SYLLABUS
ARCH 5420: COMPUTERANIMATIONANDSTORYTELLING
Fall 2024

FIRST DRAFT 1.0

Office Hours:
Instructor Earl Mark ejmark@virginia.edu
(Office Hours To Be Announced)

Description: Arch 5420 is an in-person workshop/seminar focused on moviemaking through computer animation. Students independently develop five short animations, culminating in a final project of one to five minutes. Participants come from diverse fields across the arts, sciences, design, and engineering, offering a wide range of perspectives. Projects may explore built and landscape architectural spaces, using animation to depict shifting viewpoints, light transformations, and movement. Architectural and natural objects can be animated to reveal spatial and formal orders over time. Storytelling may range from simple character animations to complex scene descriptions, set in real or imagined environments. The course emphasizes NURBS-based and Polygon 3D modeling and rendering for representing both built and natural environments, sculpting characters, and creating complex forms. Individual projects vary widely based on students' disciplines, covering topics like character animation, simulations of micro-scale physical environments, or larger-scale architectural and landscape settings.

Enrollment: Registration is by instructor permission. Enrollment is open to all graduate students and to all undergraduate students (typically second year undergraduate students and above) with some weight given to statements of interest on SIS and seniority. There are otherwise no prerequisites. The instructor has a background in moviemaking that includes film/video production and computer graphics animation.  

Technology: The primary software is Maya, widely used in professional animation and film production. Additional software may be introduced this term, including tools for sound editing, video editing, and advanced light modeling and rendering. Maya offers techniques such as motion instancing, inverse kinematics, compositing, fluid dynamics, hair and cloth simulation, and other effects. Students will also use software for video editing, compositing, morphing, figure creation, and sound editing. Maya is available on Apple and Windows computers throughout the school, on virtual UVA computers accessible accessible for students a personal computer, and free academic versions with full functionality also available for students with a personal computer.

The required class text is free and available online to UVA community members (see below). We use inertial motion capture equipment for full-body capture and work with motion capture data, subject to Covid guidelines. V-Ray, an award-winning global-illumination and light simulation plugin for Maya, is integrated into advanced rendering tutorials. Details on obtaining personal copies through Chaos Group will be shared in class. The class will use high-performance Virtual Workstations with all necessary software. Additional computer resources are available for independent use in Campbell 105 and other locations to be announced.

Grading: Each of the first four assignments counts towards 15% of the grade. The final project counts towards 30% of the grade. Class attendance and participation counts towards 10% of the grade. The class uses a system of continous assesment throughout the semester that aims to not penalize lack of experience or lack of initial understanding but is focused more on cumulative results and growth.

Class Participation & Attendance: This is an in-person course.Your presence and active participation is important to creating the most effective, step by step sequenced and coherent learning experience. Due to the sequential building block nature of the topics covered, full attendance is required. Excusable absences are permitted under UVA policies and should be communicated to the course instructor in advance if possible.

School of Architecture Academic Standards: See School of Architecture Associate Dean of Academics statement on grading, attendance and other academic standards.

Health and Well Being:
Our personal and learning circumstances may be different than they were prior to the Covid-19 epidemic. While we face challenges as an educational community, the goal is to continue to learn and grow while adjusting for unexpected events. The class is committed to maintaining a healthy and equitable environment for all of us by respecting and making room for differences in how we approach learning. While these goals may seem hard to realize in a course not specifcally based on health and equity, one strategy is to encourage moviemaking projects that give more license to students. The objective is to be motivated by what interests you and from which we can all learn together.

Your health and well-being are also a priority. Please take the time to care for yourself. The university asks that if you are ill or expect that you have been exposed to COVID-19, please stay home, notify the primary course instructor, and contact the Student Health and Wellness Center (434-924-5362) so that you can receive appropriate care. 

Individual Support: UUVA is expanding its teaching approach to embrace the diverse experiences students bring to the classroom, which enrich the education of all. Factors such as personal identities, disabilities (visible or invisible), family circumstances, physical location, mental health, and internet access may all influence your learning experience. To meet these challenges, the course seeks to create an environment that supports each individual's needs and encourages open communication and idea exploration. For example, your projects can reflect any cultural, national, or geographical context—broader subject choices benefit everyone, including the instructor and student peers.

The course also recognizes the challenges educators face in responding to the varied personal histories that students bring. These include complex factors such as cultural perspectives, disabilities, family circumstances, and access to mental health resources and the Internet. To better support your learning, you are encourage to share any unique circumstances with the instructor so the course can be more responsive. UVA welcomes undocumented students, those from mixed-status families, and students with Temporary Protected Status. All students, regardless of immigration status, are welcome in this class. If your personal situation affects your performance, please reach out privately so we can discuss accommodations.

SCHEDULE

The schedule below is subject to modification.

August
TU 27 Introduction to animation and course overview
TH 29

Interface, primitives (nurbs and polygon primitives), key-framed animation and movie output file creation with FCheck [Robinson: Browse Chapters 1 and 2, Read Chapters 3 and 4]  

 

- linked in training (formerly lynda.com tutorials are optional and available on grounds or through the UVA VPN system)
Maya 2025 Essential Training by George Mastri, Overview, 1. The Maya Interface. 2. Selecting and Manipulating Objects, 3. Organizing Maya Scenes

