• Course title: 3D Animation 1
• Nombre d'ECTS : 6
• Référence : DESSINANIM-49
• Module(s) : 3D ANIMATION TECHNIQUES A
• Langue(s) : EN
• Obligatoire : Yes

 

PART 1: Introduction to 3D Animation

1) The 12 principles of Animation in 3D

a) Animating a 3D object with a rig

b) In-class exercise: animating the bouncing ball

2) Animating a multi-controller rig:

a) Assignment: recreate a given animation using cube and ball rigs

b) Assignment: posing a biped rig

 

PART 2: Introduction to body mechanics

1) Introduction to body mechanics

a) Assignment: animate a series of action using a biped rig2) Introduction to the animator’s production workflow

a) 3D Animation workflow: Planning, Blocking, Polishing

b) Assignment: animating a simple action shot with a biped character from planning to polishing

PART 1: Introduction to 3D Animation 

– Explain the 12 principles of animation applied to 3D animation – Apply constraint to 2 or more objects. – Manage the speed and acceleration of an object via the Graph Editor in Autodesk Maya – Create, delete, and move keys in the Graph Editor and Timeline in Autodesk Maya – Preview the animation for review – Create character poses based on a series of emotions PART 2: Introduction to body mechanics – Create body mechanic animations – Animate a short pantomime sequence  

The objective of the course is to introduce the principles of animation, the software tools and workflows to design and create mechanical and organic movements in Autodesk Maya.  The course is organized as a series of lectures and practical assignments of increasing difficulty.  Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time. 

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks: Take-home assignments. Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignmentAttendance: Mandatory, minimum 70% attendance.     

Bibliography:

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006. Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006. Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.  

• Course title: 3D Layout
• Nombre d'ECTS : 2
• Référence : DESSINANIM-19
• Module(s) : 3D ANIMATION TECHNIQUES A
• Langue(s) : FR
• Obligatoire : Yes

PART 01: Basic knowledge and Production Planning1.1 – Basic Knowledge1 – Understand 3D Layout Utility· Visual aid for the director· Full sequences and project previsualisation· Raise issues that may affect the following departments (animation, lighting, rendering, compositing)· Block animation key poses and timing· Visualize FX and some compositing elements thanks to proxy· Test and check 3D assets and rigs2 – Know Technical Terms and Theory· 3D and animation jargon (storyboard, animatic, cam, shot, retake etc)· Basic composition rules (thirds, line of force, horizon etc)· Basic camera mouvements (truck IN/OUT, Dolly, Pan etc)· Camera shot values (close-up, medium, cowboy, large etc)· Focal utilisation3 – Avoid errors and look for problem solving· Problems inherent in 2D animatic and design (proportion problem, unclear acting, too tight timing, unfeasible action)· Problems inherent in 3D layout (too much air around characters, edge frame, tangent, silhouette etc)· Problems inherent in 3D scene (broken rig, offset or missing sound, incorrect duration etc)· Problems inherent to the director (Unachievable request, lack of clarity etc)1-2 – Plan· Creation of a google sheet containing all the information concerning the sequence and used for production monitoring (duration, frame IN/OUT, assets, sequence and shot names, director’s preliminary comments, internal and external retakes, etc.)· Use of an animatic breakdown before starting (placement in the 3D set, types of cameras mouvements and characters actions, continuity etc)Exercise during the course: Do the sequence breakdown from an “Apollon le Grillon et les Drôles de petites Bête” episode and report the informations on the google sheet.PART 02 : Scene Build and Layout Sequence1.1 Preparation et Optimisation1 – Scene Build· Import the 3D assets (set, props, characters etc) needed for the sequence using the tracking document· Create selection sets for each characters in the Maya outliner2 – Create Maya sequencer· Create the sequence according to the animatic, framings and nomenclatures· Import audio tracks for each shotExercise during the course: Build the scene and sequencer of a sequence from an “Apollon le Grillon et les Drôles de petites Bête” episode1.2 – 3D layout sequence1 – Create Basic Continuity Layout· Place characters and cameras according to the frame values and information of the animatic· Animate the characters (step or linear, depending of the action) respecting the key poses of the animatic. Adjust the timings if necessary· Animate the cameras in a linear way according to the animatic instructions· Modify animation curves in the Graph Editor· Use and modify the Pose Library (reut)· Create a video playblast for each shot then an end-to-end video sequence (using DJV for exemple)Exercise during the course (to finish at home if needed): Place and animate the first cameras and characters according to the animatic from an “Apollon le Grillon et les Drôles de petites Bêtes” episode, then create playblasts and an end-to-end video sequence for review.2 – Create Advanced continuity Layout· Understand and use of constraints (parenting) and motion paths· Use of proxy to simulate Fx and compositing effects (ex: shadow, explosion, clouds etc)· Create a basic rig (3 controlers) on a new camera.Exercise during the course (to finish at home if needed): Create a rigged camera (rig), apply a spotting scope proxy to this camera (proxy compositing) then create and arc-rotate mouvement (motion path) around two characters playing with a ball (constraint)

 

On completion of the course unit successful students will be able to: Explain the benefits and requirements of the Layout in the context of an audiovisual production Explain and use technical terms in the context of the layout task Prevent common technical mistakes and solve unexpected technical errors Create and update breakdown lists based on an animatic Build a layout scene from scratch Use the Maya Sequencer tool to organise a sequence Create and check basic continuity in the layout 

Create and check advanced continuity in the layout 

 

This course introduces theorical and practical fundamentals to create 3D layout. This covers production techniques, tools, and workflows to transpose a 2D storyboarded sequence into an Autodesk Maya 3D scene, with the goal to create an accurate visual aid for the director and an operational environment for animation while respecting the production pipeline. The course includes the creation of a full 3D layout sequence broken into a series of practical exercises that will cover concepts such as set dressing, shot composition, assets referencing, character posing, camera animation and department management. 

Assessment method: End of course assessment.  The student’s evaluation is based on the execution of a final assignment. The student will be asked to create a full 3D layout sequence based on a 2D animatic from an «Apollon le grillon et les drôles de Petites Bêtes» episode. Assessment tasks: Take-home assignment Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment  Attendance: Mandatory, minimum 50% attendance. 

Bibliography:https://www.amazon.fr/dp/1933492953/?coliid=IK7Z7F647MPKY&colid=3CPJ4W5FT3QDT&psc=1&ref_=list_c_wl_lv_ov_lig_dp_it https://www.youtube.com/@StudioBinder/videos http://theetheringtonbrothers.blogspot.com/2022/07/how-to-think-when-you-draw-spacing-in.html 

• Course title: 3D Rigging 1
• Nombre d'ECTS : 1
• Référence : DESSINANIM-20
• Module(s) : 3D FOUNDATIONS A
• Langue(s) : FR
• Obligatoire : Yes

Class 1: Concept Nodes (Node editor / connections / connections editor) (1h) Concept Transforms + Hierarchy (Outliner / Hierarchy view) (1h) Concept rig (exercise in classroom): simple rig of a stick (concept of controls) (2h) Exercise to do at home: simple rig of a ball (option: with a rigid tail in 2 parts) If we have time: advanced behavior of transforms and concept of constraint  Class 2: Constraints and connections on a mechanical (train piston / wheels with different sizes…) (3h) Organisation in a rig / Preparation a rig for animator (sets / attributes) (1h) Exercise: finish the work started in classroom If time: other mechanisms if time: use scripts without knowledge of script  Class 3: Concept of deformation / history stack (1h) Skinning with the rig of ball made in session 1 (Paint tool, component editor, skinning tools) (3h) If time: make a spring rig Exercise: Make a simple prop chosen by the student (with deformation by skin)  Class 4: Concept of blend shapes (Blend shape editor) (2h) Concept of Lattice (1h) (wheel exercise) If time: concept of ShrinkWrap (for detection on the floor: need all notions seen during courses (1h)

On completion of the course unit successful students will be able to: 1. Explain and apply basic rigging techniques

2. Create clean structures for simple rigs

3. Explain the concept of parenting, constraints and joints

4. Create chains of joints and connect them to drive a mesh

5. Transform and deform geometry objects

6. Explain blend shapes and their applications

The course objective is to introduce the principles, tools, and workflows to create 3D rigs in Autodesk Maya.  The course is organized as a series of lectures and practical exercises. Emphasis is given to production techniques and in-class participation.  

Assessment method  Continuous Assessment : The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment method: Continuous Assessment.The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.Assessment tasks: Take-home assignments.Assessment criteria:• Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignmentAttendance: Mandatory, minimum 50% attendance.

