1/8/2016 Syllabus for FIL3734C_CMB-16Spring https://webcourses.ucf.edu/courses/1166430/assignments/syllabus 1/9 Jump to Today Course Syllabus FIL 3734C061: INTERMEDIATE ANIMATION (11783) School of Visual Arts and Design, College of Arts and Humanities, University of Central Florida COURSE SYLLABUS Instructor Contact Instructor: Assistant Professor Matt Dombrowski Term: Spring 2016 Office: Main Campus: VAB 105M (Enter through the Front VAB office to check in) Class Meeting Days: Thursdays Phone: Email and/or webcourses is the preferred method of contact. Class Meeting Hours: 9:00AM 10:50AM & 12:00PM 1:50PM EMail: [email protected](mailto:[email protected]) or via Web courses/Canvas Class Location: Expo Center (500 W. Livingston St. Orlando, 32801) Room 306 Website: www.digitalmediamentor.com (http://www.digitalmediamentor.com) Lab Location: Combined with Lecture at CEM Room 306 Office Hours: Monday, Tuesday, and Wednesdays 1pm3pm 16 Week Course Period: 1/11/2016 5/4/2016 Course Overview: Intermediate Animation: PR: Experimental Animation and Character Animation majors only, FIL 3720C and DIG 4780C, and successful portfolio review or C.I. Focus on 3D computer modeling and animation systems. Handson exercise on the type of highend animation systems used in the film industry. May be repeated for credit. Fall, Spring.Course Objectives: Expectations and Goals The goal of this class is to achieve excellence in technical proficiency, aesthetic quality, analytical thinking and problem solving, along with critical awareness and creative choicemaking that will better your chances in the working animation and design industry. Studio work will involve individual and group guided instruction and critique. Course work is expected both inside and outside of class. This a required core class for the School of Visual Arts and Design, it is expected students be creativity minded and will be treated, and graded, as if they were artists not just technicians, no exceptions. What you will learn: 12 Animation Principles utilized in a 3D computer workspace Applying traditional animation techniques learned in FIL3270 via 3D animation software How to create sophisticated industry quality movements using Autodesk Maya and Adobe Creative Cloud, as well as other industry level programs How to produce animated elements using various software Course Components and Requirements: Students should attend all lectures and in class demonstrations and participate in all assessments In addition, participation shall be judged by classroom decorum, discussion preparedness, critique commentary, and the execution of required outside of the classroom research Completed projects will meet assignment handout parameters, show technical and artistic proficiency, and be ready to attend scheduled critique participation. Students must show an understanding of basic computer navigation, competency in Autodesk Maya navigation and interface techniques, as well as, competency in Adobe Creative Cloud 2014+ including, but not limited to Photoshop & Illustrator
Lab Location: Combined with Lecture atCEM Room 306
Office Hours: Monday, Tuesday, and Wednesdays 1pm3pm
16 Week Course Period: 1/11/2016 5/4/2016
Course Overview:
Intermediate Animation:
PR: Experimental Animation and Character Animation majors only, FIL 3720C and DIG 4780C, and successful portfolio review or C.I. Focus on 3D computermodeling and animation systems. Handson exercise on the type of highend animation systems used in the film industry. May be repeated for credit. Fall,Spring.Course Objectives:
Expectations and Goals
The goal of this class is to achieve excellence in technical proficiency, aesthetic quality, analytical thinking and problem solving, along with critical awareness andcreative choicemaking that will better your chances in the working animation and design industry. Studio work will involve individual and group guided instructionand critique. Course work is expected both inside and outside of class. This a required core class for the School of Visual Arts and Design, it is expected students becreativity minded and will be treated, and graded, as if they were artists not just technicians, no exceptions.
