Saturday, July 30, 2011
Friday, July 29, 2011
Andrew's Polish After Final
So I continued to work on this after the final, just to see what level I could get it to, since the technical problems I had on the day before the final really affected my final product. I addressed the problems that you guys mentioned, as well as some stuff that I had noticed. Could definitely use even more polish, and I'm not completely happy with it, but I had fun working on it. Thanks again, David and Elissa!
Manuel_Andrew
Thursday, July 28, 2011
Wednesday, July 27, 2011
Treleaven_John Final Animation
My final from animation 2. I'm uploading a low quality version on Blogger and I'll try to upload a higher quality version from Vimeo later.
Light Speed Scooter Animation 2 from John Treleaven on Vimeo.
Light Speed Scooter Animation 2 from John Treleaven on Vimeo.
Roth_Josh_Final
And thanks again to David and Elissa. You guys are the best.
This animation project was a really engaging, though stressful and exhausting experience. I felt pretty comfortable once I had my reference video shot. Getting that set up and getting the lines right proved to be pretty difficult. Blocking in the poses was simple enough , but once I got to the polishing stage, I got really stressed and confused, as I usually do in that stage of Animation. The lip-sync process was hell on earth for me, due to Maya 2011's sound offset bug that prevented the fcheck playback(scrubbing) from recognizing the 30-frame gap of silence at the beginning of the clip. Overall, it's been a great experience working on this project.I definitely feel way more comfortable with this stuff. I will not, however, be pursuing 3d animation specifically in the near future as far as i can tell. But once again, I'm ultimately grateful for the experience.
Nate Rodriguez Final
So where are youUu headed? My final product for Animation 2! B)
This was the final pass I did for lighting. I Didn't end having enough time to render the entire scene but here is a rendered screen shot!
Thank you David for everything!
This was the final pass I did for lighting. I Didn't end having enough time to render the entire scene but here is a rendered screen shot!
Thank you David for everything!
Andrew's Final
Manuel_Andrew
So this is my Final. I had to deal with a lot of technical issues on the last couple days so I wasn't able to polish it as much as I hoped. There are definitely things I want to fix with this, especially the hitch in the motion trail of his pointing pose before "When this baby..." which I just noticed after I dropped my final into the folder! Other than that, I had fun working on it, and fun in the class. Thanks, David! You rule!
So this is my Final. I had to deal with a lot of technical issues on the last couple days so I wasn't able to polish it as much as I hoped. There are definitely things I want to fix with this, especially the hitch in the motion trail of his pointing pose before "When this baby..." which I just noticed after I dropped my final into the folder! Other than that, I had fun working on it, and fun in the class. Thanks, David! You rule!
Tim's Final
-Tim Xenakis
Sam's modeling checklist
Organic Modeling Check List
Concept
-develop and commit to a good concept
Reference
-get or make good reference preferably some sort of turnaround
Base mesh
-create a simple mesh. make sure your proportions are correct
Sculpting
-take base mesh into a program like mudbox or zbrush and sculpt character
Anatomy
-make sure the anatomy of the character should be accurate
Retopology
-sculpt mesh goes into a retop program to correct topology
Edge Flow
-edges of mesh must follow anatomy of character and has to deform properly with a rig
N-Gons
-all n-gons and triangles must be changed into quads
Concept
-develop and commit to a good concept
Reference
-get or make good reference preferably some sort of turnaround
Base mesh
-create a simple mesh. make sure your proportions are correct
Sculpting
-take base mesh into a program like mudbox or zbrush and sculpt character
Anatomy
-make sure the anatomy of the character should be accurate
Retopology
-sculpt mesh goes into a retop program to correct topology
Edge Flow
-edges of mesh must follow anatomy of character and has to deform properly with a rig
N-Gons
-all n-gons and triangles must be changed into quads
Alas_Jason's Animation Workflow
1. Concept
Spend time to come up with a couple of ideas. It's good to always have at least two, just in case one of them turns out to be a dud when it is pitched (just because you like an idea doesn't mean it's gold). It's also wise to never fall in love with your ideas, as they should be as malleable as possible for when you pitch them.
2. Storyboard
Draw out your animations, a storyboard frame per sec is a good rule of thumb. Fully rendered drawings aren't necessary, just as long as your poses and camera choices are as clear as possible.
