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Here is the final production for this module.

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For my background music, I found myself somewhat fed up with the fact that I couldn’t find a track that exactly matched what I wanted. As such, I went and composed a piece myself. I’m no musician, and mostly took cues from the work that influences me (see Chris Huelsbeck, Junko Shiratsu, and Tomoko Sasaki as examples). As odd as it sounds, the only music compositing software I can use is Famitracker, so unless you like Famicom-esque chiptune synths, I apologise.

In retrospect, perhaps I went a bit out of control when composing the melody, as I think some people may see it as being at odds with my original intention of being quiet and non-melody driven. That said, it’s also possible that the gentle, soft instruments used prevent that from being an issue.

As for the sound effects, they are all royalty-free, publicly available pieces of audio from a secondary source.

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Here is a combined work in progress of all five of my shots. I decided to do the main modelling and animation in Maya, with smaller effects being produced in AE.

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Audio Examples continued

(I included both variations of the Vectorman track because I felt they had their own unique qualities, but I don’t plan on using either.)

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Audio Research and Possibilities

Looking back at the motion graphics module I had in my first year, for music, I took a possibly cheap option of slapping some inoffensive, royalty free music in it (though since the final production was for the purpose of advertising, it could be excused on that front). This time, I want to be more original. Since I only have twenty five total seconds of animation to work with, I don’t want something overly melodic or (for lack of a better term) conventional. This led me to musique concréte, music that is comprised of sounds arranged together, rather than a traditional melody or composition. One could say it exists as an aural midpoint between silence/white noise and conventional music. However, most musique concréte works that I could find were rather harsh, loud, and not easy to listen to. I still want the audio I use to be soft and pleasant, as my work is of an informative tone rather than an overly experimental one. Below are some examples of the kind of audio I would like to use. In particular, I want to use the less abrupt and staccato excerpts and hone in on the more consistent and melodic segments (despite coming from mostly amelodic works) to carry the tone of the animation.

As a small aside, I tried to look for something even softer and more comfortable, and turned to simple electronic ambience.

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February 22nd, 2018.

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February 22nd, 2018.

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February 22nd, 2018.

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February 21st, 2018.

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February 21st, 2018.