COURSES

Advanced 3D Character Animation

ANOMALIA BOOT CAMP 2014 aims to provide advanced training and networking for European community of animators and animation artists, one of the few places, in fact if not the only one, that offers affordable AAA opportunity and dedicated personal platform to improve animation skills for virtually anybody – graduates that seek their first job, working professionals to get further ahead and inspired, artists seeking help with their projects, animators that want to be part of a team on a short film.

Each modul / class is designed to be advanced enough and help animators get further. Those that can take the entire 6 week course will benefit the most from intensive and dedicated time, personal attention from a lecturer. The topics also help you continue with your improvement logically as they follow from investigating and improving your current workflow and effectivity, learning and improving your acting for the sake of clarity in a context of a team work and sequences, taking your shots to feature film quality and details.

This BOOT CAMP is geared to those who not only want to improve their work but also come to have a better understanding of the animation industry. Too often people learn animation and they have the impression that they are ready for any animation job out there.

 

The varies fields of animation require different skills and understanding of what is expected.  Whether it is in film, games, commercials, VFX or TV they all have different requirements which we will spend a little time talking about what is needed for each of these fields. Every student will be working on improving a shot or two on their reel.

 

The new main course focuses on more one-on-one approach based on participants reel and current skills to make the journey a very personal collaboration with the supervisors, and advanced topics counting with participants who are not entirely new to animation. So, our goal is intensive personal growth and advancement.

 

 

 

 

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

Lenght
14.7. - 22.8. 2014 (6 weeks)
Price
1488,- EUR (1800,- EUR with 21% VAT)
Teachers
Mike Belzer (VALVE)
Neil Helm (PIXAR)
Jason Schleifer (DreamWorks)
Modules
WORKFLOW AND PERSONAL IMPROVEMENT with Mike Belzer (VALVE)
2 weeks
TOPICS FOR THE DIFFERENT FIELDS OF ANIMATION

COMMERCIALS

  • what clients expect
  • helping with bids
  • different animation styles
  • variety of skills

TELEVISION

  • deadlines you can deal with
  • quality bar
  • how to work with other departments
  • skill sets for the job

FILM

  • quality and expectations
  • types of shot
  • dailies
  • other departments and how to work with them

GAMES

  • animation on a different level
  • mechanics of animation and how they are different in games
  • clarity of poses
  • working with the whole animation
  • skill sets outside of animation

VFX

  • reiteration on shots
  • toughen up
  • animation style
  • quality bar
  • working with supervisors and clients

DEMOS/LECTURES:

  • Varies Maya demos
  • Audio track brainstorming
  • Charlie Chaplin from an animators perspective
  • Puppet animation and what can be learned from that process
  • Reels, whats good, what's not and what to look out for.

ANIMATION EXERCISES

Depending on time there will be a number of quick animation exercises to not only sharpen skills, but also see different styles.

  • Vanilla walk(s)
  • Moving holds, keeping characters alive
  • Falling down in different styles of animation.
  • Waves with different timing for different meaning
  • Staging of two characters

PER-REQUISITE

The student needs to come with a reel so we can dissect it and pull some work from it to improve upon. Existing files from the reel would be good but not essential.

CLARITY IN ANIMATION with Neil Helm (PIXAR)
2 weeks

In a professional setting typically the identity of a character has already been determined. However you may not know how to ask questions of a lead/supervisor/director when notes are given to better understand what they are looking for. Once armed with these weapons of describing, visualizing, and interpreting information about a character, it will help you better obtain clues that will help you be successful in executing those notes.

We will be showing some shots, good, bad, old, and ugly, and we will talk about how they could be improved. Goal being opening myself up to critique will enable/empower them to do the same with animators' own work. No animation is created in a vacuum, and we'll have dailies twice a week where everyone's work is shown and critiqued.