Bibliography 

http://www.cultofrig.com/

 

• Course title: Blender & Real-Time Engines
• Nombre d'ECTS : 2
• Référence : DESSINANIM-75
• Module(s) : 3D FOUNDATIONS A
• Langue(s) : EN, FR
• Obligatoire : Yes

Introduction to Blender for modeling, texturing and animation Introduction to real-time engines for rendering Pipeline external 3D software to the Real-time engine 

On completion of the course unit successful students will be able to: 1. Navigate Blender interface

2. Access modeling, texturing and animation tools in Blender

3. Animate a bouncing ball in Blender

4. Model and texture a simple set in Blender

5. Light & render a simple environment in Blender

6. Explain the differences between an offline rendering tool and a real-time engine

The course provides insights into using Blender to create 3D assets and animation.The student will also learn how a real-time engine can be leveraged to make audiovisual projects.The course is organized as a series of live-demo workshops and practical assignments.Emphasis is given to the experimentation with the possibilities offered by the tools. Instructor: Delfo Olimpo- Introduction to Blender interface- Modelling and Sculpting tools- Simulation, 2d and 3d animation Instructor: Gil Galvao- Lights in Blender– Different ways of lighting and their uses- Rendering in Blender– Render Engines & Settings (Cycles & Eevee)- Render Passes for compositingInstructor: Jacopo Armani- Introduction to real-time engines for animation

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

Blender:

· https://docs.blender.org/manual/en/latest/

· https://www.youtube.com/user/BlenderFoundation

· Blender 2.80 Fundamentals (Youtube)

· https://www.youtube.com/@blenderguru

· https://www.youtube.com/@DefaultCube

· https://www.youtube.com/@Polyfjord

Unity:

· https://learn.unity.com/

Unreal:

· https://dev.epicgames.com/documentation/en-us/unreal-engine/unreal-engine-5-4-documentation

• Course title: Art and Virtual Reality
• Nombre d'ECTS : 2
• Référence : DESSINANIM-85
• Module(s) : 3D FOUNDATIONS A
• Langue(s) : FR, EN
• Obligatoire : No

– Quill basics / tutorial – Drawing simple images in VR – Translate 2D drawings into a 3DVR sketch/painting.

 On completion of the course unit successful students will be able to: Use digital tools in virtual reality (Smoothstep Quill) to sketch and iterate 3D concepts and ideas. Create a 3D version of a 2D design    

Students will learn how to use the Meta Quest headset and Quill software to sketch and paint in a 3D-VR environment, turning a 2D drawing into a 3D sketch. The course is organized as a series of live-demo workshops and in-class practical assignments. Emphasis is given to the experimentation with the possibilities offered by the tools. 

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment criteria: Creativity and experimentation (45 %): Capability to explore and effectively utilize Quill’s tools Technical Execution (45%): degree of understanding and execution of the technique(s) involved in the assignment Accountability (10%): respect for the assignment intermediate and final deadlinesAttendance mandatory, 50% minimum

• Course title: Compositing
• Nombre d'ECTS : 2
• Référence : DESSINANIM-53
• Module(s) : 3D FOUNDATIONS A
• Langue(s) : EN
• Obligatoire : Yes

The interface of After Effects (recap) Compositing workflows Layers and compositions Comping multiple render passes for characters and backgrounds  Exporting in different formats Assignment: create a comped video from a rendered scene 

On completion of the course unit successful students will be able to: 1. Explain the key features and applications of After Effects in production

2. Brief recap of After Effect interface

3. Explain the differences between layers and compositions

4. Locate and apply essential effects for compositing such as color correction, vignettage, motion blur

5. Improve the quality of a 3D render using different render passes and compositing techniques

6. Troubleshoot rendering issues at compositing using masks and keying

The course objective is to introduce the principles of compositing, the software tools and workflow to create comped shots in After Effects. The course is organized as a series of lectures and practical assignments of increasing difficulty. Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time. 

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

Attendance: Mandatory, minimum 50% attendance.

Bibliography:Adobe After Effects CC Classroom in a Book, by Lisa Fridsma Learn After Effects in 10 Minutes! Beginner Tutorial – Ben Marriott https://www.youtube.com/watch?v=hb2bbfiNBXA 

• Course title: Editing
• Nombre d'ECTS : 2
• Référence : DESSINANIM-55
• Module(s) : 3D FOUNDATIONS A
• Langue(s) : EN, FR
• Obligatoire : Yes

Introduction to Premiere ProTechnical check list to import footage in Premiere ProPrinciples of editing Technical check list to export a master and a preview fileAssignment 1: cut together a video on musicAssignment 2: cutting your first demoreel

On completion of the course unit successful students will be able to: • Explain the key features and applications of Premiere Pro in production

• Navigate the Premiere Pro interface

• Cut a given clip into sub clips

• Displace and trim clips

• Import audio and video clips

• Export video with sound

• Add labels and timecodes

• Explain and apply technical best practices at import and export

The objective of the course is to teach the interface and basic functions of the editing software Premiere Pro. The course is organized as a series of lectures and practical assignments. Emphasis is given to time management and production techniques to enable students to balance quality with productivity.

Assessment method:  Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks:  Take-home assignments. Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory 50% minimum

Bibliographie / bibliography

W. Munch, In the Blink of an Eye: A Perspective on Film Editing – 2nd Edition, 2001, Silman-James Press.

• Course title: 3D Modeling 1
• Nombre d'ECTS : 4
• Référence : DESSINANIM-56
• Module(s) : 3D MODELING TECHNIQUES A
• Langue(s) : EN
• Obligatoire : Yes

• Maya in its historical and industry-wide context

• Introduction to the whole CGI pipeline

• Introduction to Maya’s User Interface

• The orthographic views

• The perspective view (cameras)

• Viewing modes: wireframe, shaded

• Introduction to Polygonal Primitives

• Move, Rotate, Scale tools and the Snap function

• Vertices, edges, polygons, objects – as well as non-manifold geometry

• Edge Loop, Edge Ring, Grow, Shrink, Lasso selection.

• Backface Culling

• Introduction to Maya’s node-based logic and its Attribute system

• Introduction to Maya’s History system

• Animation of attributes in the Timeline

• Animation of attributes in the Graph Editor

• Introduction to the Outliner: creating groups & parenting

• Channel Box: Key, Reset & Freeze Transforms

• Changing pivots, and axis orientation (world vs local)

• Sculpting & Soft Selection

• Overview of the UV viewport

• Presentation of the Smooth function and its role

• Polygon Primitives

• Outliner

• Combining and Separating

• Mirroring

• Unfolding UVs

• Modeling Tools

• Hardsurface topology

• Clean and dirty geometry

• Creating UVs

• Reference images

• Workflow planning

• Modelling techniques

• Optimization techniques

• References and Instances

• Hiding Objects

• Layers

On completion of the course unit successful students will be able to: Explain the overall pipeline for a 3D CGI project Navigate the Maya interface Operate the 3D Viewport  Model simple volumes Explain and access manipulators Create, edit and remove Components Explain and use the various selection tools Access and modify object pivot points Explain the definition and use of Attributes  Access and navigate the Outliner Access and navigate the Channel Box Save and manage the versioning of a model Access and use the modeling toolset of Maya Model a simple object from a given design using primitives Model a set of multiple objects based on a reference Unwrapping the UVs of the model. Explain and apply Subdivision to models Use sculpting tools Explain the difference between referencing and importing assets in a scene 

The objective of this course is to introduce the principles, tools and workflows to create 3D models in Autodesk Maya.  The course is organized as a series of lectures and practical assignments of increasing difficulty.  Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their models on time. 

 

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 70% attendance.

Recommended reading material

• https://youtube.com/playlist?list=PLD8E5717592CF5C26&si=pnGnr5QN0cEaLZIT

• https://youtube.com/playlist?list=PLC974FDC82DE46F4F&si=AicTH_AJ0yZLDW9J

• Autodesk Maya Documentation : https://help.autodesk.com/view/MAYAUL/2025/ENU/ 

• Course title: 3D Modeling 2
• Nombre d'ECTS : 2
• Référence : DESSINANIM-57
• Module(s) : 3D MODELING TECHNIQUES A
• Langue(s) : EN
• Obligatoire : Yes

– Working with 2D model sheets in a 3D space  – Considerations about topology – Modeling organic volumes – Unwrapping techniques for a character’s UVs

On completion of the course unit successful students will be able to: – Model a simple character  – Explain the industry standard modeling techniques that make a character model usable for animation and rendering 

The course objective is to acquire and apply principles and techniques for organic modeling. The course is organized as a series of lectures and practical modeling exercises based on a given design (model sheets). Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their models on time.

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

Bibliography:

•Goldfinger, E. Human Anatomy for Artists: The Elements of Form. Oxford University Press, 1991•Tindal, B. The art of moving points. Hippydrome Publishing, 2013. 

