Monday, October 16, 2017

FAO CAA Year 2: Collaboration Project


Attention Year 2 Students

There will be no Collaboration 'drop in' tutorials tomorrow (Tuesday). Character Design will
continue as normal. Any group wanting advice or feedback please email me or post on your
blog (or both). Thanks, Alan.

FAO CAA Yr 1: Hints & Tips For Killer Presentations



It won't be long until you'll be giving presentations.  You've got your first crit for Invisible Cities and you'll be presenting for Kath Abiker soon too. For some of you, the prospect of standing up in front of your classmates will fill you with fear and dread, but there are some practical steps you can take to ensure the experience is as positive and well-recieved as possible.  See below for some warts-and-all 'hints and tips'.  The short version is 'be prepared'.

1) Be on time!   If you arrive late, then make everyone sit around prior to your presentation, everyone in the room is thinking dark thoughts about you…

2) Present only what you’ve been asked to present. Don’t freestyle. If you’ve been asked to present your ‘definitive influence map, final concept art image, digital set cg pipeline and final scene’ – then do it – and in the sequence requested. All additional content should be on your blog as a matter of habit. Your presentation is not your blog. Your presentation is the ‘essential oil’ of your five weeks work. It should be concentrated, pure and precision-engineered.

3) Prepare & rehearse. Weird though you’ll probably feel as you talk to yourself in the privacy of your bedrooms, you need to ‘hear’ what you’re going to say – and how you’re going to say it. DO NOT BUSK or BLAG IT on crit day. If you busk, you’ll waffle, miss out information and create a disorganized impression. If you blag, your tutor (and everyone else) will know and will feel embarrassed for you…

4) Use prompt cards – but do not read from them slavishly; keep your eyes up and only refer to your prompt cards if your mind goes blank.

5) Be concise – give yourself 5 minutes only (with five minutes for Q/A). If you can’t say what you want to say in 5 minutes, you’re not prepared and you’re probably boring everyone. Brutal – but true.

6) Remember what it is to be bored! You’ve all sat through presentations thinking ‘when will this end?’ – don’t do this to others. Keep your energy levels nice and high and learn to ‘read your audience’.  If they’re fidgeting – or worse – asleep – it’s ‘game over’, so cut your losses and wind things up.

7) Don’t sound bored when you talk about your work – if you’re bored, we’re bored. 

8) Modulate your tones; watch the television news and see how the presenters use the full range of their voices to maintain interest and add ‘colour’ to their delivery. If you know your delivery is a bit monotone (and there are a few of you) - identify ways to enliven it. One of the most efficient ways to identify if you have a ‘problem’ in this respect is listen to a recording of yourself. It’s a bit of a cringe, but it can be very insightful.

9) Don’t talk to the computer monitor or to the screen.  If you’ve prepared sufficiently, you should be able to cut the apron strings between you and your presentation and simply ‘talk’ about the work you’ve spent the last five weeks generating.  If you can’t, you haven't prepared enough.

10) Use the stage – don’t move around unnecessarily (don’t fidget) – and I’m not suggesting you do the hokey cokey - but use movement as an emphasis.

11) You’re going to need your hands – take them out of your pockets.

12) Speak clearly. Don’t talk too fast. Don’t talk too slowly. Don’t talk like your talking a) to your mum, b) to your mates, c) to yourself.

13) Stay ‘on message’ – leave out the ‘fascinating’ asides about ‘what you thought about what you thought you were thinking’. Don’t ‘think out loud’ in your presentations. Identify what you want to say – and say it.

14) Don’t talk your work down! No one wants to hear you think your work is ‘shit’. (If it’s as bad as that everyone will already know!). Likewise, false modesty is unappealing too. If you’re happy with something, say so. 

15) Don’t talk your work up! If your work is underdeveloped be prepared to admit it, but do so as if giving yourself constructive criticism (see point 15). I hate used carsalesmen (and women) remember, and my ‘bullshit-o-meter’ is very finely tuned.

