CIM330
ANIMATION
Sydney
Sydney
Basic agreement and goals of the Module. Study Hours, Expectations, Learning Outcomes, Transferable Skills, Projects, Grading and Assessment.
CLO1
Demonstrate regular and consistent reflective practice addressing your proficiencies, processes, and people skills.
LO1
Produce and deliver your final project and execute your plan for marketing and distribution, aiming for professional quality standards.
LO2
Implement effective production strategies to ensure project outcomes are delivered to specification and to schedule.
LO3
Evaluate preliminary audience responses to the socio-cultural and aesthetic factors relevant to your project.
SAE Transferable Skills Framework
The Project
Project Page, with Deliverables (latest Trailers, Film, Publicity Kit), and summary of your roles.
Team Leads/Supervisors: you must also share/publish the most important Production Information for your team in your Project Page.
Viability of your product for the proposed target market, genre and demographics of your audience.
Public Exhibition and detailed plan for platform Distribution (including film festivals, competitions, trade shows, and online platforms).
See Campus Online > This Module > Sydney
David J Smith - david.jsmith@sae.edu.au
Major Projects - Scope Guidelines (see Pre-Production) and your greenlit content remain binding agreements.
Publish and submit to Campus Online > Course > Assessments > Learning Journal.
Due this week.
For your first week, describe the work, your thoughts and other activity over the trimester break.
See Student Setup
Please duplicate and archive your Pre-production Project Page in your GSite, before updating it for this trimester-module.
Use a computer. Sign out of any personal Google accounts, and only use your SAE student Google account.
Create a Major Projects GDrive folder for your own material, and for any group project you're organizing.
Edit the student GSite that contains all your previous SAE work.
In your student GSite, create your Journal page for this trimester-module.
Share (or options > Share) >
Share with People and Groups >
austudent@student.sae.edu.au (SAE Students)
moderation_au@sae.edu (SAE Academic Staff)
Access type – Viewer
Alternatively, you can set Viewer permissions to
Anyone with the Link (Easiest)
Every class / mentor meeting:
Sign in, open your Journal editor, and take notes.
Publish some content.
What to show:
Progress of any kind
WIPs - inserted or embedded media evidence, Gdrive folder, screenshots,
Highs, lows, achievements. Activity days/hours.
Constructive self-critique on at least one or two of the Learning Outcomes and Transferable Skills from the Module Guide. Select one or two that feel appropriate for your recent weekly activity. Focus mainly on your own responsibilities. For example:
I used a lot of communication and collaboration skills this week, and resolved a conflict. I improved my pre-production documentation, testing and visualization.
Your fellow colleagues' work: constructive feedback and critique.
Peer/Team feedback, Mentor feedback, and learning discussions. Feedback response, and WIP versions.
Creative discussions, negotiations, resolutions and agreements.
Example Journals:
Michelle Jasan, Journal (Film)
Anita Hampson, Journal (Film)
Bianca Sappey, Journal (Film)
Aidan Parkes, Journal (Film)
Alexander Robinson, Journal (Film/Animation)
All students, maintain activity in the class forum.
Team Leads:
Maintain your team forum group, with pinned links to the director's / producer's Production Project Page with Schedules and Bible, so crew can easily find it.
In your student GSite. Sharing Audience: Team/Students, SAE Mentors/Moderators
A Student Project Page for the main projects you work on in this module, next to the weekly Journal.
For most students this is very simple: just the project's current deliverables (preferably embedded), with your role description(s).
Journal reflections are about you as a student, your individual work history, W.I.P.s and thoughts. The project page is a summary of the project itself. Update your Project Page only when an important milestone delivery occurs.
Team Leads: (Directors, Producers, and Dept. Supervisors) your Project Page is the central place for you to publish key Production Management information for all team members to access, and all Essential Deliverables. Share this page's link with your team, via email, docs, drive, and chat forum.
All students, please duplicate your Production Project Page in your Student GSite.
Updating: Directors, Producers, and Supervisors: When you update, you can keep the Bible, Schedule/Tasker and any other essential production elements still being used in production by you and your team. Keep your team informed of any new updates.
Updating: Other students: when you update, keep it simple. You may update when milestones are published/shared. You may embed a team lead's project page as a tile, if it helps. You may keep the old basics: Bible, Schedule, GDrive, and summary of your roles.