What you will learn:
12 Animation Principles utilized in a 3D computer workspaceApplying traditional animation techniques learned in FIL3270 via 3D animation softwareHow to create sophisticated industry quality movements using Autodesk Maya and Adobe Creative Cloud, as well as other industry level programsHow to produce animated elements using various software
Course Components and Requirements:
Students should attend all lectures and in class demonstrations and participate in all assessmentsIn addition, participation shall be judged by classroom decorum, discussion preparedness, critique commentary, and the execution of required outside of theclassroom researchCompleted projects will meet assignment handout parameters, show technical and artistic proficiency, and be ready to attend scheduled critique participation.Students must show an understanding of basic computer navigation, competency in Autodesk Maya navigation and interface techniques, as well as,competency in Adobe Creative Cloud 2014+ including, but not limited to Photoshop & Illustrator
Required Materials and Software (No exceptions to list below):
Access to working Internet and UCF Webcourses/CanvasA personal YouTube account (All course related videos should be uploaded as public or unlisted)Access to Adobe Creative Cloud (CC) or higher AutoDesk Maya 2016A set of headphones for listening to sound from the computers in the labAt least 10 GB of Digital Media to back up and store your files (ie: Flash Drive, or external Hard Drive)Physical notebook and pen or pencil for notes
Supplementary (Optional) Texts and Materials (Recommended Readings)
Stop Staring: Facial Modeling and Animation Done Right by Jason Osipa Sybex Inc ISBN 9780470609903http://www.amazon.com/StopStaringFacialModelingAnimation/dp/0470609907 (http://www.amazon.com/StopStaringFacialModelingAnimation/dp/0470609907)
(http://www.amazon.com/StopStaringFacialModelingAnimation/dp/0470609907) The Animator's Survival Kit by Richard Williams; ISBN10: 0571202284ISBN13: 9780571202287http://www.amazon.com/TheAnimatorsSurvivalRichardWilliams/dp/0571202284 (http://www.amazon.com/TheAnimatorsSurvivalRichardWilliams/dp/0571202284)
Grading Policies:Materials will be addressed by the following methods:
Face to Face and Online LecturesOnline and Face to Face technical demonstrationsFace to Face critiquesWeb/Video/Text content
Basis for Final Grade
Your final grade will be determined by the average of your projects, as well as any assessment results, lecture and lab attendance. Projects will be graded by theprofessor on a numerical scale and will be based on the achievement of the objectives specified for the assigned project. Grades will be awarded both technicallyand aesthetically. The students will not be judged on improvement, but on the execution of the projects’ objectives. Plagiarism, intentional or otherwise, WILL NOT
be tolerated and result in an automatic failure of the course. All work must be 100% created by the student unless provided by the professor.
Grade changing factors included:
Attendance and Class Participation • Projects • Assignments
**Attendance/Participation. Attendance is calculated at the end of the semester and taken off final grade average.
Assessments Percentage
Exercises 20%
Posing Assignments 15%
Project 13 (15 points each) 45%
Final Project 20%
Total Class Percentage 100 %
Grading Scale (%)
90100 A
80 89 B
70 79 C
60 69 D
0 59 F
Grade Dissemination:
Graded projects in this course will be returned through the use of Canvas grade book. You can access your scores at any time using "Grades" tab in the Canvas
portal. You will receive additional critique and comments via your canvas account. If you need help accessing Canvas Grades please see the Help button at the topright corner of this browser.
Participation each week in this class is required to get a passing grade. It is the responsibility of the student to keep up with the course calendar and weeklyworkload. Students also must participate in class discussions, face to face and online activities when asked to benefit completely from the instructed course content.Interactive course elements and weekly information can be found in Canvas on the course calendar. I highly suggest you review your calendar before and after eachlecture and lab to achieve the best chance for a successful course experience.
Grade Distribution Explanation:
The following information should help you understand what I expect to see in each students work and how I determine specific letter grades. Rubrics will be providedfor each project but these explanations will further answer the question "why" when it comes to grading. Remember, this is more than a just a button pushingtechnical class; please treat this as you would any 2D or 3D fundamental core art course. You will find additional grading rubric information on your individualassignment sheets.