16) Never say ‘If I had more time'. You’ve had the same time as everyone else. It is what it is.

17) Be professional.  Regardless of the project, imagine you are in a pitch – and your next six months of income rests entirely on your ability to communicate the conceptual thru-line of your five weeks succinctly and effectively to an audience.

18) This is serious: the message from industry is loud and clear; if you’re going to work collaboratively in a studio – or as a freelancer –  your communication skills are as important as top-notch Maya proficiency. 

19) If public-speaking doesn’t come naturally – learn to act! Do it enough, and just like perspective drawing or laying out UVs, it will become part of what you do routinely.

FAO 1st Years - troubleshooting for submission

Good morning 1st years!

So, your first real deadline is approaching...That went quick, didn't it!

I am going to be around tomorrow morning, if anyone has any questions about the submission and presentation - I'll be loitering around in either the red or blue rooms from about 10.30.  Come and find me if you need any help :)

Good luck everyone!

Tuesday, October 10, 2017

FAO CAA Yr 1: Invisible Cities 2017 / Submission Checklist & Final Crit Requirements 20/10/2017


What follows are instructions for your crit presentations and reminders of what you need to present and submit on Friday, 20th October.  Please use your network of creative partners to ensure that everyone has seen this information and understood it.  Any queries, please leave a comment and I'll clarify.

A new CG animated adaptation of Italo Calvino’s Invisible Cities is in pre-production. In response to the source material allocated to you at the briefing, you have been commissioned to produce 3 fully-resolved concept paintings of one of Calvino’s fantastical cities.

You have been asked to visualise your chosen city in three different types of shot:

1) Exterior Establishing Shot
2) Exterior Low Angle Shot
3) Interior Establishing Shot

Your concept paintings should be 16:9 and painted digitally.


You are asked to maintain a comprehensive blog archiving and annotating your creative development for the duration of the project. You should use the blog to reflect critically upon your own creative practise, the wider cultural and thematic context of the project, and engage collaboratively with your creative partners, peers and tutors.

Important! Your blog must include:

1) Your 3 finished concept paintings.

2) Your Invisible Cities 'Art Of' as Scribd document.

3) A minimum of a 100 developmental thumbnails exploring all of Calvino’s cities.

4) Animated GIFs of your digital paintings in progress.

5) Research into your source material presented as a Scribd document.

6) Your influence maps.

7) Your One Point, Two Point & Three Point perspective exercises.

8) Your Concept Artist ‘Who’s Who?’ as a Scribd document.

9) Reviews of the Space Oddities Film programme.  Please note – in addition to and support of your own critique, your reviews must include a minimum of 3 quotations from 3 different published sources + poster art + supporting stills. Please note - Harvard Method must be used for all quotations and all illustrations to be referenced correctly. Reviews are to include bibliography and illustration list.

10) All Digital painting exercises from Photoshop workshops.

11) Your final submission must include a short reflective statement. A reflective statement is a statement in which the student considers their experience of a project. Reflective statements are used to understand past events, learn lessons and identify best practice.

You will present on crit day from a blog-embedded Scribd document that should, in terms of structure, follow the order of slides as given below.
  1. Title page, giving your name, unit title and date of presentation.
  2. The name of your city.
  3. Your definitive 'visual concept' influence map.
  4. Your final exterior establishing shot.
  5. Your build-up sequence of your exterior establishing shot.
  6. Your final exterior low angle shot.
  7. Your build-up sequence of your exterior low angle shot.
  8. Your final interior establishing shot.
  9. Your build-up sequence of your interior establishing shot.
  10. Your three concept paintings together.
We expect a high level of professionalism from CAA students, so please give the preparation of your crit presentation the requisite care and attention. Your presentations should be branded, spell-checked and polished.  Don't clog your content with unnecessary typography etc. Your presentation should serve your content sympathetically.  Sensibly, your Crit Presentation and Art Of should share a visual language - but they're not the same presentation (see examples below).

Keep it simple - only include what you've been asked to include.