Anita Hampson, Follow Suit (Film)
Marcus Kennedy, Song Boy (Film)
Alexander Robinson, Kaiya (Film/Animation)
Joseph McGuire, Cat Magic (Animation) (warning: contains permission errors)
Nhu anh thy Huynh (Trish), Scarlet Dance (Animation)
Crew Meetings, updates and schedule revisions
Fill any unfinished tasks from your pre-production schedule, urgently.
2D: Any art (poses, backgrounds) which can be re-used in multiple scenes/shots: finalize the look. The rest can be rough, to be cleaned up after rough animation.
3D Characters, sets, and props
All models: lo res version complete and shared for referencing into previz
Character Modeling hi res and uvmapping to be completed urgently.
Character Rigs and tests
Lo-res rig versions can be used quickly, for layout/previz and rough animation body blocking
Finishing high-res rigs to a good standard, useful and understandable to any animator, is more important than surfacing/texturing at this stage. Surfacing / Texturing can be done by one artist while rigging is done by someone else at the same time, if you use referencing.
Check with your mentor to get the best guidance, tutorials or plugins for rigging. Pre-built rigs are okay, and you may modify them.
Backgrounds/settings, can be partly 2D flats, can be rough or lo-res.
Please allocate entire scenes (a sequential group of shots) to each animator in a single Maya file. Use standard camera names and setups. You must synchronize previz with your animatic. The animatic can be imported into the 3D camera as an image plane background, to help you stay in sync.
Key the gross positions and camera. Export playblasts from the correct camera using a lower percentage resolution of your render settings.
Import previz playblasts into a new track in the Premiere project, sync'd and aligned with the animatic and the audio. Export for viewing.
You may use the LAN Server for on-campus teamwork, and synchronize weekly with GDrive and a private device. You must back up your data weekly.
Production and Post-Production: 18 hours/week per student.
Check the Projects, Crews and Roles sheet for this trimester, below.
Edit and update, if any changes to:
Production Project Page, owned by Director or Producer
Team GDrive Folder
Director's Journal
Producer's Journal
Changed/new crew roles, links and contacts
Your entire team must be assigned Pre-Production, Production, and Post-Production tasks, to fill the designated workload and hours required by the Module, for the entire two trimesters of Major Projects.
If anyone in your team seems to be having a problem, please inquire and seek a resolution. Mentor assistance is available.
Check the Projects, Crews and Roles sheet for this trimester, below.
Edit and update any changes to your changed/new crew roles, Journal links and contacts
To pass the module, you must evidence a full workload.
Seek your own work roles, by applying to the producers and directors of projects and selling your skills, so that you are fully employed. You must pro-actively seek work, and ask for assistance if needed.
In your Journal, please list your current skill sets, and insert media evidence you wish to show. You may also list developing skills, which you would be willing to put significant effort into learning and evidencing. Please list projects you would be interested in working on, and constructive critique.
To consider roles, and get ideas for tasks you can help with, you may
Use the Production Tracker (search this page to find it),
Document all efforts in your Journal, write down the hours you spend, take photos and screenshots, save images and media.
If there are valid issues affecting your schedule and workload, please
Document issues in your Journal.
Report your situation to your team leads and mentors, promptly.
Apply for a Special Consideration under Campus Online > Module > Welcome, and supply evidence.
21T1 - 21T2
20T3 - 21T1
20T2 - 20T3
For reference, see the Production Tracker Sheet and Essential Deliverables to schedule all requested tasks and key milestones for the deliverables.
Your Detailed Schedule / Task Tracker should be formatted as a Trello board, a Gantt Chart, or a similar format.
In addition, please update any changes in the Class Master Schedule Sheet.
Pre-Class:
5:00-6:00: Compulsory regular class time for all students:
Marking the Roll, Part 1. Please be timely.
Short peer to peer feedback comparing journals
Current class subjects and milestones for all projects and students
6:00-7:15: Group Meetings
Project/Team Groups in breakouts, run by Producers or Directors, or by their nominated representatives.
Role/Discipline group breakouts.
External Unit and Inter-Discipline Class Visits
e.g. Film, Animation, Audio, Games, External Units, meetings, pitches or presentations
We may rotate.
