Anim 30102 Syllabus_fall_2015

Anim 30102 Fall 2015
1
Storyboarding- Advanced Story Structure
Instructor: James Caswell james.caswell1@sheridanc.on.ca
Office hours: Room A160. Office Hours: TBD.
Detailed Description
Students learn how to prepare a script from written and visual sources and work in groups to create
storyboards for a story reel (animatic.) Topics include: multiple conflicts, climactic resolution, suspense,
character motivation and complex story arcs. Through a combination of interactive lecture, discussion,
demonstration and studio work, students develop storyboards to be used in the production of group films
and their individual portfolios.
Course Critical Performance
By the end of this course, students will have demonstrated the ability to create a storyboard and, working
within a group, produce a story reel.
Learning Outcomes
To achieve the critical performance, students will have demonstrated the ability to:
1. Create a script that conveys individual expression, style and creativity.
2. Pitch an individual story that reflects thoughtful and coherent visual and written development.
3. Develop a variety of co-operative strategies and leadership skills within the context of the group story
production.
4. Complete individual and collaborative work in accordance with prescribed story production timelines.
5. Generate storyboards that exhibit visual continuity and consistency among the group collaborators for
the story reel.
6. Collaborate effectively on the pre-production story visualization, development and research for use in
the final group story reel.
7. Incorporate sophisticated elements of story (multiple conflict, complex character development and
story arc) into the development of the storyboard.
8. Produce a story reel digitally that uses effective sound, timing, recording, editing and performance
processes for the final production.
Textbook(s): Recommended but not required.
Mackendrick, Alexander, On Film-making: An Introduction to the Craft of the Director.
Russin Robin, Screenplay: Writing The Picture.
McDonald, Brian, Invisible Art, A Practical Guide to Building Stories That Resonate.
Canemaker, John, Paper Dreams: The Art & Artists of Disney Storyboards.

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Evaluation Plan:
Assignment 1: Pitch Concept (Individual) 10%
Assignment 2: Story Reel (Group) 30%
Assignment 3: Storyboard Test (Individual) 25%
Assignment 4: Animatic /Board (Group) 20%
Assignment 5: Story Analysis (Individual) 15%
Total: 100%
Schedule
WEEK 1
Lecture: Introduction/ Rules for the Road
Lab: Story Exercise.
WEEK 2
Lecture: Group Selection
Lab: Pitch WIP/ Storyboard Notes
WEEK 3
Lecture: Dramatic Construction
Lab: Assignment #1: Pitch Your Idea.
WEEK 4
Lecture: Visual Grammar
Lab: Assignment #2: Group Production 1st
Pass.
WEEK 5
Lecture: Story Analysis #1
Lab: Assignment #2: Group Production 2nd
Pass.
Assignment #3: Storyboard Test 1st
Pass DUE.
WEEK 6
Lecture: Presentation Techniques/Rehearsal
Lab: Assignment #2: Group Production 3rd
Pass.
WEEK 7

3
Lecture: Assignment #2: Group Production Present Story Reel
Lab: Assignment #3: Storyboard Test 2nd
Pass DUE.
_______________________________________
READING WEEK
_______________________________________
WEEK 8
Lecture: Editing
Lab: Review Comments/ Revise Story Reel
WEEK 9:
Lecture: The Monomyth
Lab: Assignment #4: Animatic WIP
Assignment #3: Final Board Due.
WEEK 10
Lab: Assignment #4: Animatic WIP
WEEK 11
Lecture: Assignment #4: Animatic DUE.
Lab: Revise Story Reel
WEEK 12
Lab: Group Conformed Board DUE.
WEEK 13
Lecture: Assignment#5: Story Analysis Test
Lab: Conformed Board Revisions WIP.
WEEK 14
Lecture: Transmedia Storytelling
Lab: 2nd
Semester Preparation/ Review Semester Mark.

