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 about the professional concepts of top level animation. From the Fundamentals of Animation to Body Mechanics to Acting. This discipline will teach you how to not only create your characters but, most importantly, to make them believable. You will learn the art of Animation while using current industry techniques and tools.
You will learn about internal structures and production processes used by audiovisual companies specialized in animation films, video games and advertising. By the end of your academic training, you will have produced a reel of your best animation work created throughout the course which will be your main asset in presentations and will help you get your your first job as a character animator in the industry.
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 Animation
- What is animating?
- Observe
- Act, endow characters and objetcs with a soul.
-Interface and animation tools (Maya)
The 12 Principles of Animation
- Squash and stretch
- Anticipation
- Timing
- Arcs
- Appel
- Exaggeration
- Solid Pose
- Secondary action
- Slow-in and Slow-out
- Straight Ahead & Pose to Pose
- Follow Through and Overlapping Action
Overlap
- Animation resources
The importance of the arcs
- Study of the arcs that describe the movement
PREPRODUCTION
Work Methodology
- How to frame a shot
- Storyboard
The pose
- Silhouette
- Line of action or Balance
- Weight
- Exaggeration
- Asymmetry
- Appeal
Procedure (Planning)
- How to face a shot or Storyboard
- Layout or Video Reference and Thumbnails
- Blocking
- Blocking-Plus
- Refine
- Polish
ACTING AND LIPSYNC
What is Acting?
- Introduction to Acting
Our Character
- Character personalities
- Where does it come from? Where is it going?
- Action motivations
Body Expression (the language not spoken)
- Non-verbal communication
- The Body does not lie
- Clarity and simplicity first of all
Study of an Audio track
- How to break it down and understand it
Facial expression
- Study of emotions
- The eyes
- Center of interest
- Behavior
REALISTIC ANIMATION
Anatomy study
-Human
Movement study (body mechanics)
- Understand dynamics and physics
- Study human movement
-Arcs in realistic animation
-Weights in the human body
CARTOON ANIMATION
-Arcs in cartoon animation
-Non-human bipeds
-Weights
- Different materials that the characters can have
-Elasticity of a cartoon character
-Exageration of a cartoon character
QUADRUPIDS
Study quadrupeds anatomy
- Felines, canines and equines
Movement study (body mechanics)
- Understand the dynamics and physics in animals
- Felines, canines and equines
INTERACTION BETWEEN TWO OR MORE CHARACTERS
-More than one Character
-Who has the ball?
-Focusing on the action
Entertainment
- How to make an entertaining shot
Taking animations one step further
- The key is in the details
Interaction between 2 or more characters
-Using everything we have learnt throughout the year to plan a scene between two or more characters:
-Who carries the action
-What is the motivation
-Where is he/she going?
-How does the secondary character support the acrtive character
- 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
Jobs generated
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
We are the only school that has opened our campus to the world. Thousands of people, students and non students, access our intranet daily to watch videos, tutorials, conferences, demos, perform missions and in general to interact with other students and professionals in the field. A whole virtual world is waiting for you with infinite possibilities.
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.
USA main campus
8335 Sunset Blvd. #349
West Hollywood, CA 90069
usa@ua.school
Phone: +1 (310) 651-8147
[7am - 1pm] PDT
Spain main campus
Lerida, 20
46009, Valencia, Spain
spain@ua.school
Phone: +34 963 532 069
[9:00 - 19:00] GMT
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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