A deep-research map of where B.Sc. Animation & Gaming — and its Film Making & VFX specialization — meets India's AVGC-XR sunrise economy. Thrust areas, honest fresher salaries, the certifications that matter, and a course-by-course map from the KLEF curriculum to the job market.
The sector is booming, but fresher pay is modest: ₹2.5–4.5 LPA is the realistic 2024-25 entry band for most animation, VFX, motion-graphics and editing roles. Only technical artists, game programmers and Unreal-skilled virtual-production talent reliably cross ₹5–7 LPA at entry. This atlas is built to be truthful about that — and to map the route to the higher tiers.
Where local, regional, national and global demand converges — each anchored to a verified policy document, scheme or analyst report.
India's flagship creative-tech push: a dedicated mission, a Create-in-India campaign and a National Centre of Excellence — directly validating this specialization.
The ₹400 cr Indian Institute of Creative Technologies opened in Mumbai (Aug 2025) with 18 courses and a planned regional centre at Hyderabad's IMAGE Tower — on KLEF's doorstep.
A 1.6M sq-ft dedicated AVGC tower (₹1,200 cr) to facilitate 30,000+ workers, plus 25% capital subsidy and recruitment assistance under the IMAGE Policy.
Annapurna Studios + Qube launched India's first permanent ICVFX stage in Hyderabad — a 60×20ft LED volume on Unreal Engine. The fastest-rising skill in both tracks.
WEF flags 39% of skills transforming by 2030 and traditional design roles declining — making AI-fluent creators the defensible profile. Mirrors the program's heavy AI course load.
India's fastest-growing creative segment — 591 mn gamers, $9.2 bn by FY29. Post the RMG ban, mid-core, casual, IP-led and esports gaming are the live opportunities.
A ₹103 bn segment recalibrating after the Hollywood-strike dip. India's 260k-strong VFX workforce is moving up-value from roto/paint toward comp, look-dev and FX.
Digital media has overtaken TV in India; PwC sees global OTT video growing 7.4% CAGR — fuelling demand for editors, motion designers and documentary/long-form producers.
$187.7 bn in 2024 → $213.3 bn by 2027 across 3.42 bn players. The aspirational ceiling for KLEF's top-decile game-dev and technical-art graduates.
Andhra Pradesh's 2024-29 policy explicitly targets creative-tech and Global Capability Centre investment — the state-level enabler for KLEF's Amaravati graduates.
The Media & Entertainment Skills Council offers 100+ NCVET-aligned Qualification Packs across 12 sub-sectors — a low-friction credentialing gate for every graduate.
The "XR" in AVGC-XR. National policy, IICT's XR programs and rising enterprise/edu demand make immersive content a high-growth adjacency for both tracks.
The quantitative backdrop — sector growth, gaming trajectory and the global ceiling that frames realistic ambition.
India's outsourced VFX tier is exposed to global shocks. The Hollywood strikes and Technicolor MPC's February 2025 shutdown — ~3,200 jobs lost in India, nearly 3,000 in Bengaluru — show why graduates must climb from commodity roto/paint toward comp, look-dev, FX and original IP. The August 2025 real-money-gaming ban (−17% video-game revenue) similarly closed one large fresher-employer category. Build for the up-value, AI-augmented, IP-led future — not the commodity tier.
Two distinct graduate streams, two distinct opportunity sets. India CTC is the primary figure; the global column is a 3–5 year aspirational target, not a Year-1 destination.
| Role | Representative Indian employers | India CTC | Global aspirational (0–2 yrs) |
|---|---|---|---|
| Junior 3D Animator | Green Gold, Cosmos-Maya, Toonz, DQ Entertainment, 88 Pictures, Assemblage, Reliance Animation | ₹2.5–4.5 L | US $46–87k · UK £22–30k · CA C$43–56k · SG ~S$31–58k |
| 3D Modeller / Environment Artist | DNEG India, Makuta VFX, Annapurna, ReDefine, Symbiosys | ₹2.5–5 L | US env artist $67–122k · UK £23–30k |
| Texturing / Look-Dev Artist | DNEG, Method India, Prana, FutureWorks, Redchillies VFX | ₹3–5 L | US $60–95k · UK £25–35k |
| Rigging Artist / Junior TD | DNEG, 88 Pictures, Symbiosys, ReDefine | ₹3–6 L | US $65–110k |
| Junior Game Developer (Unity/Unreal) | Zynga, Ubisoft Pune, Sumo/Lakshya, EA Hyderabad, Dream11, Nazara, Octro, SuperGaming, Krafton India | ₹3.3–7 L | US $69–119k · UK £24–44k · CA C$48–69k · SG $62.5–83k · UAE AED157–210k |
| Game / Environment Artist | Sumo Digital, Ubisoft, EA, Zynga, Rockstar India, 24 Frames Factory | ₹3–6 L | US $40–122k · UK £22–30k |
| UI/UX Designer (Interactive) | Dream11, MPL, Games24x7, PhonePe, ed-tech, Nazara | ₹4–8 L | US $70–110k · UK £28–45k |
| Junior Technical Artist ⭐ | DNEG Virtual Production, Sumo, Ubisoft, Lakshya, Annapurna | ₹5–9 L | US $56–141k · UK £25–32k · CA ~C$67k |
| Mobile Game Developer | Octro, Games2win, Moonfrog, Mech Mocha, Loco, Junglee Games | ₹3–6 L | US $60–100k |
| Real-time / Virtual Production Artist | DNEG VP, Annapurna+Qube ANR Stage, Sumo, Krafton studios | ₹4–7 L | US $60–110k |
⭐ Highest fresher band in the stream. Sources: Glassdoor India · AmbitionBox · PayScale India · Internshala · Glassdoor US/UK · Jobicy · ERI SalaryExpert.
| Role | Representative Indian employers | India CTC | Global aspirational (0–2 yrs) |
|---|---|---|---|
| Junior Compositor (Nuke) | DNEG, ReDefine, Prime Focus, Method, Makuta, Annapurna, FutureWorks, YRF Digital, Redchillies, NY VFXWAALA | ₹2–4 L | US $54–100k · UK £25–43k · CA C$73–105k |
| Roto / Paint / Cleanup Artist | DNEG, Rotomaker, Prana, Famous Studios, Yannix | ₹1.5–3 L | US $40–70k · CA C$45–60k |
| Match-Move / Tracking Artist | DNEG, ReDefine, FutureWorks, Prime Focus, Phantom FX | ₹2.5–4.5 L | US $50–80k |
| FX TD / Houdini Artist ⭐ | DNEG, Prime Focus, Method, ReDefine, Image Engine India | ₹4–8 L | US $70–130k · UK £30–60k |
| VFX Lighting / Rendering Artist | DNEG, ReDefine, 88 Pictures, Assemblage | ₹3–5 L | US $55–95k |
| Motion Graphics Designer | Ogilvy, Dentsu, Lowe Lintas, Hotstar/Sony/Netflix mktg, news channels, ed-tech, brand studios | ₹3–6 L | US $57–99k · CA C$50–70k · UAE AED167k |
| Junior Film / Video Editor | YRF, Dharma, Excel, Annapurna, Eros, Zee, news channels, OTT in-house, ad films | ₹2–4 L | US $53–90k · UK £25–38k · CA C$38–52k |
| Virtual Production Operator ⭐ | ANR Stage (Annapurna+Qube), YRF VP, Refinery, Centroid India | ₹4–7 L | US $60–110k |
| Camera Projection / Set Extension | DNEG, Prime Focus, ReDefine, NY VFXWAALA | ₹3–5 L | US $50–90k |
| Documentary / OTT Content Producer | Discovery+, Sony LIV, Netflix docs, Vice India, Quint Creative Lab | ₹3–5 L | US $45–75k |
| Assistant Director / Production | Dharma, Annapurna, Geetha Arts, Arka Mediaworks, indie producers | ₹2–4 L | US AD $40–70k |
⭐ Highest fresher bands in the stream. PayScale India: VFX Artist <1yr ₹3.05 L. Note: UK junior-comp medians are sample-skewed; £25–43k reflects employer-posted ranges at Framestore/MPC.
An honest visual of fresher earning power. India bars show the typical entry CTC range; the global comparison reframes them against aspirational hubs.
Global figures are gross job-board medians; they exclude visa overhead, cost of living, and the real difficulty of being hired abroad as a fresher (most studios require 2+ yrs or a local degree). Treat the global tier as a multi-year career goal.
Two separate categories. Vendor certifications signal software proficiency; credential pathways build structured skill. Neither replaces a great demo reel — they differentiate one.
The baseline for 3D animation, modelling, rigging and VFX-lighting roles across both tracks.
↗ autodesk.com/certificationArtist cert as a Trimester-3 gate for all; Associate Programmer for the A&G game-dev path.
↗ unity.com/certificationsShading & Effects / Rigging & Animation — the credential behind the highest fresher band.
↗ create.unity.com/technicalartistValidates Unreal Engine for game dev and virtual production — KLEF could become a UATC.
↗ unrealengine.com/educatorsEditing, motion graphics and texturing roles. Substance ACP for the A&G look-dev pipeline.
↗ learning.adobe.com/certificationThe compositor's essential credential; free student licences via the Education Collective.
↗ foundry.com/nuke/trainersFree, industry-recognised editing & colour certification — a quick win for the FV editor track.
↗ blackmagicdesign.com/trainingPowers the FX TD role (₹4–8 L). Free educational licences — pairs with a recommended new elective.
↗ sidefx.com/educationNCVET-recognised QPs: Animator, Compositor, Roto Artist, VFX Editor, Motion Graphics, Sound Designer.
↗ mescindia.orgFree foundational storytelling, animation & rendering modules — great for the common-core years.
↗ khanacademy.org/pixarStructured specialization to back the A&G programmer portfolio.
↗ coursera.org · MSUCompositing, game programming, animation pathways recognised by The Rookies.
↗ cgspectrum.comThe gold-standard pathway for the motion-graphics designer role in the FV track.
↗ schoolofmotion.comAdvanced FX simulation training for the FX TD pathway — pairs with SideFX certification.
↗ rebelway.netWhere students publish reels and get discovered — the recognised global student showcase.
↗ therookies.coIndia's premier film-school short courses to deepen the FV filmmaking craft.
↗ ftii.ac.inThe full KLEF structure with a global vendor/industry certification embedded into one course every trimester — for each stream. ◆ marks the embedded certification; coloured pills mark the live-industry and senior-expert activities.
Virtual Production is introduced at a basic level in Introduction to 3D, 3D Character Animation & Rigging and Simulations & Procedural Workflow, then delivered as a senior-expert 12–16 hr block inside an industry VP studio, taught by industry experts, within Virtual Production & Real-time Cinematics. Houdini is taught within Simulations & Procedural Workflow. Line & film production craft lives in Corporate Communications, and AI-ethics, deepfake/synthetic-media IP and gaming-compliance content is embedded in Media Laws.
The full chain for each role: the skills it needs, the embedded global certification that proves them, and the exact KLEF courses that build them.
Two team capstones that turn coursework into portfolio. AS-1 (term 1S, summer after Year 1) proves first-year learning; AS-2 (term 2S, summer after Year 2) continues and elevates it with all second-year skills.
A team of 4–6 students builds one project — a digital/game build (A&G) or a short film (Film & VFX) — that demonstrably integrates the Year-1 common-core courses: drawing, visual design, photography, 2D animation, Unity fundamentals, AI for visual design, intro to 3D, programming foundation, pre-vis, editing, and the first track-fork course.
👥 Teams of 4–6 · 0-0-4-0 · AuditA direct continuation of the AS-1 project, now re-built to professional standard by folding in all Year-2 track learning — Unreal/Nuke/Substance and advanced game programming for A&G; compositing, tracking, editing, camera and commercial production for Film & VFX. Higher complexity, higher fidelity, full pipeline.
👥 Same/expanded team · 0-0-4-0 · AuditEach rubric is scored out of 100 across weighted criteria, each tied to specific Program Outcomes (PO). A criterion is graded on four bands — Exemplary (90–100%), Proficient (75–89%), Developing (50–74%), Beginning (<50%) — applied to the weight shown. The descriptor in each row defines the Exemplary standard; lower bands scale down from it. A team must clear ≥50% overall and submit every mandatory deliverable to pass.
| Criterion | Weight | Exemplary standard (90–100%) |
|---|---|---|
| Concept, Story & Visual DesignPO2 · PO3 | 20% | Original, coherent concept with a strong visual language; design principles, anatomy and colour applied deliberately; clear narrative or gameplay premise. |
| Technical Execution — Engine & CodePO1 · PO4 | 20% | Stable Unity build or clean render; gameplay loop or animation runs without breaking; programming-foundation concepts evident in interactivity/logic. |
| 2D/3D Asset & Animation CraftPO1 · PO2 | 15% | Assets are on-model, well-composed and consistent; 2D animation respects timing/spacing; intro-3D assets are clean and usable. |
| AI-Assisted WorkflowPO1 · PO10 | 10% | AI tools used purposefully for ideation/asset support with clear human authorship and documented prompts; not a crutch. |
| Pre-visualization & PlanningPO3 · PO8 | 10% | GDD/bible is complete; storyboards and pre-vis map directly to the final build; scope is realistic and met. |
| Team Collaboration & PipelinePO8 | 10% | Clear role split, version control/shared pipeline used; contribution log shows balanced, accountable teamwork. |
| Communication & PresentationPO9 | 10% | Confident demo; design choices articulated; reel communicates the project clearly to a non-team audience. |
| Ethics, Originality & SustainabilityPO6 · PO7 | 5% | All assets original or properly licensed/credited; inclusive representation; responsible asset/file practices. |
| TOTAL | 100% | Vertical-slice quality, demonstrably built from Year-1 learning. |
| Criterion | Weight | Exemplary standard (90–100%) |
|---|---|---|
| Continuation & Elevation from AS-1PO10 | 10% | Clear, documented evolution of the AS-1 concept; every Year-2 skill visibly raises fidelity and scope beyond the original. |
| 3D Pipeline — Model · Texture · Rig · LightPO1 · PO5 | 20% | Production-grade assets; PBR texturing in Substance; clean rigs; deliberate lighting/look-dev that reads cinematically. |
| Real-Time / Engine Mastery (Unreal/Unity)PO4 · PO5 | 20% | Advanced engine use — materials, lighting, real-time effects; performant, shippable build with no critical bugs. |
| Advanced Programming & SystemsPO4 | 15% | Robust gameplay/tool systems, networking or procedural logic where relevant; clean, documented, reusable code. |
| Generative AI in ProductionPO1 · PO10 | 10% | AI/ML integrated into the pipeline (asset gen, agents, acceleration) with measurable benefit and clear authorship. |
| Team Pipeline & Production ManagementPO8 | 10% | Professional pipeline: source control, task tracking, reviews; roles mirror a real studio; milestones hit on schedule. |
| Showreel & Professional CommunicationPO9 | 10% | Portfolio-grade reel; individual contributions cleanly attributed and reel-ready for placement. |
| Ethics, Inclusivity & SustainabilityPO6 · PO7 | 5% | Fully cleared IP; inclusive content; efficient, sustainable production and data practices. |
| TOTAL | 100% | Placement-ready, studio-standard continuation of AS-1. |
| Criterion | Weight | Exemplary standard (90–100%) |
|---|---|---|
| Story, Script & Visual StorytellingPO3 | 20% | Compelling, well-structured story; screenplay and visual language work together; clear authorial voice. |
| Cinematography & Visual DesignPO2 | 18% | Deliberate framing, lighting and composition; photography fundamentals applied; consistent visual tone. |
| Editing & SoundPO1 · PO9 | 17% | Editing serves pacing and emotion; clean continuity; sound design and mix are intentional and balanced. |
| Pre-Production & PlanningPO3 · PO8 | 12% | Thorough script/board/shot-list; production folder shows professional planning; scope realistic and delivered. |
| AI-Assisted WorkflowPO1 · PO10 | 8% | AI used purposefully for scripting/pre-vis/post support with documented, ethical use and clear human authorship. |
| Team Collaboration & RolesPO8 | 10% | Clear crew roles (director, DP, editor, sound); contribution log shows balanced, accountable teamwork. |
| Communication & PresentationPO9 | 10% | Articulate director's statement; choices defended; screening engages the audience. |
| Ethics, Originality & RepresentationPO6 · PO7 | 5% | Original or cleared material; consent/release respected; responsible, inclusive representation. |
| TOTAL | 100% | Festival-submittable short, demonstrably built from Year-1 learning. |
| Criterion | Weight | Exemplary standard (90–100%) |
|---|---|---|
| Continuation & Elevation from AS-1PO10 | 10% | Clear, documented evolution of the AS-1 film; every Year-2 skill visibly raises production value beyond the original. |
| VFX & Compositing Craft (Nuke)PO5 | 22% | Seamless, photoreal composites; clean keys/roto; integrated CG; shot breakdowns show professional node graphs. |
| Tracking, Match-Move & Camera ProjectionPO5 | 15% | Rock-solid tracks; believable set extensions/projections; CG locks to plate with no slippage. |
| Direction, Cinematography & EditPO2 · PO3 | 18% | Elevated visual storytelling and edit; commercial-grade camera and blocking; cohesive directorial vision. |
| Generative AI in Post & ProductionPO1 · PO10 | 10% | AI integrated into VFX/edit/grade or content pipeline with measurable benefit and clear, ethical authorship. |
| Production Management & PipelinePO8 | 10% | Studio-style pipeline: shot tracking, reviews, versioning; crew roles mirror a real post house; milestones met. |
| Grade, Master & ShowreelPO9 | 10% | Professional colour grade and master; portfolio-grade reel with cleanly attributed individual shots. |
| Ethics, Inclusivity & SustainabilityPO6 · PO7 | 5% | Fully cleared IP and releases; inclusive content; efficient, sustainable production and media management. |
| TOTAL | 100% | Placement-ready, VFX-driven continuation of AS-1. |
Two industry-standard tools per course — the ones that fetch high-value placements — plus the contemporary technologies (incl. AI) each course's projects should employ. Open-source practice alternatives are flagged for self-study.
| Tri | Course | Tools (max 2) | Technologies & AI |
|---|---|---|---|
| 1 | Drawing & Visual Anatomy | ProcreateAdobe PhotoshopKrita | Gesture & figure constructionDigital paintingAI reference / pose generation |
| 1 | Principles of Visual Design | Adobe PhotoshopAdobe IllustratorInkscape / GIMP | Colour theory & compositionLayout systemsGenerative moodboarding |
| 1 | Digital Photography | Adobe LightroomAdobe Photoshopdarktable | RAW workflow & exposureLighting & compositionAI denoise / upscale |
| 1 | Digital 2D Animation | Toon Boom HarmonyAdobe AnimateOpenToonz / Krita | 12 principles of animationRigged cut-out animationAI in-betweening |
| 2 | Game Design Fundamentals (Unity) | UnityVisual StudioGodot | Game loops & mechanicsC# scriptingAI playtesting / NPC logic |
| 2 | AI for Visual Design | Adobe FireflyMidjourneyStable Diffusion (ComfyUI) | Diffusion image generationPrompt & ControlNet workflowsInpainting / outpainting |
| 2 | Introduction to 3D | Autodesk MayaBlender | Modelling & UVsBasic look-devText/image-to-3DVirtual production (intro) |
| 3 | Programming Foundation for Creative Arts | Visual Studio CodeGitHubPython (open) | Logic & data structuresVersion control (Git)AI pair-programming (Copilot) |
| 3 | Previsualization | Unreal Engine 5Blender (Grease Pencil) | Real-time pre-visCamera blocking & layoutAI storyboard generation |
| 3 | Audio & Video Editing | DaVinci ResolveAdobe Premiere ProShotcut / Audacity | Non-linear editingSound mixing & syncAI transcription / auto-cut |
| Tri | Course | Tools (max 2) | Technologies & AI |
|---|---|---|---|
| 3 | 3D Modeling & Sculpting | Autodesk MayaZBrushBlender | Hard-surface & organic modellingDigital sculpting & retopoAI 3D asset generation |
| 4 | Compositing Techniques (Nuke) | Foundry NukeNatron / Blender (compositor) | Node-based compositingKeying & multi-passAI roto / matte generation |
| 4 | Texturing & Shading (Substance) | Adobe Substance 3D PainterSubstance 3D DesignerQuixel Mixer / Blender | PBR texturingProcedural materialsAI material generation |
| 4 | Unreal Engine 5 Fundamentals | Unreal Engine 5Godot | Nanite & LumenBlueprintsReal-time renderingAI scene assembly |
| 4 | AI / Gen AI for Production | ComfyUI (Pro pipelines)RunwayStable Diffusion | Generative asset pipelinesDiffusion videoStyle transfer & LoRA training |
| 5 | UI & UX Design for Interactive Media | FigmaAdobe XDPenpot | Interaction designGame HUD/UMG systemsAI UX prototyping |
| 5 | Environment Design for Games | Unreal Engine 5Quixel MegascansBlender | Modular environment kitsPhotogrammetry assetsAI terrain / world-gen |
| 5 | 3D Character Animation & Rigging | Autodesk MayaUnreal (Control Rig)Blender | Rigging & skinningPerformance animationAI mocap (markerless)Virtual production (intro) |
| 5 | Advanced Game Programming | Unreal Engine 5 (C++)Visual StudioGodot | Gameplay architecturePerformance optimisationAI behaviour trees |
| 6 | Lighting, Look Dev & Rendering | Autodesk Maya + ArnoldUnreal Engine 5Blender (Cycles) | Cinematic lightingLook-dev & renderingAI denoising |
| 6 | Generative AI & ML Agents | Unity ML-AgentsPython + PyTorch | Reinforcement learning agentsProcedural AI behaviourGenerative content systems |
| 6 | Mobile Game Development | UnityVisual StudioGodot | Mobile optimisationIAP & monetisationAI analytics / LiveOps |
| 7 | Virtual Production & Real-time Cinematics | Unreal Engine 5Aximmetry / DisguiseBlender (sequencer) | ICVFX & LED volumeReal-time camera trackingAI scene relighting |
| 7 | 3D Live Integration | Foundry NukeAutodesk MayaBlender | CG-into-live-actionLighting/camera matchingAI depth & relight |
| 7 | Multiplayer Games & Networking | Unreal Engine 5Photon / MirrorGodot (high-level multiplayer) | Client-server replicationNetcode & latencyAI matchmaking |
| 7 | Simulations & Procedural Workflow | SideFX HoudiniUnreal (PCG/Niagara)Blender (geometry nodes) | Procedural generationFX simulation (Pyro/Flip/Vellum)AI-driven sim setups |
| Tri | Course | Tools (max 2) | Technologies & AI |
|---|---|---|---|
| 3 | Screen Writing & Visual Storytelling | Final DraftFade In / Trelby | Three-act & story structureVisual scriptingAI story development |
| 4 | Compositing Techniques (Nuke) | Foundry NukeNatron / Blender (compositor) | Node-based compositingGreen-screen keyingAI roto / cleanup |
| 4 | AI for Film Making & Content Creation | RunwayElevenLabsStable Diffusion / ComfyUI | Text/image-to-videoAI voice & dubbingGenerative b-roll |
| 4 | Media Laws | Adobe Content Credentials (C2PA)Creative Commons toolkit | IP, copyright & releasesDeepfake & synthetic-media IPContent provenance / watermarking |
| 4 | Television Production | Blackmagic ATEM (live switch)vMixOBS Studio | Multi-cam live productionStudio workflowAI auto-framing / captions |
| 5 | UI & UX Design for Interactive Media | FigmaAdobe XDPenpot | Interaction designInteractive media prototypingAI UX prototyping |
| 5 | Film Editing | DaVinci ResolveAdobe Premiere ProKdenlive | Advanced editing & pacingColour gradingAI scene-cut / smart reframe |
| 5 | Tracking & Match Moving | 3DEqualizerPFTrackBlender (camera track) | Camera tracking3D match-moveAI feature tracking |
| 5 | Commercial Video Production | Adobe Premiere ProDaVinci ResolveBlender (VSE) | Ad / branded contentClient-brief workflowAI b-roll & versioning |
| 6 | Camera Projections | Foundry NukeAutodesk MayaBlender | Projection mappingSet extension & matteAI depth estimation |
| 6 | Documentary Film Making | DaVinci ResolveBlackmagic camera ecosystemOBS / Audacity | Vérité & interview craftField productionAI transcription & translation |
| 6 | Motion Graphics & Generative AI | Adobe After EffectsCinema 4DBlender | Motion design & kinetic typeBroadcast packagingGenerative motion / video |
| 7 | Virtual Production & Real-time Cinematics | Unreal Engine 5Aximmetry / DisguiseBlender (sequencer) | ICVFX & LED volumeReal-time camera trackingAI scene relighting |
| 7 | Digital Media Design | Adobe Creative Cloud (Ps/Ai)FigmaGIMP / Inkscape | Cross-platform media designBrand & campaign systemsGenerative design assets |
| 7 | Digital Film Making | Blackmagic camera + ResolveUnreal Engine 5Blender | End-to-end digital pipelineVirtual + live integrationAI-assisted post |
| 7 | Lighting for Film & Digital Media | DaVinci ResolveUnreal Engine 5Blender | Cinematic & virtual lightingColour scienceAI relighting |
Each course built in full: objective, rationale, six COs mapped to Bloom's levels (2–5) and the ten POs with H/M/L correlation, a six-module syllabus, a project-based-learning class project, a parallel student project with rubric, ten lab experiments, references, MOOCs, the Annual Studio contribution and — where mapped — the embedded global certification. Click any course to open its full handbook.
The bedrock craft course of the program — training the eye and hand to observe, construct and communicate form, gesture and anatomy that underpins every downstream discipline from animation to VFX.
To develop the student's foundational ability to observe and represent the human and creature form through gesture, structure, proportion and surface anatomy, building the hand-eye discipline and visual literacy required for character design, animation, modelling and cinematic storytelling across the AVGC-XR pipeline.
Every artistic and technical role in animation, gaming and VFX rests on the ability to see and draw form convincingly. A character animator must understand weight and balance; a modeller must read anatomy as volume; a storyboard or pre-vis artist must communicate action in fast gesture. Industry recruiters consistently rank life-drawing and anatomy as the single strongest predictor of an artist's growth ceiling. This course therefore front-loads observational drawing and structural anatomy in Trimester 1 so that all later software-driven courses are built on genuine draughtsmanship rather than tool dependency.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the principles of line, gesture, proportion and the elements of observational drawing. |
| CO2 | L3 · Apply | Apply structural construction methods (boxes, cylinders, the Reilly/Loomis approach) to build the human figure from a mannequin base. |
| CO3 | L3 · Apply | Apply skeletal and muscular surface anatomy to render believable figures in varied poses. |
| CO4 | L4 · Analyze | Analyze gesture, weight, line-of-action and foreshortening in dynamic and animal/creature forms. |
| CO5 | L4 · Analyze | Analyze light, shadow and form rendering to convey three-dimensional volume on a 2D surface. |
| CO6 | L5 · Evaluate | Evaluate and curate a coherent figure-drawing portfolio, critiquing one's own and peers' work against industry standards. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | H | M | – | – | – | – | – | L | M |
| CO2 | H | H | M | – | – | – | – | – | L | M |
| CO3 | H | H | M | – | – | – | – | – | L | M |
| CO4 | H | H | H | – | – | – | – | – | M | M |
| CO5 | H | H | M | – | – | – | – | – | M | M |
| CO6 | M | H | M | – | – | – | M | L | H | H |
Across the trimester, the class collectively develops a complete character study sheet for an original human or humanoid character, taught step-by-step as each module's concepts are introduced. The instructor demonstrates each stage on a shared model/reference, and students follow on their own original character. The project deliberately accumulates: gesture studies feed construction, construction feeds anatomy, anatomy feeds the rendered turnaround.
The final artefact is a professional character design & anatomy sheet showing the same character in (a) a line-of-action gesture pose, (b) a constructed/wireframe breakdown, (c) a surface-anatomy study, (d) a dynamic foreshortened action pose, and (e) a fully rendered value study under single-source light — accompanied by a sketchbook of the supporting life-drawing studies.
Each student independently produces a second, original character sheet of a different character (e.g., if the class project was a human warrior, the student does an original creature or elderly figure), applying the identical pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Gesture & Line of Action (CO1, CO4) | 20% | Poses read instantly; confident, economical line; strong weight and rhythm. |
| Construction & Proportion (CO2) | 20% | Figure is structurally sound in 3D; proportions consistent across all panels. |
| Surface Anatomy Accuracy (CO3) | 20% | Landmarks and musculature correct and believable; head/hands/feet resolved. |
| Value & Form Rendering (CO5) | 20% | Convincing volume; coherent single-source light; full, controlled value range. |
| Presentation & Self-Critique (CO6) | 15% | Sheet is professionally composed and captioned; critique reflection is insightful. |
| Originality & Sketchbook Discipline (CO6) | 5% | Original design; rich, consistent supporting sketchbook evidence. |
| TOTAL | 100% | Portfolio-ready original character anatomy sheet. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Line & Mark-Making Drills | Use case: warm-up control exercises (straights, ellipses, ghosting). Deliverable: 2 filled drill sheets with 100+ controlled strokes. |
| 2 | Blind & Cross-Contour Studies | Use case: hand and drapery observed without looking at paper, then cross-contour. Deliverable: 6 contour studies. |
| 3 | Timed Gesture Marathon | Use case: 30s/1min/2min poses from reference/model. Deliverable: 40 gesture drawings on one sheet. |
| 4 | Mannequinization / Block-In | Use case: convert 5 photo poses into constructed mannequins. Deliverable: 5 construction breakdowns. |
| 5 | Proportion & Measuring Study | Use case: full standing figure using sight-size/comparative measurement. Deliverable: 1 measured figure with annotation. |
| 6 | Skeleton Landmark Overlay | Use case: trace bony landmarks over a figure photo, then redraw freehand. Deliverable: overlay + freehand pair. |
| 7 | Muscle Group Écorché Study | Use case: render torso/arm musculature from anatomical reference. Deliverable: 2 écorché studies. |
| 8 | Foreshortening Challenge | Use case: draw a limb/figure pointing at viewer using overlap. Deliverable: 3 foreshortened poses. |
| 9 | Sphere-to-Figure Value Study | Use case: value scale → sphere/cylinder → figure under one light. Deliverable: progression sheet ending in rendered torso. |
| 10 | Animal/Creature Comparative Study | Use case: study a quadruped skeleton, then design a believable creature. Deliverable: 1 animal study + 1 original creature. |
This course produces the character & concept art foundation for the team's AS-1 project. Students bring their constructed, anatomically-sound character designs and gesture/expression sheets directly into AS-1 as the basis for character modelling (A&G) or casting/character reference and storyboarding (Film & VFX). The portfolio-ready character sheet becomes the visual anchor of the AS-1 production bible.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Figure Drawing for All It's Worth | Andrew Loomis | Titan Books · 2011 (reprint) | The canonical construction-method text for the figure. |
| Anatomy for Sculptors: Understanding the Human Figure | Uldis Zarins, Sandis Kondrats | Anatomy Next · 2014 | Clear photo-to-form anatomy reference used widely in studios. |
| Force: Dynamic Life Drawing | Michael D. Mattesi | CRC Press (Routledge) · 2017 (3rd ed.) | The standard for gesture, rhythm and line of action. |
| Drawing on the Right Side of the Brain | Betty Edwards | TarcherPerigee · 2012 (4th ed.) | Trains observational seeing — ideal for Module 1. |
| Constructive Anatomy | George B. Bridgman | Dover Publications · 1973 (reprint) | Classic muscle/structure reference for surface anatomy. |
| Light for Visual Artists | Richard Yot | Laurence King · 2019 (2nd ed.) | Underpins Module 5 light, shadow and form rendering. |
| Course | Platform | Relevance |
|---|---|---|
| The Art & Science of Drawing (Brent Eviston) | Udemy | Structured beginner-to-intermediate observational drawing; mirrors Modules 1–2. |
| Drawing & Sketching: Beginner to Advanced | Pluralsight | Fundamentals of line, value and form for digital-content artists. |
| Introduction to Figure Drawing | Coursera | University-led figure construction and proportion (Module 2–3). |
| Sketching and Drawing (RMIT) | edX | Observation, mark-making and composition foundations. |
| Gesture Drawing & Anatomy Fundamentals | Domestika | Project-based gesture and anatomy — supports Modules 3–4. |
The grammar of visual communication — the elements and principles of design, colour theory, composition and layout that govern every frame, screen, asset and shot a graduate will ever produce.
To equip students with a working command of the elements and principles of visual design, colour theory and compositional systems, enabling them to create aesthetically compelling and functionally effective digital content, and to make deliberate, defensible design decisions across all subsequent animation, gaming and film disciplines.
Software produces nothing of value without design judgment. Whether composing a game UI, lighting a shot, framing a storyboard or laying out a title sequence, the same underlying principles — hierarchy, balance, contrast, colour harmony, gestalt — determine whether the work communicates. PO2 (Visual Design Principles) is a named program outcome, and this course is its primary vehicle. Placing it in Trimester 1 ensures every later course inherits a shared visual vocabulary and a habit of intentional composition rather than accidental arrangement.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the elements of design (line, shape, form, space, texture, value, colour) and their visual roles. |
| CO2 | L3 · Apply | Apply the principles of design (balance, contrast, emphasis, rhythm, unity, proportion) to organise visual fields. |
| CO3 | L3 · Apply | Apply colour theory — harmony, temperature, value and psychological effect — to a design problem. |
| CO4 | L4 · Analyze | Analyze compositional and gestalt systems (rule of thirds, golden ratio, leading lines, figure-ground) in existing media. |
| CO5 | L4 · Analyze | Analyze typography and layout for hierarchy, legibility and visual flow across formats. |
| CO6 | L5 · Evaluate | Evaluate and justify design decisions in a portfolio of original compositions through structured critique. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | H | L | – | – | – | – | – | M | L |
| CO2 | H | H | M | – | – | – | – | – | M | L |
| CO3 | H | H | M | – | – | – | – | – | M | M |
| CO4 | M | H | H | – | – | – | – | – | M | M |
| CO5 | M | H | M | – | – | – | – | – | H | M |
| CO6 | M | H | M | – | – | L | M | M | H | H |
The class designs, step by step, a complete visual identity for a fictional animation/game/film studio. As each module is taught, students add a layer: the logo (elements + principles), the colour system (colour theory), a poster composition (composition + gestalt), and the typographic/layout system (typography). The instructor demonstrates each stage with a worked example while students develop their own original studio brand.
The final artefact is a mini brand guidelines document plus a hero key-art poster, demonstrating deliberate application of every principle taught, with a written rationale for each major decision.
