DOCSLIB.ORG

CATALOG 2021 -2022 Table of Content

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CATALOG 2021 -2022 Table of Content CATALOG 2021 -2022 Table of Content Welcome to Animation Mentor ......................................................................................................................................................4 Our Mission .......................................................................................................................................................................................................................5 Our Founders ................................................................................................................................................................................................................6 Our Mentors ....................................................................................................................................................................................................................7 Admissions Process and Policies .................................................................................................................................................8 The Admissions Process ......................................................................................................................................................... 8 Enrollment .................................................................................................................................................................................... 8 Student’s Right to Cancel ...................................................................................................................................................... 9 Withdrawal from the Program ............................................................................................................................................. 9 Dismissal Policy .......................................................................................................................................................................... 9 Animation Mentor Policies and Procedures ..........................................................................................................10 Administrative Offices ............................................................................................................................................................10 Holiday Schedule ......................................................................................................................................................................10 Attendance ..................................................................................................................................................................................11 Vacation Policy .........................................................................................................................................................................11 Student Monitoring Policy .....................................................................................................................................................11 Student Complaint Procedures ...........................................................................................................................................11 Visa Services ..............................................................................................................................................................................12 A Message from the School Administration ..................................................................................................................12 Character Animation Courses .......................................................................................................................................................13 Animation Basics ......................................................................................................................................................................13 Body Mechanics ........................................................................................................................................................................13 Advanced Body Mechanics ..................................................................................................................................................13 Introduction to Acting............................................................................................................................................................13 Advanced Acting .....................................................................................................................................................................14 Feature Animation Acting & Polish ...................................................................................................................................14 12 Week Courses .................................................................................................................................................................................................15 Creature Animation: Locomotion ......................................................................................................................................15 Creature Animation: Fight or Flight ..................................................................................................................................15 Introduction to 3D Character Modeling ..........................................................................................................................15 3D Character Modeling 02 for Games .............................................................................................................................15 Workshops ....................................................................................................................................................................................................................16 Animation for Beginners .............................................................................................................................. 16 Maya Workshop: Animation Basics ...................................................................................................................................16 2D Animation for Beginners.................................................................................................................................................16 2 Intermediate Animation ................................................................................................................................ 16 2D Animation:Walk Cycles and Character Movement ...............................................................................................16 Advanced Animation ..................................................................................................................................... 17 Cartoony Animation for 3D Animators ............................................................................................................................17 Previsualization Basics for Animators ..............................................................................................................................17 Game Animation ............................................................................................................................................. 17 Game Animation Fundamentals .........................................................................................................................................17 Game Animation Combat Attacks .....................................................................................................................................17 Concept Art ..................................................................................................................................................... 18 Introduction to Digital Painting ..........................................................................................................................................18 Visual Development: Principles of Design ......................................................................................................................18 Storyboarding ................................................................................................................................................. 18 Storyboarding Fundamentals ..............................................................................................................................................18 Intermediate Storyboarding ................................................................................................................................................18 Appendix A: 2021-2022 Schedule..........................................................................................................................................19 Appendix B: 2021-2022 Tuition .................................................................................................................................................20 Computer System Requirements ............................................................................................................................................21 Hardware Requirements ........................................................................................................................................................21 Software - Supported Maya Versions ..............................................................................................................................21 Software
Load more

Recommended publications
  • Animating Quadrupeds: Methods and Applications
    DOI: 10.1111/j.1467-8659.2008.01312.x COMPUTER GRAPHICS forum Volume 28 (2009), number 6 pp. 1541–1560 Animating Quadrupeds: Methods and Applications Ljiljana Skrba1, Lionel Reveret2,FranckHetroy´ 2, Marie-Paule Cani2 and Carol O’Sullivan1 1Graphics, Vision and Visualisation group, Trinity College, Dublin, Ireland 2EVASION – LJK, CNRS, INRIA, University of Grenoble, Grenoble, France Abstract Films like Shrek, Madagascar, The Chronicles of Narnia and Charlotte’s web all have something in common: realistic quadruped animations. While the animation of animals has been popular for a long time, the technical challenges associated with creating highly realistic, computer generated creatures have been receiving increasing attention recently. The entertainment, education and medical industries have increased the demand for simulation of realistic animals in the computer graphics area. In order to achieve this, several challenges need to be overcome: gathering and processing data that embodies the natural motion of an animal – which is made more difficult by the fact that most animals cannot be easily motion-captured; building accurate kinematic models for animals, with adapted animation skeletons in particular; and developing either kinematic or physically-based animation methods, either by embedding some a priori knowledge about the way that quadrupeds locomote and/or adopting examples of real motion. In this paper, we present an overview of the common techniques used to date for realistic quadruped animation. This includes an outline of the various ways that realistic quadruped motion can be achieved, through video-based acquisition, physics based models, inverse kinematics or some combination of the above. Keywords: quadruped animation, animal biomechanics, motion capture, animation from video ACM CCS: I.3.7 [Computer Graphics]: 3D Graphics and Realism – Animation 1.