7:15-7:30: Return to Main class for conclusion.
Post-Class:
Update Journals.
1 to 1, special meetings or difficult issues, scheduled as required.
Tasks assigned by your groups
Working on-campus, your team may share a network project folder on the LAN server
Windows > Explorer > \\fs1syd\Students\Public\[Team Project Folder] or
MACOS > Window > Connect To Server > smb://fs1syd/Students/Public/[Team Project Folder]
Team project folder name: Major_PROJECTNAME_Trimester
SYNCHRONIZE these two folders, weekly.
\\fs1syd\Students\Public\[Team Project Folder]
GDrive > [Team Project Folder]
Weekly activity/hours, weekly reflections, weekly WIP version media
Directors, Producers and Department Supervisors: Milestones, and/or latest versions of Essential Deliverables e.g. Rough Cuts, Fine Cuts, EPKs, Marketing, Trailers.
Publish and share to your team.
All students: Embed some of your team's latest deliverables.
Producers/Directors: please update Projects & Crews with any changes.
Animation Production
Schedule the average production quota of approved seconds, per animator, per character, per week, for all stages. Update the schedule.
Camera/scene layout needs to change somewhat, in response to animation. Please ensure animators are working on complete scenes/shots, with all important elements visible, and are able to change the camera/layout as they animate.
Pose Blocking
Body, Face.
Clear pose changes and acting.
3D: All controls keyed on the same key frame. Use step keys. Hold poses. Do not in-between.
Revise camera
Export video
Splining / Rough to Medium Animation
Body, Face, Eyes
In-betweens
Moving holds
3D: Curves and Tangents in the Graph Editor, smoothing
Timing, eases, overshoots, and weight
Overlapping and secondary action
Revise camera
Motion blur is required for fast-moving animation.
2D: Add smear during in-betweening, or add blur in post using AE (see Render testing).
3D: It may be previewed in 3D Viewport hardware shading, and should be included in animation test reviews, using hardware render (playblast) to a video/movie.
Export video
Fine Animation
Facial detail and lipsync detail
Hands & fingers detail
Export video
Games, VR
In addition to exported videos from animation software, please schedule realtime preview tests, on a hardware platform, for reviews, feedback and approvals.
For milestones, screen-capture video of selected scenes from the platform. Import this footage into your project's video edit of selected scenes, export the edit, and embed in student GSites as playable video.
Import ANIMATION video (e.g. 2D line tests, 3D playblast/hardware renders) into the same edit project file as the animatic and previz edits
On a new track
Align and synchronize
You can use the exported video file as a base, instead of the entire project file, for speed and simplicity.
Final TIMING of all shots in the EDIT.
Complete all dissolves, wipes or other transitions for correct timing.
Complete all speedups, slow-mos or retiming of footage. Test and render using a high quality algorithm for frame blending. Motion blur may help smooth timing changes. See Resources: Editing: Retiming.
Use pre-production storyboard keys, reference, previz, and/or tests for anything incomplete, including titles, credits, vfx, or motion graphics, with accurate timing estimates. Please do not put empty or black video placeholders into any edit, thank you!
Please use rich audio to help judge the timing and pacing of your editing. Use voice, music, sound fx, all at least temporary quality, with adequate mix and volume.
See Resources - Audio below
For production of final music, sound effects, ADR, foley,
Accuracy of an audio briefing is greatly enhanced by using rich temporary guide audio in the edit.
See your project's Production Tracker, Schedule / Tasker.
Games, VR
Your animation must be completed and shown, sync'd with voice, music and fx audio, all at least temp quality. "Picture Lock" means you are either (a) already using final audio, or (b) you are giving the audio department the final animation timing of all visual action that is to be post-synchronized.
Screen-Capture video of selected scenes from the realtime platform. Import this footage into your project's video edit of selected scenes, export the edit, and embed in all crew's GSites as playable video.
e.g. Photoshop, Adobe Animate, After Effects. Other industry tools, if licensed: Harmony, TVPaint.
Use color depth and atmosphere. See Resources: Color Depth
Reference a standard rig of lights into all scenes
Adjust lighting on a shot-by-shot basis to suit the camera / layout
Standardize render settings across all scenes
All projects, 2D or 3D, must please have a color and/or render schedule.
