Animation Preproduction Syllabus for Animation 3rd Sem 2017 Pattern Mumbai University

Animation Preproduction detailed Syllabus Scheme for Bachelor in Animation (Animation), 2017 regulation has been taken from the University of Mumbai official website and presented for the Engineering students. For Course Code, Course Title, Paper Type, Marks Assigned, Theory Hours/Eqvt, Practical Hours, Credits and other information, do visit full semester subjects post given below.

For all other Mumbai University Bachelor in Animation 3rd Sem Syllabus 2017 Pattern, do visit Animation 3rd Sem 2017 Pattern Scheme. The detailed syllabus scheme for animation preproduction is as follows.

Animation Preproduction Syllabus for 2nd Year 3rd Sem 2017 Pattern Mumbai University

Animation Preproduction

UNIT 1

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UNIT 2

STEPS IN PRE PRODUCTION – IDEA & CONCEPT DESIGN – THIS IS THE INITIAL STEP THAT WILL SERVE AS THE IMPETUS FOR CREATING AN ANIMATED FILM. WHETHER IT IS A SHORT FILM, A FULL-LENGTH ANIMATED FILM OR PART OF LIVE ACTION-SHOTS,IT ALL BEGINS WITH THE IDEA, CONCEPT DESIGN. IT SIMPLY REFERS TO THE GENERAL UNIFYING IDEA OR THEME THAT PROVIDES THE GENERAL DIRECTION. 2

UNIT 3

SCRIPTING – THE SCRIPT IS JUST A WRITTEN DESCRIPTION OF THE ANIMATION AND CONTAINS INFORMATION ABOUT EACH SCENE. SOME OF THE IMPORTANT INFORMATION WRITTEN IN A SCRIPT INCLUDES THE DIALOGUE, SET DESIGN, CHARACTER DESCRIPTIONS, CHARACTER ACTIONS, AND CAMERA POSITIONS, ETC. THE SCRIPT IS BASICALLY A BLUE PRINT FOR THE WHOLE ANIMATION. THIS STEP IS IMPORTANT BECAUSE IT GIVES AN OVERVIEW OF WHAT THE ENTIRE ANIMATION IS GOING TO BE AND ALLOWS THE STORYBOARD ARTIST TO PRODUCE A CLEAR AND CONCISE STORYBAORD. 4

UNIT 4

UNIT 5

VOICE RECORDING – FIRST TEMPERORY SCRATCH VOICES ARE RECORDED BY ARTIST AS PER THE FINAL SCRIPT. LATER WHEN THE STORY & DIALOUGE ARE FINLIZED, PROFESSIONAL ACTORS ARE INVOLVED IN RECORDING THE CHARACTER VOICES, READING THE SCRIPT AND IMPROVISING. ACTORS MUST RECORD LINES SEVERAL DIFFERENT WAYS AND THE BEST READING IS EVENTUALLY ANIMATED. SOMETIMES SCRATCH VOICES ARE SO GOOD, THEY ARE NOT REPLACED.

UNIT 6

EXPOSURE SHEETS – EXPOSURE SHEETS ARE USED BY THE ANIMATOR TO KEEP TRACK OF ALL THE DRAWINGS THAT THEY’RE GOING TO BE ANIMATING, THE TIMING OF EACH DRAWING, THE ORDER THEY GO IN WHEN SHOOTING AS WELL AS THE LEVELING – PRODUCTION NUMBER – SCENE NUMBER – SCENE FOOTAGE OR SCENE LENGTH -DESCRIPTION, ANIMATOR – NUMBER OF DRAWINGS 2

UNIT 7

UNIT 8

LAYOUT: ESSENTIALLY A LAYOUT ARTISTS TAKES THE STORYBOARDS AND TRANSLATES EACH SCENE INTO A USABLE SET OF DRAWINGS FOR THE ANIMATORS. IN THE OLD PAPER AND PENCIL DAYS THEY WOULD BE KEPT IN A FOLDER AND PASSED ONTO THE ANIMATORS AND BACKGROUND ARTISTS, NOW THEY’D BE STORED DIGITALLY IN MOST CASES IN SHARED FOLDERS. ELEMENTS OF A LAYOUT THE FIELD GUIDE AND CAMERA GUIDE, DOPE SHEETS, THE CHARACTER POSES, THE CLEANED UP BACKGROUND, THE OVERLAYS OR UNDERLAYS, AND EFFECTS ELEMENTS. EVERY ELEMENT SHOULD BE LABELED 2

