Viral games, launch campaigns and trailer goodness

Cineamtics I:

As part of an in-class conversation on viral games, memes and videos, I encouraged the class to play Waiting In Line, an 'anti-game' by Rajeev Basu that has gone viral in recent days.

http://animalnewyork.com/2013/waiting-line-3d-worlds-boring-video-game/
Waiting In Line Rajeev Basu
http://www.waitinginline3d.com/
http://www.cbc.ca/asithappens/features/2013/11/28/waiting-in-line-may-be-worlds-most-boring-video-game/

It was even featured in mainstream magazines like Wired, Huffington Post, and on CBC.ca.  It was  played 50K times in first day available.

Inspiration: Desert Bus (Sega) - driving a bus indefinitely.

We also looked at Press coverage, negative press coverage, and release campaigns, focusing on:

Hit Man Absolution
http://www.eurogamer.net/articles/2012-08-16-hitman-absolution-level-changed-due-to-negative-nun-trailer-reaction
http://www.pcgamer.com/2012/08/17/hitman-absolution-level-changed-after-outcry-over-crazy-nun-trailer/
http://kotaku.com/5914211/agent-47-brutally-slaughters-nuns-in-the-bizarre-hitman-absolution-e3-trailer

We followed up with watching some of the 'best trailers' and a discussion on the portrayal and presentation of women in video games.

Kotaku best trailers of 'the Generation'

http://kotaku.com/the-best-game-trailers-of-the-generation-1462534128

FemShep (voice acting is better, but ads focus on male version of char rather than female ) BroShep
http://www.themarysue.com/femshep-in-mass-effect-3/

http://www.eurogamer.net/articles/2012-03-21-ms-effect-the-rise-of-femshep

http://www.asteroidbase.com/dangerous-spacetime/

CINEMATICS 1: CLASS 07

Cinematics 1:  Class 07

Script grades will be going up on Blackboard soon. Scripts are almost entirely graded and comments will be posted on scripts and back up in Google Drive.  For those that are interested, here is the rubric that I created to grade the scripts. The script is worth 20% of the final grade for this semester.  Each of the 5 categories is worth 4 points (5 x 4 = 20).

Storyboards are due TODAY - Tuesday October 15

Submit your boards via Google Drive as discussed in class.

The 2D Animatic will be due on the first class back from the Intercession Week break: 

• October 28 at start of class
• October 29 at start of class

CINEMATICS 1: CLASS 05

Cinematics 1:  Class 05

The Storyboard

Topics Covered:  

• Composition
• Camera Considerations
• Notations and Format

Resource: 

 http://www.floobynooby.com/IPUB/comp1.html

Class notes found at:

DESN3020_Cinematics/Class05_06.pdf

CINEMATICS 1: CLASS 04

Cinematics 1:  Class 04

Words To Images

Topics covered: 

• Production Design
• Camera Views
• Line of Action/Continuity
• Story Boarding

 
Download pdf of the Class 04 lecture:  DESN3020_Cinematics_Class04_Fall2013.pdf .

CINEMATICS 1: CLASS 03

Cinematics 1: Class 3 

STORY (Today's session will discuss):

• Script 
• Format 
• Camera 
• Course Overview (revisited)

Course Overview:  pre break

Course Overview: post break 








Grading Breakdown:

Basic Structure of a Script

• STORY 
• ACTS 
• SCENES (also called sequences)  
• SHOTS (also called scenes) 

YOUR Cinematic: Story? Trailer? 

1. CINEMATIC BASED ON STORY: 
all stories must have a beginning, middle and end. The ‘star’ must have a goal & an opposition to that goal (providing tension). 

2. CINEMATIC BASED ON SHOWCASING IDEA (TRAILER): 
non-narrative structure using rhythm, music or other devices to provide structure. Also try to introduce concept of pacing and tension to structure. 