Each student independently brands a different fictional entity (e.g., a festival, a game title, or an OTT show) using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Elements & Principles Application (CO1, CO2) | 25% | Every composition shows deliberate balance, hierarchy and unity; no accidental arrangement. |
| Colour System (CO3) | 20% | Harmonious, purposeful palette with sound value structure and clear rationale. |
| Composition & Gestalt (CO4) | 20% | Poster directs the eye masterfully using a named system; strong figure-ground. |
| Typography & Layout (CO5) | 20% | Clear hierarchy, legible, well-paired type on a disciplined grid. |
| Rationale & Critique (CO6) | 15% | Decisions are articulated and defended; iteration shows responsiveness to critique. |
| TOTAL | 100% | A coherent, portfolio-ready visual identity system. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Elements Inventory | Use case: deconstruct 5 pieces of media into their design elements. Deliverable: annotated analysis board. |
| 2 | Balance Studies | Use case: create symmetrical, asymmetrical and radial compositions from the same shapes. Deliverable: 3 balance compositions. |
| 3 | Focal Point & Hierarchy | Use case: design 3 layouts driving the eye to different focal points. Deliverable: 3 hierarchy studies. |
| 4 | Colour Harmony Wheel | Use case: build complementary/analogous/triadic palettes and apply each to one motif. Deliverable: palette + 3 applications. |
| 5 | Colour Mood Boards | Use case: design 3 versions of one scene for different moods via colour only. Deliverable: 3 mood variants. |
| 6 | Master Composition Breakdown | Use case: overlay rule-of-thirds/golden ratio on 3 film frames or paintings. Deliverable: annotated overlays. |
| 7 | Gestalt in the Wild | Use case: find and recreate examples of each gestalt principle. Deliverable: 5-principle reference + redraws. |
| 8 | Type Pairing & Hierarchy | Use case: set the same headline 4 ways with different type/hierarchy. Deliverable: 4 type specimens. |
| 9 | Grid Layout Poster | Use case: lay out an event poster on a defined grid system. Deliverable: grid + finished poster. |
| 10 | Redesign Critique | Use case: critique and redesign a weak existing design. Deliverable: before/after + written rationale. |
This course delivers the visual design language and art direction for the AS-1 project — the colour script, key-art, title/branding and compositional rules the whole team works to. The brand-guidelines discipline translates directly into the AS-1 style guide, ensuring the team's game build or short film has a unified, intentional look rather than a patchwork of individual tastes.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Design Basics | David A. Lauer, Stephen Pentak | Cengage Learning · 2015 (9th ed.) | Comprehensive elements-and-principles foundation (Modules 1–2). |
| Interaction of Color | Josef Albers | Yale University Press · 2013 (50th anniv. ed.) | The definitive study of colour perception and relationships. |
| The Elements of Graphic Design | Alex W. White | Allworth Press · 2011 (2nd ed.) | Space, unity, hierarchy and layout for visual communicators. |
| Thinking with Type | Ellen Lupton | Princeton Architectural Press · 2010 (2nd ed.) | The standard accessible typography text (Module 5). |
| Picture This: How Pictures Work | Molly Bang | Chronicle Books · 2016 (25th anniv. ed.) | Composition and emotional structure of the frame (Module 4). |
| Color and Light: A Guide for the Realist Painter | James Gurney | Andrews McMeel · 2010 | Applied colour and light for visual-content artists (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| Graphic Design Specialization (CalArts) | Coursera | Fundamentals, typography and image-making across Modules 1–5. |
| Graphic Design Bootcamp: Elements & Principles | Udemy | Hands-on elements/principles and colour application. |
| Design Principles & Color Theory | Pluralsight | Studio-oriented composition and colour for digital artists. |
| Introduction to Typography (CalArts) | Coursera | Type anatomy, hierarchy and layout — Module 5. |
| Fundamentals of Graphic Design | edX | Broad visual-communication grounding aligned to the course. |
The science and art of capturing light — exposure, optics, composition and the digital image pipeline — and the imaging fundamentals that feed cinematography, lighting, texturing, matte painting and VFX plate work.
To build a thorough command of digital photography — camera mechanics, exposure, optics, lighting and composition — and of the digital image-editing pipeline in Adobe Photoshop, so that students can capture, process and manipulate high-quality images for use across photography, cinematography, texturing, matte painting and visual-effects workflows.
Photography is the common ancestor of cinematography, lighting, texturing and compositing. Understanding the exposure triangle, optics and light behaviour is essential whether a graduate ends up shooting a film, lighting a 3D scene, capturing texture references, or compositing live-action plates. Mastery of Photoshop — the universal image tool of the creative industries — is equally foundational, which is why this course carries the embedded Adobe Certified Professional credential. Placing both in Trimester 1 gives every student a portable, employable imaging skill set and an industry-recognised certificate from the very first term.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain camera mechanics, the exposure triangle (aperture, shutter, ISO) and digital sensor fundamentals. |
| CO2 | L3 · Apply | Apply optics, lens choice and depth-of-field control to achieve intended photographic results. |
| CO3 | L3 · Apply | Apply lighting setups (natural and studio) and composition rules to capture compelling images. |
| CO4 | L4 · Analyze | Analyze and process RAW images — colour, tone, correction — within a non-destructive workflow. |
| CO5 | L4 · Analyze | Analyze and execute advanced Photoshop compositing, retouching and photo-manipulation techniques. |
| CO6 | L5 · Evaluate | Evaluate a curated photographic portfolio and demonstrate certification-level Photoshop proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | L | – | – | – | L | M |
| CO2 | H | M | L | – | L | – | – | – | L | M |
| CO3 | H | H | M | – | – | – | – | – | M | M |
| CO4 | H | H | – | – | M | – | – | – | L | M |
| CO5 | H | H | M | – | H | – | L | – | M | M |
| CO6 | H | H | M | – | M | – | M | L | H | H |
Relevance. Photoshop is the universal image tool of the animation, gaming, film and VFX industries — used for texturing, matte painting, concept art, photo-manipulation, UI assets and plate clean-up. The Adobe Certified Professional credential is an internationally recognised, employer-verified proof of proficiency that strengthens every graduate's résumé and portfolio from Trimester 1 onward.
Instruction to students. Every student must achieve Adobe Certified Professional — Photoshop certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Course delivery in Modules 4–6 is structured to prepare students directly for the exam objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class shoots and post-produces a themed photographic series (e.g., "The City at Night," "Portraits of a Trade") while learning, step by step, to control exposure, optics and light, then process the RAW files and finally build one ambitious photo-composite / matte image in Photoshop. The instructor demonstrates each capture and edit; students shoot and edit their own frames on the same theme.
The capstone composite combines multiple original photographs into a single believable scene (e.g., a fantastical environment built from real plates), demonstrating selection, masking, colour-matching, retouching and AI-assisted compositing — the exact skill cluster the ACP exam validates.
Each student independently shoots and composites a different themed series and an original photo-composite using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Exposure & Optical Control (CO1, CO2) | 20% | Every frame correctly exposed; depth of field and lens choice serve intent. |
| Lighting & Composition (CO3) | 20% | Deliberate, flattering light; strong, varied composition across the series. |
| RAW Processing & Consistency (CO4) | 20% | Clean, consistent grade; correct colour and tone; non-destructive workflow. |
| Photoshop Compositing & Retouch (CO5) | 25% | Seamless, believable composite; flawless masking, colour-match and clean-up. |
| Portfolio & Presentation (CO6) | 15% | Cohesive, well-sequenced themed portfolio presented professionally. |
| TOTAL | 100% | A portfolio-ready photo series plus a believable composite. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Exposure Triangle Matrix | Use case: shoot one subject across aperture/shutter/ISO combinations. Deliverable: annotated comparison grid. |
| 2 | Depth-of-Field Study | Use case: same scene at f/1.8 → f/16. Deliverable: DoF series with focal analysis. |
| 3 | Focal Length & Perspective | Use case: portrait at 24/50/85/135mm. Deliverable: compression comparison set. |
| 4 | Three-Point Studio Lighting | Use case: light a portrait/object with key/fill/rim. Deliverable: lit shots + lighting diagram. |
| 5 | Golden-Hour Natural Light | Use case: shoot the same subject across times of day. Deliverable: 4-time-of-day series. |
| 6 | White Balance & Colour Temp | Use case: shoot under mixed light, correct WB in post. Deliverable: before/after corrected pairs. |
| 7 | RAW Grade & Tone | Use case: develop one RAW into 3 different graded looks. Deliverable: 3 graded variants + recipe. |
| 8 | Layer & Mask Composite | Use case: combine 3 photos into one scene with masks. Deliverable: layered PSD + flattened result. |
| 9 | Frequency-Separation Retouch | Use case: retouch a portrait non-destructively. Deliverable: before/after + layer breakdown. |
| 10 | AI Generative Composite | Use case: extend/fill a scene with Generative Fill, then hand-refine. Deliverable: composite + process notes. |
This course supplies the AS-1 team with reference and texture photography, plate captures and all Photoshop-based image production — concept-art clean-up, texture sourcing, matte elements, marketing key-art and title-card imagery. For the Film & VFX direction, the lighting and exposure skills directly inform AS-1 cinematography; for Animation & Gaming, the photographic texture library and Photoshop compositing feed asset creation and promotional art.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Understanding Exposure | Bryan Peterson | Amphoto Books · 2016 (4th ed.) | The definitive guide to the exposure triangle (Module 1). |
| The Digital Photography Book | Scott Kelby | Rocky Nook · 2020 (Part 1, updated) | Practical, shoot-ready technique across all modules. |
| Light Science & Magic | Hunter, Biver, Fuqua | Routledge · 2021 (5th ed.) | The standard reference on photographic lighting (Module 3). |
| Adobe Photoshop Classroom in a Book (2024 release) | Conrad Chavez, Andrew Faulkner | Adobe Press · 2023 | Official Photoshop curriculum — directly supports ACP prep (Modules 4–6). |
| The Adobe Photoshop Lightroom Classic Classroom in a Book | Rafael Concepcion | Adobe Press · 2022 | RAW processing and cataloguing workflow (Module 4). |
| Photographic Composition | Tom Grill, Mark Scanlon | Amphoto · (reprint) | Composition principles applied to the photographic frame (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| Photography Basics & Beyond Specialization (MSU) | Coursera | Full camera-to-post journey aligned to Modules 1–4. |
| Adobe Photoshop CC – Essentials to Advanced | Udemy | Comprehensive Photoshop training mapped to ACP objectives. |
| Photoshop CC Fundamentals / Compositing | Pluralsight | Studio-grade layer, mask and compositing workflow (Module 5). |
| Seeing Through Photographs (MoMA) | Coursera | Visual literacy and the critical reading of images. |
| Photography: Composition & Exposure | edX | Reinforces capture fundamentals (Modules 1–3). |
Where drawings learn to move — the twelve principles of animation applied digitally, building the timing, spacing and performance instincts that every animator, game artist and motion designer depends on.
To develop the student's ability to bring drawings to life through the twelve principles of animation in a digital 2D pipeline — mastering timing, spacing, weight and performance to create believable, appealing motion that forms the basis of all animation, game and motion-graphics work.
The twelve principles of animation are stream-agnostic truths: they govern a 3D character's performance, a game's feel, a motion-graphics title and a VFX simulation's secondary motion alike. 2D animation is the fastest, purest way to internalise these principles before tools add complexity. Storytelling & Narratives (PO3) and Digital Content Creation (PO1) are named program outcomes, and this course is an early, hands-on vehicle for both. It establishes the performance literacy that 3D Character Animation, Motion Graphics and even gameplay-feel work will later assume.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the history, pipeline and twelve principles of animation and the digital 2D toolset. |
| CO2 | L3 · Apply | Apply timing, spacing and the slow-in/slow-out principle to create believable basic motion. |
| CO3 | L3 · Apply | Apply squash & stretch, anticipation, follow-through and overlapping action to weighted motion. |
| CO4 | L4 · Analyze | Analyze and produce locomotion cycles (walk, run) and character performance. |
| CO5 | L4 · Analyze | Analyze acting, lip-sync and staging to convey emotion and narrative in a shot. |
| CO6 | L5 · Evaluate | Evaluate and produce a polished 2D animated short demonstrating all principles. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | – | – | – | – | – | L | M |
| CO2 | H | M | L | – | – | – | – | – | L | M |
| CO3 | H | M | M | – | – | – | – | – | L | M |
| CO4 | H | M | M | – | – | – | – | – | M | M |
| CO5 | H | M | H | – | – | – | – | – | H | M |
| CO6 | H | M | H | – | – | L | M | M | H | H |
The class builds, principle by principle, toward a 15–20 second 2D animated character short. Each module's exercise is a building block: the bouncing ball teaches timing, the flour sack teaches weight, the walk cycle teaches locomotion, and the final module assembles a short in which a simple character anticipates an action, performs it with weight, walks across frame, and delivers a short lip-synced line — demonstrating every principle in one continuous performance. The instructor animates a reference version while students animate their own character.
Each student independently animates a different character and performance beat (a different action, walk personality and line of dialogue) using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Timing, Spacing & Arcs (CO2) | 20% | Motion is perfectly timed with believable spacing and clean arcs throughout. |
| Weight & Core Principles (CO3) | 20% | Squash/stretch, anticipation and follow-through read clearly; volume preserved. |
| Locomotion / Walk Cycle (CO4) | 20% | Walk loops seamlessly with weight shift and genuine character personality. |
| Acting, Staging & Lip-Sync (CO5) | 20% | Performance is expressive and readable; lip-sync is accurate and on-time. |
| Polish, Clean-up & Presentation (CO6) | 20% | Clean line/colour, well-composited, showreel-ready short with strong appeal. |
| TOTAL | 100% | A polished, principle-complete 2D performance short. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Software & X-Sheet Setup | Use case: configure the digital 2D tool and animate a 2-frame test. Deliverable: setup + simple flip test. |
| 2 | Bouncing Ball | Use case: animate a ball bounce with correct timing/spacing. Deliverable: looping bounce + spacing chart. |
| 3 | Heavy vs Light Ball | Use case: animate a bowling ball and a beach ball. Deliverable: two weight-contrasted bounces. |
| 4 | Pendulum / Overlap | Use case: animate a swinging pendulum with drag and overlap. Deliverable: overlapping-action clip. |
| 5 | Squash & Stretch Study | Use case: deform a shape preserving volume. Deliverable: S&S exercise clip. |
| 6 | Flour-Sack Performance | Use case: make a flour sack jump/react with personality. Deliverable: short performance clip. |
| 7 | Walk Cycle | Use case: animate a standard looping walk. Deliverable: looping walk + key-pose sheet. |
| 8 | Personality Walk | Use case: restyle the walk for a character trait (sneaky, tired). Deliverable: character walk clip. |
| 9 | Lip-Sync to Audio | Use case: sync mouth shapes to a short line. Deliverable: lip-sync clip + phoneme chart. |
| 10 | Compositing & Export | Use case: clean up, colour, composite and export a clip. Deliverable: finished, exported shot. |
This course gives the AS-1 team its animation and motion craft. For the Animation & Gaming direction, the principles, cycles and performance work feed directly into animated sequences and the feel of the game build; for Film & VFX, the 2D animation skills support animatics, motion graphics, title animation and 2D FX elements within the short film. The animatic discipline taught in Module 6 underpins the AS-1 pre-production for both streams.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Animator's Survival Kit | Richard Williams | Faber & Faber · 2009 (expanded ed.) | The single most important text on animation principles and cycles. |
| The Illusion of Life: Disney Animation | Frank Thomas, Ollie Johnston | Disney Editions · 1995 | The origin of the twelve principles; essential foundation. |
| Timing for Animation | Harold Whitaker, John Halas, Tom Sito | Routledge (Focal Press) · 2021 (3rd ed.) | Definitive treatment of timing and spacing (Module 2). |
| Cartoon Animation | Preston Blair | Walter Foster · 2020 (reprint) | Classic practical guide to cycles, weight and expression. |
| Acting for Animators | Ed Hooks | Routledge · 2017 (4th ed.) | The standard on acting and performance for animators (Module 5). |
| Toon Boom Harmony / Animate User Guides | Toon Boom / Adobe | Toon Boom Animation / Adobe · current | Tool-specific digital 2D pipeline reference (Module 1). |
| Course | Platform | Relevance |
|---|---|---|
| The Complete 2D Animation Course (Toon Boom / Animate) | Udemy | End-to-end digital 2D pipeline and principles, mirroring all modules. |
| Animation Foundations / 2D Animation paths | Pluralsight | Principle-by-principle technique for digital-content artists. |
| The Art of Animation / Character Animation | Coursera | University-led principles and performance fundamentals. |
| 2D Animation Principles & Practice | edX | Structured grounding in timing, weight and cycles. |
| Animating with Toon Boom Harmony / Adobe Animate | Domestika | Project-based short-film production (Module 6). |
The storyteller's voice — professional communication, narrative craft and creative writing that lets a digital-media artist pitch, script, document and collaborate with clarity and imagination.
To strengthen the student's command of spoken and written English for professional and creative contexts — building the communication, storytelling and documentation skills needed to pitch ideas, write scripts and treatments, collaborate in teams and convey narratives and emotions effectively across digital media.
Technical and artistic skill is wasted if an artist cannot communicate. Effective Communication in Digital Media (PO9) and Storytelling & Narratives (PO3) are named program outcomes, and both depend on language fluency. Whether writing a game design document, a film treatment, a pitch deck, a director's statement or simply collaborating in a studio team, graduates need confident, clear, persuasive English and the narrative instinct to shape stories. Placing this in Trimester 2 ensures every later studio, project and internship benefits from articulate communicators and capable writers.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the principles of effective verbal and written communication and grammar in professional contexts. |
| CO2 | L3 · Apply | Apply professional writing formats — email, report, proposal, résumé — with clarity and correctness. |
| CO3 | L3 · Apply | Apply storytelling structures and creative-writing techniques to craft original narratives. |
| CO4 | L4 · Analyze | Analyze character, dialogue and scene to write screen-oriented creative pieces. |
| CO5 | L4 · Analyze | Analyze and deliver effective oral presentations and pitches with appropriate body language. |
| CO6 | L5 · Evaluate | Evaluate and refine a portfolio of professional and creative writing through critique. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | L | – | M | – | – | – | – | M | H | M |
| CO2 | L | – | M | – | – | – | L | M | H | M |
| CO3 | M | L | H | – | – | L | M | – | H | M |
| CO4 | M | L | H | – | – | M | M | – | H | M |
| CO5 | – | – | M | – | – | – | – | H | H | M |
| CO6 | L | – | H | – | – | M | M | M | H | H |
The class develops, step by step, an original story IP (for a game, animated series or film) and the professional package to sell it. As each module is taught, students add a layer: a logline and premise (storytelling), character profiles and a sample scene with dialogue (character & dialogue), a written treatment and one-page proposal (professional writing), and finally a live pitch with a deck (oral communication). The instructor models each artefact while students build their own original IP.
The capstone is a concise story bible plus a recorded/live pitch presentation, demonstrating both creative writing and professional communication in one integrated deliverable.
Each student independently develops a different original IP and its pitch package using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Language Correctness & Clarity (CO1) | 15% | Writing is grammatically flawless, clear and appropriately toned throughout. |
| Professional Writing (CO2) | 20% | Proposal, treatment and résumé meet professional formatting and persuasive standards. |
| Story & Structure (CO3) | 20% | Compelling, well-structured original premise with clear stakes and theme. |
| Character & Dialogue (CO4) | 20% | Distinct characters; natural, purposeful dialogue with subtext in the sample scene. |
| Pitch Delivery (CO5) | 15% | Confident, engaging pitch with strong voice, body language and deck. |
| Revision & Portfolio (CO6) | 10% | Evident editing/improvement; cohesive, well-presented writing portfolio. |
| TOTAL | 100% | A pitch-ready original IP package with strong writing and delivery. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Grammar & Editing Clinic | Use case: correct and rewrite a flawed passage. Deliverable: before/after corrected text. |
| 2 | Professional Email Set | Use case: write 3 studio emails (enquiry, follow-up, decline). Deliverable: 3 polished emails. |
| 3 | Project Brief / Proposal | Use case: draft a one-page proposal for a creative project. Deliverable: formatted proposal. |
| 4 | Logline & Premise Lab | Use case: write 10 loglines, refine the best to a premise. Deliverable: logline set + premise. |
| 5 | Story Structure Map | Use case: outline a story on a 3-act/hero's-journey map. Deliverable: structure map + synopsis. |
| 6 | Character Profile | Use case: build a full character with want/need/arc. Deliverable: 2 character profiles. |
| 7 | Dialogue & Subtext Scene | Use case: write a 1-page scene driven by subtext. Deliverable: formatted scene. |
| 8 | Treatment Writing | Use case: write a treatment for the IP. Deliverable: 1–2 page treatment. |
| 9 | Elevator Pitch & Deck | Use case: craft a 60s pitch + deck. Deliverable: recorded pitch + slides. |
| 10 | Présentation & Q&A | Use case: deliver a presentation and field questions. Deliverable: recorded talk + reflection. |
This course supplies the narrative spine and team communication for AS-1. Students bring their story premise, treatment, character writing and dialogue directly into the AS-1 game concept or short-film script, and the pitch/presentation skills power the team's AS-1 pitch and final screening. The professional-writing discipline shapes the AS-1 production documentation for both streams.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Technical Communication | Meenakshi Raman, Sangeeta Sharma | Oxford University Press · 2015 (3rd ed.) | Core professional/technical communication text (Modules 1–2). |
| Story: Substance, Structure, Style | Robert McKee | HarperCollins (Methuen) · 1997 | The standard reference on dramatic story structure (Module 3). |
| On Writing: A Memoir of the Craft | Stephen King | Scribner · 2000 | Accessible, practical guide to the writer's craft. |
| The Anatomy of Story | John Truby | Faber & Faber · 2007 | Character-driven story construction (Modules 3–4). |
| Save the Cat! | Blake Snyder | Michael Wiese Productions · 2005 | Beat-sheet structure widely used in screen pitching. |
| The Elements of Style | Strunk & White | Pearson · 2000 (4th ed.) | Concise authority on clear written English (Module 1). |
| Course | Platform | Relevance |
|---|---|---|
| Creative Writing Specialization (Wesleyan) | Coursera | Plot, character, dialogue and revision — Modules 3–4 & 6. |
| Writing in the Sciences / Business Writing | Coursera | Professional and report writing fundamentals (Module 2). |
| The Complete Storytelling Course for Speaking & Presenting | Udemy | Pitch and presentation craft (Module 5). |
| Communication & Presentation Skills | Pluralsight | Professional speaking and communication (Modules 1, 5). |
| English Grammar & Style | edX | Reinforces grammar and clear writing (Module 1). |
The first true interactive-build course — game design theory and hands-on development in Unity, producing playable prototypes and the Unity Certified User credential that anchors the gaming career track.
To introduce the principles of game design and the practice of game development in the Unity engine — covering mechanics, the game loop, C# scripting, scene and asset workflow, and basic publishing — so that students can design and build playable interactive prototypes and achieve an industry-recognised Unity certification.
Game Development (PO4) is a named program outcome, and Unity is the most widely adopted engine for entry-level game roles in India and globally. This course gives every student — whether they later specialise in Animation & Gaming or Film & VFX — a working foundation in interactivity, real-time logic and the engine that also powers virtual production and interactive media. The embedded Unity Certified User credential gives graduates a verifiable, employable skill from Trimester 2 and seeds the deeper Unity/Unreal courses of the A&G track.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain core game-design concepts — mechanics, dynamics, aesthetics, the game loop and player experience. |
| CO2 | L3 · Apply | Apply the Unity editor — scenes, GameObjects, components, the asset pipeline — to assemble a playable scene. |
| CO3 | L3 · Apply | Apply C# scripting to implement player control, interactions and basic game logic. |
| CO4 | L4 · Analyze | Analyze physics, collisions, UI and audio systems to build a complete gameplay loop. |
| CO5 | L4 · Analyze | Analyze, test and debug a prototype, iterating on player feedback and build/publish settings. |
| CO6 | L5 · Evaluate | Evaluate a finished playable prototype and demonstrate Unity certification-level proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | M | M | H | – | – | – | – | L | M |
| CO2 | H | M | – | H | M | – | – | – | – | M |
| CO3 | H | – | – | H | M | – | – | – | – | M |
| CO4 | H | L | – | H | M | – | – | L | – | M |
| CO5 | H | – | – | H | M | – | – | M | M | H |
| CO6 | H | M | L | H | M | – | L | M | M | H |
Relevance. Unity powers the majority of entry-level game-development jobs in India and a large share globally, and increasingly drives virtual production and interactive media. A Unity certification is an internationally recognised, employer-verified proof that a graduate can build and script in the engine — a strong differentiator for junior game-developer, technical-artist and interactive-media roles.
Instruction to students. Every student must achieve Unity certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 3–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class designs and builds, module by module, a complete playable game prototype in Unity (e.g., a 2D platformer or top-down arcade game). Each module adds a layer: the GDD and core loop (theory), the scene and assets (editor), player movement (C# scripting), physics/UI/audio and win-lose conditions (systems), then testing, build and polish. The instructor builds a reference game while students build their own original prototype.
The capstone is a downloadable/web-playable build with a complete gameplay loop — the exact competency cluster the Unity certification validates.
Each student independently designs and ships a different game prototype (a different genre/mechanic) using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Design & Core Loop (CO1) | 15% | Clear, engaging core loop and a complete, well-reasoned GDD. |
| Unity Editor & Scene Build (CO2) | 20% | Clean scene assembly, sensible hierarchy, well-organised prefabs and assets. |
| C# Scripting & Logic (CO3) | 25% | Robust, readable scripts; responsive control; correct interaction logic. |
| Systems — Physics/UI/Audio (CO4) | 20% | Complete, bug-free gameplay loop with working UI, physics and audio. |
| Testing, Build & Polish (CO5, CO6) | 20% | Playable, polished build with evidence of iteration on playtest feedback. |
| TOTAL | 100% | A complete, polished, playable Unity prototype. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Game Deconstruction | Use case: analyse a game via MDA. Deliverable: MDA breakdown + mini-GDD. |
| 2 | Unity Scene Setup | Use case: build a scene with primitives, lighting, camera. Deliverable: playable static scene. |
| 3 | Prefabs & Asset Import | Use case: import assets and create reusable prefabs. Deliverable: prefab library scene. |
| 4 | Player Movement Script | Use case: script keyboard/touch player control. Deliverable: controllable character + script. |
| 5 | Collision & Triggers | Use case: implement pickups and obstacles via triggers. Deliverable: interaction demo. |
| 6 | Physics Playground | Use case: rigidbody forces, gravity, bouncing. Deliverable: physics demo scene. |
| 7 | UI & Score System | Use case: build score/health UI and game states. Deliverable: UI + state demo. |
| 8 | Audio & Game Feel | Use case: add SFX/music and feedback juice. Deliverable: juiced interaction clip. |
| 9 | Debug & Iterate | Use case: fix seeded bugs using the console/debugger. Deliverable: fixed build + bug log. |
| 10 | Build & Publish | Use case: export to WebGL/PC and publish to itch.io. Deliverable: live playable link. |
This course gives the AS-1 team its interactive build capability. For the Animation & Gaming direction, the Unity scene-building, C# scripting and gameplay-loop skills are the literal engine of the AS-1 playable; for Film & VFX, Unity underpins interactive pre-vis, real-time layout and any interactive media elements. The GDD discipline structures the AS-1 game-concept documentation.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Art of Game Design: A Book of Lenses | Jesse Schell | CRC Press · 2019 (3rd ed.) | The definitive game-design theory text (Module 1). |
| Unity in Action | Joseph Hocking | Manning · 2022 (3rd ed.) | Hands-on Unity + C# development across Modules 2–5. |
| Learning C# by Developing Games with Unity | Harrison Ferrone | Packt Publishing · 2024 (7th ed.) | Beginner C# scripting within Unity (Module 3). |
| Game Programming Patterns | Robert Nystrom | Genever Benning · 2014 | Clean, reusable gameplay code structure (Modules 4–5). |
| Level Up! The Guide to Great Video Game Design | Scott Rogers | Wiley · 2014 (2nd ed.) | Practical design and the player loop (Module 1). |
| Unity User Manual & Learn (official) | Unity Technologies | Unity · current | Authoritative engine reference and certification prep (Module 6). |
| Course | Platform | Relevance |
|---|---|---|
| Game Design and Development with Unity 2020 (MSU) | Coursera | Full design-to-build specialization mirroring all modules. |
| Complete C# Unity Game Developer 2D / 3D (GameDev.tv) | Udemy | Project-based Unity + C# directly aligned to certification. |
| Unity Fundamentals / C# Scripting paths | Pluralsight | Editor, scripting and systems for the cert objectives. |
| Unity Learn — Junior Programmer / Essentials | Unity Learn | Official pathway mapped exactly to Unity certification (Module 6). |
| Introduction to Game Design | edX | Design theory and the player loop (Module 1). |
The new co-pilot of the creative — generative AI for ideation, image creation and design acceleration, taught as a controllable, ethical, human-led tool rather than a replacement for craft.
To equip students to use generative-AI tools effectively and responsibly within the visual-design process — mastering prompt engineering, diffusion-based image generation, controllable workflows and AI-assisted ideation — so they can accelerate and augment their creative output while retaining human authorship, judgment and ethical control.
Generative AI is reshaping creative work faster than any technology before it; the WEF Future of Jobs 2025 identifies AI fluency as a top-growth skill while flagging that purely manual design roles are declining. The program's response is to make every graduate an AI-augmented creator. This course teaches AI as a controllable production tool — diffusion models, prompt and ControlNet workflows, AI ideation — while embedding the ethics, IP awareness and human-authorship discipline that protect both the artist and their work. It directly serves PO1 (Digital Content Creation), PO10 (Lifelong Learning) and PO7 (Ethics).
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain how generative-AI models (diffusion, GANs, LLMs) work and their role in the design pipeline. |
| CO2 | L3 · Apply | Apply prompt-engineering techniques to generate targeted, high-quality images and concepts. |
| CO3 | L3 · Apply | Apply controllable workflows (ControlNet, img2img, inpainting) to direct AI output precisely. |
| CO4 | L4 · Analyze | Analyze and integrate AI-generated assets into a human-led design workflow with post-refinement. |
| CO5 | L4 · Analyze | Analyze the ethical, IP, bias and authorship implications of generative AI in design. |
| CO6 | L5 · Evaluate | Evaluate and present an AI-augmented design project, justifying tool choices and human authorship. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | – | – | L | – | – | H |
| CO2 | H | H | M | – | – | – | – | – | M | H |
| CO3 | H | H | – | – | M | – | – | – | – | H |
| CO4 | H | H | L | – | M | – | L | – | M | H |
| CO5 | M | L | – | – | – | H | H | – | M | H |
| CO6 | H | H | M | – | M | M | H | M | H | H |
The class produces, step by step, a complete art-directed concept pack for a fictional world/product (e.g., a game environment, a character lineup or a campaign) using AI as the engine but human judgment as the director. Each module adds a layer: a prompt library and first generations, controllable refinements via ControlNet/inpainting, human finishing in Photoshop, and an ethics/authorship statement. The instructor demonstrates the controllable pipeline while students build their own art-directed pack.
The capstone is a cohesive, art-directed concept pack plus a written workflow-and-ethics log documenting prompts, controls, human refinements and responsible-use disclosure.
Each student independently produces a different art-directed concept pack using the same AI-augmented pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Prompt Craft & Image Quality (CO2) | 20% | Precise, well-engineered prompts yielding high-quality, on-brief images. |
| Controllable Workflow (CO3) | 20% | Confident use of ControlNet/inpainting to direct output to a clear intent. |
| Human Integration & Art Direction (CO4) | 25% | AI output is refined, unified and elevated by genuine human craft and direction. |
| Ethics, IP & Authorship (CO5) | 20% | Thoughtful, accurate ethics/IP statement; responsible, disclosed AI use. |
| Presentation & Reflection (CO6) | 15% | Cohesive pack; decisions clearly justified; insightful reflection. |
| TOTAL | 100% | A cohesive, ethically-documented, art-directed AI concept pack. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Tool Landscape Survey | Use case: generate the same brief in 3 tools and compare. Deliverable: comparison board + notes. |
| 2 | Prompt Anatomy Lab | Use case: build one image up from a bare to a rich prompt. Deliverable: prompt-progression sheet. |
| 3 | Style & Modifier Study | Use case: render one subject in 6 distinct styles. Deliverable: style matrix. |
| 4 | Negative Prompt & Seed Control | Use case: use negatives/seeds for consistency. Deliverable: controlled variant set. |
| 5 | img2img Transformation | Use case: transform a sketch via img2img at varied strengths. Deliverable: sketch→render series. |
| 6 | Inpainting / Outpainting | Use case: edit and extend an image. Deliverable: before/after edits. |
| 7 | ControlNet Pose/Depth | Use case: drive composition with pose/depth control. Deliverable: controlled outputs + inputs. |
| 8 | AI-to-Photoshop Finishing | Use case: refine an AI image by hand to a target. Deliverable: raw vs finished pair. |
| 9 | Bias & Representation Audit | Use case: probe a model for bias and document it. Deliverable: audit report. |
| 10 | Provenance & Disclosure | Use case: apply content credentials and write a disclosure. Deliverable: tagged asset + statement. |
This course gives the AS-1 team an AI-accelerated ideation and concept pipeline. Students use prompt and controllable workflows to rapidly explore concept art, environments, textures and style options for the AS-1 game or film, then art-direct and finish the chosen direction by hand — with the ethics/provenance discipline ensuring all AS-1 AI use is responsible and properly disclosed.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Creativity Code: How AI is Learning to Write, Paint and Think | Marcus du Sautoy | 4th Estate / Belknap · 2019 | Accessible grounding in how creative AI works (Module 1). |
| Artificial Intelligence: A Guide for Thinking Humans | Melanie Mitchell | Pelican / FSG · 2019 | Clear conceptual model of AI capabilities and limits (Module 1). |
| The Age of AI: And Our Human Future | Kissinger, Schmidt, Huttenlocher | Little, Brown · 2021 | Ethics and societal context for responsible AI (Module 5). |
| Atlas of AI | Kate Crawford | Yale University Press · 2021 | Bias, data and ethics critique of AI systems (Module 5). |
| Generative AI Art & Design (practical guides) | Various (current editions) | Packt / O'Reilly · 2023–24 | Hands-on prompt and diffusion workflow reference (Modules 2–4). |
| The Adobe Firefly / Generative Workflows guides | Adobe | Adobe Press · current | Tool-specific generative-design workflow (Modules 2–4). |
| Course | Platform | Relevance |
|---|---|---|
| Generative AI for Everyone (DeepLearning.AI) | Coursera | Foundational understanding of generative AI (Module 1). |
| Midjourney / Stable Diffusion Mastery | Udemy | Practical prompt and image-generation craft (Modules 2–3). |
| Prompt Engineering & Generative AI paths | Pluralsight | Structured prompt and workflow technique (Modules 2–4). |
| AI Ethics / Responsible AI | edX | Bias, IP and responsible-use grounding (Module 5). |
| AI Art & ControlNet Workflows | Domestika | Project-based controllable generation (Modules 3–4). |
First contact with the third dimension — modelling, UVs, materials, lighting and rendering fundamentals that open the door to 3D animation, games, VFX and virtual production.
To introduce the fundamentals of 3D computer graphics — the 3D viewport and workflow, polygon modelling, UV mapping, materials, lighting and rendering — using an industry tool (Maya) alongside open-source Blender, so that students gain the spatial and technical foundation underpinning 3D animation, game art, VFX and virtual production, including a first, basic exposure to real-time/virtual-production concepts.
