This course is subject to priority rules; see here.

This course is a detailed study of character animation principles and techniques for 3D computer animation, covering how to animate a 3D character to create believable character animation. Students are given a series of exercises designed to broaden their understanding of movement, posing, timing, acting, staging, and scene dynamics. An emphasis is placed on understanding body mechanics as integrated with expression and personality in character animation. At the end of the course, students will have a portfolio of pieces ranging from walk cycles to complex dialogue scenes. This course is the first in a series of two 3D character animation courses.

This course is subject to priority rules; see here.

The art and storytelling capabilities of cinematography encompass layout and previsualization: essential production strategies in contemporary animated and visual effects filmmaking. This course supports students working towards senior projects in developing the cinematographic language of their work. Students design shots through composing environmental sets, staging characters and setting camera angles, addressing the integration of digital, live action and hybrid scene elements such as drawn or stop motion animation. Shot sequences are developed into a layout reel, where character locomotion and rough poses are choreographed and timed. By the end of the course, students will be able to use cinematography and layout in order to tell their stories more effectively.

This course is subject to priority rules; see here.

This course expands on interpretive skills developed in MHIS-205 by introducing students to key theoretical perspectives that impact media aesthetics and media culture at the levels of production, circulation, and reception. Theoretical perspectives may include formative lineages in media theory (e.g. semiotics and structuralism; political economy and Marxist theory; psychoanalysis; critical theory), key issues in the politics of media representation (e.g. taste cultures; gender studies; critical race theory; postcolonial and transnational studies), as well as more recent and emerging perspectives in contemporary media studies (e.g. affect theory; ecocriticism; indigenous studies). Students will engage with a selection of theoretical texts with the support of comprehensive lectures, required screenings, and active discussion seminars. The course grounds students in a broader critical and cultural awareness of contemporary media culture, as well as prepares students for subsequent more specialized upper-level courses.

This course is subject to priority rules; see here.

In this course students continue to develop and broaden their illustration skills and their understanding of cultural context. Students explore more focused subjects involving narrative structures and sequential imaging through genres such as alternative comics and the graphic novel. Through this emphasis on narration and interrelated frames, students learn conceptual approaches to problem solving as they apply to both professional practices in print media and contemporary painting and drawing practices.

Priority is given to CRCP and VIAR students in Year 2. Students outside of the registration priority group may register/waitlist for this course as of the registration rule release date.

This course is subject to priority rules; see here.

Students will work on 3D computer animation productions either individually or as collaborative teams. Students will follow production schedules and work to complete a final 3D computer animation / digital media project. Students will give weekly presentations on their progress and participate in peer reviews in order to give and receive feedback on production progress, art / designs, and technical details of their work.

This course offers students a deeper understanding of animation history. For many animation scholars and artists, a defining feature of “animation” that separates it from traditional photographic cinema is the capacity to bring to life processes or concepts that are invisible to the naked eye and to the live-action camera. This course uses that distinction as an organizing structure for thinking about the history and development of animation, by considering animation’s capacity to reveal otherwise-invisible historical factors and influences, including the rendering of history itself. Topics will cover industrial and material contexts of animation production; the intersection of animation with histories of fine arts and sciences; and the central role that animation has played in rendering and evoking abstract ideas or intangible experiences. Considering the wide range of animation traditions and the proliferation of animation across all digital media, the course eschews a comprehensive chronology in favour of a series of perspectives and case studies. Examples will include commercial animation from more than one global context, as well as independent artisanal animation, scientific and industrial animation, and animation in gallery installations. Through lectures, readings, and assignments, students will develop their own ability to understand and investigate areas of interest within animation.

This course is subject to priority rules; see here.

Using 3D computer animation and a variety of animation media, students apply an advanced understanding of animation principles to explorations with a range of visual effects animation techniques. The course focuses on particle systems, physical simulation, reactors, reflection, refraction and rendering techniques. Through presentations, workshops and assignments, students engage in observation and analysis of motion, form and light in the physical world, including atmospheric elements like wind, water, fire and smoke. Students create a series of short animation pieces, and may create elements of their senior animation projects within the course.

Priority is given to 3DAN students in Years 3 and 4. Students outside of the registration priority group may register/waitlist for this course as of the registration rule release date.

A sound production course for students interested in sound design and soundtrack production for film and animation. The course focuses on studio and digital audio techniques and methods used in post-production environments. Through lectures, demonstrations and workshops, students gain knowledge and experience with dialogue editing, foley design, mixing, and music composition for the screen. Students will learn about audiovisual theory, best practices for film and animation sound, and how sound design supports narrative development. Workshops and assignments utilize industry standard software tools and cover expectations of professional post-production environments. This course may be used for the development of soundtracks for students’ film and animation projects.

This course is primarily for film, video, illustration, and animation students, but is open to all students who are interested in developing and improving their script-writing skills. Students will learn to develop an idea into a proposal and script that is clear and reflects their vision. Techniques for writing narrative, documentary, and experimental scripts will be practiced and, through exposure to various writing styles and approaches, students will be challenged to activate all their senses and to write to evoke the desired response.

Students will work on complex 3D computer animation or digital media productions – undertakings that will be either individually produced or collaborative and team-based. Students will identify their main areas of creative interest and will articulate a project concept that reflects and advances those aspirations. Projects will be student-initiated or initiated through partnerships with clients or research groups. Productions may include films, installations, interactive environments, or other projects that foreground 3D computer animation at the senior level. Students will explore previous or current work in the relevant fields, in the process of shaping their own project proposal. Students will follow professional standards, maintain an ongoing production plan, present their work-in-progress regularly, and meet mileposts according to a production schedule. The course involves lectures, presentations, and one-on-one consultation with the instructor. Over the duration of the course, students will participate in regular critique sessions with peers where they will give and receive feedback on project progress.

This course is subject to priority rules; see here.

This course provides students with advanced knowledge of concepts and techniques in CG lighting and rendering for 3D computer animation. Building on Lighting and Rendering I, this course covers more sophisticated possibilities of establishing space, mood, and texture by balancing between light and shadow; designing virtual materials and textures; and manipulating the properties of the virtual camera. Class lectures and discussions will introduce students to the aesthetic approaches and technical possibilities of virtual cinematography across different disciplines such as film, gallery and interactive art, scientific and experimental imaging, etc. Examples may include both photorealistic and expressive or abstract 3D environments. Assignments will encourage students to develop their own lighting approaches, identify the appropriate lighting and rendering strategies, and implement them in their projects.

In this second course of the advanced 3D character animation series, students will continue learning how to develop and compose character animation while setting scenes for effective storytelling or world building. Lectures and assignments will encourage students to observe and analyze different kinds of movements and gestures, in order to adapt them for animation. Assignments may incorporate staging and interaction with other characters and environments as important elements in character development and storytelling. Students will continue experimenting with character building methods to convey emotion through timing, gesture, and acting.