• Course title: 3D Texturing
• Nombre d'ECTS : 2
• Référence : DESSINANIM-58
• Module(s) : 3D MODELING TECHNIQUES A
• Langue(s) : FR
• Obligatoire : Yes

Introduction on materials properties in general and how they apply to shaders in CG Hypershade and shaders Theorical and practical knowledge about texture slots / channels and shading networks How to use Substance Painter to achieve a certain look How to use an organised folder structure and naming convention policy to work with files Worfkflow between Maya and Substance Painter Previzualisation of the surfacing in Maya How to improve the surfacing result step by step 

On completion of the course unit successful students will be able to: 1. Navigate the interface of the Hypershade in Maya to create and update simple shading networks 2. Navigate the interface of Substance Painter 3. Use the textures slots / channels to transfer information from Substance Painter to Maya 3. Explain and use the textures slots / channels (painter to maya) 4. Export and import textures between Substance Painter and Maya and adjust their shading parameters and maps. 5. Texture an object completely in Substance Painter and render it in Maya 6. Interpret the art style of a given design and transpose it into textures and shaders (respect of the art direction, good choice of materials and colors, level of details and polishing) 7. Manage an organised folder structure and naming convention policy for the work files. Create production ready asset files, optimised to be used in the next steps of the production pipeline  

The objective of the course is to teach the interface and basic functions of Substance Painter in relation to Maya for texturing purposes. The course is organized as a series of lectures and practical assignments.  

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

Bibliography

 

https://substance3d.adobe.com/tutorials/courses/Substance-guide-to-Rendering-in-Arnold

• Course title: Digital Sculpting
• Nombre d'ECTS : 2
• Référence : DESSINANIM-59
• Module(s) : 3D MODELING TECHNIQUES A
• Langue(s) : FR
• Obligatoire : Yes

Introduction to ZBrush

Sculpting tools in ZBrush

Workflow Zbrush towards Maya and substance painter

Sculpting a simple object and complexe creature

On completion of the course unit successful students will be able to:1. Explain the key features and applications of ZBrush in production2. Navigate and Customise Z-Brush interface and viewport3. Sculpt a simple object based on a given design4. Explain the workflow from Maya towards ZBrush

The course aims to introduce students to ZBrush, focusing on its interface and essential tools for creating 3D assets. Students will learn how to retopologize their models, making them compatible with other software like Maya and Substance Painter. The course format includes in-class live workshops that demonstrate the complete sculpting process for both simple and complex models. Additionally, students will explore various applications of ZBrush through production examples, including concept art, modeling, medical visualization, and 3D printing.

 

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

• Course title: Programme Introductory Course
• Nombre d'ECTS : 0
• Référence : DESSINANIM-94
• Module(s) : CORE SKILLS
• Langue(s) : EN
• Obligatoire : Yes

The 3D Animation and VFX Industry Studying at BDA :- Goals- Study plan- Teaching approach- Learning expectations Example of success from our alumni Student onboarding

–

The introductory lecture will provide an overview of the 3D Animation and VFX industry and the role that an artist plays as a professional within it.We will also cover an overview of life at the BDA, the program objectives, the study plan, and the teaching approach and set the learning expectations.Finally, students will be introduced to the 3D Lab workstations.

–

BDA Study Plan : https://www.uni.lu/fhse-en/study-programs/bachelor-in-animation/programme/

• Course title: Film Culture
• Nombre d'ECTS : 2
• Référence : DESSINANIM-17
• Module(s) : CORE SKILLS
• Langue(s) : EN
• Obligatoire : Yes

The exact topics of the course will be developed in dialogue with the students and with regard to their intended final projects.

1. Explain key terms and concepts in film studies2. Develop a personal research question in relation to one or more key paradigms in film studies3. Analyse the visual grammar and narrative structure of a film with regard to the developed research question4. Read and interpret criticism and apply it within the academic argument5. Access and cite secondary sources

The aim of this course is to provide students a firm grounding in film culture in order to equip them as filmmakers in their own right. To this end, the course gives an introduction to selected aspects of academic film studies and their main research fields, which are film theory, film analysis and film history. Students will become engaged with the primary conventions of filmmaking, such as framing, mise-en-scène, montage, narrative structure and genre, and they will learn about a wide variety of national cinemas and movements, theoretical debates and cinematic styles. Moreover, they are encouraged to develop research methodologies and critical thinking skills in order to articulate their own perspective on selected films, directors, cinema trends or themes, and to locate their own ideas and works within cinematic traditions.

 

Assessment method: Continuous examination

Assessment tasks: A short mid-term paper, an in-class presentation and a final essay.

The first two assignments are worth 40% of the overall course grade, and the final essay is worth 60%.

The assessment criteria for the written assignments will be:

(1) the ability to identify, explain and apply key concepts and ideas in film studies discussed in class

(2) the ability to identify key scenes in a film and their cinematic forms

(3) the ability to critically read their meanings.

Presentation skills include (4) the ability to engage the class and work collaboratively with other presenters.

Attendance: Mandatory, minimum 70% attendance.

 

 

 

Bibliography 

 

Bordwell, David / Thompson, Kristin / Smith, Jeff: Film Art. An Introduction. New York 2016.

Elsaesser, Thomas / Hagener, Malte: Film Theory. An Introduction Through the Senses. New York / London 2015.

• Course title: Life Drawing
• Nombre d'ECTS : 2
• Référence : DESSINANIM-15
• Module(s) : CORE SKILLS
• Langue(s) : FR, EN
• Obligatoire : Yes

 Ergonomic recommendationsDrawing quick and long posesConditions for creativityVarious drawing techniquesVarious drawing toolsShapesIntuitive perspectiveDrawing shortcutsLight and volumesDiscussion of the outcome 

 1. Represent the model’s personality2. Depict the essence of a pose3. Represent a fleeting action or expression4. Draw the human underlined anatomy5. Draw the line of action and the energy points6. Compose a model within his/her environment7. Represent the effects of gravity8. Identify and represent different light and shade values 

 Students are given an overview of the technical possibilities of sketching and drawing. The aim of the course is to improve the students’ perception and analysis skills in order to draw the human body in many facettes. The course is mostly practical. Students react to the situation, the instructor reacts to the students’ work. This organic process depends on the abilities and the responsiveness of the participants. The teacher encourages students to experiment and surpass themselves. Structure of the classes: First day:  Introduction and overview on the course and practice of drawing.  Advice on ergonomics and general attitude.  Presence of the nude model: Series of short poses (min 1 minute) alternate with medium and long poses (max 15 minutes). Standing, sitting and lying poses.  Following classes: Description of the focus of the current course. The focus is chosen in the list of learning objectives. Presence of the model: Series of short poses (1 minute) alternate with medium and long poses (max 15 minutes). Standing, sitting and lying poses, decided on the spot according to the objective of the course.  The model in motion.  Exageration, squash and stretch The instructor reacts individually to the work of the students and suggests corrections and alternatives. Analysis and discussion 

Assessment method:  Continuous Evaluation  The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Drawings will stay available for students to create a portfolio.  Assessment tasks:  Take-home assignments consisting of: In-class assignments: 70% of final grade End of semester life drawing portfolio: 20% of final grade Written essay: 10% of final grade Assessment Criteria: In-class assignments & portfolio: Diversity of approaches according to the list of objectives. Diversity of observation methods applied. Diversity of materials and experienced tools. Sheet composition.  Quality of expression. Vitality of the drawing. Experimentation, research, creativity. Evolution of drawing during the course series.  Written essay: Independence and initiative Systematic approach Documentation and argumentation   Attendance: Mandatory, minimum 70% attendance.

Bibliography

 Walt Stanchfield. «Drawn to Life: 20 Golden Years of Disney Master Classes», Vol1-2, The Walt Stanchfield Lectures, April 2013. Routledge. ISBN: 978-1136138331.  George Bridgman. «Bridgman’s Complete Giude to Draving from Life». November 2017. Sterling Publishing Co Inc. ISBN: 978-1454626535. Marcos Mateu-Mestre.  «Framed Ink, Drawing and Composition for Visual Storytellers», August 2010. Design Studio Press. ISBN: 978-193342956.  https://www.derekoverfield.com/small-works-on-paper-3.html  https://www.jennifermcchristian.com/collections/7491  https://www.markdemsteader.com  https://rkarmel.com/category/exhibitions/   http://francois-matton.blogspot.com  All these are optional suggestions  

• Course title: Thematic Lectures
• Nombre d'ECTS : 1
• Référence : DESSINANIM-95
• Module(s) : CORE SKILLS
• Langue(s) : EN
• Obligatoire : Yes

1) Introduction to Visual Literacy (Ira Yeroshko, 22 TUs)

Course structure:

– 1 pre-course essay – image analysis.

– 10 Lectures of photography.

– 1 final essay – image analysis.

