > Sydney > Resources > STORYBOARD FUNDAMENTALS - Essential!
Composition and Visual Requirements:
Online Guide > Sydney > Resources > STORYBOARD FUNDAMENTALS - Essential!
Composition, camera angles and consistent/flowing camera lines are major artistic principles in storyboarding, and one of the most important aspects of your grading.
All students must please follow the STORYBOARDING FUNDAMENTALS page for Storyboarding and Composition. These guides must be used by you to construct your scene storyboard, check it, revise it, and as a guide for achieving a good grade, because you will be graded on camera composition. Most important principles:
Use dynamic composition.
You must consult Storyboarding Fundamentals to plan good composition and camera angles in your scene.
Use high angles more for establishing shots. No more than 25% of your shots should be high angles!
Must have more lower angles for large spaces to stage action in and show status/importance, so lower the horizon more often! Most acting and action shots need lower angles. Dramatic low angle shots look great, with a low-horizon ground plane, to stage action in!
Avoid symmetry, especially with the subject dead-center. It's static and boring, especially when everyone does it, over and over again. Only 10% of your frames (1 frame every 10) can be symmetrical compositions, and no more!
Most compositions should use Rule of thirds, or off-center composition.
Avoid dead-straight 0 degrees front-on or 90 degree side-on shots, About 20% (1 in 5) is okay, and no more. Especially with the subject dead-centre and symmetrical.
Most shots should use 22 to 45 degree angles (angles are our friends!)
Avoid too many POVs - about 10% is the limit. It's NOT a video game. Use 3rd-person cinematic narrative composition, such as Over-The-Shoulder.
Use Screen Direction. Most of your shots should be flowing from left to right, or right to left.
Use a variety of extra wide, wide, medium and close-up shots. You must particularly use 45 degree angled closeups for important facial expressions and empathic connection.
Use a variety of high angle, eye-level, and low angle shots.
You must especially have more lower-angle shots for important character acting and action, and to open up scenic space for big action. Heroic shots (looking up at the subject) are necessary for the main character's story status.
Introduce the character, usually before the main story conflict.
Limit time montages! Your scene should please be mostly in continuous cinematic time. This is because a continuous-time story requires more care: flowing camera angles, screen direction, character interaction/acting/reaction/dialog, sfx, music changes, and not crossing the line. An overly-long time montage, or music video risks boredom, and carelessness with time/space. A short montage, with a significantly longer continuous scene, is okay.
Storyboard version 1 - ROUGHS -
Work loosely and quickly. For roughs, you must please draw in low-opacity, low-contrast, construction blue.Use sharp tips (0.5mm / 5px or less) for detail, and appropriate line weights for important subjects. Avoid blunt-looking lines and high-contrast sloppy blacks, especially if you're using a small tablet.
Show a hierarchy of contrast, with high contrast for important subjects, lower contrast for everything else.
Your character's action, acting, poses, expressions, visible motivation and personality will be an important aspect of your grading. Use strong, emotive and dynamic poses. Sell your character's personality to a mainstream Western audience, with changes in, attitude, line of action, shape, and expression. Re-use your poses and expressions from Project 2, and develop new poses and expressions as you work.
REFERENCE: Find, collect, show, and use good reference that is strongly relevant to your story, genre, style, action and posing. To develop and become entertainers, most students are expected to follow character-driven acting reference that is stylized, theatrical, and expressive (with clear personality, emotion and motivation), action reference that is dynamic, and camera composition reference that is cinematic.
REFERENCE: For posing/expression:
Recommended Pose Model Sheet References
REFERENCE: For composition:
Storyboard Fundamentals
Industry Examples
REFERENCE SEQUENCE:
an existing storyboard, film, TV or animation,
in a similar wide-screen format and 3rd-person narrative.Reference should be successful, well-known and well-regarded for composition and character performance, convincing for your facilitator, as well as viable and appropriate for culture, audience, and demographics.
For early learners, following reference very closely is normal.
Some tracing is okay.
Gamers, do NOT storyboard 1st-person gameplay, or anything that looks like 1st-person gameplay. You're making a cut scene, or a cinematic: a story scene which works on its own, as 3rd-person narrative, with edited camera viewpoints. Avoid gameplay cameras (backs of characters, backs of heads, excessive Point-Of-View shots) - this DOESN'T WORK for storytelling. Use cinematic angles, and favor the main character's forward sides, to show expressions, poses and body language. An over-the-shoulder shot here and there is okay. Find and follow an appropriate storyboard sequence reference. Use screen language from cinema, TV and animation, NOT games. In approved cases, a story can be set inside a game; see Wreck-It-Ralph or Tron.