3D is the common substrate of modern animation, gaming and VFX. Before students specialise — into 3D modelling and sculpting, character animation, or VFX integration — they need a confident grasp of the 3D workflow: thinking in three dimensions, building clean geometry, unwrapping UVs, assigning materials, and lighting and rendering a scene. This course provides that universal foundation (PO1) and seeds the virtual-production thread of the program with a first, basic-level exposure that later courses (Rigging & Animation, Simulations & Procedural Workflow, and the senior VP studio block) build upon.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain 3D coordinate space, the viewport, the production pipeline and core 3D terminology. |
| CO2 | L3 · Apply | Apply polygon-modelling techniques to build clean, well-topologised 3D objects. |
| CO3 | L3 · Apply | Apply UV mapping and basic material/shader assignment to 3D models. |
| CO4 | L4 · Analyze | Analyze lighting setups and camera placement to compose and light a 3D scene. |
| CO5 | L4 · Analyze | Analyze rendering settings and real-time/virtual-production basics to output a finished image. |
| CO6 | L5 · Evaluate | Evaluate and present a complete modelled, textured, lit and rendered 3D scene. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | L | M | – | – | – | – | M |
| CO2 | H | H | – | M | M | – | – | – | – | M |
| CO3 | H | H | – | M | H | – | – | – | – | M |
| CO4 | H | H | L | L | H | – | – | – | M | M |
| CO5 | H | M | – | M | H | – | – | – | M | H |
| CO6 | H | H | L | M | H | – | L | M | H | H |
The class builds, step by step, a complete small 3D environment diorama (e.g., a stylised room, a market stall or a sci-fi corner). Each module contributes a layer: model the props and environment (modelling), unwrap and texture them (UVs & materials), light and frame the scene (lighting & cameras), then render a beauty shot and a turntable (rendering). The instructor builds a reference diorama while students build their own original scene.
The capstone is a fully realised, rendered 3D scene — modelled with clean topology, properly UV'd and textured, deliberately lit, and presented as a beauty render plus turntable — the foundational 3D portfolio piece.
Each student independently builds a different 3D diorama scene using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Modelling & Topology (CO2) | 25% | Clean, efficient geometry with good edge flow; accurate, appealing forms. |
| UVs & Materials (CO3) | 20% | Tidy UV layouts; convincing PBR materials with good texel density. |
| Lighting & Camera (CO4) | 20% | Deliberate, mood-appropriate lighting; strong, composed camera. |
| Rendering & Output (CO5) | 20% | Clean, noise-free render; correct settings; polished turntable. |
| Presentation & Critique (CO6) | 15% | Professionally presented scene; thoughtful response to critique. |
| TOTAL | 100% | A portfolio-ready, fully realised 3D scene. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Viewport & Transforms | Use case: navigate and arrange primitives in 3D space. Deliverable: arranged primitive scene. |
| 2 | Primitive Modelling | Use case: model a simple prop from a primitive. Deliverable: low-poly prop. |
| 3 | Topology & Edge Flow | Use case: retopologise/clean a messy mesh. Deliverable: before/after topology. |
| 4 | Hard-Surface Object | Use case: model a detailed hard-surface item. Deliverable: finished hard-surface model. |
| 5 | UV Unwrapping | Use case: unwrap a model with sensible seams. Deliverable: UV layout sheet. |
| 6 | Material & PBR Assign | Use case: assign PBR materials to the model. Deliverable: textured turntable. |
| 7 | Three-Point Lighting | Use case: light an object with key/fill/rim in 3D. Deliverable: lit render + diagram. |
| 8 | HDRI & Camera | Use case: light with HDRI and set a hero camera. Deliverable: composed render. |
| 9 | Render Settings Study | Use case: compare samples/denoise/output. Deliverable: render comparison sheet. |
| 10 | Real-Time / VP Peek | Use case: import the scene into a real-time engine. Deliverable: real-time viewport capture. |
This course gives the AS-1 team its core 3D asset and scene capability. For Animation & Gaming, the modelling, UV, texturing, lighting and rendering skills produce the 3D props, environments and beauty renders of the AS-1 build; for Film & VFX, the same skills create 3D set extensions, props and CG elements for the AS-1 short. The basic virtual-production exposure primes the team for real-time workflows in AS-2.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Introducing Autodesk Maya 2024 | Dariush Derakhshani | Sybex / Wiley · 2023 | Beginner-to-intermediate Maya across all modules. |
| The Animator's Survival Kit (3D context) | Richard Williams | Faber & Faber · 2009 | Spatial/timing grounding that informs 3D craft. |
| Digital Modeling | William Vaughan | New Riders · 2011 | The standard on modelling and topology (Module 2). |
| Blender 4.x: The Complete Guide | Various (current editions) | Packt / No Starch · 2024 | Open-source 3D workflow reference across modules. |
| Physically Based Rendering (concepts) | Pharr, Jakob, Humphreys | MIT Press · 2023 (4th ed., online free) | Conceptual grounding for materials and rendering (Modules 3, 5). |
| [digital] Lighting & Rendering | Jeremy Birn | New Riders · 2013 (3rd ed.) | The classic on 3D lighting and rendering (Modules 4–5). |
| Course | Platform | Relevance |
|---|---|---|
| Introduction to 3D Modeling / Maya paths | Pluralsight | Studio-grade modelling, UV and rendering fundamentals. |
| Complete Blender Creator / Maya for Beginners | Udemy | Project-based 3D pipeline mirroring all modules. |
| 3D Art & Animation / CG foundations | Coursera | University-led 3D fundamentals and pipeline. |
| Introduction to Virtual Reality / Real-time 3D | edX | Primer on real-time and VP concepts (Module 5). |
| 3D Modeling & Rendering projects | Domestika | Project-based scene creation (Module 6). |
Code as a creative instrument — computational thinking, Python and scripting fundamentals that let artists automate, generate and extend their tools across games, VFX and motion pipelines.
To build computational-thinking and programming foundations for creative practitioners — covering logic, data structures, Python scripting and version control — so that students can automate repetitive tasks, write simple tools and generative scripts, and confidently script inside creative software across the animation, gaming and VFX pipelines.
Modern creative pipelines run on code: technical artists script Maya and Houdini in Python, game developers write C#, and generative artists author node graphs and tools. Even non-programmer artists who can read and tweak code are dramatically more employable. The highest-paid entry roles in the program — technical artist and FX TD — are gated by scripting ability. This course gives every student computational literacy and a working Python foundation (PO1, PO4, PO10), seeding the Advanced Game Programming, Generative AI & ML Agents and Simulations & Procedural Workflow courses of the A&G track and tool-scripting for both streams.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain computational thinking, algorithms, and the role of programming in creative pipelines. |
| CO2 | L3 · Apply | Apply variables, data types, operators and control flow to solve basic programming problems in Python. |
| CO3 | L3 · Apply | Apply functions, loops and data structures (lists, dictionaries) to build reusable logic. |
| CO4 | L4 · Analyze | Analyze a creative task and decompose it into an automatable script or simple tool. |
| CO5 | L4 · Analyze | Analyze and apply version control (Git) and debugging practices to manage and fix code. |
| CO6 | L5 · Evaluate | Evaluate and present a working creative-coding tool or generative script with documentation. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | – | – | H | L | – | – | – | – | H |
| CO2 | H | – | – | H | L | – | – | – | – | M |
| CO3 | H | – | – | H | M | – | – | – | – | M |
| CO4 | H | L | – | H | M | – | – | L | – | H |
| CO5 | H | – | – | H | M | – | – | M | L | H |
| CO6 | H | L | – | H | M | – | L | M | M | H |
The class builds, step by step, a small but genuinely useful creative-coding tool in Python — for example, a batch image renamer/resizer, a generative pattern/art maker, a render-folder organiser, or a simple Blender automation script. Each module adds capability: logic and input (control flow), reusable functions (functions/loops), file automation (scripting), and version control plus a README (Git/docs). The instructor builds a reference tool while students build their own original tool.
The capstone is a working, documented Python tool in a Git repository that solves a real creative-workflow problem — the foundation of the technical-artist skill set.
Each student independently designs and builds a different creative-coding tool using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Logic & Control Flow (CO2) | 20% | Correct, efficient logic; sound use of conditionals and operators. |
| Functions & Data Structures (CO3) | 20% | Well-structured, reusable functions; appropriate data structures. |
| Automation / Creative Application (CO4) | 25% | Tool solves a real creative task elegantly; genuinely useful output. |
| Version Control & Code Quality (CO5) | 20% | Clean Git history; readable, commented, bug-free code. |
| Documentation & Presentation (CO6) | 15% | Clear README; tool presented and explained convincingly. |
| TOTAL | 100% | A working, documented creative-coding tool in version control. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Environment & First Script | Use case: set up Python/VS Code, run "hello creative world". Deliverable: working setup + first script. |
| 2 | Algorithm to Flowchart | Use case: express a creative task as pseudocode/flowchart. Deliverable: flowchart + pseudocode. |
| 3 | Variables & Calculator | Use case: build an aspect-ratio/frame calculator. Deliverable: calculator script. |
| 4 | Conditionals Quiz Tool | Use case: build a branching decision script. Deliverable: interactive conditional script. |
| 5 | Loops & Patterns | Use case: generate a text/ASCII pattern with loops. Deliverable: pattern generator. |
| 6 | Functions Refactor | Use case: refactor a script into reusable functions. Deliverable: before/after code. |
| 7 | Data Structures Manager | Use case: manage a list/dict of assets. Deliverable: asset-list manager. |
| 8 | File Batch Automation | Use case: batch-rename/resize files in a folder. Deliverable: batch script + demo. |
| 9 | Git Workflow | Use case: init repo, branch, commit, merge. Deliverable: repo with history. |
| 10 | Debug Challenge | Use case: fix a buggy script using the debugger. Deliverable: fixed script + bug log. |
This course gives the AS-1 team automation, version control and tool-building capability. Students use Git to manage the AS-1 project files collaboratively, and write small scripts to automate repetitive AS-1 production tasks (batch processing, asset organisation, simple generative elements). For both streams, the version-control discipline is what keeps a 4–6 person team's AS-1 pipeline organised and recoverable.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Python Crash Course | Eric Matthes | No Starch Press · 2023 (3rd ed.) | The standard beginner Python text across Modules 1–4. |
| Automate the Boring Stuff with Python | Al Sweigart | No Starch Press · 2019 (2nd ed.) | Directly supports the automation/scripting focus (Module 4). |
| The Nature of Code | Daniel Shiffman | No Starch Press · 2024 | Creative/generative coding inspiration (Modules 4, 6). |
| Pro Git | Scott Chacon, Ben Straub | Apress · 2014 (2nd ed., free online) | Authoritative version-control reference (Module 5). |
| Think Python | Allen B. Downey | O'Reilly · 2015 (2nd ed.) | Computational-thinking grounding (Modules 1–3). |
| Learning Python | Mark Lutz | O'Reilly · 2013 (5th ed.) | Comprehensive Python reference for deeper study. |
| Course | Platform | Relevance |
|---|---|---|
| Python for Everybody Specialization (Michigan) | Coursera | Complete beginner Python pathway mirroring Modules 1–5. |
| 100 Days of Code: Python Bootcamp | Udemy | Project-based Python with automation focus (Module 4). |
| Python Fundamentals / Git paths | Pluralsight | Structured Python and version-control skills (Modules 2–5). |
| CS50's Introduction to Programming with Python (Harvard) | edX | Rigorous foundations in programming (Modules 1–3). |
| Creative Coding | Kadenze | Generative/creative coding for artists (Modules 4, 6). |
Planning the shot before the spend — storyboarding, animatics and real-time pre-vis that let teams design camera, staging and timing in 3D before committing to production.
To develop the student's ability to plan and visualize sequences before production through storyboarding, animatics and real-time previsualization — translating a script or game concept into staged shots, camera moves and timing in a 3D environment, so that creative and technical decisions are made early, cheaply and collaboratively.
Previsualization is the bridge between idea and execution and a core competency for both streams: film and VFX teams pre-vis complex shots and VFX sequences, while game teams block out levels, cinematics and camera. Pre-vis saves enormous time and money by resolving staging, camera and timing before expensive production begins, and it is increasingly done in real-time engines — directly feeding the virtual-production thread of the program. This course serves PO3 (Storytelling & Narratives), PO2 (Visual Design) and PO8 (Collaborative Production), and underpins the Annual Studio pre-production for both tracks.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the role of previsualization, the pipeline from script to pre-vis, and shot/scene grammar. |
| CO2 | L3 · Apply | Apply storyboarding principles to translate a script or concept into clear visual panels. |
| CO3 | L3 · Apply | Apply editing and timing to assemble storyboards into an animatic with sound. |
| CO4 | L4 · Analyze | Analyze cinematography — shot size, angle, movement, lensing — to stage shots in a 3D pre-vis tool. |
| CO5 | L4 · Analyze | Analyze and build a real-time previsualization sequence with cameras, blocking and timing. |
| CO6 | L5 · Evaluate | Evaluate and present a complete pre-vis package for a sequence, justifying staging decisions. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | M | H | L | – | – | – | M | M | M |
| CO2 | H | H | H | – | – | – | – | M | H | M |
| CO3 | H | M | H | – | – | – | – | M | H | M |
| CO4 | H | H | H | L | M | – | – | M | M | M |
| CO5 | H | M | M | M | H | – | – | M | M | H |
| CO6 | H | H | H | L | M | – | L | H | H | H |
The class takes a short scripted sequence (a 30–60 second action, dialogue or cinematic beat) and previsualizes it end to end. Each module adds a layer: break down the script and shot-list it (foundations), storyboard the shots (storyboarding), cut an animatic with scratch audio (animatics), plan the camera and coverage (cinematography), then build it as a real-time 3D pre-vis with proxy assets and cameras (real-time previs). The instructor previsualizes a reference sequence while students previsualize their own.
The capstone is a complete pre-vis package — shot list, storyboard, animatic and a rendered real-time 3D pre-vis movie — for one sequence.
Each student independently previsualizes a different scripted sequence using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Storyboard Clarity & Staging (CO2) | 20% | Boards read instantly; staging, continuity and action are crystal clear. |
| Animatic Timing (CO3) | 20% | Animatic has excellent pacing and rhythm; audio supports the cut. |
| Cinematography & Camera (CO4) | 20% | Deliberate, expressive camera and coverage; lensing serves the story. |
| Real-Time 3D Previs (CO5) | 25% | Clean 3D blocking, well-set cameras, readable rendered pre-vis sequence. |
| Package & Presentation (CO6) | 15% | Complete, professional package; staging decisions clearly justified. |
| TOTAL | 100% | A complete, production-ready pre-vis package for a sequence. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Shot-Grammar Analysis | Use case: break down a film clip into shots/angles. Deliverable: annotated shot breakdown. |
| 2 | Script Breakdown & Shot List | Use case: turn a scene into a shot list. Deliverable: shot list. |
| 3 | Thumbnail Boarding | Use case: rough-board a scene as thumbnails. Deliverable: thumbnail board. |
| 4 | Clean Storyboard | Use case: produce a clean board with staging. Deliverable: finished board panels. |
| 5 | Animatic Assembly | Use case: cut boards into a timed animatic. Deliverable: animatic with scratch audio. |
| 6 | Camera Movement Study | Use case: recreate 4 camera moves in 3D. Deliverable: camera-move demos. |
| 7 | Proxy Blocking | Use case: block a scene with proxy assets in-engine. Deliverable: blocked 3D scene. |
| 8 | 3D Camera & Coverage | Use case: set multiple cameras for coverage. Deliverable: multi-cam pre-vis shots. |
| 9 | Sequencer Edit | Use case: assemble shots in the sequencer/timeline. Deliverable: edited pre-vis sequence. |
| 10 | Previs Render & Review | Use case: render the pre-vis and take notes. Deliverable: rendered movie + notes. |
This course produces the pre-production blueprint for AS-1. The team's storyboards, animatic and real-time pre-vis directly plan the AS-1 short film (Film & VFX) or the cinematics and level/camera blocking (Animation & Gaming), de-risking the production and aligning the whole team on staging, camera and timing before AS-1 production begins.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Visual Story | Bruce Block | Routledge (Focal Press) · 2020 (3rd ed.) | Visual structure, staging and shot grammar (Modules 1, 4). |
| Film Directing: Shot by Shot | Steven D. Katz | Michael Wiese Productions · 2019 (2nd ed.) | The standard on visualisation and camera staging (Module 4). |
| Prepare to Board! Creating Story & Characters | Nancy Beiman | CRC Press · 2017 (3rd ed.) | Storyboarding craft and staging (Module 2). |
| The Five C's of Cinematography | Joseph V. Mascelli | Silman-James Press · 1998 | Classic camera and continuity reference (Module 4). |
| Setting the Scene: The Art & Evolution of Animation Layout | Fraser MacLean | Chronicle Books · 2011 | Layout and staging for animated pre-vis (Modules 2, 5). |
| Unreal Engine Virtual Production / Sequencer guides | Epic Games | Epic · current | Real-time pre-vis pipeline reference (Module 5). |
| Course | Platform | Relevance |
|---|---|---|
| Storyboarding & Previsualization | Udemy | Board-to-animatic workflow (Modules 2–3). |
| Cinematography & Visual Storytelling | Coursera | Camera language and staging (Module 4). |
| Unreal Engine Cinematics / Sequencer paths | Pluralsight | Real-time pre-vis and camera in-engine (Module 5). |
| The Art of Storyboarding | Domestika | Project-based storyboard craft (Module 2). |
| Filmmaking & Visual Language | edX | Shot grammar and sequence design (Modules 1, 4). |
The edit is where story is finally told — non-linear editing, sound and colour in DaVinci Resolve, producing finished cuts and the Blackmagic-certified skills that anchor the editor career path.
To develop comprehensive non-linear editing skills across picture, sound and colour using DaVinci Resolve — from ingest and assembly to fine cut, sound mixing, basic colour grading and delivery — so that students can edit compelling sequences, shape pacing and emotion, and earn an industry-recognised editing certification.
Editing is a universal post-production skill: every short film, game trailer, showreel, motion piece and social cut passes through an edit. DaVinci Resolve is a free, professional, industry-standard tool that uniquely combines editing, sound and colour in one application, and its Blackmagic certification is free and globally recognised. This course gives every student employable editing skills and a certificate (PO1, PO9), directly serving the editor career path on the Film & VFX side and the showreel/trailer needs of both streams. The DaVinci certification anchors the Trimester-3 credential on the F&V certification ladder.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain non-linear editing concepts, the post pipeline, and the DaVinci Resolve interface and pages. |
| CO2 | L3 · Apply | Apply ingest, organisation and assembly editing to build a rough cut from footage. |
| CO3 | L3 · Apply | Apply editing techniques — trimming, transitions, pacing, continuity — to refine a fine cut. |
| CO4 | L4 · Analyze | Analyze and edit sound — dialogue, music, SFX, levels and mix — to support the picture. |
| CO5 | L4 · Analyze | Analyze and apply basic colour correction and grading, then deliver in correct formats. |
| CO6 | L5 · Evaluate | Evaluate a finished edited piece and demonstrate DaVinci Resolve certification-level proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | L | M | – | – | – | – | – | M | M |
| CO2 | H | L | M | – | – | – | – | L | M | M |
| CO3 | H | M | H | – | – | – | – | – | H | M |
| CO4 | H | L | H | – | – | – | – | – | H | M |
| CO5 | H | H | M | – | M | – | – | – | M | M |
| CO6 | H | M | H | – | M | – | L | M | H | H |
Relevance. DaVinci Resolve is a professional, industry-standard editing, sound and colour application used across film, OTT, advertising and broadcast — and it is free, making it ideal for student practice and portfolio work. The Blackmagic certification is free and globally recognised, giving graduates verifiable proof of editing and finishing competence that strengthens applications for editor, assistant-editor and post-production roles.
Instruction to students. Every student must achieve Blackmagic DaVinci Resolve certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 3–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
Working from a supplied footage package (or self-shot material), the class edits a complete short piece — a 60–120 second narrative scene, trailer or branded spot — end to end. Each module adds a stage: ingest and assemble (assembly), refine to a fine cut (editing craft), edit and mix the sound (Fairlight), correct and grade the colour (Color), then deliver. The instructor cuts a reference piece while students cut their own from the same or parallel footage.
The capstone is a finished, mixed, graded and delivered edited piece — the exact end-to-end competency the DaVinci certification validates.
Each student independently edits a different piece (different footage/brief) end to end using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Assembly & Organisation (CO2) | 15% | Clean project, well-organised media, coherent assembly cut. |
| Editing Craft & Pacing (CO3) | 25% | Seamless continuity; deliberate, emotionally effective pacing and cuts. |
| Sound Edit & Mix (CO4) | 20% | Clear dialogue, well-balanced music/SFX, professional mix. |
| Colour & Delivery (CO5) | 25% | Consistent, attractive grade; shots matched; correct delivery format. |
| Finish & Presentation (CO6) | 15% | Polished, complete piece presented to a professional standard. |
| TOTAL | 100% | A finished, mixed and graded delivered edit. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Project & Media Setup | Use case: set up a project and import/organise media. Deliverable: organised Resolve project. |
| 2 | Three-Point Edit | Use case: assemble a scene using in/out and three-point editing. Deliverable: assembly cut. |
| 3 | Trim & Continuity | Use case: refine cuts with ripple/roll/slip; cut on action. Deliverable: fine cut. |
| 4 | Transitions & Pacing | Use case: recut a montage for different pacing. Deliverable: two paced variants. |
| 5 | Dialogue Edit & Clean-Up | Use case: edit and clean a dialogue scene's audio. Deliverable: clean dialogue track. |
| 6 | Music & SFX Layering | Use case: add and balance music and SFX. Deliverable: mixed sound timeline. |
| 7 | Primary Colour Correction | Use case: balance and expose shots using scopes. Deliverable: corrected shots. |
| 8 | Grade & Look | Use case: design a look and apply with nodes. Deliverable: graded sequence + node tree. |
| 9 | Shot Matching | Use case: match mismatched shots in a scene. Deliverable: before/after matched shots. |
| 10 | Deliver & Export | Use case: export masters in multiple delivery formats. Deliverable: delivered files + settings notes. |
This course delivers the post-production and finishing capability for AS-1. Whatever the team produces — a short film (Film & VFX) or a game trailer/cinematic and showreel (Animation & Gaming) — it is edited, sound-mixed, colour-graded and delivered using the Resolve skills from this course. The editing craft shapes the final pacing and emotional impact of the AS-1 deliverable for both streams.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| In the Blink of an Eye | Walter Murch | Silman-James Press · 2001 (2nd ed.) | The classic on the philosophy and craft of editing (Module 3). |
| The Definitive Guide to DaVinci Resolve (Editing/Color/Audio) | Blackmagic Design (official) | Blackmagic Design · current | Official certification training across all modules. |
| The Technique of Film & Video Editing | Ken Dancyger | Routledge (Focal Press) · 2018 (6th ed.) | History, theory and technique of editing (Modules 1, 3). |
| Color Correction Handbook | Alexis Van Hurkman | Peachpit Press · 2013 (2nd ed.) | The standard on grading and correction (Module 5). |
| The Sound Effects Bible / Sound Design | Ric Viers / David Sonnenschein | Michael Wiese · 2008–2011 | Sound editing and design grounding (Module 4). |
| Grammar of the Edit | Roy Thompson, Christopher Bowen | Routledge (Focal Press) · 2009 (2nd ed.) | Practical editing grammar and continuity (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| DaVinci Resolve – Complete Editing/Color/Audio courses | Udemy | End-to-end Resolve training mapped to certification. |
| Video Editing & Post-Production paths | Pluralsight | Editing craft and finishing workflow (Modules 2–5). |
| The Art of Editing / Film & Video | Coursera | Editing theory and storytelling (Modules 1, 3). |
| Blackmagic Design DaVinci Resolve Training (official) | Blackmagic | Free official curriculum and certification prep (Module 6). |
| Sound Design & Audio Post | edX | Sound editing and mixing grounding (Module 4). |
Building the assets the industry runs on — production-grade modelling and digital sculpting in Maya and ZBrush, producing clean, animation-ready meshes and the Autodesk certification that anchors the 3D career path.
To build production-grade 3D modelling and digital sculpting skills using Autodesk Maya and ZBrush — covering hard-surface and organic modelling, high-to-low-poly workflows, retopology, UVs and bakes — so that students can create clean, optimised, animation- and game-ready assets and earn an industry-recognised Autodesk certification.
3D modelling is the foundational asset-creation skill for the Animation & Gaming track and one of the most directly hireable competencies in the program — 3D modeller, environment artist and character artist roles all begin here. Maya is the studio standard for modelling and ZBrush for sculpting; the Autodesk certification gives graduates verifiable proof of tool mastery. This course deepens the A&G stream beyond the common Introduction to 3D, serving PO1, PO2 and PO5, and feeds Environment Design, Character Animation & Rigging, Texturing & Shading and the AS-2 asset pipeline.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the modelling pipeline, mesh topology principles and hard-surface vs organic approaches. |
| CO2 | L3 · Apply | Apply polygon-modelling techniques in Maya to build accurate hard-surface assets with clean topology. |
| CO3 | L3 · Apply | Apply digital sculpting in ZBrush to create detailed organic forms and characters. |
| CO4 | L4 · Analyze | Analyze and execute retopology and UV unwrapping to produce optimised, game/animation-ready meshes. |
| CO5 | L4 · Analyze | Analyze high-to-low-poly baking workflows to transfer detail via normal/displacement maps. |
| CO6 | L5 · Evaluate | Evaluate and present a portfolio-ready 3D asset and demonstrate Autodesk certification-level proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | M | M | – | – | – | – | M |
| CO2 | H | H | – | M | H | – | – | – | – | M |
| CO3 | H | H | L | M | H | – | – | – | – | M |
| CO4 | H | M | – | H | H | – | – | – | – | M |
| CO5 | H | M | – | H | H | – | – | – | – | H |
| CO6 | H | H | L | M | H | – | L | M | H | H |
Relevance. Maya is the dominant studio tool for 3D modelling, animation and VFX across India and globally. The Autodesk Certified credential is an internationally recognised, employer-verified proof of Maya proficiency that strengthens applications for 3D modeller, environment artist and character artist roles — the core hireable outputs of the Animation & Gaming track.
Instruction to students. Every student must achieve Autodesk Maya certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class builds, step by step, a complete production-ready 3D asset (e.g., a stylised prop-plus-character, a creature, or a hero weapon with a sculpted organic component). Each module adds a stage: blockout and hard-surface model in Maya (modelling), sculpt organic detail in ZBrush (sculpting), retopologise and UV (retopo/UVs), then bake high-to-low maps (baking). The instructor builds a reference asset while students build their own original asset.
The capstone is a portfolio-grade, game/animation-ready asset — high-poly sculpt, optimised low-poly, clean UVs and baked maps — presented with turntable and wireframes.
Each student independently builds a different production asset using the same sculpt-to-game-ready pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Hard-Surface Modelling & Topology (CO2) | 20% | Accurate forms with flawless, efficient topology and edge flow. |
| Digital Sculpting (CO3) | 20% | Convincing organic forms with strong primary-to-tertiary detail. |
| Retopology & UVs (CO4) | 25% | Clean, optimised low-poly; tidy UVs with good texel density. |
| Baking Quality (CO5) | 20% | Error-free bakes; detail transfers cleanly to the low-poly. |
| Presentation & Portfolio (CO6) | 15% | Professional turntable, wireframes and breakdown; portfolio-ready. |
| TOTAL | 100% | A portfolio-grade, game/animation-ready asset. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Topology Study | Use case: fix bad topology on a sample mesh. Deliverable: before/after topology. |
| 2 | Blockout & Reference | Use case: blockout an asset to scale from reference. Deliverable: blockout mesh. |
| 3 | Hard-Surface Prop | Use case: model a detailed hard-surface prop in Maya. Deliverable: finished hard-surface model. |
| 4 | Supporting Edges & Subdiv | Use case: add support edges for clean subdivision. Deliverable: subdiv-ready model. |
| 5 | ZBrush DynaMesh Blockout | Use case: block an organic form with DynaMesh. Deliverable: sculpt blockout. |
| 6 | Detail Sculpting | Use case: add secondary/tertiary detail to a bust. Deliverable: detailed sculpt. |
| 7 | Retopology | Use case: retopologise a sculpt to clean low-poly. Deliverable: low-poly mesh. |
| 8 | UV Unwrap & Pack | Use case: unwrap and pack UVs with good texel density. Deliverable: UV layout. |
| 9 | Normal/AO Bake | Use case: bake high-to-low maps with a cage. Deliverable: baked map set. |
| 10 | Turntable Presentation | Use case: render a turntable with wireframe pass. Deliverable: presentation render. |
For the Animation & Gaming team, this course produces the hero 3D assets of the AS-1 build — characters, props and key environment pieces modelled, sculpted, retopologised, UV'd and baked to a game/animation-ready standard. The clean, optimised meshes from this course are what get textured, rigged and animated in the AS-1 production, setting the visual and technical quality bar for the team's deliverable.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Digital Modeling | William Vaughan | New Riders · 2011 | The standard on modelling and topology (Modules 1–2). |
| Introducing Autodesk Maya 2024 | Dariush Derakhshani | Sybex / Wiley · 2023 | Authoritative Maya modelling reference and cert prep. |
| ZBrush Characters & Creatures | 3dtotal Publishing | 3dtotal · 2015 | Digital sculpting workflow and detail (Module 3). |
| Anatomy for Sculptors | Uldis Zarins, Sandis Kondrats | Anatomy Next · 2014 | Anatomy reference for organic sculpting (Module 3). |
| The Game Artist's Guide to Maya / Game Asset Pipeline | Various (current editions) | Packt / 3dtotal · 2022–24 | Retopology, UV and baking for games (Modules 4–5). |
| Form: The Complete Guide to Game Art / Hard Surface | Various | 3dtotal · 2020 | Hard-surface technique and presentation (Modules 2, 6). |
| Course | Platform | Relevance |
|---|---|---|
| Maya Modeling / Game Asset Pipeline paths | Pluralsight | Studio-grade modelling, UV and baking mapped to cert. |
| Complete ZBrush / 3D Character Sculpting | Udemy | Project-based sculpting workflow (Module 3). |
| 3D Modeling Foundations | Coursera | Modelling and topology fundamentals (Modules 1–2). |
| Game Asset Creation / Hard Surface | Domestika | End-to-end asset projects (Modules 2–5). |
| Autodesk Maya Certified User prep | Autodesk / Udemy | Direct certification objective coverage (Module 6). |
The blueprint of every film — screenwriting craft and visual storytelling that turn an idea into a properly formatted, production-ready script and a coherent visual vision.
To develop the student's screenwriting and visual-storytelling abilities — from idea and structure to character, dialogue, scene craft and industry-standard formatting — so that they can write compelling, production-ready short scripts and translate written stories into a clear visual language for the screen.
Story is the foundation of all screen work; a film, documentary, ad or branded piece succeeds or fails on its writing. Storytelling & Narratives (PO3) is a named program outcome, and on the Film & VFX track screenwriting is the deep specialisation that the common-core English & Creative Writing course only introduces. This course gives F&V students the craft to originate and structure their own projects — feeding directly into Television Production, Documentary, Commercial Video and the AS short film — and underpins roles from writer and assistant director to content producer.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain story structure, the screenplay form and industry-standard formatting conventions. |
| CO2 | L3 · Apply | Apply premise, theme and three-act/sequence structure to outline an original story. |
| CO3 | L3 · Apply | Apply character development and dialogue craft to write believable, dramatic scenes. |
| CO4 | L4 · Analyze | Analyze visual storytelling — show vs tell, image systems, subtext — to write cinematically. |
| CO5 | L4 · Analyze | Analyze and write properly formatted short scripts and treatments in industry software. |
| CO6 | L5 · Evaluate | Evaluate and revise an original short screenplay through table reads and structured critique. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | L | H | – | – | – | – | – | M | M |
| CO2 | M | L | H | – | – | L | – | – | H | M |
| CO3 | M | L | H | – | – | M | M | – | H | M |
| CO4 | H | H | H | – | – | – | – | – | H | M |
| CO5 | H | M | H | – | – | – | L | – | H | M |
| CO6 | M | L | H | – | – | M | M | M | H | H |
The class develops, step by step, an original short screenplay (5–10 pages). Each module adds a layer: premise, theme and outline (structure), character profiles and a key scene with dialogue (character/dialogue), a visual pass that strengthens show-don't-tell (visual storytelling), correct formatting and a treatment (formatting/tools), then a table read and rewrite (revision). The instructor writes a reference short alongside students writing their own original scripts.
The capstone is a polished, properly formatted, table-read-and-revised short screenplay plus its treatment — production-ready for the AS-1 short film.
Each student independently writes a different original short screenplay using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Structure & Premise (CO2) | 20% | Strong premise and theme; tight, well-turned structure with clear stakes. |
| Character & Dialogue (CO3) | 25% | Distinct, dimensional characters; natural dialogue rich with subtext. |
| Visual Storytelling (CO4) | 20% | Cinematic, image-led writing; shows rather than tells; meaningful motifs. |
| Formatting & Treatment (CO5) | 20% | Flawless industry formatting; a compelling, clear treatment. |
| Revision & Critique (CO6) | 15% | Evident, intelligent rewriting in response to table-read notes. |
| TOTAL | 100% | A polished, production-ready original short screenplay. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Script Format Drill | Use case: format a raw scene to industry standard. Deliverable: formatted scene. |
| 2 | Logline Lab | Use case: write 10 loglines, refine the strongest. Deliverable: logline set + chosen premise. |
| 3 | Beat Sheet | Use case: beat out a story on a structure template. Deliverable: beat sheet. |
| 4 | Step Outline | Use case: expand the beats into a step outline. Deliverable: step outline. |
| 5 | Character Profile | Use case: build protagonist/antagonist with want/need. Deliverable: 2 profiles. |
| 6 | Dialogue & Subtext | Use case: write a scene driven by subtext. Deliverable: formatted scene. |
| 7 | Show-Don't-Tell Rewrite | Use case: rewrite an on-the-nose scene visually. Deliverable: before/after scene. |
| 8 | Image System Study | Use case: analyse a film's visual motifs, then apply to your script. Deliverable: motif map + scene. |
| 9 | Treatment Writing | Use case: write a treatment for the short. Deliverable: 1–2 page treatment. |
| 10 | Table Read & Notes | Use case: run a table read and capture notes. Deliverable: notes + revision plan. |
For the Film & VFX team, this course produces the screenplay and story foundation of the AS-1 short film. The original, table-read-and-revised short script — with its treatment, characters and visual design — becomes the production blueprint the AS-1 team shoots, edits and finishes. The visual-storytelling discipline ensures the AS-1 film is cinematic on the page before a frame is captured.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Story: Substance, Structure, Style | Robert McKee | HarperCollins (Methuen) · 1997 | The definitive screenwriting structure text (Modules 1–2). |
| Screenplay: The Foundations of Screenwriting | Syd Field | Delta · 2005 (rev. ed.) | The classic on screenplay structure and form (Modules 1–2). |
| The Anatomy of Story | John Truby | Faber & Faber · 2007 | Character-driven story construction (Modules 2–3). |
| Dialogue: The Art of Verbal Action | Robert McKee | Twelve · 2016 | Definitive dialogue craft (Module 3). |
| Writing for the Screen / The Visual Story | Bruce Block | Routledge (Focal Press) · 2020 | Visual storytelling and image systems (Module 4). |
| The Screenwriter's Bible | David Trottier | Silman-James Press · 2019 (7th ed.) | Formatting and the professional script (Module 5). |
| Course | Platform | Relevance |
|---|---|---|
| Script Writing: Write a Pilot / Screenwriting (Michigan State) | Coursera | Structured screenwriting craft across all modules. |
| The Complete Screenwriting Course | Udemy | Idea-to-formatted-script project workflow. |
| Storytelling & Narrative paths | Pluralsight | Story structure and visual narrative (Modules 2, 4). |
| The Art of Screenwriting | edX | Screenplay form and dramatic writing (Modules 1–3). |
| Writing for Film & the Short Screenplay | Domestika | Project-based short-script writing (Module 6). |
Where CG meets the frame — node-based compositing in Nuke to integrate 3D renders, mattes and effects into seamless final images for games cinematics and animated production.