3. Pitch
A bit self-explanatory; make sure you share your ideas with lots of energy. Act out what happens in your scene as you pitch it, and ask for feedback on what you're doing. More often than not, you'll receive a lot of good input that will make your idea more successful, so there's no room in being shy.
4. Shoot/Seek Reference
Act out your performance from at least two camera angles and multiple takes. Try to mimic the scene as much as possible; i.e. if a character is swinging a bat, then swing a bat, and swing it with meaning! Once you're finished, look over your reference and take note to the key poses you hit in the reference, writing them down or marking them in some manner.
5. Staging
This is where you go in Maya and start setting up your animation file. Place your characters in scene, as well as the set and any props necessary for the performance.
6. Key Poses
Keeping the animation principles in mind, start blocking out your key poses. Work in stepped mode, as interpolation isn't of importance at this point in time; the poses are your biggest concern. Don't spend an inordinate amount of time on any one pose starting out (5-10 minutes per pose), as it is easy to get bogged down and obsessed with fixing minute details early on. Key poses, as with most aspects of animation, can always be changed or polished.
7. Breakdowns
Once all your key poses are blocked in, start inserting in breakdowns in between your big movements in your key poses. This allows for better interpolation so the polishing stage goes by smoother, and it lays the foundation for follow through.
8. Polish (First pass)
Once you've finished all your breakdowns, spline out all your keys. Go through your animation and beginning a first level of polish, fixing odd interpolations, plateauing keys where needed (i.e. feet in walk cycles), and adding things such as overshoot and follow-through. The face hasn't been touched up to this point.
9. Lip Sync
If you don't have dialogue, then skip this step. If you didn't shoot reference of your dialogue, then shoot some (makes the process easier). Write out the dialogue, and note where inflections, and other emotions lay. Writing out the phonetic spelling of the dialogue speeds things up as well. When doing your lip sync, it's not crucial to hit every single phonome, so long as words aren't lost in the lip sync.
10. Eyes and Facial Animation
Make sure you're done with the lip sync, as facial expression will effect the mood of the dialogue greatly. Take care in making the eye lines of your characters avoid direct contact with the camera, unless your intent is to break the fourth wall. Pupils that are frozen dead in the eye seem glassy and spaced out, so move them around, even if slightly. Don't go crazy with the brow and such.
11. Polish (Second pass)
Once all your facial animation is done, it's time for another polish pass, touching up any discrepancies that have been pointed out or that are still present.
Through this whole process, solicit as much feedback as you possibly can, from a variety of people. The more eyes that see the piece, the better.
Tuesday, July 26, 2011
Roth_Josh Organic Modeling Workflow
Organic Modeling Workflow
Reference searching- Googling images similar to or composing of aspects that may relate to your design
Conceptualization- This often includes drawing your design, prior to the modeling stage
Creating base Mesh -This can be done either using a base mesh in Maya or in Zbrush using Zspheres
Laying in basic shapes- Piling on general mass to start to form the shape of the creature.
Refining basic shapes- Using box alphas or clay tubes or rake brush to create the lines of the anatomy
Critiques- A good time for critiques is definitely before retopologizing, however it helps to receive critiques along the way at almost every stage of the process
Retopologizing-also an important stage to look at reference in. See how others have handled edge flow on similiar creatures and see how well it applies to yours
Detailing stage- sculpting the small bumbs and crevices that make up the creature
Texturing- This includes laying out UVs and gather more reference images and painting either onto the map or directly onto the sculpt
Rendering- Applying any and all needed render passes to best display details of your work
Reference searching- Googling images similar to or composing of aspects that may relate to your design
Conceptualization- This often includes drawing your design, prior to the modeling stage
Creating base Mesh -This can be done either using a base mesh in Maya or in Zbrush using Zspheres
Laying in basic shapes- Piling on general mass to start to form the shape of the creature.