Please don't draw cheap symbols, !!, ♥, ★, ><, emoji, floating text, or speech balloons. It's a storyboard for animation, not for comic strips, social media, or gameplay. Please, only use screen language: well-drawn poses, expressions, camera viewpoints, voice, music and sound fx, to communicate character's emotions. Find and follow an appropriate animation storyboard reference sequence. Drawing impact flash, FX etc. is fine.
INKING - READ THIS. With rough construction in low-opacity light blue, use reference and feedback to ensure the sequence looks good, composition is working and is approved, in full-size frames. THEN apply LOOSE black ink to IMPORTANT SUBJECTS ONLY - typically the characters. Please do NOT ink the backgrounds unless agreed, thank you. We need to show hierarchy and depth, and inked characters/subjects over low-contrast backgrounds is one of the fastest-known ways to achieve this. Show a hierarchy of contrast, with high contrast blacks for important subjects only.
See the industry examples shown in this page.Tone shading should be LIMITED, and only if needed for STORY. Use tone or light/dark, mainly to draw attention to the subject, for the subject's silhouette clarity, and to show hierarchy/emphasis. You should also communicate space, and depth. Many storyboards work well with very limited, or only a few tones of fill or shading. Communicate the PRIORITIES clearly.
- Annotation: If not doing an animatic, boards must be fully annotated with all details: shot-key numbers, camera instructions, timing, sfx, music, action, dialog, and all special transitions such as dissolves. Please use the templates provided. If doing an animatic, detailed annotation is not required, but shot numbers are basic; these must be visible, or easily displayable on a layer, either in the storyboard or animatic, in the working project master files.
- Project Folder, GDrive and working master files
- All students must please use an approved template, and supply working Photoshop TIF master file(s) with all layers, layer comps, vector objects, and other features in high quality, editable working condition. Non-standard software will not be supported; unnecessary delays occur, when people use different workflows in a team. This will affect your grade.
- Traditional students, please digitize your work, crop, correct, cleanup, and finish in Photoshop, according to Digital Image Standards.
- Embed your GDrive Project folder at the bottom of the Project page in your GSite. Always save files to a project folder, save backups of previous versions in a subfolder with a version number, keep all project files organized together, and supply all working project files. Yes, everything. Synchronize your entire shared GDrive folder for this unit and project with a backup device, weekly.
TITLE your project. At least with a working title!
- Storyboards must be quickly and expressively drawn!
It is important to generate a good quantity of keyframes in your working hours, focusing on the important story points, and the characters.The ROUGH stage ESPECIALLY should be loose and drawn quickly, to allow for rapid testing, fast feedback, client service, and revising with new ideas. Do quantity and emotion before quality; this is the process.
ROUGH storyboard with all important character acting beats, due in class for feedback Week 11.
with Mid-Project Reflection.Rough storyboards must be DRAWN in LOW OPACITY. Do not use high-contrast blacks for roughs, and especially keep backgrounds low contrast.
Character acting poses and expressions are more jmportant and should be higher contrast than backgrounds.
Rough storyboards must be ready for feedback in full size Photoshop layer comps, in the correct template, and with all major story beats (plot points) drawn.
- After Checkpoint Milestone 1, small rough thumbnails are strictly time limited to 2-3 minutes worth of work per frame, are only useful for the first few hours worth of work, and are not acceptable for any purpose after Week 11. Small thumbnails are NOT NEEDED. If you missed the schedule window for small thumbnails, you must go straight to full size roughs, in your outside-class time.
Before class, make sure your Photoshop storyboard project file is already organized in full-size layer comps and is READY for the facilitator to DRIVE it. Please, do not waste class time for others.
During class, make sure your work is organized, BEFORE it's your turn for feedback. Please, do not waste class time for others.
FINE-quality storyboard and/or animatic due in class for feedback Week 12.
FULL character acting - start and end of every action, all pose and expression changes shown within the shot, in continuous time, with little or no time jumps.
Before class, make sure your Photoshop storyboard project file is already organized in full-size layer comps and is READY for the facilitator to DRIVE it. Please, do not waste class time for others.
During class, make sure your work is organized, BEFORE it's your turn for feedback. Please, do not waste class time for others.
Complete submission before end of Week 13.
