Become a Film Director and direct top-quality projects. The objective of this discipline is for you to become a specialist or artist in Directing and Creatiing Digital Films. Your mission is to create a professional short film, fashion film, teaser, spot, video clip, etc. by using professional cameras on set, exteriors or green screen, to learn how to use visual effects and experience the entire process from the beginning through to the post-production process. You will learn how to use cameras professionally, direct a film and direct actors. You will also learn all about lighting, the audiovisual language, editing and special effects and combine this knowledge to build top notch stories.
Learn and master the concepts, the techniques and tools to be a successful Environment and Prop Artist.
The role of the Environment/Prop Artist is to create worlds. They need to tell a story that will immerse the players in a narrative. They do this through designing and creating all types of assets; like castles, all kinds of vehicles, weapons, etc. An Environment/Prop Artist collaborates with other disciplines like level designers, and other artists, and between them they build and refine the 3D content that will define the game aesthetic and make sure the gameplay flows smoothly.
Working for a large illustration, concept, film or video game company is thrilling. Here you will discover all the professional techniques, keys and tricks. We will provide the technical knowledge to take your art to the next level and how to design fantasy worlds, real or fictional, that will later become small or large film, television or video games productions. Your imagination has no limits, discover how to direct your talent towards a future profession. You will learn the basics of professional drawing and delve into composition, vanishing points, framing, perspective, thumnails and a wide range of concepts before moving on to the next steps of shading, color and texture for enviroments and characters and achieve professional results. You will create a final portfolio of your work to present at studios and production companies.
Pixologic Zbrush is a benchmark for organic modeling in Film and Videogames in the industry. Learn to work in Sculpting mode to create the most complex and detailed 3D models on the market. You will learn to design and model characters for different sectors that apply 3D.
You will learn about human anatomy and sculpting techniques. From the initial idea to the sculpt, detailing, texturing and implementation. All of this applied to different styles such as cartoon, realism, creatures and any character you can imagine using all the techniques and keys used in the industry.
You will learn to use Zbrush in depth and to combine it with other 3D packages, implementing the power of creation exponentially. Zbrush has been used in films such as Avatar, The Incredible Hulk, The Avengers, The Lord of the Rings. It has also been used in movies and series like The Hobbit, Tron, Star Trek Into Darkness, Iron Man, Pacific Rim, The Amazing Spiderman, the Chronicles of Narnia series, the Pirates of the Caribbean series and in video games like "The Last of Us", "Gears of War", "God of War" or "Assassins Creed", among many others.
TECHNICAL INFORMATION I
- CODECS
- 8-16-32 Bits
- Containers
- Banding
- Curves
- Digital Cameras vs Analog Movie Cameras
- Digital Film Cameras vs DSLR
- Optical Differences in Photos, Video and Cinema
- Circular Optics vs Anamorphic Optics (bokeh, flare)
- Differences between Linear sensors vs Log vs Raw
- Using Blackmagic
- DaVinci Resolve for Grading
FILM ANALYSIS
- The World of Cinema
- Brief History of Cinema
- Reading the Interpretation of a Script
- Screenplay Exhibition
- Work with Actors
- Storytelling
- Frame by Frame Analysis
- Making Storyboards
- Color and light, sound, uses and forms.
- Actors and Technical Team
TECHNICAL INFORMATION II
- Shooting a Long Take
- Making a Story Board
- Lighting, types and lighting layouts
- Reading of Script and scope of the Project
- Production needs, optics, chromas, movements.
- First economic Budget, what to include or discard
PLANNING
- Shooting Static Shots
- Shooting Moving Shots
- Axes, basic rules of the Directing
- Relationship of the SCRIPT with the Assistant Director
- Technical Script and StoryBoard
PRE-PRODUCTION
- Production design
- Final Budget of a Short Film
- Creation of Concepts
- Creation of the Storyboard in 2D and 3D
- Offline shooting
- Using Adobe After Effects for 2D Animatics
- Preparation of a Management Dossier
- How to do Casting. Techniques and recommendations.
- Lenses and Objectives for the Director, Storytelling and point of view.
