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ARTV-1341-001 3-D Animation I
Prerequisite: ARTV 1303 and ARTC 1325
Three-dimensional (3-D) modeling and rendering techniques including lighting, staging, camera and special effects. Emphasizes 3-D modeling building blocks using primitives to create simple and complex objects.
Student ResourcesStudent Resources Website
Notice to Students enrolled in an educational program for preparation of issuance of certain occupational licenses:
Students enrolled in an educational program in preparation for obtaining certain occupational licenses are potentially ineligible for such license if the student has been convicted of an offense. For further information, please contact:
Melodie Graves
Justice Involved Advocate
Student Service Center 117
mgraves24@actx.edu
806-371-5995
Make appointment at https://melodiegraves.youcanbook.me
You can also contact the Legal Clinic, or the faculty member in charge of the educational program that you seek to enroll in. The further information you will receive will include notification to you of your right to request a criminal history evaluation letter from the licensing authority in order to clarify your particular situation.
(3 sem hrs; 2 lec, 4 lab)
Online Course
The Art and Science of Digital Compositing, Second Edition
By Ron Brinkmann
NukeX Compositing Software, by Foundry
Minimum Hardware Requirements
• x86-64 processor, such as Intel Pentium 4 or AMD Athlon, with SSE3 instruction set support (or newer).
• 5 GB disk space available for caching and temporary files.
• At least 8 GB of RAM.
• Display with at least 1280 x 1024 pixel resolution and 24-bit color.
• Graphics card with at least 512 MB of video memory and driver support for OpenGL 2.0 (minimum requirement).
• macOS 10.12 (Sierra)
• macOS 10.13 (High Sierra)
Minimum Hardware Requirements
• x86-64 processor, such as Intel Core 2 Duo or later.
• 5 GB of disk space available for caching and temporary files.
• At least 8 GB of RAM.
• Display with at least 1280 x 1024 pixel resolution and 24-bit color.
• Graphics card with at least 512 MB of video memory and driver support for OpenGL 2.0 (minimum requirement).
Introduction to VFX compositing incorporating multiple elements into the compositing workflow. Topics such as color correction, plate integration, green-screen lighting, rotoscoping, and advanced keying for traveling mattes. 3D animation, shaders, lights and materials will be discussed. Programs used: Photoshop, Nuke
Student Learning Outcomes:
• Students will be able to light live action elements and pull a high quality key from green screen footage.
• Students will be able to successfully composite various image sources into one professionally-integrated, composited image.
• Students will be able to build or create professional quality, production-ready 2D assets with external matte channels.
In order to receive your AC Connect Email, you must log in through AC Connect at https://acconnect.actx.edu .
If you are an active staff or faculty member according to Human Resources, use "Exchange". All other students, use "AC Connect (Google) Email".
Introduction to fundamental principles of motion through the exploration of traditional animation processes, including key framing and graph editor animation techniques. Emphasis will be on creating expressive movement with meaning through the principles of animation. Programs used: Photoshop, After Effects, Premiere, DaVinci Resolve
Student Learning Outcomes:
• Master timing and spacing as it pertains to digital workflows via the graph editor.
• Explore, experiment and understand various techniques used within the realm of vfx, animation and motion design.
• Conceptualize and execute animation from idea to final render and collaborate and communicate both in small and large teams.
There are 11 Explorations the student is required to submit.
Each assignment should be uploaded to the individual student folder on Google Drive.
Each assignment is worth 10% of the final grade, with the lowest of all assignments dropped.
Individual assignment rubrics we be available in the Module.
You are expected to watch the weekly class videos during the week they are assigned and complete the assigned homework. Often this involves finishing the course demonstrations. However, if you are not able to keep up with the work, contact the instructor before the week. Missing class for unexpected emergencies will be taken into account. Please discuss it with the instructor.
Section |
Video Title |
WEEK 01 |
|
| 01 A Over B | 00 Course Introduction - Digital Compositing |
| 10 Welcome to the Course | |
| 20 Introducing Nuke | |
| 30 Node-Based Software | |
| 40 The VFX Pipeline Part 01 | |
| 50 The VFX Pipeline Part 02 | |
| 60 The Nuke Interface | |
| 70 Toy Box of Nodes | |
| 80 Bringing Images Into Nuke | |
| 90 Finishing Our First Script | |
| 100 Know the Viewer Controls | |
| 110 Introducing Alpha Channels | |
| 120 The B-Pipe Method | |
| 130 King Kong Additional Elements | |
| 140 Build the Castle Shot | |
| Total (in Hours): | |
| 02 UFO Rough Landing | 10 Importing Footage |