Format Your Script 

• Start with TITLE (all caps, in bold or underlined), Author, Date, Credits (based on?) – 1/3 of way down page 
• Cast list or speaking characters with brief 1 sentence bios for each 
• on second page. 
• Left justified for body of script, Character names over dialogue centered, Dialogue indented further. 
• “FADE IN” – “FADE OUT” starts & ends 
• Scene intro ALL CAPS:  
• LOCATION, INT, EXT 
• LOCATION DETAIL (ship’s cabin) 
• TIME OF DAY 
• CAMERA SHOT (close up? Long shot?) 
• ALSO IN CAPS: SFX, FX, Character names, Props 
• Acting direction in parenthesis () under Character name.  
• White 8 ½ x 11 paper, Courrier 12 point font 
• About 52 lines/page 
• Top margins 1”, left 1 ½ “ and right ¾ “ 

From The Iron Giant script

From The Iron Giant script

MOVING FROM TREATMENT TO SCRIPT 

• Just start! You can edit as you go!  
• Now we want to take those beats or key points from our outline and write each scene with focus and polish. Flesh it out and consider: 
• What will the scene accomplish? 
• Where and when does it take place? 
• Who’s in this scene?Which character is driving this scene? 
• Where is the tension or conflict? This scene? The previous scene? The next scene? 
• Does the audience know something the hero/villain doesn’t? 
• Are you revealing character and motivations through each characters’ behaviour? 
• Does the scene have a catalyst at the beginning? Scenes usually do. 
• How are you going to make it funnier or more dramatic without relying on cliches? 
• Use complications, obstacles, sudden reversals, relationships and subtext....

• Scenes can be as long or as short as needed to tell a story and fit into the pacing of the whole. 
• You want only the essence. Never the unnecessary!  
• Once you’ve made your point, the scene is over.  
• Grab the audience with the opening, or they won’t stay for the rest! 
• Every scene must be visually interesting and rarely “talky” unless it’s of vital importance to the 
• development of the story. 
• Keep descriptions to a line or 2 (unless necessary). 
• Put in the motivations. Add complications. 
• Avoid complicated visual ideas, subtleties, or unknown actions where explanation is necessary.  

Fitting scenes together  

• When constructing your cinematic, think of each scene as part of a whole story: 
• Each scene fits into the rhythm of the whole. 
• For pacing, action scenes may need to be broken up with quieter, character-building scenes, or comedy. 
• Vary scenes and sequences. Vary location. Vary shots. 
• Cut between lengths. Vary pace. 
• Would your scenes be more effective arranged differently? 
• At the end of a scene you want your audience eager to find out what will happen next!

Checklist 

Once you’ve created your scene, ask yourself the following to check: 
Does your scene accomplish everything you think it should? 
Does it stay focused on the plot and characters? 
Is the scene clear? Is it easy to understand? Will the audience believe it? 
Be sure the scene is visual. Don’t try to depict interior motivations or ‘thinking’. 
Is it too long? Does it repeat itself unnecessarily? We may need to repeat things for effect or to ensure comprehension but don’t overdo it! 
Does the scene make us want to know what happens next? 
Is it entertaining? Funny? Emotional? Tense? How can these be heightened? 
Avoid dialogue in stories this semester – we have no audio capabilities at GBC Game Dev. 

Keep up the Pace! 

Use the essence. Break up the action and increase the pace with cuts. 
Cuts keep the story moving. 
Action. Reaction. Keep the sentences short, use strong verbs, make it flow. 
Timing is everything. 
Revisit what you have written and edit, edit, edit!  

Be Clear!  

Animation scripts tend to include the camera shots, as if the writer is directing the story. The 
Script then goes to storyboard artist to visualize based on script’s direction. 

Use the following check-list to help you refine your script: 

• Be CLEAR.  If you have to explain it, it needs rewriting. 
• Is the structure all there? (Hero with motivation, villain to thwart...) 
• Do you start with action? Plenty of suspense and intrigue throughout? 
• Will it work well as a storyboard? As a cinematic? 
• Are your characters acting and speaking “in character”? 
• Don’t be wishy-washy! Is your villain really bad? Is your hero relatable? 
• Are the relationships believable? 
• Is the dialogue as sharp and witty as it could be (if you must use 
• dialogue)? 
• Smooth the transitions! Think about FLOW. 
• Be sure nothing is too subtle to animate or be seen on smaller screens. 
• If something bothers you, trust your instinct and cut it / rework it! 
• Is your script format correct and consistent? 
• Check spelling and grammar. 
• Check for typos! 

SCRIPTS DUE WHEN? 