Refining basic shapes- Using box alphas or clay tubes or rake brush to create the lines of the anatomy
Critiques- A good time for critiques is definitely before retopologizing, however it helps to receive critiques along the way at almost every stage of the process
Retopologizing-also an important stage to look at reference in. See how others have handled edge flow on similiar creatures and see how well it applies to yours
Detailing stage- sculpting the small bumbs and crevices that make up the creature
Texturing- This includes laying out UVs and gather more reference images and painting either onto the map or directly onto the sculpt
Rendering- Applying any and all needed render passes to best display details of your work
Andrew's Guide to Modeling/Rigging Success
Manuel_Andrew
1) Character Sheet. Create a good character design through reference gathering and developmental sketches. If possible, use existing back story or create one to help in developing the design. Once a direction is established, create a character sheet which contains a 5-point turn of the character (Most ideal setup), or at the very least a 3-point turn. Pose studies will also be good supplementary artwork to use as reference to help when you are handling the deformation of the rig. Face studies are also nice to have to apply more detail. Applying proper human or animal anatomy is advised.
2) Block In/Base Mesh. Create the main volumes of the character. Correct any anatomical issues that may be occurring from the original piece of concept art. It's okay to keep it at a low res polygon count.
3) Define Volumes/Sculpt. Choose your 3D sculpting software of choice (Zbrush is recommended) to import your blocked in model of the character. Start from the lowest sudivision level of the model and sculpt the details on the model. When you are no longer able to add more detail, raise up to a higher subdivision level. The main focus of this initial stage to show a clear separation of the different volumes in the body i.e. chest vs. shoulder.
4) Polish. Once you are up to higher subivision levels, you are getting into the finer details of the character i.e. skin texture. Keep polishing and sculpting until the model has a high level of detail. Do the same for clothes if the character's clothes are meshes.
5) Retopoligize. Once the model is completed to your level of satisfaction, import a lower resolution model of it into the 3D Package or retopology tool of your choice. Fix the topology of your mesh to contain only quads and have the edges flowing in the direction the muscles will flow so that the deformation will occur probably.
6) Skeleton Setup. Set up the joints/skeleton for the retopoligized mesh that you have. Place the joints in the proper areas, also making sure to fix the orientation of the joints so that axis's face the proper direction for each.
7) Skin Weighting. Paint the skin weights of your mesh so that they deform accordingly when you move the joints. Test often and in every manner and direction that each joint could bend to make sure the muscles are deforming properly. If needed, adjust joint placement if it will allow for better muscle deformation.
8) Rig Setup. Reference the final skeleton & make another copy of the skeleton within the file. You will be working with this copy of skeleton by adding all the rig controls to it. Import a low resolution poly version of your model and constrain each section to it's corresponding joint. Use this to make sure that the constraints on each joint are behaving properly. Start at the root of the character, and work down and up until you've covered all sections of the body. Set up IK/FK controls for hands, feet, and any other sections of the body that will be desired/needed.
9) Apply Weight Painted Mesh to Final Rig. Reference the polished weight painted mesh into the finalized rig file and constrain the joints of the weight painted mesh to the joints of the rig.
10) Final Polish/Blendshape. Continue to work on any deformation issues. Apply blendshapes to help any muscle deformations that are difficult to achieve with weight painting alone i.e. biceps, triceps, thighs, etc. Create blendshapes for the facial expressions as well covering all the mouth and eye shapes.
1) Character Sheet. Create a good character design through reference gathering and developmental sketches. If possible, use existing back story or create one to help in developing the design. Once a direction is established, create a character sheet which contains a 5-point turn of the character (Most ideal setup), or at the very least a 3-point turn. Pose studies will also be good supplementary artwork to use as reference to help when you are handling the deformation of the rig. Face studies are also nice to have to apply more detail. Applying proper human or animal anatomy is advised.
2) Block In/Base Mesh. Create the main volumes of the character. Correct any anatomical issues that may be occurring from the original piece of concept art. It's okay to keep it at a low res polygon count.
3) Define Volumes/Sculpt. Choose your 3D sculpting software of choice (Zbrush is recommended) to import your blocked in model of the character. Start from the lowest sudivision level of the model and sculpt the details on the model. When you are no longer able to add more detail, raise up to a higher subdivision level. The main focus of this initial stage to show a clear separation of the different volumes in the body i.e. chest vs. shoulder.
4) Polish. Once you are up to higher subivision levels, you are getting into the finer details of the character i.e. skin texture. Keep polishing and sculpting until the model has a high level of detail. Do the same for clothes if the character's clothes are meshes.
5) Retopoligize. Once the model is completed to your level of satisfaction, import a lower resolution model of it into the 3D Package or retopology tool of your choice. Fix the topology of your mesh to contain only quads and have the edges flowing in the direction the muscles will flow so that the deformation will occur probably.