September
TU 3 Basic lighting and nurbs surfaces
  - linked in training Maya 2018 Essential Training 7. Nurbs Modeling Techniques, 8. Refine Nurbs Models
TH 5 Polygon extrusion and editing
  - linked in training Maya 2018 Essential Training 3. Creating Polygonal Models, 4. Modeling Polygonal Meshes
TU 10 Instantiation, grouping and parenting, selection modes and templates [Robinson: Read Chapters 5 and 6]
TH 12 Geometry Affine Transformation,  FCheck and iMovie Assembly Editing
TU 17 Review exercise 1
TH 19
Sound and digital video editing with iMovie HD and composite video rendering.
  -linked in training iMovie HD 10.1.1 Essential Training
TU 24
Nurbs (continued) editing, sound syncronization [Robinson: Read Chapters 6 - 9]

TH 26

Skeletons & IK Handles [Robinson: Read Chapters 10 - 12]
October
TU 1 Make Human Characters, Non-linear deformers [Robinson: Read Chapters 13 - 15]
- linked in training 8. Maya 2018 Essential Training 8: Refining Nurbs Models
TH 3 Camera control and rendering [Robinson: Read Chapter 16 and optionally Chapter 17]
TU 8 Inertial body suit data capture and rigging. (tentative).
TH 10 Review exercise 2
TU 15 Reading Break _ No Class
TH 17 Dynamics/particles/colisions [Robinson: Read Chapter 18]
TU 22
Shaders, materials, texture mapping, lighting continued
  - linked in training Maya 2018 Chapter 9. Creating Materials, 10. Applying Textures, 11. Rendering in Maya 12. Rendering in Arnold
TU 24 V-Ray Light Energy Modeling and Material Simulation
TH 27
Graphical editor & path animation [Optional Palamar: Read Chapter 2]
TU 29
Fluid dyamic effects, environmental sky
- linked in training Quick Fluids Using nCloth in Maya
TU 31 Fluid dynamics continued
Chaos Training Basic Example Using Chaos Phoenix
  Hinges, springs, and hair
Linked in training Creating Hair with Maya nHair
November
TU 5
Election Day _ No Class
TU 7 Cloth and constraints
Review exercise 3
  - linked in training Understanding Maya nCloth Maya 2012
TU 12 Advanced Rendering / Global Illumination Options
TH 14 Blend shapes and composite editing in iMovie HD, individual review workshop
  linked in training Creating single-mesh blend shapes Maya 2016
TU 19 MEL
TH 21 FX: mash, fluid dynamic clouds, paint effects Special topics , open workshop
TU 26 Ray Atmosphere Simulation
TH 28 Thanksgiving Holiday
TU 3 Final project preview exercise
December
TH 5 Course Summary
TU 17 Final project screening. (2 to 5 pm per UVA Exam Schedule)


Note: The required text/tutorial and addtional reading as well as the linda.com tutorials are available on-line through the UVA Virgo System.  


Required Text:


Maya 8 for Windows & Macintosh (Visual QuickStart Guide) by Morgan Robinson, and Nathaniel Stein, Peachpit Press, 2007 ±
§ -see on-line version of this textbook

Recommended Readings:

Animation: 

Introducing Autodesk Maya 2016  by Dariush Derakhsshani, Autodesk Official Press, 2015° § - see on-line version of this textbook
Mastering Autodesk Maya 2016 by John Palamar, Wiley Publishing, Inc., 2016 A° § - see on-line version of this textbook
Maya Visual Effects: The Innovators Guide by Eric Keller, Autodesk Official Press, 2013 +  § - see on-line version of this textbook
Creating Visual Effects in Maya: Fire, Water, Debris, Destruction by Lee Lanier, Focal Press, 2014 + § - see on-line version of this textbook
MEL Scripting for Maya Animations, Second Edition,  by Mark R. Wilkins and Chris Kazmier, Morgan Kaufmann Publishers, 2005 + § - see on-line version of this textbook
Maya Programming with Python Cookbook by Adrian Herbez, Packt Publishing, 2016 + § - see on-line version of this textbook
Maya Secrets of the Pros 2nd ed. / John Kundert-Gibbs, Dariush Derakhshani et. al. Sybex Inc., 2006. +  § - see on-line version of this textbook
* linked in video tutorials (formerly linda.com) are available in internal to uva either on grounds or the VPN access. See specific links in schedule above. Use is optional.

Moviemaking:

Arnheim, Rudolf, Film as Art. Los Angeles: University of California Press, 1957.*
Cocteau, Jean, Beauty and the Beast: Diary of a Film. New York: Dover Publications, 1972.
Greene, Graham, The Third Man and The Fallen Idol, Penguin Books Ltd., 1977.
Murch, Walter, In the Blink of An Eye, A Perspective on Film Editing, Silman-James Press, 1995.

Philosophy and Perception:

Arnheim, Rudolf, Art and Visual Perception. Los Angeles: University of California Press, 1974.
Goodman, Nelson, Languages of Art. Indianapolis, Indiana: Hackett Publishing Company Inc., 1976.
Sacks, Oliver, The Man Who Mistook His Wife for a Hat. New York: Harper & Row Publishers, 1987.
Putnam, Hillary, Representation and Reality. Cambridge, MA: M.I.T. Press, 1988.
Existentialism from Dostoevsky to Sarte, Edited by Walter Kaufmann, The World Publishing Company, 1956 (Rainer Maria Rilke, "The Notes of Malte Laurids Brigge", 1910)

Notes:± This is the primary text with paced readings and straightforward tutorials tied to the syllabus and a week to week developmental progression of the class. It is also available online at no cost to members of the University of Virginia community.
§ An online version of these books are available to members of the University of Virginia community only. See also Maya on-line textbook links

 This is a more up-to-date introduction though less compact than the Robinson and Stein text.
+ These texts include greater focus on more on specialized topics. 
Mastering Autodesk Maya 2016  has over 800 pages, covers significantly more features and special effects than the primary text we will be using in the class.