    [Show full text]
  • AUDIENCE PERCEPTION of EXAGGERATED MOTION on REALISTIC ANIMATED CREATURES by Mackenzie Hammer
    AUDIENCE PERCEPTION OF EXAGGERATED MOTION ON REALISTIC ANIMATED CREATURES by Mackenzie Hammer A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Science Department of Computer Graphics Technology West Lafayette, Indiana August 2019 2 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Prof. Nicoletta Adamo, Chair Department of Computer Graphics Technology Prof. Andrew Buchanan Department of Computer Graphics Technology Prof. Esteban Garcia Department of Computer Graphics Technology Prof. Dan Triplett Department of Computer Graphics Technology Approved by: Dr. Colin Gray Head of the Graduate Program Prof. Nicoletta Adamo Head of the Graduate Program 3 To my parents, brother, sister, and fiancé. For their continuous love and support in my pursuit to study Animation, and for the patience they had to listen to the many ramblings of a passionate artist along the way. 4 ACKNOWLEDGMENTS I wish to gratefully acknowledge my professors and thesis committee members for their insightful guidance, encouragement, and contribution to the completion of this work. 5 TABLE OF CONTENTS LIST OF TABLES .......................................................................................................................... 7 LIST OF FIGURES ........................................................................................................................ 8 ABSTRACT ...................................................................................................................................
    [Show full text]
  • Digital Creature Animation – Full-Time | Trafalgar Road Campus | 1 Yr Technical Direction (3 Semesters) Launch Or Advance Your Career in Creature Computer Animation
    Employer 94% Satisfaction* with the knowledge and skills that our graduates possess. FACULTY OF ANIMATION, ARTS & DESIGN Ontario College Graduate Certificate Program Code: PCDCA Digital Creature Animation – Full-time | Trafalgar Road Campus | 1 yr Technical Direction (3 semesters) Launch or advance your career in creature computer animation. Develop an in-demand computer animation skill. Create characters and creatures audiences Earn your master’s in 3D will remember Develop career-ready skills animation studying abroad Working in the Sheridan Centre for • Study advanced computer Sheridan has an arrangement with the Animation and Emerging Technologies animation techniques Dun Laoghaire Institute of Art and Design (SCAET), you’ll advance in your ability to • Study and apply physically accurate and (IADT) in Ireland. Graduates of Sheridan’s create memorable characters/creatures, technical animation Digital Creature Animation post-grad from script to storyboard to modelling and certificate program from 2009 or later can • Study advanced rigging and modelling advanced rigging, all the way through to apply to IADT to earn their master’s degree • Expand your portfolio post-production. in 15 weeks. • Showcase your technical skills and creativity * 2018 Key Performance Indicator (KPI) survey results produced by the Ontario Government, Colleges Ontario and student associations. Percentage shown reflects the average employer sheridancollege.ca satisfaction across all Sheridan programs over the last five years. Admission Requirements Program Eligibility • Sheridan’s Computer Animation Program or equivalent as assessed by Sheridan. Career Opportunities and Graduates of our program have a specialized, highly marketable skill that translates • A postsecondary diploma or degree in art directly to the workplace. They enjoy career opportunities in such industries as: film, and/or design.
    [Show full text]
  • Arcade Game Animation
    Chapter 9 Arcade Game Animation In this chapter, you’ll learn about: w Animation w Animation properties and fundamentals w Sprites and grid squares w Core arcade game animation techniques w Creating animation sequences for arcade games w General animation tips 293 294 Chapter 9 / Arcade Game Animation What is Animation? Animation is the process that produces the illusion of movement. It works by dis- playing two or more image fragments called frames (also commonly referred to as cells). When these frames are displayed in rapid succession with subtle changes made to their content, our eyes register these changes as movement. Animation is not a mystical art. Rather, it’s a well-established process that com- bines the aesthetics of design with real-world physics in order to breathe life into what are otherwise static objects and scenes. This chapter will introduce the fun- damental concepts behind animation to you so that you can create and implement animation in your own arcade game projects. Animation Properties and Fundamentals To be able to create effective animation, you must learn how to divide the ele- ments of motion into their basic components. This means breaking them down into a sequence of easy-to-follow frames. However, before you can do this, you must first learn and master two things: the art of observation and the characteris- tics of basic motion. The secret behind creating great animation lies in keen observation and the ability to focus on the subtle details of how different objects move. Every object exhibits certain peculiarities as it moves.
