Previzualisation and Storyboard for Animation and Visual FX

Module Details

Module Code: n/a
Full Title: Previzualisation and Storyboard for Animation and Visual FX
Valid From:: Semester 2 - 2021/22 ( January 2022 )
Language of Instruction:English
Duration: 1 Semester
Credits:: 5
Module Owner:: Martin Mchugh
Departments: Visual and Human-Centred Computing
Module Description: In this module, students will investigate the previsualisation process for the creation and capture of screen imagery. The module will examine pictorial and continuity design communication, storyboard principles and paradigms and the previsualisation of dramatic content and context. Focusing on case studies from film, television and VFX production designs, lectures and tutorials will investigate the staging of spatial and temporal scene compositions and the techniques employed in the shaping of meaning and emotion by shot framing and montage.
 
Module Learning Outcome
On successful completion of this module the learner will be able to:
# Module Learning Outcome Description
MLO1 Define the principles and paradigms of previsualization and storyboarding, and identify the differences between pictorial and continuity design.
MLO2 Show an understanding of the various stages and processes involved in previsualization, storyboarding and animatic development.
MLO3 Critique and evaluate the pictorial and continuity design aspects of existing film/television production designs.
MLO4 Demonstrate the use of visual techniques to communicate the dramatic content and context of an original production design scheme.
MLO5 5. Demonstrate a reflective design development process by defining the challenge, research and synthesis of a narrative proposition and its visual interpretation by devising, evaluating and refining image compositions.
Pre-requisite learning
Module Recommendations
This is prior learning (or a practical skill) that is strongly recommended before enrolment in this module. You may enrol in this module if you have not acquired the recommended learning but you will have considerable difficulty in passing (i.e. achieving the learning outcomes of) the module. While the prior learning is expressed as named DkIT module(s) it also allows for learning (in another module or modules) which is equivalent to the learning specified in the named module(s).
No recommendations listed
 
Module Indicative Content
Visualisation Process and Production Design Cycle
Introduction to pre-visualisation techniques for the production design of screen images.
Pre-visualisation for Pictorial Design
Design communication for screen imagery: concept illustration; production drawings; and miniature or digital 3D models.
Pre-visualisation for Continuity Design
Design communication for screen imagery: continuity sketches, storyboard art and audio-visual animatic.
Storyboarding Fundamentals
Visual storytelling: (1) scene composition (2) format and presentation (3) line-of-action, (4) crossing-the-line and (5) illustrating camera techniques.
Pre-visualising Spatial Composition
Shaping meaning/emotion with shot framing: (1) close shots, (2) medium shots (3) full shots; (4) line-of-action and (4) crossing and establishing the line .
Pre-visualising Temporal Composition
Shaping meaning/emotion with shot flow: (1) narrative content, context and motion (2) question and answer strategies (3) open and closed framing (4) cutting and transitions between shots, and (5) staging dramatic action.
Pre-visualising Staging - Challenges and Methods
Scene design composition employing (1) stationary subjects (2) moving subjects (3) depth of frame (4) camera movement, and (5) camera-and-actor choreography.
Pre-visualising Staging - Conventions and Systems
Scene design composition employing (1) Master Shot (2) Sequence Shot (3) shot size and distance (4) Shot, Reverse Shot pattern and (5) “A”, “I” and “L” patterns and sight-lines
Pre-visualising Staging - Dialogue Sequences
Scene design composition employing (1) face-to-face framing, (2) over-the-shoulder framing (3) shoulder-to-shoulder framing (4) long v wide lens framing and (5) high v low-angle reverse shots.
Module Assessment
Assessment Breakdown%
Course Work100.00%
Module Special Regulation
 

Assessments

Full-time

Course Work
Assessment Type Presentation % of Total Mark 40
Marks Out Of 100 Pass Mark 40
Timing n/a Learning Outcome 1,2,3
Duration in minutes 10
Assessment Description
Students will be required to analyse and critique the pictorial and continuity design of a scene from a film or TV production using a script and visual aids
Assessment Type Continuous Assessment % of Total Mark 60
Marks Out Of 100 Pass Mark 40
Timing n/a Learning Outcome 1,2,3,4,5
Duration in minutes 0
Assessment Description
Students will be required to design a storyboard and animatic, demonstrating a knowledge of a range of pre-visualisation principles and techniques.
No Project
No Practical
No Final Examination
Reassessment Requirement
No repeat examination
Reassessment of this module will be offered solely on the basis of coursework and a repeat examination will not be offered.

DKIT reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full-time
Workload Type Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Lecture Contact Weekly Lecture Every Week 1.00 1
Practical Contact Weekly Practical Every Week 2.00 2
Independent Study Non Contact Prescribed case studies Every Week 4.00 4
Directed Reading Non Contact No Description Every Week 2.00 2
Total Weekly Learner Workload 9.00
Total Weekly Contact Hours 3.00
Workload: Part-time
Workload Type Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Lecture Contact No Description Every Week 1.00 1
Practical Contact No Description Every Week 2.00 2
Independent Study Non Contact No Description Every Week 4.00 4
Directed Reading Non Contact No Description Every Week 2.00 2
Total Weekly Learner Workload 9.00
Total Weekly Contact Hours 3.00
 
Module Resources
Recommended Book Resources
  • Katz, D Steven. (1991), Film Directing Shot by Shot: Visualising from Concept to Screen, Michael Wise Productions, CA.
  • Mercado, Gustavo. (2011), The Filmmaker’s Eye, Learning (and Breaking) the Rules of Cinematic Composition, Focal Press, Oxford.
Supplementary Book Resources
  • Arnheim, Rudolf. (2004), Art and Visual Perception: A Psychology of the Creative Eye - 50th Anniversary Edition, University of California Press, Berkeley.
  • Block, Bruce. (2013), The Visual Story: Creating the Visual Structure of Film, TV and Digital Media, Taylor & Francis, Oxford.
  • Eisner, Will. (2008), Expressive Anatomy for Comics and Narrative: Principles and Practices from the Legendary Cartoonist, W.W. Norton & Company, New York.
This module does not have any article/paper resources
This module does not have any other resources