DEMOS/LECTURES:

  • Intro acting class - Laban style of describing, interpreting, human movement.
  • Video reference
  • Blocking
  • Poses
  • Design
  • Timing
  • Dialog
  • Eyes
  • Hands
  • Successful traits of an animator
  • Giving/accepting critique
ANIMATION EXERCISES

1: Based on initial reel review on the first day -- assign one of the following:

  • Single character pantomime (100 frames maximum)
  • Single character dialog (100 frames maximum)
  • Emotional bouncing ball (100 frames maximum)

2: Same (short) shot, blocked out 2-3 times with different acting choices for the character.

  • Block 1 -- Indirect, Strong, and Sustained. Single character pantomime (100 frames max)
  • Block 2 -- Direct, light, quick. Single character pantomime (100 frames max)
  • Block 3 -- Direct, strong, sudden. Single character pantomime (100 frames max)

The ideas will be helpful to compare acting decisions pre and post class to see improvement, compare with the other animators in the class, and identify areas animators can continue to emphasize and work on in the future.

HIGH-END DETAILS AND POLISH ( REEL ) with Jason Schleifer (DreamWorks)
2 weeks

These two weeks will be focused on what makes a todays feature film standard - high-end details and polishing. Jason worked on both cartoon films at DreamWorks as an animation supervisor as well as on realistic characters such as Gollum from Lord of the Rings at Weta. His eyes are trained to help see details and guide animators to achieve such a high end result.

Goal: Give the animators the tools to understand what it takes to finesse and polish a shot - both the technical skill and the art of knowing how far to go.

Animation Exercises: A series of quick exercises intended to focus on specific polish areas. These are meant to help build muscle memory for common polishing tasks

  • arm wave
  • knee pop
  • foot fall
  • hand squeeze
  • body hitting a wall
  • head turn
  • prop hold
  • blink
  • inner thought
  • mouth press
  • breathing
  • shoulder shrug
Thought Process: A series of mental exercises designed to help determine what polishing means

  • Finished Shot analysis - visual effects character (gollum)
  • Fished Shot analysis - animated film character (incredibles)
  • Finished Shot analysis - cloudy with a chance of meatballs
  • Where to focus
  • Order of finesse
  • Taking Notes
  • Pomodoro Technique (time management)
  • Workflow Examples

And then finally finessing a shot animators currently have, using the techniques we explore giving three days to do it.

Workflow and Personal Improvement

This class is geared to those who not only want to improve their work but also come to have a better understanding of the animation industry. Too often I have seen people learn animation and they have the impression that they are ready for any animation job out there.

 

The varies fields of animation require different skills and understanding of what is expected.  Whether it is in film, games, commercials, VFX or TV they all have different requirements which we will spend a little time talking about what is needed for each of these fields. Every student will be working on improving a shot or two on their reel.

 

This will not only plus the work, but it will also allow for them to discover different work methods when working in Maya. Round this off with animation exercises, demos and lectures for a fun filled 2

 

More details to come

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

Lenght
14.7. - 25.7. 2014 (2 weeks)
Price
550,- EUR (665,- EUR with 21% VAT)
Teachers
Mike Belzer (VALVE)
Modules
Workflow and Personal Improvement with Mike Belzer (VALVE)
2 weeks
TOPICS FOR THE DIFFERENT FIELDS OF ANIMATION

COMMERCIALS

  • what clients expect
  • helping with bids
  • different animation styles
  • variety of skills

TELEVISION

  • deadlines you can deal with
  • quality bar
  • how to work with other departments
  • skill sets for the job

FILM

  • quality and expectations
  • types of shot
  • dailies
  • other departments and how to work with them

GAMES

  • animation on a different level
  • mechanics of animation and how they are different in games
  • clarity of poses
  • working with the whole animation
  • skill sets outside of animation

VFX

  • reiteration on shots
  • toughen up
  • animation style
  • quality bar
  • working with supervisors and clients

DEMOS/LECTURES:

  • Varies Maya demos
  • Audio track brainstorming
  • Charlie Chaplin from an animators perspective
  • Puppet animation and what can be learned from that process
  • Reels, whats good, what's not and what to look out for.

ANIMATION EXERCISES

Depending on time there will be a number of quick animation exercises to not only sharpen skills, but also see different styles.