A Excellent, high quality craftsmanship and demonstrated motivation for pushing his or her own limits and explored alternative solutions. Student has successfullyand creatively completed all requirements for the assignment and demonstrated outstanding competencies in the program by displaying creative solutions whichpossibly required additional research into the program beyond that which is already expected. Project must be turned in on time and in working condition that meetsthe written requirements before it can even be considered for an "A". Project and assignment has little to no improvements needed and student has shown acomplete mastery of the objective at hand.
B Above average, good work with obvious experimentation shown. All requirements for the project are met, and the quality of work is good to very good withevidence of doing more than necessary. However, the student left room for improvement in quality, skill level or both. Student hasn't completely shown a masteryof the project and has various improvements they still need to make.
C – Good, average, acceptable work with room for improvement. All projects that meet all of the project requirements and are turned in on time in the correctformat will fall into the C category first, then studied carefully to determine if a higher grade is warranted based on the above principles. A "C" means the studenthas produced work, which meets all of the project requirements and is turned in on time in the correct format, but is lacking exception and demonstrates mediocrity. All requirements for the project are met, but with only the minimum effort, attention to detail, professionalism and overall quality. The student conducted noadditional exploration and bare minimum was completed.
D – Student has produced below average work with an apparent lack of effort or incomplete work. Probable reasons would include not allowing enough time tocomplete the project, no motivation, a lack of preparation and research or not following directions. Also, work that is not turned in with the appropriate format suchas .jpg or .swf to name just a few. Projects that work and demonstrate proficiency in the program but do not meet the project requirements, i.e. a student turns in avector graphic cartoon, when the assignment was to create a raster art digital painting. Invalid naming convention will immediately start the students grade at the Dlevel, then further assessment on the project will commence.
F Minimum requirements were not met. Student has not grasped content that was given.
Workload and goals:
I hope each student comes into this class with a passion for exploring and learning new things relevant to their field of study. This class is structured to encouragecuriosity in the methods and tools used to create industry level graphic design. Each student is expected to spend a reasonable amount of time outside of classeach day exploring the concepts and programs, even if only satisfying their own curiosity. The more time you spend experimenting with the tools and concepts, thebetter you will be able to use them successfully.
I will not be concerned with the exact amount of time each student spends on the projects, therefore, the time you spend will not be considered into the grade but theamount of time you spend should directly benefit the outcome of your project, which, of course, directly affects your grade.
Assignment Submission Procedure:
Projects will be required to be submitted via webcourses. Students may find the submission link under the assignment tab and the respective assignment that isdue. Projects will be assigned in writing and explained orally with visual aids. Projects must be turned in using the all perimeters listed on the specific project'sassignment sheet.
Please not that emailed assignments are NEVER accepted. Only assignments uploaded before the listed due date on canvas will be considered for grading.
It is highly suggested to screen grab/print screen all digital submissions and online exams. This will act as your "digital timestamp" in case of a technical issue.Make sure your screen grab contains a clear shot of the submitted file in its properly uploaded folder and directory with timestamp. Keep these screen grabs foryour personal records; they do not need to be emailed to me after each submission. Remember, having a time stamp does not guarantee you a grade. It issuggested to contact your professor during business hours (before 5pm and the projects due time) if a problem arises. This way your professor might respond with
possible solutions (please see email response policy). It is also highly suggested to submit your assignments during business hours and, if possible, days early toavoid any unforseen errors.
All projects are electronically dated and time stamped when submitted so there should be no question about when the project was submitted. Projects can besubmitted multiple times up until the closing time listed on your project assignment sheet. If multiple submissions exist on the server the last one submitted will bethe one you are graded on. Make sure the project you are submitting works properly on YouTube and visually appears similar on a Mac and PC. All projects will begraded on Apple Computers. Please be mindful of your final submission type. Do not turn in a .psd file if the requirements are to submit a rendered .jpg image, thiswill result in a “0”.
You must be in class at the time of the exams/assessments are distributed or it will be a “0”. The instructor reserves the right to turn a student away from anassessment if the student shows up after the assessment has been distributed to the class. This will also result in a “0”.
Late Work Policy:
I don’t accept late work. Ever. All course material will be available to you weeks in advance to your submission date. This should give you enough time to have aalternate plan of action in the, hopefully, rare case of an emergency.