To develop node-based compositing skills in Foundry Nuke for the Animation & Gaming pipeline — combining multi-pass 3D renders, mattes, effects and 2D elements into polished final frames and shots — so that students can finish cinematic and game-trailer imagery to a professional standard.
Compositing is the final, decisive stage of CG image-making and a core competency across both streams. For the Animation & Gaming track it is how rendered passes become finished cinematics, trailers and beauty shots, and how real-time and offline renders are polished and integrated. Advanced VFX & CGI Integration (PO5) is a named program outcome, and Nuke is the studio-standard node compositor. This course gives A&G students the finishing skills that elevate raw renders into portfolio-grade output and feeds Lighting/Look-Dev, 3D Live Integration and the AS deliverables.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain compositing theory — the node graph, channels, premultiplication and the comp pipeline. |
| CO2 | L3 · Apply | Apply core Nuke nodes — merge, grade, transform, roto — to combine and adjust image elements. |
| CO3 | L3 · Apply | Apply multi-pass CG compositing using render layers/AOVs to rebuild and art-direct a render. |
| CO4 | L4 · Analyze | Analyze keying, rotoscoping and matte extraction to isolate and integrate elements. |
| CO5 | L4 · Analyze | Analyze colour-matching, grading and 2D effects to integrate elements seamlessly. |
| CO6 | L5 · Evaluate | Evaluate and present a finished composited shot with a clean, readable node graph and breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | H | – | – | – | – | M |
| CO2 | H | M | – | – | H | – | – | – | – | M |
| CO3 | H | M | – | – | H | – | – | – | – | M |
| CO4 | H | M | – | – | H | – | – | – | – | M |
| CO5 | H | H | – | – | H | – | – | – | M | M |
| CO6 | H | H | L | – | H | – | L | M | H | H |
The class composites a complete CG shot from a supplied (or self-rendered) multi-pass render plus green-screen and 2D elements. Each module adds a stage: set up the comp and core nodes (theory/nodes), rebuild the beauty from AOVs (multi-pass), key and roto added elements (keying/roto), then integrate and grade with 2D FX (integration). The instructor composites a reference shot while students composite their own.
The capstone is a finished, integrated composited shot with a clean node graph and a before/after breakdown — a portfolio comp piece.
Each student independently composites a different CG shot using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Node Graph & Technique (CO2) | 20% | Clean, efficient, well-labelled script; confident core-node use. |
| Multi-Pass Compositing (CO3) | 25% | Beauty rebuilt accurately; passes used to art-direct convincingly. |
| Keying & Mattes (CO4) | 20% | Clean keys/roto; flawless edges; no spill or matte artefacts. |
| Integration & Grade (CO5) | 20% | Elements sit perfectly in the scene; seamless, believable integration. |
| Finish & Breakdown (CO6) | 15% | Polished final; clear, professional breakdown presentation. |
| TOTAL | 100% | A seamless, portfolio-grade composited shot. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Node Graph Basics | Use case: read/merge/write a simple comp. Deliverable: basic comp script. |
| 2 | Grade & Colour Match | Use case: match one element to a plate's colour. Deliverable: matched element. |
| 3 | Transform & Reformat | Use case: place and animate a 2D element. Deliverable: animated insert. |
| 4 | AOV Beauty Rebuild | Use case: reconstruct a beauty from passes. Deliverable: rebuilt render. |
| 5 | Cryptomatte Adjust | Use case: isolate and grade objects via cryptomatte. Deliverable: art-directed render. |
| 6 | Green-Screen Key | Use case: key and despill a green-screen plate. Deliverable: clean key. |
| 7 | Rotoscoping | Use case: roto a moving subject. Deliverable: roto matte. |
| 8 | Light Wrap & Integration | Use case: integrate an element with light wrap/grain. Deliverable: integrated element. |
| 9 | 2D FX & Atmospherics | Use case: add glow, atmosphere, lens FX. Deliverable: FX comp. |
| 10 | Shot Finish & Render | Use case: finish and render a full shot. Deliverable: delivered shot + breakdown. |
For the Animation & Gaming team, this course delivers the shot-finishing and CG-integration capability for AS-2. Rendered cinematics, trailers and key beauty shots from the AS-2 build are composited, integrated and polished in Nuke here, raising the AS-2 deliverable from raw renders to finished, art-directed final frames.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Art and Science of Digital Compositing | Ron Brinkmann | Morgan Kaufmann · 2008 (2nd ed.) | The foundational compositing theory text (Module 1). |
| Nuke 101: Professional Compositing & VFX | Ron Ganbar | Peachpit Press · 2014 (2nd ed.) | Hands-on Nuke across Modules 2–6. |
| Digital Compositing for Film and Video | Steve Wright | Routledge (Focal Press) · 2017 (4th ed.) | Keying, integration and technique (Modules 4–5). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | Industry-wide VFX/comp reference. |
| Compositing Visual Effects | Steve Wright | Routledge (Focal Press) · 2013 (2nd ed.) | Essentials of integration and finishing (Modules 5–6). |
| Foundry Nuke User Guide (official) | Foundry | Foundry · current | Authoritative node and workflow reference. |
| Course | Platform | Relevance |
|---|---|---|
| Nuke Compositing — Complete / Fundamentals | Udemy | End-to-end Nuke compositing mirroring all modules. |
| Compositing & VFX paths | Pluralsight | Studio-grade comp technique (Modules 2–5). |
| Visual Effects & Compositing | Coursera | VFX and compositing fundamentals. |
| Nuke Compositing (Hugo's Desk / ActionVFX free intro) | Foundry-endorsed | Foundry-aligned Nuke training (Modules 1–4). |
| fxphd Nuke series | fxphd | Professional-level compositing deep dives. |
Giving surfaces life — PBR texturing and material authoring in Adobe Substance, turning bare geometry into believable, art-directed assets and earning the Substance certification.
To build professional texturing and shading skills using Adobe Substance 3D Painter and Designer — covering PBR theory, smart materials, procedural texturing, hand-painting and material authoring — so that students can create believable, art-directed surfaces for game and animation assets and earn an industry-recognised Substance certification.
Texturing is what makes a model read as wood, metal, skin or stone — the difference between a grey asset and a hireable one. Substance is the industry-standard texturing toolset across games, animation and VFX, and the Adobe certification verifies that competence. This course follows directly from 3D Modeling & Sculpting in the A&G pipeline, serving PO1, PO2 and PO5, and produces the textured assets that feed Lighting/Look-Dev, Environment Design and the AS-2 production. It is the embedded Trimester-4 credential on the A&G certification ladder.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain PBR theory, texture maps (albedo, roughness, metalness, normal) and the texturing pipeline. |
| CO2 | L3 · Apply | Apply Substance 3D Painter to texture an asset using layers, masks and smart materials. |
| CO3 | L3 · Apply | Apply hand-painting, procedural and generator techniques to add detail, wear and storytelling. |
| CO4 | L4 · Analyze | Analyze and author procedural materials in Substance 3D Designer using nodes. |
| CO5 | L4 · Analyze | Analyze look-dev and export workflows for different engines/renderers (Unreal, Arnold). |
| CO6 | L5 · Evaluate | Evaluate and present a textured, look-dev'd asset and demonstrate Substance certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | H | – | – | – | – | M |
| CO2 | H | H | – | M | H | – | – | – | – | M |
| CO3 | H | H | M | – | H | – | – | – | – | M |
| CO4 | H | M | – | M | H | – | – | – | – | H |
| CO5 | H | M | – | M | H | – | – | – | M | H |
| CO6 | H | H | L | M | H | – | L | M | H | H |
Relevance. Substance 3D is the industry-standard texturing toolset across games, animation and VFX. The Adobe Certified Professional credential verifies that a graduate can author professional PBR textures and materials — a directly hireable skill for texture artist, material artist and look-dev roles, and a strong differentiator on the Animation & Gaming track.
Instruction to students. Every student must achieve Adobe Substance certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class textures a complete asset (ideally one carried over from the 3D Modeling course) end to end. Each module adds a stage: set up PBR and bakes (theory), texture with layers and smart materials (Painter), hand-paint wear and story (detail), author one custom procedural material (Designer), then export and look-dev for an engine (look-dev). The instructor textures a reference asset while students texture their own.
The capstone is a fully textured, look-dev'd asset presented with a turntable, texture breakdown and a custom Substance material — a portfolio surfacing piece.
Each student independently textures a different asset using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| PBR Correctness (CO1, CO2) | 20% | Physically plausible materials; correct map set; reads true under any light. |
| Texturing Craft & Detail (CO3) | 25% | Rich, believable surface story; deliberate wear; high-quality detail. |
| Procedural Material (CO4) | 20% | Clean, flexible, well-parameterised custom Designer material. |
| Look-Dev & Export (CO5) | 20% | Correct engine export; asset looks great under varied lighting. |
| Presentation & Portfolio (CO6) | 15% | Professional turntable and breakdown; portfolio-ready. |
| TOTAL | 100% | A portfolio-grade, fully surfaced asset. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | PBR Map Study | Use case: identify and compare PBR maps on samples. Deliverable: annotated map study. |
| 2 | Project Setup & Bake Import | Use case: set up a Painter project with baked maps. Deliverable: ready project. |
| 3 | Smart Material Texturing | Use case: texture an asset using smart materials. Deliverable: textured asset. |
| 4 | Mask & Generator Study | Use case: drive wear with map-based generators. Deliverable: wear pass. |
| 5 | Hand-Paint Detail | Use case: hand-paint custom detail/decals. Deliverable: hand-painted pass. |
| 6 | Stylised Texture | Use case: texture an asset in a stylised look. Deliverable: stylised asset. |
| 7 | Designer Tileable | Use case: build a tileable material from noises. Deliverable: tileable material. |
| 8 | Parameterised Substance | Use case: expose parameters and publish .sbsar. Deliverable: published material. |
| 9 | Engine Export & Look-Dev | Use case: export to Unreal and review under HDRI. Deliverable: in-engine render. |
| 10 | Turntable Presentation | Use case: render a texture-breakdown turntable. Deliverable: presentation render. |
For the Animation & Gaming team, this course produces the surfacing layer of the AS-2 build — every hero asset, prop and environment piece is PBR-textured and look-dev'd here, taking the AS-2 assets from grey models to believable, art-directed surfaces ready for lighting and rendering.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The PBR Guide (Vol. 1 & 2) | Wes McDermott (Adobe/Allegorithmic) | Adobe · current | The definitive free PBR theory reference (Module 1). |
| The Comprehensive PBR Guide by Allegorithmic | Allegorithmic / Adobe | Adobe · 2018 | PBR and Substance workflow grounding (Modules 1–2). |
| Substance 3D Painter / Designer Documentation | Adobe | Adobe · current | Official tool reference and cert prep (all modules). |
| Digital Texturing & Painting | Owen Demers | New Riders · 2001 | Foundational texturing principles (Modules 1, 3). |
| [digital] Texturing & Painting / Game Texturing | Various (current editions) | 3dtotal / Packt · 2022–24 | Game/film texturing technique (Modules 2–3). |
| Physically Based Rendering (concepts) | Pharr, Jakob, Humphreys | MIT Press · 2023 (4th ed., free online) | Deep grounding in material/light interaction (Module 1). |
| Course | Platform | Relevance |
|---|---|---|
| Substance Painter / Designer — Complete courses | Udemy | End-to-end texturing mapped to certification. |
| Texturing & Look Dev paths | Pluralsight | Studio-grade Substance and look-dev (Modules 2–5). |
| 3D Texturing for Games / Film | Coursera | PBR texturing fundamentals (Modules 1–3). |
| Adobe Substance 3D — official learn | Adobe | Official curriculum and certification prep (Module 6). |
| Material Authoring in Substance Designer | Domestika | Procedural material projects (Module 4). |
The real-time powerhouse — building interactive worlds and cinematics in Unreal Engine 5 with Nanite, Lumen and Blueprints, the engine that unifies games, animation and virtual production.
To develop working proficiency in Unreal Engine 5 — covering the editor, asset import, materials, Nanite and Lumen, Blueprint visual scripting, lighting and Sequencer — so that students can assemble interactive real-time environments and cinematics that underpin modern game development, animation and virtual production.
Unreal Engine 5 is the convergence point of the entire AVGC-XR field: it powers AAA and indie games, real-time animation, and the LED-volume virtual production reshaping film. Game Development (PO4) and Advanced VFX & CGI Integration (PO5) are named program outcomes, and UE5 fluency is among the most in-demand and highest-leverage skills a graduate can hold. Building on Unity (T2) and Introduction to 3D (T2), this course gives A&G students real-time mastery that feeds Environment Design, Virtual Production, Multiplayer Games and the AS-2 build.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the UE5 editor, project structure, and the real-time rendering pipeline (Nanite, Lumen). |
| CO2 | L3 · Apply | Apply asset import, the content browser and the material editor to dress a real-time scene. |
| CO3 | L3 · Apply | Apply Blueprint visual scripting to create interactivity and basic gameplay logic. |
| CO4 | L4 · Analyze | Analyze lighting, post-process and Lumen GI to art-direct the look of a real-time environment. |
| CO5 | L4 · Analyze | Analyze and build a real-time cinematic sequence using cameras and Sequencer. |
| CO6 | L5 · Evaluate | Evaluate and present a complete interactive scene or cinematic built and rendered in UE5. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | H | H | – | – | – | – | M |
| CO2 | H | H | – | H | H | – | – | – | – | M |
| CO3 | H | – | – | H | M | – | – | – | – | M |
| CO4 | H | H | L | M | H | – | – | – | M | M |
| CO5 | H | H | M | M | H | – | – | M | M | M |
| CO6 | H | H | M | H | H | – | L | M | H | H |
The class builds, step by step, a complete real-time environment in UE5 with one interactive element and a short rendered cinematic fly-through. Each module adds a stage: set up the project (pipeline), dress the environment with assets and materials (assets), add a Blueprint interaction (scripting), light it with Lumen and post (lighting), then shoot a Sequencer cinematic (cinematics). The instructor builds a reference world while students build their own.
The capstone is a playable/interactive real-time scene plus a rendered cinematic — a dual portfolio piece showing both interactivity and cinematic look.
Each student independently builds a different real-time environment + cinematic using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Scene Assembly & Materials (CO2) | 20% | Rich, well-composed environment; clean material use and organisation. |
| Blueprint Interactivity (CO3) | 20% | Robust, working interaction logic; clean, readable Blueprint graph. |
| Lighting & Look (CO4) | 25% | Beautiful, mood-appropriate Lumen lighting and post-process grade. |
| Cinematic & Sequencer (CO5) | 20% | Well-shot, well-edited cinematic with strong camera and timing. |
| Finish & Presentation (CO6) | 15% | Optimised, polished, professionally presented dual deliverable. |
| TOTAL | 100% | An interactive real-time world plus a rendered cinematic. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Editor & Project Setup | Use case: create a project and navigate the editor. Deliverable: starter level. |
| 2 | Asset Import & Megascans | Use case: import meshes and Megascans into a scene. Deliverable: dressed scene. |
| 3 | Material Editor | Use case: build a master material + instances. Deliverable: material set. |
| 4 | Nanite & Performance | Use case: compare Nanite on/off, profile. Deliverable: performance notes. |
| 5 | Blueprint Interaction | Use case: script a door/pickup/trigger. Deliverable: interactive Blueprint. |
| 6 | Blueprint Logic | Use case: build a simple game mechanic. Deliverable: working mechanic. |
| 7 | Lumen Lighting | Use case: light a scene with Lumen GI. Deliverable: lit environment. |
| 8 | Post-Process Grade | Use case: grade with a post-process volume. Deliverable: graded look. |
| 9 | Sequencer Cinematic | Use case: animate a camera sequence. Deliverable: cinematic sequence. |
| 10 | Movie Render & Package | Use case: render via MRQ / package build. Deliverable: rendered movie / build. |
For the Animation & Gaming team, UE5 is the real-time engine of the AS-2 build. The environments, lighting, interactivity and cinematics learned here are exactly how AS-2 is assembled and presented — whether the team's project is a playable vertical slice or a real-time animated short, this course supplies its core production platform.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Unreal Engine 5 Game Development with C++ Scripting | Zhenyu George Li | Packt Publishing · 2023 | Comprehensive UE5 development reference. |
| Blueprints Visual Scripting for Unreal Engine 5 | Marcos Romero, Brenden Sewell | Packt · 2022 (3rd ed.) | The standard on Blueprint scripting (Module 3). |
| Unreal Engine 5 Character Creation, Animation & Cinematics | Henk Venter, Wilhelm Ogterop | Packt · 2022 | Cinematics and Sequencer workflow (Module 5). |
| Mastering the Art of Unreal Engine | Various (current editions) | Packt · 2023–24 | Lighting, materials and environment art (Modules 2, 4). |
| Real-Time Rendering | Akenine-Möller, Haines, Hoffman | CRC Press · 2018 (4th ed.) | Conceptual grounding for real-time pipelines (Module 1). |
| Unreal Engine Documentation (official) | Epic Games | Epic · current | Authoritative engine reference (all modules). |
| Course | Platform | Relevance |
|---|---|---|
| Unreal Engine 5 — Complete / Blueprints courses | Udemy | End-to-end UE5 mirroring all modules. |
| Unreal Engine paths | Pluralsight | Editor, materials, Blueprint and lighting (Modules 1–4). |
| Game Design & Real-Time 3D | Coursera | Real-time fundamentals and pipeline. |
| Unreal Engine — official Learning portal | Epic Games | Free official UE5 courses and pathways (all modules). |
| Environment Art in Unreal | Domestika | Project-based environment building (Modules 2, 4). |
AI inside the production pipeline — generative tools and AI-assisted workflows for assets, textures, animation and tooling that compress timelines while keeping the artist in control.
To equip students to integrate generative-AI and AI-assisted tools into the real production pipeline of games and animation — covering AI for concept and texture generation, 3D/asset generation, animation assistance, and AI tooling/scripting — so they can responsibly accelerate production while maintaining artistic and technical control over the output.
Where AI for Visual Design (T2) taught generative imaging, this course operationalises AI inside the actual game/animation production pipeline — the workflows studios are adopting right now to compress schedules. Digital Content Creation (PO1), Game Development (PO4) and Lifelong Learning (PO10) all benefit. The course keeps a strong emphasis on human control, pipeline integration and responsible use, ensuring graduates are AI-augmented production artists who can plug these tools into a real Unreal/Maya pipeline — directly strengthening the AS-2 production capacity.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain where generative-AI and AI-assisted tools fit across the game/animation production pipeline. |
| CO2 | L3 · Apply | Apply AI tools for concept, texture and material generation within a production workflow. |
| CO3 | L3 · Apply | Apply AI-assisted 3D/asset and animation tools (text-to-3D, mocap clean-up, retargeting) to speed production. |
| CO4 | L4 · Analyze | Analyze and integrate AI outputs into Unreal/Maya pipelines with human refinement and QC. |
| CO5 | L4 · Analyze | Analyze and build a simple AI-assisted tool/script and evaluate ethics, IP and provenance. |
| CO6 | L5 · Evaluate | Evaluate and present an AI-augmented production workflow, justifying tool choices and human authorship. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | M | M | – | L | – | – | H |
| CO2 | H | H | – | M | M | – | – | – | – | H |
| CO3 | H | M | – | H | H | – | – | – | – | H |
| CO4 | H | M | – | H | H | – | L | M | – | H |
| CO5 | H | L | – | M | M | M | H | – | M | H |
| CO6 | H | M | L | M | M | M | H | M | H | H |
The class produces a complete game/animation production deliverable (a textured asset or a short animated beat) using an AI-augmented pipeline, measuring where AI accelerated the work and where human craft was essential. Each module adds a stage: plan the AI touchpoints (pipeline), generate concept/texture (concept/texture AI), use AI 3D/animation assists (3D/animation AI), integrate and QC into Unreal/Maya (integration), and add an AI-assisted tool + ethics log (tooling/ethics). The instructor runs a reference pipeline while students run their own.
The capstone is a finished production piece plus a workflow-and-ethics report documenting AI use, time saved, human refinement and responsible-use disclosure.
Each student independently produces a different AI-augmented production piece using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| AI Tool Use — Concept/Texture (CO2) | 20% | Effective, targeted AI generation that genuinely serves the production. |
| AI 3D/Animation Assists (CO3) | 20% | Sensible, production-aware use of AI 3D/animation tools. |
| Integration & QC (CO4) | 25% | AI output cleanly integrated and refined to a professional standard. |
| Tooling & Ethics (CO5) | 20% | Working helper script; thoughtful, accurate ethics/IP/provenance log. |
| Workflow Analysis & Presentation (CO6) | 15% | Clear time-saved analysis; decisions and authorship well justified. |
| TOTAL | 100% | A production piece built through a documented, responsible AI-augmented pipeline. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Pipeline AI Map | Use case: map AI touchpoints for a sample project. Deliverable: annotated pipeline map. |
| 2 | AI Concept Generation | Use case: generate production concepts to brief. Deliverable: concept set. |
| 3 | AI Texture/Material | Use case: generate and refine an AI texture. Deliverable: usable texture. |
| 4 | Text/Image-to-3D Test | Use case: generate a 3D asset and assess it. Deliverable: raw + assessment. |
| 5 | AI Mocap / Video-to-Motion | Use case: extract motion from video. Deliverable: motion clip. |
| 6 | Animation Cleanup | Use case: clean/retarget AI motion in Maya. Deliverable: clean animation. |
| 7 | AI Asset Cleanup | Use case: retopo/fix an AI-generated mesh. Deliverable: production-ready asset. |
| 8 | Engine Integration | Use case: bring AI assets into Unreal cleanly. Deliverable: in-engine result. |
| 9 | LLM-Assisted Script | Use case: write a pipeline helper with LLM assist. Deliverable: working script. |
| 10 | Ethics & Provenance Log | Use case: document AI use, IP and disclosure. Deliverable: ethics log. |
For the Animation & Gaming team, this course provides the AI-acceleration layer for AS-2 production — using generative and AI-assisted tools to speed concepting, texturing, asset and animation work within the Unreal/Maya pipeline, while the integration, QC and ethics discipline ensures AS-2's AI use is clean, production-quality and responsibly disclosed.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Artificial Intelligence and Games | Yannakakis & Togelius | Springer · 2018 | AI in game production and content generation (Module 1). |
| Procedural Content Generation in Games | Shaker, Togelius, Nelson | Springer · 2016 | Generative/procedural asset foundations (Modules 1–3). |
| Generative AI for Production (practical guides) | Various (current editions) | O'Reilly / Packt · 2023–24 | Applied production-AI workflow reference (Modules 2–4). |
| Atlas of AI | Kate Crawford | Yale University Press · 2021 | Ethics, data and provenance critique (Module 5). |
| The Age of AI: And Our Human Future | Kissinger, Schmidt, Huttenlocher | Little, Brown · 2021 | Responsible-use and societal context (Module 5). |
| Tool/vendor documentation (Substance Sampler, MetaHuman, etc.) | Adobe / Epic / others | current | Production tool references (Modules 2–4). |
| Course | Platform | Relevance |
|---|---|---|
| AI for Game Development / Generative AI in Production | Udemy | Applied production-AI tooling (Modules 2–4). |
| Generative AI & LLM Application paths | Pluralsight | LLM-assisted tooling and scripting (Module 5). |
| Generative AI for Everyone (DeepLearning.AI) | Coursera | Conceptual grounding (Module 1). |
| Responsible AI / AI Ethics | edX | Ethics, IP and provenance (Module 5). |
| AI Tools for 3D & Animation | Domestika | Project-based AI production workflows (Modules 2–4). |
The heart of VFX — node-based compositing in Nuke to integrate CG, live-action plates, keys and effects into seamless final shots, earning the industry-standard Foundry Nuke certification.
To build professional node-based compositing skills in Foundry Nuke for the film and VFX pipeline — integrating live-action plates, CG renders, green-screen keys and 2D/3D effects into seamless final shots — so that students can deliver broadcast- and cinema-grade composited imagery and earn the industry-standard Foundry Nuke certification.
Compositing is the single most hireable VFX discipline and the defining craft of the Film & VFX track — almost every VFX shot in film, OTT and advertising is finished in Nuke. Advanced VFX & CGI Integration (PO5) is a named program outcome, and the Foundry Nuke certification is the recognised global credential for compositors. This course gives F&V students the deep, certified compositing competence that anchors the compositor career path, and produces the finished shots of the AS-2 VFX short. It is the embedded Trimester-4 credential on the F&V certification ladder.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain compositing theory — the node graph, channels, premult, linear workflow and the VFX pipeline. |
| CO2 | L3 · Apply | Apply core Nuke nodes and 2D tracking to combine, transform and stabilise image elements. |
| CO3 | L3 · Apply | Apply green-screen keying, despill and rotoscoping to extract clean mattes from live-action plates. |
| CO4 | L4 · Analyze | Analyze multi-pass CG and the 3D system (camera, cards, projections) to integrate CG with plates. |
| CO5 | L4 · Analyze | Analyze colour-matching, grain, light wrap and 2D FX to achieve invisible, seamless integration. |
| CO6 | L5 · Evaluate | Evaluate and deliver finished VFX shots and demonstrate Foundry Nuke certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | H | – | – | – | – | M |
| CO2 | H | M | – | – | H | – | – | – | – | M |
| CO3 | H | M | – | – | H | – | – | – | – | M |
| CO4 | H | M | – | – | H | – | – | – | – | M |
| CO5 | H | H | L | – | H | – | – | – | M | M |
| CO6 | H | H | L | – | H | – | L | M | H | H |
Relevance. Nuke is the global studio standard for compositing across film, episodic and high-end advertising, and compositing is the most consistently in-demand VFX role. The Foundry Nuke certification is the recognised credential that verifies professional compositing competence — a powerful differentiator for compositor and VFX-artist applications and the anchor skill of the Film & VFX track.
Instruction to students. Every student must achieve Foundry Nuke certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class composites a complete VFX shot — a live-action (green-screen and/or location) plate into which CG and 2D elements are seamlessly integrated. Each module adds a stage: set up and track (theory/nodes), key and roto the plate (keying), rebuild and integrate the CG with the 3D system (multi-pass/3D), then match colour, grain and atmospherics (integration). The instructor composites a reference shot while students composite their own.
The capstone is a finished, delivery-spec VFX shot with invisible integration, a clean Nuke script and a before/after breakdown — the core compositor portfolio piece.
Each student independently composites a different VFX shot using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Node Graph & Tracking (CO2) | 20% | Clean, efficient script; rock-solid track and stabilisation. |
| Keying & Roto (CO3) | 20% | Flawless keys/roto; clean edges, hair and motion blur; no spill. |
| CG Integration & 3D (CO4) | 25% | CG sits perfectly in the plate; correct use of passes and Nuke 3D. |
| Match & Finish (CO5) | 20% | Invisible integration — colour, grain, lens and atmosphere all match. |
| Delivery & Breakdown (CO6) | 15% | Delivered to spec; clear, professional breakdown. |
| TOTAL | 100% | An invisible, delivery-grade VFX shot. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Node Graph & Premult | Use case: basic comp respecting premult. Deliverable: correct comp. |
| 2 | 2D Track & Stabilise | Use case: track and stabilise a moving plate. Deliverable: stabilised shot. |
| 3 | Screen Replacement | Use case: corner-pin a screen insert. Deliverable: screen replacement. |
| 4 | Green-Screen Key | Use case: key + despill a green-screen plate. Deliverable: clean key. |
| 5 | Rotoscoping | Use case: roto a moving subject with tracked roto. Deliverable: roto matte. |
| 6 | Beauty Rebuild | Use case: reconstruct a CG beauty from AOVs. Deliverable: rebuilt render. |
| 7 | Nuke 3D Projection | Use case: project a still for a set extension. Deliverable: extended shot. |
| 8 | CG-to-Plate Match | Use case: match a CG element into a plate. Deliverable: integrated element. |
| 9 | Grain & Lens Match | Use case: match grain and lens distortion. Deliverable: matched comp. |
| 10 | QC & Delivery | Use case: QC and render to delivery spec. Deliverable: delivered shot + breakdown. |
For the Film & VFX team, this course delivers the VFX finishing engine of AS-2. Every visual-effects shot in the AS-2 short — CG integration, set extensions, screen replacements, clean-up and seamless compositing — is completed in Nuke here, elevating the AS-2 film from a live-action edit to a polished, VFX-driven short.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Art and Science of Digital Compositing | Ron Brinkmann | Morgan Kaufmann · 2008 (2nd ed.) | The foundational compositing theory text (Module 1). |
| Nuke 101: Professional Compositing & VFX | Ron Ganbar | Peachpit Press · 2014 (2nd ed.) | Hands-on Nuke and cert prep (Modules 2–6). |
| Digital Compositing for Film and Video | Steve Wright | Routledge (Focal Press) · 2017 (4th ed.) | Keying, integration and technique (Modules 3, 5). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | Industry-wide VFX/comp reference. |
| Compositing Visual Effects in After Effects/Nuke | Lee Lanier | Routledge · 2017 | Practical integration and FX (Modules 4–5). |
| Foundry Nuke User Guide (official) | Foundry | Foundry · current | Authoritative reference and certification source. |
| Course | Platform | Relevance |
|---|---|---|
| Nuke Compositing — Complete VFX courses | Udemy | End-to-end Nuke mapped to certification. |
| Compositing & VFX paths | Pluralsight | Studio-grade comp technique (Modules 2–5). |
| Visual Effects for Film | Coursera | VFX pipeline and compositing fundamentals. |
| fxphd Nuke / VFX series | fxphd | Professional-level compositing deep dives. |
| Foundry-aligned Nuke training | Foundry | Official-aligned curriculum and cert prep (Module 6). |
AI across the film pipeline — generative and AI-assisted tools for pre-production, production and post that accelerate content creation while keeping the filmmaker's vision in command.
To equip students to apply generative-AI and AI-assisted tools across the filmmaking and content pipeline — from AI scripting and pre-vis through generative video, voice and editing assistance to AI post-production — so they can responsibly accelerate film and content creation while retaining authorial and creative control.
Generative video, AI voice, AI editing and pre-vis tools are transforming film and content production faster than any previous technology. Digital Content Creation (PO1) and Lifelong Learning (PO10) demand that graduates can wield these tools fluently and responsibly. This Film & VFX-specific course operationalises AI across the screen pipeline — complementing Media Laws (which covers the legal/ethical frame) — so F&V students become AI-augmented filmmakers and content creators, directly boosting AS-2 and the booming creator-economy and OTT job markets.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain where generative-AI and AI tools fit across the filmmaking and content pipeline. |
| CO2 | L3 · Apply | Apply AI tools for ideation, scripting, storyboarding and pre-visualisation. |
| CO3 | L3 · Apply | Apply generative video, image and voice/audio tools to create content elements. |
| CO4 | L4 · Analyze | Analyze and apply AI-assisted editing, post and enhancement within a real workflow. |
| CO5 | L4 · Analyze | Analyze the ethics, IP, deepfake, consent and authorship implications of AI in film/content. |
| CO6 | L5 · Evaluate | Evaluate and present an AI-augmented short content piece, justifying tools and human authorship. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | – | M | – | L | – | – | H |
| CO2 | H | M | H | – | – | – | – | – | M | H |
| CO3 | H | H | M | – | M | – | – | – | – | H |
| CO4 | H | M | M | – | M | – | L | – | M | H |
| CO5 | M | L | M | – | – | H | H | – | M | H |
| CO6 | H | M | H | – | M | M | H | M | H | H |
The class produces a short content piece (a 30–60s branded/experimental film or trailer) using an AI-augmented pipeline. Each module adds a stage: plan AI touchpoints and develop with AI (development), generate video/voice elements (generative), blend with shot footage and edit with AI assists (editing), and add an ethics/provenance pass (ethics). The instructor produces a reference piece while students produce their own.
The capstone is a finished short content piece plus a workflow-and-ethics report documenting AI use, human authorship and responsible-use disclosure.
Each student independently produces a different AI-augmented short using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| AI Development & Pre-Vis (CO2) | 15% | AI used insightfully to develop and pre-visualise the piece. |
| Generative Elements (CO3) | 25% | High-quality, controlled generative video/voice that serve the story. |
| AI-Assisted Edit & Finish (CO4) | 25% | Seamless blend of generative and shot footage; polished AI-assisted finish. |
| Ethics, IP & Provenance (CO5) | 20% | Thoughtful, accurate ethics statement; responsible, disclosed AI use. |
| Presentation & Authorship (CO6) | 15% | Clear authorship; decisions and workflow well justified. |
| TOTAL | 100% | A polished, responsibly-made AI-augmented content piece. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Pipeline AI Map | Use case: map AI touchpoints for a short. Deliverable: annotated map. |
| 2 | AI Development Assist | Use case: use AI for ideation/script polish. Deliverable: developed concept. |
| 3 | AI Storyboard / Pre-Vis | Use case: generate boards/pre-vis frames. Deliverable: AI pre-vis set. |
| 4 | Text-to-Video | Use case: generate a controlled video clip. Deliverable: generative clip. |
| 5 | Consistency & Control | Use case: maintain look across shots. Deliverable: consistent clip set. |
| 6 | AI Voice / Dubbing | Use case: generate/clean voice or dub. Deliverable: voice track. |
| 7 | Text-Based Editing | Use case: edit via transcript/AI assist. Deliverable: rough cut. |
| 8 | AI Restoration / Upscale | Use case: upscale/denoise/restore footage. Deliverable: enhanced clip. |
| 9 | Blend & Finish | Use case: blend generative + shot footage, finish. Deliverable: finished sequence. |
| 10 | Provenance & Disclosure | Use case: tag content credentials, write disclosure. Deliverable: tagged piece + statement. |
For the Film & VFX team, this course supplies the AI-acceleration layer for AS-2 — using generative video, voice, pre-vis and AI-assisted editing to expand what a small team can produce, while the ethics/provenance discipline keeps AS-2's AI use responsible and properly disclosed.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| AI for Filmmakers / Generative Video (practical guides) | Various (current editions) | O'Reilly / Packt / Routledge · 2023–24 | Applied AI-filmmaking workflow (Modules 2–4). |
| The Creativity Code | Marcus du Sautoy | 4th Estate · 2019 | How creative AI works, conceptually (Module 1). |
| Deepfakes: The Coming Infocalypse | Nina Schick | Twelve · 2020 | Deepfake/synthetic-media context (Module 5). |
| The Age of AI: And Our Human Future | Kissinger, Schmidt, Huttenlocher | Little, Brown · 2021 | Responsible-use and societal framing (Module 5). |
| In the Blink of an Eye | Walter Murch | Silman-James Press · 2001 | Editing craft that AI tools must serve (Module 4). |
| Tool documentation (Runway, Pika, ElevenLabs, etc.) | Respective vendors | current | Generative-tool references (Modules 3–4). |
| Course | Platform | Relevance |
|---|---|---|
| AI Filmmaking / Generative Video courses | Udemy | Applied generative-video and pipeline (Modules 2–4). |
| Generative AI for Everyone (DeepLearning.AI) | Coursera | Conceptual grounding (Module 1). |
| Generative AI & Creative Media paths | Pluralsight | AI tools for content workflows (Modules 2–4). |
| AI Ethics / Responsible AI | edX | Ethics, IP and deepfake context (Module 5). |
| AI Video & Content Creation | Domestika | Project-based AI content (Modules 3–4). |
The rules of the creative trade — copyright, contracts, defamation, privacy and the new frontier of AI ethics, deepfakes, synthetic-media IP and online-gaming compliance that every media professional must navigate.