Table of content :

– On genres and their ambiguity

– Light as a source of everything

– Hybrid art informed by the sciences and the humanities

– Art of selection rather than invention

– Abstractions shaped by technology

-The role of chance in photography

– Meaning is nothing, context is everything

– Visual language and grammar (on composition)

– Never neutral, easily absused (on propaganda)

– Sense of time in photography

 

2) Making of « The Glass House » AI short film (1 masterclass 2TU online + Jacopo Armani 2TU on site with the class)

Course structure :

– 1 Lecture

– 1 final essay

Learning outcomes are based on the selected guest lectures and may vary each year. For this year’s course, the learning outcomes are:

– Analyze an image using the 10 Fundamental Concepts.

– Identify various photography genres and understand their intersections.

– Explain the basic history of photography.

– Describe advanced techniques for capturing images beyond traditional camera use.

– Conduct in-depth analysis of framing and composition.

– Articulate the significance of context in photography.

– Discuss the power of images in shaping perception.

– Analyze and explain how images can distort our sense of time.

– Explain the role of AI in creating original and meaningful audiovisual projects.

The aim of this course is to provide students with multidisciplinary knowledge that can further forster their growth as artists, academics and professionals in the Computer Graphics, Visual Storytelling and Media Studies fields. Each year guest speakers will bring fresh perspectives on different topics.2024-25 Lectures and Guest Speakers:- Introduction to Visual Literacy (Ira Yeroshko, 22 TUs): Unlock the secrets behind the images that shape our world. In this foundational course, we will explore the ten threshold concepts of photography, revealing how this essential medium forms the bedrock of many visual arts. Photography is not just about capturing moments—it’s about constructing, influencing, and interpreting the visual world around us. As aspiring animators, understanding these concepts will empower you to create more compelling, nuanced, and impactful visuals in your own projects.Through engaging discussions and an examination of diverse photographic projects across various techniques and genres, you’ll gain insights into the evolution of image-making, the ways in which images can be manipulated, and the powerful role they play in visual storytelling. Although this course is entirely theoretical, it will provide you with the critical tools and inspiration to experiment with new ideas and integrate them into your animation work. Whether you’re just starting out or looking to deepen your understanding of visual media, this course offers a unique opportunity to enhance your creative toolkit and rethink how you approach your craft.- « The making of » of The Glass House (Boris Labbé, 2 Tus)

Assessment method: – Continous Evaluation & End of Semester Exam

Assessment tasks:

– 1 final essay, image analysis (Introduction to Visual Literacy)

– 1 final essay (« Making of » of The Glass House)

Assessment criteria:

– Ability to apply the 10 fundamental concepts to image analysis (Introduction to Visual Literacy)

– The assessment criteria will be the ability to presents personal thoughts about the ways AI can be utilized creatively and ethically in the development of an audiovisual project, demonstrating an understanding of its potential applications and referencing it back to the project « The Glass House », that was presented in class.

 

Attendance: – Mandatory, minimum 70% attendance.

Recommended reading:

Berger, John. Ways of Seeing : Based on the Television Series with John Berger. London: British Broadcasting Corporation, 1972. Print.

https://www.a-z.lu/discovery/fulldisplay?docid=alma990005646550107251&context=L&vid=352LUX_EDU:BIBNET_UNION&search_scope=DN_and_CI_UCV&tab=DiscoveryNetwork_UCV&lang=frBarthes, Roland, and Richard Howard. Camera Lucida : Reflections on Photography. Repr. London: Vintage, 2000. Print.

https://www.a-z.lu/discovery/fulldisplay?docid=alma990013721730107251&context=L&vid=352LUX_UNI:BIBNET_UNION&search_scope=DN_and_CI_UCV&tab=DiscoveryNetwork_UCV&lang=en

 

Consult with the instructor to receive a specific briefing for your exam re-sit.

• Course title: Applied 3D techniques
• Nombre d'ECTS : 20
• Référence : DESSINANIM-84
• Module(s) : ADVANCED 3D ANIMATION TECHNIQUES
• Langue(s) : FR, EN
• Obligatoire : Yes

1. Design and direct a short audiovisual project from pre-production to post-production based on a predefined concept and production plan given by the instructor2. Access and cite research sources 3. Present and explain their work-in-progress to peers and supervisors4. Understand and critically incorporate feedback into the project5. Deliver a complete audiovisual project according to the specifications (Given by instructor)

Facultative participation to Demoreel lectures and mid-semester presentations.

Take-home Assignment

• Course title: Histoire et esthétique du cinéma (en collaboration avec la Cinémathèque)
• Nombre d'ECTS : 4
• Référence : BCE_EU-144
• Module(s) : MEDIA STUDIES
• Langue(s) : FR
• Obligatoire : No

Savoir analyser un film avec précisionMaîtriser les notions de genre (artistique/filmique), d’auteur, de style, d’histoire (de l’art/du cinéma) Savoir maîtriser la notion de motif et reconnaître le jeu de reprise/innovation de chaque œuvre/film 

Comment analyser les films Toutes les œuvres se ressemblent et en même temps elles sont toujours différentes. La plus grande éducation artistique – peut-être la plus grande difficulté de l’école – est d’apprendre cette vérité double : il ne faut pas penser qu’on est face à quelque chose d’unique à chaque fois, ni il ne faut généraliser grossièrement. Ce cours se propose d’atteindre cet objectif précieux à travers l’étude des films.Il suivra deux voies. Premièrement, il insistera sur l’importance du genre (artistique, cinématographique) d’une part et de l’auteur d’autre part. Il étudiera leur complémentarité et les enrichira à travers deux autres dimensions essentielles : le style et l’histoire. Deuxièmement, il s’attachera aux motifs de chacune de ces dimensions différentes de l’œuvre filmique. Le motif est en effet ce qui structure chaque œuvre, en même temps qu’il définit chaque genre et qu’il obsède chaque auteur, mais est aussi travaillé par chaque style, affectionné par chaque époque. En parallèle, le motif est ce qui traverse les œuvres, les genres, les auteurs, les styles, les époques. Les films du genre western, par exemple, se définissent précisément par leur orchestration des motifs des duels et des fusillades, des héros solitaires et des leurs échappées, mais les films criminels et noirs reprennent bien ces mêmes motifs, en remplaçant le motif du décor, la jungle d’asphalte prenant la place des prairies et étendues sauvages. Les œuvres au style surréaliste se passent difficilement du motif du rêve, en même temps ce dernier semble bien intemporel, disséminé dans toutes sortes de films… Les motifs constituent tout un jeu artistique de reprises et de remix, d’échos et de ruptures, de conservations et de transgressions.De même que la dimension du genre et de l’auteur, du style et de l’histoire, le motif est essentiel en littérature comme en peinture, en musique comme en architecture. Il s’agira alors, par l’étude de ces dimensions et du fil rouge de leurs motifs, de savoir bien voir, bien lire une œuvre. D’une part, comprendre sa richesse et son sens ; d’autre part, mesurer son invention, son artisticité. Finalement, il s’agira de savoir l’analyser.Dans une formule qui se voudrait plus variée et aventureuse que celle d’un cours ordinaire, on alternera les séances à Belval avec des soirées à la Cinémathèque, où se succéderont plusieurs spécialistes internationaux qui tiendront autant de conférences, suivies par des projections. Ce seront des occasions de sorties et de rencontres conviviales et culturelles (à 19h, conférence d’une heure, suivie d’un buffet offert et d’une projection d’un film, avec un fascicule de lectures d’approfondissements également offert) : une fois par mois, le 24/2, le 31/3, le 28/4 et le 26/5. Ces soirées vaudront une présence double.  Bibliographie: – Fascicules de lectures des conférences à la Cinémathèque, mis à disposition pendant le cours. – Sur les motifs en art et au cinémaV. Amiel et J. Moure, Histoire vagabonde du cinéma, Paris, Vendémiaire, 2019.E. André, Esthétique du motif. Cinéma musique peinture, Presses Universitaires de Vincennes, 2008, en ligne : https://books.openedition.org/puv/1413J. Aumont, Matière d’images, redux, Paris, La Différence, 2009.J. Balló et A. Bergala (dirs), Les motifs au cinéma, PUR, 2019.G. Roque, « Le peintre et ses motifs », Communications, 47, 1988 et « Au lieu du sujet, le motif : la quête des peintres depuis l’impressionnisme », Ethnologie française, 25/2, 1995 [sur moodle]. – Histoires du cinémaD. Bordwell, K. Thompson et J. Smith, Film History: An Introduction, McGraw-Hill, 5th ed.: 2022.M. Barnier et L. Jullier, Une brève histoire du cinéma, Paris, Fayard/Pluriel, 2021. – Quelques dictionnaires de films/du cinémaCollectif : https://www.cineclubdecaen.comCollectif : Dictionnaire mondial des Films, Paris, Larousse, 2009 (éd. 2005 en ligne sur Gallica.fr).Collectif : Dictionnaire mondial du Cinéma, Paris, Larousse, 2011.J. Lourcelles, Dictionnaire du cinéma. Les films, Paris, Robert Laffont, 1992.J. Tulard, Guide des films + Le Nouveau Guide des films 4 et 5, Paris, Bouquin, 2005 + 2010 et 2018. – Quelques repères pour l’analyse filmiqueJ. Aumont et M. Marie, L’analyse des films, Paris, Armand Colin, 4e éd. 2020.R. Gardies (dir.), Comprendre le cinéma et les images, Paris, Armand Colin, 2007.L. Jullier, L’analyse de séquences, Paris, Armand Colin, 5e éd. 2019. – Quelques repères sur l’esthétique/l’étude du cinémaJ. Aumont et M. Marie, Dictionnaire théorique et critique du cinéma, Paris, Armand Colin, 2016.A. de Baecque et P. Chevalier (dirs), Dictionnaire de la pensée au cinéma, PUF, 2012.D. Bordwell et K. Thompson, Film Art : An Introduction, McGraw-Hill, 13th ed.: 2024 [aussi en tr. fr.].E. Branigan et W. Buckland (dirs), The Routledge Encyclopedia of Film Theory, Routledge, 2015.S. Hayward, Cinema Studies. Key Concepts, Routledge, 2018.A. Kuhn et G. Westwell, A Dictionary of Film Studies, Oxford University Press, 2012.