To reiterate the above statement, late assignments/exams will not be accepted. It is suggested to submit your projects a day or multiple business hours before theassigned due date. Please do not wait until the last minute for submission. Remember, you always have the option to resubmit files multiple times before their listeddue date. There are no makeups for assessments and demos. All assessments must be turned in during the dates provided on your course calendar and thatassessments assignment specification sheet.
Assignments, Quizzes and Projects will be turned in via Canvas assignments section. For additional critique, you are more than welcome to visit me during my officehours, listed at the top portion of this syllabus. Projects not turned in by the proper due date will result in a zero mark for the project. Class participation during labcritique times is expected and will be an important factor in your grade.
Digital Submission Policy:
I do not accept assessments for submission via email, disk or jumpdrive etc. All projects must be turned in via the proper documented submission area on webcourses. It is the student’s responsibility to test the project that was uploaded by either accessing it on Canvas, or downloading it to a computer to ensure everythingis working properly. If your project does not work when it is submitted you will receive a 0, even if you have a working project on your own computer.
Redo/Extra Credit Policy:
There will be no extra credit given.Grades are not rounded up, what you see on Canvas grades is what you get (no exceptions).Redo grades/projects will not be assigned.
Grades of "Incomplete":
The current university policy concerning incomplete grades will be followed in this course. Incomplete grades are given only in situations where unexpectedemergencies prevent a student from completing the course and the remaining work can be completed the next semester. Your instructor is the final authority onwhether you qualify for an incomplete. Incomplete work must be finished by the end of the subsequent semester or the “I” will automatically be recorded as an “F” onyour transcript.
Course Policies: Technology and Media
Email Policy:
Students are required to check their Knights email account and Canvas accounts multiple times, on a weekly basis for notices concerning the course. Only contactthe instructor using your knight’s email or Canvas messaging account. You will not be contacted through any other email besides this one ([email protected]
(mailto:[email protected]) ), or via webcourses on Canvas, so please, check each week before class. It is a good idea to set your Canvas to send all notifications toyour knight’s email to avoid any confusion.
Emails must contain the following information to merit a response:
Student’s last name and enrolled class number (FIL3734) in subject lineStudent’s full name (First and last) must be at the end of the email
Email response policy:
Emails that will not merit a response: (if an email containing a topic listed below is sent, you will simply be referred to your syllabus)
Questions concerning information clearly found on your course calendar and syllabus. (i.e., when are office hours?, where do I find what i need to do?)
Excuses for failing to upload a project on time (i.e. internet or program/personal computer based issues). Remember you have access to the VAB lab all week,
so be proactive and get your projects and assignments done early.
A question regarding when something is due. Check your assignment sheet and your course calendar.
Please allow up to 48 Business hours for email responses. If email is sent after 5pm, do not expect the reply until the following business day. All emails sent on
Friday after 5pm can expect a response no earlier than the following Monday, so please plan your questions accordingly.
Entry Level Expectations:
All students taking this class will be expected to have successfully completed the required prerequisites outlined in the SVAD class descriptions. Also, the ability to
be creative and artistic is essential to this course. SVAD Design courses are not just about programming, and in turn, not just about design. It requires a
combination of technical logic and visual communication. Any students who feel like these expectations are above their current skill level should consider taking
other courses, or consider a different academic path. You are expected to research and try to problem solve before coming to the instructor for assistance.
Documentation and proof of your personal class content based research (i.e. notes, tutorials) may be asked to be provided when asking questions during class time
and office hours.
Lecture/Demo Policy:
During the semester, I will be giving presentations, critiques, tutorials and demonstrations during class. I expect students to follow along and take notes as
appropriate to each student. You are more than welcome to video and audio record my lectures. With that said, if you ask me a question, I will often times have you
refer to your notes first being that we might have discussed it multiple times during that lecture/lab. If you have not taken notes, expect that I will not repeat the
content to you. Please bring your notes with you during any consultation during office hours.