    [Show full text]
  • 2D Animation Software You’Ll Ever Need
    The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived.
    [Show full text]
  • MONSTERS INC 3D Press Kit
    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
    [Show full text]
  • STEFANIE SCHEIL | ANIMATOR [email protected] | FACT SHEET
    STEFANIE SCHEIL | ANIMATOR [email protected] | www.scheil3d.com FACT SHEET Name: Stefanie Scheil | Date of Birth: 04.10.1980 | Residence: Berlin & Düsseldorf, Germany Work Experience Animator (6+ years) Animation Lead (1+ years) Previs Artist (6+ years) Maya Generalist (10+ years) CG Supervisor (2+ years) Diplom Digital Artist (since 2007) Software Skills Maya (experienced) Photoshop (experienced) Houdini (basics) Zbrush (intermediate) Nuke (basics) Python (intermediate) Languages German (native) English (fluent) French (basic) Other (not exactly relevant) Skills Saxophone & Clarinet (20+ years) Ukulele (5+years) Patchwork & Woodworking (10+ years) TIMELINE 2020 Goodbye Kansas - Animator (VFX Creature, Netflix Series) Rise FX - Animator (VFX Feature Film) 2019 Rise FX – Animator ("Shazaam", Feature Film) Storz&Escherich – Animator (Creature Animation, Commercial) omstudios – Character Artist ( Character Poses, Print) Parasol Island – Previs Artist Rise FX – Animator ("Kingdome of Fire", Feature Film) ("Babylon Berlin", TV Series) 2018 Rise FX – Animator ("Avengers: Infinity War", Feature Film) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Animator ("Hellboy", Feature Film) 2017 Katalyst Berlin – Animator (Commercial) Rise FX – Animator ("Babylon Berlin", TV Series) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Animator ("Jim Button", Feature Film) 2016 Rise FX – Animator ("Renegades", Feature Film) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Previs Animator ("Jim Button",
    [Show full text]
  • Animation and Machines: Designing Expressive Robot-Human Interactions Ⅰ
    http://dx.doi.org/10.7230/KOSCAS.2017.49.677 Animation and Machines: designing expressive robot-human interactions Ⅰ. Introduction Ⅱ. Expanded animation Ⅲ. Animation and ubiquitous computing Ⅳ. Social Robots: a survey of the state of the art Ⅴ. Cartoons, animators and robots Ⅵ. Conclusion References 국문초록 Joao Paulo Amaral Schlittler ABSTRACT Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to Vilém Flusser they aren’t. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech.
    [Show full text]
  • Örs Bárczy Relevant Skills Work Experience
    First name/Surname Örs Bárczy Tel +36 20 227 7634 Email [email protected] Website www.barczyors.hu Nationality Hungarian Place of Residence Budapest, HUN Showreel & Pass vimeo.com/137701565 LinkedIn linkedin.com/in/barczyors Relevant Skills CG Skills Lighting, Rendering, Compositing, LookDev, Shading and Supervising which are all visible in depth in my showreel and website. Quality Light & Comp I faced multiple artistic challenges while working on various projects for Tim Miller & David Fincher’s: Love Death & Robots, Riot Trailers, Activision: Call of Duty cinematics or Carlos Baena’s unique La Noria short movie. The common in all these projects that the visual guide and quality references required a passionate, high quality lighting and compositing work and complex technical solutions. Team player & well organised I was managing and supervising a team of 5 while working in Puppetworks as a lead artist. I believe the key is the pleasant environment, good production plan, the team member’s individual interest and to never forget to appreciate their valuable work. Work Experience 2019 May – Currently Senior Lighting and Compositing Artist – Joined again to Digic for an unnuanced high quality feature project. Lighting then finalizing the images and the overall mood of the movies. Promoted to Senior role in 2020 April. Digic Pictures, Budapest. Clients: Netflix, Riot, Activision, Ubisoft etc. 2018 Feb – 2019 May Lead Lighting & Compositing Artist - Helping Puppetworks to developing Light & Comp workflow and multistage production system for an unannounced project and some trailers. Started as: LookDev Artist in 2018, then promoted to Lighting Lead. Puppetworks Animation Studio, Budapest. Clients: Frontier, Universal Pictures, THQ Nordic, FunPlus etc.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • Animayo 2008 Mike Booth – Animayo 2008