6) Skeleton Setup. Set up the joints/skeleton for the retopoligized mesh that you have. Place the joints in the proper areas, also making sure to fix the orientation of the joints so that axis's face the proper direction for each.
7) Skin Weighting. Paint the skin weights of your mesh so that they deform accordingly when you move the joints. Test often and in every manner and direction that each joint could bend to make sure the muscles are deforming properly. If needed, adjust joint placement if it will allow for better muscle deformation.
8) Rig Setup. Reference the final skeleton & make another copy of the skeleton within the file. You will be working with this copy of skeleton by adding all the rig controls to it. Import a low resolution poly version of your model and constrain each section to it's corresponding joint. Use this to make sure that the constraints on each joint are behaving properly. Start at the root of the character, and work down and up until you've covered all sections of the body. Set up IK/FK controls for hands, feet, and any other sections of the body that will be desired/needed.
9) Apply Weight Painted Mesh to Final Rig. Reference the polished weight painted mesh into the finalized rig file and constrain the joints of the weight painted mesh to the joints of the rig.
10) Final Polish/Blendshape. Continue to work on any deformation issues. Apply blendshapes to help any muscle deformations that are difficult to achieve with weight painting alone i.e. biceps, triceps, thighs, etc. Create blendshapes for the facial expressions as well covering all the mouth and eye shapes.
Denice Dehelean- Animation Workflow
1. Planning- Planning is the most important step. It's where all ideas take place and is the most creative part of the process.
-Gathering resources(sound clips, models, references, etc.)
-Storyboarding
-Recording reference
-Gather peer opinions and critiques
2. Analysis- Analyzing and editing gathered resources for use and functionality.
-Editing important sound clips
-Analyzing your video reference for key poses, and breakdowns.
3. Enter Maya- Go into maya and place your characters, important environmental elements that characters will be interacting with. Important sound clips. And set your camera.
4. Key poses- Create characters' key poses based on the reference gathered. Exaggerate where effective. Make sure to play to camera.
5. Breakdowns- Create characters' breakdowns based on the reference gathered.
6. Adjust timing- Adjust the timing of the scene to be more believable and reasonably spaced.
7. Critique- Seek critique throughout the entire process of animation, from idea to finish. It is important to receive critique at this time to avoid investing valuable time and work into poses that aren't working.
8. Lip Sync- Sync characters mouth and facial movements up with dialogue.
9. Eye line- create appropriate eye movements, pupil direction and focus, eye lid placements, and blinks.
9. Polish- Refine work. Add moving holds. Clean up any bumps and hitches.
10. Critique
11. Finishing touches and adjustments- edit work according to helpful critiques.
-Gathering resources(sound clips, models, references, etc.)
-Storyboarding
-Recording reference
-Gather peer opinions and critiques
2. Analysis- Analyzing and editing gathered resources for use and functionality.
-Editing important sound clips
-Analyzing your video reference for key poses, and breakdowns.
3. Enter Maya- Go into maya and place your characters, important environmental elements that characters will be interacting with. Important sound clips. And set your camera.
4. Key poses- Create characters' key poses based on the reference gathered. Exaggerate where effective. Make sure to play to camera.
5. Breakdowns- Create characters' breakdowns based on the reference gathered.
6. Adjust timing- Adjust the timing of the scene to be more believable and reasonably spaced.
7. Critique- Seek critique throughout the entire process of animation, from idea to finish. It is important to receive critique at this time to avoid investing valuable time and work into poses that aren't working.
8. Lip Sync- Sync characters mouth and facial movements up with dialogue.
9. Eye line- create appropriate eye movements, pupil direction and focus, eye lid placements, and blinks.
9. Polish- Refine work. Add moving holds. Clean up any bumps and hitches.
10. Critique
11. Finishing touches and adjustments- edit work according to helpful critiques.
Brittany's Animation Workflow
Animation Workflow
1. Brainstorm, Get inspired
Barnes_Brittany
1. Brainstorm, Get inspired
2. Act it out (Storyboards, Video Reference, DRAW!)
3. Have Animation principles in site
4 Begin laying down Key poses, ( look for balance and line of action, begin thinking about timing, and key places in audio) .