This is based on artist labor time. Similar to scheduling artist hours for character animation, please test a few typical scenes, to estimate the average number of hours it takes to color one second. Then establish a work quota: the average number of frames or seconds of footage, per artist, per week. Break it down into layers, such as characters & backgrounds.
Games, VR
Schedule realtime preview tests, on a hardware platform, for reviews, feedback and approvals.
For each milestone version, screen-capture video of selected scenes from the realtime platform. Import this footage into your project's video edit of selected scenes, export the edit, and embed in all crew's GSites as playable video.
Include 2D Compositing Renders
Plan to render your shots several times, before they look good. At least 3 revision cycles is normal.
Add details into your Schedule and share with team/mentors.
Establish a routine for rendering and checking for bad frames per each render. There will be many.
3D Lighting and Rendering tests and strategy setups
For your interactive lighting and rendering work, please ensure your equipment is stable enough to handle your most intensive scenes. You may simplify scenes, to reduce the size/resolution and number of items you are working with at once, to keep software running smoothly. For example in Maya, you can do this by offloading unneeded items in the Reference Editor, by reducing the subdivisions on rigs, by using faster lights and textures, by using reflection mapping instead of ray-traced reflections, by using depth-map shadows with reduced resolution, etc.
A popular strategy is to render separate layers, using render layers, for characters, backgrounds, etc., and then composite those layers together, for example in After Effects or Nuke. You may also use render passes. Please test different strategies with several example frames from all shots. Time the 3D render tests and 2D compositing tests, figure it out with a calculator, and record your estimated rendering in your render plan / journal.
Motion Blur: this is essential for fast action. 3D motion blur is expensive/slow for software render time, but you may use the After Effects > "Pixel Motion Blur" 2D Motion Blur Effect to process footage; this is usually much cheaper/faster for render times. If you have any fast action, it is essential to test motion blur using 3D motion blur and 2D motion blur, record the render times per frame, and include projected calculations and strategy in your render schedule.
Using your Journal, compare and record your render test times on cloud, at home, and at SAE. Use a calculator and record your estimated rendering batches into your Render Plan and Schedule.
You must include both 3D renders and 2D comp/fx renders.
You must calculate the number of processors, computers, and other resources you need for all separate layers, and add up the totals required.
Cloud Rendering: find and test an affordable cloud rendering solution, and compare the test results in your render plan calculations. Cloud rendering is essential if your team is (even partly) distributed or working remotely.
Scarlet Dance (2020) / SAE
Weekly activity/hours, weekly reflections, weekly WIP version media
Directors, Producers and Department Supervisors: Milestones, and/or latest versions of Essential Deliverables e.g. Rough Cuts, Fine Cuts, EPKs, Marketing, Trailers.
Publish and share to your team.
All students: Embed some of your team's latest deliverables.
Producers/Directors: please update Projects & Crews with any changes.
Spotting, Recording, and Editing Sessions. See Pre-Production: Audio Plan for detail.
Post-Production ADR, Foley, Musical Scoring
Record as needed for post sync.
Re-recording: If dialog is weak, dull, or requires changing, you should replace it in ADR. Ensure your actors are available for this.
Trailers, EPK, Poster Designs,
Plans for exhibition, distribution, social marketing, publicity, and events.
Weekly activity/hours, weekly reflections, weekly WIP version media
Directors, Producers and Department Supervisors: Milestones, and/or latest versions of Essential Deliverables e.g. Rough Cuts, Fine Cuts, EPKs, Marketing, Trailers.
Publish and share to your team.
All students: Embed some of your team's latest deliverables.
Producers/Directors: please update Projects & Crews with any changes.
Final Compositing detail
Final Editing detail
Is editing too slow? For tips to increase editing speed, see Live Action Film Editing
Color Grading detail
Audio detail, Mixing & Mastering
A/V EDIT Mastering, Exports, Distribution, Archiving
Test Screenings.
Student Surveys (see emails)
Producers/Directors: please update Projects, Crews & Roles with links for each Project's main Project Page, and any changes to crew.
Public Marketing Site for Exhibition, submitted to the SAE Major Projects Public Exhibition organizers, and ready to be test-screened before Week 12 class.
Submissions to Campus Online for Grading, most important links:
Your Student Project Page(s) for this module in your SAE Student GSite.