4
Assignments
ASSIGNTMENT #1: Premise/Sketch/Present INDIVIDUAL MARK
You will produce a premise, inspirational sketch and present your idea for the GROUP project that
comprises the bulk of the 3rd
year of the BA: Animation program.
You will produce:
1. A logline: a brief sentence or “elevator pitch” that describes the essence of your story. Think tweet
length (140 characters.) THIS IS NOT THE MORAL OF THE STORY.
2. A synopsis: one or two paragraphs that will explain the character and conflicts of the story. The theme
or moral should be explicit. This is the: who, what, where, when, and why of the story. Both of these are
considered part of the premise.
3. An inspirational sketch: the sketch can be black & white or colour but must communicate the essence
of the story. It is a launch pad of the storyboarding process, not a concept illustration. The sketch can be
presented under the document camera or as a digital file.
4. Present. You will present their premise and sketch for class critique.
Deliverables: Value: 10%
Sketch and premise on one page.
One hard copy or one electronic copy (PDF) submitted to HAND_IN folder.
If you choose a hard copy, please remember to hand it in after the presentation.
Due: Week 3 in lab.
Course Critical Performance and Learning Outcomes
Pitch an individual story that reflects thoughtful and coherent visual and written development.
Apply strong storytelling abilities that feature character, emotion and movement.
ASSIGNTMENT #2: Story Development/ Story Reel GROUP MARK
Working as a member of a group, you will produce rough story ideas, inspirational sketches, research
material, a storyboard through many iterations, and, “pitch” the group story (describe and act out.)
At every stage, you are expected to give and receive “notes” (suggestions to better communicate the
story.) The application of these notes is an integral part of the storyboard process.

5
The first pass should be written. On index cards, break the story concept into a beginning, middle and
end. One card per beat. Brainstorm situations that develop the story and character. Research the characters
and environment your story takes place in. Develop a shot list from these cards. This will facilitate the
division of labour drawing the board. Each group member should illustrate a concept of one of the story
situations.
Deliverables:
1. Rough Board (1st Pass) Value: 5%
To be reviewed in the lab.
Due: Week 4
2. Rough Boards (2nd
Pass) Value: 5%
Due: Week 5
3. Sketch Pass (3rd
Pass) Value: 5%
Due: Week 6
4. Pitch Story in Lecture Value: 15%
One electronic copy (PDF) visuals to be pitched in the lecture.
One PDF of the presentation to be submitted to HAND_IN folder.
Due: Week 7 in the lecture period.
NEW THIS YEAR: Critique or “Getting notes” is an important part of the filmmaking process. In
your future careers, you will be asked to give and receive notes. This is an important skill to practice.
AFTER WK 7 Story Sketch Presentation:
You will submit your notes: suggestions for improvement, confusions or what you think works in the
Hand_In folder Friday after the presentation. It will affect your individual mark by 5% if you do not
submit. The notes will be compiled and sent to the appropriate group for consideration. You will be
given some time after each story presentation to make your notes.
Generate storyboards that exhibit visual continuity and consistency.

6
Develop a variety of co-operative strategies and leadership skills within the context of the group story
production.
Collaborate effectively on the pre-production story visualization, development and research for use in the
final group story reel.
Incorporate sophisticated elements of story (multiple conflict, complex character development and story
arc) into the development of the storyboard.
Demonstrate practical knowledge of cinematic language, acting and staging and the ability to express
story and character through drawings.
Present work in a clear and entertaining way with the ability to invent action and express it through
drawing.
Analyze the elements of story from a visual presentation, deconstruct, comment and defend in written and
verbal form.
ASSIGNTMENT #3: The Storyboard Test INDIVIDUAL MARK
THIS ASSIGNMENT RUNS CONCURRANTLY (AT THE SAME TIME) AS THE GROUP PROJECT.
YOU ARE REPONSIBLE TO YOUR GROUP FOR THE WORK YOU ARE ASSIGNED AS WELL.
This assignment will simulate a storyboard test from a production company. It is now standard that
animation production house ask you to do a test to demonstrate your storyboarding understanding.
You will be required to produce: rough ideas, roughs, and a clean approximately timed and properly
labeled board. (An animatic (Lecia) can also be produced but is not necessary.)
You are required to storyboard the script in as many panels as you think necessary. In an actual
situation, you should watch a number of the episodes of the program to recognize who the audience is,
similar shows, the attitudes of the characters, etc. As this is a sample case, this is NOT required.
This assignment is to show your thinking process on how to interpret and illustrate the script as
presented. DO NOT focus on making elaborately rendered drawings, but demonstrate how you
communicate the action in the script, the acting in the dialogue and that the characters and BGs are in the
style of the show. Be as close to model as possible. Size relations are particularly important. Rough/ loose
drawings are fine but be clear as to what’s going on.
These tests typically take a day or two to complete so you should judge you time accordingly.
Elements Supplied:
Board template, character models, and script. On this project, no location design or secondary characters
are provided. You will have to create your own
Deliverables:
1. 1st
Pass: Value: 5%