• Tuesdays class: Scripts due Sept 24 
• Mondays class: Scripts due Sept 30

TODAY:  

Cinematics Worth Viewing:  

• ‘Radio Animation’ – check out any episode of The Simpson’s. This technique uses expository dialogue to make up for limited animation. 
• Cinematics with limited or no dialogue? Suggestions? Does it communicate? How does it communicate with no dialogue? 
• In-Class work time:  
• Start script (30 min)

CINEMATICS 1: CLASS 02

SCRIPT 

Finding Ideas 

Brainstorming 

The Treatment

Who is your target audience? 

• Animation is increasingly popular with a wide demographic, but children are still primary target 
• Games are different, demographics are skewing more and more towards adult, but children and youth are still a large part of the market. 
• Look for characters and situations that provide an immediate connection for the people who play / watch

Human Development: 

The following is a rough guide of what can be expected from various age groups  

Age 6 
They’re thinking about playing
Brash and aggressive age, see things as black/white, good/bad etc

Age 7  
More withdrawn, introverted, calming down
Unlimited fantasy of earlier years is being replaced by more logical
fantasy
 
Age 8  
Beginning of “Tween” stage
More social, active and looking for role models

Age 9  
Another more introverted age
Start to want independence, self-consciousness starts to creep in

Age 10 
Respect for authority
Behaviours and attitudes start to differ more greatly between genders
 
Age 11
Emotions and hormones start to run wild
Midbrain (emotional development) and imagination are almost completely
evolved now

Age 12  
The group rules the individual
Special abilities and talents are becoming apparent

Age 13 
Another time of withdrawal and worry
Many identify as fully mature by this age

Age 14 
Want and expect everything
Take criticism badly and “Parents don’t understand!”

Age 15 
Continuing drive to be independent
Tendency to rebel against authority, less emotive and expressive

Age 16 
More self-sufficient
Maturing sense of humour and wider range of interests

Age 17-21 
Transition into adulthood
Capable of advanced abstract reasoning, sci-fi and fantasy genres are popular

Age 18-45 Young Adulthood  
Life experience grows, begin to relate to/understand their parents
“Am I fulfilling my potential? How successful have I been?”

Age 45-65 Midlife 
Increased confidence, stability, disposable income
May be periods of crisis, may feel pushed out the door by younger colleagues
at work

Age 65-80 Late Adulthood 
Reassessment of life lived. A time of wisdom and reflection
Decision to enjoy remaining years or make use of remaining time to find
meaning/purpose

Age 80+ Old Age 
Illness becomes more of a problem, scope of life grows smaller
Involvement with self becomes more complete

Finding Ideas 

• People watching is FUN (and totally legal)! 
• Find a crowd and a place to sit. Choose a Park, a Playground a Mall, a Zoo or just the TTC. 
• Make up stories about the people you see. 
• Some places are more charged with opportunity than others:  hospitals, police stations, juvenile court, weddings, funerals. 
• Maybe a stranger you see reminds you of someone else you know? 
• Give your subject a personality based on what you see. 
• Judge attitude, body language and dress... How should they talk? Whom is he/she with and what is their relationship?

What terrible or funny thing just happened?  What’s going to happen next?

Brainstorming 

• Genres and categories come up over and over again in all stories  
• Make lists of things that center around a concept 
• School > teacher, student, desk, pencil, eraser, dry-erase board, markers, lunch, homework  
• Pay close attention for things you could use as props  
• Generate ideas about a location / setting 
• What’s funny about it? What has happened here? 
• Make up stories about the objects there. Who else has written on that chalkboard? 
• NEVER EDIT! Write down everything as fast as you can. 
• Editing as you go can destroy the good ideas with the bad

Idea Generator:  Pick one from each column

Class exercise:  

• Pick one word each from the People, Places and Things columns in the earlier slide  
• Write a short story description. One sentence is fine  
• Something like: “The Headless Horseman lost his cell phone in the Moat, but that's not why he didn't return your call".   
• You have 60 seconds...GO!!!!

