Syllabus for the Bachelor in Animation
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Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message
Indian entertainment and media outlook 2010 2 Indian entertainment and media outlook 2010 Message To our clients and friends both in and beyond the entertainment and media industry : Welcome to the 2010 edition of PricewaterhouseCoopers’ Indian Entertainment and Media (E&M) Outlook, covering the forecast period of 2010–2014. Our forecasts and analysis for this edition focus on eight major E&M industry segments and one emerging segment. Each segment details out the key trends observed and challenges faced apart from providing the prospects for the segment. In the industry overview section, we have highlighted the key theme observed during 2009 and what we perceive as future trends in the coming years. We have a chapter on the tax and regulatory impact on the various E&M segments and for the very first time we have included a chapter on how technology can be leveraged in the E&M industry. In 2009, the economy severely impacted the world, translating into steep declines in advertisement as well as consumer spending. India though impacted, did manage to show growth with increased consumer spending as well as innovative action on the part of the industry. Against this backdrop, across the world, except certain markets, speed of digital spending increased due to changing consumer behavior as well as technology available to deliver the same. In India, while the spend on digital media is likely to grow, it is unlikely that it will dominate in the forecast period. This is largely due to the relative unavailability as well as unaffordability of the broadband and mobile infrastructure. -
Tvorba Interaktivního Animovaného Příběhu
Středoškolská technika 2014 Setkání a prezentace prací středoškolských studentů na ČVUT Tvorba interaktivního animovaného příběhu Sami Salama Střední průmyslová škola na Proseku Novoborská 2, 190 00 Praha 9 1 Obsah 1 Obsah .................................................................................................................. 1 2 2D grafika (základní pojmy) ................................................................................. 3 2.1 Základní vysvětlení pojmu (počítačová) 2D grafika ....................................... 3 2.2 Rozdíl - 2D vs. 3D grafika .............................................................................. 3 2.3 Vektorová grafika ........................................................................................... 4 2.4 Rastrová grafika ............................................................................................ 6 2.5 Výhody a nevýhody rastrové grafiky .............................................................. 7 2.6 Rozlišení ........................................................................................................ 7 2.7 Barevná hloubka............................................................................................ 8 2.8 Základní grafické formáty .............................................................................. 8 2.9 Druhy komprese dat ...................................................................................... 9 2.10 Barevný model .......................................................................................... -
Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected]
PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD JULY – AUGUST 2015 US $8.00 Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected] BRIDGEPROPS.COM ® contents The Anatomy of an Anti-Hero 12 Constantine’s darkness doesn’t feel so bad by David Blass, Production Designer Tomorrowland 20 Logos and pins by Clint Schultz, Graphic Designer Comic Con, Pot Fields 28 Designing the world of Ted 2 & a Giant Cake by Stephen Lineweaver, Production Designer Welcome to Nowhere 36 Manhattan in New Mexico by Ruth Ammon, Production Designer Comic Book Art 46 Created by Art Directors Guild members Collected by Patrick Rodriguez, Illustrator 5 EDITORIAL 6 CONTRIBUTORS 8 NEWS ON THE COVER: 58 PRODUCTION DESIGN Director Brad Bird called on Graphic Designer Clint Schultz three different times to develop 60 MEMBERSHIP key logos for Tomorrowland (Scott Chambliss, Production Designer). His last assignment 61 CALENDAR resulted in this fully rendered 3D model of 62 MILESTONES the T pin that is an important prop and story element in the film. It went on to become 64 RESHOOTS central to the studio’s marketing efforts. PERSPECTIVE | JULY/AUGUST 2015 1 PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD July/August 2015 PERSPECTIVE ISSN: 1935-4371, No. 60, © 2015. Published bimonthly by the Art Directors Guild, Local 800, IATSE, 11969 Ventura Blvd., Second Floor, Studio City, CA 91604-2619. Telephone 818 762 9995. Fax 818 762 9997. Periodicals postage paid at North Hollywood, CA, and at other cities. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Srijan Digital Arts
