| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DGD201 | ||||
| Course Name: | 3D Animation for Games | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Compulsory Courses | ||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||
| Course Coordinator: | Öğr. Gör. MEMDUH CAN TANYELİ | ||||
| Course Lecturer(s): | Lect. Memduh Can Tanyeli | ||||
| Course Assistants: |
| Course Objectives: | This course is designed to teach beginner to intermediate-level 3D, hard surface mechanical animation for videogames and cinematic production. Students will learn to design and author solid 3D geometries for specific animation goals. At the end of the semester students will present their completed works in demo reels and demonstrate the skills they have achieved so far in a manner expected from videogame industry professionals. |
| Course Content: | Students will learn to envision and design videogame oriented animations for various scenarios by utilizing an extensive variety of techniques, including simple constraints, scripted and dependent animations with parent-child object orders, and both temporal and spatial mathematical expressions. Students will also learn to create animations for serving both videogame narratives and mechanics, ie. storytelling and gameplay purposes. |
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The students who have succeeded in this course;
1) Students will learn the ability to envision and design artistically and dimensionally accurate and consistent spatial elements for videogames. 2) Students will learn using advanced software and complex workflows for designing and producing spatial and object-oriented animations for videogame development. 3) Students will learn researching, as well as seeking and drawing inspiration from reference material for designing digital representations. 4) Students will further improve their understanding and command over visual storytelling and animation principles such as timing, framing, narrative, and space-time. |
| Week | Subject | Related Preparation |
| 1) | Introduction to class. Discussion, meeting, topics, rules, requirements. | Prepare for the course. |
| 2) | Principles of 3D Animation. Animation tools in Maya. Bouncing ball animation. Playblast. | Animate your bouncing balls. |
| 3) | Examples of mechanical animations in videogames. Locators, parent-child relations in animation. Animating with simple expressions. | Animate your sliding and hinged doors. Render out playblasts. |
| 4) | Complex mechanical animations. Animating with custom parameters and complex expressions. | Start designing your complex door systems. |
| 5) | Gears, pistons, and rack-and-pinions. Creating basic geometric equations. | Work on animating your complex door systems. |
| 6) | Timed events in MEL scripts. | Finish your complex door systems. Render out playblasts. |
| 7) | Animating on a path. Animating with constraints. | Start designing your track and cart system. |
| 8) | Constraints with scripts. | Work on animating your track and cart systems. |
| 9) | Designing rigged models. Complex parent-child dependencies. Examples of robot arms. | Start designing your robot arm systems. |
| 10) | Controlling animations with rigs. "Sleight of hand" techniques in animation. | Work on animating your robot arm systems. |
| 11) | Animating for a narrative, animating with an attitude. | Work on animating your robot arm systems. |
| 11) | Animating for a narrative, animating with an attitude. | Work on animating your robot arm systems. |
| 12) | Critiques and comments. | Finish your robot arm systems. Render out playblasts. |
| 13) | Camera animation. Storytelling with cinematography. | Create a camera animation for your complex door, track and cart, and robot arm animations. Render out playblasts. |
| 13) | Camera animation. Storytelling with cinematography. | Create a camera animation for your complex door, track and cart, and robot arm animations. Render out playblasts. |
| 14) | Critiques and comments. | Prepare for end-of-semester exhibition. |
| 15) | Finals. | Final submissions. |
| 15) | Finals. | Final submissions. |
| 15) | Finals. | Final submissions. |
| 15) | Finals. | Final submissions. |
| 15) | Finals. | Final submissions. |
| Course Notes / Textbooks: | Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book. |
| References: | Video Game Animation Study, YouTube Channel, https://www.youtube.com/@VideoGameAnimationStudy New Frame Plus, YouTube Channel, https://www.youtube.com/@NewFramePlus Game Anim: Video Game Animation Explained, Cooper, J., CRC Press, 2019. |
| Course Learning Outcomes | 1 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 3 | 1 | 1 | |||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 1 | 3 | 1 | 1 | ||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 | |||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 1 | |||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 1 | |||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | ||||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 1 | 1 | ||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 1 | 3 | 1 | 1 | ||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 3 |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 3 |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 1 |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 1 |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 1 |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 3 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Homework Assignments | 4 | % 60 |
| Final Sözlü | 1 | % 30 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 100 | |
| PERCENTAGE OF FINAL WORK | % | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 14 |
| Laboratory | 14 | 28 |
| Project | 12 | 60 |
| Final | 1 | 12 |
| Total Workload | 114 | |