To give students a working command of the legal and ethical framework governing media and digital content — copyright and IP, contracts, defamation, privacy, censorship and certification — and of the emerging law and ethics of AI-generated content, deepfakes, synthetic-media IP and online/real-money-gaming compliance, so they can create, license and distribute work lawfully and responsibly.
Creative professionals constantly make decisions with legal consequences — what they can use, how they license, what they can say, whose likeness they can show. Ethics (PO7) and Societal & Environmental Impact (PO6) are named program outcomes. As AI-generated content, deepfakes and online gaming raise urgent new legal questions, this course embeds AI-ethics, deepfake regulation, synthetic-media IP and real-money-gaming (RMG)/skill-gaming compliance alongside the classical media-law foundations — making it the program's anchor for responsible, legally-aware practice across both streams.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the framework of media law — IP, copyright, the media regulatory landscape and key statutes. |
| CO2 | L3 · Apply | Apply copyright, licensing, fair-use/fair-dealing and contract principles to creative-work scenarios. |
| CO3 | L3 · Apply | Apply rules on defamation, privacy, publicity rights, censorship and certification to content decisions. |
| CO4 | L4 · Analyze | Analyze the legal and ethical issues of AI-generated content, deepfakes and synthetic-media IP. |
| CO5 | L4 · Analyze | Analyze online-content, data-protection and real-money/skill-gaming (RMG) compliance requirements. |
| CO6 | L5 · Evaluate | Evaluate a media/content project for legal and ethical compliance and recommend safeguards. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | – | L | – | – | M | H | – | M | M |
| CO2 | M | – | L | – | – | M | H | M | M | M |
| CO3 | M | – | M | – | – | H | H | – | M | M |
| CO4 | M | – | M | L | M | H | H | – | M | H |
| CO5 | M | – | – | M | – | H | H | – | M | H |
| CO6 | M | – | M | L | L | H | H | M | H | H |
The class takes a realistic media project (e.g., a short film or game that uses third-party music, stock, real locations, an AI-generated element and, optionally, a gaming/monetisation feature) and builds a complete compliance dossier for it. Each module adds a layer: an IP and ownership map (foundations), a licensing and contracts plan (copyright/contracts), a defamation/privacy/certification review (content law), an AI/deepfake/synthetic-media analysis (AI law), and a data/RMG-compliance assessment (compliance). The instructor works a reference project while students clear their own.
The capstone is a legal & ethical compliance dossier — rights checklist, licences/releases needed, risk analysis, AI-disclosure plan and recommended safeguards — for one project.
Each student independently clears a different media project using the same compliance framework. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| IP & Copyright Analysis (CO1, CO2) | 25% | Accurate, thorough IP map and licensing plan; correct fair-use reasoning. |
| Content-Risk Review (CO3) | 20% | Sound defamation/privacy/certification analysis with practical mitigations. |
| AI & Synthetic-Media (CO4) | 20% | Insightful AI/deepfake/IP analysis and a clear disclosure plan. |
| Data & RMG Compliance (CO5) | 20% | Correct data-protection and RMG/online compliance assessment. |
| Dossier & Recommendations (CO6) | 15% | Clear, well-reasoned, professionally presented compliance opinion. |
| TOTAL | 100% | A thorough, defensible legal & ethical compliance dossier. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | IP Classification | Use case: classify the IP in sample works. Deliverable: IP analysis sheet. |
| 2 | Licence Comparison | Use case: compare CC and commercial licences. Deliverable: licensing matrix. |
| 3 | Fair-Use Case Study | Use case: argue fair use/dealing on a scenario. Deliverable: reasoned memo. |
| 4 | Contract Clause Review | Use case: annotate a sample creative contract. Deliverable: marked-up contract. |
| 5 | Defamation/Privacy Scenario | Use case: assess risk in a content scenario. Deliverable: risk memo. |
| 6 | Certification & OTT Rules | Use case: map content to certification/OTT norms. Deliverable: compliance note. |
| 7 | AI Authorship Debate | Use case: argue ownership of an AI work. Deliverable: position paper. |
| 8 | Deepfake & Consent Case | Use case: analyse a likeness/deepfake scenario. Deliverable: ethics/legal memo. |
| 9 | Data-Protection Audit | Use case: audit a product's data handling. Deliverable: audit checklist. |
| 10 | RMG Compliance Map | Use case: map a gaming feature to RMG/skill rules. Deliverable: compliance map. |
This course makes the AS-2 deliverable legally clean and ethically sound. Teams clear the music, footage, fonts and assets in their AS-2 project, secure releases, disclose any AI use with proper provenance, and — for any gaming/monetisation feature — check RMG/skill-gaming and age-gating compliance. The compliance-dossier skill protects the team's work for festival, portfolio and commercial use.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Law Relating to Intellectual Property Rights | V. K. Ahuja | LexisNexis · 2017 (3rd ed.) | Comprehensive IP framework (Modules 1–2). |
| Media Law & Ethics | M. Neelamalar | PHI Learning · 2009 | Media-specific law and ethics overview (Modules 1, 3). |
| The Copyright Handbook | Stephen Fishman | Nolo · 2023 | Practical copyright and licensing (Module 2). |
| Deepfakes: The Coming Infocalypse | Nina Schick | Twelve · 2020 | Deepfake/synthetic-media context (Module 4). |
| Artificial Intelligence and the Law (current editions) | Various | Routledge / OUP · 2023–24 | AI authorship, IP and regulation (Module 4). |
| Entertainment & Media Law Reports / IP & gaming-law guides | Various | current | Current practice incl. RMG/online compliance (Modules 3, 5). |
| Course | Platform | Relevance |
|---|---|---|
| Intellectual Property Law Specialization | Coursera | Copyright, licensing and IP (Modules 1–2). |
| Copyright for Creatives / Media Law | Udemy | Practical rights and licensing for creators. |
| AI Ethics, Law & Policy | edX | AI authorship, regulation and ethics (Module 4). |
| Data Protection & Privacy fundamentals | Coursera | Data-protection grounding (Module 5). |
| Technology & Gaming Law overviews | edX / Udemy | Online/RMG and intermediary compliance (Module 5). |
The discipline of broadcast — multi-camera production, studio workflow, live switching and the structured craft of making television and episodic content to deadline.
To develop practical television and broadcast production skills — single- and multi-camera production, studio and field workflow, live switching, lighting and audio for TV, and the production roles and pipeline — so that students can plan and produce broadcast-style content (news, talk, magazine, episodic) to professional standards and deadlines.
Television and episodic production remain major employers, and the multi-camera, live-switching and structured-workflow disciplines they teach transfer directly to streaming, events, corporate video and live content. Collaborative Production (PO8) and Digital Content Creation (PO1) are named program outcomes, and TV production is where students learn to work in defined crew roles, to deadline, at scale. This course broadens the Film & VFX student beyond single-camera filmmaking into the broadcast and live-content space and strengthens the AS-2 team's production-management discipline.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the television production pipeline, formats, crew roles and the studio/control-room workflow. |
| CO2 | L3 · Apply | Apply single- and multi-camera setup, framing and movement to capture broadcast-style footage. |
| CO3 | L3 · Apply | Apply studio lighting and audio for television to achieve a clean, professional technical standard. |
| CO4 | L4 · Analyze | Analyze and operate live switching, vision mixing and the control-room workflow for a multi-cam show. |
| CO5 | L4 · Analyze | Analyze production management — scripting, rundowns, scheduling and crew coordination — for a show. |
| CO6 | L5 · Evaluate | Evaluate and produce a complete broadcast-style program segment to professional standards. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | L | M | – | – | – | – | H | M | M |
| CO2 | H | M | M | – | – | – | – | M | M | M |
| CO3 | H | H | L | – | – | – | – | M | M | M |
| CO4 | H | M | M | – | – | – | – | H | H | M |
| CO5 | M | – | M | – | – | – | L | H | H | M |
| CO6 | H | M | M | – | – | L | L | H | H | H |
The class produces a complete multi-camera broadcast segment (e.g., a talk-show, news bulletin or magazine piece) in rotating crew roles. Each module adds a stage: design the format and roles (pipeline), shoot multi-camera (production), light and mic for studio (lighting/audio), switch it live in the control room (live switching), and run it from a rundown to deadline (production management). The instructor directs a reference show while student teams produce their own.
The capstone is a finished broadcast-style segment produced multi-camera and live-switched, with each student having performed defined crew roles — a teamwork-and-broadcast portfolio piece.
Each student leads a different segment (or a defined senior role across segments) using the same workflow. This is the assessed individual deliverable, weighting individual role performance.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Camera & Coverage (CO2) | 20% | Clean broadcast framing; well-planned multi-cam coverage; no continuity errors. |
| Lighting & Audio (CO3) | 20% | Professional studio lighting and clean, well-mixed broadcast audio. |
| Live Switching & Direction (CO4) | 25% | Confident, clean live cut; well-timed graphics; clear directing. |
| Production Management (CO5) | 20% | Tight rundown; on-deadline; excellent crew coordination. |
| Finished Segment & Teamwork (CO6) | 15% | Polished, broadcast-standard segment; strong individual role contribution. |
| TOTAL | 100% | A broadcast-standard multi-camera segment with strong crew teamwork. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Studio & Control-Room Tour | Use case: map equipment and signal flow. Deliverable: annotated signal-flow diagram. |
| 2 | Broadcast Framing | Use case: frame standard TV shots (presenter, two-shot). Deliverable: framing set. |
| 3 | Multi-Cam Coverage | Use case: plan and shoot 3-camera coverage. Deliverable: multi-cam footage. |
| 4 | Studio Lighting Setup | Use case: light a presenter for multi-cam. Deliverable: lit setup + diagram. |
| 5 | Broadcast Audio | Use case: mic and mix a two-person segment. Deliverable: mixed audio. |
| 6 | Vision Mixing Drill | Use case: cut a short multi-cam piece live. Deliverable: live-cut recording. |
| 7 | Graphics & Lower-Thirds | Use case: insert titles/graphics in the switch. Deliverable: graphics demo. |
| 8 | Rundown & Script | Use case: write a show rundown and script. Deliverable: rundown document. |
| 9 | Calling the Show | Use case: direct/call a short live segment. Deliverable: directed recording + reflection. |
| 10 | Full Segment Rehearsal | Use case: rehearse and record a full segment. Deliverable: recorded segment. |
For the Film & VFX team, this course strengthens AS-2 with multi-camera capability and production-management discipline. The rundown, scheduling, crew-role and live-switching skills make the AS-2 team run like a professional unit, and any multi-camera, interview or event content in the AS-2 project is shot and switched using these techniques.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Television Production Handbook | Herbert Zettl | Cengage Learning · 2014 (12th ed.) | The standard comprehensive TV-production text (all modules). |
| Television Production & Broadcast Journalism | Phillip L. Harris | Goodheart-Willcox · 2017 | Studio workflow and roles (Modules 1, 5). |
| Single-Camera Video Production | Robert B. Musburger | Routledge (Focal Press) · 2014 (6th ed.) | Field/ENG production technique (Module 2). |
| Directing & Producing for Television | Ivan Cury | Routledge (Focal Press) · 2016 (4th ed.) | Directing and the control room (Module 4). |
| Audio in Media | Stanley R. Alten | Cengage · 2013 (10th ed.) | Broadcast audio fundamentals (Module 3). |
| The Filmmaker's Handbook | Steven Ascher, Edward Pincus | Plume · 2012 | Production craft reference (Modules 2–3). |
| Course | Platform | Relevance |
|---|---|---|
| Television & Video Production courses | Udemy | Studio, multi-cam and switching (Modules 2–4). |
| Media Production / Broadcast paths | Pluralsight | Production workflow and technical standards. |
| The Art of Visual Storytelling / Production | Coursera | Production and directing fundamentals. |
| Live Production & Multi-Camera Switching | LinkedIn Learning | Vision mixing and live workflow (Module 4). |
| Broadcast Journalism & Studio Production | edX | Studio roles and rundown discipline (Modules 1, 5). |
Designing how it feels to use — user-centred interface and experience design for games, apps and interactive media, from research and wireframes to polished, usable, tested screens.
To develop user-centred UI and UX design skills — covering UX research, information architecture, wireframing, interaction and visual interface design, prototyping and usability testing in industry tools (Figma) — so that students can design intuitive, accessible and attractive interfaces for games, apps and interactive digital media.
UI/UX is one of the most employable and cross-cutting digital skills, valued in games (menus, HUDs, onboarding), apps, web and interactive media alike. Visual Design Principles (PO2), Effective Communication in Digital Media (PO9) and Digital Content Creation (PO1) are all served. Shared by both streams because every interactive or screen-based product needs it, this course gives students a portfolio-ready design competency and a complete, transferable process — research, design, prototype, test — that complements game development on the A&G side and digital/interactive media on the F&V side.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain UX/UI principles, the design process, and the difference between UX and UI. |
| CO2 | L3 · Apply | Apply UX research methods — personas, user journeys, problem framing — to define a design brief. |
| CO3 | L3 · Apply | Apply information architecture and wireframing to structure flows and low-fidelity screens. |
| CO4 | L4 · Analyze | Analyze and apply visual UI design — layout, type, colour, components, design systems. |
| CO5 | L4 · Analyze | Analyze and build interactive prototypes and run usability testing to iterate the design. |
| CO6 | L5 · Evaluate | Evaluate and present a complete, tested UI/UX case study from research to high-fidelity prototype. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | – | M | – | – | – | – | M | M |
| CO2 | H | M | M | M | – | M | L | M | H | M |
| CO3 | H | H | L | M | – | – | – | – | H | M |
| CO4 | H | H | – | M | – | – | – | – | H | M |
| CO5 | H | M | – | M | – | M | L | M | H | H |
| CO6 | H | H | L | M | – | M | L | M | H | H |
The class designs a complete digital product experience — for example a game companion app, an in-game menu/HUD system, or a media/streaming app — from research to tested prototype. Each module adds a stage: research and define (UX research), structure and wireframe (IA), design the visual UI and a small design system (visual UI), then prototype and usability-test (prototyping). The instructor designs a reference product while students design their own.
The capstone is a portfolio-grade UI/UX case study — research, flows, wireframes, high-fidelity UI, an interactive prototype and usability findings.
Each student independently designs a different product experience using the same process. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| UX Research & Framing (CO2) | 20% | Insightful research; sharp personas, journeys and problem definition. |
| IA & Wireframing (CO3) | 20% | Logical architecture; clear flows; well-structured wireframes. |
| Visual UI & System (CO4) | 25% | Polished, hierarchical, consistent UI with a coherent design system. |
| Prototype & Testing (CO5) | 20% | Convincing interactive prototype; real usability insights drive iteration. |
| Case Study & Presentation (CO6) | 15% | Compelling, well-argued portfolio case study. |
| TOTAL | 100% | A portfolio-grade, research-driven, tested UI/UX case study. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Heuristic Evaluation | Use case: evaluate an app against usability heuristics. Deliverable: heuristic report. |
| 2 | User Interview & Persona | Use case: interview users, build a persona. Deliverable: persona + notes. |
| 3 | User Journey Map | Use case: map a user journey with pain points. Deliverable: journey map. |
| 4 | Card Sort & IA | Use case: derive IA from a card sort. Deliverable: sitemap/IA. |
| 5 | Wireframe a Flow | Use case: wireframe a core task flow. Deliverable: low-fi wireframes. |
| 6 | Design System Mini | Use case: build a small component library. Deliverable: Figma components. |
| 7 | High-Fidelity Screen | Use case: design a polished hi-fi screen. Deliverable: hi-fi mockup. |
| 8 | Game HUD Design | Use case: design a game HUD/menu. Deliverable: HUD mockup. |
| 9 | Interactive Prototype | Use case: wire up a clickable prototype. Deliverable: Figma prototype. |
| 10 | Usability Test | Use case: run a 3-user usability test. Deliverable: findings + iteration plan. |
This course supplies the interface and experience layer of AS-2. For the Animation & Gaming team, the game's menus, HUD, onboarding and player-facing UI are designed and tested here; for the Film & VFX team, any companion app, interactive piece or digital-media interface is designed to a usable, attractive standard. The research-design-test process also sharpens the whole team's user-centred thinking.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Design of Everyday Things | Don Norman | Basic Books · 2013 (rev. ed.) | Foundational human-centred design (Module 1). |
| Don't Make Me Think, Revisited | Steve Krug | New Riders · 2014 (3rd ed.) | Usability essentials (Modules 1, 5). |
| The UX Book | Hartson & Pyla | Morgan Kaufmann · 2018 (2nd ed.) | Comprehensive UX process (Modules 2–5). |
| Refactoring UI | Adam Wathan, Steve Schoger | self-published · 2018 | Practical visual UI design (Module 4). |
| About Face: The Essentials of Interaction Design | Cooper, Reimann, Cronin, Noessel | Wiley · 2014 (4th ed.) | Interaction design depth (Modules 3–5). |
| 100 Things Every Designer Needs to Know About People | Susan Weinschenk | New Riders · 2020 (2nd ed.) | Psychology behind UX decisions (Modules 1–2). |
| Course | Platform | Relevance |
|---|---|---|
| Google UX Design Professional Certificate | Coursera | End-to-end UX process mirroring all modules. |
| UI/UX Design with Figma — Complete | Udemy | Figma wireframing, UI and prototyping (Modules 3–5). |
| UX/Interaction Design paths | Pluralsight | Structured UX and UI skills. |
| Interaction Design Foundation courses | IxDF | Deep, certificated UX/IxD curriculum. |
| UI Design & Design Systems | Domestika | Visual UI and systems projects (Module 4). |
Worlds that play — designing and building game environments that are beautiful, performant and playable, from concept and blockout to modular kits, set dressing and lighting in-engine.
To develop the ability to design and build complete game environments — from concept and reference through greybox blockout, modular asset kits, set dressing, materials and in-engine lighting — so that students can create immersive, performant, playable worlds that support gameplay and tell environmental stories.
Environment art is one of the largest and most in-demand disciplines in game development, and environment artist is a core target role for the Animation & Gaming track. Game Development (PO4), Visual Design Principles (PO2) and Advanced VFX & CGI Integration (PO5) are all served. Building on 3D Modeling, Texturing/Substance and UE5, this course teaches the specific craft of world-building — modularity, performance, environmental storytelling and gameplay-aware layout — producing the playable spaces at the heart of the AS-2 game build.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain environment-design principles — composition, scale, environmental storytelling and modularity. |
| CO2 | L3 · Apply | Apply concept, reference and greybox blockout to design a playable environment layout. |
| CO3 | L3 · Apply | Apply modular asset and trim-sheet workflows to build a reusable, performant environment kit. |
| CO4 | L4 · Analyze | Analyze and execute set dressing, materials and foliage to build out and detail the scene. |
| CO5 | L4 · Analyze | Analyze and apply in-engine lighting, atmosphere and optimisation for mood and performance. |
| CO6 | L5 · Evaluate | Evaluate and present a finished, playable game environment with beauty shots and a breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | M | H | M | – | – | – | – | M |
| CO2 | H | H | M | H | M | – | – | – | – | M |
| CO3 | H | M | – | H | H | – | – | – | – | M |
| CO4 | H | H | M | H | H | – | – | – | – | M |
| CO5 | H | H | L | H | H | – | – | – | M | H |
| CO6 | H | H | M | H | H | – | L | M | H | H |
The class designs and builds a complete game environment (a themed playable space — e.g., an abandoned station, a market street, a ruined temple) using a modular workflow. Each module adds a stage: design and greybox (concept/blockout), build a modular kit and trims (modular), set-dress and material (dressing), then light, atmosphere and optimise (lighting). The instructor builds a reference level while students build their own.
The capstone is a finished, playable, optimised game environment presented with beauty shots, a fly-through and a process breakdown — the core environment-artist portfolio piece.
Each student independently builds a different game environment using the same modular workflow. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Design & Blockout (CO2) | 20% | Strong composition, scale and gameplay flow; well-iterated greybox. |
| Modular Kit & Efficiency (CO3) | 20% | Clever, reusable modular kit; efficient trims; clean assembly. |
| Set Dressing & Materials (CO4) | 20% | Rich, believable dressing and materials; strong environmental storytelling. |
| Lighting & Optimisation (CO5) | 25% | Beautiful, readable lighting; runs at performant frame rates. |
| Finish & Presentation (CO6) | 15% | Polished beauty shots and breakdown; portfolio-ready. |
| TOTAL | 100% | A playable, performant, portfolio-grade game environment. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Composition Study | Use case: analyse environment composition in shipped games. Deliverable: study sheet. |
| 2 | Reference & Mood Board | Use case: assemble reference for a theme. Deliverable: mood board. |
| 3 | Greybox Blockout | Use case: blockout a space to scale in-engine. Deliverable: greybox level. |
| 4 | Trim Sheet | Use case: build a trim sheet and apply it. Deliverable: trim sheet + demo. |
| 5 | Modular Kit | Use case: build modular pieces that snap. Deliverable: modular kit. |
| 6 | Kit Assembly | Use case: assemble a room from the kit. Deliverable: assembled space. |
| 7 | Set Dressing | Use case: dress a scene for storytelling. Deliverable: dressed scene. |
| 8 | Foliage & Vertex Paint | Use case: add foliage and blend materials. Deliverable: detailed area. |
| 9 | Lighting Pass | Use case: light the scene for mood. Deliverable: lit scene. |
| 10 | Optimisation & Profiling | Use case: profile and optimise the level. Deliverable: perf report + fixes. |
For the Animation & Gaming team, this course produces the playable worlds of AS-2 — the levels, environments and spaces the game takes place in, built modularly and optimised to run well. The environmental-storytelling and gameplay-flow discipline ensures the AS-2 game's spaces are not just pretty but genuinely playable and performant.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| An Architectural Approach to Level Design | Christopher W. Totten | CRC Press · 2019 (2nd ed.) | Spatial design and player guidance (Modules 1–2). |
| Color and Light | James Gurney | Andrews McMeel · 2010 | Light, atmosphere and mood (Module 5). |
| The Art of Game Design: A Book of Lenses | Jesse Schell | CRC Press · 2019 (3rd ed.) | Designing space to serve play (Modules 1–2). |
| Game Environment Art / Modular Workflows (current guides) | Various | 3dtotal / Packt · 2022–24 | Modular kits and trims (Modules 3–4). |
| Framed Ink | Marcos Mateu-Mestre | Design Studio Press · 2010 | Composition and visual storytelling (Module 1). |
| Unreal Engine Environment Art Documentation | Epic Games | Epic · current | In-engine building and optimisation (Modules 4–5). |
| Course | Platform | Relevance |
|---|---|---|
| Unreal Environment Art / Game Environment courses | Udemy | End-to-end environment building (all modules). |
| Environment Art & Level Design paths | Pluralsight | Modular workflow and in-engine art (Modules 3–5). |
| Game Design & World Building | Coursera | Spatial and level-design fundamentals (Modules 1–2). |
| 3D Environment Design | Domestika | Project-based environment art (Modules 2–4). |
| Unreal — official environment learning | Epic Games | Free official environment/lighting courses (Modules 4–5). |
Breathing life into characters — building rigs and performing animation in Maya, from skeletons and skinning to weight, timing and acting, anchored by the advanced Autodesk Maya certification.
To develop professional character rigging and animation skills in Autodesk Maya — covering skeletons, skinning, control rigs, the principles of animation applied in 3D, body mechanics, and acting/performance — so that students can rig characters and create believable, expressive 3D animation, and earn the advanced Autodesk Maya certification.
Character animation and rigging are flagship, high-skill disciplines of the Animation & Gaming track and among the most respected (and well-paid) creative roles. Digital Content Creation (PO1) and Game Development (PO4) are served, and the advanced Autodesk Certified Professional — Maya credential signals deep tool mastery beyond the foundational user level earned in Trimester 3. Building on Digital 2D Animation, 3D Modeling and the animation principles, this course produces the animated characters and performances central to the AS-2 build, and anchors the Trimester-5 credential on the A&G certification ladder.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain rigging and animation fundamentals — skeletons, deformation, the rig, and the 12 principles in 3D. |
| CO2 | L3 · Apply | Apply joint setup, skinning and weight painting to deform a character mesh cleanly. |
| CO3 | L3 · Apply | Apply control rigs (IK/FK, constraints, controllers) to build an animator-friendly character rig. |
| CO4 | L4 · Analyze | Analyze and animate body mechanics — walk, run, jump, weight — with strong timing and spacing. |
| CO5 | L4 · Analyze | Analyze and animate acting and performance — poses, expression, lip-sync — to convey emotion. |
| CO6 | L5 · Evaluate | Evaluate and present a polished animated shot and demonstrate advanced Maya certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | M | M | – | – | – | – | M |
| CO2 | H | M | – | M | H | – | – | – | – | M |
| CO3 | H | M | – | M | H | – | – | – | – | H |
| CO4 | H | M | M | M | M | – | – | – | – | M |
| CO5 | H | M | H | L | M | – | – | – | M | M |
| CO6 | H | M | H | M | M | – | L | M | H | H |
Relevance. Maya is the global studio standard for character rigging and animation. The advanced Autodesk Certified Professional credential signals deep, employer-verified Maya mastery beyond the foundational user level — a strong differentiator for character animator, rigging TD and technical-animation roles, which are among the highest-skill targets of the Animation & Gaming track.
Instruction to students. Every student must achieve the advanced Autodesk Maya certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class rigs a character (ideally one modelled earlier) and then animates a performance with it. Each module adds a stage: skeleton and skinning (joints/weights), a control rig with IK/FK and a basic face (control rigs), a body-mechanics shot (mechanics), and an acting/lip-sync shot (performance). The instructor rigs and animates a reference character while students do their own.
The capstone is a working character rig plus two polished animated shots — one body-mechanics, one acting — to demo-reel standard.
Each student independently rigs and animates a different character/performance using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Skinning & Deformation (CO2) | 15% | Clean, artefact-free deformation across the full range of motion. |
| Control Rig (CO3) | 20% | Robust, animator-friendly rig; reliable IK/FK and facial controls. |
| Body Mechanics (CO4) | 25% | Convincing weight, timing and arcs; physically believable motion. |
| Acting & Performance (CO5) | 25% | Expressive, appealing acting; clear emotion and accurate lip-sync. |
| Polish & Presentation (CO6) | 15% | Demo-reel-quality polish; professional playblast presentation. |
| TOTAL | 100% | A working rig and two demo-reel-grade animated shots. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Bouncing Ball & Curves | Use case: animate a ball with weight in the graph editor. Deliverable: ball animation. |
| 2 | Joint Setup | Use case: place and orient a biped skeleton. Deliverable: skeleton. |
| 3 | Skinning & Weights | Use case: bind and weight-paint a limb. Deliverable: clean deformation. |
| 4 | IK/FK Setup | Use case: build an IK/FK arm/leg with switch. Deliverable: working IK/FK. |
| 5 | Control Rig | Use case: add controllers and a rig UI. Deliverable: animator-friendly rig. |
| 6 | Pose-to-Pose | Use case: block key poses for an action. Deliverable: blocked shot. |
| 7 | Walk Cycle | Use case: animate a walk with weight. Deliverable: walk cycle. |
| 8 | Jump / Physical Action | Use case: animate a jump with anticipation. Deliverable: jump shot. |
| 9 | Facial & Lip-Sync | Use case: lip-sync a short line. Deliverable: lip-sync shot. |
| 10 | Acting Shot Polish | Use case: polish an acting beat. Deliverable: polished playblast. |
For the Animation & Gaming team, this course produces the animated characters and performances at the heart of AS-2 — the rigs that make characters posable and the body-mechanics and acting animation that bring them to life, whether for in-game animation sets or a real-time animated short. The rigging discipline also gives the team the technical-animation capability to fix and extend character setups during AS-2.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Animator's Survival Kit | Richard Williams | Faber & Faber · 2009 (rev. ed.) | The definitive animation-principles bible (Modules 1, 4–5). |
| Cracking Animation | Peter Lord, Brian Sibley | Thames & Hudson · 2015 | Performance and acting inspiration (Module 5). |
| Body Language: Advanced 3D Character Rigging | Allan, Palamar, Murdock | Sybex / Wiley · 2010 | Comprehensive Maya rigging (Modules 2–3). |
| Acting for Animators | Ed Hooks | Routledge · 2017 (4th ed.) | Acting theory for animators (Module 5). |
| Introducing Autodesk Maya (current edition) | Dariush Derakhshani | Sybex / Wiley · 2023 | Maya animation/rigging reference and cert prep. |
| Timing for Animation | Whitaker, Halas, Sito | Routledge (Focal Press) · 2009 (2nd ed.) | Timing and spacing craft (Module 4). |
| Course | Platform | Relevance |
|---|---|---|
| Character Animation / Maya Rigging — Complete | Udemy | End-to-end rigging and animation mapped to cert. |
| Maya Rigging & Animation paths | Pluralsight | Studio-grade rigging and body mechanics (Modules 2–4). |
| 3D Character Animation | Coursera | Animation principles in 3D (Modules 1, 4–5). |
| Animation Mentor / iAnimate-style performance courses | Animation Mentor | Performance-focused mentored animation (Module 5). |
| Autodesk Maya Certified Professional prep | Autodesk / Udemy | Direct advanced-certification coverage (Module 6). |
From scripting to systems — C# and gameplay programming that turns mechanics into robust, architected game systems, with AI, physics, optimisation and clean, maintainable code.
To advance students from basic scripting to robust gameplay programming — covering object-oriented design, gameplay systems and architecture, game AI, physics, and code optimisation in a real engine (C#/Unity, with engine-transferable concepts) — so that students can implement well-architected, maintainable, performant game systems.
Gameplay programming is what separates a designer who can prototype from an engineer who can ship; gameplay/engine programmer is a high-value role and a key differentiator on the Animation & Gaming track. Game Development (PO4), Digital Content Creation (PO1) and Lifelong Learning (PO10) are served. Building on the Programming Foundation and Game Design Fundamentals courses, this course teaches architecture, AI, physics and optimisation — the engineering depth that lets a student own the systems of the AS-2 game build rather than just its assets.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain object-oriented design and core software-architecture concepts for games. |
| CO2 | L3 · Apply | Apply OOP, components and common design patterns to structure gameplay code. |
| CO3 | L3 · Apply | Apply gameplay-systems programming — state machines, events, save/load, UI logic. |
| CO4 | L4 · Analyze | Analyze and implement game AI — pathfinding, behaviour trees/FSMs, simple decision-making. |
| CO5 | L4 · Analyze | Analyze physics, collision and performance, and apply profiling and optimisation techniques. |
| CO6 | L5 · Evaluate | Evaluate and present a well-architected playable game system with clean, documented code. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | – | – | H | L | – | – | – | – | H |
| CO2 | H | – | – | H | L | – | – | L | – | H |
| CO3 | H | – | – | H | M | – | – | M | – | H |
| CO4 | H | – | – | H | M | – | – | – | – | H |
| CO5 | H | – | – | H | M | – | – | – | – | H |
| CO6 | H | – | – | H | M | – | L | M | M | H |
The class builds a complete playable game system — for example a small action/stealth slice with an enemy AI, an inventory and save/load — engineered properly. Each module adds a layer: architect with OOP and patterns (architecture/patterns), build the gameplay systems (systems), add enemy AI (AI), then physics, collision and optimisation (physics/perf). The instructor builds a reference system while students build their own.
The capstone is a playable, well-architected game system with clean, documented, version-controlled code and an architecture write-up.
Each student independently builds a different game system using the same engineering approach. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Architecture & Patterns (CO2) | 25% | Clean, extensible architecture; appropriate, well-applied patterns. |
| Gameplay Systems (CO3) | 20% | Robust, reusable systems that work reliably and read clearly. |
| Game AI (CO4) | 20% | Convincing, well-tuned AI with sound pathfinding and behaviour. |
| Physics & Optimisation (CO5) | 20% | Solid physics; profiled and optimised to a stable frame budget. |
| Code Quality & Presentation (CO6) | 15% | Clean, documented, version-controlled code; clear architecture defence. |
| TOTAL | 100% | A playable, well-engineered, optimised game system. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | OOP Refactor | Use case: refactor a script into clean OOP. Deliverable: refactored code. |
| 2 | Event System | Use case: build an observer/event system. Deliverable: event-driven demo. |
| 3 | State Machine | Use case: implement a gameplay FSM. Deliverable: state machine. |
| 4 | Inventory System | Use case: build a data-driven inventory. Deliverable: inventory system. |
| 5 | Save / Load | Use case: serialize and restore game state. Deliverable: save/load feature. |
| 6 | Pathfinding | Use case: implement NavMesh/A* navigation. Deliverable: pathfinding demo. |
| 7 | Behaviour Tree / FSM AI | Use case: build an enemy AI behaviour. Deliverable: AI agent. |
| 8 | Physics Movement | Use case: build physics-based movement. Deliverable: movement controller. |
| 9 | Profiling | Use case: profile and find a bottleneck. Deliverable: profile report. |
| 10 | Optimisation Pass | Use case: optimise (pooling, GC) a scene. Deliverable: before/after metrics. |
For the Animation & Gaming team, this course supplies the engineering backbone of the AS-2 game — the architected gameplay systems, enemy AI, save/load, UI logic and the optimisation that makes the build run well. The clean-code, patterns and version-control discipline keeps the AS-2 codebase maintainable across a 4–6 person team.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Game Programming Patterns | Robert Nystrom | Genever Benning · 2014 (free online) | The standard on game patterns (Modules 1–2). |
| Game Engine Architecture | Jason Gregory | CRC Press · 2018 (3rd ed.) | Deep architecture and systems reference. |
| AI for Games | Ian Millington | CRC Press · 2019 (3rd ed.) | Comprehensive game-AI reference (Module 4). |
| Clean Code | Robert C. Martin | Prentice Hall · 2008 | Clean-code and craftsmanship principles (Modules 1, 6). |
| C# in Depth / Pro C# | Jon Skeet / Troelsen | Manning / Apress · current | Advanced C# language reference (Modules 1–3). |
| Unity in Action | Joe Hocking | Manning · 2022 (3rd ed.) | Practical Unity gameplay programming (Modules 2–5). |
| Course | Platform | Relevance |
|---|---|---|
| Intermediate/Advanced C# Game Programming | Udemy | Architecture, patterns and systems (Modules 1–3). |
| Unity / C# & Game AI paths | Pluralsight | Gameplay, AI and optimisation (Modules 3–5). |
| C# Programming for Unity Game Development (Colorado) | Coursera | Structured C# gameplay programming. |
| Game AI & Pathfinding | Udemy | Pathfinding and behaviour trees (Module 4). |
| Unity Learn — Programming pathways | Unity | Official systems and optimisation content (Modules 2–5). |
The final rewrite — advanced narrative editing in Adobe Premiere Pro, shaping performance, rhythm and story across scenes and full pieces, anchored by the Adobe Premiere Pro certification.