REPORT ON PROMOTION AND AWARENESS OF STUDIO: SRIJAN DIGITAL ARTS Submitted in partial fulfillment of the requirement for the Award of the degree of BACHELOR OF BUSINESS ADMINISTRATION (2009-2012) SUBMITTED TO: - SUBMITTED BY:- EXECUTIVE SUMMARY The Business Administration Project has been undertaken to study the international market of Multimedia/Animation industry and to analyze comprehensively the Indian Market scenario. The research study was conducted to find out the factors which would influence the major developments taking place in this industry, at both the global as well as domestic level. With these objectives in mind, the information is collected from various publications related with this industry, websites, Government institutions and other secondary sources. Later on all this information was compiled in the form of presentable and highly comprehensible report. The important outcomes are: • The Multimedia/Animation industry is highly fragmented. • India is the fastest growing Multimedia/Animation industry. 2 ACKNOWLEDGEMENT Every work constitutes great deal of assistance and guidance from the people concerned and this particular project is of no exception. A project of the nature is surely a result of tremendous support, guidance, encouragement and help. Wish to place on record my sincere gratitude to Mr. XXXXXXXXXXXXXXXXXXX I thank him for constructive help and encouragement throughout the project. Without his support and guidance taking this would not have been possible. Also, wish to acknowledge enthusiastic encouragement and support extended to me by my family members. At last, I would like to thank all the faculty of business management to help me completing this project. Im also thankful to my friends who provided me their constant support and assistance. -
Delaware Recommended Curriculum Unit Template
Delaware Recommended Curriculum Unit Template Preface: This unit has been created as a model for teachers in their designing or redesigning of course curricula. It is by no means intended to be inclusive; rather it is meant to be a springboard for a teacher’s thoughts and creativity. The information we have included represents one possibility for developing a unit based on the Delaware content standards and the Understanding by Design framework and philosophy. Subject/Topic Area: Visual Art Grade Level(s): 4 Searchable Key Words: cartoon, animation, cel, storyboard Designed By: Dave Kelleher District: Red Clay Time Frame: Eight 45 minute classes Date: November 18, 2008 Revised: May 2009 Brief Summary of Unit Creating, performing, responding and making connections are learning concepts that are at the core of the Visual and Performing Arts curriculum. This unit will stress the responding concept and the product for responding will be animation. Students will view animated cartoons (non-computer generated) and analyze how multiple uses of “one image”, or cel (short for celluloid- thin sheets of clear plastic that characters are drawn on and then painted), create a story in motion and convey the point/opinion of the animator. Ultimately, focus will center on one individual cel and how it relates to the given point/opinion and, due to its cartoon nature, may/may not effectively convey the opinion (i.e. some people might find it difficult to relate to a serious topic when the character presented is an adorable pink bunny with a bowtie). Because the art world had previously considered animation beneath it, artistic skill and creativity in the creation of characters, emotions, storyline, and backgrounds were often ignored. -
Scheme and Syllabus of B. Tech. 3D Animation and Graphics Engineering
IKG PUNJAB TECHNICAL UNIVERSITY Batch 2012 Scheme and Syllabus Of B. Tech. 3D Animation and Graphics Engineering PUNJAB TECHNICAL UNIVERSITY, JALANDHAR Punjab Technical University B.Tech 3D Aninmations & Graphics Third Semester Contact Hours: 32 Hrs. Load Marks Distribution Course Code Course Name Allocation Total Marks Credits L T P Internal External BTCS301 Computer Architecture 3 1 - 40 60 100 4 BTAM302 Engg. Mathematics-III 3 1 - 40 60 100 4 BTCS304 Data Structures 3 1 - 40 60 100 4 BTCS305 Object Oriented 3 1 - 40 60 100 4 Programming using C++ BTAG301 Basics of Animation 3 1 - 40 60 100 4 BTCS306 Data Structures Lab - - 4 30 20 50 2 BTCS307 Institutional Practical - - - 60 40 100 1 Training BTCS309 Object