HNT-Sc035_ALL-Fox Enter Cave-vhero.tifExample Digital Storyboard
Master TIF file; please download and examine, in Photoshop. See accompanying Video Tutorial and full set of exercise files to learn the industry-friendly Photoshop layer comp workflow, please. Example Digital Storyboard
Industry Examples
Industry Examples
FIND and FOLLOW good-quality REFERENCE!
FIND and FOLLOW good-quality REFERENCE!
Most students should follow an existing storyboard, film or animation sequence.
Robert Griggs
John Nevarez
Toby Shelton
START with good music, to help you find the mood and pacing of your scene, as well as the timing of your shots and keys.
START with good music, to help you find the mood and pacing of your scene, as well as the timing of your shots and keys.
Templates
Templates
MAIN Templates for STORYBOARDS >>
All students must use an approved template.
Go to Storyboard Fundamentals if you're approved for any SPECIAL TEMPLATES for digital or traditional paper.
Small Roughs / Thumbnails
Minimum size, optional, NOT required,- mostly for background roughs - not acceptable for Project 3 full size storyboard delivery,
- not acceptable for any purpose after Week 11.
030-Storyboard-Frame-Template.vhero-1920x1080p-Digital.tifSTORYBOARD TEMPLATE 2K 1920x1080p
STORYBOARD TEMPLATE 2K 1920x1080p
Full HD 2K, digital, required.
Upscale to full size quickly, or best to simply start at full size.
Annotation
Annotation
Traditional Storyboards
Traditional Storyboards
If you aren't doing an animatic, all key frames should be fully annotated with shot-key numbers, camera instructions, action, sfx, music, timing, and all special transitions such as dissolves. Please use the templates provided. See the example to the right. Note, this often takes as much time as doing a simple animatic.
Digital Storyboards
Digital Storyboards
If you're drawing digitally, and you're making an animatic, fully detailed annotation is optional. However, shot numbers are basic; these must be visible, or easily displayable on a layer, either in the storyboard or animatic, in the working project master files.
All students
All students
must please use an approved template. See Storyboarding Fundamentals for all templates, digital and traditional.
For annotation, Use the Photoshop Type Tool, or follow this link, to learn NEAT handwriting.
EXAMPLE ANNOTATED KEYFRAMES
STEP-THROUGH
EXAMPLE ANNOTATED KEYFRAMES
STEP-THROUGH
Please carefully notice the SHOT and KEY NUMBERS. Yes, these are required. Unsurprisingly, EVERYONE needs to know when each shot begins and ends.
You may also check the Photoshop Master (TIF, layer comps)
ADDITIONAL REQUESTS
stretch goals for advanced students ADDITIONAL REQUESTS
Due Week 12
Due Week 12
ANIMATIC
ANIMATIC
You must carefully follow the above Resource page, and use the templates.
Include Music, Sound FX, and Voice. Yes, all three.
Non-verbal voice (hm, grunts, sighs, walla, etc.) is strongly recommended. Verbal dialog is optional, and should be limited.
Delivery format:
HD 1920x1080p, Square Pixels, 24 or 25 fps.
H264 encoding, MP4 file container
All visual clips must be scaled / conformed to fit the frame without black bars.
All shots and keys should be well timed, please.
Show camera motion, pans and zooms.
Use dissolves for time passing and big scene transitions.
Limit time montages. Use continuous time for most of the scene.
No music videos. You must please edit all music, to change mood and pacing, as the story and characters change.
- Use Adobe Premiere Pro. Non-standard workflows will not be supported. Unnecessary delays occur, when people use different workflows in a team, and this reduces industry-friendly team skills. This will affect your grade. For complex animatics with effects, After Effects may be approved, if discussed and agreed.
- Annotation: If doing an animatic, detailed annotation is not required. However, SHOT NUMBERS ARE BASIC; they must be visible on a track/layer in the animatic project file.
- Use your facilitator's Premiere Pro template project folder.
- Organize this folder from the beginning, and supply the whole project folder at the end of every work session. Supply exported mp4 video files, plus the working Premiere project files, with all tracks, layers, effects, objects and features in editable working condition, plus all linked source visuals, audio, and media files collected in a subfolder, and already linked and working in Premiere. If you're unsure whether you've collected all files together into a project folder, use the Project Manager.
- Embed your GDrive Project folder at the bottom of the Project page in your GSite. Always save all files organized together. Yes, everything. Synchronize your shared GDrive project folder, as an exact mirror, with another backup drive.
ROUGH ANIMATIC due in class for feedback Weeks 11 and 12.
Before class, make sure your animatic is exported to an AV video file for playback, and is already organized according to your facilitator's Premiere Pro template. Do not waste class time for others.