UNIT 9

STORYBOARDING – ONCE THE STORY AND CONCEPT ART IS ESTABLISHED, THE STORYLINE IS FINALIZED USING STORYBOARDS. HOW TO CONVERT YOUR SCRIPT OR IDEA INTO A WORKING STORYBOARD WITH ILLUSTRATIONS, SERIES OF BRAINSTORMING ACTIVITIES MIGHT BE CONDUCTED TO COME OUT WITH A STORYBOARD. THE STORY BOARD WILL DEFINE THE CAMERA ANGLES AND THE VISUAL CONTINUTY. THE CAMERA ANGLES AND MOVEMENTS SHOULD ENHANCE THE STORY TELLING ASPECTS ON THE SCREEN. 2

UNIT 10

UNIT 11

ANIMATICS- THIS IS THE FINAL STAGE OF PRE-PRODUCTION IN WHICH THE COMPLEX ANIMATION SEQUENCES AND VFX-HEAVY SCENES ARE VISUALIZED INSIMPLIFIED FORMS OR MOCK-UPS KNOWN AS ANIMATICS. THE INTEGRATION OF VISUALS, ROUGH VOICE OVER AND THE MUSIC WILL GIVE A FAIR IDEA FOR THE PRODUCER AND DIRECTOR ABOUT THE ENTIRE FILM. 2

UNIT 12

PROJECT PLANNING – ONLY AFTER THE STORY IS FINLIZEDAN ESTIMATED TIMELINE IS GIVEN FOR THE PROJECT, ALSO BASED ON THE TIME LINE AND THE MANPOWER THE COSTING IS WORKED OUT. WE KNOW OF ANIMATION COMPANIES THAT WILL QUOTE A FIXED PRICE PER RUNNING MINUTE/SECOND OF ANIMATION. VIDEO RESOLUTION: FIX THE VIDEO RESOLUTIONS, A HIGH-DEFINITION FOOTAGE INCREASES THE REQUIRED LEVEL OF DETAIL IN THEMODELS AND MATERIALS AND INCREASES RENDERING TIMES. SCENE COMPLEXITY: HOW MANY ANIMATED OBJECTS ARE IN THE SCENE? ARE THERE CHARACTERS OR OTHER ORGANIC SUBJECTS THAT WILL BE FEATURED? HOWMANY DIFFERENT SCENES ARE THERE IN THE ANIMATION? COMPOSITING: WILL THE ANIMATION BE INTEGRATED WITH LIVE ACTION (VIDEO) FOOTAGE? CAD MODELS : DO ACCURATE CAD MODELS EXIST THAT COULD BE LEVERAGED IN THE ANIMATION? AUDIO: DO YOU ALREADY HAVE A PRERECORDED NARRATION OR RIGHTS TO MUSIC THAT YOU WOULD LIKE TO USE, OR WILL WE BE RESPONSIBLE FOR THE AUDIO PORTION AS WELL? 2

UNIT 13

PRACTICAL EXCERCISE

OUTDOOR SKETCHING – LANDSCAPE, PERSPECTIVE DRAWING, OBJECT STUDY AND STILL LIFE.
CREATE A STORY BOARD FOR A 1 MINUTE STORY SEQUENCE -WITH DIALOGUE AND ACTION NOTE
CREAE AN ANIMATICS OF THE STORY BOARD WITH ROUGH SOUND AND VOICE OVER.

Reference Books:

ANIMATION FROM PENCIL TO PIXEL
FORCE CHARACTER DESIGN FROM LIFE DRAWINGS
HOW TO MAKE ANIMATION FILMS – BY TONY WHITE

REFERENCE LINKS

For detail syllabus of all other subjects of Bachelor in Animation (Animation), 2017 regulation do visit Animation 3rd Sem Subjects syllabus for 2017 regulation.

InI MH