To develop advanced narrative film-editing skills in Adobe Premiere Pro — covering professional project workflow, scene and sequence construction, performance and pacing, multi-cam, sound and titling, and delivery — so that students can edit complete narrative pieces that shape story and emotion, and earn the Adobe Premiere Pro certification.
Editing is where film is finally authored, and editor is one of the most stable, in-demand roles across film, OTT, advertising and the creator economy. Building on the common-core Audio & Video Editing course (DaVinci Resolve), this Film & VFX deep-dive focuses on narrative editing craft in Premiere Pro — the dominant editing tool in Indian and global post houses — serving Storytelling & Narratives (PO3), Digital Content Creation (PO1) and Effective Communication (PO9). The Adobe Premiere certification anchors the Trimester-5 credential on the F&V certification ladder and feeds the AS-2 film's post.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain narrative editing theory, the Premiere Pro workflow, and professional project organisation. |
| CO2 | L3 · Apply | Apply assembly and scene construction to build a coherent narrative sequence from rushes. |
| CO3 | L3 · Apply | Apply editing craft — performance selection, pacing, continuity, transitions — to a fine cut. |
| CO4 | L4 · Analyze | Analyze and apply multi-cam, sound, music and titling to enrich the edit. |
| CO5 | L4 · Analyze | Analyze and apply colour, finishing and correct delivery/export for multiple platforms. |
| CO6 | L5 · Evaluate | Evaluate a finished narrative edit and demonstrate Adobe Premiere Pro certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | L | M | – | – | – | – | – | M | M |
| CO2 | H | L | H | – | – | – | – | – | M | M |
| CO3 | H | M | H | – | – | – | – | – | H | M |
| CO4 | H | M | H | – | – | – | – | – | H | M |
| CO5 | H | M | M | – | M | – | – | – | M | M |
| CO6 | H | M | H | – | M | – | L | M | H | H |
Relevance. Premiere Pro is the dominant editing application across Indian and global post houses, OTT and the creator economy. The Adobe Certified Professional credential verifies professional editing competence in the tool most employers expect — a directly hireable, widely-recognised qualification for editor, assistant-editor and content-editor roles and the anchor of the Film & VFX Trimester-5 credential.
Instruction to students. Every student must achieve Adobe Premiere Pro certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
Working from a supplied multi-take, multi-camera dailies package (or self-shot footage), the class edits a complete narrative scene or short in Premiere Pro. Each module adds a stage: organise and assemble (assembly), refine to a fine cut with performance and pacing (craft), add multi-cam, sound and titles (enrichment), then colour, finish and deliver (finishing). The instructor cuts a reference piece while students cut their own.
The capstone is a finished, graded, delivered narrative edit demonstrating story-driven editing — the editor portfolio piece.
Each student independently edits a different narrative piece using the same workflow. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Assembly & Construction (CO2) | 15% | Coherent scene built from the best material; clean organisation. |
| Editing Craft & Pacing (CO3) | 30% | Story-driven performance selection; seamless continuity; superb pacing. |
| Sound, Multi-cam & Titles (CO4) | 20% | Polished multi-cam, well-balanced sound, professional titles. |
| Colour & Delivery (CO5) | 20% | Attractive grade; correct, clean exports for each target platform. |
| Finish & Presentation (CO6) | 15% | Polished, complete piece presented to a professional standard. |
| TOTAL | 100% | A finished, story-driven narrative edit. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Project & Media Management | Use case: set up a Premiere project with proxies. Deliverable: organised project. |
| 2 | Radio Edit | Use case: build a dialogue scene by sound first. Deliverable: radio edit. |
| 3 | Scene Assembly | Use case: assemble a scene with coverage. Deliverable: assembled scene. |
| 4 | Performance & Pacing | Use case: recut for two different paces. Deliverable: two cuts + notes. |
| 5 | Multi-Cam Edit | Use case: cut a multi-cam sequence. Deliverable: multi-cam edit. |
| 6 | Sound & Music | Use case: mix dialogue, music, SFX. Deliverable: mixed timeline. |
| 7 | Titles & Graphics | Use case: build titles in Essential Graphics. Deliverable: titled sequence. |
| 8 | Lumetri Grade | Use case: correct and grade a sequence. Deliverable: graded cut. |
| 9 | Reframe for Social | Use case: reframe a 16:9 edit to vertical. Deliverable: reframed export. |
| 10 | Export & Deliver | Use case: export masters via Media Encoder. Deliverable: delivery files + settings. |
For the Film & VFX team, this course delivers the narrative post-production of the AS-2 film. The footage is edited, structured, sound-mixed, titled, graded and delivered using the Premiere Pro skills here. The story-editing craft shapes the AS-2 film's final pacing and emotional power, and the multi-platform delivery makes it ready for festivals, portfolio and social.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| In the Blink of an Eye | Walter Murch | Silman-James Press · 2001 (2nd ed.) | The classic on editing philosophy and craft (Module 3). |
| The Technique of Film & Video Editing | Ken Dancyger | Routledge (Focal Press) · 2018 (6th ed.) | Narrative editing theory and technique (Modules 1, 3). |
| Adobe Premiere Pro Classroom in a Book | Maxim Jago | Adobe Press · 2023 | Official Premiere training and cert prep (all modules). |
| The Healthy Edit | John Rosenberg | Routledge (Focal Press) · 2017 (2nd ed.) | Editing problem-solving and craft (Module 3). |
| On Film Editing | Edward Dmytryk | Routledge · 2018 (rev. ed.) | Foundational editing principles (Modules 2–3). |
| Grammar of the Edit | Roy Thompson, Christopher Bowen | Routledge (Focal Press) · 2009 (2nd ed.) | Practical editing grammar and continuity (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| Adobe Premiere Pro — Complete editing courses | Udemy | End-to-end Premiere mapped to certification. |
| Premiere Pro / Video Editing paths | Pluralsight | Workflow, multi-cam and finishing (Modules 1–5). |
| The Art of Film Editing | Coursera | Narrative editing theory (Modules 1, 3). |
| Adobe Premiere Pro — official tutorials | Adobe | Official curriculum and cert prep (Module 6). |
| Narrative & Story Editing | Domestika | Project-based story editing (Module 3). |
Locking CG to the real world — camera and object tracking, match moving and the 3D scene solves that let visual effects sit perfectly inside live-action plates.
To develop matchmove and tracking skills for visual effects — covering 2D tracking, 3D camera tracking and solving, object and body tracking, set survey and lens data, and exporting solved scenes to 3D — so that students can lock CG elements convincingly into live-action footage, the essential link between plate and CG.
Matchmove/tracking is the indispensable VFX discipline that makes CG integration possible — without an accurate camera solve, no CG element will sit in a shot. Matchmove artist is a reliable entry point into VFX studios and a strong complement to compositing on the Film & VFX track. Advanced VFX & CGI Integration (PO5) and Digital Content Creation (PO1) are served. Sitting between Compositing (T4) and the AS-2 VFX work, this course gives F&V students the technical-VFX skill that underpins set extensions, CG creatures, and any shot where the camera moves.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain matchmove concepts — camera solve, parallax, lens distortion and the tracking pipeline. |
| CO2 | L3 · Apply | Apply 2D point and planar tracking to stabilise, match-move and replace elements. |
| CO3 | L3 · Apply | Apply 3D camera tracking and solving to recover a moving camera from a plate. |
| CO4 | L4 · Analyze | Analyze and execute object/body tracking and set reconstruction for CG integration. |
| CO5 | L4 · Analyze | Analyze lens distortion, set survey data and scene scale to refine and validate a solve. |
| CO6 | L5 · Evaluate | Evaluate and deliver a clean solved scene to 3D, validated by a CG integration test. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | L | – | – | H | – | – | – | – | M |
| CO2 | H | L | – | – | H | – | – | – | – | M |
| CO3 | H | L | – | – | H | – | – | – | – | H |
| CO4 | H | L | – | – | H | – | – | – | – | M |
| CO5 | H | M | – | – | H | – | – | – | – | H |
| CO6 | H | M | – | – | H | – | L | M | M | H |
The class matchmoves a moving-camera live-action plate end to end and proves it with a CG test. Each module adds a stage: 2D-track and stabilise (2D), solve the 3D camera (solving), reconstruct the set and add an object track (object/recon), validate with lens and survey data (validation), then export to 3D and run a CG integration test (export/test). The instructor solves a reference shot while students solve their own.
The capstone is a clean, validated camera solve exported to 3D, with a CG integration test (a primitive or simple asset locked perfectly into the plate) and a breakdown.
Each student independently matchmoves a different plate using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| 2D Tracking (CO2) | 15% | Rock-solid 2D tracks; clean stabilisation and screen work. |
| 3D Camera Solve (CO3) | 30% | Low-error, accurate camera solve with correct scale and orientation. |
| Object Track & Set Recon (CO4) | 20% | Accurate object track and usable set reconstruction. |
| Lens & Validation (CO5) | 20% | Correct lens handling; solve validated against survey/reprojection. |
| Integration Test & Delivery (CO6) | 15% | CG element locks perfectly with no slip; clean export and breakdown. |
| TOTAL | 100% | A clean, validated, CG-ready camera solve. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Point Track & Stabilise | Use case: track points and stabilise a clip. Deliverable: stabilised plate. |
| 2 | Planar Track | Use case: planar-track a surface for replacement. Deliverable: tracked surface. |
| 3 | Screen Replacement | Use case: replace a screen via track. Deliverable: screen replacement. |
| 4 | Auto 3D Track | Use case: auto-track and solve a simple move. Deliverable: camera solve. |
| 5 | Manual Track Refine | Use case: add manual features to reduce error. Deliverable: refined solve. |
| 6 | Scale & Ground | Use case: set real-world scale and ground plane. Deliverable: oriented scene. |
| 7 | Object Track | Use case: track a moving rigid object. Deliverable: object track. |
| 8 | Lens Calibration | Use case: calibrate and undistort a lens. Deliverable: lens data + undistort. |
| 9 | Solve Validation | Use case: check reprojection error and fix. Deliverable: QC report. |
| 10 | Export & CG Test | Use case: export to Maya/Nuke, lock a cube. Deliverable: integration test. |
For the Film & VFX team, this course supplies the matchmove foundation for every moving-camera VFX shot in AS-2 — the camera solves and object tracks that let set extensions, CG elements and creatures lock convincingly into the AS-2 film's live-action plates. Without these solves, the team's compositing and CG-integration work could not sit in the shot.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Matchmoving: The Invisible Art of Camera Tracking | Tim Dobbert | Sybex / Wiley · 2012 (2nd ed.) | The definitive matchmove text (all modules). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | Matchmove within the wider VFX pipeline. |
| Multiple View Geometry in Computer Vision | Hartley & Zisserman | Cambridge University Press · 2004 | The mathematics behind solving (Modules 1, 5). |
| Digital Compositing for Film and Video | Steve Wright | Routledge (Focal Press) · 2017 | Tracking's role in integration (Modules 2, 6). |
| 3DEqualizer / PFTrack / SynthEyes documentation | Respective vendors | current | Authoritative tool references (Modules 2–5). |
| Filming the Fantastic | Mark Sawicki | Routledge (Focal Press) · 2011 (2nd ed.) | On-set data and VFX integration context (Module 1). |
| Course | Platform | Relevance |
|---|---|---|
| Matchmoving / Camera Tracking courses | Udemy | End-to-end tracking and solving (Modules 2–6). |
| VFX & Tracking paths | Pluralsight | 3D tracking and integration (Modules 3–6). |
| fxphd matchmove series | fxphd | Professional-level matchmove deep dives. |
| Nuke 3D Tracking | Foundry-endorsed | CameraTracker workflow in Nuke (Modules 3, 6). |
| Computer Vision fundamentals | Coursera | Conceptual grounding for solving (Modules 1, 5). |
Selling in seconds — the craft and business of commercials and branded content, from brief and concept through high-production-value shoot to a finished, persuasive ad delivered to client.
To develop the ability to conceive and produce commercial and branded video content — interpreting a client brief, developing a creative concept, planning and executing a high-production-value shoot, and finishing a persuasive ad — so that students can deliver professional commercials, product films and branded content for the advertising and creator markets.
Commercials and branded content are the largest paying market for screen production and a primary employer of film graduates, spanning agencies, production houses, brands and the creator economy. Effective Communication in Digital Media (PO9), Digital Content Creation (PO1) and Collaborative Production (PO8) are all served. This course teaches the distinctive disciplines of advertising production — brief interpretation, persuasive concept, production value on a budget, and client delivery — translating the program's film and VFX skills into commercially employable output and strengthening the AS-2 team's ability to pitch and deliver to a brief.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the commercial production landscape, formats, the agency/brand workflow and the brief. |
| CO2 | L3 · Apply | Apply brief interpretation and concept development to pitch a persuasive commercial idea. |
| CO3 | L3 · Apply | Apply pre-production — treatment, storyboard, shot list, schedule, budget — to plan a shoot. |
| CO4 | L4 · Analyze | Analyze and execute a high-production-value shoot — camera, lighting, art direction, direction. |
| CO5 | L4 · Analyze | Analyze and apply post — edit, sound, grade, graphics — to finish a persuasive commercial. |
| CO6 | L5 · Evaluate | Evaluate and present a finished commercial against the brief and deliver to client standard. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | – | – | – | L | M | H | M |
| CO2 | H | M | H | – | – | – | L | M | H | M |
| CO3 | H | M | M | – | – | – | – | H | M | M |
| CO4 | H | H | M | – | L | – | – | H | M | M |
| CO5 | H | H | M | – | M | – | – | M | H | M |
| CO6 | H | M | H | – | L | M | M | H | H | H |
The class responds to a realistic client brief and produces a complete commercial (a 30–60s product/brand film plus social cutdowns). Each module adds a stage: interpret the brief and develop a concept (brief/concept), plan the shoot (pre-production), shoot with production value (the shoot), then edit, grade and finish for impact (post). The instructor produces a reference ad while student teams produce their own to the same brief.
The capstone is a finished, client-ready commercial with platform cutdowns, presented against the brief with a short campaign case study.
Each student leads a different commercial (or a defined senior role) responding to a brief, using the same workflow. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Concept & Brief Fit (CO2) | 20% | Sharp, persuasive idea that nails the brief and brand. |
| Pre-Production & Planning (CO3) | 15% | Thorough, realistic production book; shoot well planned to budget. |
| Production Value (CO4) | 25% | Polished camera, lighting and art direction; strong hero shots. |
| Post & Persuasion (CO5) | 25% | Punchy edit, sound and grade; clean graphics; effective cutdowns. |
| Delivery & Presentation (CO6) | 15% | Client-ready delivery; presented convincingly against the brief. |
| TOTAL | 100% | A persuasive, client-ready commercial with platform versions. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Brief Breakdown | Use case: extract proposition/audience from a brief. Deliverable: brief analysis. |
| 2 | Ad Deconstruction | Use case: analyse a great commercial's craft. Deliverable: deconstruction. |
| 3 | Concept & Treatment | Use case: develop a concept and treatment. Deliverable: treatment. |
| 4 | Pitch Deck | Use case: build and deliver a pitch. Deliverable: pitch deck + pitch. |
| 5 | Storyboard & Shot List | Use case: board and shot-list a spot. Deliverable: board + shot list. |
| 6 | Schedule & Budget | Use case: build a shoot schedule and budget. Deliverable: production book. |
| 7 | Product Hero Lighting | Use case: light a product hero shot. Deliverable: hero footage. |
| 8 | Direct a Spot Scene | Use case: direct a short ad scene. Deliverable: directed footage. |
| 9 | Edit for Persuasion | Use case: cut a punchy spot with sound/grade. Deliverable: finished spot. |
| 10 | Versioning | Use case: create platform cutdowns/aspects. Deliverable: version set. |
For the Film & VFX team, this course adds commercial polish and brief-driven discipline to AS-2. If the AS-2 project includes a branded or promotional component, it is conceived, shot and finished to client standard here; more broadly, the pitch, production-value and delivery skills make the AS-2 team able to present and deliver their work as a professional production unit would to a client.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Hey Whipple, Squeeze This | Luke Sullivan, Edward Boches | Wiley · 2016 (5th ed.) | The classic on creating great advertising (Modules 1–2). |
| Directing the Commercial | Various / industry guides | Routledge / industry · current | Directing and production value (Module 4). |
| The Filmmaker's Handbook | Steven Ascher, Edward Pincus | Plume · 2012 | Production craft reference (Modules 3–4). |
| Cinematography: Theory and Practice | Blain Brown | Routledge · 2016 (3rd ed.) | Camera and lighting for polish (Module 4). |
| Ogilvy on Advertising | David Ogilvy | Vintage · 1985 | Persuasion and brand fundamentals (Modules 1–2). |
| The Advertising Concept Book | Pete Barry | Thames & Hudson · 2016 (3rd ed.) | Concept generation and craft (Module 2). |
| Course | Platform | Relevance |
|---|---|---|
| Commercial / Branded Video Production courses | Udemy | End-to-end commercial production (Modules 1–5). |
| Advertising & Brand Communication paths | Coursera | Brief, audience and concept (Modules 1–2). |
| Video Production & Cinematography | Pluralsight | Production value and craft (Modules 3–4). |
| Advertising Photography / Product Film | Domestika | Product/hero shooting projects (Module 4). |
| Branded Content & Social Video | LinkedIn Learning | Versioning and platform delivery (Module 5). |
The professional layer of a creative career — communication, collaboration, pitching, line-/film-production craft and the workplace skills that turn a skilled artist into an employable, promotable professional.
To build the professional communication, collaboration and production-coordination skills that creative graduates need to thrive in a studio or agency — covering workplace and client communication, pitching and presentation, written professional communication, team and production coordination (line/film-production craft), and personal professional branding — so that students can work, communicate and advance effectively in the creative industry.
Technical skill gets a graduate hired; communication and professionalism get them kept and promoted. Effective Communication in Digital Media (PO9) and Collaborative Production (PO8) are named program outcomes, and studios consistently report that communication, reliability and teamwork separate juniors who advance from those who stall. Shared across both streams, this course also embeds the line-/film-production coordination craft — schedules, budgets, crew and pipeline communication — that the program situates here, making graduates not just makers but professional collaborators ready for the AS-2 team and the workplace.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain professional and corporate communication principles and the creative-industry workplace. |
| CO2 | L3 · Apply | Apply effective verbal, non-verbal and digital communication in workplace and client scenarios. |
| CO3 | L3 · Apply | Apply professional written communication — email, documentation, proposals, reports. |
| CO4 | L4 · Analyze | Analyze and apply presentation and pitching skills to communicate creative ideas persuasively. |
| CO5 | L4 · Analyze | Analyze team dynamics and production coordination — schedules, roles, pipeline communication. |
| CO6 | L5 · Evaluate | Evaluate and present a personal professional brand and a communication/coordination portfolio. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | L | – | M | – | – | M | M | H | H | M |
| CO2 | L | – | M | – | – | L | M | H | H | M |
| CO3 | M | – | M | – | – | – | M | M | H | M |
| CO4 | M | M | H | – | – | – | M | M | H | M |
| CO5 | M | – | M | L | – | M | M | H | H | M |
| CO6 | M | M | M | – | – | M | M | H | H | H |
The class works, step by step, through a realistic professional scenario: responding to a creative brief as a small studio. Each module adds a layer: workplace/client communication plan (communication), a written proposal and brief response (writing), a live pitch of the creative idea (presentation), a production-coordination plan with schedule and roles (coordination), and each student's personal professional brand package (brand). The instructor models a reference scenario while students build their own.
The capstone is a complete professional package — written proposal, pitch presentation, production-coordination plan, and a personal brand/portfolio framing kit.
Each student independently builds a professional package for a different scenario/brief and their own brand. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Communication Skill (CO2) | 20% | Clear, confident, audience-aware verbal and client communication. |
| Professional Writing (CO3) | 20% | Polished, well-structured proposal/email/report; correct tone. |
| Presentation & Pitch (CO4) | 25% | Compelling, well-delivered pitch; strong presence; handles Q&A. |
| Production Coordination (CO5) | 20% | Realistic, well-organised coordination plan; sound pipeline thinking. |
| Personal Brand (CO6) | 15% | Coherent, professional personal brand and portfolio framing. |
| TOTAL | 100% | A professional communication, pitch and coordination package. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Active Listening Drill | Use case: paraphrase-and-confirm exercise. Deliverable: reflection notes. |
| 2 | Feedback Roleplay | Use case: give/receive critique on work. Deliverable: feedback log. |
| 3 | Professional Email Set | Use case: write 3 workplace emails. Deliverable: email set. |
| 4 | Proposal Writing | Use case: write a project proposal. Deliverable: proposal doc. |
| 5 | Pitch Deck Build | Use case: build a 6-slide pitch deck. Deliverable: deck. |
| 6 | Live Pitch | Use case: deliver a 3-min pitch + Q&A. Deliverable: recorded pitch. |
| 7 | Schedule & Call Sheet | Use case: build a shoot/production schedule. Deliverable: schedule + call sheet. |
| 8 | Budget Draft | Use case: draft a small production budget. Deliverable: budget sheet. |
| 9 | CV & LinkedIn | Use case: build CV and profile. Deliverable: CV + profile. |
| 10 | Mock Interview | Use case: run a mock job interview. Deliverable: interview + reflection. |
This course supplies the professional coordination and communication backbone of AS-2. The scheduling, budgeting, role-definition and pipeline-communication craft keeps the 4–6 person AS-2 team running like a real production unit, and the pitch and presentation skills are exactly what the team uses to present its AS-2 deliverable to faculty, juries and at portfolio showcases.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Crucial Conversations | Patterson, Grenny, McMillan, Switzler | McGraw-Hill · 2021 (3rd ed.) | Difficult conversations and feedback (Module 2). |
| Made to Stick | Chip Heath, Dan Heath | Random House · 2007 | Communicating ideas memorably (Module 4). |
| Talk Like TED | Carmine Gallo | St. Martin's Press · 2014 | Presentation and public speaking (Module 4). |
| The Film Production Handbook / Producer's Business Handbook | Honthaner / Lee & Gillen | Routledge · current | Line/film production coordination (Module 5). |
| HBR Guide to Better Business Writing | Bryan A. Garner | Harvard Business Review · 2012 | Professional writing (Module 3). |
| Creative, Inc. / The Freelancer's Bible | Crawford / Sara Horowitz | Chronicle / Workman · current | Personal brand and creative career (Module 6). |
| Course | Platform | Relevance |
|---|---|---|
| Effective Communication / Business Communication | Coursera | Workplace and professional communication (Modules 1–3). |
| Public Speaking & Presentation Skills | Udemy | Presentation and pitching (Module 4). |
| Business & Professional Communication paths | LinkedIn Learning | Writing, meetings and workplace skills (Modules 2–3). |
| Film/Media Production Management | Udemy | Line/film production coordination (Module 5). |
| Career Brand & Personal Branding | Coursera | Personal brand and job search (Module 6). |
The final image — cinematic lighting, look-development and rendering that turn shaded assets and scenes into beautiful, art-directed frames across offline and real-time pipelines.
To develop professional lighting, look-development and rendering skills — covering lighting theory and cinematography, three-point and naturalistic lighting, materials/shaders in a look-dev context, offline rendering (Arnold) and real-time rendering (Unreal/Lumen), and render optimisation — so that students can light and render scenes and assets to a cinematic, art-directed standard.
Lighting and rendering are the disciplines that most determine whether a 3D image looks amateur or professional — and lighting artist / look-dev artist are respected, well-paid roles. Visual Design Principles (PO2) and Advanced VFX & CGI Integration (PO5) are served. Building on Texturing/Substance and UE5, this course completes the asset-to-image pipeline for the Animation & Gaming track, teaching both offline (Arnold) and real-time (Lumen) lighting so graduates can finish images in either world — and it lights and renders the hero shots of the AS-2 build.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain lighting theory, colour, exposure and the offline vs real-time rendering pipelines. |
| CO2 | L3 · Apply | Apply three-point, naturalistic and cinematic lighting setups to light a scene for mood. |
| CO3 | L3 · Apply | Apply look-development — materials, shaders, HDRI, lighting rigs — to develop an asset's look. |
| CO4 | L4 · Analyze | Analyze and execute offline rendering (Arnold) with AOVs, sampling and render settings. |
| CO5 | L4 · Analyze | Analyze and execute real-time rendering and lighting (Unreal/Lumen) and compare to offline. |
| CO6 | L5 · Evaluate | Evaluate and present cinematically lit, rendered final frames with a lighting breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | M | M | H | – | – | – | – | M |
| CO2 | H | H | M | M | H | – | – | – | – | M |
| CO3 | H | H | – | M | H | – | – | – | – | M |
| CO4 | H | M | – | M | H | – | – | – | – | H |
| CO5 | H | M | – | H | H | – | – | – | – | H |
| CO6 | H | H | M | M | H | – | L | M | H | H |
The class lights and renders a complete scene (a textured environment + hero asset) to a cinematic standard, in both Arnold and Unreal/Lumen for comparison. Each module adds a stage: design the lighting and mood (setups), develop the look (look-dev), render offline in Arnold (offline), render real-time in Unreal (real-time). The instructor lights a reference scene while students light their own.
The capstone is a set of cinematic final frames rendered in both pipelines, with a light-by-light breakdown — the lighting-artist portfolio piece.
Each student independently lights and renders a different scene in both pipelines. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Lighting & Mood (CO2) | 25% | Beautiful, intentional, story-serving lighting with strong mood. |
| Look-Development (CO3) | 20% | Materials and look read convincingly under the lighting. |
| Offline Render (CO4) | 20% | Clean, noise-free Arnold render; correct AOVs and settings. |
| Real-Time Render (CO5) | 20% | High-quality Lumen render; thoughtful comparison to offline. |
| Final Frames & Breakdown (CO6) | 15% | Cinematic finished frames; clear, professional breakdown. |
| TOTAL | 100% | Cinematic, portfolio-grade lit and rendered frames in both pipelines. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Lighting Study | Use case: analyse lighting in film stills. Deliverable: study sheet. |
| 2 | Three-Point Setup | Use case: light a portrait/asset three-point. Deliverable: lit render. |
| 3 | Time-of-Day Lighting | Use case: light a scene at 3 times of day. Deliverable: 3 renders. |
| 4 | HDRI Look-Dev | Use case: look-dev an asset on HDRI rigs. Deliverable: turntable. |
| 5 | Shader Response | Use case: test materials under lighting. Deliverable: material study. |
| 6 | Arnold AOVs | Use case: render with AOVs and rebuild. Deliverable: AOV set. |
| 7 | Sampling & Noise | Use case: tune sampling for clean render. Deliverable: optimised render. |
| 8 | Lumen Lighting | Use case: light the scene in Unreal/Lumen. Deliverable: real-time render. |
| 9 | MRQ Output | Use case: high-quality render via Movie Render Queue. Deliverable: rendered frames. |
| 10 | Offline vs Real-Time | Use case: match a look across both. Deliverable: comparison + notes. |
For the Animation & Gaming team, this course produces the final-image quality of AS-2 — the cinematic lighting and rendering that make the team's cinematics, trailers and beauty shots look professional. Whether AS-2 finishes offline (Arnold) or real-time (Unreal/Lumen), the lighting and look-dev craft here sets its visual ceiling.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Light for Visual Artists | Richard Yot | Laurence King · 2019 (2nd ed.) | Lighting theory for artists (Modules 1–2). |
| Color and Light | James Gurney | Andrews McMeel · 2010 | Colour, light and mood (Modules 1–2). |
| Digital Lighting & Rendering | Jeremy Birn | New Riders · 2013 (3rd ed.) | The standard CG lighting/rendering text (all modules). |
| The Filmmaker's Eye | Gustavo Mercado | Routledge (Focal Press) · 2019 (2nd ed.) | Cinematic framing and lighting language (Module 2). |
| Arnold for Maya documentation | Autodesk / Solid Angle | current | Offline rendering reference (Module 4). |
| Unreal Engine Lighting documentation | Epic Games | Epic · current | Real-time lighting/Lumen reference (Module 5). |
| Course | Platform | Relevance |
|---|---|---|
| 3D Lighting & Rendering / Arnold courses | Udemy | Offline lighting and rendering (Modules 2–4). |
| Lighting & Look-Dev paths | Pluralsight | Studio look-dev and rendering (Modules 3–4). |
| Real-Time Lighting in Unreal | Udemy | Lumen and real-time rendering (Module 5). |
| Cinematic Lighting | Domestika | Project-based cinematic lighting (Module 2). |
| Unreal — official lighting learning | Epic Games | Free official real-time lighting courses (Module 5). |
Intelligence inside the game — machine-learning agents, generative systems and AI-driven NPC behaviour that make games adaptive, alive and procedurally rich.
To introduce students to machine-learning and generative-AI techniques inside interactive systems — covering ML fundamentals for games, ML-Agents (reinforcement-learning NPCs), generative and procedural systems, and integrating trained agents and generative content into a game — so that they can build adaptive, intelligent and procedurally rich interactive experiences.
AI is moving from scripted behaviour to learned and generative systems, and game studios increasingly seek developers who understand ML agents and procedural generation. Game Development (PO4), Digital Content Creation (PO1) and Lifelong Learning (PO10) are served. Building on Advanced Game Programming and the earlier AI courses, this course gives the Animation & Gaming student a forward-looking, differentiating capability — training and integrating ML agents and generative systems — that strengthens the AS-2 game with adaptive behaviour and procedural depth.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain ML fundamentals — supervised/unsupervised/reinforcement learning — in a game context. |
| CO2 | L3 · Apply | Apply ML-Agents to set up and train a reinforcement-learning agent in a game environment. |
| CO3 | L3 · Apply | Apply reward design, observation and training workflows to shape useful agent behaviour. |
| CO4 | L4 · Analyze | Analyze and build generative/procedural systems (PCG) for content and behaviour. |
| CO5 | L4 · Analyze | Analyze and integrate trained agents and generative content into a playable game, with ethics. |
| CO6 | L5 · Evaluate | Evaluate and present an interactive system using an ML agent or generative AI, justifying design. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | – | – | H | M | – | L | – | – | H |
| CO2 | H | – | – | H | M | – | – | – | – | H |
| CO3 | H | – | – | H | M | – | – | – | – | H |
| CO4 | H | M | – | H | M | – | – | – | – | H |
| CO5 | H | L | – | H | M | M | H | M | – | H |
| CO6 | H | L | – | H | M | M | M | M | H | H |
The class builds a playable system driven by a trained ML agent or generative system — for example an RL-trained enemy/companion, or a procedurally generated level with adaptive difficulty. Each module adds a stage: set up ML-Agents and train (setup), shape behaviour with reward design (rewards), add a generative/procedural element (generative), then integrate into a playable build with ethics review (integration). The instructor builds a reference system while students build their own.
The capstone is a playable interactive system with a trained agent or generative system, plus training documentation and a design write-up.
Each student independently builds a different intelligent system using the same workflow. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| ML-Agents Setup & Training (CO2) | 25% | Correct setup; agent trains and converges to useful behaviour. |
| Reward Design (CO3) | 20% | Thoughtful reward design producing the intended behaviour; no hacking. |
| Generative System (CO4) | 20% | Effective, controllable generative/procedural element. |
| Integration & Ethics (CO5) | 20% | Cleanly integrated, performant, with sound ethics/testing. |
| Presentation & Design (CO6) | 15% | Clear documentation and convincing design defence. |
| TOTAL | 100% | A playable, intelligent, well-documented interactive system. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | ML Concepts Map | Use case: map ML types to game uses. Deliverable: concept map. |
| 2 | ML-Agents Install | Use case: set up the toolkit + sample. Deliverable: running sample. |
| 3 | First Training | Use case: train a simple RL agent. Deliverable: trained model. |
| 4 | Observation/Action Design | Use case: design an agent's senses/actions. Deliverable: spec + agent. |
| 5 | Reward Shaping | Use case: tune rewards for a behaviour. Deliverable: before/after behaviour. |
| 6 | Curriculum Learning | Use case: stage difficulty in training. Deliverable: curriculum + results. |
| 7 | Procedural Level | Use case: generate a level procedurally. Deliverable: PCG level. |
| 8 | WFC / Grammar | Use case: build a WFC/grammar generator. Deliverable: generator. |
| 9 | LLM NPC Dialogue | Use case: wire an LLM-driven NPC. Deliverable: NPC demo. |
| 10 | Integration & Test | Use case: integrate agent into a build, test. Deliverable: playable build + test log. |
For the Animation & Gaming team, this course can give AS-2 adaptive intelligence and procedural depth — ML-trained enemies/companions, procedurally generated content, or LLM-driven NPCs — differentiating the team's game with behaviour that classical scripting can't match, while the ethics and testing discipline keeps that AI safe and player-friendly.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Artificial Intelligence and Games | Yannakakis & Togelius | Springer · 2018 (free online) | AI and ML in games (Modules 1–4). |
| Procedural Content Generation in Games | Shaker, Togelius, Nelson | Springer · 2016 (free online) | PCG foundations (Module 4). |
| Reinforcement Learning: An Introduction | Sutton & Barto | MIT Press · 2018 (2nd ed., free) | RL theory behind ML-Agents (Modules 2–3). |
| Deep Learning | Goodfellow, Bengio, Courville | MIT Press · 2016 (free online) | Conceptual ML grounding (Module 1). |
| Unity ML-Agents documentation | Unity Technologies | Unity · current | Toolkit reference (Modules 2–3, 5). |
| AI for Games | Ian Millington | CRC Press · 2019 (3rd ed.) | Classical vs learned AI context (Module 1). |
| Course | Platform | Relevance |
|---|---|---|
| Unity ML-Agents / AI for Games courses | Udemy | Hands-on ML-Agents (Modules 2–3, 5). |
| Machine Learning / Deep Learning Specialization | Coursera | ML foundations (Module 1). |
| Reinforcement Learning Specialization (Alberta) | Coursera | RL theory and practice (Modules 2–3). |
| Procedural Generation paths | Pluralsight | PCG techniques (Module 4). |
| Generative AI & LLM Application | DeepLearning.AI | LLM-driven systems (Module 4). |
Games in every pocket — building, optimising and shipping mobile games in Unity for the world's largest gaming market, anchored by the Unity Certified Associate Game Developer credential.
To develop the skills to design, build, optimise and publish mobile games in Unity — covering mobile-specific design and input, performance optimisation for devices, monetisation and analytics, platform requirements, and the build-and-publish pipeline — so that students can ship a complete mobile game and earn the Unity Certified Associate Game Developer credential.
