This module provides an opportunity to strengthen core animation practice and develop an individual "signature" using your technical skills in the stop motion production in a larger production. In doing this you will start to develop an extensive research portfolio's which will look at other practitioners of this genre. Using puppets introduced in previous modules build a further narrative scenario where a further "agent of conflict" creates new script possibilities. You may add further characters but students must be aware of time constraints. Students will be required to build a stage set for this production or incorporate the characters into virtual or live action backgrounds using composite methods.
The production should have a balance of performance and dialogue using the skills developed in semester 1 of this level.
As such it is important to have audible voice recordings synched to replacement mouth shapes.
In the development of the animations you will be asked to consider the importance of the intended audience and how you communicate with them.

The course work should consist of 3 components:
Using puppets from semester 1 integrated into a larger production. [Learning Outcomes 2,3,4]
Introduction of new character (s) "agent of conflict". [Learning Outcomes 3,4]
Visual report from experience as an assitant animator. [Learning Outcomes 1,5]

Create a substantial piece of stop motion animation in a production team [Learning Outcomes 3,4,5]
Create a new puppet which should take on the role of agent of conflict in the production [Learning outcomes 2,4]
Via a comprehensive report, demonstrate all technical details of the production process, show costing, specify a particular audience which the animation is targeting and demonstrate research as to anticipated reaction [Learning Outcomes 1]
Produce a substantial visual report cataloguing the role of the team [Learning outcomes 1,3]

All animation content to be presented on Mini DV tape only
All work must be submitted in a labelled clear A3 portfolio

Studio learning takes place in timetabled sessions with academic staff who introduce key contextual and practice based lectures focused on the development of
- Larger scale Stop motion production
- Development of new puppets
- Role in a team

Through these initial lectures you will develop further understanding of the core concepts, theory and practical tools necessary to complete a substantial stop motion production as a team.
Independent study will form the majority of time spent "answering the brief" through evidence of research, preparation models , studio strategy and application of methods and processes necessary for completion of an appropriate response to the assignments.
Seminars and group Critiques support your studio practice through formative evaluation and will take place at critical points of the semester to review working progress. Summative assessment takes place at the end of the module where the work will be presented for final assessment
There will be two designated tutorials set up to enable students to discuss their work individually with key members of delivery staff.

Specialist Animation equipment.
CAD Labs
Digital Media centre
Sound equipment
Post production equipment
Mini DV deck and Cameras
Printing equipment

Susannah Shaw, Stop Motion, Craft Skills for Model Animation, Focal Press 2004 ISBN 0-240-151659-1
Frank Thompson, Tim Burton's Nightmare Before Christmas, Roundtable Press Book 1993, ISBN 078685378-6
Lord & Sibley, The Aardman Book of 3D Animation, Thames & Hudson 1998, ISBN 0-0500-01881-2
Tony Dalton, 'Ray Harryhausen: An Animated Life', Aurem Press ltd 2003 ISBN 185109405
Marilyn Webber, Gardner'sGuide to Feature Animation Writing: The Writer's Road Map, Garth Gardner Company, GGC Publishing 2002 ISBN 1589650026