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Project 3 (of 3) Fantastic Voyage

Submission deadline: Friday, May 1st, 2015


Content
...scientific disciplines with good pictures are rich in resources that keep
them well funded and moving forward Some fields, such as paleontology,
manufacture their imagery; for example the reconstruction of fossil remains for
public viewing, or through imaginative illustrations of immense creatures from the
past. And Hollywoods use of stunning computer-generated graphics has likewise
had a profound impact on the publics understanding of new ideas and
discoveries. Sciences that target objects large enough to photograph with an
optical microscope or larger must skillfully exploit the tools of visual
communication. Even chemistry with its focus on structures and processes about
a thousand times too small to capture with a camera has a standard iconography
with which to communicate its results to the public. In the same way,
nanotechnology has garnered wide support for its endeavours using visual
descriptions of novel geometric structures such as nanotubes and quantum dots
the link between good images and good science.
Eric Heller, The Power of the Image to Promote Science
Commissioning contexts for computer-generated arts and animation are
increasingly ubiquitous; successful practitioners are expected to adapt to a diversity of
briefs; an effective methodology is therefore essential if they are to embrace these
demands and successfully navigate between the demands of clients and their
audiences.
In Richard Fleischers 1966 film, Fantastic Voyage, the submersible, Proteus, is
miniaturized and injected into the body of a comatose scientist, its groundbreaking
mission to transport its micronized crew to the site of a surgically inaccessible blood clot
in the scientists brain. Winning Oscars for both art direction and visual effects, the films
depictions of inner space are interpreted imaginatively.
For this unit, you are asked to develop, design and execute creatively a
fantastic voyage through a micro-biological environment/scenario. You are challenged
to transcribe a biological process accurately and dynamically and consider ways in
which complex ideas and data might be represented engagingly to different audiences.
AIMS
RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15

The aims of this unit are:


A1

to develop awareness and understanding of pre-visualisation and narrative


structure.

A2

to promote an understanding of commissioned work

A3

to develop the ability to engage in research that supports conceptual ideas.

A4

to develop communication strategies for clients and audiences and take


responsibility for project-management.

LEARNING OUTCOMES
On satisfactory completion of the unit you will be able to:
LO1

understand the creative application of time-based narrative structures.

LO2

practice creative story development and techniques relating to pre-visualisation.

LO3

employ research methods to support development of concepts.

LO4

synthesise creative and technical skills in response to the demands of a


commissioned brief.

ASSESSMENT REQUIREMENTS
In response to one of the scenarios presented to you at time of briefing, you are required
to produce a complete 3D animation that demonstrates creatively your ability to
interpret, transcribe and represent complex ideas in engaging and dynamic ways. Your
final animation should demonstrate clearly your creative methodology as established by
your Year 1 curriculum, i.e. pre-production (production design and art direction via
concept art and the structuring of time-based narratives via storyboarding and previsualisations), production (modelling, UV layout, texturing & lighting, and animation),
and post-production (compositing, digital editing, sound design, publication and
promotion).
Format Requirements

PAL 25fps
16:9 ratio
Mpeg or Avi
A maximum of two minutes in duration.

RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15

Please note: only royalty-free music is to be used and voice-overs must be


professionally produced. The use of inappropriate formats and codecs will result in
viewing problems.
You are required to produce a deluxe Making Of publication showcasing your
creative methodology. Your making of should provide a complete record of your
project work and should include your research and development, supporting concept art,
storyboards, a behind-the-scenes look at your models and animation - from wire-frame
through to finished renders and your sound-design and post-production. Your Making
Of should be designed graphically, engagingly and presented professionally.
You are asked to produce a comprehensive blog archiving and annotating your creative
development during the duration of the unit. You should use the blog to reflect critically
upon your own creative practice and the wider cultural and thematic context of the unit.
Important! Your blog must include:
1)

Your final animation

2)

Your Making Of publication (as Scribd Presentation)1

3)

Your Pitch presentation (as Scribd Presentation)

4)

CG Pre-vis

5)

Animatic

6)

Final storyboard

7)

Final script

8)

Concept art (16:9)

9)

Final production art (orthographs, model sheets etc).

10)

Matte paintings (if applicable)

11)

Final textures (and their development).

12)

Your sound design archive: (Original SFX/Processed SFX)

13)

Your cg pipeline;
Wireframe Models, Untextured Models, UV Maps, Texture Maps,
Textured Models, Lighting Tests, Rendering Passes (Beauty, Ambient
Occlusion, and Effects),

14)
1

All supporting artwork (thumbnails, preparatory drawings etc.)