Mobile is the largest gaming market globally and especially in India, making mobile game development one of the most directly employable specialisations for the Animation & Gaming track. Game Development (PO4), Digital Content Creation (PO1) and Lifelong Learning (PO10) are served, and the Unity Certified Associate Game Developer credential is a recognised, employer-verified qualification. Building on Game Design Fundamentals and Advanced Game Programming, this course teaches the distinctive craft of shipping for mobile — optimisation, input, monetisation, store publishing — and anchors the Trimester-6 credential on the A&G certification ladder.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain mobile-game design principles, platforms, the market and the Unity mobile pipeline. |
| CO2 | L3 · Apply | Apply mobile-specific design and input (touch, gyro, gestures) to build mobile gameplay. |
| CO3 | L3 · Apply | Apply performance optimisation — assets, draw calls, memory, battery — for mobile devices. |
| CO4 | L4 · Analyze | Analyze and integrate monetisation, ads, IAP and analytics responsibly into a mobile game. |
| CO5 | L4 · Analyze | Analyze platform/store requirements and execute the build-test-publish pipeline. |
| CO6 | L5 · Evaluate | Evaluate and ship a complete, optimised mobile game and demonstrate Unity certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | H | – | – | – | – | – | M |
| CO2 | H | M | – | H | – | – | – | – | – | M |
| CO3 | H | – | – | H | M | – | – | – | – | H |
| CO4 | M | – | – | H | – | M | H | – | – | M |
| CO5 | H | – | – | H | – | – | M | M | – | H |
| CO6 | H | M | – | H | M | L | M | M | H | H |
Relevance. Unity is the dominant mobile-game engine and the Certified Associate Game Developer credential is a recognised, employer-verified qualification that signals job-ready Unity development competence. For the Animation & Gaming track — targeting the huge mobile-games market — it is one of the most directly hireable certifications a graduate can hold, advancing the Unity ladder begun with the User Programmer credential in Trimester 2.
Instruction to students. Every student must achieve the Unity Certified Associate Game Developer certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class builds a complete mobile game (a focused, polished casual/hyper-casual or arcade title) and takes it to a store-ready build. Each module adds a stage: design for mobile (design), build touch/sensor gameplay (input), optimise for devices (performance), integrate ethical monetisation and analytics (monetisation), then build, test and prepare to publish (publish). The instructor ships a reference game while students ship their own.
The capstone is a complete, optimised, store-ready mobile game with an APK/build, store listing assets, and a performance/monetisation report.
Each student independently ships a different mobile game using the same pipeline. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Mobile Design & Input (CO2) | 20% | Intuitive mobile-first design; responsive touch/sensor controls. |
| Performance Optimisation (CO3) | 25% | Runs smoothly on target devices; well-optimised assets and memory. |
| Monetisation & Analytics (CO4) | 20% | Ethical, well-integrated monetisation and useful analytics. |
| Build & Publish Readiness (CO5) | 20% | Store-ready build meeting platform requirements; clean listing. |
| Finish & Polish (CO6) | 15% | Polished, complete, shippable game. |
| TOTAL | 100% | A complete, optimised, publishable mobile game. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Mobile Project Setup | Use case: configure a Unity mobile project. Deliverable: running mobile build. |
| 2 | Touch Controls | Use case: implement touch/gesture input. Deliverable: touch demo. |
| 3 | Sensor Input | Use case: use gyro/accelerometer. Deliverable: tilt demo. |
| 4 | Responsive UI | Use case: build UI for multiple screen sizes. Deliverable: responsive UI. |
| 5 | Asset Optimisation | Use case: optimise textures/meshes. Deliverable: before/after sizes. |
| 6 | Profiling on Device | Use case: profile FPS/memory on a phone. Deliverable: profile report. |
| 7 | Ad Integration | Use case: add a rewarded ad. Deliverable: ad demo. |
| 8 | IAP & Analytics | Use case: add an IAP and an analytics event. Deliverable: IAP + event. |
| 9 | Build & Sign | Use case: produce a signed APK. Deliverable: signed build. |
| 10 | Store Listing | Use case: create store listing assets. Deliverable: listing kit. |
For the Animation & Gaming team, this course makes AS-2 shippable and platform-ready — if the AS-2 game targets mobile, the optimisation, input, monetisation and publishing skills here take it from a project to a store-ready title. The performance discipline benefits any AS-2 build that must run well on real hardware.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Unity in Action | Joe Hocking | Manning · 2022 (3rd ed.) | Practical Unity development and cert prep (all modules). |
| Mobile Game Development with Unity | Jonathon Manning, Paris Buttfield-Addison | O'Reilly · 2017 | Mobile-specific Unity development (Modules 1–3, 5). |
| Game Programming Patterns | Robert Nystrom | Genever Benning · 2014 (free online) | Clean architecture for shippable games (Module 3). |
| The Art of Game Design: A Book of Lenses | Jesse Schell | CRC Press · 2019 (3rd ed.) | Mobile-first design thinking (Module 1). |
| Unity Optimization documentation / Best Practices | Unity Technologies | Unity · current | Performance optimisation reference (Module 3). |
| Hooked: How to Build Habit-Forming Products | Nir Eyal | Portfolio · 2014 | Retention/monetisation (read critically for ethics) (Module 4). |
| Course | Platform | Relevance |
|---|---|---|
| Complete Unity Mobile Game Development | Udemy | End-to-end mobile shipping mapped to cert. |
| Unity / Mobile Game Dev paths | Pluralsight | Optimisation, input and publishing (Modules 2–5). |
| Game Development for Mobile | Coursera | Mobile design and development fundamentals. |
| Unity Learn — Junior Programmer / Mobile pathways | Unity | Official curriculum and certification prep (Module 6). |
| Mobile Monetisation & Live-Ops | Udemy | Monetisation and analytics (Module 4). |
Painting in 3D space — projection mapping, matte painting and set extension that turn photographs and paintings into believable, camera-accurate 3D environments for film and VFX.
To develop projection and matte-painting skills for VFX — covering digital matte painting, camera projection onto 3D geometry, 2.5D and full-3D set extensions, and integrating projected environments with live-action plates — so that students can extend and create photoreal environments that hold up to a moving camera.
Matte painting and camera projection are the techniques behind a huge proportion of film's "impossible" environments — vast vistas, extended sets, period and fantasy worlds. Matte painter / DMP and environment-VFX artist are specialised, well-paid roles. Advanced VFX & CGI Integration (PO5) and Visual Design Principles (PO2) are served. Building on Compositing and Tracking, this Film & VFX course gives students the projection craft that completes the environment-VFX pipeline, producing set extensions and matte-painted worlds for the AS-2 film.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain matte painting, camera projection, 2.5D vs 3D, and the set-extension pipeline. |
| CO2 | L3 · Apply | Apply digital matte-painting techniques to create a photoreal environment plate. |
| CO3 | L3 · Apply | Apply camera projection onto geometry to give a matte painting parallax and depth. |
| CO4 | L4 · Analyze | Analyze and build 2.5D and full-3D set extensions integrated with a tracked camera. |
| CO5 | L4 · Analyze | Analyze and integrate projected environments with live-action plates in compositing. |
| CO6 | L5 · Evaluate | Evaluate and present a finished projected set-extension shot with a breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | – | – | H | – | – | – | – | M |
| CO2 | H | H | M | – | H | – | – | – | – | M |
| CO3 | H | M | – | – | H | – | – | – | – | M |
| CO4 | H | M | – | – | H | – | – | – | – | H |
| CO5 | H | H | – | – | H | – | – | – | M | M |
| CO6 | H | H | M | – | H | – | L | M | H | H |
The class takes a live-action plate (with a tracked camera from the Tracking course) and extends its world with a matte-painted, camera-projected environment. Each module adds a stage: paint the environment (DMP), project it for parallax (projection), build a 2.5D/3D set extension on the tracked camera (extension), then integrate with the plate in comp (integration). The instructor builds a reference shot while students build their own.
The capstone is a finished set-extension shot where a real plate is convincingly extended into an impossible world, with a full breakdown.
Each student independently builds a different set extension using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Matte Painting (CO2) | 25% | Photoreal, well-composed painting; flawless perspective and light. |
| Projection & Parallax (CO3) | 20% | Convincing parallax; clean projection with no stretching artefacts. |
| Set Extension (CO4) | 25% | Extension holds through the full camera move; correct scale and depth. |
| Integration (CO5) | 15% | Seamless, invisible integration with the plate. |
| Finish & Breakdown (CO6) | 15% | Polished shot; clear, professional breakdown. |
| TOTAL | 100% | An invisible, camera-accurate projected set extension. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Matte Study | Use case: analyse famous matte shots. Deliverable: study sheet. |
| 2 | Photo-Bash Environment | Use case: build an environment by photo-bashing. Deliverable: matte plate. |
| 3 | Perspective Match | Use case: match a painting to a plate's perspective. Deliverable: matched matte. |
| 4 | Single-Card Projection | Use case: project a still onto a card. Deliverable: projection. |
| 5 | Multi-Plane Projection | Use case: separate layers for parallax. Deliverable: multi-plane setup. |
| 6 | Project onto Geo | Use case: project onto proxy geometry. Deliverable: projected geo. |
| 7 | Tracked Set Extension | Use case: extend a tracked plate. Deliverable: extension shot. |
| 8 | Atmosphere Match | Use case: match haze/light to the plate. Deliverable: matched comp. |
| 9 | Comp Integration | Use case: integrate extension in Nuke. Deliverable: integrated shot. |
| 10 | Finish & Breakdown | Use case: finish and break down the shot. Deliverable: final + breakdown. |
For the Film & VFX team, this course produces the impossible environments of AS-2 — vast vistas, extended sets and worlds the team could never physically shoot. Combined with the team's tracking and compositing, projected matte paintings let the AS-2 film achieve a production scale far beyond its budget.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Invisible Art: The Legends of Movie Matte Painting | Cotta Vaz & Barron | Chronicle Books · 2002 | History and craft of matte painting (Modules 1–2). |
| d'artiste: Matte Painting | Ballend, Mattingly et al. | Ballistic Publishing · 2007 | Professional DMP technique (Module 2). |
| Digital Compositing for Film and Video | Steve Wright | Routledge (Focal Press) · 2017 | Projection and integration (Modules 3, 5). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | Set extension within the VFX pipeline. |
| Color and Light | James Gurney | Andrews McMeel · 2010 | Light/atmosphere for painted environments (Modules 2, 5). |
| Nuke / Maya projection documentation | Foundry / Autodesk | current | Projection tool reference (Modules 3–4). |
| Course | Platform | Relevance |
|---|---|---|
| Matte Painting & Set Extension courses | Udemy | DMP and projection (Modules 2–5). |
| Environment & Matte Painting paths | Pluralsight | Projection and 3D environments (Modules 3–4). |
| fxphd matte painting / projection series | fxphd | Professional-level technique. |
| Digital Matte Painting | Domestika | Project-based matte painting (Module 2). |
| Nuke Projection & 3D | Foundry-endorsed | Projection in Nuke (Modules 3, 5). |
Truth on screen — the craft and ethics of documentary, from research and access through verité shooting and interviews to the edit that shapes real life into a compelling story.
To develop end-to-end documentary filmmaking skills — research and development, access and ethics, verité and interview shooting, directing real subjects, and documentary editing and structure — so that students can plan, shoot and edit a complete short documentary that tells a true story with craft, integrity and impact.
Documentary and non-fiction content is a large and growing market across OTT, broadcast, brands and social, and it builds the most transferable filmmaking discipline — story-finding, real-world shooting, interviewing and ethical practice. Storytelling & Narratives (PO3), Ethics (PO7), Societal & Environmental Impact (PO6) and Effective Communication (PO9) are all served. As the highest-credit Film & VFX course in Trimester 6, this is a flagship production experience that produces a complete, festival-ready short documentary and deepens the AS-2 team's real-world filmmaking capacity.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain documentary modes, history, ethics and the documentary production pipeline. |
| CO2 | L3 · Apply | Apply research, story-finding and development to build a documentary proposal and access plan. |
| CO3 | L3 · Apply | Apply verité, observational and interview shooting techniques to capture real footage. |
| CO4 | L4 · Analyze | Analyze and apply documentary directing — interviewing, ethics, consent, working with subjects. |
| CO5 | L4 · Analyze | Analyze and apply documentary editing — structure, narrative, voice, archive and music. |
| CO6 | L5 · Evaluate | Evaluate and present a complete short documentary that tells a true story ethically and well. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | L | H | – | – | M | H | – | M | M |
| CO2 | M | – | H | – | – | H | M | M | H | M |
| CO3 | H | M | H | – | – | M | M | M | M | M |
| CO4 | M | – | H | – | – | H | H | M | H | M |
| CO5 | H | M | H | – | – | M | M | – | H | M |
| CO6 | H | M | H | – | – | H | H | M | H | H |
Each student (or small team) develops, shoots and edits a complete short documentary (5–8 minutes) on a real subject. Each module advances the film: develop and gain access (research), shoot verité and B-roll (shooting), conduct and direct interviews ethically (directing), then structure and cut the film (editing). The instructor guides a reference project while students make their own.
The capstone is a finished, ethical, festival-ready short documentary with its proposal, shooting plan and a reflection on the ethical choices made.
Each student delivers a complete short documentary on a subject of their choice. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Research & Development (CO2) | 15% | Compelling story; thorough research; strong proposal and access. |
| Shooting Craft (CO3) | 20% | Strong verité footage and sound; captures real, usable moments. |
| Directing & Ethics (CO4) | 20% | Excellent interviews; demonstrably ethical treatment of subjects. |
| Editing & Structure (CO5) | 25% | Clear, engaging structure and voice; truthful, well-paced edit. |
| Finished Film & Impact (CO6) | 20% | Polished, moving, festival-ready documentary. |
| TOTAL | 100% | A complete, ethical, festival-ready short documentary. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Documentary Analysis | Use case: analyse a doc's mode/ethics. Deliverable: analysis. |
| 2 | Story Pitch | Use case: pitch 3 documentary ideas. Deliverable: pitches. |
| 3 | Proposal & Treatment | Use case: write a doc proposal. Deliverable: proposal. |
| 4 | Release & Consent | Use case: prepare release/consent forms. Deliverable: forms + plan. |
| 5 | Verité Shoot | Use case: shoot an observational scene. Deliverable: verité footage. |
| 6 | Interview Setup | Use case: light/mic and shoot an interview. Deliverable: interview clip. |
| 7 | B-Roll Capture | Use case: shoot supporting B-roll. Deliverable: B-roll set. |
| 8 | Paper Edit | Use case: build a paper edit from transcripts. Deliverable: paper edit. |
| 9 | Assembly Cut | Use case: assemble a rough doc cut. Deliverable: rough cut. |
| 10 | Finish & Sound | Use case: finish with music/grade. Deliverable: finished short. |
For the Film & VFX team, this course builds the real-world filmmaking and storytelling backbone for AS-2 — story-finding, ethical shooting, interviewing and documentary structure transfer directly to any non-fiction or hybrid AS-2 project, and the production discipline of shooting real subjects on location strengthens the whole team's filmmaking craft.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Directing the Documentary | Michael Rabiger | Routledge (Focal Press) · 2020 (7th ed.) | The standard documentary text (all modules). |
| Introduction to Documentary | Bill Nichols | Indiana University Press · 2017 (3rd ed.) | Modes and theory (Module 1). |
| Documentary Storytelling | Sheila Curran Bernard | Routledge (Focal Press) · 2016 (4th ed.) | Structure and narrative (Modules 2, 5). |
| Producing & Directing the Short Film and Video | Irving & Rea | Routledge (Focal Press) · 2015 | Production craft (Modules 2–4). |
| The Documentary Filmmaking Master Class | Pizzello / various | Allworth · 2016 | Practitioner insight (Modules 3–5). |
| Cut to the Chase / documentary editing texts | Various | current | Documentary editing (Module 5). |
| Course | Platform | Relevance |
|---|---|---|
| Documentary Filmmaking — Complete courses | Udemy | End-to-end documentary (all modules). |
| Documentary & Non-Fiction Storytelling | Coursera | Story and structure (Modules 1–2, 5). |
| MasterClass-style documentary directing | MasterClass | Practitioner directing insight (Modules 3–4). |
| Documentary Production paths | LinkedIn Learning | Shooting and editing workflow (Modules 3, 5). |
| Interview & Field Production | Domestika | Interview and verité craft (Modules 3–4). |
Design in motion — animated graphics, titles and visual effects in After Effects, supercharged with generative-AI workflows, anchored by the Adobe After Effects certification.
To develop motion-graphics and motion-design skills in Adobe After Effects — covering animation principles, kinetic typography, shape and logo animation, compositing and visual effects, expressions, and AI-augmented motion workflows — so that students can create professional animated graphics, titles and effects for film, advertising and digital media, and earn the Adobe After Effects certification.
Motion graphics is one of the most consistently in-demand and versatile screen skills — used in titles, broadcast, advertising, social, explainers and UI. After Effects is the industry-standard tool and the Adobe certification is widely recognised. Digital Content Creation (PO1), Visual Design Principles (PO2) and Effective Communication (PO9) are served. This course also integrates generative-AI workflows (AI-assisted animation, generative elements) so graduates are modern, AI-augmented motion designers. It anchors the Trimester-6 credential on the F&V certification ladder and produces the titles, graphics and motion elements for the AS-2 deliverable.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain motion-design principles, the After Effects interface and the motion-graphics pipeline. |
| CO2 | L3 · Apply | Apply animation principles, keyframing and easing to animate shapes, text and logos. |
| CO3 | L3 · Apply | Apply kinetic typography and design-in-motion to build an animated title/graphics sequence. |
| CO4 | L4 · Analyze | Analyze and apply compositing, effects and expressions for motion VFX and automation. |
| CO5 | L4 · Analyze | Analyze and integrate generative-AI workflows into motion design responsibly. |
| CO6 | L5 · Evaluate | Evaluate and present a finished motion-graphics piece and demonstrate After Effects certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | M | – | M | – | – | – | M | M |
| CO2 | H | H | – | – | M | – | – | – | M | M |
| CO3 | H | H | M | – | – | – | – | – | H | M |
| CO4 | H | M | – | – | H | – | – | – | M | H |
| CO5 | H | M | – | – | M | M | H | – | M | H |
| CO6 | H | H | M | – | M | – | L | M | H | H |
Relevance. After Effects is the industry-standard motion-graphics and compositing tool across film titles, broadcast, advertising and digital media. The Adobe Certified Professional credential verifies job-ready motion-design competence in the tool employers expect — a directly hireable qualification for motion designer, MG artist and title-design roles, and the anchor of the Film & VFX Trimester-6 credential.
Instruction to students. Every student must achieve Adobe After Effects certification by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the certification objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class produces a complete motion-graphics piece — a title sequence, animated explainer or branded MG spot. Each module adds a stage: animate shapes/logos (principles), build kinetic typography and titles (typography), add compositing, effects and expressions (effects), then integrate AI-generated/assisted elements (generative AI). The instructor builds a reference piece while students build their own.
The capstone is a finished, rendered motion-graphics piece incorporating AI-augmented elements responsibly — the motion-designer portfolio piece.
Each student independently produces a different motion-graphics piece using the same workflow. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Animation & Easing (CO2) | 25% | Polished, principled animation with beautiful timing and easing. |
| Kinetic Typography & Design (CO3) | 20% | Strong typographic motion design; clear hierarchy and rhythm. |
| Compositing & Expressions (CO4) | 20% | Clean compositing and effects; smart use of expressions. |
| AI Integration (CO5) | 20% | Effective, responsible, disclosed AI augmentation that elevates the piece. |
| Finish & Presentation (CO6) | 15% | Polished, professional, delivery-ready piece. |
| TOTAL | 100% | A polished, AI-augmented motion-graphics piece. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | AE Setup & Comp | Use case: build a first composition. Deliverable: starter comp. |
| 2 | Easing & Graph Editor | Use case: animate with refined easing. Deliverable: eased animation. |
| 3 | Logo Animation | Use case: animate a logo reveal. Deliverable: logo sting. |
| 4 | Kinetic Type | Use case: animate a kinetic-typography line. Deliverable: type sequence. |
| 5 | Title Sequence | Use case: build a short title sequence. Deliverable: titles. |
| 6 | Track Mattes & Comp | Use case: composite with mattes/blending. Deliverable: comp. |
| 7 | Effects & Motion VFX | Use case: create a motion VFX element. Deliverable: VFX clip. |
| 8 | Expressions | Use case: automate with expressions (wiggle/loop). Deliverable: expression demo. |
| 9 | AI Element Integration | Use case: integrate an AI-generated element. Deliverable: clip + disclosure. |
| 10 | Render & Deliver | Use case: render via Media Encoder. Deliverable: delivery files. |
For the Film & VFX team, this course supplies the titles, motion graphics and motion-VFX layer of AS-2 — title sequences, lower-thirds, animated logos, explainer segments and motion-design polish, accelerated where appropriate with AI-augmented workflows. It gives the AS-2 deliverable a professional graphic identity and finish.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Adobe After Effects Classroom in a Book | Lisa Fridsma, Brie Gyncild | Adobe Press · 2023 | Official AE training and cert prep (all modules). |
| Creating Motion Graphics with After Effects | Chris & Trish Meyer | Routledge (Focal Press) · 2010 (5th ed.) | The deep MG/AE reference (Modules 2–4). |
| The Animator's Survival Kit | Richard Williams | Faber & Faber · 2009 | Animation principles in motion (Module 2). |
| Motion Graphics: Principles and Practices | Crook & Beare | Bloomsbury · 2016 | Motion-design theory and practice (Modules 1, 3). |
| Design for Motion | Austin Shaw | Routledge (Focal Press) · 2019 (2nd ed.) | Motion-design craft and process (Modules 1, 3). |
| AI motion / generative-tool documentation | Adobe / vendors | current | Generative-AI motion workflows (Module 5). |
| Course | Platform | Relevance |
|---|---|---|
| After Effects — Complete Motion Graphics courses | Udemy | End-to-end AE mapped to certification. |
| Motion Graphics & After Effects paths | Pluralsight | Animation, comp and expressions (Modules 2–4). |
| Motion Design / Kinetic Typography | Domestika | Project-based motion design (Modules 2–3). |
| School of Motion-style MG courses | School of Motion | Professional MG craft (Modules 2–4). |
| Adobe After Effects — official tutorials | Adobe | Official curriculum and cert prep (Module 6). |
The convergence of film and games — LED-volume and real-time virtual production, in-camera VFX and Unreal cinematics, where the Animation & Gaming and Film & VFX streams meet. Anchored by Epic's Unreal Authorized/Connector credential.
To develop virtual-production and real-time cinematics skills in Unreal Engine — covering the VP pipeline and LED-volume/in-camera VFX, virtual cameras and cinematography, real-time environments and Sequencer cinematics, live compositing and the brain-bar workflow — so that students from both streams can plan and execute virtual-production shots and real-time cinematic sequences, and earn an Epic Unreal credential.
Virtual production is the fastest-growing area where film and games converge — LED volumes, real-time environments and in-camera VFX are transforming both industries, and Unreal-skilled VP talent is among the most reliably well-paid entry-level destinations the program targets. As the flagship shared course of the final trimester, it deliberately unites the Animation & Gaming and Film & VFX streams on a common, in-demand pipeline, serving Advanced VFX & CGI Integration (PO5), Game Development (PO4), Collaborative Production (PO8) and Lifelong Learning (PO10). The Epic Unreal credential is the recognised industry qualification, and the course feeds the AS-2 capstone with a real-time/VP capability.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the virtual-production pipeline, LED-volume/ICVFX and the real-time cinematics workflow. |
| CO2 | L3 · Apply | Apply Unreal real-time environment and scene setup for virtual production and cinematics. |
| CO3 | L3 · Apply | Apply virtual cameras, cinematography and Sequencer to build a real-time cinematic sequence. |
| CO4 | L4 · Analyze | Analyze and execute in-camera VFX / LED-volume technique, including camera tracking and frustum. |
| CO5 | L4 · Analyze | Analyze and apply the on-set VP/brain-bar workflow, live compositing and team roles. |
| CO6 | L5 · Evaluate | Evaluate and present a virtual-production shot or real-time cinematic and demonstrate Unreal certification proficiency. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | H | H | – | – | M | – | M |
| CO2 | H | M | – | H | H | – | – | – | – | M |
| CO3 | H | H | H | M | H | – | – | – | M | M |
| CO4 | H | M | – | H | H | – | – | – | – | H |
| CO5 | M | – | – | H | H | – | – | H | H | M |
| CO6 | H | H | M | H | H | – | L | H | H | H |
Relevance. Unreal Engine is the dominant engine for virtual production and real-time cinematics, and Epic's authorized/connector credentialing is the recognised industry signal of Unreal proficiency. For both streams converging on VP — the program's highest-value entry destination — an Unreal credential is among the most directly hireable qualifications a graduate can hold, completing the certification ladder built across all seven trimesters.
Instruction to students. Every student must achieve the Epic Unreal authorized/connector credential by the closure of the trimester. The certification carries 20% weightage in the course evaluation. Modules 2–6 are structured to prepare students directly for the credential objectives.
Tiered pathway — pick the highest tier you can reach. The tier you certify at materially changes the job roles open to you:
The class plans and executes a virtual-production shot or real-time cinematic in Unreal — a sequence where a (real or simulated) subject is placed in a real-time environment with in-camera VFX technique. Each module adds a stage: build the real-time environment (environments), set up virtual cameras and Sequencer (cinematics), apply ICVFX/volume technique and tracking (ICVFX), then run the on-set/brain-bar workflow and capture (workflow). The instructor runs a reference shot while students build their own.
The capstone is a finished VP shot or real-time cinematic with a breakdown of the pipeline and on-set workflow — the convergence portfolio piece for both streams.
Each student independently builds a different VP shot or real-time cinematic using the same workflow. This is the assessed individual deliverable (the remaining course weight sits alongside the 20% certification component).
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Real-Time Environment (CO2) | 20% | Beautiful, optimised, VP-ready real-time environment. |
| Virtual Cameras & Cinematics (CO3) | 25% | Cinematic camera work and a compelling real-time sequence. |
| ICVFX / Volume Technique (CO4) | 20% | Correct frustum/tracking; convincing in-camera result. |
| On-Set Workflow (CO5) | 15% | Sound brain-bar workflow and team coordination. |
| Finished Shot & Breakdown (CO6) | 20% | Polished VP shot/cinematic; clear professional breakdown. |
| TOTAL | 100% | A finished virtual-production shot or real-time cinematic. (Certification = separate 20% course component.) |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | VP Pipeline Map | Use case: map the VP spectrum to use-cases. Deliverable: pipeline map. |
| 2 | Real-Time Environment | Use case: assemble a real-time set. Deliverable: environment. |
| 3 | VP Lighting | Use case: light an environment for VP. Deliverable: lit scene. |
| 4 | Virtual Camera | Use case: shoot with a VCam. Deliverable: VCam take. |
| 5 | Sequencer Cinematic | Use case: build a Sequencer shot. Deliverable: cinematic. |
| 6 | Camera Frustum | Use case: set up inner/outer frustum. Deliverable: frustum demo. |
| 7 | Camera Tracking | Use case: simulate tracked camera in engine. Deliverable: tracked shot. |
| 8 | nDisplay Setup | Use case: configure a basic nDisplay wall. Deliverable: wall config. |
| 9 | Live Composite | Use case: live-composite a subject into the scene. Deliverable: composite. |
| 10 | Capture & Breakdown | Use case: capture and break down a VP shot. Deliverable: shot + breakdown. |
As the shared convergence course, this is where AS-2 teams from both streams can give their capstone a virtual-production / real-time cinematic backbone — real-time environments, in-camera VFX and Unreal cinematics that let the team shoot ambitious sequences efficiently. It is also the on-set collaboration model — film crew and engine operators working together — that the AS-2 team can adopt directly.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Virtual Production Field Guide (Vol 1 & 2) | Epic Games / Noah Kadner | Epic Games · current (free) | The definitive VP reference (all modules). |
| Unreal Engine — Virtual Production documentation | Epic Games | Epic · current | ICVFX, nDisplay, VCam reference (Modules 2–5). |
| The Filmmaker's Eye | Gustavo Mercado | Routledge (Focal Press) · 2019 (2nd ed.) | Cinematography for real-time cinematics (Module 3). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | VP within the wider VFX pipeline (Modules 1, 4). |
| Unreal Engine 5 — official cinematics learning | Epic Games | Epic · current | Sequencer and real-time cinematics (Module 3). |
| Real-Time Rendering | Akenine-Möller et al. | CRC Press · 2018 (4th ed.) | Real-time fundamentals behind VP (Modules 1–2). |
| Course | Platform | Relevance |
|---|---|---|
| Unreal Engine — Virtual Production learning paths | Epic Games | Official free VP curriculum and credential prep. |
| Virtual Production & Unreal Cinematics | Udemy | Hands-on VP and real-time cinematics (Modules 2–5). |
| Real-Time / Unreal paths | Pluralsight | Real-time environments and Sequencer (Modules 2–3). |
| In-Camera VFX & LED Volume | fxphd | Professional ICVFX technique (Module 4). |
| Unreal Fellowship-style intensives | Epic Games | Intensive credential-track preparation (Module 6). |
Where CG meets the camera — integrating 3D characters, creatures and assets into live-action plates so seamlessly that the seam disappears. The full match-move, lighting, render and comp integration pipeline.
To master the integration of 3D CG elements into live-action footage — covering plate analysis and match-moving, matching CG lighting to the plate, shadows and contact, render passes for integration, and final compositing — so that students can place animated 3D characters and assets into real footage convincingly, completing the CG-to-live-action pipeline.
CG integration into live action is the core of modern VFX and a high-value skill for the Animation & Gaming track's 3D artists — it brings together everything they have learned (modelling, animation, lighting, rendering) and joins it to camera footage. Advanced VFX & CGI Integration (PO5) and Digital Content Creation (PO1) are central. Building on the track's 3D pipeline and the shared compositing foundation, this course teaches the match-move, lighting-match, render-pass and comp craft that makes CG sit believably in a real shot — directly strengthening the AS-2 capstone's hybrid live-action/CG sequences.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the CG-to-live-action integration pipeline and what sells a believable composite. |
| CO2 | L3 · Apply | Apply plate analysis and match-moving to recover the camera and scene from footage. |
| CO3 | L3 · Apply | Apply CG lighting matched to the plate using HDRI, reference and lighting reconstruction. |
| CO4 | L4 · Analyze | Analyze and produce shadows, contact, reflections and interaction between CG and plate. |
| CO5 | L4 · Analyze | Analyze and render integration passes (AOVs, mattes, shadow/reflection) for compositing. |
| CO6 | L5 · Evaluate | Evaluate and present a finished CG-in-live-action shot with an integration breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | – | H | – | – | – | – | M |
| CO2 | H | – | – | – | H | – | – | – | – | M |
| CO3 | H | H | – | – | H | – | – | – | – | M |
| CO4 | H | H | – | – | H | – | – | – | – | M |
| CO5 | H | M | – | – | H | – | – | – | – | H |
| CO6 | H | H | M | – | H | – | L | M | H | H |
The class integrates an animated 3D character or asset into a live-action plate so it appears genuinely present. Each module advances the shot: match-move the plate (track), match CG lighting to it (lighting), add shadows/contact/reflections (interaction), render integration passes (passes), then composite to a finished shot (comp). The instructor integrates a reference shot while students integrate their own.
The capstone is a finished CG-in-live-action shot where the seam is invisible, with a full integration breakdown.
Each student independently integrates a different CG element into a different plate using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Match-Move (CO2) | 20% | Rock-solid camera solve; CG locks perfectly to the plate. |
| Lighting Match (CO3) | 25% | CG lighting indistinguishable from the plate's lighting. |
| Shadows & Interaction (CO4) | 20% | Convincing contact, shadows and reflections grounding the CG. |
| Render Passes (CO5) | 15% | Complete, correct passes enabling full comp control. |
| Final Composite (CO6) | 20% | Invisible integration; polished, believable final shot. |
| TOTAL | 100% | An invisible, believable CG-in-live-action shot. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Plate Analysis | Use case: analyse a plate's lens/light. Deliverable: analysis sheet. |
| 2 | Camera Track | Use case: solve a camera from footage. Deliverable: solved camera. |
| 3 | Scene Reconstruction | Use case: rebuild ground/geo from track. Deliverable: scene. |
| 4 | HDRI Lighting | Use case: light CG with plate HDRI. Deliverable: lit CG. |
| 5 | Lighting Match | Use case: match key/fill to the plate. Deliverable: matched render. |
| 6 | Shadow Catcher | Use case: cast CG shadows onto plate. Deliverable: shadow pass. |
| 7 | Reflection/Holdout | Use case: set up reflections and holdouts. Deliverable: passes. |
| 8 | AOV Render | Use case: render integration AOVs. Deliverable: AOV set. |
| 9 | Comp Integration | Use case: composite CG into plate. Deliverable: comp. |
| 10 | Grain & Finish | Use case: grain/defocus/grade match. Deliverable: final shot. |
For the Animation & Gaming team, this course enables AS-2's hybrid live-action + CG sequences — animated characters, creatures or assets placed convincingly into real footage. It is the bridge that lets the team's 3D work leave the fully-CG world and live inside real shots, raising the production value and realism of the capstone.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | CG integration across the pipeline (all modules). |
| Digital Compositing for Film and Video | Steve Wright | Routledge (Focal Press) · 2017 | Integration and compositing (Modules 4–6). |
| Digital Lighting & Rendering | Jeremy Birn | New Riders · 2013 (3rd ed.) | Matching CG lighting (Modules 3, 5). |
| Matchmoving: The Invisible Art of Camera Tracking | Tim Dobbert | Sybex · 2012 (2nd ed.) | Match-move craft (Module 2). |
| The Art and Science of Digital Compositing | Ron Brinkmann | Morgan Kaufmann · 2008 (2nd ed.) | Compositing theory for integration (Modules 5–6). |
| Nuke / Maya / Arnold documentation | Foundry / Autodesk | current | Tool reference (Modules 2, 5–6). |
| Course | Platform | Relevance |
|---|---|---|
| CG Integration / VFX Compositing courses | Udemy | End-to-end integration (Modules 2–6). |
| fxphd integration & lighting series | fxphd | Professional integration technique. |
| Lighting & Lookdev / Integration paths | Pluralsight | Lighting match and render passes (Modules 3, 5). |
| Matchmoving & Tracking | Udemy | Camera tracking (Module 2). |
| Nuke Compositing for Integration | Foundry-endorsed | Comp integration (Modules 5–6). |
Games that connect players — the architecture, replication and netcode behind multiplayer, from client-server models and state synchronisation to lag compensation and shipping a playable networked game.
To develop multiplayer-game and networking skills — covering networking models and architecture, replication and state synchronisation, client-server vs peer-to-peer, lag compensation and prediction, and building/testing a playable networked multiplayer game — so that students can design and implement networked gameplay and ship a working multiplayer experience.