THEMES Drive The Story 

Is there such a thing as an original story? There is a limited number of themes used in storytelling since we began telling stories:

Charlie Chaplin in Modern Times

• Man vs. nature
• Man vs. Himself
• Man vs. Machine
• Loss of Innocence
• Revenge
• Death as a Part of Life
• The Battle
• Individual vs. Society
• Triumph over Adversity
• Love Conquers All
• Good vs. Evil



Character Types 

In-depth discussion of character and story can be found here:
http://rocket5edu.blogspot.ca/2012/09/desn3020-cinematics-class-two.html 

Classical traditions categorize personalities into 4 types, based on the 4‘humors’ :

• Black Bile (melancholic, sentimental, thoughtful) –read: Emo 
• Blood (sanguine, amorous, joyful) –read: the Latin Lover 
• Yellow Bile (easily angered, obstinate, stubborn) –read: the hot-head 
• Phlegmatic (calm, cool) –read: the Zen Master

Who Is Your Character 

• What is your character’s spine? What’s his unchanging driving force throughout life 
• Does your character put his own self-interest first or that of the group? 
• What allegiances does your character have? 
• What hard choices / crises does your character face in life? 
• Values? What’s important to your character? 
• What are your character’s current circumstances? (Rich/Poor, good luck / bad luck)? 
• What effect do these things have? 
• What threats/opportunities does your character have?

Story Basics 

All stories must have a beginning, middle and end. The star or hero must have a goal or motive and someone or something must oppose that goal.

Normally scripts use the 3-act structure:

• Act 1 
• This ends after the problem has been set up (a damsel is tied to the train tracks) 
• Act 2 
• This ends before the climax (the train is fast approaching) 
• Act 3 
• Resolution (the hero frees the damsel just in time)

Story Mountain 

Introduction – Conflict – Crisis – Climax - Resolution

Lets Look at The Phantom P.I. Mission Apparition As An Example

In class we looked at Rocket 5 Studio's The Phantom P.I. Mission Apparition introductory cinematic.  We reviewed the entire process: script, rough story boards, 2D animatic, 3D execution in a 3D animation package, and final export and render in-engine in Unity.

In Class Assignment 

Write a Treatment in class that you will develop into your Script 

Screenplay Treatments 

How To Write a Treatment

• This two to five page document should read like a short story and be written in the present tense.  
• It should present the entire story including the ending, and use some key scenes and dialogue from the screenplay it is based on.

Cinematic Treatment: include in your treatment  

• Title 
• Character List (Human? Machine? Environment?) 
• “Logline” or “Elevator Pitch” 
• “The Phantom P.I. Mission Apparition is an puzzle-adventure game about a paranormal investigator who’s clients are ghosts with a problem.” 
• Synopsis 
• Expand Logline to describe cinematic as an overview.  Break down into conflict – crisis – resolution if that is your structure.
• Describe shots you want to include if you are using a less traditional approach to story (The Phantom P.I. Mission Apparitions is an Intro Cinematic intended to introduce the characters, lampooning 80’s action series).  

Ira Glass of “This American Life” on being an artist:

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you
can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

Next Week: 

Script formatting 

• Constructing a Story:  
• Premise 
• Outline 
• Characters?  
• What is the tension? 

Scripts will be DUE in week 4:  September 30 OR October 1st  (depending on the session you are enrolled in).

DESN3020 Cinematics 1 Fall 2013

Cinematics 1: Class 01

Introduction

• Me: Cathy! Game Developer / Animator
  You: ?  

What is a Cinematic? 

• Course Overview  
• Q&A

Lara Croft, Tomb Raider: Underworld

Cathy Feraday MillerGame 

• developer/animator 
• @rocket5cathy 
• www.rocket5studios.com  
• cathy@rocket5studios.com 
• http://rocket5edu.blogspot.ca/ 
• character animator/ art director
• From specialist to generalist 

Who Are You?  

• What are your career goals? 
• What is your area of focus? 
• What is “your passion”? 

Assignments: Due next week

• Bring in your demo reel for next class 
• Be prepared to present it in front of your peers 
• List your goals for this class

Great Guide to Film Making

Course Overview

2 Part Course:  

Semster 1: 

• learn how to tell a story 

Semester 2: 

• tell your story, build your cine

General Grading Structure

Assignments: 80%

• Script 
• Story board exercises (in-class & homework) 
• 2D Story Animatic exercises (in-class & homework) 
• 3D Animatic exercises (in-class & homework)
• Final “Trailer” (editing exercise) 

Portfolio presentation:  5%
In-class tests:  10%
Class participation and daily attendance: 5%