Example Crit Presentation




Example Art Of




Important: please note, your Invisible Cities crit starts at 10am sharp.  You need to be in the CAA baseroom by 9.45am at the latest. 

Please note: unauthorised non-attendance at a final crit will be counted as a non-submission of work.

Non-submission of work = fail at 0%

The order in which you'll be presenting will be randomised, which means any one of you may be presenting first! 

If circumstances beyond your control* prevent you from attending on time, you must contact Hazel Searles before 10am. Your project management and professionalism counts - there is an assessment criteria against these skills, remember!

And finally...



And a note to any 2nd/3rd years - your input on crit day, as always, is welcome!

*But not issues in regard to last-minute technical problems that reflect poor project management.  No student should be working on the morning of crit day. Thursday is your deadline, not Friday.

Sunday, October 08, 2017

FAO Everyone: Wednesday 11th October / UCA Open Day


Just letting you all know that Wednesday 11th October is a UCA Open Day.  This doesn't change anything in regards to your timetables, but it does mean that the CAA Baseroom is being used for course presentations all afternoon - indeed until 7pm.  The Course Leader for the Games Design course will be using the baseroom for his two presentations, and I'll be giving presentations at 3.30pm and 6pm respectively.  

@ Year 2 - I'll be leaving the Pomo film screening at 3.20pm and it's possible I won't be back before the film is over.  I'll be looking for a willing volunteer to be on 'turning off the projector duties' in my absence.  We can discuss this when we meet for the lecture at 2pm.

Monday, October 02, 2017

FAO Year 2: Toolkit 2/Character Design Class 3rd Oct Cancelled



Week 1: Drawing from real life - Due to unforeseen circumstances, this weeks character design class with Justin has been cancelled.

When Justin returns next week he is going to take you through the new drawing techniques he had planned for this class week. However, in the meantime we would like you to undertake the following self-directed task. Please complete this ready for next weeks class.

Task: Drawing from real life - Please draw 10 life drawing / studies of the 'real' animal or person you inherited for this project (e.g a Giraffe or a Cowboy). Make sure the drawings are as accurate as possible and pay attention to detail. Whilst drawing make notes about your observations on a separate sheet of paper. For example, if the pattern on a Giraffe's skin is smaller or its head than its body or what the differences are between a real Cowboy and a movie version. The goal of this exercise is to understand the 'specifics' of your animal or person. 

In some cases a few of you have inherited people which need a more 'adjacent' approach. Like an Alchemist for example. In these cases I have suggested 'casting' your character/personality and finding an actor who may play that role. So, you could combine researching Alchemists (time period / clothing / who were they), the word clumsy, and an actor who may personify those characteristics.

You can use either pencil / paper or a graphics tablet however make sure that all of your work is posted on your blog. Remember that this task is going to be part of your final 'Production Bible' so please ensure that all of your work is scanned in (not photographed). These drawings are also going to form the basis of the next part of the project.

 Any further questions or if you need to discuss this task please ask me.

Justin sends his apologies and normal service will be resumed next week. 

Addition - In light of Justin's class being cancelled and now that you've all spoken to Dan and myself (by the end of today) it seems more useful /reasonable that you spend tomorrow working on the task detailed above. Therefore Collaboration Group tutorials will also be postponed until Thursday.

Friday, September 29, 2017

Post With The Most 29/09/2017


It's still very early days on Computer Animation Arts.  Briefs have been briefed and brain cells are firing again after the hazier, lazier days of the long hot Summer.  Our latest recruits are beginning to lose their expressions of bewilderment as new routines start to feel less overwhelming. Returning students are revving up.  While the next edition of the Post With The Most will be the usual cornucopia of ideas-in-the-offing, this month's PWTM has a retrospective feel as we catch up with some of our alumni and the Course Leader answers that question beloved of school teachers everywhere, "What did you do over the Summer holidays?".