Multiplayer is central to modern games — from competitive and co-op titles to live-service games — and networking is a comparatively scarce, well-paid specialisation that distinguishes a gameplay programmer. Game Development (PO4), Digital Content Creation (PO1) and Lifelong Learning (PO10) are served. Building on Advanced Game Programming, this Animation & Gaming course teaches the genuinely hard discipline of networked gameplay — replication, prediction, lag compensation — giving graduates a differentiating capability and equipping the AS-2 team to ship multiplayer or co-op features in the capstone.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain networking models, client-server vs P2P, and the multiplayer game architecture. |
| CO2 | L3 · Apply | Apply replication and state synchronisation to share game state across the network. |
| CO3 | L3 · Apply | Apply RPCs, authority and ownership to implement networked gameplay actions. |
| CO4 | L4 · Analyze | Analyze and implement client-side prediction, interpolation and lag compensation. |
| CO5 | L4 · Analyze | Analyze and address bandwidth, security/cheating, matchmaking and session management. |
| CO6 | L5 · Evaluate | Evaluate and present a playable, tested networked multiplayer game. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | – | – | H | – | – | – | – | – | H |
| CO2 | M | – | – | H | – | – | – | – | – | H |
| CO3 | M | – | – | H | – | – | – | – | – | H |
| CO4 | M | – | – | H | – | – | – | – | – | H |
| CO5 | M | – | – | H | – | – | H | M | – | H |
| CO6 | M | – | – | H | – | – | M | H | H | H |
The class builds a playable multiplayer game (a focused competitive or co-op prototype). Each module adds a networking layer: set the architecture (model), replicate state (replication), implement networked actions via RPCs (gameplay), add prediction and lag compensation (responsiveness), then handle sessions/security and test under poor-network conditions (robustness). The instructor builds a reference game while students build their own.
The capstone is a working, tested multiplayer game that holds up under latency, with a netcode write-up.
Each student independently builds a different networked multiplayer prototype using the same techniques. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Replication & Sync (CO2) | 25% | Robust, efficient replication; clients stay consistent. |
| Networked Gameplay (CO3) | 20% | Correct RPC/authority use; clean networked actions. |
| Prediction & Lag-Comp (CO4) | 25% | Responsive play under latency; correct prediction/reconciliation. |
| Robustness & Security (CO5) | 15% | Server-authoritative, bandwidth-aware, handles bad networks. |
| Playable Game & Testing (CO6) | 15% | Complete, well-tested, genuinely fun networked game. |
| TOTAL | 100% | A working multiplayer game that holds up under real network conditions. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Connect Clients | Use case: connect 2+ clients to a server. Deliverable: connection demo. |
| 2 | Replicate a Variable | Use case: replicate health/position. Deliverable: replication demo. |
| 3 | Replicate Movement | Use case: sync player movement. Deliverable: synced movement. |
| 4 | Server RPC | Use case: fire a server RPC action. Deliverable: RPC demo. |
| 5 | Multicast Event | Use case: multicast an effect to all. Deliverable: multicast demo. |
| 6 | Client Prediction | Use case: predict and reconcile movement. Deliverable: prediction demo. |
| 7 | Interpolation | Use case: smooth remote actors. Deliverable: interpolation demo. |
| 8 | Latency Simulation | Use case: test under simulated lag/loss. Deliverable: test results. |
| 9 | Session/Matchmaking | Use case: create/join sessions. Deliverable: session flow. |
| 10 | Server Validation | Use case: validate an action server-side. Deliverable: validated action. |
For the Animation & Gaming team, this course makes multiplayer and co-op features possible in AS-2 — networked play, shared sessions and competitive/co-op modes that single-player projects can't offer. Even where AS-2 stays single-player, the networking and testing rigour strengthens the team's overall engineering quality.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Multiplayer Game Programming | Glazer & Madhav | Addison-Wesley · 2015 | The core multiplayer text (all modules). |
| Game Engine Architecture | Jason Gregory | CRC Press · 2018 (3rd ed.) | Engine and networking context (Modules 1–2). |
| Network Programming for Games (resources) | Various / Gaffer On Games | online · current | Prediction and netcode (Module 4). |
| Unreal Engine Networking documentation | Epic Games | Epic · current | Replication and RPC reference (Modules 2–3). |
| Unity Netcode for GameObjects documentation | Unity Technologies | Unity · current | Alternative engine netcode reference (Modules 2–3). |
| Game Programming Patterns | Robert Nystrom | Genever Benning · 2014 (free online) | Clean architecture for netcode (Modules 1, 3). |
| Course | Platform | Relevance |
|---|---|---|
| Multiplayer Game Development courses | Udemy | End-to-end multiplayer (all modules). |
| Unreal / Unity Multiplayer paths | Pluralsight | Engine-specific replication and netcode (Modules 2–4). |
| Networking for Games | Coursera | Networking fundamentals (Module 1). |
| Unreal Multiplayer Mastery | Udemy | Replication, RPCs, sessions (Modules 2–3, 5). |
| Unity Netcode learning | Unity | Official netcode curriculum (Modules 2–4). |
Controlled chaos — procedural and node-based workflows in Houdini for FX simulation: particles, fluids, smoke, fire, destruction and the procedural systems that generate worlds and effects at scale.
To develop procedural and FX-simulation skills in Houdini — covering the procedural/node-based paradigm, particle and dynamics simulation, fluids/smoke/fire and destruction, procedural modelling and effects, and rendering/exporting simulations for production — so that students can create complex, art-directable simulated effects and procedural content for film and games.
Houdini and procedural FX are among the highest-value, most-in-demand specialisations in VFX and increasingly in games — FX/simulation TDs and procedural artists are scarce and well paid. Advanced VFX & CGI Integration (PO5), Game Development (PO4) and Lifelong Learning (PO10) are served. This course gives the Animation & Gaming track its FX and procedural capstone capability — explosions, destruction, fluids, crowds and procedural worlds — and supplies the AS-2 capstone with the spectacle effects that elevate a project, while the procedural mindset improves every pipeline the team touches.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the procedural/node-based paradigm, Houdini's architecture and the FX pipeline. |
| CO2 | L3 · Apply | Apply procedural modelling and the node workflow to build art-directable procedural systems. |
| CO3 | L3 · Apply | Apply particle and dynamics simulation to create FX (sparks, debris, crowds). |
| CO4 | L4 · Analyze | Analyze and execute fluid, smoke, fire and pyro simulations with control and art direction. |
| CO5 | L4 · Analyze | Analyze and execute rigid-body destruction and the simulate-cache-render workflow. |
| CO6 | L5 · Evaluate | Evaluate and present a finished, rendered FX/procedural shot with a breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | – | M | H | – | – | – | – | H |
| CO2 | H | M | – | M | H | – | – | – | – | H |
| CO3 | H | M | – | M | H | – | – | – | – | H |
| CO4 | H | M | – | – | H | – | – | – | – | H |
| CO5 | H | M | – | M | H | – | – | – | – | H |
| CO6 | H | H | M | M | H | – | L | M | H | H |
The class builds a rendered FX or procedural shot in Houdini — for example a destruction-with-pyro shot or a procedurally generated environment with FX. Each module adds a capability: build a procedural system (procedural), add particles/dynamics (particles), add fluid/pyro (fluids), add destruction and cache the sim pipeline (destruction), then render and integrate (render). The instructor builds a reference shot while students build their own.
The capstone is a finished, rendered FX/procedural shot with an art-directed simulation and a breakdown — the FX-TD portfolio piece.
Each student independently builds a different FX/procedural shot using the same pipeline. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Procedural System (CO2) | 20% | Elegant, reusable, art-directable procedural setup. |
| Particles & Dynamics (CO3) | 20% | Convincing, controlled particle/dynamics FX. |
| Fluids & Pyro (CO4) | 25% | Beautiful, art-directed fluid/smoke/fire simulation. |
| Destruction & Pipeline (CO5) | 15% | Solid destruction and a clean simulate-cache-render pipeline. |
| Rendered Shot & Breakdown (CO6) | 20% | Polished, rendered shot; clear professional breakdown. |
| TOTAL | 100% | A finished, art-directed, rendered FX/procedural shot. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Node Network Basics | Use case: build a simple SOP network. Deliverable: node setup. |
| 2 | Scatter & Instance | Use case: scatter/instance geometry. Deliverable: scattered scene. |
| 3 | VEX Attribute | Use case: manipulate attributes with VEX. Deliverable: VEX effect. |
| 4 | Build an HDA | Use case: package a procedural tool. Deliverable: HDA. |
| 5 | Particle System | Use case: create a POP FX. Deliverable: particle sim. |
| 6 | FLIP Fluid | Use case: simulate a liquid. Deliverable: fluid sim. |
| 7 | Pyro Sim | Use case: simulate fire/smoke. Deliverable: pyro sim. |
| 8 | RBD Destruction | Use case: fracture and destroy an object. Deliverable: destruction sim. |
| 9 | Cache Pipeline | Use case: cache a sim to disk. Deliverable: cached sim. |
| 10 | Render Sim | Use case: render a volume/sim. Deliverable: rendered FX. |
For the Animation & Gaming team, this course supplies AS-2's spectacle and scale — explosions, destruction, fluids, fire, magic effects and procedurally generated content that single-handedly raise a project's production value. The procedural mindset also makes the team's broader content creation faster and more flexible.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Houdini On the Spot | Cunningham & Maestri | Routledge (Focal Press) · 2008 | Practical Houdini technique (Modules 1–3). |
| The Magic of Houdini | Saty Raghavachary | Thomson · 2005 | Procedural foundations (Modules 1–2). |
| The VES Handbook of Visual Effects | Visual Effects Society | Routledge · 2024 (3rd ed.) | FX within the VFX pipeline (Modules 4–6). |
| SideFX Houdini documentation | SideFX | SideFX · current | Authoritative Houdini reference (all modules). |
| The Art of Fluid Animation | Jos Stam | CRC Press · 2015 | Fluid-simulation grounding (Module 4). |
| Procedural Content Generation in Games | Shaker, Togelius, Nelson | Springer · 2016 (free online) | Procedural systems for games (Module 2). |
| Course | Platform | Relevance |
|---|---|---|
| Houdini FX / Procedural courses | Udemy | Hands-on Houdini FX (Modules 2–5). |
| SideFX Houdini — official learning paths | SideFX | Free official tutorials and learning paths (all modules). |
| Houdini / FX paths | Pluralsight | Procedural and simulation workflows (Modules 2–5). |
| fxphd Houdini series | fxphd | Professional FX-TD technique (Modules 4–6). |
| Rebelway Houdini FX courses | Rebelway | Specialised FX simulation training (Modules 4–5). |
The graduation gate — a rigorous, mentored audit that turns three years of work into a focused, role-targeted portfolio and showreel ready for the job market, plus the application and interview readiness to land the first role.
To audit, curate and finish each student's body of work into a professional, role-targeted portfolio and showreel — covering self-audit and role targeting, reel editing and shot selection, portfolio and breakdown presentation, online presence, and application/interview readiness — so that every graduate leaves with a market-ready reel, portfolio and job-search toolkit aligned to a clear target role.
In animation, gaming and VFX, the reel and portfolio — not the transcript — get the job. A focused, well-edited, role-targeted reel is the single highest-leverage asset a graduate owns. This shared capstone audit (both streams) serves Effective Communication in Digital Media (PO9), Lifelong Learning (PO10) and Digital Content Creation (PO1), and exists to ensure no student graduates with strong work but a weak presentation of it. It consolidates the best of every prior course and the Annual Studios into a deliberate, mentor-reviewed package, and prepares students directly for the T8–9 internships and first jobs.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain what a role-targeted portfolio/showreel requires and how studios evaluate them. |
| CO2 | L3 · Apply | Apply a self-audit to select a target role and the work that best supports it. |
| CO3 | L3 · Apply | Apply reel editing, shot selection, ordering and pacing to build a compelling showreel. |
| CO4 | L4 · Analyze | Analyze and finish work and breakdowns to portfolio standard, addressing weaknesses. |
| CO5 | L4 · Analyze | Analyze and build an online presence, CV and applications targeted to the role. |
| CO6 | L5 · Evaluate | Evaluate and present a market-ready reel/portfolio and demonstrate interview readiness. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | M | M | – | – | – | – | – | – | H | H |
| CO2 | M | M | – | – | – | – | – | – | H | H |
| CO3 | H | H | M | – | M | – | – | – | H | M |
| CO4 | H | H | – | M | M | – | – | – | M | H |
| CO5 | M | M | – | – | – | – | M | M | H | H |
| CO6 | H | M | M | – | – | – | M | M | H | H |
Each student, under mentorship, audits and assembles their complete launch package targeted to a chosen role. Each module advances it: audit and target (audit), cut the reel (editing), finish key pieces and breakdowns (finishing), build online presence and applications (applications), then pass a final review panel and mock interviews (review). Faculty and, where possible, industry reviewers critique at each stage.
The capstone is a market-ready showreel, role-targeted portfolio, online presence and job-search kit, validated by a final review panel.
The launch package is the individual deliverable — each student's own role-targeted reel and portfolio. This is the assessed work.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Role Targeting & Audit (CO2) | 15% | Clear target role; work selection sharply aligned to it. |
| Showreel (CO3) | 30% | Compelling, well-paced, role-perfect reel that opens strong. |
| Finish & Breakdowns (CO4) | 20% | Portfolio-finish work; clear, honest breakdowns of contribution. |
| Presence & Applications (CO5) | 15% | Professional online presence; tailored, polished applications. |
| Final Review & Interview (CO6) | 20% | Market-ready package; confident, credible interview performance. |
| TOTAL | 100% | A market-ready, role-targeted reel, portfolio and job-search package. |
| # | Exercise | Use case & student deliverable |
|---|---|---|
| 1 | Reel Teardown | Use case: critique 3 hired reels. Deliverable: teardown notes. |
| 2 | Work Audit | Use case: catalogue all prior work. Deliverable: work inventory. |
| 3 | Role Target Brief | Use case: define target role + required work. Deliverable: target brief. |
| 4 | Shot Shortlist | Use case: shortlist reel shots. Deliverable: shot list. |
| 5 | Reel Cut v1 | Use case: cut a first reel. Deliverable: reel v1. |
| 6 | Breakdown Sheet | Use case: write breakdowns for key shots. Deliverable: breakdowns. |
| 7 | Piece Finishing | Use case: finish one weak piece. Deliverable: finished piece. |
| 8 | Portfolio Site | Use case: build/refresh portfolio site. Deliverable: live site. |
| 9 | CV + Application | Use case: tailor a CV to a real posting. Deliverable: application. |
| 10 | Mock Interview | Use case: run a portfolio interview. Deliverable: interview + reflection. |
This audit is where the Annual Studio work pays off — AS-1 and AS-2 deliverables are typically the centrepieces of the reel, and this course finishes and frames them to professional standard. It directly launches the T8–9 internships and first-job search, ensuring every graduate enters the industry with a deliberate, role-targeted presentation of their best work.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| The Animator's Survival Kit | Richard Williams | Faber & Faber · 2009 | Benchmark of animation quality for reels (Modules 1, 4). |
| Setting Up Your Shots | Jeremy Vineyard | Michael Wiese · 2008 (2nd ed.) | Shot quality awareness for reels (Module 3). |
| The Art of the Storyboard / portfolio guides | Various | current | Portfolio presentation standards (Module 4). |
| Creative, Inc. | Joy Deangdeelert Cho, Meg Mateo Ilasco | Chronicle · 2010 | Building a creative career and presence (Module 5). |
| What Color Is Your Parachute? | Richard N. Bolles | Ten Speed Press · annual | Job-search strategy (Modules 5–6). |
| Studio recruitment / reel guides (ArtStation, studio blogs) | Various studios | online · current | Current studio reel expectations (Modules 1–3). |
| Course | Platform | Relevance |
|---|---|---|
| Demo Reel / Portfolio courses | Udemy | Reel editing and portfolio building (Modules 3–4). |
| Creative Career & Portfolio paths | LinkedIn Learning | Presence, CV and applications (Module 5). |
| Get a Job in Animation/VFX/Games | Coursera | Job-search and interview prep (Modules 5–6). |
| Portfolio & Reel reviews | Domestika | Portfolio-finish craft (Module 4). |
| Interview & Personal Branding | Coursera | Interview readiness (Module 6). |
Content for every screen — designing and producing cross-platform digital media: social, streaming, branded and interactive content, with the formats, strategy and design thinking the modern content economy runs on.
To develop cross-platform digital-media design and production skills — covering the digital content landscape and platform formats, content strategy and audience, designing for social/streaming/interactive media, branded and short-form content production, and analytics-informed iteration — so that students can design and produce effective, platform-native digital content as creators or for brands and studios.
The largest and fastest-growing demand for screen content is now digital and cross-platform — social video, streaming, branded content, creators and interactive media. Digital Content Creation (PO1), Visual Design Principles (PO2), Effective Communication (PO9) and Societal & Environmental Impact (PO6) are served. This Film & VFX course broadens the graduate from "filmmaker" to "digital content professional," teaching the formats, strategy and platform-native craft that make content perform — directly applicable to brand work, creator careers and the distribution of the AS-2 capstone.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the digital-media landscape, platforms, formats and the content economy. |
| CO2 | L3 · Apply | Apply content strategy and audience analysis to plan platform-targeted content. |
| CO3 | L3 · Apply | Apply platform-native design and formats to design content for specific platforms. |
| CO4 | L4 · Analyze | Analyze and produce short-form, social and branded content end to end. |
| CO5 | L4 · Analyze | Analyze performance and analytics to iterate and improve digital content. |
| CO6 | L5 · Evaluate | Evaluate and present a cross-platform digital-media campaign or content package. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | M | – | – | M | – | – | M | M |
| CO2 | H | M | H | – | – | M | – | – | H | M |
| CO3 | H | H | M | – | – | – | – | – | H | M |
| CO4 | H | H | H | – | M | – | – | M | H | M |
| CO5 | H | M | – | – | – | M | M | – | M | H |
| CO6 | H | H | H | – | – | M | M | M | H | H |
The class designs and produces a cross-platform content campaign for a real or simulated brand/topic. Each module advances it: set strategy and audience (strategy), design platform-native formats (design), produce short-form and branded pieces (production), then analyse and iterate (analytics). The instructor runs a reference campaign while students build their own.
The capstone is a complete cross-platform content package — multiple platform-native pieces, a strategy document and a results/iteration rationale.
Each student independently produces a different cross-platform content package using the same approach. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Strategy & Audience (CO2) | 20% | Sharp strategy; clear audience and platform-goal alignment. |
| Platform-Native Design (CO3) | 20% | Content designed expertly for each platform's format/behaviour. |
| Production (CO4) | 25% | Well-produced, engaging short-form/branded content. |
| Analytics & Iteration (CO5) | 15% | Insightful use of data to improve the content. |
| Campaign & Presentation (CO6) | 20% | Cohesive cross-platform package; convincing rationale. |
| TOTAL | 100% | An effective, platform-native, cross-platform content package. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Platform Teardown | Use case: analyse content across 3 platforms. Deliverable: teardown. |
| 2 | Audience Persona | Use case: build target personas. Deliverable: personas. |
| 3 | Content Calendar | Use case: plan a content calendar. Deliverable: calendar. |
| 4 | Vertical Short | Use case: produce a vertical short. Deliverable: short video. |
| 5 | Thumbnail/Hook | Use case: design thumbnails and hooks. Deliverable: hook set. |
| 6 | Branded Piece | Use case: produce to a brand brief. Deliverable: branded content. |
| 7 | Repurpose | Use case: repurpose one piece for 3 platforms. Deliverable: 3 cuts. |
| 8 | Captions/Accessibility | Use case: add captions and accessibility. Deliverable: accessible piece. |
| 9 | Analytics Read | Use case: interpret a content's analytics. Deliverable: insight memo. |
| 10 | Campaign Assembly | Use case: assemble the package. Deliverable: campaign kit. |
For the Film & VFX team, this course gives AS-2 its audience and distribution layer — platform-native trailers, social cut-downs, behind-the-scenes and a launch/marketing package that gets the capstone seen. The content-strategy thinking also helps the team frame AS-2 for festivals, brands and online audiences.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Contagious: How to Build Word of Mouth | Jonah Berger | Simon & Schuster · 2013 | Why content spreads (Modules 2, 4). |
| Made to Stick | Chip Heath, Dan Heath | Random House · 2007 | Memorable content design (Modules 3–4). |
| Don't Make Me Think | Steve Krug | New Riders · 2014 (3rd ed.) | Usability/design thinking for digital (Module 3). |
| Digital Marketing / Content Strategy texts | Various | current | Strategy and analytics (Modules 2, 5). |
| Platform documentation & creator guides | YouTube, Meta, TikTok etc. | online · current | Platform-native formats and analytics (Modules 1, 3, 5). |
| Universal Principles of Design | Lidwell, Holden, Butler | Rockport · 2010 | Design fundamentals for content (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| Content Strategy / Digital Media courses | Coursera | Strategy and audience (Modules 1–2, 5). |
| Social Video & Short-Form Production | Udemy | Platform-native production (Modules 3–4). |
| Digital Media & Marketing paths | LinkedIn Learning | Strategy, design and analytics (Modules 2–5). |
| Content Creation / Creator courses | Domestika | Creator-style content production (Modules 3–4). |
| Platform creator academies | YouTube/Meta | Official platform-native best practice (Modules 1, 3). |
The complete filmmaker — directing, producing and delivering a short film end to end, integrating everything the Film & VFX journey has built into one authored, finished, festival-ready work.
To direct, produce and deliver a complete short film — covering development and pre-production, directing and cinematography, production and on-set craft, post (edit, sound, VFX, grade) and delivery — so that students integrate the full Film & VFX skill set into one authored short film taken from concept to festival-ready finish.
This is the capstone filmmaking course of the Film & VFX track — where screenwriting, cinematography, editing, VFX, compositing and sound converge into a single authored work. Storytelling & Narratives (PO3), Collaborative Production (PO8), Digital Content Creation (PO1) and Effective Communication (PO9) are central. As the highest-credit course of the final trimester, it is the deliberate integration experience: students prove they can carry a film from idea to finished delivery, producing the centrepiece of their reel and a direct rehearsal for the AS-2 capstone and professional filmmaking.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain the end-to-end film production pipeline and the director's and producer's roles. |
| CO2 | L3 · Apply | Apply development and pre-production — script, breakdown, schedule, budget — to plan a short film. |
| CO3 | L3 · Apply | Apply directing and cinematography to realise the film's vision on set. |
| CO4 | L4 · Analyze | Analyze and execute production and on-set workflow, directing cast and crew. |
| CO5 | L4 · Analyze | Analyze and execute post — edit, sound, VFX and grade — to finish the film. |
| CO6 | L5 · Evaluate | Evaluate and present a complete, delivered, festival-ready short film. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | M | H | – | M | – | – | M | M | M |
| CO2 | H | M | H | – | – | – | M | H | H | M |
| CO3 | H | H | H | – | M | – | – | M | H | M |
| CO4 | H | M | M | – | – | – | M | H | H | M |
| CO5 | H | H | M | – | H | – | – | M | M | M |
| CO6 | H | H | H | – | M | – | M | H | H | H |
Each student (or small crew with defined authored roles) develops, shoots and finishes a complete short film. Each module advances it: develop and pre-produce (development), direct and shoot (directing/production), then finish in post (post), and deliver a festival-ready cut (delivery). The instructor mentors a reference production while students make their own; the whole Film & VFX skill set is integrated here.
The capstone is a complete, delivered, festival-ready short film with its full production package — the reel centrepiece.
Each student delivers a complete authored short film (or a clearly authored role on a crew film). This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Development & Pre-Pro (CO2) | 15% | Strong script and thorough, professional pre-production. |
| Directing & Cinematography (CO3) | 25% | Clear vision; excellent direction and cinematography. |
| Production & On-Set (CO4) | 15% | Well-run set; strong cast/crew direction and problem-solving. |
| Post & Finish (CO5) | 20% | Polished edit, sound, VFX and grade; clean delivery. |
| Finished Film & Impact (CO6) | 25% | Complete, moving, festival-ready film with a clear voice. |
| TOTAL | 100% | A complete, authored, festival-ready short film. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Script Lock | Use case: finalise a shootable script. Deliverable: locked script. |
| 2 | Breakdown & Shot List | Use case: break down and shot-list. Deliverable: breakdown. |
| 3 | Schedule & Budget | Use case: build schedule and budget. Deliverable: plan. |
| 4 | Blocking Rehearsal | Use case: block a scene with actors. Deliverable: blocking plan. |
| 5 | Coverage Shoot | Use case: shoot a scene with full coverage. Deliverable: footage. |
| 6 | On-Set Workflow | Use case: run an AD'd shoot day. Deliverable: day report. |
| 7 | Assembly Edit | Use case: assemble the film. Deliverable: assembly cut. |
| 8 | Sound & Mix | Use case: sound-design and mix a scene. Deliverable: mixed scene. |
| 9 | VFX & Grade | Use case: integrate VFX and grade. Deliverable: finished scene. |
| 10 | Delivery Master | Use case: export a delivery master. Deliverable: festival cut. |
This is the most direct rehearsal for the AS-2 capstone — the full director-to-delivery filmmaking experience, integrating every craft, on a self-authored film. The pre-production discipline, on-set leadership and finishing pipeline transfer wholesale to the AS-2 team film, and the short itself is often the strongest single piece in the graduate's reel.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Directing: Film Techniques and Aesthetics | Michael Rabiger, Mick Hurbis-Cherrier | Routledge · 2020 (6th ed.) | The core directing text (Modules 1, 3–4). |
| The Filmmaker's Handbook | Ascher & Pincus | Plume · 2012 (revised) | End-to-end production reference (all modules). |
| In the Blink of an Eye | Walter Murch | Silman-James · 2001 (2nd ed.) | Editing philosophy (Module 5). |
| Film Directing Shot by Shot | Steven D. Katz | Michael Wiese · 2019 (2nd ed.) | Visualisation and coverage (Modules 2–3). |
| On Directing Film | David Mamet | Penguin · 1992 | Directing and storytelling (Modules 1, 3). |
| Producing & Directing the Short Film and Video | Irving & Rea | Routledge (Focal Press) · 2015 | Short-film production (Modules 2, 4). |
| Course | Platform | Relevance |
|---|---|---|
| Filmmaking — Complete / Directing courses | Udemy | End-to-end filmmaking (all modules). |
| Film Directing / Production specializations | Coursera | Directing and production (Modules 1–4). |
| MasterClass-style directing | MasterClass | Practitioner directing insight (Modules 1, 3). |
| Post-Production & Finishing paths | LinkedIn Learning | Edit, sound and finishing (Module 5). |
| Short Film / Festival Strategy | Domestika | Making and launching a short (Modules 2, 6). |
Painting with real light — cinematic lighting and gaffing for camera, from lighting theory and fixtures through interview, narrative and location setups to lighting that survives the grade and matches VFX plates.
To develop professional set-lighting and gaffing skills for film and digital media — covering lighting theory and exposure, fixtures and grip, three-point and narrative lighting, interview and location lighting, and lighting for the grade and for VFX/plate consistency — so that students can light scenes for camera to a cinematic, art-directed and technically sound standard.
Lighting is the single craft that most defines the look and emotion of a filmed image, and gaffer / lighting technician / cinematographer are core, well-paid set roles. Visual Design Principles (PO2), Digital Content Creation (PO1) and Advanced VFX & CGI Integration (PO5, via plate-consistent lighting) are served. As the dedicated practical-lighting course of the Film & VFX track, it complements the stream's cinematography, compositing and projection work — teaching students to light real sets so footage is beautiful, controllable, grade-friendly and VFX-ready, directly raising the production value of the AS-2 capstone.
| CO | BTL | Statement — on completion the student will be able to… |
|---|---|---|
| CO1 | L2 · Understand | Explain lighting theory, colour, exposure and the role of lighting in film and digital media. |
| CO2 | L3 · Apply | Apply lighting fixtures, modifiers and grip safely to shape and control light on set. |
| CO3 | L3 · Apply | Apply three-point and motivated/narrative lighting to light subjects and scenes for mood. |
| CO4 | L4 · Analyze | Analyze and execute interview, location and available-light lighting under real constraints. |
| CO5 | L4 · Analyze | Analyze and light for the grade and for VFX — exposure, latitude, plate/green-screen consistency. |
| CO6 | L5 · Evaluate | Evaluate and present cinematically lit footage with a lighting plan and breakdown. |
| CO ↓ / PO → | PO1 | PO2 | PO3 | PO4 | PO5 | PO6 | PO7 | PO8 | PO9 | PO10 |
|---|---|---|---|---|---|---|---|---|---|---|
| CO1 | H | H | M | – | M | – | – | – | – | M |
| CO2 | H | H | – | – | M | – | M | H | – | M |
| CO3 | H | H | H | – | M | – | – | M | – | M |
| CO4 | H | H | M | – | M | – | – | H | M | H |
| CO5 | H | H | – | – | H | – | – | M | – | H |
| CO6 | H | H | M | – | M | – | L | H | H | H |
The class lights and shoots a complete scene to a cinematic, grade- and VFX-ready standard. Each module adds a layer: master fixtures and grip (fixtures), build three-point/narrative lighting (narrative), handle an interview/location setup (location), then expose and light for the grade and a VFX/green-screen element (grade/VFX). The instructor gaffs a reference scene while students light their own.
The capstone is a cinematically lit, well-exposed scene — beautiful, grade-friendly and VFX-ready — with a lighting plan and breakdown.
Each student independently lights and shoots a different scene to the same standard. This is the assessed individual deliverable.
| Criterion (CO) | Weight | Exemplary (90–100%) |
|---|---|---|
| Fixtures, Grip & Safety (CO2) | 15% | Confident, safe, professional use of fixtures, modifiers and grip. |
| Narrative Lighting (CO3) | 30% | Beautiful, intentional, story-serving lighting with strong mood. |
| Interview/Location (CO4) | 20% | Effective, efficient lighting under real-world constraints. |
| Grade & VFX Readiness (CO5) | 20% | Well-exposed for latitude; clean green-screen/plate-consistent light. |
| Final Scene & Breakdown (CO6) | 15% | Cinematic lit scene; clear lighting plan and breakdown. |
| TOTAL | 100% | A cinematically lit, well-exposed, grade- and VFX-ready scene. |
| # | Experiment | Use case & student deliverable |
|---|---|---|
| 1 | Quality of Light Study | Use case: compare hard vs soft light. Deliverable: study + stills. |
| 2 | Exposure & False Colour | Use case: expose using false colour/histogram. Deliverable: exposure test. |
| 3 | Fixture & Modifier Test | Use case: test fixtures and modifiers. Deliverable: comparison. |
| 4 | Three-Point Portrait | Use case: light a portrait three-point. Deliverable: lit shot. |
| 5 | Low-Key Mood | Use case: light a low-key dramatic scene. Deliverable: lit scene. |
| 6 | Interview Setup | Use case: light a two-camera interview. Deliverable: interview lighting. |
| 7 | Location Lighting | Use case: light a real location fast. Deliverable: location footage. |
| 8 | Mixed/Available Light | Use case: balance added and available light. Deliverable: balanced shot. |
| 9 | Green-Screen Lighting | Use case: light an even green screen + subject. Deliverable: keyable plate. |
| 10 | Light for the Grade | Use case: shoot log and grade the result. Deliverable: graded clip. |
For the Film & VFX team, this course sets the on-set image quality of AS-2 — every frame the team shoots is only as good as its lighting. The gaffing, exposure and grade/VFX-aware lighting craft means AS-2 footage is cinematic, controllable, grade-friendly and ready for the team's compositing and VFX work, rather than fighting bad source light in post.
| Title | Author | Publisher · Year | Relevance |
|---|---|---|---|
| Set Lighting Technician's Handbook | Harry Box | Routledge (Focal Press) · 2020 (5th ed.) | The standard gaffing/grip reference (Modules 2, 4). |
| Motion Picture and Video Lighting | Blain Brown | Routledge (Focal Press) · 2018 (3rd ed.) | Lighting theory and practice (all modules). |
| Cinematography: Theory and Practice | Blain Brown | Routledge · 2016 (3rd ed.) | Exposure and lighting for camera (Modules 1, 5). |
| Painting with Light | John Alton | University of California Press · 2013 | Classic cinematic lighting craft (Module 3). |
| Light Science & Magic | Hunter, Biver, Fuqua | Routledge (Focal Press) · 2021 (6th ed.) | The physics of lighting subjects (Modules 1–3). |
| The Filmmaker's Eye | Gustavo Mercado | Routledge (Focal Press) · 2019 (2nd ed.) | Lighting within the frame (Module 3). |
| Course | Platform | Relevance |
|---|---|---|
| Cinematography & Lighting courses | Udemy | Practical set lighting (Modules 2–4). |
| Lighting for Film paths | LinkedIn Learning | Lighting setups and exposure (Modules 1, 3–4). |
| Cinematic Lighting / Cinematography | MasterClass | Practitioner lighting insight (Modules 3, 5). |
| Film Lighting | Domestika | Project-based lighting (Modules 3–4). |
| Lighting for Green Screen & VFX | fxphd | Plate/green-screen lighting for VFX (Module 5). |
One unbroken thread, made interactive. Pick a target job role and watch the entire chain light up — the thrust area that creates the demand, the companies that hire, the pay it commands, the skills it needs, the certification that proves them, and the exact KLEF courses that build them.
▸ Select a job role to trace its chain
Pay = entry India CTC (primary) with a 3–5 yr global-aspirational target. Company lists are representative Indian employers from Part 02. Certifications are the embedded global credentials from the program's per-trimester ladder. Course-to-role links reflect the handbooks' stated role outcomes — to be ratified by the Board.
Underneath every course sits a stack: the skills it builds and the tools & technologies students work in to build them. Select any of the 43 courses to expand its stack — colour-coded by tool family.
Tool families are colour-coded by the legend above. Skills and tools are derived from each course handbook's objective, modules and lab experiments. Shared courses (UI&UX, Corporate Communications, Virtual Production, Portfolio Audit) appear once and serve both streams.
Sequenced recommendations — from this cohort to a two-year strategic horizon.
Run the per-trimester vendor certifications now built into the structure — A&G: Adobe Photoshop (T1) → Unity Programmer (T2) → Autodesk Maya User (T3) → Adobe Substance (T4) → Autodesk Maya Pro (T5) → Unity Associate Game Dev (T6) → Epic Unreal Authorized (T7); F&V: Adobe Photoshop (T1) → Unity Programmer (T2) → DaVinci Resolve (T3) → Foundry Nuke (T4) → Adobe Premiere (T5) → Adobe After Effects (T6) → Epic Unreal Authorized (T7). Sign MoUs with IICT Hyderabad / IMAGE Tower and the Annapurna+Qube ANR VP Stage so the 12–16 hr virtual-production block is delivered on a real volume by industry experts.
Strengthen Houdini delivery inside Simulations & Procedural Workflow with SideFX educational licences and an FX-sim capstone, so the FX TD pathway (₹4–8 L) is fully served. Establish a portfolio review board with working pros from DNEG Hyderabad, Sumo/Lakshya and Annapurna+Qube reviewing showreels every semester from Year 2.
Commission a campus virtual-production volume and bid to be an IICT regional satellite. Become an Unreal Authorized Training Centre and Foundry-authorised Nuke partner with one UAI-certified faculty member. Launch an annual KLEF Showcase in Hyderabad with TVAGA and IGDC.
If <30% of the first cohort secures >₹3.5 L offers → escalate certifications, increase live industry projects, make Portfolio a year-long mentored capstone. If global game growth slips below 2% YoY or Indian gaming declines two years running → pivot A&G toward IP-led features/series and ed-tech 3D. If GenAI erodes roto/paint demand → fast-track students into comp, look-dev and FX, not the outsourcing tier.