Computer Graphics World

Education Supplement 2013

Issue link: https://digital.copcomm.com/i/147926

Contents of this Issue

Navigation

Page 11 of 15

Education Supplement new ground within that practice," says Leeser, who is the director of the Art and Technology Program in the
School of Art and the director of the Center for Integrated Media at
CalArts. Leeser notes that CalArts, like most of the top-ranked schools, utilize the same industry tools in the curriculum. Years ago when computer graphics and animation fell within the computer science program of most schools, students had to learn the elements of the trade while working in the field. Today, however, many shops and students are using off-the-shelf and commoditized software. "Not only do the schools have the same tools as the industry, but the students coming into the schools are probably more fluent with the tools than International Approaches Technology is a key component to learning at Sheridan College's Faculty of Animation, Arts, and Design in Ontario, Canada – the largest arts school in Canada. This fall, the school will begin offering Canada's first degree in game design and another in interaction design. Sheridan has a number of labs for its animation students, which are available 24/7 via card access. The labs include nearly 200 Cintiqs. "The students tell us that the process feels more organic with the Cintiqs," says Ronni Rosenberg, dean of the Faculty of Animation, Arts, and Design. The usual tools of the trade are used at the school. In addition, it teaches high frame rate, stereo 3D, and stop-motion filmmaking. The Screen Industries Research and Teaching Centre (SIRT) conducts research related to digital workflow technologies and processes, such as virtual production/performance capture, stereo 3D, and high frame rate (HFR) cinema. The Pratt's CCPS helps professionals stay on the cutting-edge. 5,000-square-foot studio space includes a Vicon optical motion-capture systhey have ever been in the past," he says. Insofar as the school offers advanced tem and virtual camera solutions with 2D hardware and software (a Phase Space and 3D output. It also has a 1,300-squaremotion-capture setup, an advanced 3D ani- foot postproduction and visual effects lab mation system, laser cutters, and state-of- and a digital cinema test and demo center the-art cameras, including Canon 5Ds and capable of 2D, 3D, 4K, and HFR projection. SIRT helped create two new courses RED cameras), it is augmented by the crosswithin the Faculty of Animation, Arts, disciplinary learning environment. "Studio space is an important part of do- and Design, and hosted several hands-on ing the work, the process. Learning doesn't workshops for students. Last year, SIRT just happen in the classroom, but often was invited to demonstrate HFR 3D test through the interaction of students from footage at SIGGRAPH 2012 in partnership different schools and how they interact and with project partner Christie. It also signed share information. It is a model that goes a Memorandum of Understanding with beyond the boundaries of a classroom, and Ubisoft Toronto to conduct performance I think that is incredibly important because capture/virtual production research that that is how the world actually works," will enhance the game development prosays Leeser. "[What's critical] is using cur- cess. Finally, it is planning a HFR 3D project rent technology that's on the market and involving researchers from York's 3D FLIC, making sure that technology is supported GRAND, and Christie through the Canadian Digital Media Network. through access within the studio space." 12 • Education Supplement • July 2013 The primary focus at Canadian-based CG Masters is on production-tested, onthe-job-training techniques that young artists need before entering the professional realm. In fact, this unique school's slogan is "Where Art Meets Technology," and to that end, CG Masters focuses on practical knowledge, skills, and experience, rather than theory, history, and essays. "CG Masters trains digital artists for a realistic chance at an entry-level job in VFX and animation. We focus our precious study hours developing excellence in tools and techniques our graduates are likely to need in their first jobs," says Nicholas Boughen, senior education administrator. In regard to tools, Boughen says the institution sees a paradigm shift in tool development that is bringing Side Effects' Houdini into more studios for more diverse uses. Therefore, artists are very likely to benefit from training with this software. "The power, simplicity, and reliability of the node-based architecture make it a nobrainer for our classrooms." As Boughen points out, real success isn't about "the blinky lights and fancy software – it is relatively easy to learn a new tool once you know one or two others." The real meat of training, he adds, is in production practice and philosophy. "Learning how to approach a new tool and work it into our tool set is a good [practice]." VanArts (Vancouver Institute of Media Arts), a post-secondary school in British Columbia, Canada, offers training for animation, Web development, game art, visual effects, and more. And, tools are an important part of the education process. "In VFX, we largely focus on tracking new software tools and folding them into the program when our industry contacts indicate that acceptance is reaching a broad enough standard," explains Wade Howie, head of VFX and Game Art at the school. To this end, VanArts has added Chaos Group's V-Ray and The Foundry's Mari to its list of technologies presented to students in those areas of study. VanArts has also begun transitioning from MEL to Python for Maya scripting, and has increased its Side Effects Houdini classes as part of its overall emphasis on procedural visual effects training.

Articles in this issue

Archives of this issue

view archives of Computer Graphics World - Education Supplement 2013