Module Descriptors
ANIMATION PRODUCTION CONSOLIDATION
ANIM70005
Key Facts
Digital, Technology, Innovation and Business
Level 7
40 credits
Contact
Leader: Robin Heap
Hours of Study
Scheduled Learning and Teaching Activities: 5
Independent Study Hours: 395
Total Learning Hours: 400
Pattern of Delivery
  • Occurrence A, Stoke Campus, PG Semester 2
  • Occurrence B, Stoke Campus, PG Semester 3 to PG Semester 1
Sites
  • Stoke Campus
Assessment
  • MAJOR ANIMATION OUTCOME(S) PROPOSAL AND ARTIFACT OR PORTFOLIO -UPLOAD EVIDENCE TO DESIGNATED VLE weighted at 70%
  • VIVA - 20 MINUTE PRESENTATION AND DISCUSSION weighted at 10%
  • DEVELOPMENTAL BLOG - 2000 WORDS weighted at 20%
Module Details
INDICATIVE CONTENT
The outcomes of this module are generated by independent study based on previously and continually negotiated aims. There is no formal teaching on this module, rather, regular opportunities for supervisory input: 5 hours distributed over the duration of the module by individual scheduling arrangement.

Practical outcomes will be tailored to the individual with supervisory support and will be mapped by the student to the existing module/programme learning aims. The individual will, through reflection on prior learning, devise practical goals that are appropriate to their professional trajectory and knowledge and skills development needs.

Additionally, Students will be expected to arrange and organise the necessary facilities, resources and support needed to undertake all aspects of their planned production. It is expected that such logistical preparations will have been adequately and responsibly thought out, with cognisance of access limitations and timetabling necessities.

Learners must be autonomous at this stage and capable of preparing contingencies and solving unforeseen problems as they may occur.

With an emphasis on collaboration, we will insist that the co-ordination of third parties (including current undergraduates and recent graduates) employed in the development and execution of planned animation outcomes, is chiefly the responsibility of the students – with and understanding the university staff may be instrumental in certain respects such as guest studio access.

Students will be expected to keep a blog thread documenting all activity on this module with the express aim of encouraging knowledge exchange and feedback opportunities throughout.
ASSESSMENT DETAILS
Students will share animation artifact(s) for review by academic staff, and with opportunities for elucidatory conversation (Q+A). The viva component of the submission event will allow insightful conversation regarding the effectiveness of processes and outcomes and aims for next phases toward completion of the degree.
LEARNING STRATEGIES
Students will work independently to execute the production of an animation outcome – this can be a continuation of outcomes, or preparations from Animation Production Proofs and Solutions – or standalone outcome(s).
Supervision: 10 x 30min sessions over the period of production/the module.
Student will take advantage of technical support negotiated and scheduled in advance (as appropriate).
LEARNING OUTCOMES
1. Demonstrate individuality in the high-level application of animation theory and conceptual knowledge, within selected aspects of established and emerging animation practice, producing one, or more expertly realised artifacts e.g., animation sequence(s), academic research outcome(s), or other firmly contextualised response.

Application

2. Demonstrate your ability to clearly present animation concepts and ideas through visual and, or written means, and present conclusions effectively within the context of appropriately specified animation audiences, and for assessment by academic staff.

Commnication

3. Within the context of producing major animation output, demonstrate your ability to pre-empt potential problems and to respond effectively to unforeseen challenges by maintaining appropriate methods of documentation that clearly elucidate your efforts at manging complex aspects of animation output.

Problem solving

4. Demonstrate clearly the context of your personal learning journey by referencing prior knowledge and skills development opportunities and explain how you have expanded your expertise through the undertaking of major animation output, and how this prepares you effectively for future employment.

Knowledge and Learning

5. Explain and illustrate how conversations and dialogues between yourself and others, such as industry professionals, academic staff, peers, collaborators, assistants, and technical specialists, have allowed you to maximise the potential of your animation output and how your specific skills have developed to better prepare you for professional teamwork.

Reflection
RESOURCES
Technical instruction in specialist technologies and techniques (T. I’s)
Access to all appropriate university specialist facilities, software, and apparatus.
Maker Spaces
Digital Academy forum
3D Factory
PC and Mac Labs
VR/AR suites
3D Scanning
Print Bureau
VLE’s: e.g., Blackboard and TEAMS
Campus Library and online resources
Specialist 3D and Games development software
Wodd, Metal, Fine Metal, Ceramics, Resin, and Plastics Workshops
Cadman Studios – Green Screen Stage
Audio Production Studios
Media Centre AV production kit.
Motion Capture Stage
Acting and Performance Spaces
Life Drawing Studios
TEXTS
Walsh, C. 2019, Stop motion filmmaking: the complete guide to fabrication and animation, Bloomsbury Academic, London.

Mamgain, P. 2019, Autodesk 3ds Max 2020: a detailed guide to modeling, texturing, lighting, and rendering, Padexi Academy, India.

Mitchell, B. 2017, Independent animation: developing, producing and distributing your animated films, CRC Press, Boca Raton.

Hooks, E. 2017, Acting for animators, 4th;4; edn, Routledge, London. Purves, B. 2008, Stop motion: passion, process and performance, Focal Press, Oxford.

Shaw, S. 2017, Stop motion: craft skills for model animation, 3rd edn, CRC Press, Boca Raton.

Gasek, T. 2012, Frame-by-frame stop motion: the guide to non-traditional animation techniques, Focal, London; Amsterdam.

Selby, A. (2009). ‘Animation in Process’ Laurence King

Priebe, K.A. 2007, The art of stop-motion animation, Thomson Course Technology, Boston, Massachusetts.

Brierton, T. 2002, Stop-motion armature machining: a construction manual, McFarland, London.

Brierton, T. 2004, Stop-motion puppet sculpting: a manual of foam injection, build-up, and finishing techniques, McFarland, London.

Roberts, S. 2011, Character animation fundamentals: developing skills for 2D and 3D character animation, Focal, London; Amsterdam.

Johnson, G. 2014, Getting started in ZBrush: an introduction to digital sculpting and illustration, Focal Press, Abingdon.

Zeman, N.B. 2015, Essential skills for 3D modeling, rendering, and animation, CRC Press, Boca Raton.

Katatikarn, J. & Tanzillo, M. 2017, Lighting for animation: the art of visual storytelling, CRC Press, Boca Raton.

Buchan, S. 2013, Pervasive animation, Routledge, London.

Jones, A. & Oliff, J. 2007, Thinking animation: bridging the gap between 2D and CG, Thomson/Course Technology, Boston, Mass.

Winder, C., Dowlatabadi, Z. & Miller-Zarneke, T. 2011, Producing animation, 2nd edn, Focal, London.

Wells, P. 2009, Drawing for animation, AVA Academia, Lausanne.

Lord, P., Sibley, B. & Aardman Animations 1998, Cracking animation: the Aardman book of 3-D animation, Thames and Hudson, London.