Digital Animation (Six-Month) is a course designed for those wishing to acquire industry-leading digital animation skills, which are highly sought after in the filmmaking industry, and to develop a showreel as a calling card for future employers. The Digital Animation programme begins with a three-week introduction to Maya and Nuke and also touches upon other related software that will be used during the course. The topics covered are based on standard production pipelines used within the industry.
Digital Animation requires a team-driven production and learning environment, intended to foster and reinforce the highly interdependent production processes used within the visual effects and film industries.
For more information, request a prospectus.
INTRO TO MAYA AND NUKE SOFTWARE TRAINING
- 3D Modelling Techniques
- Texture Mapping
- Lighting and Rendering
THE ANIMATION PRODUCTION PIPELINE
- Character Modelling and Skinning
- Skeleton Creation and Rigging
- Texturing Techniques
- Principles of Animation
- Keyframe Animation Techniques
CREATURE PRODUCTION PIPELINE
- Character Design and Modelling
- Sculpting in Mudbox
- Texturing in Mudbox
- Maya to Mudbox Workflows
- On-set Motion Capture and Cleanup
- Blend Shapes and Lip Sync
- Incorporating Secondary Animation
- Layering Muscle Systems
- Simulating Fur, Hair and Flesh
Be able to sculpt photorealistic 3D creatures
Have captured on-set motion data
Be able to integrate the traditional principles of animation
Be able to add dynamic finishing FX such as CG cloth, fur and hair
Communicate effectively as a member of a production team
Layout & Previz Artists
Layout artists are responsible for staging every shot and pre-visualising the action that will take place in every scene. Whereas a traditional storyboard artist creates a 2D representation of the individual shots within a production, a Previz artist creates a 3D representation of a storyboard including both spatial information and camera motion.
A texture artist is required to create all the textures for all of the models, objects and environments within the production. Ideally a texture artist will also have skills as a 3D modeller and vice-versa. But the larger the production the more likely modelling and texturing processes are treated as separate jobs within the production pipeline.
Character Finishing Artist
The role of the Character Finishing artist is to animate the effects of fur, cloth or musculature on a character. These FX are applied subsequent to the primary animation of the character, hence the name. These additional reactive layers of animation are intended to add a sense of realism to the overall movement of the character.
“Met Film School provided me with the knowledge and confidence to enter the animation industry”