Oriented - - 4 30 20 50 2 Programming using C++ Lab BTAG302 Basics of Animation - - 4 30 20 50 2 Lab B.Tech 3D Aninmations & Graphics Fourth Semester Contact Hours: 32 Hrs. Load Marks Distribution Course Code Course Name Allocation Total Credits L T P Internal External Marks BTAG 401 Fundamentals of 3 1 - 40 60 100 4 Preproduction BTAG 402 Multimedia Technologies 3 1 - 40 60 100 4 BTAG 403 Multimedia Networks 3 1 - 40 60 100 4 BTCS 504 Computer Graphics 3 1 - 40 60 100 4 BTAG 404 Multimedia Devices 3 1 - 40 60 100 4 BTAG 405 Preproduction Workshop - - 4 30 20 50 2 BTCS 509 Computer Graphics Lab - - 2 30 20 50 1 BTAG 406 Animation lab-II - - 4 30 20 50 2 BTAG 407 Network Lab - - 2 30 20 50 1 General Fitness - - - 100 - 100 - Total 15 5 12 420 380 800 26 PUNJAB TECHNICAL UNIVERSITY, JALANDHAR B.Tech 3D Aninmations & Graphics Fifth Semester Contact Hours: 30 Hrs. -
Download Mediator 9
MatchWare Mediator 9 Documentation Trademarks and Credits ............................................................................................................ 6 MatchWare License Agreement ................................................................................................ 6 Introduction .........................................................................................................9 Welcome .................................................................................................................................... 9 Getting started .............................................................................................................. 9 What's new in Mediator 9 ........................................................................................................ 10 Important terms ....................................................................................................................... 12 Mediator 9 feature list .............................................................................................................. 13 Installation .........................................................................................................17 Stand-alone installation .............................................................................................. 17 Administrative installation (system administrators only) ............................................. 17 Troubleshooting ......................................................................................................... -
Programmliste
Programmliste Programmart Browser Genre Internetbrowser Programmname Mozilla Firefox Beschreibung Screenshot der sicherere, einfachere Browser, der Standard mit Plugins, Java, etc. Genre Klassiker von Microsoft Programmname Internet Explorer 7 Beschreibung Screenshot Hiermit kann man im Internet surfen Programmart Datenbankprogramm Genre Datenbankinitialisierungsprogr Mittwoch, 2. Juli 2014 SEITE 1 VON 328 Programmname Win MySQL Admin Beschreibung Screenshot Programmart Entwicklung Genre CMS Programmname Typo 3 Beschreibung Screenshot Mithilfe dieses bekanntesten Content Mangement Systems lassen sich einfach umfangreiche Webseiten gestalten. Genre Datenbanken Mittwoch, 2. Juli 2014 SEITE 2 VON 328 Programmname DeZign for Databases Beschreibung Screenshot Hiermit kann man Datenbanken designen und das in SQL übersetzen. Genre Datenbankmanagementsystem Programmname Microsoft SQL Server Management System Beschreibung Screenshot umfangreiches Datenbankmanagements ystem Genre Entwicklungsumgebung Mittwoch, 2. Juli 2014 SEITE 3 VON 328 Programmname Active Perl Beschreibung Screenshot Hier kann mit der Programmiersprache Perl z. B. Webanwendungen programmieren Programmname Dreamweaver Beschreibung Screenshot Umfangreiche Umgebung für HTML 4 und php Programmname freePascal Beschreibung Screenshot PASCAL - Compiler Mittwoch, 2. Juli 2014 SEITE 4 VON 328 Programmname Homesite Beschreibung Screenshot Editor für HTML, php und Javascript, praxiserprobt. Programmname Java Editor Beschreibung Screenshot Java Editor mit vielen Funktionen, unter anderem -
The Study of Indian Animation Industry
