Baby Driver is a film that I really connected to on an aesthetic level because it's meticulous, and I can tell at times during it's editing/production it will have been infuriating, and it's reassuring to see work in the world like that, because I often become stressed trying to visualise an idea. Basically every shot and movement in the film is synced to a soundtrack, but in a way that makes the sound almost a character in the film. Every gunshot, or car door slam, or camera angle change is linked to a beat or a sound in a song. So when animating this, I made sure I understood the music inside and out before starting, so a narrative could form in the spaces left in the song. The first idea that made me want to make this was the quick drum break that has exactly five beats, the same number of stars given to the film by Empire magazine. I basically just thought the idea of linking that audible number with a visual number was really cool, and wanted to translate the rest of the song into a visual story.
Saturday, 30 September 2017
Baby Driver - animating alongside music
Following on from the brief (and very remedial) experience I’ve had up to this point with animation, I wanted to make an effort to make strides with it this year. Not sure how much it will play into my work as a whole, as I really don’t feel I’m good enough at it to warrant focusing entirely on it, as it might end up as a waste of time. Animating always feels a bit flat to me, like I’m working on part of a greater whole and for that reason, it never feels finished. I came a bit closer to feeling like I had finished animations with the shorts I made last year during 504 for Shakespeare. Those had sound effects and that made it easier and a lot more fun to animate around.
SO
I don’t really know why I never thought to make the connection before, but music was the obvious answer to the problem I’ve been having with this medium. (dahoy).
Baby Driver is a film that I really connected to on an aesthetic level because it's meticulous, and I can tell at times during it's editing/production it will have been infuriating, and it's reassuring to see work in the world like that, because I often become stressed trying to visualise an idea. Basically every shot and movement in the film is synced to a soundtrack, but in a way that makes the sound almost a character in the film. Every gunshot, or car door slam, or camera angle change is linked to a beat or a sound in a song. So when animating this, I made sure I understood the music inside and out before starting, so a narrative could form in the spaces left in the song. The first idea that made me want to make this was the quick drum break that has exactly five beats, the same number of stars given to the film by Empire magazine. I basically just thought the idea of linking that audible number with a visual number was really cool, and wanted to translate the rest of the song into a visual story.
I’m really happy with how it's turned out, animating alongside music is annoying and hard and takes far too long and you need to know every change in the song as well as exactly what needs to go where in time for certain things to take place *BUT* apart from all that, it’s actually a lot of fun to do.
Baby Driver is a film that I really connected to on an aesthetic level because it's meticulous, and I can tell at times during it's editing/production it will have been infuriating, and it's reassuring to see work in the world like that, because I often become stressed trying to visualise an idea. Basically every shot and movement in the film is synced to a soundtrack, but in a way that makes the sound almost a character in the film. Every gunshot, or car door slam, or camera angle change is linked to a beat or a sound in a song. So when animating this, I made sure I understood the music inside and out before starting, so a narrative could form in the spaces left in the song. The first idea that made me want to make this was the quick drum break that has exactly five beats, the same number of stars given to the film by Empire magazine. I basically just thought the idea of linking that audible number with a visual number was really cool, and wanted to translate the rest of the song into a visual story.
Tuesday, 19 September 2017
travelling man - British film & tv brief
I’m still trying to understand typography as a visual storyteller after doing a fair bit with it at the end of last year and throughout the summer. I just love the idea of a couple of stark hard hitting words that really clearly communicate something. I think it stems from a childhood love for film posters and album covers. But I still feel like it's very much something I’m getting to grips with, and I’m trying to test out how I respond to type before properly implementing it in my practice.
Having this print up in Travelling Man is great too, because I haven't really seen my work properly in context before. So having it hanging above a load of comic books is a miniature dream come true.
Having this print up in Travelling Man is great too, because I haven't really seen my work properly in context before. So having it hanging above a load of comic books is a miniature dream come true.
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