  • Vanilla walk(s)
  • Moving holds, keeping characters alive
  • Falling down in different styles of animation.
  • Waves with different timing for different meaning
  • Staging of two characters

PER-REQUISITE

The student needs to come with a reel so we can dissect it and pull some work from it to improve upon. Existing files from the reel would be good but not essential.

Clarity in Animation

This course is the core of the entire advanced training and will focus on clarity in acting and planning before you sit down to Maya. The main goal is to cultivate animator’s acting chops with a language for describing characters with clear, simple, and SPECIFIC acting. Often animators, myself included, fall victim to the tendency to make a character move, but without a definite reason and/or context attached to an emotion or performance.

Before we jump into making the character move, we need to know/decide as much as we can about the identity of the character. Nailing down these attributes and sticking to them will inform everything about how they will be posed, gestures they will make, and how they will ultimately move. Direct / indirect, strong / light, Sudden(quick) / sustained, etc. These are explicit choices we can make for every character before a pose is created. Changing any one variable would produce very different performances. Taking a look at lots of live-action reference, we will use this language to describe and interpret acting for ourselves, and for other animators.

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

Lenght
28.7. - 8.8. 2014 (2 weeks)
Price
550,- EUR (665,- EUR with 21% VAT)
Teachers
Neil Helm (PIXAR)
Modules
CLARITY IN ANIMATION with Neil Helm (PIXAR)
2 weeks

In a professional setting typically the identity of a character has already been determined. However you may not know how to ask questions of a lead/supervisor/director when notes are given to better understand what they are looking for. Once armed with these weapons of describing, visualizing, and interpreting information about a character, it will help you better obtain clues that will help you be successful in executing those notes.

We will be showing some shots, good, bad, old, and ugly, and we will talk about how they could be improved. Goal being opening myself up to critique will enable/empower them to do the same with animators' own work. No animation is created in a vacuum, and we'll have dailies twice a week where everyone's work is shown and critiqued.

DEMOS/LECTURES:

  • Intro acting class - Laban style of describing, interpreting, human movement.
  • Video reference
  • Blocking
  • Poses
  • Design
  • Timing
  • Dialog
  • Eyes
  • Hands
  • Successful traits of an animator
  • Giving/accepting critique
ANIMATION EXERCISES

1: Based on initial reel review on the first day -- assign one of the following:

  • Single character pantomime (100 frames maximum)
  • Single character dialog (100 frames maximum)
  • Emotional bouncing ball (100 frames maximum)

2: Same (short) shot, blocked out 2-3 times with different acting choices for the character.

  • Block 1 -- Indirect, Strong, and Sustained. Single character pantomime (100 frames max)
  • Block 2 -- Direct, light, quick. Single character pantomime (100 frames max)
  • Block 3 -- Direct, strong, sudden. Single character pantomime (100 frames max)

The ideas will be helpful to compare acting decisions pre and post class to see improvement, compare with the other animators in the class, and identify areas animators can continue to emphasize and work on in the future.

PER-REQUISITE STUDY

Since we will be referencing film often, we suggest students brush up by watching some films. We will be showing clips from each of these to help illustrate points and aspects, various parts of acting we think are helpful to consider when animating.

  • Silence of the Lambs (1991)
  • Good Will Hunting (1997)
  • Star Wars (1977)
  • Shawshank Redemption (1994)
  • The Shining (1980)
  • Aliens (1986)
  • Ghostbusters (1984)
  • Star Trek 2: The Wrath of Kahn (1982)
  • The Hunt for Red October (1990)
  • The Empire Strikes Back (1980)
  • Jaws (1975)
  • Predator (1987)
  • Raiders of The Lost Ark (1981)
  • Die Hard (1988)
  • Apocalypse Now (1979)
  • The Big Lebowski (1988)

High-End Details and Polish

These two weeks will be focused on what makes a todays feature film standard – high-end details and polishing. Jason worked on both cartoon films at DreamWorks as an animation supervisor as well as on realistic characters such as Gollum from Lord of the Rings at Weta. His eyes are trained to help see details and guide animators to achieve such a high end result.

Goal: Give the animators the tools to understand what it takes to finesse and polish a shot – both the technical skill and the art of knowing how far to go.