Your Student Journal Page(s) for this module in your SAE Student GSite.
Grading Timeline
Credits, Thanks, Best Wishes
Schedule and Task at least 3 W.I.P. Milestones for each:
Including Trailers, BTS, Posters, EPK, Links to Social & Events, Directors statement or interview video.
For Marketing, Exhibition and Distribution purposes.
Audience: The general public. One site per group project.
Contains all Public Exhibition material.
Playable Film
Marketing & Publicity including Trailers, BTS, Posters, EPK, Links to Social & Events, Director's statement and/or interview video.
Latest & greatest version of "the EDIT". Embed as a large playable tile with a clear heading/caption, in your student Production Project Page.
Realtime projects (Games, VR): Please capture a short A/V edit of the typical user experience, as well as setting up an interactive demonstration platform.
For Production purposes.
Audience: Project Crew, Students, and SAE Moderators.
Directors, Producers, or department Supervisors: contains your project's deliverables, plus all production information needed by your team.
ALL students: contains your project's deliverables (or a link to the team page with deliverables) plus a summary of your role(s) and contributions.
See Student Setup for detail.
With everything backed up, including source footage, WIPs, etc.
Your Public Marketing Site, with all public assets, ready to be test-screened, before Week 12 class.
All detailed assets requested by the Public Exhibition Organizers.
Your Student Project Page(s) for this module in your SAE Student GSite.
Your Student Journal Page(s) for this module in your SAE Student GSite.
Use a reliable, high-resolution motion picture format and codec for production, editing and exporting. Please keep all departments informed of your chosen format and frame rate, particularly editing, animation, and audio.
Production and Editing: At least HDTV 1080p 16:9, square pixels.
Frame rate: In our region, filmmakers work in 25 fps for general purposes, and 24 fps for animation, international cinema, or special purposes. See Pre-Production.
Production W.I.P. previews:
Export to Format: H264. Preset: Match Source - Adaptive (Low, Medium or High) Bitrate.
Public Exhibition and Distribution: Use a popular compressed format, with visual levels and loudness set for the target platform, e.g. YouTube/Vimeo, or Broadcast/Cinema.
Export to Format: H264. Preset: Match Source - Adaptive High Bitrate for most purposes, and extra versions for specific platforms if needed.
Mastering and Archiving: Use a reliable, lossless codec, with visual levels and loudness set to normal levels.
Export to Format: Quicktime. Preset: Apple ProRes 422 HQ.
See also
Editing, Audio & Animatics for basic production formats.
Legal requirements:
Campus Online > Assessment > Fill out the Library Form for Repository Submission
Combine your WIPs & Final Deliverable files into a single zip or folder, named after your project.
When on campus and connected to the network, upload to:
PC > Network > fs1syd > CIU330Submissions > This Trimester
MAC > Connect to Server > fs1syd > CIU330Submissions > This Trimester
In addition, please archive everything to GDrive, and to your own private data device. Your budget may include a hard drive for archiving.
Create your own Public Marketing Site for the project.
Check for emails from the Major Projects Module Co-ordinators, who create SAE's Exhibition Site. Submit all requested web page elements to the co-ordinators. See examples to the right. Also, check out these prior year's Major Project Public Exhibition sites:
We do Test Screenings in the Auditorium and check the projector, the week before the exhibition. Export from your edit / master for test screenings, and share via GDrive link. We prefer playback from a local file, for optimum quality. Have a thumb drive copy handy, in case it's needed.
The Exhibition takes place at the regular class time, in the final week of trimester, usually on-campus. Public screenings in the Auditorium are a major feature of the Exhibition. Check your emails for the Exhibition program, and invite as many people as possible via your networks.
You are encouraged to submit your project to festivals and awards. Some festivals have entry fees, or membership requirements. Adjust your budget for entry fees, and submit to a range of programs.
Well known festivals for animation include Annecy, the Annie Awards, AniMate, AIAF, AEAF, Siggraph, Sydney Film Festival, UTS:Sydney Animation Festival, and the Academy Student Film Awards. Browse profiles of festivals at Screen Australia.
Most film festivals accept internet uploads or links.
Film festivals and awards are traditionally the best way to market student films. Usually, films do the festival rounds before making distribution deals. Sometimes deals for distribution, or new productions, can be made at festivals.