 Assessment Component 1:  MANDATORY Attendance (NON-GRADED Assessment – MANDATORY) – 0% Assessment Component 2: Paper ​​(End-of-term Assessment​) – ​​100%

• Course title: Introduction to Metaphysics
• Nombre d'ECTS : 4
• Référence : BCE-99
• Module(s) : MEDIA STUDIES
• Langue(s) : EN
• Obligatoire : Yes

Students in this course will study central topics and problems in metaphysics. By discussing individual issues in metaphysics, students will not only learn what characterizes a metaphysical question, but also what distinguishes a genuinely metaphysical investigation from different philosophical (e.g. epistemic or moral) approaches. This knowledge is vital for understanding different fields of philosophy, and how they relate to each other. After finishing this course students will be able to name and explain prominent metaphysical issues and distinguish metaphysical questions from other kinds of problem sets in philosophy. The course also aims to provide sufficient expertise in the covered topics for students to independently orient themselves in regard to rival positions in metaphysical thought throughout the centuries.

Metaphysics is often characterized as the philosophical discipline which investigates into the ultimate structure or nature of reality or some central parts of it. It often does so by asking ‘What is…?’-questions, such as ‘What is truth?’, ‘What is causation?’, ‘What is existence?’, ‘What is identity?’, or ‘What is reality?’. These questions ask for the nature or essence of the investigated topics; for what makes those things what they are, and so metaphysics asks for the most basic features or categories of what there is. In this course we will investigate into some prominent metaphysical questions, see how they work and what might count as different answers to these questions. Topics covered in the course will include realism about universals, free will, necessity, personal identity over time, and the nature of human beings.     Core texts and suggested further reading will be provided or listed via Moodle.

Exam Language: English

Assessment Component 1: MANDATORY Attendance (NON-GRADED Assessment – MANDATORY) – 0%

Assessment Component 2: Final term paper (3000 words ca.) (End-of-term Assessment) – ​​100%​

• Course title: Introduction to Political Philosophy
• Nombre d'ECTS : 4
• Référence : BCE-102
• Module(s) : MEDIA STUDIES
• Langue(s) : EN
• Obligatoire : Yes

Give an overview of the developments of political philosophy throughout European history

Critically engage with and assess the merits and shortcomings of a number of political positions and philosophies

Be able to apply the criticisms discussed in the course to modern day political discourse and movements, by understanding where the ideas which underpin these approaches come from

The course will focus on political philosophy throughout European history, beginning with antiquity and ending with some feminist and post-colonial approaches to politics from contemporary authors. Each lecture will engage with the works of a particular thinker, and we will engage with these ideas critically, trying to take into account the social and historical context which led to these approaches as well as their modern-day applications and the internal tensions inherent to the viewpoints.We will cover works in political philosophy from the ancients such as Plato’s republic, through to the modern period with thinkers like Hobbes and Locke, then look at more modern interpretations such as that of Mill, Smith and Rawles. Before finishing by looking at some postcolonial and feminist approaches to political philosophy such as Fannon, De Beauvoir and Bartky.

Exam Language: English

Assessment Component 1: MANDATORY Attendance (NON-GRADED Assessment – MANDATORY) – 0%

Assessment Component 2: MANDATORY In Person Written exam (End-of-term Assessment) – ​​100%​ – second session available

 

 

• Course title: Le cinéma italien II
• Nombre d'ECTS : 4
• Référence : BCE_EU-53
• Module(s) : MEDIA STUDIES
• Langue(s) : FR
• Obligatoire : No

Une connaissance plus vaste et complète de la cinématographie et de la civilisation italienne.

Le cours se focalisera sur certaines étapes des dernières décennies du cinéma italien. Des grands maitres tels que Federico Fellini, Ettore Scola, Nanni Moretti, Pupi Avati nous accompagnerons au fil des cours hebdomadaires. Nous traiterons également la Comédie à l’italienne qui a représenté un nouveau récit cinématographique du réel à travers l’ironie:Mario Monicelli, Dino Risi, Ettore Scola, Giovanni Veronesi, Paolo Genovese seront nos guides dans ce parcours. Pour chaque cours, il y aura une partie théorique, et une partie visuelle à travers la projection d’extrais de films en langue italienne sous-titrés en français ou en anglais.La bibliographie sera donnée pendant le cours avec un PPT interactif.

Assessment Component 1: MANDATORY Attendance (NON-GRADED Assessment – MANDATORY) – 0% 

Assessment Component 2: ​​Participation aux cours (​​Continuous Assessment)​ – ​​25​% ​​​ 

Assessment Component 3: Examen final dans une langue au choix de l’étudiant(e) ​​(End-of-term Assessment​) – ​​75% ​​

• Course title: 3D Rigging 2
• Nombre d'ECTS : 2
• Référence : DESSINANIM-62
• Module(s) : 3D FOUNDATIONS B
• Langue(s) : FR, EN
• Obligatoire : Yes

Class 1: Feedback on knowledge from the previous year (1h) Anatomy: documentation, adaptation for animation (1/2h) Global human structure (1/2h) Concept IK (2h) Exercise in classroom: make a simple IK structure of legs Exercise at home: finish the rig of the legs If time: make the structure IK/FK If time: concept of foot roll  Class 2: Make an automatic structure with MGear (4h) Exercise at home: start a MGear structure on a character chosen by the student  Class 3: Technical of skinning with Maya tools (paint, mirror, copy skin…) (4h) If time and if possible: Skinning technics with NGSkin Tools Exercise at home: create or continue the MGear character rig with skinning  Class 4: Return on student rig progression (2h) If time: create facial with blend shape (2h)

On completion of the course unit successful students will be able to: Explain human anatomy concepts in relation to animation needs Create IK chains for a character Use the rig setup system MGear to create a biped rig Use Maya skinning tools to connect the mesh to a biped rig   

The course objective is to acquire and apply principles and techniques for rigging biped characters in Maya. The course is organized as a series of lectures and practical exercises. Emphasis is given to production techniques and in-class participation.   

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

Recommended:

http://www.cultofrig.com/ 

• Course title: Blender & Real-Time Engines
• Nombre d'ECTS : 2
• Référence : DESSINANIM-75
• Module(s) : 3D FOUNDATIONS B
• Langue(s) : EN, FR
• Obligatoire : Yes

Introduction to Blender for modeling, texturing and animation Introduction to real-time engines for rendering Pipeline external 3D software to the Real-time engine 

On completion of the course unit successful students will be able to: 1. Navigate Blender interface2. Access modeling, texturing and animation tools in Blender3. Animate a bouncing ball in Blender4. Model and texture a simple set in Blender5. Light & render a simple environment in Blender6. Explain the differences between an offline rendering tool and a real-time engine

The course provides insights into using Blender to create 3D assets and animation.The student will also learn how a real-time engine can be leveraged to make audiovisual projects.The course is organized as a series of live-demo workshops and practical assignments.Emphasis is given to the experimentation with the possibilities offered by the tools. Instructor: Delfo Olimpo- Introduction to Blender interface- Modelling and Sculpting tools- Simulation, 2d and 3d animation Instructor: Gil Galvao- Lights in Blender– Different ways of lighting and their uses- Rendering in Blender– Render Engines & Settings (Cycles & Eevee)- Render Passes for compositingInstructor: Jacopo Armani- Introduction to real-time engines for animation

Assessment method: Continuous Assessment.The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.Assessment tasks: Take-home assignments.Assessment criteria:• Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory, minimum 50% attendance.