 

 

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

Lenght
11.8. - 22.8. 2014 (2 weeks)
Price
550,- EUR (665,- EUR with VAT)
Teachers
Jason Schleifer (DreamWorks)
Modules
HIGH-END POLISH AND DETAIL with Jason Schleifer (DreamWorks)
2 weeks

Animation Exercises: A series of quick exercises intended to focus on specific polish areas. These are meant to help build muscle memory for common polishing tasks

  • arm wave
  • knee pop
  • foot fall
  • hand squeeze
  • body hitting a wall
  • head turn
  • prop hold
  • blink
  • inner thought
  • mouth press
  • breathing
  • shoulder shrug
Thought Process: A series of mental exercises designed to help determine what polishing means

  • Finished Shot analysis - visual effects character (gollum)
  • Fished Shot analysis - animated film character (incredibles)
  • Finished Shot analysis - cloudy with a chance of meatballs
  • Where to focus
  • Order of finesse
  • Taking Notes
  • Pomodoro Technique (time management)
  • Workflow Examples

And then finally finessing a shot animators currently have, using the techniques we explore giving three days to do it.

Cartoon Animation Production

What can we say more. Short film production with legendary Keith Lango. More details about the style and story later. This production course will be way different then the two before. Keith will NOT ONLY focus on teaching animation and leading the team of animators to produce a short film in only 10 days, but the lectures and entire vision of the course is to share his 20+ years of industry experience, being an animator, project manager, director, HR, producer, you name it, to teach young professionals how to make decisions to produce a project on budget, time and under hard limitations. Choose your visual and animation style, technique, story accordingly. Prepare your project management from scratch up to the moment when you lead your team to complete your idea as a real complete film. But keep in mind the context of the future internet and new media distribution. All of this will be part of the course. Why? Because this is what Keith believes in and we want to share his philosophy with those animators, that want to produce their ideas independently as well.

 

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

Lenght
25.8. - 5.9. 2014 (2 weeks)
Price
550,- EUR (665,- EUR with 21% VAT)
Teachers
Keith Lango (VALVE)
Modules
Short film making with Keith Lango (VALVE)

Creature Animation

Creature animation pervades the industry.  Wild characters from insects to aliens show their snarling faces in animation from TV commercials to feature films and everywhere in between.  This course will walk students through the workflow of creating dynamic, exciting creature animation in just two weeks.

 

 

 

 

TARGET GROUP: 

- self-taught 3D animators

- animation graduates with 3D animation foundations

- aspiring junior and junior 3D animators

- intermediate and advanced professional 3D animators

- trainers teaching 3D character animation

Participants should have intermediate understanding of the subject matters, a portfolio of previous work and working knowledge of Autodesk Maya (animation tools).

The course is supported by the MEDIA Programme of the EU. As a result, we can only accept EU-citizens on the course.

 

OUTLINE

We will start the course with a warm up shot with a creature of your choice (chosen from a library of monsters we will provide for you).  In this warm up shot you will test the rig and learn it’s capabilities and limitations.  You will then design a shot using one of the many 3D tracked live action plates we will provide.

This second shot will be dynamic, exciting, and challenging, as you learn to contend with issues like camera, composition, speed, and tracking geometry the way the professionals do on a daily basis.  After two weeks of work, you will end with a solid shot under your belt, and a solid understanding of the foundations of working with CG creatures in a variety of industries.

Lenght
8.9. - 19.9. 2014 (2 weeks)
Price
550,- EUR (665,- EUR with 21% VAT)
Teachers
Kenny Roy
Modules
WEEK 1 with Kenny Roy
2 weeks

1. Establish the focus of the course; great physical, realistic animation.

2. Critique of current creature work (if student has creature work, good, if not, then critique their Quad Walk).

3. Create creature walk + run (2 days)

4. Create Fly Cycle (1 day)

5. Create creature antic (2 days)

WEEK 2 with

1. Hand out plates and rigs for creature FX shot

2. Talk about film issues and production issues

3. Pitch and reference film shots (1 day)

4. Create film shots (4 days)