Note:Brian will be supplying his class with three fully rigged models to choose from but students will still be modeling their own environments.

Week One: Introduction to Storytelling and Previsualization
In Week One, we will introduce students to the process of previsualization, its philosophies of use, previs and production team structures, variations of the previs process such as post-viz, layout and the standard workflow that previs artist utilizes to create cinematic sequences per the director’s vision.

Students will also be given one of several written scenarios by the instructor/director in which they will begin to formulate rough thumbnails (drawn or photographic) of the particular scene described in the scenario. These thumbnails will serve as the foundation for future assignments which the student will continuously develop over the course of eight weeks.

Week Two: Configuration, Understanding Aspect Ratios, and the Previs Rules.
Week Two will address the technical requirements of configuring Maya and its camera tools for previs use. Students will become familiar with the standard film aspect ratios of modern cinema and will be exposed to the myriad of questions that occur when prepping a scene.

Students will also receive instruction on the “great commandments” of previs. These rules help previs artists from violating certain technical issues that can cause problems later down the road in the production pipeline.

Week Three: Understanding Camera Angles
Cinematic language begins with the understanding of where to place the camera in relationship to the subject. In Week Three, students will learn terminology that defines the way the camera frames the human form. We will also study how lens selection can alter this process and provide different results for subjects in the foreground, midground and background and how lenses expand or compact space.

In addition to placing static cameras and framing the human form, previs artists must also be comfortable with animating the camera and understand how certain angles can communicate different emotional states of the subject matter. We will discuss the types of moving shots and the major factors effecting the camera’s placement.

Week Four: Understanding Composition
Once we’ve determined where to place the camera, its important to understand how to obtain the best composition within the frame. Composition is extremely important whether there is one character in frame or several. In Week Four, students will examine the importance of line, form, mass, balance, the rules of thirds, and types of framing that assist in the storytelling process.

Week Five: Understanding Continuity
Without adequate continuity, visual storytelling becomes nearly impossible. In Week Five students will learn the two primary forms of continuity that is used in understanding cinematic time and space. We will also learn different techniques of capturing action and combine that knowledge with a thorough review of directional continuity.

Once this is achieved, students will learn about the action axis and the 180 rule. These two subjects are crucial to ensure moviegoers understand where an actor is standing and looking in 3D space.

Week Six: Classroom Assignment Part 1
With their newly acquired knowledge, students in Week Six will begin reexamining their initial story concepts provided back in Week One. New blocking and revised storyboards will be produced and students will begin modeling their digital environments in Maya. Once assets and rough blocking within Maya is achieved through step keying, the instructor/director will provide feedback and make final suggestion before the students will proceed to finalizing character and camera animation.

Week Seven: Classroom Assignment Part 2
Week Seven will continue the development process of refining the blocking stage of previsualization by adding character and camera animation and finalizing shots based off the original shots defined in the storyboard phase. The shots will then be cut together to form a sequence that tells a story.

Week Eight: Wrap Up

Level of Ability:
Students of all levels of ability are welcome to enroll in this course, however a basic understanding of 3D animation, modeling, camera animation, compositing and cinematography is needed to take full advantage of this course.

You are required to be proficient and comfortable with Autodesk Maya as that it is the preferred animation tool used by film industry today. You will need to be familiar with web navigation, browsing and email and to have experience using a bulletin board system such as CGTalk.com You should also have access to a digital video or still camera to shoot potential sources images for assignments.

Examples of Work:
Students are required to submit storyboard stills and/or 3D generated stills that tell a short story. Students will be required to upload their sample work in the week preceding the commencement of the course.

Software and Hardware Requirements:
Students must have access to a machine (PC or Mac) with the necessary hardware to run Maya, After Effects, Photoshop and some form of video editing software. A tablet is preferred for digital illustrations and painting, but not required. A web browser and Internet connection, preferably Broadband, is strongly recommended. A digital video or still camera is required to capture source images.