5. Put in the breakdowns
4. Add in some moving holds and change the animation to stepped to spline
5. Clean up any problems spline might have caused (checking the in-betweens and how it flows to the next pose.)
6. Add lip Sync, and begin adding expressions, fix any pops.
7. Begin Polishing, Play-blast as needed.
8. Have other look at your progress, take notes in any changes they suggest.
9. Review the Animation Principles, fix any problems
10. Fix any graph editor hitches, Get more Critiques, fix Problems
11. Play-blast, take notes, make sure all principles are there. If you find any problems repeat steps 8-11
12. If there are no more problems then you are finished.
3. Have Animation principles in site
4 Begin laying down Key poses, ( look for balance and line of action, begin thinking about timing, and key places in audio) .
5. Put in the breakdowns
4. Add in some moving holds and change the animation to stepped to spline
5. Clean up any problems spline might have caused (checking the in-betweens and how it flows to the next pose.)
6. Add lip Sync, and begin adding expressions, fix any pops.
7. Begin Polishing, Play-blast as needed.
8. Have other look at your progress, take notes in any changes they suggest.
9. Review the Animation Principles, fix any problems
10. Fix any graph editor hitches, Get more Critiques, fix Problems
11. Play-blast, take notes, make sure all principles are there. If you find any problems repeat steps 8-11
12. If there are no more problems then you are finished.
Barnes_Brittany
Andrew's Dilemma
Manuel_Andrew
So my rig exploded. Does anybody know how to fix this when this happens?
Thanks in advance!
So my rig exploded. Does anybody know how to fix this when this happens?
Thanks in advance!
Dakota Fulmer Organic Modeling Check List
Analyze the concept art.
Look up reference close to the concept.
Main shape/block in
-The basic shape of what you are modeling
Negative space shaping
-Using the negative space with the edge of the polygons to form the best shapes.
-Use this throughout
Appropriate anatomy
-Shape the muscles and bone protrusions according to the concept/shape of model.
Good edge flow
-Edges flow in a way the mesh can deform properly.
Fine detail
-Add detail such as the wrinkles and warts.
-Add as a displacement map
Look up reference close to the concept.
Main shape/block in
-The basic shape of what you are modeling
Negative space shaping
-Using the negative space with the edge of the polygons to form the best shapes.
-Use this throughout
Appropriate anatomy
-Shape the muscles and bone protrusions according to the concept/shape of model.
Good edge flow
-Edges flow in a way the mesh can deform properly.
Fine detail
-Add detail such as the wrinkles and warts.
-Add as a displacement map
Monday, July 25, 2011
Nate_Update!
In this update I have added the new poses to the animation as well as a first pass on lip sync.
Saturday, July 23, 2011
Animation 11 Second
Joe mentioned this site a while back but in case anybody forgot about this site. It's a monthly animation competition. Anybody looking to do animation as their focus should participate to get better in animation.
http://www.11secondclub.com/
http://www.11secondclub.com/
Friday, July 22, 2011
Wednesday, July 20, 2011
Andrew's Walk Cycle
So this is my walk cycle that I am going to resubmit. I want to do another pass on it, but before I do so, I was wondering if anyone had any feedback before I get in there. The main thing that I know I need to do is polish head, but if you guys see anything else that you think could help me improve this please let me know.
Wednesday, July 13, 2011
Nate_Update
Here is the progress of my animation. I also have my bus stop modeled and the first pass on
lighting/textures.
Test render on lighting..
lighting/textures.
Test render on lighting..
Tuesday, July 12, 2011
Oops, forgot to post this yesterday!
To all those who would like the easy way out of doing constraints! I use this tool ALL the time!
http://www.creativecrash.com/maya/downloads/scripts-plugins/character/c/zv-parent-master
http://www.creativecrash.com/maya/downloads/scripts-plugins/character/c/zv-parent-master
Sunday, July 10, 2011
Saturday, July 9, 2011
Friday, July 8, 2011
My key poses thus far
ok.This is what I have so far.Pay no attention to the timing of the audio. even though its there. I added in somewhat of a walk cycle at the end for when he says the line "I'm hitchin a ride back home".
I know the walk ,especially, needs work.I basically started from scratch with it (this is the 3rd time this term I've started a walk cycle from scratch...i may end up taking it out if i can't get it looking decent). I will be adding some minor movements to the secondary character this weekend.Hes just a placeholder for now...so.....Suggestions?Insults?Bring em on.