    INTRODUCCIÓN La Muestra Internacional de Cine de Animación ANIMAYO, que el pasado año 2008 celebró su tercera edición, es un punto de encuentro e intercambio para los profesionales de la animación y para todos los que disfrutamos de ella. Un lugar donde las ideas, la creatividad y el arte de animar, se muestra al público a través de una depurada selección de trabajos, escuelas y artistas. Organizada por el Cabildo de Gran Canaria a través de Gran Canaria Espacio Digital, con la colaboración de Canarias Cultura en Red y bajo la dirección y producción del director de cine de animación Damián Perea, Animayo permite establecer un diálogo entre la producción más actual e innovadora y la obra de los creadores de animación tradicional, no estando sujeto a los condicionantes de la procedencia o de la técnica y con el único criterio que lo rige, que es el de la calidad. Animayo es una muestra abierta al público en general, que pretende servir de instrumento para la difusión del cine de animación más novedoso, comprometido y apasionado de todos los tiempos, destacando de manera especial aquellas producciones que han sabido enriquecer y potenciar las capacidades expresivas de la animación. Precedida del éxito rotundo que ha ido acumulando a lo largo de estas tres ediciones y que nos ha permitido triplicar la participación ciudadana en la última convocatoria (aspectos que analizaremos con detenimiento en el apartado “valoraciones”), la Muestra ha demostrado la madurez y estabilidad necesarias para que pongamos sobre la mesa el firme planteamiento, de cara a 2009, de hacerla crecer.
    [Show full text]
  • VIEW Conference 21 – 26 Ottobre 2018 OGR – Corso Castelfidardo, 22 – Torino
    19a CONFERENZA INTERNAZIONALE DI VFX E COMPUTER GRAFICA VIEW Conference 21 – 26 ottobre 2018 OGR – Corso Castelfidardo, 22 – Torino www.viewconference.it © Disney•Pixar #VIEWCONFERENCE2018 PROGRAMMA #VIEWCONFERENCE2018 DOMENICA 21 OTTOBRE 13:00 - 14:30 VISUAL STORYTELLING: TUTTE LE PEPITE DELLA SALA DUOMO WORKSHOP STORIA CHE NON SAI DI AVERE VISTO 14:00 - 18:00 IMPARARE A FORMULARE UN BUSINESS PITCH DA DANIELLE FEINBERG, Vincitrice Annie Award Direttrice Fo- ALCUNI DEI MIGLIORI VENTURE CAPITALIST tografia per l’Illuminazione, PIXAR Animation Studios SHELLEY LK, Managing Partner, Affiniti Ventures, AV(M) 15:00 - 17:00 MAXON CINEMA 4D PER GUERILLA VFX DAVID MOLYNEUX, Director, Games Co. London MASTERCLASS HELGE MAUS, Titolare Pixeltrain 3D, VFX, Istruttore 18:00 - 19:30 IMPARA A FARE UN BUSINESS PITCH superiore certificato per Maxon GLENN ENTIS, Co-Fondatore di PDI, Vincitore Premio Oscar 17:00 - 19:00 RENDERMAN 22 DI PIXAR: INCREDIBILI EVOLUZIONI MASTERCLASS DYLAN SISSON, RenderMan, PIXAR Animation Studios SALA DOPOLAVORO 9:00 - 11:00 FONDAMENTI DI STORYBOARD MASTERCLASS EMANUELA COZZI, Storyboard Artist, LAIKA STORYBOARD 16:00 - 17:30 IL MOMENTO DI MILA © Universal Studios – Amblin Entertainment, Inc MASTERCLASS SHELLEY LK, Managing Partner, Affiniti Ventures, AV(M) CINZIA ANGELINI, Regista, Story Development, Head of LUNEDÌ 22 OTTOBRE Story, Cinesite Workshop/Masterclass SALA ACQUARIO SALA FUCINE 9:00 - 10:30 SMALLFOOT: UN MITICO MALINTESO SPIEGATO 9:00 - 11:00 Programma riservato alle scuole WORKSHOP KARL HERBST, Supervisore Generale
    [Show full text]