FINE ANIMATIC due before end of Week 13.
HNT-EDIT-Sc035-Fox-Cave-v107.mp4Example WIP Animatic
Example WIP Animatic
BASICS
BASICS
SUPPLEMENTARY
SUPPLEMENTARY
Reflections
Reflections
Write interesting and thoughtful reflections,
1x Midpoint, 250 words minimum,
1x Endpoint, 250 words minimum,
on the Project. Ensure you follow the Basic Brief for specifications. You are encouraged to use Learning Outcomes (see Unit Guide) and Transferable Skills to prompt reflection, such as "I practised visual measurement and construction technique," or "I applied a lot of creative problem-solving, work ethic and time management skills."
You are also required to cite at least one reputable reference source in your reflections, using APA7 Referencing format. Each reference requires FIRSTLY, an ABBREVIATED In-Text Citation like this (Flintstone, 1967), and then SECONDLY, the FULL REFERENCE source in a Reference List, BELOW the END of the reflection.
See Strong Foundations: Academic Writing for clear examples you must follow. You must make sense, to be taken seriously. Use a spelling and grammar checker, for all academic writing.
See Strong Foundations: Academic Writing for clear examples you must follow. You must make sense, to be taken seriously. Use a spelling and grammar checker, for all academic writing.
How to cite a reference in APA7 format - watch this 4 min video!
Presentation
Presentation
For all work, only professional presentation in a GSite is accepted. Crop, remove all junk, cleanup, and correct tones. See Imaging Standards. Insert or embed your work into your GSite from GDrive with sharing permissions. Make a visually appealing page layout. Diplay images at a large size in the page.
DO NOT DISPLAY the HELP & INSTRUCTION TEXT included in digital templates. Present only YOUR OWN WORK, your own text, and your own labels, aesthetically.
Content Warnings
You must please add a LARGE CONTENT WARNING, at the top of ALL PROJECT PAGES, and in the TITLE SECTION of any storyboards / animatics, for any concepts PG or above which may be confrontational or difficult for anyone, e.g. blood, horror, serious violence, self-harm, or adult themes. In a college environment you must be considerate of students who have unique sensitivities or special needs. (Absurd, comedic violence is easier for most people, but must be very clearly comedic and ridiculous). Here is an example content warning:
Content Warning:
(Description)
Content Warning:
(Description)
General weekly skills & exercises page for the unit
General weekly skills & exercises page for the unit
Weekly skills exercises should be completed, with evidence of regular 6-hours-weekly outside class practise in a general unit page. This weekly work supplements your Project with necessary skills.
Skills and resources you will need to complete this Project:
Week 3 (Resource) Dynamic Posing, Character Construction Formulas
Week 8 (Resource) Heads, Faces, Hands, Feet, Line Inking, Fills
Week 9: 1-Point Perspective, 2-Point Perspective.
Week 10: Simplified Silhouette (contrast depth perspective), Clone and converge.
Week 11: Composition and Layout Principles: Examples,
Storyboarding Fundamentals (Resource): Brad Bird Guides for Storyboarding and Composition, Photoshop Layer Comps
Editing Animatics, Audio and Pre-Production (Resource)
Your unit general page will also be checked again during Project page grading, and should please be up to date, with all weekly exercises, and evidence of regular 6-hours-weekly outside-class practise time.
ALL checkpoint-milestones for the PROJECT should be TOGETHER, in ONE PROJECT PAGE, under large clear section headings.
ALL checkpoint-milestones for the PROJECT should be TOGETHER, in ONE PROJECT PAGE, under large clear section headings.
Weekly skills and exercises are in a separate general/weekly page for the unit, with weekly section headings.
Deadlines
Deadlines
If a Time Extension is required, use the Special Consideration (Application Form) BEFORE the due date.
If a Time Extension is required, use the Special Consideration (Application Form) BEFORE the due date.
For extra support in outside-class time, make an appointment with a Facilitator, Student Support Advisor/Counselor, Student Services, Learning Advisor, or Peer Support mentor.
For extra support in outside-class time, make an appointment with a Facilitator, Student Support Advisor/Counselor, Student Services, Learning Advisor, or Peer Support mentor.
Week 10: Checkpoint Milestone 1
Week 12: Checkpoint Milestone 2 and Project completion
Submitting your work to Campus Online
Submitting your work to Campus Online
Submit your links that demonstrate your checkpoint-milestone/s and project work to the submission point in the Project tab of this course in Campus Online.
Report abuse