Publish Post
Andrew's Video Reference/Storyboard
This was the video reference for my scene. So the changes I had made since my pitch are that the other person, played by Dakota, is a mannequin, & the baby is in a catapult instead of a slingshot. Each of the key poses of the crazy guy, played by Tim, are laid out in the storyboard.
This is the storyboard for my scene as I have it right now. One thing to note is that I drew the baby in a slingshot in this one, while it will be in a catapult for the actual scene, as I mentioned above. I think there might be some more key poses I could possibly add. Please let me know what you guys think, and how I can improve this. Thanks!
Tim's Revised Storyboards
I considered having him run around in an energetic way but when I introduced the camera angles it made more sense to keep him relatively stationary and instead just make good use of limbs, body movements and facial expressions to describe his story. I also added a shot at the end of him slurping his slurpy as I felt it would make it funnier. Hope this newer Storyboard gives you a better idea of what i'm going for! Thanks!
Wednesday, July 6, 2011
Dakota's Reference
Video
Audio The audio should be about 10 minutes long, but when I exported it, it must have exported the time remaining time I hide.
Key Frames on frames
Andrew:
0, 5, 18, 20, 24, 27, 30, 42, 55, 61, 64, 68, 74, 88, 95, 97, 107, 120, 147, 150, 160, 176, 196, 213, 224, 262235, 242, 247, 250, 255, 261, 262, 272, 283, 289, 298
second angle
328, 333, 349, 356, 363, 374, 387, 394, 404, 419, 425, 434, 441, 450, 457, 462, 469, 476, 491, 509, 527, 534, 548, 556, 560, 570, 577, 594, 602, 613, 626
Tim:
45, 57, 69, 79, 99, 115, 137, 159, 182, 205, 224, 233, 256, 262, 276, 292, 312, 326
Second angle
377, 392, 405, 422, 435, 445, 455, 473, 492, 517, 525, 533, 539, 546, 550, 554, 557,567, 577, 589, 594, 609, 628, 635
Audio The audio should be about 10 minutes long, but when I exported it, it must have exported the time remaining time I hide.
Key Frames on frames
Andrew:
0, 5, 18, 20, 24, 27, 30, 42, 55, 61, 64, 68, 74, 88, 95, 97, 107, 120, 147, 150, 160, 176, 196, 213, 224, 262235, 242, 247, 250, 255, 261, 262, 272, 283, 289, 298
second angle
328, 333, 349, 356, 363, 374, 387, 394, 404, 419, 425, 434, 441, 450, 457, 462, 469, 476, 491, 509, 527, 534, 548, 556, 560, 570, 577, 594, 602, 613, 626
Tim:
45, 57, 69, 79, 99, 115, 137, 159, 182, 205, 224, 233, 256, 262, 276, 292, 312, 326
Second angle
377, 392, 405, 422, 435, 445, 455, 473, 492, 517, 525, 533, 539, 546, 550, 554, 557,567, 577, 589, 594, 609, 628, 635
Friday, July 1, 2011
INSTRUCTOR POST - To hand in for Class #5
At this point you'll have handed in your generic walk cycles, and you'll have done your story pitch to the group (and possibly refined and re-pitched your idea.)
At the end of class #5, I want you to hand in a folder with the following contents:
- A scan of your storyboards. (jpg)
- Your scene audio. (no extraneous audio)
- Your selected reference (one unified take, no chaff)
- Analysis of reference - showing where your key poses are.
(you can use red marks in video, .docx with frame counts and description, or hand drawn page with frame counts and thumbnails.)
All in one folder called Last_First_Planning
ie. Latour_David_Planning
There will be a Hand-In folder in the 511 folder similar to where you handed in your generic walks called: 03_AVE2_511_Planning_Hand-in. Drop your stuff there by 3:30pm on Wednesday.
At the end of class #5, I want you to hand in a folder with the following contents:
- A scan of your storyboards. (jpg)
- Your scene audio. (no extraneous audio)
- Your selected reference (one unified take, no chaff)
- Analysis of reference - showing where your key poses are.
(you can use red marks in video, .docx with frame counts and description, or hand drawn page with frame counts and thumbnails.)
All in one folder called Last_First_Planning
ie. Latour_David_Planning
There will be a Hand-In folder in the 511 folder similar to where you handed in your generic walks called: 03_AVE2_511_Planning_Hand-in. Drop your stuff there by 3:30pm on Wednesday.
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