Story Mountain

Weeks 1 – 5: Into To Story

• Story structure 
• What makes a good story? 
• Create short script 
• Storyboards & Composition:  
• Camera theory  
• Continuity 
• Creation of your individual Cinematics blog, through which you will hand in your assignments 

Making A Cinematic

• Story:  every project starts with an idea 
• Style:  how do you want to present your concept? 
• Skills:  you have to know how to use the tools in order to convey your ideas 

courtesy of www.floobynooby.com

Storyboards

• All visual artists must understand composition 
• Tell stories visually 
• You don’t have to be a great “draw-er” to communicate ideas 

Production Pipeline

• Everything starts with a concept (idea!) 
• Order in which assets are made 
• Organization is Important! 
• Games VS Film (not very dissimilar)

Weeks 6 – 10:  Animating The Camera

Animating the camera in Maya

• Intro to Camera Animation in Maya  
• Setting up shots with primitives 
• Creating legible story structure ‘training exercises’  

 

12 Principles of Animation

1. Squash and stretch 
2. Anticipation 
3. Staging 
4. Straight ahead vs pose to pose 
5. Follow thru and overlap 
6. Slow in, slow out 
7. Arcs 
8. Secondary action 
9. Timing 
10. Exaggeration 
11. Solid drawing (or posing) 
12. Appeal

Weeks 11-15:  Create Trailer

• Create trailer using found game footage 
• Introduction to editing software (After Effects, Premiere) 
• Concept and Approach to Creating A Trailer 
• Finding Footage (or capture your own) 
• Creating limited assets for the trailer (fx, titles, etc) 
• Final output and posting to the web

Cinematic as Trailer or Marketing Material

Lovers In A Dangerous Spacetime, Asteroid Base studios

www.matthammill.com
http://www.asteroidbase.com/

Lets Watch Some Great Cinematic Trailers!

www.thephantompi.com

Also see:
Games: “class based multiplayer”
Team Fortress 2, Valve Software, 2007 

Final Milestone: Cinematics II

Final Milestone: Cinematics II DUE TUESDAY APRIL 16, 2013, by 10:00 pm.

Finished Cinematic: In-Game or Render

Individual student submissions must be uploaded to the dropbox folder CinematicsII_FinalMilestone (folder will go live on Monday April 15, 2013), or IN PERSON. Lastly, if your dropbox is full or you find that you cannot upload your assignment, you may email me your assignment with an explanation to cferadaymiller@georgebrown.ca.

Create a folder and title it:  CineTitle_YourName_FinalMilestone

• eg: GhostHunterIntro_CathyFMiller_FinalMilestone

Each student must hand in:

• Folder named correctly containing:
• Playblast/.avi/.mov of final cinematic render or link to cinematic in a document (double check your links! If they do not work, the work will not be considered as submitted). 
• note: I am expecting to get the SAME version of the cinematic from each group member.  This is to ensure that everyone in the group has access to the same files, and knows and understands which is the latest version. 
• Statement Of Work
• Statement of Work should include images or avis of individual contribution (especially if assets were not used in final cinematic, or if student wishes to showcase their work more prominently), created from January to April.

Milestone Criteria: Complete In All Areas

Production

• Students that were heavily involved in the production (or organizational) side of the cinematic creation must present evidence of their efforts. Wherever possible, support this with schedules, images, diagrams, charts and links to project websites. 

Meshes

• All final environment and prop models complete and placed in the environment.
• Final environment and prop textures.
• All characters final.
• All character textures final.

Animation - Camera

• Camera movement final.

Rigging

• Character final.
• Moving props final.

Animation - Character

• All blocking final.
• Character Animation final.

Animation - environment and fx

• All environment and fx animation final.
• Environment and fx tests final.
• FX tests may be submitted as avi or mov files.

Lighting:

• Lighting for each location (if there is more than one) final.

Sound

• Sound will not be graded as GBC does not have access to a sound lab, but makes a much better cinematic! 
• BONUS MARKS may be given for sound. 

Written Statement of Work

• Each student must include a detailed list of all assets that she/he created for the cinematic THIS SEMESTER, from January to April 2013, with an estimate of how much time was spent on each task, as well as an evaluation of their personal contribution to the cinematic project. For example, if a student was responsible for rigging complex characters, but also spent 50% of their time with production-related tasks and scheduling, this is where you would show this. Wherever possible, support this document with images, diagrams, charts and links to project websites. 
• For some of you this may be a re-iteration of what you have already handed in last for Milestone 2. Please submit the document again, and take care to note what was done in the last 2 weeks of the semester.  