Blender:· https://docs.blender.org/manual/en/latest/· https://www.youtube.com/user/BlenderFoundation· Blender 2.80 Fundamentals (Youtube)· https://www.youtube.com/@blenderguru· https://www.youtube.com/@DefaultCube· https://www.youtube.com/@PolyfjordUnity:· https://learn.unity.com/Unreal:· https://dev.epicgames.com/documentation/en-us/unreal-engine/unreal-engine-5-4-documentation

• Course title: Art and Virtual Reality
• Nombre d'ECTS : 1
• Référence : DESSINANIM-85
• Module(s) : 3D FOUNDATIONS B
• Langue(s) : FR, EN
• Obligatoire : Yes

– Quill basics / tutorial – Drawing simple images in VR – Translate 2D drawings into a 3DVR sketch/painting.

 On completion of the course unit successful students will be able to: Use digital tools in virtual reality (Smoothstep Quill) to sketch and iterate 3D concepts and ideas. Create a 3D version of a 2D design    

Students will learn how to use the Meta Quest headset and Quill software to sketch and paint in a 3D-VR environment, turning a 2D drawing into a 3D sketch. The course is organized as a series of live-demo workshops and in-class practical assignments. Emphasis is given to the experimentation with the possibilities offered by the tools. 

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment criteria: Creativity and experimentation (45 %): Capability to explore and effectively utilize Quill’s tools Technical Execution (45%): degree of understanding and execution of the technique(s) involved in the assignment Accountability (10%): respect for the assignment intermediate and final deadlinesAttendance mandatory, 50% minimum

• Course title: 3D Animation 2
• Nombre d'ECTS : 4
• Référence : DESSINANIM-65
• Module(s) : 3D ANIMATION TECHNIQUES B
• Langue(s) : FR, EN
• Obligatoire : Yes

Block-in poses from a given storyboard and layout scene: tools and scripts Polish a section of a given Block-in to a production level animation: tools and scripts Effective file versioning Constraints for animators in Maya (Bonus) 

On completion of the course unit successful students will be able to: 1. Explain the key terms of the animator’s workflows 2. Access and reference sources for motion and performance 3. Plan a shot based on a given briefing and rigged character and prop 4. Block in poses and timing to establish motion 5. Manipulate keys and tangents in the Graph Editor to achieve a motion 6. Save and manage the versioning of an animated shot

The objective of the course is to learn how the various steps of an animator’s workflow enable an animator to create mechanical and organic movements in 3D software.  The course is organized as a series of lectures and guided practical assignments. Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time.

  Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks:  Take-home assignment Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory, minimum 50% attendance. 

 

 

• Course title: 3D Animation 3
• Nombre d'ECTS : 2
• Référence : DESSINANIM-66
• Module(s) : 3D ANIMATION TECHNIQUES B
• Langue(s) : EN
• Obligatoire : Yes

Animating on dialogue Lip sync Facial animation 

On completion of the course unit successful students will be able to: 1. Explain the key mouth shapes needed for a lip sync 2. Analyse a given dialogue line to create a performance 3. Apply animation principles to polish the lip sync 4. Create believable expressions that support the acting and the dialogue

The objective of the course is to explain the principles of facial animation. The focus is to analyze a given dialogue and learn how to create convincing mouth shapes and learn how to handle eye movement, blinks and brow animation in relation with the rest of the face. 

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks: Take-home assignments. Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory, minimum 50% attendance.   

Bibliography:

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006. Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006. Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.  

• Course title: 3D Animation 4
• Nombre d'ECTS : 1
• Référence : DESSINANIM-67
• Module(s) : 3D ANIMATION TECHNIQUES B
• Langue(s) : FR
• Obligatoire : Yes

 – Acting principles for animators: character bios, personality, scene conflict, director’s intention, status transaction  – Planning for a single-character acting shot (pantomime) – Shot planning for the Character Animation Project 2 course 

On completion of the course unit successful students will be able to: Create a character’s bio Access and reference multiple sources (video references, film scenes, illustrations, …) to explore acting options Create acting objectives (intentions) for an assigned shot Create thumbnails to establish acting and action choices via poses Establish rough timing for a series of key poses    

The objective of the course is to explain how to research and plan for animating a full body single-character acting shot without dialogue. The course is organized as a series of lectures and guided practical assignments. Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time. The course is a required preparatory work to the Character Animation Project 2. 

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks: Take-home assignments. Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance:  Mandatory (minimum 50%)    

 

Bibliography:

 

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006. Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006. Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001. Ed Hooks. Acting for Animators.  

 

• Course title: Character Animation Project 1
• Nombre d'ECTS : 3
• Référence : DESSINANIM-92
• Module(s) : 3D ANIMATION TECHNIQUES B
• Langue(s) : FR, EN
• Obligatoire : No

Applied workflow and techniques for animating action shots      

On completion of the course unit successful students will be able to: Access and reference storyboard and reference videos for the thumbnailing, blocking and polishing stages Apply the process of block-in poses and timing to establish motion for an advanced body mechanic shot Apply a professional workflow to polish a shot in the Graph Editor to achieve a final animation pass Save and manage the versioning of an animated shot Listen to and incorporate the supervisor’s feedback at all stages of the process until final validation  

In this course the student will apply what was learned in 3D Animation 2 to create a complete body mechanic shot based on a given storyboard, layout and rig. The main focus is to be able to follow a professional animator’s design process from block-in to final delivery. This course is OPTIONAL, but it requires the completion of 3D Animation 2. It cannot be taken at the same time with 3D Modeling project.

Assessment method: Continuous Evaluation The student’s evaluation is based on the weekly integration of the feedback given on the take-home assignment (motivation & time management) and on the final delivery result (time management & execution). Assessment tasks: Take-home assignment Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory, minimum 70% attendance.         

Bibliography:Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006. Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006. Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.        

• Course title: Character Animation Project 2
• Nombre d'ECTS : 4
• Référence : DESSINANIM-93
• Module(s) : 3D ANIMATION TECHNIQUES B
• Langue(s) : FR, EN
• Obligatoire : No

Applied techniques for animating acting shots  

On completion of the course unit successful students will be able to: Access and reference multiple sources (storyboard panels, layout scene, reference videos, supervisor’s acting directions, …) and integrate them into the thumbnailing, blocking and polishing phase Apply acting principles to design engaging and original performances Apply the process of block-in and polishing learned in 3D Animation 2 to establish acting and motion directions that create a performance Present work-in-progress and incorporate the supervisor’s feedback at all stages of the process until final validation

In this course the student will be able to create a complete acting shot (pantomime or dialogue-based depending on their skill level) The main focus is the study of the feeling and thoughts of the characters, and the way to express them properly through acting, to achieve an appropriate and believable performance. This course is OPTIONAL, but it requires the completion of 3D Animation 2, 3, 4 and Character Animation Project 1. It cannot be taken at the same time with Advanced Digital Sculpting Project.

Assessment method:  Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course.  Assessment tasks:  Take-home assignment (project) Assessment criteria:  • Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment Attendance: Mandatory (Minimum 70%) 

This course is optional and cannot be taken at the same time with 3D Modeling Project. 

• Course title: 3D Modeling 3
• Nombre d'ECTS : 2
• Référence : DESSINANIM-69
• Module(s) : 3D MODELING TECHNIQUES B
• Langue(s) : FR, EN
• Obligatoire : Yes

Character modeling workflows Advanced modeling techniques and theories UV unfolding and scene organisation Basic shading and lighting      

On completion of the course unit successful students will be able to: 1. Explain the different workflows to create a semi-realistic cartoon character.

2. Choose the most appropriate workflow depending on modeling goal.

3. Plan the work by gathering references and set up Maya to speed up the modeling process.

4. Breakdown a given design, analyzing the anatomy, and blocking the shapes.

5. Explain the fundamentals of a good topology.

6. Cleanup the meshes, organize uvs and optimize the scene for the next departments.

7. Setup a turntable to enhance their workflow.

The course provides advanced theory in organic modeling in Maya and is linked to the Advanced Digital Sculpting course. This course is a required preparatory step for the 3D Modeling Project.

Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course. Assessment tasks: Take-home assignment: 1. Blocking and anatomy

2. Retopology

3. Modeling a hand

4. Mesh cleanup and Uvs

 

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment 

Attendance: Mandatory, minimum 50% attendance. 

• Course title: 3D Modeling Project
• Nombre d'ECTS : 3
• Référence : DESSINANIM-72
• Module(s) : 3D MODELING TECHNIQUES B
• Langue(s) : FR, EN
• Obligatoire : No

Modeling techniques Basic Shading and Lighting setup     

On completion of the course unit successful students will be able to: Model a full character from a given design or a design of their choice. Cleanup the mesh, unfold Uvs and make it ready for Texturing and Rigging. Present the final model with a professional turnaround.   

The course is a follow-up to the 3D Modeling 3 course, designed to apply the modeling techniques and principles acquired. This course is project-based; students will receive weekly mentoring and feedback to help them create a finished model.  While designs (model sheets) will be provided, students can also propose their own models during the first session. These proposals will need to be validated and adjusted with the instructor, taking into consideration the complexity of the chosen model.  

  Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course. Assessment tasks: Take-home assignment Model of a full body character Assessment criteria: • Accountability: respect for the assignment intermediate and final deadlines• Diligence: degree of the student’s note-taking and feedback implementation• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignmentAttendance: Mandatory (Minimum 70%)      

This course is OPTIONAL, but it requires the completion of 3D Modeling 3. It cannot be taken at the same time with Character Animation Project 1.    

• Course title: Advanced Digital Sculpting & Grooming
• Nombre d'ECTS : 2
• Référence : DESSINANIM-88
• Module(s) : 3D MODELING TECHNIQUES B
• Langue(s) : EN, FR
• Obligatoire : Yes

Advanced sculpting techniques

Semi Realistic style

Grooming

Quick basic shading and lighting

 

ADVANCED SCULPTING:

1. Gather references and setup Zbrush to work as efficiently as possible.

2. Breakdown a given design, analyzing the anatomy and blocking the shapes.

3. Understand and use the Zbrush basic tools.

4. Step up the quality of their sculpt by increasing the level of detail.

5. Explain how to create a Displacement and Normal Map.

GROOMING:

1. Explain the fundamentals of Grooming.

2. Create a classic haircut on a given model

The objective of the course is to provide students with theoretical principles and workflows of intermediate modeling and sculpting combining Autodesk Maya and Pixologic Zbrush and an introduction to the grooming workflow using the Xgen plugin in Maya. This course is a required preparatory step for the Digital Sculpting Project.

Assessment method: 

Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.Assessment tasks: Take-home assignments.

Digital Sculpting:

1. Head sculpting

2. Clothes folds

3. Displacement and Normal Maps

Grooming:

1. Create a classic haircut on a given model

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 50% attendance.

Bibliographie

https://www.artstation.com/anatomy4sculptors

• Course title: Digital Sculpting Project
• Nombre d'ECTS : 4
• Référence : DESSINANIM-87
• Module(s) : 3D MODELING TECHNIQUES B
• Langue(s) : EN, FR
• Obligatoire : No

Advanced sculpting techniques Semi Realistic style Quick basic shading and lighting in ZBrush   

On completion of the course unit successful students will be able to: 1. Model and sculpt a small scenery including a character in a small environment, in the style of Tsume figures, from a given design or a design of their choice

2. Present the final model with a professional turnaround.

The course is a follow-up of Advanced Digital Sculpting and Grooming course designed to apply the techniques and principles acquired. The course is project based; students will be mentored with weekly feedback to accomplish a finished model. Designs (model sheets) will be suggested by the instructor, but the student can propose their own design during the first session. Student’s designs will have to be discussed and adjusted under the instructor’s supervision, to keep the scope of the model reasonable. This course is OPTIONAL, but it requires the completion of 3D Modeling 3 and Advanced Digital Sculpting. It cannot be taken at the same time with Character Animation Project 2.

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

• Accountability: respect for the assignment intermediate and final deadlines

• Diligence: degree of the student’s note-taking and feedback implementation

• Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

 

Attendance: Mandatory, minimum 70% attendance.

• Course title: Sculpture
• Nombre d'ECTS : 1
• Référence : DESSINANIM-89
• Module(s) : 3D MODELING TECHNIQUES B
• Langue(s) : EN, FR
• Obligatoire : Yes

Sculpting tools and materialsSculpting techniquesSculpture of a fantasy character or creature, from a student’s creation or a given design (maximum 30cm of height)

1. Apply sculpting techniques to the creation of a character2. Adapt and represent the dynamism of the pose in a sculpted form3. Represent the underlying anatomical structure and dynamic tensions of a given model

The objective of the course is to provide students with observational skills and sculpting techniques to create sculptures with different materials.

Assessment method:

Continous Evaluation. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Assessment tasks: Take-home assignment Assessment criteria: Time management (10%) Execution (Mastery of the treated material, plastic quality) (80%) Presentation of works (10%) Attendance:Mandatory, minimum 50% attendance 

Recommended reading material: 

Philippe & Clarisse Faraut: Modeling of the human body: Plans and techniques of construction in clay. Eyrolles. 2015. ISBN-13 978-2212141740, 240 pagesPhilippe Chazot: Modeling Animals. Ulysse Editions, 2013. ISBN-13 978-2844152046, 80 pages 

• Course title: Group Project
• Nombre d'ECTS : 2
• Référence : DESSINANIM-73
• Module(s) : PROJECT A
• Langue(s) : EN
• Obligatoire : Yes

Group project defined by the instructor 

On completion of the course unit successful students will be able to:  1. Analyze project objectives and requirements 2. Communicate and organize tasks to achieve a common goal 3. Deliver a project on time and on specifications 4. Take a role and accomplish the needed tasks to contribute to the project goals 5. Present work in progress and gather feedback from peers and supervisors/clients 

The objective of the course is to create an audiovisual project in collaboration with other students of the class. The course is project based. The instructor will mentor the students in weekly classes. Emphasis is given to the collaboration of the students taking different roles in the production and in self-directed activities to find creative and technical solutions to achieve the project goals. A focus on troubleshooting issues and selecting the appropriate production techniques is also applied in order to balance quality with productivity and enable students to deliver their finished project on time. 

Assessment method:  End-of-course assessment Assessment tasks:  Take-home assignment: Audiovisual project based on a given briefing  Assessment criterias: Clear and effective distribution of tasks (per group) 20% Autonomy and problem solving (per group) 20% Originality & technical execution (per group) 20% Proactive Communication of project progress (per group) 20% Individual Contribution to the project (per student) 20%  Attendance Mandatory, minimum 50% attendance 

Recommended (not mandatory):

C. Winder. Producing animation. CRC Press; 3rd edition (January 3, 2020)   

• Course title: Final Project Preparation
• Nombre d'ECTS : 4
• Référence : DESSINANIM-3
• Module(s) : PROJECT A
• Langue(s) : EN
• Obligatoire : Yes

Table of contents:

– Class: Course Structure, Project Ideation

– Guest Lecture: Pre-production Masterclass

– Guest Lecture: Story Development Masterclass

– Guest Lecture: Visual Development Masterclass

– Class: Pipeline set-up

– Class: Project Concept Review

– Guest Lecture: Storyboarding Masterclass

– Class: Pipeline set-up

– Class: Storyboard Review

– Guest Lecture: Animatic Masterclass- Guest Lecture: Sound Design Masterclass

– Class: Pipeline set-up

– Class: Animatic Review

– Guest Lecture: Color Script Masterclass

– Class: Pipeline set-up

– Class: Project Scope + Exam Checklist

On completion of the course unit successful students will be able to: 1. Conceptualize the demo reel idea and organize its research sources

2. Elaborate and communicate the demo reel goals and production plan to an audience of animation professionals

3. Scope and plan the final project with respect to personal skills, career objectives and time constraints

4. Set up the folder structure and technical pipeline for production

The objective of the course is to provide students with critical analysis techniques for elaborating and planning for their final project and create the pre-production and pipeline setup that will enable them to begin production in semester 6. The course is organized as a series of regular lectures, masterclasses and feedback sessions, with a final exam in the form of a take home assignment and an oral presentation of the project pre-production (project summary, graphic bible, animatic, breakdown and production plan)

Assessment method: End of Semester Exam

Assessment tasks:

· Preproduction documentation and pipeline set up

· Oral Presentation

The student’s work is assessed on the preproduction documentation (project summary, graphic bible, animatic, breakdown and production plan) and its presentation and discussion at the exam.

Assessment criteria:

§ Engaging and fully researched idea for the final project

§ Exhaustive assessment and organization of student’s resources into a viable project schedule

§ Clarity of the presentation

§ Engaging academic thesis subject

§ Pipeline set up coherent to industry standards

 

Attendance: Mandatory Minimum 70%

 Recommended (not mandatory): Catmull, Ed. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Random House. 2014. Levy, B. David. Your Career in Animation: how to Survive and Thrive. Allworth Press. 2006. Levy, B. David. Animation Development: from Pitch to Production; Allworth Press. 2009. Winder, Catherine; Dowlatabadi, Zahra. Producing Animation. CRC Press. 3rd Edition. 2020. 

• Course title: Demo reel
• Nombre d'ECTS : 22
• Référence : DESSINANIM-77
• Module(s) : FINAL PROJECT B
• Langue(s) : FR, EN
• Obligatoire : Yes

Tools and techniques for the production and post-production of a 3D animation audiovisual project.