DIRECTING ACTORS I
- Directing actors
- Action Scene
- Suspense Scene
- Horror Scene
- Comedy Scene
FX ESSENTIALS II
- Offline shooting - Rotoscopy
- Chroma Key
- Matte Painting
- 3D Animation
- Unreal Engine
- Using Adobe Premiere for 2D Animatics
DIRECTING ACTORS II
- Directing Actors II
- Practice shooting
- FX Supervision for Directors
- Assembly, Mixing and Grading for Directors
PRODUCTION I
- Final shoot
MOCAP
- Visit the MOCAP Study
- Motion Capture
- Visit the Locations
- Short Film Thematic Production Team
- Final shooting
PRODUCTION II & POSTRODUCTION I
- Final shooting
- PostProduction and Assembly
- Final Assembly
PRODUCTION II
- Final shooting
POST-PRODUCTION II & SOUND
- PostProduction and Assembly
- Color grading
- Grading
- FX
- Rotoscopy, Chromas and Integrations
- Project representation
- Render parameters
- Frame resolutions
- Layered rendering
- Sound Post Production
POST-PRODUCTION II & SOUND
- PostProduction, Assembly, Grading and Mixing
- Premiere of the Short Film in a Cinema
UNREAL & SHOTGUN
-Cinematics with Unreal
-Setting up a production pipeline wih Shotgun
-Implementing visual effects with Unreal Engine
-Reel
-Breakdown
INTRODUCTION TO MODELING
-Concept analysis
-Maya Interface
-Navigation
-Surface types overview (NURBS, polygons, and subD)
-"Box" modeling
-Bump, displacement, and normal maps
-Understanding Physical Based Rendering (PBR)
-Modeling Toolkit
-Quality Check preparation for UVs
-UV creation
-Retopology
-Materials, textures, and the hypershade editor
INTRODUCTION TO SUBSTANCE PAINTER
-Interface and Bakes
-Layers, Smart Materials, Anchor points, IDs material.
-How to work with UDIMS and instances.
-How to export textures
-How to work with masks
-Particle brushes
-Iray offline renderer
MODELING FOR PRODUCTION
-High / low poly modeling
-Packing UVs to maximize texel density
-Texture Baking
-Topology and good practices
-Refine the model
-How to present your model
-Showing your work to your supervisors and artistic directors
-Final Quality Check ,Cleaning
PyCh
PROPS, WEAPONS AND VEHICLES FOR VIDEOGAMES
-Modeling and textured prop hero.
-Advanced modeling and texturing techniques
-Lighting and presentation.
-Rigging
-Introduction to Animation Fundamentals
ZBRUSH INTRO FOR CONCEPTING
-Zbrush interface
-Navigation, brushes and common tools.
-Polygroups, Insert Mesh, Booleans, Polypaint.
-Brushes for Hard Surface, Creasing, Clip, Slice, Trim, Zremesh
-Curve Brush Basics
-Fibermesh Basics, morph targets
-Custom Alphas / VDM
-ZModeler Basics
-Dynamic Subd, Creasing, QGrid
ZBRUSH FOR PRODUCTION
-Refine the model
-Deformer Rotate, Scale, Offset, Stretch, and Skew
-UV Master, Decimation Master
-Live Boolean Basics
-Group and Panel Loops, moving and splitting
-Custom Hard Surface Alphas
-Reconstruct Subdiv
-Surface Noise, Noise Maker, Document Tiling
-Polygroup It
-ZBrush Native Render (and IBL)
-Stylized Rendering Basics
ADVANCED SUBSTANCE AND INTRODUCTION TO UNREAL ENGINE
-Lighting, texturing and materials for video games
-Generation of photorealistic tileable textures with Quixel Mixer.
-Static Mesh Editor, Material Editor and lights in Unreal.
-Post process and Unreal cameras
CREATION OF FINAL PROJECT
-How to gather reference and organize it for project.
-Blocking and initial modeling.
-Modeling and textured final of 1 prop.
-Introduction to Unreal Engine 5
-How to use Nanite and Lumen
FINAL PROJECT AND REEL
-Final modeling of the environment.
-Modeling and textured environment
-Light it up and present it in Marmoset or Unreal.
-Development of camera movements and take out sequences of images and final renders.
-Edit the final reel.
FUNDAMENTALS I
-Introduction to Photoshop
-Basic Geometric Shapes
-Basic Rules of Lighting
-Types of Lighting and Shading
-Fundamentals of Perspective (1 PF)
-Basic Anatomy
-Materials: Basic
FUNDAMENTALS II
-The value (Grayscale)
-Materials: Intermediate
-Basic Anatomy
-Fundamentals of Perspective (2PF)
-Proportions
-Complex Geometric Shapes
FUNDAMENTALS III
-Fundamentals of Perspective (3 PF)
-Basic Anatomy
-Complex Vehicles and Objects in perspective
CONCEPT ART I
-Advanced Perspective (1 PF, 2 PF, 3 PF)
-Scenes and camera angles
-Light and Shade
CONCEPT ART II
-Advanced Anatomy
-Theory of color
-Materials:Advanced
-Coloring Lanscapes
CONCEPT ART III
-Advanced Anatomy
-Reference searching and generating ideas
-Creating thumbnails
-Creating your own brushes and personalized shapes
-Composition, The rule of thirds
-Designing with silhouettes
-Prop Design
CONCEPT ART IV
Advanced Anatomy
Designing interiors and exteriors
Environments and backgrounds for video games
Designing arms
Photo texturization and matte painting techniques
CONCEPT ART V
Designing characters with silhouettes
Exploring characters with lines
Layer strategy in Photoshop
The occlusion pass
Character turn arounds
CONCEPT ART VI
Advanced Anatomy
Acting
Expressions
Layout
- Introduction to our Masters and how it operates
- Applied theory in Character Creation
- Psychological profile of our characters
- Z Brush: Initiation - practice
- Sculpture: Cranium
- Anatomy: Proportions of the human body.