Trade shows, film markets and conferences are also useful for meeting distributors. If your film can be marketed as a series pilot, you can also approach network buyers.
Scarlet Dance (20T1)
A GSite (or similar) created by the team with public viewing share permissions, for Marketing, Exhibition, and Distribution.
Embed the playable film, with a large caption.
Embed the trailers and other public marketing material, such as your EPK.
Insert links to social media and other platforms.
The site can be a single page if desired.
Make it easy to find:
Put it in your Journal, linked or embedded.
Put it in your Production Project Page. Use a large text caption/heading.
Go to your social media marketing pages and insert clear, prominent links.
Song Boy (Film) - Clean, simple and elegant.
Rating, market viability, warnings.
Research and learn the industry guidelines for the content rating of your project, for it's medium, it's target market and demographics. Examples: G, PG, TVPG, M.
Examine similar, competing works within your genre, and learn the needs of your proposed target audience. Your project must be viable within a market.
We must prepare for diverse audiences. As creators in a university setting, we address a wide range of subjects, including challenging and sensitive subjects that may cause distress.
For serious subjects related to mental health and self-harm, please include mental health resource information, in your pitches, introductions and credits:
Lifeline 24/7 Crisis Support Tel. 13 11 14
If you are going to present material that might be confronting, have extreme or mature content, you must display and/or announce a content warning.
Example visual content warnings.
Example spoken content warnings.
Workplace Health and Safety: Practise ergonomics, take appropriate breaks, avoid Repetitive Stress Injury, and regularly pace work sessions over time. This is even more important for crunch times near deadlines. Long periods of holding a specific posture require stretch & movement breaks. See SAE Policies.
Shooting video reference or mocap for action scenes:
See Film Safety Standards (extensive, multi-person crew filming typically requires an on-set Safety Plan, managed by a Producer or 1st AD).
Children / minors on set require protection by an authorized person, and permits. Projects must comply with the Regulations of the NSW Office of the Children's Guardian.
Any risky action, extreme sports, violence, combat, falls, or accidents require an experienced Stunt Coordinator for rehearsals and on-set.
Weapons of any kind require constant supervision by an experienced professional Armourer (weapons safety officer). All weapons must be fake replicas. See Film: Safety Standards.
We must all follow the SAE Code of Conduct.
Do not engage in frivolous outrage, personal attacks, or defamation. If you disagree with an idea, inquire into it, or debate it in a civil and respectful manner. If you are having a hard time, seek a support meeting.
Exercise the presumption of innocence, be tolerant, be resilient, respect difference of opinion, liberty and individuality.
We must support one another's well-being.
Stay in regular contact with teammates and mentors.
Book a confidential appointment with the Student Counselor Syeda Rahman s.rahman@sae.edu, or with SAE Counseling Services for support.
Lighting Atmosphere with Haze and Fog
Creating depth perception with color
Character Rigging requirements
3D projects require character models and rigs for all main characters, during pre-production. The minimum quality is low resolution, with simple colors, uvmaps, and accurate shapes.
In storytelling, characters and action are usually the focus of the scene; this is a higher priority than colors, lighting, and environment.
Pre-built 3rd-party models and rigs, with or without modification, are strongly recommended, unless you have advanced rigging ability and speed. Custom rigging is typically a bottleneck for 3D Animation Major Projects; it causes significant delays, which degrades character animation. The character action is the heart of the story. So, you should choose either simple custom rigs which you build yourself, complex rigs pre-built by 3rd parties, or complex rigs built with advanced plugins, to gain enough production time to animate well.
All standard acting poses and facial expressions must be clear, tested, and evidenced. Please follow strong 2D design reference, carefully. Push the expressive range, to give freedom to the animator.
Blend shapes and presets for facial expressions and lipsync phonemes are requested.
All control attributes must be easily selectable, using nurbs-curve control objects. Selection sets for controls in the outliner are also to be standardized please. All attributes must be easily editable in the graph editor, including blend shape attributes.
Consistent naming conventions for all body part controls on all rigs please.
Development animation tests are requested in pre-production for characters.
Character FX Rigging: For animation of hair, fur, clothing, tails, and other appendages on characters, simple deformers (e.g. soft bodies) or bones are strongly recommended.
