Part of this Programme
Level of Qualification|Semesters|ECTS
Master Degree | Semestral | 14
Year | Type of course unit | Language
1 |Mandatory |Português
Total of Working Hours | Duration of Contact (hours)
392 | 60
Recommended complementary curricular units
Prerequisites and co-requisites
1) The idea: - Strategies for developing original concepts (narrative or abstract); - Definition of technique and visual aspect as resultant and complementary elements to the concept of animation project (short film, installation, video-art, ...). 2) Pre-production: - Sketching of concept: from idea to story / moodboard; - Composition of the image, space and framing; - Montage: The animatic, continuity and definition of a visual rhythm itself; - Preparation and design of the sleep work 3) Production: - Production and organization strategies; - Execution of the animation; - Sonoplastia and soundtrack (solo or in collaboration). 4) Display. - Presentation of final project and technical report
This course unit will synthesize the learning achieved in the practical disciplines of 2D and 3D Animation, Stop Motion and Sound and Motion. Based on this learning the students will realize an original project of root, whose concept justifies the choice of one or the combination of all these techniques for the accomplishment of a work of author. Students will develop knowledge in communication and presentation of papers. The tools of drawing, storyboard and animatic will be fundamental in the pre-production of a project entirely defined by the student, be it a short film by author or another the proposed format.
Knowledge, abilities and skills to be acquired
- design of storyboard, soundboard and animatic applied to a short film - animation short film
Teaching methodologies and assessment
Presentations and tutorial accompaniment. Evaluation continues, counting the various interim presentations: 1) Initial pitching (Idea and storyboard / moodboard) - 20% 2) Animatic presentation and sound environment - 30% 3) Final draft presentation (with technical report) 50%
GEHMAN, C. & REINKE, S. (2005) The Sharpest Point: Animation at the End of Cinema. Toronto: YYZ Books.
HAMES, P. (2008). The Cinema of Jan Svankmajer. London: Wallflower Press. (cota: AV/352-BC ULHT 33601).
LESLIE, E. (2002) Hollywood Flatlands: Animation, Critical Tehory and the Avant-garde. London: Verso.
NEUPERT, R. (2011). French animation history. Malden: Wiley-Blackwell. (Cota: AV/819-BC ULHT 41046).
PILLING, J. (1997). A Reader in Animation Studies. Sydney: John Libbey & Company. (cota: AV/408-BC ULHT 33645).
PILLING, J. (ed) (2012). Animating the unconscious : desire, sexuality and animation. London: Wallflower Press. (COTA: AV/830-BC ULHT 41305).
RICHARD, V. (1982). Norman McLaren, manipulator of movement : the national film board years, 1947-1967. Newark: University of Delaware Press. (cotaAV/643-BC ULHT 34622).
SELBY, A. (2009) Animation in Process. Londres: Lawrence King Publishing.
WELLS, P. (2002) Animation: Genre and Authorship. Londres: Wallflower.