Pre-Visualization for Film and Game

Course Dates: June 30 to July 13, 2014
Application Deadline: May 2, 2014

Work with industry professionals to design a film shot sequence or game cinematic using a motion capture system and your imagination. Pre-Visualization is a straightforward animation created during pre-production process, used to test and prove-out complicated action sequences and camera moves in order to save valuable time and money during live-action production.

  • Understand the Pre-Visualization development and production process.
  • Work in teams to create a film shot sequence or game cinematic.
  • Learn to communicate visual concepts to help in the storytelling process.
  • Create simple virtual sets, characters and props to simulate a shot for final approval.
  • Participate in brainstorming sessions to expand creative possibilities.
  • Experience workflow using motion capture as a pre-visualization tool.
  • This course will culminate in a public exhibition of student work.

Undergraduate: MEDIA 424, 3 units
Graduate: MEDIA 624, 3 units


Junior/senior level students with strong design skills, critical thinking skills, and a desire to learn are encouraged to apply. This workshop is for students with a background in storyboards, 3D modeling, and 3D animation.

1)      Submit examples of your work:  2D sketches, 3D models, and 3D animations on a website or blog are all acceptable. Also submit 200‐word bio and personal statement describing your interest in this workshop with the link to your portfolio on a website.
2)      Send the materials listed in step one with your completed Registration Form to the Summer Arts office by May 2, 2014.

Professor Frank Pereira


Scott Eade –
Born and raised in Steveston, British Columbia, Scott Eade is currently living and working in Vancouver as the Head of Layout Department at MPC Vancouver. His training began in 2D classical animation and migrated toward 3D animation training at Vancouver’s Institute of Media Arts. Scott began his professional work at Rainmaker Entertainment (formerly Mainframe) developing his skills as a set and character modeler. He then moved toward a lighting and comp artist position, getting insight into final processes and deliveries of shot production. In time, he found that his passion for storyboarding, storytelling, and animation led him into the wondrous world of pre-visualization and layout. With the opportunity to work on a variety of productions, at different capacities, Scott developed a stronger understanding of the teamwork, processes, deadlines involved, and a stronger ability to work with others in this creative and technical industry. Scott’s current focus within the layout department involves the creation, maintenance, and delivery of shots through the production pipeline to subsequent disciplines, working and managing a team that is capable of hi-end pre-visualization layout.

Nick Fredin loves animation. He has worked all over the world, and is currently at Weta Digital in New Zealand. He has worked on an impressive list of feature films, including The Hobbit, Ironman 3, The Man of Steel, and the Oscar Award-winning Rango. Nick first became interested in animation in high school during his computer science class. While he was supposed to be learning Visual C++, he was instead making his classmates laugh with his computer animations. Ever since, Nick has endeavored to entertain audiences through his animation and short films. He is constantly creating and challenging himself and he looks forward to inspiring the next generation of animators.

Mark Pullyblank
Mark is a lecturer in Applied Computer Graphics at CSU Chico. His background is in feature animation, working for a decade on feature films such as Avatar, The Adventures of Tintin, and The Watchman at a number of studios including Weta Digital and Sony Imageworks. He has also worked as animation supervisor on such films as Night at the Museum, Journey to the Center of the Earth, and many others. For the past four years he has been a mentor at the online school, Animation, where some of his students have gone on to work at studios such as Blue Sky, Sony Imageworks, and DreamWorks. He brings with him a deep understanding of high-end studio pipelines, animation workflow, and a genuine enthusiasm for the art of animation that he extends to his students.