Nowadays, it's truer than ever. Anyone can make a movie! But as is the case in so many arts, although rules are meant to be broken, you can't break 'em unless you know 'em!
This is a general film production course for the person who has never gone through the top to bottom process of making a narrative film/video. We'll be studying, in fairly broad terms, what makes movies and scenes tick, how to develop a screen-effective story, how to go about putting together a shoot and wrapping it up with good editing. By the end of the course students will have created at least one narrative project of five minutes length that is critiqued by the class.
This course wil cover the basics of screenwriting, targeted to those unfamiliar with the format and software used. The class aims to give you a good understanding of story structure as well as the more technical aspects such as when to indent or when to use parentheticals. Keep in mind that this is an introductory course. Future classes dealing with more intermediate and advanced aspects of screenwriting are planned.
This course wil cover the basics of lens and camera—with an emphasis on Cinematography. The class aims to give you a good understanding of how cameras work, what different types of lenses are used for, and what some of the differences are between different models or types. Though this class will begin with basics, I'd love to take it into a more intermediate level for the later lessons if time and practicality allow. If you have any suggestions for Lessons you'd like to see in this class or topics you're curious about that may not otherwise be covered, please feel free to make a recommendation and I will do my best to work the topic into the class or make another class covering said topic.
This course on DSLR Cinematography and Videography aims to provide you with a solid understanding of the advantages and disadvantages of shooting video on a DSLR as well as how you can make the most of your DSLR. It will cover accessories intended for motion picture cameras that can be used on DSLRs and how they can enhance your image. Additionally, this class will touch upon software or other downloads for your footage and editing workflow.
Class begins September 1st!
This is a basic Fine Art Theory course. We will be looking at trends and themes in art history and analysing them with an eye to canonical texts and theories. I will consider giving and grading assignments to anyone interested. I may add a sort of show-and-tell segment later on where you guys can bring in work and we can talk about it
This class is designed to help students from beginner to intermediate learn the fundamentals of Flash Animation and become more familiar and efficient with the program. Throughout the course you will learn how to correctly use the built in flash tools and learn important animation techniques that can be used with many other animation programs. I will do what I can to help individual needs and questions.
In this four part tutorial we will learn how to draw two eyes. Let's begin with a straight line, which will serve as a horizon line and will give us an idea where the shapes are going to be. Then we should draw a vertical line to make a cross so that we know where the center point is. To achieve better results try to draw lose lines. At this stage the goal is to make a rectangle with the equal top and bottom parts.
As we move on we need to draw corner lines so that we know where our eyes are going to be. The width of the middle part between the eyes should be of the size of an eye. As soon as it is done we can move on with the oval shapes of the eyes to get a feeling of the eyes. Next step is to draw eyebrows. There are no particular rules on that, just sketch and see how it looks. Alter them as you want to achieve the look you are going for.
Time to time go back to the lines and redraw them so that you know where other shapes like nose and mouth are going to be. Mark the shapes of the eyes or in other words make the shapes darker. After the shapes are blocked we can start drawing pupils of the eyes in the shape of a circle. As we move on mark out the shapes so that later on we can expression to the eyes.
Take a marker and make the pupil of the eye darker. That is the area that we will exaggerate with the expressions once we get into the iris and center point of the eye.
Let's start to mark in the center point and put some shapes in. Think about the lights that are going to shine into the eyes. The reflection has to be in the same direction in both eyes because we don't want to make them look if they were floating. You should now connect the reflection of the light with the iris of the eye so that we can move on and work on the expression of the eyes.
Now we can start exaggerating outlines of the eyes. The most challenging part is to connect the upper and lower part of the oval. The goal here is to mix edges with the curves.
As we start drawing the other eye with the marker, you should always keep in mind where the other eye will be looking at. We want to make both eyes look into the same direction. In order to achieve that attach both pupils to the same cheek area.
The second eye should be a little bit smaller than the first one. As we keep drawing don't forget about the reflection of the light source in the other eye.
We started with the oval shapes, but now we can shape both eyes so that we can get more realistic look of them. We need to exaggerate the center point of both eyes to add expression and character.
We slow down a little bit in order to figure out where the edge of the nose will be. The top part is coming from the forehead into the nose. We are not going to draw the nose here, but we need to figure out where the eyebrow will touch it.
Now we can move on with the eyebrows by adding different shapes to them. Also, at this stage we can start adding details to all of the elements we have here.
It is very useful to stop for a moment and take a look at your drawing so that you can get the feel and make sure that you are working in the desirable direction.