Milestone 2 Deadline: April 2 10pm

Second Milestone: Cinematics II

Final Playblast Due: everything except the polish

Individual student submissions must be uploaded to the dropbox folder CinematicsII_Milestone2 (invitation pending), or IN PERSON. 

Create a folder and title it:  CineTitle_YourName_Milestone02

• eg: GhostHunterIntro_CathyFMiller_Milestone02

What I expect to see from each student:

• Folder named correctly containing:
• Playblast/.avi/.mov of latest cinematic render or link to cinematic in a document (double check your links! If they do not work, the work will not be considered as submitted). 
• note: I am expecting to get the SAME version of the cinematic from each group member.  This is to ensure that everyone in the group has access to the same files, and knows and understands which is the latest version. 
• Statement Of Work (see below)
• Optional: 
• images or avis of individual contribution (especially if assets were not used in final cinematic, or if student wishes to showcase their work more prominently)

Milestone Criteria:

Production

• Students that were heavily involved in the production (or organizational) side of the cinematic creation must present evidence of their efforts. Wherever possible, support this with schedules, images, diagrams, charts and links to project websites. 

Meshes

• All final environment and prop models complete and placed in the environment:  100%
• Final environment and prop textures: 75%
• All characters: 100%
• All character textures: 75% 

Animation - Camera

• Camera movement: 90%
• Tweaks and editing for finesse may be added 

Rigging

• Characters: 100%
• Moving props:  80%

Animation - Character

• All blocking: 100%
• Character Animation: 80% 

Animation - environment and fx

• All environment and fx animation: 50%
• Environment and fx tests: 100%

Render Tests:

• If Cinematic is to be rendered in Maya, render tests for final look must be included.

Lighting:

• Lighting for each location (if there is more than one):  50%

Sound

• will not be graded as GBC does not have access to a sound lab, but makes a much better cinematic!

Written Statement of Work

• Each student must include a detailed list of all assets that he/she created, with an estimate of how much time was spent on each task, as well as an evaluation of their personal contribution to the cinematic project. For example, if a student was responsible for rigging complex characters, but also spent 50% of their time with production-related tasks and scheduling, this is where you would show this. Wherever possible, support this with images, diagrams, charts and links to project websites. 

DESN3020 Cinematics End Of Term

Hey Class, its the END OF TERM!!!!

As a reminder to those of you in the Cinematic class, as of DECEMBER 11, 2012, all work is DUE. 

 All work must be handed in IN CLASS or emailed to me via: cferadaymiller@georgebrown.ca

When  sending a link to your work, you MUST include the link to the file location (not the top tree of the dropbox), and the file name. I'm NOT going to dig for your work.  If the file indicated is not on the page linked to, I will see this as a missed submission. 

Due last class:  final 3D animatic and summary of all the beautiful work you've done thus far. Package it up nicely. A happy Cathy is a kind Cathy. Images and avi only, no obj files, no psd files, etc.  Links to Vimeo or Youtube work beautifully. 

As discussed in class, the grades have been broken down in the following way:

A number of students in this class have not submitted work for some of the milestones. Without an actual submission, the mark for that milestone will be graded incomplete (fail). 

I've seen most of  your work in class, and many of you who are missing milestones have actually done the work... so hand it in!

This semester has been more about getting the work done than industry quality.  Next semester will be about getting it to look GOOD.  Working fast first and adding iterative polish is a critical component to a production environment. 

A reminder: no textures, no lighting, no animation this semester (other than camera animation). All the details and finesse that will make your work great and make you stand out will be refined in semester 2, where you will be graded to Industry competency. 

Good luck, hand in  your work, and have a well-deserved Holiday Break! 

~Cathy

DESN3020 Cinematics Class 08/Week 09

Putting It All Together: The Animatic

Scheduling 

Make a schedule for entire team that:

• covers in complete detail up to end of this term (December)
• covers in increasing detail up to end of project (April)

 

Use this type of chart to create more detailed assignments for each group member.

What the rest of this semester should look like: 

 
These four final milestones are worth up to 85% of the final grade for some people, so staying on track really counts. 