For instructions see http://ucarochester-cgartsandanimation.blogspot.com/2010/12/scribd.html

RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15

15)

Supporting research/Influence maps

16)

Market/audience research

17)

Your film reviews for the Cutting Edge Film series. Please note in
addition to and support of your own critique, your reviews must include a
minimum of 3 quotations from 3 different published reviews2 + poster art +
supporting stills. Please note - Harvard Method must be used for all
quotations and all illustrations to be referenced correctly.3 Reviews are
to include bibliography and illustration list.

18)

Your Creative Partnership Archived

19)

Your submission disc artwork/branding

Your submission disc must include a pdf archive of your project blog: visit
http://ucarochester-cgartsandanimation.blogspot.com/2010/09/how-to-turn-yourblog-into-pdf-document.html

The Pitch
Monday 16th March - Group A : 10am CAA Baseroom
Tuesday 17th March Group B: 10am CAA Baseroom
You must present:
1) Resolution of research into 3 act structure for chosen audience.
2) Fully-Realised Concept Art: format 16:9 (3 images minimum)
3) Presentation animatic with transitions and SFX.
Presentation should last no longer then 10 minutes.

Some good online sources for film criticism and reviews include:
http://www.guardian.co.uk/film
http://www.bfi.org.uk
http://www.metacritic.com
http://www.rottentomatoes.com
http://www.empireonline.com
http://www.filmreference.com
http://www.kamera.co.uk
http://twitchfilm.net
3

Follow this link for how to reference conventions for all kinds of sources.
http://community.ucreative.ac.uk/article/25881/Referencing-specific-sources-of-information/

RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15

ASSESSMENT CRITERIA
CRITERION

MAPS TO LEARNING
OUTCOME

Knowledge of:
time-based narrative structures
Understanding through application of:
creative and editorial skills required for story
development and pre-visualisation.
Understanding through application of:
research skills and conceptual ideas.
Technical and applied skills through:
the creative use of software packages
Technical and applied skills through:
management, communication and
professionalism.

LO1
LO2
LO3
LO4
LO4

REFERENCE MATERIAL
Essential
Author
Begleiter, M

Date
2010

Beiman, N

2007

Buckland, W
Glebas, F

2008
2009

Levy, D

2009

Milic, L

2006

Levy, D

2009

Milic, L

2006

Mckee, R

1999

Talon, D.S

2007

Title & publication details


From word to image: storyboarding and the filmmaking
process, (Michael Wiese Productions)
Prepare to board! Creating story and characters for
animated features and shorts. (Focal)
Film studies, (Hodder Headline)
Directing the story: professional storytelling and
storyboarding techniques for live action and
animation,(Focal Press)
Animation development: from pitch to production.
(Allworth Press)
The animation producer's handbook. (Open University
Press)
Animation development: from pitch to production.
(Allworth Press)
The animation producer's handbook. (Open University
Press)
Story: substance, structure, style, and the principles of
screenwriting, (Methuen)
Panel discussions : design in sequential art storytelling,
(Talon, TwoMorrows Publishing)

RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15

Recommended
Author
Bayley, S

Date
2008

Cristiano, G

2008

Dancyger, K

2011

Fraioli, J. O

2000

Hahn, D

2008

Hart, J

2007

Levy, D
Marx, C
Sullivan, K

2010
2010
2008

Truby, J

2008

Tumminello, W
Wright, J

2005
2005

Title & publication details


Life's a pitch: how to sell yourself and your brilliant ideas.
(Corgi)
The storyboard design course: the ultimate guide for
artists, directors, producers and scriptwriters, (Thames &
Hudson)
The technique of film and video editing: history, theory,
and practice 3rd ed., (Focal Press)
Storyboarding 101: a crash course in professional
storyboarding, (Michael Wiese)
The alchemy of animation: making an animated film in
the modern age.(Disney)
The art of the storyboard: storyboarding for film, TV, and
animation, (Focal Press)
Directing animation. (Allworth Press)
Write your way into animation and games. (Focal)
Ideas for the animated short: finding and building
stories. (Focal)
The anatomy of story: 22 steps to becoming a master
storyteller.(Faber & Faber)
Exploring storyboarding, (Delmar Learning)
Animation writing and development: from script
development to pitch, (Focal Press)

RCAA4003: Storytelling & Commission /Project 3 Fantastic Voyage 2014/15