Before all of that - an exciting announcement: after several years of preparation, reflection and improvement, Computer Animation Arts has been accredited by Creative Skillset, and if you don't know what that means or why this news is very good news indeed, let's hear from Skillset themselves:

"Creative Skillset accredits practice-based degree courses that most effectively provide students with the skills and knowledge required by employers in the Creative Industries. Courses that achieve accreditation are awarded the Creative Skillset Tick. The Tick is an invaluable signpost for potential students, apprentices and employers to indicate those programmes that provide the most up-to-date and relevant industry training and education. For potential learners, the Tick signposts courses that can prove they connect with industry and which teach professional skills that make sure you graduate work-ready. For employers, the Tick signposts them to work-ready graduates and apprentices from creative courses that have proven links with industry and teach professional skills. Graduates from Ticked courses have privileged access to Trainee Finder, a service that matches trainees with companies across the UK’s animation, film, games, high-end TV and VFX industries."






Let's not be backward about coming forwards on this - this is a big achievement, and behind the scenes, the course team have worked rather tirelessly to make this happen.  However, we owe our students and alumni a huge vote of thanks for their role in getting us this result.  Creative Skillset is a rigorously evidence-based application, and the industry panel overseeing our submission looked at the creative output of our students and alumni for reassurance.  They clearly liked what they saw!  Special thanks must go to 2017 graduates Charlie Serafini, Catriona Barber and Julien Van Wallendael, all of whom accompanied the staff team to the high-stakes industry panel scrutiny meeting in London.  Think Dragon's Den meets The Apprentice and you'll have some idea as to the nature of the event!  Suffice to say, Charlie, Cat and Julien were exceptionally articulate on the subject of the breadth and depth of their educational experience on Computer Animation Arts and dealt with an intimidating, high-pressurised encounter with impressive aplomb.  

Let's further celebrate the accomplishments of the creative community of Computer Animation Arts by taking a couple of minutes to enjoy this year's course showreel.




September can be a challenging month for recent graduates; for many, it will be the first September in years when they're not due to 'go back to school' and the inevitability of new beginnings isn't there.  It can feel too as if everyone else in the world has somewhere they need be and something to do.  It can be lonely - a fallow period during which it is easy for a freshly-hatched graduate to lose their nerve.

Let's seek to give comfort and reassurance by catching up with two of CAA's most recent graduates, Anthony 'Class of 2016' Faulkner and Jamie 'Class of 2017' Wathen, as they answer the question, 'What happened after you graduated?'

Anthony 'Class of 2016' Faulkner

Ant Faulkner / After graduation I went to London with my Art Of book and knocked on various studio doors, curious to see if my work and I were of a high enough standard to join the buzzing community. I was told I had missed the 'graduate run' and that if I were to be a CG Generalist I needed more evidence of varied skills. I then attended a business convention where I connected with business owners who needed graphic designers etc.  This event led me to become a freelance artist for Diagonal Designs in Sevenoaks. I worked there for 4 months, all the while applying for jobs in and outside of London. I did have one interview with The Marketing Store (through ND16) but we both knew the job just wasn't for me.  I also worked on some freelance projects through Artella as a rigger and animator. It wasn't until October, whilst attending the Story Design Conference in Rome with Chris Oatley, that I had an interview with Arx Anima, Vienna, Austria.  I secured a placement as a layout intern then quickly progressed to a Junior Layout Artist within 3 months of the company. I worked on the web series, Talking Tom and Friends Season 2.  I had such a fantastic time working there. The team is fantastic and due to it being a slightly smaller studio I had a lot of opportunities to work closely with directors and my seniors. I learned so much about my role and industry-etiquette ,but all good things must come to an end. 




After being on the team for 10 months the project was coming to an end and I needed to find more work. I started to apply as a Layout Artist and got two offers, one for a children's TV series in London and a Netflix animated series in France. However, a recruiter from Double Negative had seen my LinkedIn Profile and contacted me about a Layout job opening soon. After a very long 3 course interview process, here I am in Double Negative working on a feature film due to release early 2018!