Webcourses Policy:
This course will heavily use the Canvas webcourse page. Students are required to check their course Canvas page once per day to assure they are uptodate on
all course activities. All graded assessments will be submitted via the GRA3803 Canvas page.
Canvas Site Breakdown (tabs found on the left side of your browser window)
Home Tab: Here you will find a course calendar. This course calendar contains a more detailed breakdown of your weekly expectations. You will find interactive
links to your checklists and are expected to utilize this calendar, and its content every week.
Syllabus Tab: Here you will find a breakdown of all the course policies and procedures.
Grades Tab: Grades will contain your points for each of your turned in assignments. Further explanation of grades and expectations are listed below and in your
assignment specification sheets.
Assignments Tab: Here you will find assignment breakdowns, examples, naming conventions, and turn in procedures for your projects. To upload an
assignment you must click on the assignment link and navigate to the upload assignment area (usually on the right column of the specific assignment page).
Laptop Usage Policy:
Laptops and mobile devices are for note taking and research/class work only. Playing unauthorized games, working on other class projects beyond this
course, going on social media and surfing the web for noncourse purposes is not permitted. If caught doing any of these, it will be considered a class disruption and
the student will be asked to leave the class for the day resulting in an absence.
Classroom Devices:
Students are encouraged to both audio and videorecord the lectures and demos to help further study the course material. Use those smart phones and tablets to
your advantage!
Course Policies: Student Expectations
Disability Access:
The University of Central Florida is committed to providing reasonable accommodations for all persons with disabilities. This syllabus is available in alternate formats
upon request. Students who need accommodations must be registered with Student Disability Services, Ferrell Commons Room 185, phone (407) 8232371,
TTY/TDD only phone (407) 8232116, before requesting accommodations from the professor.
All instructors/faculty are required to document students’ academic activity at the beginning of each course. In order to document that you began this course, pleasecomplete the following academic activity by the end of the first week of classes or as soon as possible after adding the course. Failure to do so may result in a delayin the disbursement of your financial aid.
Attendance Policy:
Attendance is mandatory for the successful completion of this course. We will be covering a great deal of important information every class and you’re expected toparticipate throughout the semester. Missing a single class can result in missing skills and knowledge paramount to creating a successful digital media portfolio. Each student is responsible for signing their own name in the appropriate spot, and may not ask to sign in after the class is over. The instructor reserves the right togive attendance incentives anytime during the semester, unannounced.
Lecture and Lab attendance are combined. Therefore if you miss a lecture and a lab in one given week you will have 2 absences.
Total of FOUR absences allowedThere are no excused absences. For any reason if you miss more than four days I suggest withdrawing from the class or pursuing a medical withdraw from thecourse if health concerns are inhibiting your learning. Please plan your absences accordingly no additional absences are given, no matter the reason.Each of your absences after that = auto reduction of 10 points for each additional classed missedLate arrival/tardiness, beyond the listed courses assigned start time will be treated as an absence for the day.Leaving class early will result in an absent mark for that day. Please do not leave early unless formally dismissed by the instructor.Students are subject to project grade deduction for failure to attend a required critique.For prolonged absences over the four allowed absences due to medical or family emergencies students are encouraged to seek a medical withdraw from thecourse.
Signin Sheet Policy:
A course sign in sheet will be handed out each facetoface meeting. Students may not sign in other students; this will result in dismissal for both students from thecourse and is grounds for additional academic discipline. Students will be required to initial the attendance sign in sheet at the designated time for each course.Students will be notified when role is to be taken.
It is your responsibility to sign under the correct date and name of the sign in sheet. If you do not sign in (i.e. forget) or sign in the wrong slot, you will be countedabsent for that day with no leeway will be given nor will the issue be discussed further.
Example: Student with course absences
4 absences allowed = You’re OK!5 absences not allowed = 10 point drop in final class grade. (Final B grade now becomes a C)6 absences = 20 point drop in final class grade (Final B grade now becomes a D)
Professionalism Policy:
Per university policy and classroom etiquette; mobile phones, iPods, etc. must be silenced during all classroom and lab lectures. Those not heeding this rule will beasked to leave the classroom/lab immediately so as to not disrupt the learning environment. Please arrive on time for all class meetings. Students who habituallydisturb the class by talking, using cell phones, arriving late, etc., and have been warned may suffer a reduction in their final class grade via the attendance policy.
