Visiting Assistant Professor of Computer Animation
For the past 7 years, Markey has worked professionally as an animator in Los Angeles, contributing to television shows such as Robot Chicken, short films including the Academy Award nominated "Fresh Guacamole" by PES, commercials for a broad range of products, and has directed several shorts and music videos. He was a featured presenter at Pixelatl Festival of Animation in Cuernavaca Mexico in 2015 and has performed several large scale live demonstrations of stop motion animation at venues like San Diego Comicon and Silicon Valley Comicon. In January 2015, the short documentary "Playing With Power" focused on Markey and the Nintendo Powerglove that he modified to control the camera capture software, Dragonframe.
His primary concern is the creation of animated movement as an autonomous discipline; independent of the other aspects of film making, but with the ability to accent and augment things like concept, story, and design.
This course uses the framework of stop motion animation to build a fundamental skill set for creating any type of animation. Students begin by creating wire-armatured puppets using a technique called "foam buildup," which is a common technique most famously utilized by Ray Harryhausen in King Kong. The puppets the students create in the first weeks of class will provide them with both a canvas and a brush to explore their personal style by animating specific movements and analyzing each other's work. Students will be introduced to materials such as latex rubber, epoxy resins, animation clays, and silicone gel mediums. Class lectures will cover animation history and techniques as well as when, where, and why to choose them. Course work will progress from simple bouncing ball animation to fully realized character animation with lip sync.
In this course, we will explore the outer limits of what is possible with animation - particularly stop motion animation. Stop motion animation provides a direct access to the process of animating that can broaden and improve the skills in any other animated medium. Weekly experiments will cover a range of concepts from performance to physics, animation technique to stylistic choices, and will utilize design and photographic principles to elicit dynamic emotional states. In-class workshops will cover various techniques such as pixelation, object animation, and of course, puppet animation. Students will work independently, as well as collaboratively, both in and out of class. Together we will discover new methods of expression and a more fully developed personal style. Prerequisite detail: Students must have already taken Stop Motion From Scratch, Animation Fundamentals or demonstrate equivalent skills.
In this class students will conceptualize and prepare a short animated film, examining the process of creating animated shorts regarding conception, pitching, scripting, design, storyboarding, budgeting, and scheduling. Lectures will look at previous examples at each stage of the process and the various approaches appropriate for different venues (independent shorts, web content, grant writing, television pitches, features), and will discuss the broad landscape of opportunities. Course work will involve various experiments and exercises to develop and conceptualize a film. Ultimately, students will present a complete proposal for an animated film, show, or series. Narrative games and interactive installations are also welcome, though the course generally focuses solely on filmic storytelling. Live action concepts are acceptable if they have a significant, integral animation element. Students are encouraged to delve deeply and work at their own pace based on their intended medium and platform while still engaging with regular course work. Prerequisite detail: Students interested in this course must have a demonstrable level of mastery of some form of animation, and have taken at least one related college level course.