| 20 Putting the Comp Together | |
| 30 Saving Your Work and Rendering | |
| 40 Writing Out Individual Frames | |
| Total (in Hours): | |
WEEK 02 |
|
| 03 Keyframing and Batman | 10 Caught In The Spiders Den |
| 20 What Is Key Frame Animation | |
| 30 Constant and Transform Nodes | |
| 40 Transform Node Properties | |
| 50 Setting Animation Keys | |
| 60 Animating the Bat Symbol Part 01 | |
| 70 Animating the Bat Symbol Part 02 | |
| 80 Adding the Spinning Element | |
| 90 Blending Modes and Finishing Up | |
| Total (in Hours): | |
| 04 Advanced Pixel Selections | 10 What Are Channels? |
| 20 SuperNova Over The Stars | |
| 30 Crazy Hair In Times Square | |
| 40 File Formats with Alpha Channels | |
| 50 Backgrounds of Floating Elements | |
| 60 Resampling Pixels | |
| Total (in Hours): | |
| 05 Read Nodes and the Dope Sheet | 10 Back to the Start Game |
| 20 The Read Node Details | |
| 30 Assembling The Farm Movie | |
| 40 Complete Assignment | |
| Total (in Hours): | |
WEEK 03 |
|
| 06 The Channel Challenge | 10 Exploration Introduction |
| 20 The Shuffle Node | |
| 40 Building the BMW | |
| 50 Color Correcting with Mattes | |
| 60 The Channel Challenge | |
| 70 Channel Practice with Maleficent | |
| 80 Complete Assignment | |
| Total (in Hours): | |
| 07 Black and White Points | 10 Introducing Color Correction |
| 20 Black White Points and Gamma | |
| 30 Adjusting Black Point | |
| 40 White Point and Gamma | |
| 50 Fixing Hue and Saturation | |
| 60 Don't Always Trust Your Eyes | |
| 70 Gamma Slamming | |
| 80 Matching Blacks in Casablanca | |
| 90 Matching Blacks with Darth Vader | |
| 100 Ratatouille and the Curve Tool | |
| 110 One More Practice with Sky Captain | |
| 120 Can You Trust The Computer | |
| 130 Watch Out for Specular Highlights | |
| Total (in Hours): | |
WEEK 04 |
|
| 08 The Triangle of Exposure | 10 Why Learn About Cameras |
| 20 The Triangle of Exposure | |
| 30 Bracketing and Tone Mapping | |
| 40 Three Camera Modes | |
| 50 Shooting Raw | |
| Total (in Hours): | |
| 09 Color Correction Fun | 10 Color Correction Fun |
| 20 The Saturation and Gamma Connection | |
| 30 Desaturation vs Luminance | |
| 40 Clipping Pixels | |
| 50 The Cinematic Look | |
| 60 Color Correct Ranging | |
| 70 Normalizing and Color LookUp | |
| 80 Building Your Own Mattes | |
| 90 Color Correction Challenge | |
| 100 Homework Assignment | |
| Total (in Hours): | |
| 10 PreMultiplication | 10 Introducing the Problem |
| 20 Back in the Day | |
| 30 Unpremultiplying Rango | |
| 40 Ball on Pavement Part I | |
| 50 Ball on Pavement Part II | |
| 60 Coca-Cola Fix and Homework | |
| Total (in Hours): | |
WEEK 05 |
|
| 11 Depth Cues | 10 Depth Cues |
| 20 Lining Up Stormy Weather | |
| 30 Efficient Bounding Boxes | |
| 40 Animating the Background | |
| 50 Animating the Car | |
| 60 Creating the Storm | |
| 70 Adding Atmospheric Perspective | |
| 80 Shadows, Defocus, Finishing Up | |
| 90 Creating Depth Homework | |
| Total (in Hours): | |
| 12 Blur vs Defocus | 10 The Bokeh Effect |
| 20 Comparing Blur vs Defocus | |
| 30 Rendering Depth of Field | |
| 40 What Is A ZDepth Pass | |
| 50 Creating the New Depth Of Field | |
| Total (in Hours): | |
WEEK 06 |
|
| 13 Exploring High Dynamic Range Images | 10 What is Color Bit Depth? |
| 15 Comparing Footage | |
| 20 Reading the MetaData Info | |
| 30 Viewing High Dynamic Range | |
| 40 The Anatomy of HDRI Photos | |
| 50 The Advantage of High Dynamic Range | |
| Total (in Hours): | |
| 14 Proper Lighting of a Green Screen | 10 Pulling Keys Introduction |
| 20 Creating Worlds | |
| 30 Four Types of Screen Replacement | |
| 40 Why Green or Blue Screens? | |
| 50 Shooting Over GreenScreen | |
| 60 Matte Paintings vs CG Enironments | |
| Total (in Hours): | |
WEEK 07 |
|
| 15 Keyers | 10 Introduction to Nuke Keyers |
| 20 The Difference Node | |
| 30 The Hue Keyer | |
| 40 Keying with Luminocity | |
| 50 Using the ColorLookUp Node | |
| 60 Image-Based Keying Part 1 | |
| 70 Image-Based Keying Part 2 | |
| 80 The IBK Stack Method | |
| 90 Analyzing Our Keylight Footage | |
| 100 De-Noising Footage | |
| 110 Color Difference Keying | |
| 120 Screen Gain and Clip Black and White | |
| 130 Creating a Core and Edge Matte | |
| 140 Creating Garbage and HoldOut Mattes | |
| 150 Spill Suppression with HueCorrect | |
| 160 Adjusting DeSpill Bias | |
| 170 Fixing an Uneven GreenScreen | |
| 180 Additional Spill Suppression Tricks | |
| Total (in Hours): | |
WEEK 08 |
|
| 16 Rotoscoping and Digital Paint | 10 Intro to Rotoscope and Paint |
| 20 FX Has The Movies Promotion | |
| 30 Analyzing FX Frame By Frame | |
| 40 Drawing Bezier and Roto Tips | |
| 50 Changing Roto and Matte Order | |
| 60 Compound Roto Shapes | |
| 70 Sandwiching The Comp | |
| 80 Rotoscoping Animated Footage | |
| 90 Color Correcting with the Roto | |
| 100 Using a LumaKey to Help Roto | |
| 110 Using Tracking to Help Roto | |
| 120 Moving Roto with Tracking Data | |
| 130 Movies and Digital Paint | |
| 140 Cloning New Artwork In | |
| 150 Painting Out the Moving Barn | |
| Total (in Hours): | |
No additional information available
08/20/21 10:54 AM
01/14/22 1:43 PM