Eyes is a very important part of the human body because approximately 80% of the people look into the eyes first. By adding the right expression to the eyes you put the soul into the drawing. All the other body parts serve the secondary role.
Now we can take a pen and add some darker lines to the eyes, which will allow us to work more on the quality of the lines -- softer, darker or lighter. Add some details with the pen over the top of the drawing. Avoid using one long line, but use lots of shorter lines instead otherwise your drawing will not have any life in it.
Keep working with the pen, stop and evaluate the result -- what should be added and what has to be changed. Don't be afraid of spending an extra time on your drawing because it is about the end result and not the time.
Let's go back to the drawing and erase the construction lines. I love working with the simple lines at the beginning and then to move on to the more complex ones as we progress with the drawing.
Now we can add details and finish drawing with some shading. This part is more about the creative side less constructive. I would recommend having a cheek line in the drawing otherwise both eyes will look like if they were floating.
Apply block shading to your drawing to achieve the sense of depth. Move your pencil around so that the lines blend in with the rest of the drawing.
Take a look at what you have and apply some final touch ups.
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VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In this 5 part drawing series, viewers can follow along with Glen to learn how to sketch a boat. Glen has worked for several large studios throughout his career such as Disney, Universal Studios and Marvel Productions.
Today we are going to draw a city in One Point Perspective -- buildings in the city going into One Point Perspective. Let's start our drawing with the vanishing point and horizon line. In order to get the feel of the drawing we need to determine where vanishing point will be. Feel free to improvise and change it depending on what you want to achieve. Start mapping lines in.
Now we need to draw lines that disappear in the distance in order to get the feel of the drawing. If you can draw a rectangle in a perspective you can do anything. As soon as we are satisfied with the result we can start drawing lines from the vanishing point that will help us to draw buildings and objects in perspective.
Let's start blocking a building and street. The top line here represents the roof of the building. Please remember that horizontal lines should be parallel to the horizon line. To map out windows and doors we should draw a number of vertical lines. Everything has to match the vanishing point.
Ok, let's start adding some details and drawing some other buildings. They should be of a different size. As soon as we have blocked the buildings we can move to the other part of the drawing. The same principles apply. We want to have something in the foreground to add sense of depth to the drawing. Please remember that lines in perspective should hit the vanishing point.
Now we can start adding some details to the buildings on the right side of the drawing. Use rough lose lines to shape the objects. As you are doing that you can think creatively about what to add next and how the buildings and objects will look like. Let's draw a sign post here and match it to the vanishing point and the horizon line.
Move on and shape the buildings in perspective. Think about what you want to have in the distance. Make the drawing more interesting by pushing the viewer's eye deeper into it. As soon the middle ground is finished we are ready to move on.
Ok, let's sit back and look at the drawing first. We need to figure out where the details are going to be. We need to get a feel for it. Let's take a pencil and dig in. In this stage pay attention to the line quality -- straight edges and round shapes. In every drawing it is essential to have this particular combination. Draw lines over the block shapes to start adding details.
Ok, let's try to map out the sidewalk by adding some details and hitting the vanishing point. These new lines should be dark enough so that when we erase other lines the details are still visible. That's why it is very important to use a soft pencil to map out lines and block buildings at the very beginning of your drawing.
Let's draw a door here. Use some round lines and match them with the vanishing point. Move on by adding windows and more doors. Add some details to the top part of the building.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In this 7 part drawing series, viewers can follow along with Glen to learn how to sketch characters in different head positions. Glen has worked for several large studios throughout his career such as Disney, Universal Studios and Marvel Productions.
Today we are going to draw an airplane. Let's start with a rectangle in two point perspective. Before we begin we need to figure out where our horizon line and vanishing points will be. Sit back and think what kind of look you are going for.
We need to start with the square shapes and then we will round them up. As you hit the vanishing points think creatively what you are going to draw. Block objects with lose lines in perspective.
What we are going to do next is to use is to work with a different color pencil in that way we will be able to choose whichever lines we want to work with.