 

On completion of the course unit successful students will be able to:

1.Design and direct a short audiovisual project from production to post-production based on a concept and pre-production package and plan elaborated in the previous semester2.Access and cite research sources 3.Present and explain their work-in-progress to peers and supervisors4.Understand and critically incorporate feedback into the project5.Deliver a complete audiovisual project ready for screening

 

The objective of the course is to create a professional audiovisual project under the form of a technical demoreel or a shortfilm.The course is project based. Instructors will mentor the students in weekly classes and online via the tool SyncSketch. A series of lectures will be provided to give insights on the technical workflows of each production task.Emphasis is given to the creation of an audiovisual videoclip that showcases the student’s skills and applies advanced techniques in 3D Computer Animation. A focus on troubleshooting issues and selecting the appropriate production techniques should be applied in order to balance quality with productivity and enable students to deliver their finished project on time.

 

Assessment method: End-of-course assessment

Assessment tasks: Take-home Assignment (“Film”): •individual audiovisual project representing the student’s 3D skills and specialization focus (generalist, animation or modeling); •minimum length (excluding titles): 30 seconds, full HD, 24 or 25fps;•including sound (music/sfx), opening and closing titles and credits. Note: the student must certify to be the owner or licensee of all audiovisual elements used in the project. The student’s contribution to the project must be representative of his/her 3D skillset and must be the focus of the work (no derivative work is allowed).Assessment Criteria:Take-home Assignment («Film»)Artistic quality: originality, innovation, personalityTechnical execution: conformity to production standards of the industryChallenge level: level of technical or artistic challenge represented by the subjectThese criteria will be assessed by the course instructors and a panel of external guests from the audio-visual industry and partners of the programme.Attendance: Not mandatory

 

The students are required to sign an agreement that enables the University of Luxembourg and the Competence Centre to use their final projects for the promotion and marketing of the programme.

 

Students must consult with the Study Programme Director to receive a specific briefing for your exam re-sit.

• Course title: Internship
• Nombre d'ECTS : 0
• Référence : DESSINANIM-41
• Module(s) : FINAL PROJECT B
• Langue(s) : FR, EN
• Obligatoire : No

n/a – Depending on selected studio or institution

1. Explain the production objectives and constraints of a professional environment2. Develop a first network of professional contacts

n/a – Depending on selected studio or institution

• Course title: Professional Skills
• Nombre d'ECTS : 2
• Référence : DESSINANIM-79
• Module(s) : FINAL PROJECT B
• Langue(s) : FR, EN
• Obligatoire : Yes

-Overview of the Animation Industry in Luxembourg and Internationally: funding agencies, associations, festivals and conferences, production companies and animation studios-Self-Promotion Tools: CV/Resume, motivation letters, showreels and breakdown lists-Networking techniques-Assignment: create an “application pack” to apply for a job opening in a given animation studio 

 

 On completion of the course unit successful students will be able to:1.Research the main players of the Animation Industry2.Analyze personal motivation and strengths3.Research prospective studios for recruiting purposes4.Create presentational material for recruiters   

The objective of this course is to give students strategies to create a personalized career plan, to develop their professional network in the animation industry in Luxembourg and internationally and to redact the necessary documentation and self-promoting materials to communicate their skillset and roles to potential recruiters.

 Assessment method: Continuous AssessmentAssessment tasks: Take-home assignments-Career Planning: job application pack + job search plan-Essay on the Industry of animation in LuxembourgAssessment criteria: Independence, InitiativeAre own solutions or solution strategies found? Are own decisions made? Is information acquired independently? Are own suggestions made for the approach? Does the student identify with the tasks? Can an interest in the work be detected?Systematic approachAre methods applied systematically? Are priorities applied reasonably? Is there a focus on the essential? Are thoughts consistently followed and elaborated? Does a clear structure of the content of the report emerge? Is the task approached in a structured way (set goals, plan, do, check)?DocumentationIs the outline logical and well-balanced? Is the development of thought clear and reasonably structured? Are the texts concise, precise, and comprehensible? Is there a short, to-the-point and comprehensible summary of the report that is limited to the essential? Is the comprehensibility supported by illustrative examples, figures, graphics and tables? Is the terminology technically correct? Is the written expression adequate/colloquial/artificial? Are sentence structure, orthography and punctuation correct? Are company specific terms and terms outside of the subject area explained?Attendance:Mandatory, minimum 50% attendance.

 Career Planning:Levy, B. David. Your Career in Animation: how to Survive and Thrive. Allworth Press. 2006.

• Course title: Project Management
• Nombre d'ECTS : 2
• Référence : DESSINANIM-80
• Module(s) : FINAL PROJECT B
• Langue(s) : FR, EN
• Obligatoire : Yes

The objective of the course is to provide students with analysis and scheduling techniques to create and maintain a project plan for their final project. The student will also learn to anticipate planning issues, take precautionary actions to protect their work and present their project at different stages of production to receive feedback.The course is organized as a series of lectures, guided activities and student presentations.

 On completion of the course unit successful students will be able to:1.Explain the structure and design an audiovisual project plan2.Track the progress of an audiovisual project with a spreadsheet tool or similar tool3.Identify schedules issues and make adjustments to the plan to deliver the project on time4.Document and estimate quotas for different production tasks5.Present work-in-progress stages and acquire feedback6.Take the necessary actions to deliver an audiovisual project on time and according to a given specification

How to analyse and schedule tasksHow to prioritise tasksHow to report on the progress of a projectMilestones and DeliverablesTroubleshooting schedule issuesHow to minimize risks: backup strategiesWork-in-progress reporting and feedback acquisition

 Assessment method: Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.Assessment tasks: -Maintenance of a tracking system of their project (Google spreadsheet, or similar tool)-Mid-term and pre-delivery presentations of their project (oral presentation)-Final delivery-Final report (essay based on the “Final_report_template.docx”)Assessment criteria: Maintenance of a tracking system of the project:Breakdown of assets and shots is coherent with the animatic and project goals at each check pointProduction plan is coherent with breakdown list, quotas and student availability at each check pointMid-term and pre-delivery presentations of the project:Clearly documented state of the project, fluent description of the identified challenges, explanation of the next steps in productionEffective transcription of the feedback received during the discussion sessionFinal project deliveryProject delivered before the deadline announced in the Demoreel course (-2pts for each late day)Delivery is conformed to the “Demoreel_delivery_format_2023-24.docx” (-1pts for each missing element or technical deviation)Final report (essay)Conformity to the essay question templateEngaging and complete expositionAttendance:Mandatory, minimum 50% attendance. 

This course is connected to the “Demoreel” courseThe following documents will be available on Moodle:“Final_report_template.docx”“Demoreel_delivery_format_2023-24.docxConsult with the instructor to receive a specific briefing for your exam re-sit. 

• Course title: Thesis
• Nombre d'ECTS : 4
• Référence : DESSINANIM-78
• Module(s) : FINAL PROJECT B
• Langue(s) : EN
• Obligatoire : Yes

Academic and technical topics about Media Studies and 3D Computer Animation based on the student’s subject

 On completion of the course unit successful students will be able to:-Independently select a relevant academic subject related to the student and the animation field-Identify, analyze and solve relevant problems and questions related to this subject-Research and cite sources in an essay in relation to the selected subject -Read and interpret criticism and apply it within the academic argument-Present a coherent and systematic argumentation about the subject

The course objective is to write a thesis on an academic or technical subject in the 3D computer animation or media studies field.

Assessment method: Continuous & end-of-course evaluation

Assessment tasks: Presentation (Thesis Outline presentation)Take-home assignment (Final Thesis document)Assessment criteria:Independence, Initiative

Are own solutions or solution strategies found? Are own decisions made? Is information acquired independently? Are own suggestions made for the approach? Does the student identify with the tasks? Can an interest in the work be detected?

Systematic approach

Are methods applied systematically? Are priorities applied reasonably? Is there a focus on the essential? Are thoughts consistently followed and elaborated? Does a clear structure of the content of the report emerge? Is the task approached in a structured way (set goals, plan, do, check)?

Documentation

Is the outline logical and well-balanced? Is the development of thought clear and reasonably structured? Are the texts concise, precise, and comprehensible? Is there a short, to-the-point and comprehensible summary of the report that is limited to the essential? Is the comprehensibility supported by illustrative examples, figures, graphics and tables? Is the terminology technically correct? Is the written expression adequate/colloquial/artificial? Are sentence structure, orthography and punctuation correct? Are company specific terms and terms outside of the subject area explained?

Literature research

Are all relevant and current sources included in the literature used? How comprehensively was the literature researched? Are partial problems / aspects of the problem also probed by a deep literature search? Are all sources used in the text cited completely and correctly in the bibliography?

Use of literature

Were the citations quoted exhaustively discussed and critically thought through? How completely were the sources evaluated and processed? Were statements supported and further developed by literature cited?Attendance: No classes

Students can contact the instructors to receive feedback and guidance via Moodle/Email.Please refer to the “Thesis delivery instructions” document that will be posted on Moodle for further requirements and instructions.Students can contact course instructor to request a supervisor for their thesis.