My working day is from 9am - 6pm. I make myself some breakfast and tea in the office kitchen and after fuelling my brain I go to my desk and catch up on any emails and see what work I have been assigned for the day or week. As a Mid Layout Artist it is my responsibility to produce the final camera animation for the chosen shots and sequences. My role also includes blocking in rough animation, final compositions and making sure the assets are accurate for the pipeline. I work predominately from storyboards and transition that into the first stage of 3D in readiness for the next stage of the pipeline. I have an hour lunch break in which I either sit in the kitchen socialising with other artists or I play games in the main atrium with my colleagues. After lunch I submit any work I have completed to show the seniors in daily reviews and get regular feedback on my work. We also have a screening the first Friday of each month to bring different departments together and see what we have achieved so far, this is all accompanied by beer and pizza.


Anthony Faulkner / Skye face rig

CAA / Any advice for our newest recruits?

Listen to your tutor and listen to your instincts. This is the time to step out of your comfort zone and explore all aspects of the course. Take advantage of the time for experimentation and collaboration because there's a high chance after gaining your degree you still won't be certain on what path you want to take. Don't be shy and learn from everyone and everything around you.  The great thing about art or learning a new skill is that it will benefit you whatever path you take. Every piece of knowledge gained will have a positive impact on your development as an artist. Be open to finding work alongside the course, whether professional or voluntary (on Artella?). Any insight to the industry will help you develop. This is also the time to make connections; create a group page with your classmates and help each other throughout the course. Just remember this is the time to make mistakes and find out who you want to be - and don't forget to have fun!


Anthony Faulkner / Skye / 2016

CAA / Any advice for our current final year students?

Stay true to yourself.  If you need something and the project is calling for it, don't ignore it - even if people say you can't do it, make the time and do your work justice. Relish in the time you have to create something truly yours.  I have met many people and only a handful of them have created their own short and you could be one of them.  This is the year for you to really say something and be the artist you want to be. Having your own 'product' is not something that should be underestimated or overlooked, as it not only shows who you are but who you want to be and your ambition to connect artistically.  If you are worried about grades - don't be - producing something you love will get you the grade you want and deserve. Don’t be selfish and help each other out. Your classmates are your friends not your competition.  There’s a whole bigger world out there to compete with so get through your final year together and you never know you could all be collaborating on a big project one day. Don’t worry about the future after the course - put all of that stress energy into something that will help you now; your project needs all of you.  Take everything one step at a time. It's not just about animation after the course - there are a multitude of disciplines within the industry.  Truly think about what it is you love; telling stories, directing, animating, compositing... Whatever is you love to do - do it. Lastly, don't be scared to look or start outside of London.  There is whole bigger world out there and it's yours to explore!


Jamie 'Class of 2017' Wathen

Jamie Wathen / After I graduated I took some time for myself.  You deserve a break from work to unwind.  After attending the New Designers event I kept in touch with The Marketing Store who I'd met at the graduate show. Over the summer I was lucky to land a couple of small freelance projects that truly tested the skills and my time managment. I was finally contacted by TMS and, long story short, I'm now working in their London Studio. If I could give a little advice... Talk! I'm a very quiet person, but without the networking I did at New Designers I wouldn't be where I am.

Jamie Wathen  (centre) at New Designers 2017

My working day starts from 9:30 and ends 5:30 (though in the creative industry expect overtime!) I'm not allowed to talk to much about what I'm doing. I'm working mainly with Meta Data at the moment but this could change on a monthly basis. Coming straight from uni I'm very much a newbie and I'm very much at the bottom of a tall company ladder. 

CAA / Any advice for our first years?

For you newbies, I would suggest working hard in year 1. If you don't, you'll only make it harder on yourself in years 2 and 3 trust me. That sounds a little patronising but spending the first few months 'slightly tipsy' makes playing catch-up very stressful. Do not be tempted to ignore the more 'tedious' tasks you have to do with your work... as guess what you'll probably be doing in your first job!