Props and Vehicles
Moving sets / environments (2D and 3D elements)
Camera rigs, with viewport/display settings for hardware shading, standardized please.
Visual Effects Rigging & Animation: wind, fire, liquid, smoke, explosions, weather and natural phenomena all require dedicated students, easy-to-follow tutorials and pre-built rig setups, unless you have advanced rigging ability and speed. VFX animation "proof-of-concept" tests must be completed in pre-production.
Standard Custom Rigging, and Human IK.
Step-by-step series playlist, by Reza Sarkamari
3rd-Party Script Plugin
For building commercial-grade and advanced rigs suitable for professionals. Use of this tool must be licensed and approved by the Department Coordinator and Programming Committee, before use.
Schedule Rehearsals and/or do Acting/Improv Exercises to improve your acting language and communication skill.
Directors, actors, and character animators can use acting language to communicate.
Acting Styles - Introduction
Acting For Animators
Place audition advertisements for actors locally, using casting calls with actor's forums, agencies, or acting schools. For example
A few days before the audition date, supply all actor applicants with:
Page(s) extracted from your script, called an "audition side", to be used in the audition.
Character's description, psychological profile and acting references.
A published, public link to your film's pitch package page, marketing page, or project page.
Make appointments, and conduct auditions.
Be fair and respectful to applicant actors. Create a relaxed, playful atmosphere. Supply some light hot drinks and a comfortable space. SAE has sound studios and various rooms where you can record actor's audition tests.
Typically, a director and/or an assistant will help to voice the scene description and/or other characters, during the audition.
Encourage the actor to be fully physical in the body and/or intimately detailed. Improvisation is okay. Explore a variety of voices and styles.
Discuss transport, and dates of availability.
For live action filming, discuss any wardrobe, hair or make-up requirements.
We want to see audition test video/audio published for group feedback on GDrive and your site. Kindly ensure actor's CVs/showreels are linked, and short clips of actor's reference and auditions are embedded as playable media, first in the Director's and Producer's journals for feedback, and then in the Bible when the casting is developed/done.
Be selective and careful in your choices, don't just settle for anything.
Investigate rates, and include quotes in your budget. Acting students from acting schools may work for free on student films.
Notify successful and unsuccessful applicants, politely and with gratitude.
Book the appointments, and adjust your schedule, as needed. Have the actors sign a release form and contract/agreement. The actor's contract should include actor's availability for post-production ADR, as well as a reasonable amount of contingency planning for any re-shoots/re-recording that may be needed.
You may also contact other SAE student directors and producers for suggestions about casting actors.
For production-quality filming, voice recording, or reference: It's okay to cast non-actor SAE students as actors, if they give a good performance in rehearsals, auditions and temporary video previz/reference tests.
For animation voice recording, please also capture video of all actor auditions, reference, and production-quality voice recording sessions, so the video can be used as acting reference or lipsync reference, as needed. This is a routine practice.
If your audio plan is for the production-quality sound recordings to be done in the pre-production stage, it's great if you embed short video/audio clips of the recording sessions into the Bible.
For pre-production temporary reference/previz, generally, you rehearse it yourselves, with other SAE students at first, with script readings and action; then record your temporary reference versions, to have fun for creative development, improve communication, and develop the film's timing, acting and editing. You may also wish to work with actors, as soon as possible, and this is okay too. Discuss your reference / previz with group feedback, and plan as needed. If you feel the temporary reference is going to be good enough with SAE student actors, great. Optionally, if it feels like it needs something more, you may wish to use actors for your temporary video/audio reference/previz. If it is practical, adjust your schedule, to allow for this.
You will need to schedule at least 2 rehearsals, get actor's release forms/contracts signed, ensure they are prepped with call sheets, WHS safety and professional stunt coordinator for action, and supply catering as needed for rehearsals, previz, and production shoots / recording sessions. You will also need to book your actors for post-production ADR sessions. See the Production Tracker for schedule requirements.
Practice, rehearse, reflect on performance, adjust performance as needed, focus the actors, and inspire the actors! Record a few different takes, so you have different options to play with later in editing.
Setup
Use Proxies:
Live action Editors: you can export all raw hi res footage to H264 or lo res proxies (placeholder footage) to speed up editing, and use Replace Footage later. You can also use the ingest workflow to create proxies.
