Thesis : Teaching emotion and intersubjectivity in character animation.
PART I
Explain why and its importance.
Reasons for the development of a curriculum related to this subject.
Review story and the importance of characterization within a story.
How does one connect with an audience? What makes a character believable? What makes a good character?
PART II
Define intersubjectivity and its role in animation.
Define emotion and its role in animation. Show examples.
Planning: Importance of keyframe poses.
Emotion thru drama / acting
Emotion thru Gesture: Full Body, Hands and Face
Emotion thru character design and color
Emotion thru character reaction
Explain intersubjectivity in animation
PART III
Workshop: Creating Emotion and Intersubjectivity in characters.
• Giving inanimate objects emotion (12 principles of animation) Storytelling / Clarity / Staging
• Animating a character interacting with an object / Weight Mechanics
• Character emotion / full body. Walk Cycle / Monologue
• Animating a character with mutliple objects, the character in an environment. Facial Animation / Gear Change
• Animate a character interacting with another character (dialogue).
• Character Intersubjectivity using design, color, lighting, and texturing. This exercise is also a culmination of the above exercises.
PART IV
Teaching these concepts:
Each of the above exercises will be accompanied by a syllabus that contains objectives, competencies, lectures and demonstration suggestions, activities and an evaluation process.
SUMMARY
CONCLUSION
CLOSING THOUGHTS
"Ways to move forward & further study."
Monday, April 16, 2007
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1 comment:
Consider:
• "Explain Why and its Importance"
Animating emotion and gesture is important to conveying character emotion in video game and feature film animation. Emotion creates empathy and believability for a character which helps drive the story.
Having an intermediate or even mastery level of being able to animate emotion makes one going into the field more marketable than someone who is not.
• Overview of Current Practice
Currently, intermediate to advance level students entering the field take a class on animating characters, which focuses on general movement.
• Problems w Current Practice
Not enough time is spent, on animating or portraying characterization utilizing emotion in schools primarily because of lack of time. Most of the time spent on this level is used to generate models that feature lighting, detail and rendering. Animating emotion is usually practiced while in the field, or in Masters level. Many of these skills can be learned early on to move the student forward.
• What can be gained
An easy to follow curriculum as well as simple assignments and plans for the student, broken down in understandable componenents can be used. This will help the student
understand and practice animating emotion. It will also give them experience in the software workflow needed for the field, and will help generate numerous examples that the student could include in a demo reel portfolio.
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