Jamie Wathen / Trimia / 2017


CAA / Any advice for our third years?

You probably have some kind of direction you want to tailor your work towards? Tie in what you want to do when you leave and try and really showcase these parts of the project. It's harsh to think about but when you leave there will be thousands of artists fighting for jobs. I must have sent over 200 applications! Don't forget to make your work the best work you can and make it stand out, You have to try your hardest to be that little bit better than the next person...


Red & The Kingdom Of Sound / Red & Yellow in the Trumpet District

For a few select people, the Summer months were as busy as any other, as work on CAA's animated adaptation of Benjamin Britten's The Young Person's Guide To The Orchestra continued.  It's going become increasingly difficult for me to convey my gratitude and admiration for the YPGTTO production team; I may soon run out of synonyms and superlatives, but suffice to say their hard work, imagination, and down-and-dirty, nuts-and-bolts commitment to getting this job done right cannot be overestimated.  We have just over thirty days to now complete this epic animated adventure before its premiere in Amiens, France.  Enjoy this tiny smattering of updates from the Kingdom Of Sound and know you're just seeing the tip of a very large iceberg...


Red & The Kingdom Of Sound / Pre-vis / Jordan Buckner



Red & The Kingdom Of Sound / The Bassoon District playblast #1 / Jack White



Red & The Kingdom Of Sound / The Bassoon District playblast #2 / Jack White



Red & The Kingdom Of Sound / The Violin District playblast #1 / Dee Crisbacher



Red & The Kingdom Of Sound / The Violin District playblast #2 / Dee Crisbacher



Red & The Kingdom Of Sound / The Viola District playblast  / Dee Crisbacher



Red & The Kingdom Of Sound / The Viola District playblast  / Dee Crisbacher

Red & The Kingdom Of Sound / The Percussion District playblast  / Emily Clarkson


Red & The Kingdom Of Sound / The Arena / Digital set by Simon Holland, Conductor model by Alan Postings

It was often the case, following another long, boring Summer holiday spent watching cartoons with the curtains drawn to keep the sun off the television, I'd struggle to come up with some enthralling response to my English teacher's 'What did you do over your Summer holidays' homework.   Had I written 'impersonated a long-dead dignitary and had my likeness hung in a museum', my teacher might have had cause to doubt the veracity of my account and asked to see me after class...  only on this occasion I'm not telling fibs!

You may recall from a previous edition of the PWTM, that I was asked to give my likeness to a portrait of the Mayor of Rochester, Sir Peter Buck - for whom no visual record exists - on account of my rather luxuriant facial furniture.  Artist Kevin Clarkson undertook this clever subterfuge, working up the portrait from meticulous historical research - oh and a couple of mug-shots from yours truly!

This is what Wikipedia has to tell us about the real Sir Buck: "In the 1590s, Eastgate House, a Grade I listed Elizabethan townhouse in Rochester, Kent, was built for Buck. He was Mayor of Rochester and Clerk of the Cheque at Chatham Dockyard.  Buck was knighted by James I in 1603. He also served as Secretary to Algernon Percy, Earl of Northumberland and Lord High Admiral.  Buck died in 1625 and was survived by his wife Frances, the only daughter of William Knight, and daughter Margaret. He was referred to as "The Worshipful Sir Peter".


The portrait of 'Sir Peter Buck', Eastgate House, Rochester

I was invited along to the grand re-opening of the restored Eastgate House back in July to see Kevin's portrait of 'Sir Peter Buck' hanging in-situ - and some of the double-takes from the other guests were priceless!  


'Sir Peter Buck' by Kevin Clarkson

My last words for this edition of the PWTM are straightforward enough, as I extend a big warm welcome to all our new first years, and hearty 'welcome back' to years two and three.  I'm personally very excited to see what you produce this year, and look forward to sharing your creativity and your imaginative triumphs in future editions of the Post With The Most.

And to any of our recent grads reading this who might be feeling a little lost... Sir Peter Buck says 'Keep going!'