The final 3D animatic (this semester) will be: 

• untextured low-poly or proxy models
• basic lighting (if any)
• most likely scratch audio
• fairly sophisticated camera animation
• characters will be in, at most, a few poses per scene 

3D animatic is about blocking and timing, not detail or finesse.

Next semester is the time to spend time on lavish, gorgeous detail, in the modelling, fx, lighting and animation aspects of this assignment.

A note on character creation: 

May not co-inside with Character Modelling class

Concept of Character

Proxy and final meshes share this proportion exactly.

Proxy Character mesh

Proxy Character - all proportions correct.

Character creation can be an iterative process if these rules are followed:

• final mesh is exactly the same size as base mesh
• all meshes must fit exactly onto same rig
• reference character mesh
• create rig
• update reference when new versions of mesh are created
• non-destructed work flow

If no rig is available and a found rig is used, it is unlikely that any animation or poses can be seamlessly be re-used unless  new rig is created with exact same hierarchy and joint/controller names as 'proxy' rig. 

Proxy mesh posed (with rig).

Due NOVEMBER 5/6:

Animation side: 

• storyboard animatic revisions
• scratch audio or raw wav files
• evidence that the 3D layout is or can be started

Modelling side: 

• scratch audio or raw wav files
• first pass meshes: 
• all key elements in cinematic created as proxy or low poly
• characters
• environments
• props
• evidence of hand-off to animators 

Rough Models

 
Characters:

• Low-Poly Character models should match up with a model sheet
• Front and Side views of T-pose with reference art as image plane to show proportions match.
• For this milestone, submit JPG screen caps of models in various views or avi of rotation.
• Sufficient breaks in geometry to allow rig to be parented and animated properly

Props:

• All major prop models created (low-poly)
• 1-2 ortho views to show match with concept art

Sets:

• various perspective views to show overall layout  

 

 

 

DESN3020 Cinematics Storyboards DUE

Storyboards DUE TUESDAY OCTOBER 16, 10 PM. 

Completed Storyboard 

Storyboard submission details: 

• Email link or file to: cferadaymiller@georgebrown.ca (this address ONLY)
• PDF file format
• no single frame jpg files in a folder
• no png files
• look professional people!

Please be as concise as possible. This is not a drawing class, but marks will be awarded on clarity and composition:

• WHO DID THE WORK???????? Students must always indicate the author and group/project name on EACH PIECE handed in. Otherwise, how can I mark you?
• Indicate camera and character placement and movement as well as transitions 
• This must illustrate your intention for what you will create in detail for your complete scene for your finished cinematic.
• Shots should be numbered logically (Shot 1 may have frames 1a, 1b and 1c while shot 2 may only have frame 2a and 2b, and shot 3 is only one panel). 
• include any notes you feel necessary
• include any dialogue or VO lines

This is PART ONE of a 3-part storyboard submission process. 

• storyboard drawings as pdf file
• storyboard.avi (adding the element of time to the storyboard)
• storyboard.avi with sound/scratch sound added

Your group will receive the final Storyboard grade after this third storyboard instalment is handed in. 

Stick Figure storyboard: This is the minimum....be more descriptive visually of angle and scene elements.

This is not a drawing class, but be concise and clear. You can do better than this! Note shot numbers are indicated even at this rough state.

Fantastic Mr. Fox storyboards: Great drawing, but you will need to indicate shot numbers and camera instructions/ notations on each panel. 

Fantastic Mr Fox: Great descriptive boards, beautiful drawing, but no camera indications and no shot numbers on panels. NO NO NO! 

Pretty good: Still no camera notations, but shows action, acting, camera angles and shot sizes.

Pretty good boards, lacking camera notations.

Batman Begins storyboards: include shot number, camera instructions, shot size, angle and strong drawing! 

Batman Begins boards: can you do this? 

Previous Assignment: Script and Pre-Production Package: Due Oct 10

Marks will be in next week. In general, most of the groups did not label author of each document.  Many groups did not share the work evenly amongst the group, and some groups had documents coming in later or in different packages ("add this to group X"). 

Groups that failed miserably with the technical aspects of being group and submitting as a group can re-submit a cleaned up Pre-Production Package for extra grades. 

We will discuss in class.