- Drawing: Proportions and fitting.
- Anatomy: El torso humano
- Z brush: Work methodology in phases.
- Drawing: The Human Torso
- Sculpture: The Human Torso
- Anatomy: Upper extremities
- Z brush: optimización y recursos de hardware
- Drawing: Upper extremities
- Sculpture: Upper extremities
- 1st deadline:Realistic character proposal. Homework from prior week.
- Anatomy: Hands
- Z brush: Scultpting techniques
- Drawing: Hands
- Sculpture: Hands
- 2nd deadline: 2nd and last deadline for realistic character. Homework from prior week.
- Anatomy: Hands
- Z brush: Blocking zspheres and other techniques
- Drawing: Hands
- Sculpture: Hands
- Anatomy: lower extremities
- Z brush: Sculpting techniques
- Drawing: lower extremities
- Sculpture: lower extremities
- Anatomy: Feet
- Z brush: projection, layers and morphs
- Drawing: Feet
- Sculpture: Feet
- Anatomy: The feminine torso
- Z brush: sculpting techniques, projection, layers and morphs
- Drawing: The feminine torso
- Sculpture: The feminine torso
- Anatomy: The human head
- Z brush: Retopology tool
- Drawing: The human head
- Sculpture: The human head
- Anatomy: Portraits and reasonable resemblances
- Z brush: UV creation
- Drawing: Portraits and reasonable resemblances
- Sculpture: Portraits and reasonable resemblances
- Theory : techniques for hair
- Z brush: Cutaneous and subcutaneous details; pores, imperfections, vains and scars
- Marvelous designer: concepts
- Sculpture: Sculpture of hair and tuft
- Teoría: Textiles and clothes
- Z brush: Baking techniques
- Z brush: Extracting techniques and Sculpting techniques for hair and fibermesh
- Marvelous designer: Patterns ans simulations
- Sculpture: Sculpting textiles
-Applied theory for creating Cartoon characters
- Substance Painter: Initiation
- Sculpture: Blocking
- Marvelous designer: Personalizing our models
- Applied theory for creating Cartoon characters, visual language
- Sculpture: Blocking
- Marvelous designer: Garments and morphs
- Polygonal Modeling 3d Max
- Low Polygon Concepts
- Retopology in 3D Max
- Retopology in Maya
- Retopology in Blender
- UV Unwrapping in 3D Max
- Substance Painter: Baking and texturing techniques
- Hard surface polygonal Modelling
- Modelling props
- Modelling vehicules
- Substance Painter: Texturing techiques
- Basic setup and character poses
- Substance Painter: Baking and texturing techniques
- Hard surface polygonal Modelling
- Modelling props
- Modelling vehicules
- Substance Painter: Hand painted texturing techniques for characters
- Marmoset viewer: Iniciation
- Implementing Marmoset Viewer
- Modelling enviroments
- Procedural modelling
- Modelling props for enviroments
- Trees, rocks and ruins
- Baking techniques with Xnormal
- Hard surface polygonal Modelling
-Modelling props
- Modelling vehicules
- Substance Painter: Hand painted texturing techniques for props
- Marmoset Viewer lighting
- Marmoset Viewer Baking and animation
- Marmoset Render
- Modelling enviroments
- Procedural modelling
- Marmoset Viewer Baking and animation
- Marmoset Render
- Feedback on final projects
- Advise and approach for personal reel
- Post production in Photoshop and After effects
- Final deadline
PHOTOSHOP.
- ZBRUSH - SUBSTANCE PAINTER - MARVELOUS DESIGNER - MARMOSET TOOLBAG - XNORMAL - PHOTOSHOP - MAYA o 3DSMAX. - ZBRUSH - SUBSTANCE PAINTER - MARMOSET TOOLBAG - XNORMAL - PHOTOSHOP - MAYA ó 3DSMAX. - PREMIERE - AFTER EFFECTS - DAVINCI - CELTX - FUSION - SKETCHUP.
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We are a dynamic and multicultural team of professionals, willing to offer a specialized, high quality service to students and graduates. Our mission is to offer our students the key to their success in a competitive, demanding and innovative industry.
Register today
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We are proud to be among the few schools in the WORLD TOP OF ANIMATION SCHOOLS ranking according ANIMATION CAREER REVIEW, an American organization that is responsible for reviewing and promoting the best schools in the world. This year we have been awarded the honor of being THE BEST ANIMATION SCHOOL in Spain.
Asking for information and guidance can be very useful. We are here to help you. If you wish, we can also invite you to our Orientational Master Classes and Personalized Demos so you can experience everything firsthand.
Spain main campus
Lerida, 20
46009, Valencia, Spain
spain@ua.school
Phone: +34 963 532 069
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Cinema campus
Riba-roja de Túria, 15
46394, Valencia, Spain
spain@ua.school
Phone: +34 963 532 069
[9:00 - 19:00] GMT
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