7
To be reviewed / marked in the lab.
Due: in Lab Week 5
2. 2nd
Pass Value: 10%
To be reviewed the lab.
Due: in Lab Week 7
3. Final clean timed Board Value: 10%
One hard copy OR one electronic copy (PDF) submitted to HAND_IN folder.
Due: Lab Week 9
Generate storyboards that exhibit visual continuity and consistency.
Complete individual work in accordance with prescribed story production timelines.
Demonstrate practical knowledge of cinematic language, acting and staging and the ability to express
story and character through drawings.
Present work in a clear and entertaining way with the ability to invent action and express it through
drawing.
ASSIGNTMENT #4: An animatic (Leica Reel) and Conformed Board GROUP MARK
The group will refine their story pitch, assemble a production (conformed) storyboard and complete an
animatic for the 3rd
year group project.
Again, at every stage, you are expected to give and receive “notes” (suggestions for the better
communication of the story.) The application of these notes is an integral part of the storyboard process.
Deliverables:
1. Animatic Value: 15%
One electronic copy (.mov) submitted to HAND_IN folder prior to Story lecture.
Due in Lecture Week 11 to be screened in the lecture period.
AGAIN, NEW THIS YEAR:
After the Animatic screening, you will submit your notes: suggestions for improvement, confusions or
what you think works in the Hand_in folder Friday after the presentation. It will affect your mark by 5%
if you do not submit. The notes will be compiled and sent to the appropriate group for consideration.

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2. Final Production Board Value: 5%
The board will be clean and timed with appropriate details: numbered pages and scenes, shot
description, dialogue, proper screen direction, sound notes, special effects indications and
slugging notes (rough timing of the scenes.) The final board should be done in ToonBoom
Storyboard Pro (presently industry standard.)
Due in Week 12 in the Hand_In folder.
Pitch an individual story that reflects thoughtful and coherent visual and written development.
Develop a variety of co-operative strategies and leadership skills within the context of the group story
production.
Produce a story reel digitally that uses effective sound, timing, recording, editing and performance
processes for the final production.
Incorporate sophisticated elements of story (multiple conflict, complex character development and story
arc) into the development of the storyboard.
Complete individual and collaborative work in accordance with prescribed story production timelines.
verbal form.
ASSIGNTMENT #5: Story Analysis Test INDIVIDUAL MARK
In the week 13 lecture, a story will be screened. You will be required to analyze the story of the project.
In point form, you will describe the beginning, middle and end, the protagonist, the theme, the mood, the
genre, and give your opinion of the story. This is your chance to demonstrate and improve your analytical
skills.
A story artist must be able to review such projects to deconstruct with respect to their story aspects: spine,
protagonists, plot, characters, theme, etc. to accomplish his/her job.
Deliverables: Value: 15%THIS
WILL BE IN THE LECTURE PERIOD Week 13. MARK YOUR CALENDERS NOW.
verbal form.
Please address questions in lab or to: james.caswell1@sheridanc.on.ca
IF YOU HAVE A QUESTION, SOMEONE ELSE MIGHT THE SAME ONE.
PLEASE ASK IT IN THE LAB.

Anim 30102 Syllabus_fall_2015

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