Animation Editors: you can set up the Color / Render / Composite pipeline to produce lo-res media as well as hi-res media. This also enables you to begin editing before the hi res renders and comps are complete.
Use fast, modern hardware.
Setup and Routine
Back up and/or Sync your Data
You must protect your data against the accidental loss of a drive. Sync or backup data with at least 1 other drive or device, weekly.
Massive data projects: You may use the LAN Server for on-campus work, and synchronize data with your drive/device, weekly. Use a folder synchronization app (fastest and most efficient method, private device required), a backup app, or copy the files and folders via the OS (slowest and least efficient method). Sync with GDrive is slow, even on-campus, but this is also okay, if you're patient.
Editing Rhythm, Pacing, and using Sound to Pre-Visualize timing
Slow-mo, speedups, and time remapping footage
You must adhere to the Project Scope guidelines for maximum screen time.
The standard duration will be the official SAE version, for cross-discipline collaboration, grading, and exhibition.
This suits the average in-class crew size.
Any non-standard versions of the film's duration are subject to approval by all discipline's mentors linked to the project, as well as SAE Department Coordinators, through all pre-production, production, and post-production phases. This is regardless of the opinions of any students, and includes the Audio and Animation Departments. Non-standard-duration versions may be reviewed for feedback if mentors wish, but are not supported for SAE cross-discipline collaboration, grading, or exhibition.
Film and animation are collaborative mediums, which means we have to keep several stakeholders happy. Directors have to demonstrate they can stay within scope, to satisfy the requirements of budget, schedule, sub-contractors, collaborators, producers, exec producers, clients and/or sponsors.
Films: under 15 mins are preferred by many film festivals. Animation: quality and consistency depends on good use of very limited screen time. Festivals are selective.
In your future career, your short film can be the basis for new versions with more screen time. Short films can also be used to develop a series pilot. Here’s a touch of inspiration.
Film and Audio crews must follow these requirements for collaboration.
A full-crew A/V TECH RUN, including a complete audio post workflow, must be completed during pre-production. It requires written audio mentor approval, and this discipline's mentor approval, for production greenlight. See A/V TECH RUN requirements.
Follow all steps in the Film/Audio Workflow (below)
Post - Production for audio - All Visual turnovers to audio teams must be at 25fps (regional film/video) with timecode burn-in starting at 00.00.00.00, or 24fps (traditional film/animation/international).
Film projects must be locked off prior to turnover to the audio team and include opening and closing titles - timed to correct length - (a dummy credit roller can be swapped out in film post but must remain at the identical length)
All location audio channels must be used in film edit so that an all channel OMF can be turned over to audio at Lock off.
Please run the Google Drive Desktop Application on your workstation. It will appear as a virtual drive:
G: in PC File Explorer
or a network drive, in MacOS Finder Click the down arrow to the right, for details >When GDrive and internet are running, all software may now open and link to files via a local folder path on the computer:
G: > My Drive > My SAE Studies > Trimesters >
[This Trimester] > [This Module]
Try it with PC File Explorer
or in Mac OS Finder, as a network driveThis will work whether on-campus, or off-campus.
Using a private device:
Please install Google Drive, run it and sign in.
This will benefit file linking, reduce uploading/downloading and file management, saving us all important and valuable time for creativity.
To access shared folders and files more easily, everyone's pathnames should please be the same.
Please
(1) For individual GDrives
Navigate to
G: > My Drive > My SAE Studies > Trimesters >
[This Trimester]
Rename [This Module] to
[This Module - Nickname - Student ID]
Make sure all your project folders and working files are in this folder. Yes, all of them.
Work directly on your files in GDrive, in your creative software.
You should not need to keep your files on any other devices, except as backups.
(2) For class GDrives or team GDrives
Click your facilitator's link, to open it in Chrome
Folder dropdown menu > Add shortcut to Drive
Navigate to
My Drive > My SAE Studies > Trimesters >
[This Trimester] >
[This Module - Nickname - Student ID]
Add Shortcut
(3) For Facilitators
You may wish to add shortcuts to student's individual or team GDrives in a central GDrive folder for convenience.
Film (under construction), 2D & 3D Design, Animation, Editing, AE comp & effects