Suraj Punj Journal For Multidisciplinary Research ISSN NO: 2394-2886 The Study of Indian Animation Industry PradeepKumar Assistant Professor UIAM Abstract: This article is the study of the introduction of animation in India and the scope of animation in coming future. Animation is new field but it is practiced in other forms in India from ancient time . If we look at the present scenario the animation has its influence on almost every sector i.e. education, medical, engineering, aerospace, entertainment etc. there are more than 1000 animation studios (2d & 3d) are in India which are continuously working on animation. Which is increasing this industry every day. However, This industry is facing some challenges. Animation studios here are obviously great to give good quality animated films however is not thinking of unique film. Hollywood is outsourcing many projects from India which is continuously increasing the quality and confidence of Indian artists. Introduction: The demand for animation industry of global animation market is growing rapidly due to the increasing number of multinational studios, cable channel companies; TV broadcast companies, availability of low cost internet access, and penetration of mobile devices along with the growing popularity of streaming video. The fast changing technology has made animation, VFX & games available to the masses, and this industry has become one of the fastest growing sector in the global media and entertainment market. More and more global animation, VFX and games production taking place in a globally distributed mode. Factors like favorable government rules, multi-industrial applications, improvements in animation technologies and icreased aired time from cable operators are propelling the market growth. -
Animate Biology: Data, Visualization, and Life's Moving Image Adam J. Nocek a Dissertation Submitted in Partial Fulfillment Of
Animate Biology: Data, Visualization, and Life’s Moving Image Adam J. Nocek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Phillip Thurtle, Chair James Tweedie Robert Mitchell Program Authorized to Offer Degree: Comparative Literature ©Copyright 2015 Adam J. Nocek University of Washington Abstract Animate Biology: Data, Visualization, and Life’s Moving Image Adam J. Nocek Chair of the Supervisory Committee: Associate Professor Phillip Thurtle Animate Biology: Data, Visualization, and Life’s Moving Image examines how biologists are using 3D animation technologies developed by the entertainment industry (Pixar and DreamWorks) to visualize biological data sets. Over the course of four chapters, the project develops a concept of scientific aesthetics in order to counter the neoliberalization of these visualization practices. The first chapter, “Molecular Control,” shows how there is significant controversy among scientists regarding the scientific value of molecular animations, since it is unclear whether they faithfully depict biological data. Drawing on Lorraine Daston and Peter Galison’s scholarship on the history of scientific visualization, the dissertation intervenes in this debate by clarifying what the criteria are for determining the scientific value of images. The study demonstrates that representation, instead of objectivity, is the epistemic norm that determines the scientific value of images, and that the norm of representation is fully operative in 3D molecular animations. I argue that what is often missed in debates over scientific imaging is that representation has undergone many transformations in the history of scientific epistemology, and that it now obeys the logic of flexibility and competition that exemplifies neoliberal market values. -
Alternative Dispute Resolution and Natural Resources
ALTERNATIVE DISPUTE RESOLUTION AND NATURAL RESOURCES Building Consensus & Resolving Conflicts in the Twenty-first Century CONFERENCE PROCEEDINGS MAY 16-19, 2000 TUCSON, ARIZONA SPONSORED BY U.S. DEPARTMENT OF THE INTERIOR U.S. DEPARTMENT OF AGRICULTURE / FOREST SERVICE U.S. INSTITUTE FOR ENVIRONMENTAL CONFLICT RESOLUTION OF THE MORRIS K. UDALL FOUNDATION UDALL CENTER FOR STUDIES IN PUBLIC POLICY AT THE UNIVERSITY OF ARIZONA INTRODUCTION The field of alternative dispute resolution (ADR) offers all parties involved in natural resources disputes additional tools and processes to engage in constructive, non- adversarial problem solving. The purpose of this conference was for federal, state, and local government agency staff, together with resource managers and users, environ- mentalists, community-based groups, and private property owners, to learn from ADR experts and from each other about their experiences with environmental conflict resolu- tion and consensus building in the context of natural resource management. This national conference sponsored by the U.S. Institute for Environmental Conflict Resolution of the Morris K. Udall Foundation, The University of Arizona’s Udall Center for Studies in Public Policy, the U.S. Department of the Interior, and the U.S. Depart- ment of Agriculture–Forest Service drew over 425 attendees from across the nation and from Mexico and Chile. Five plenary sessions and fifty-seven panel sessions took place over the two and a half day period. Panel sessions covered three main categories: • ADR processes such