Thursday, September 28, 2017

FAO Year 2 Collaboration: Preparation for Dan's Class on Monday and OGR Details


Collaboration

For Dan’s class on Monday

Dan is going to be new to your project and ideas so put together a sheet(s) that help explain it/them fully. Make sure it includes your starting title (e.g. world’s worst), a complete list of your ideas, performance ideas (see below), and any other information you think Dan may need to know about your project. Think, if you knew nothing about your project, what would you need to know about it to get on board quickly?

Three (or more) Performance ideas (visually defined so that Dan can work on performance with you.) 

Dan will be helping you with physical performance so please make sure you have considered your ideas 'visually' beyond an initial idea. A good way to start is to try to define your skit using a ‘three panel comic’ technique (above). You can write notes above, below, or on you panels to help you describe the perceived actions in your skit. If you have, multiple ideas for a skit draw and write these out too. The more ideas you have the more options you will have on the day. Above all don’t turn up to the class with nothing, this is a class where you need to have 50% of an idea to work on.

After the class. 

Take what you have learnt about your project from Dan’s class an start making ‘video animatics' of your skits featuring yourselves (or a collaborator) - Yes, acting or posing things out to a camera. This is going to be your first attempt at defining performance and editing for comedy. You can use images, video, cut-outs, animation, text, or any other media you need to convey your ideas. For example, if you need a pair of flippers on your feet whilst filming, two bits of card and some rubber bands will do. Keep your work roughly made but clear and concise in what your intending to convey. 

For your OGR.

For you OGR I would like you to include the following components in one post on your studio blog (repeating the post on your own blog). You can use a PDF format and embedded video to submit your work. Include a graphically designed cover and make sure your post is correctly labeled.

- 1) How you have allocated job roles: Director, Producer, etc.
- 2) Your title: E.g world’s worst.
- 3) Your starting ideas: What have you discussed, rejected, kept.
- 4) You final ideas list: This is the final list or a statement explaining the ideas you want to take forward.
- 5) Three visual/ fleshed out skit ideas: Drawn as a three panel comic or similar (see ‘For Dan’s class’ above)
- 6) Three animatic versions of your skits: See ‘After the class’ above.

- 7) Ideas on what the overall structure of your film might be: For example, will you use title cards to join your skits together? Which idea is your best / worst? Which one will go first and which one will go last in your sequence. Is there a ‘natural structure’ that will hold your film together. For example, if you have ‘outtakes from films’ you could spoof a ‘Youtube top 10 list’ (like Watchmojo for example). Or, if you have a Victorian Gentleman swimmer as a character then you might use ‘early silent cinema’ as a style. If your film is about repeatedly learning to drive and failing then it might framed using the passage of time - days of the week, ‘day one, two, and so on’ or months ‘January, February, etc’.

- 8) Set / Background Ideas: This is linked to the structure ideas above. What would you need in terms of sets or backgrounds to make your skit work. For example, if you have ‘world’s worst spy’ you might replicate the ‘essence’ of a 1960’s James Bond style set (designed by Ken Adams) for the background. This could be achieved quickly and easily with simple props - It doesn’t need to be complicated but it does need to be well observed. This is early days so I don't expect these to be designed yet, just considered.

- 9) Basecamp, Studio Blog, and Personal Blogs: Evidence that; You have branded your studio blogs and been posting regularly. That you have been using Basecamp to discuss and organise your work. That you have kept your personal blog up to date with your contribution. You only need to have done this, you do not need to include evidence as part of your OGR post.

Finally, any questions please ask me.

FAO Everyone: Your New Campus Registry Officer is Hazel Searles


Hazel Searles is CAA's new campus registry officer.  You need to contact Hazel if you're going to be absent or late - so not Alan or myself - as Hazel will make a formal record of your correspondence and then notify the course team.

  • Hazel's email is hsearles@ucreative.ac.uk
  • Hazel's telephone number is 01634 888745

Please make sure your classmates have seen this information.  Many thanks.