When drawing a circle in perspective, start with a rectangle, draw two diagonal lines to find the center and then start drawing the circle in perspective.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In this 6 part drawing series, viewers can follow along with Glen to learn how to sketch different hand positions. Glen has worked for several large studios throughout his career such as Disney, Universal Studios and Marvel Productions.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In 4 Part video series, Kennedy begins the drawing with simple shapes to start and uses a center point to draw the nostrils and bridge of the nose. The shapes and lines start to form the outline of the nose structure.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In this 8 part drawing series, viewers can follow along with Glen to learn how to sketch skyscrapers and buildings in a city landscape. Glen has worked for several large studios throughout his career such as Disney, Universal Studios and Marvel Productions.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In Part 1 of the video series, Kennedy demonstrates how to set the foundation for drawing the human eye including shaping the outside of the eye and pupil. By the end of the tutorial series, viewers will understand how to draw a detailed human eye.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In this 6 part drawing series, viewers can follow along with Glen to learn how to sketch a woman character. Glen has worked for several large studios throughout his career such as Disney, Universal Studios and Marvel Productions.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In Part 3 of the video series, Kennedy encourages the artist to give his/her character some life by adding more and more detailed features. Ears, neck, cheekbones, hair are added to the character's style, and are based on the artists' imagination.
Today we are going to draw an old man's face. Let's start with a rectangle in perspective. That's right, we should start with curving in some basic shapes and then to make the face from that. We should put down the horizon line with two vanishing points. Draw some simple shapes. The reason why we have to hit the vanishing points is to create the structure in perspective. One might ask -- why do we want to draw the old man's face in perspective? The answer is very simple -- we don't always want to have some flat drawings. Perspective will definitely give some volume to the drawing.
After we are done with the basic shapes will start subdividing them and start drawing curved lines; in order to do that we will have to dissect the corners so that the lines meet in the center. Dissect as many corners as you can because it will make your life easier as soon as you start free hand the curved lines.
Use your rough lose pencil to start carving shapes in. It will help us to understand what we actually want to achieve.
Now we are ready to start drawing the chin. Go around and see what you can do with the drawing. As soon as it is done we can start drawing an eye and eyebrow. The distance between both eyes is of the size of an eye. Keep moving on with the nose. Start mapping things out like hair and shape of the head. Keep it lose and rough.
Draw the mouth by marking where it is going to be.
Let's take another pencil and over exaggerate the iris of the eye because whenever you look at a photograph you will always see a dot of the iris in the eye.
VCAD instructor Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone their drawing skills. In Part 1 of the video series, Kennedy starts the tutorial with drawing a rectangle using vanishing points. He shows the viewer how to use simple shapes to create a three point perspective over-top of the horizon line.
In this tutorial we will create a new semi realistic character. Why semi realistic? Just because you have to make your own characters if you want to make money in the commercial art business. We will start with the basics of the realistic drawing -- two lines and an oval. Our character will have over exaggerated eyes so that we get more of the expression at the end of the drawing.
We begin with the proportions to figure out where the character's eyes, nose, and mouth will be. Then we proceed with the shape of an eye and switch to the second eye. The center point between two eyes is about of the size of the eye. We move on to the eyebrows to establish the facial expression of the character. After that is done, we move on to the nose. It will be in the shape of a tie. We line up nostrils with the mouth. In case of the young people, mouth and nose areas are smaller, that is why eyes should be bigger.
In order to get the feel of the character, we continue with the pupils and keep working on the shapes of the mouth, eyes, and nose. We should use soft pencil to get loose shapes during the development of the character. That allows us to do lots of drawings inside of the character and we can go back at any time. Marker or anything else can be used afterwards when we have gotten what we wanted to in terms of the expression and look of the character.
We move on with the hair line and chin line. When that is done we will exaggerate the highlights of the pupils.
Drawing with Glen Kennedy introduces fundamental drawing techniques to encourage young artists to develop and hone sound drawing skills, a requirement for those pursuing careers in art and design. In the first video, Kennedy introduces viewers to the two-point perspective, one of the basic principles of drawing. By the end of the tutorial, viewers will understand how to use this technique and will be ready to move on to the next tutorial.
And feel free to check out our forum at http://qinema.com/forum/index.php
This class will cover movements going from early cinema to the French New Wave.
We will explore the notions of "a canon", "influence", "auteur", and much more. This class is a history class. We will explore film theories, movements and techniques, but we will not learn how to make films. We will learn about movements such as : German expressionism, early Russian Cinema, Poetic realism, Neorealism, and so on. This class will have a very open take as to what "film history" is and will question the canon movements while trying to let you develop your own critical sense when it comes to film. I will try to balance academical notions and non-academical notions to make it fun and easy to follow.This is a class for beginners, which means : people with interest for him who have never taken a film history class. People with film knowledge are more than welcome to participate. This class will allow you to learn about film culture without having to take part in an expensive college class. However, I encourage you to eventually do it as it will help you get a better grasp of how film history is constructed.
The video version of the class will be available on this Youtube channel