Academic Conduct Policy:
Academic dishonesty in any form will not be tolerated. If you are uncertain as to what constitutes academic dishonesty, please consult The Golden Rule, theUniversity of Central Florida's Student Handbook (http://www.goldenrule.sdes.ucf.edu/) for further details. As in all University courses, The Golden Rule Rules ofConduct will be applied. Violations of these rules will result in a record of the infraction being placed in your file and receiving a zero on the work in question AT AMINIMUM. At the instructor’s discretion, you may also receive a failing grade for the course. Confirmation of such incidents can also result in expulsion from theUniversity. Students caught misrepresenting or plagiarizing course work will be asked to fill out the academic misconduct form. This course may contain copyrightprotected materials such as audio or video clips, images, text materials, etc. These items are being used with regard to the Fair Use doctrine in order to enhance thelearning environment. Please do not copy, duplicate, download or distribute these items. The use of these materials is strictly reserved for this online classroomenvironment and your use only. All copyright materials must be credited to their copyright holder.
Student Originality Agreement:
All projects and assignments are expected to be 100% original by the student. NO STOCK MATERIALS, GOOGLED IMAGES/TEXTURES, and TUTORIALS WILLBE ACCEPTED, UNLESS OTHERWISE NOTED!
If anytime during the semester a students assessment is determined to be not be completely the original work of the student that assessment will be counted as azero mark and result in a failure for the said assignment/project/quiz. Students will then be written up with an academic misconduct form which will be submitted tothe college for further action and record. This goes for both intentional and unintentional use of licensed work. So ask your grading professor well in advance so you
may be advised if you are breaking the originality agreement described above.
If you are ever in question that your work appears to be similar to another, please feel free to contact me via canvas or in office hours before the submission to
discuss your options.
Please visit http://osc.sdes.ucf.edu/process/roc (http://osc.sdes.ucf.edu/process/roc) for more information.
Third Party Software and FERPA Policy:
During this course you might have the opportunity to use public online services and/or software applications sometimes called thirdparty software such as a blog or
wiki. While some of these could be required assignments, you need not make any personally identifying information on a public site. Do not post or provide any
private information about yourself or your classmates. Where appropriate you may use a pseudonym or nickname. Some written assignments posted publicly may
require personal reflection/comments, but the assignments will not require you to disclose any personally identitysensitive information. If you have any concerns
about this, please contact your instructor.
Important Dates to Remember
All the dates and assignments are tentative, and can be changed at the discretion of the Professor, however Add/Drop, MidTerm and Final Exam times and places
are mandatory.
Add Deadline: Friday, January 15, 2016 11:59 PM
Drop Deadline: Thursday, January 14, 2016 11:59 PM
Grade Forgiveness Deadline Wednesday, March 23, 2016 11:59 PM
Withdrawal Deadline Wednesday, March 23, 2016 11:59 PM
Classes End Tuesday, April 26, 2016
Final Examination Period Thursday, April 28, 2016 Wednesday, May 04, 2016
Grades Available on myUCF Wednesday, May 11, 2016
No Classes Held during the following days
Martin Luther King Jr. Day Monday, January 18, 2016
Spring Break (Campus offices still open) Monday, March 07, 2016 Saturday, March 12, 2016
Study Day Wednesday, April 27, 2016
Religious Observances: Students are expected to notify their instructor in advance if they intend to miss class to observe a holy day of their religious faith. For acurrent schedule of major religious holidays, see the Faculty Center’s main web page under “Calendars,” and for additional information, contact the Office of
Diversity Initiatives at 4078236479.
12 Principles of Animation
1. Squash and Stretch defining the rigidity and mass of an object by distorting its shape during an action. The purpose of is to give a sense of weight and flexibilityto drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme
point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle
is the fact that an object's volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its
depth) needs to contract correspondingly horizontally.
