The individual stages of work, such as modeling, texturing, shading, animation, and lighting, are covered in detail and applied in practice through the creation of original 3D productions. In addition to experimenting with various tools for creating digital content, the focus is placed on the design and technical realization of compelling 3D environments. The final outcome is an interactive prototype within a game engine, accompanied by a reflective analysis of the design process.

• Identify and describe the phases of a 3D production pipeline and their interdependencies, including preproduction, modeling, texturing, rigging, animation, lighting, rendering, and postproduction.
• Analyze existing spatial design approaches and narrative strategies in digital media, and formulate their own concepts using tools such as mood boards, concept art, storyboards, animatics, and 3D blockings.
• Design and construct efficient 3D environments with clean topology, including coherent hierarchies and UV layouts.
• Transfer created 3D geometry from a 3D tool into a game engine.
• Select appropriate texturing and shading methods, implement them in a real-time environment, and illuminate scenes atmospherically.
• Use professional tools (e.g., Blender, Substance Painter, Unity) to create technically sophisticated 3D scenes within a collaborative real-time production context.
• Collaborate effectively in interdisciplinary teams, manage workflows, data pipelines, and responsibilities, and integrate feedback into iterative design processes.
• Evaluate the results of their own work and that of others both creatively and technically, and critically reflect on the design and production process in written and oral form.
• Present project outcomes clearly and in a well-structured manner, and defend their design decisions in presentations and review sessions.

Students experience the entire 3D production process, from the conception of their own project to its presentation. The course starts with designing a 3D environment and continues through modelling, texturing, lighting, animation, and real-time rendering. Working in small teams, students will develop a 3D production that emphasises environmental storytelling, aesthetic composition, and user perception. The seminar encourages experimentation with various tools for digital content creation and real-time engines. In the end, students will critically reflect on their creative process and outcomes through a short presentation and peer review. The final deliverable is an interactive prototype, accompanied by a short analysis of the design process.

• Jeffrey A. Okun & Susan Zwerman (2014). The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures. Focal Press.
• Renee Dunlop (2014). Production Pipeline Fundamentals for Film and Games. Focal Press.
• Mark J. P. Wolf (2014). Building Imaginary Worlds: The Theory and History of Subcreation. Routledge.

• https://chrisbrejon.com/cg-cinematography
• https://www.rsp.com.au/wp-content/uploads/2021/08/The_Core_Skills_of_VFX_Student_Primer.pdf
• https://www.rsp.com.au/wp-content/uploads/2021/08/core_skills_VFX.pdf