2. Timing and Spacing spacing actions to define the weight and size of objects and the personality of characters. In 3D, the animation curves of a blocked shotare often created using "stepped" or "square" tangencies, which provides no interpolation between animation poses. This allows the animator to see the poses of the
animation without any strange and/or unintentional automatic interpolation. While this is sometimes problematic due to gimbal lock, seeing the poses in this way
allows the animator to adjust the timing of an animation quickly, without the distraction of the software's automatic interpolation.
3. Anticipation of animation the preparation for an action
4. Staging/Composition presenting an idea so that it is unmistakably clear
Thu Feb 4, 2016 Pose (https://webcourses.ucf.edu/courses/1166430/assignments/4287398) due by 2pm
Thu Feb 11, 2016 Pose Balance (https://webcourses.ucf.edu/courses/1166430/assignments/4287403) due by 2pm
Thu Feb 18, 2016 Pose Joy (https://webcourses.ucf.edu/courses/1166430/assignments/4287400) due by 2pm
Fri Feb 19, 2016 Character Walk with Attitude (https://webcourses.ucf.edu/courses/1166430/assignments/4287605) due by 11:59pm
Thu Feb 25, 2016 Pose Sadness (https://webcourses.ucf.edu/courses/1166430/assignments/4287399) due by 2pm
Thu Mar 3, 2016 Pose Exhaustion (https://webcourses.ucf.edu/courses/1166430/assignments/4287401) due by 2pm
Thu Mar 17, 2016 Pose Anger (https://webcourses.ucf.edu/courses/1166430/assignments/4287402) due by 2pm
Fri Mar 25, 2016 A Character with Action! (https://webcourses.ucf.edu/courses/1166430/assignments/4287609) due by 11:59pm
5. Follow Through and Overlapping Action Follow through and overlapping action is a general heading for two closely related techniques which help to render
movement more realistically, and help to give the impression that characters follow the laws of physics, including the principle of inertia. "Follow through" means that
loosely tied parts of a body should continue moving after the character has stopped and the parts should keep moving beyond the point where the character stopped
to be "pulled back" only subsequently towards the center of mass and/or exhibiting various degrees of oscillation damping. "Overlapping action" is the tendency for
parts of the body to move at different rates (an arm will move on different timing of the head and so on). A third, related technique is "drag", where a character starts
to move and parts of him take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as
arms or hair. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso's movement. Body parts with much
tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use
of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.
6. Straight Ahead Action and PosetoPose Action These are two different approaches to the actual drawing process. "Straight ahead action" means drawing
out a scene frame by frame from beginning to end, while "pose to pose" involves starting with drawing a few key frames, and then filling in the intervals later.
"Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to
maintain proportions, and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and
relation to the surroundings are of greater importance. A combination of the two techniques is often used.
Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation,
because of the advantages it brings in composition. The use of computers facilitates this method, and can fill in the missing sequences in between poses
automatically. It is, however, still important to oversee this process and apply the other principles discussed.
7. Ease In and Ease Out the spacing of the inbetween frames to achieve subtlety of timing and movement. The movement of the human body, and most other
objects, needs time to accelerate and slow down. For this reason, animation looks more realistic if it has more drawings near the beginning and end of an action,
emphasizing the extreme poses, and fewer in the middle. This principle goes for characters moving between two extreme poses, such as sitting down and standing
up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.
8. Arcs the visual path of action for natural movement
9. Exaggeration Accentuating the essence of an idea by way of the design and the action
10. Secondary Action Adding secondary actions to the main action gives a scene more life, and can help to support the main action. A person walking can
simultaneously swing his arms or keep them in his pockets, speak or whistle, or express emotions through facial expressions. The important thing about secondary
actions is that they emphasize, rather than take attention away from, the main action. If the latter is the case, those actions are better left out. For example, during a
dramatic movement, facial expressions will often go unnoticed. In these cases it is better to include them at the beginning and the end of the movement, rather than
during.
11. Appeal creating a design or an action that the audience enjoys watching
12. Solid drawing personality in character animation is the goal of all of the above
