Friday, 31 January 2014

Drawings of Francis 3 - Movement Poses, Studies and Independent Studies

The studies below are based loosely off of my own hands, using them as a reference for the movements of muscles and skin.

Drawings of Francis 2 - Poses and Studies

Soundscape: Sequence Prep

Soundscape Storyboard (Revised)

The narrative for this project will be simple. Someone approaches a room at the end of long corridor to investigate the lights leaking out from under the door, they then bend down to look through the keyhole and witnesses the carnival of harlequin in full swing. They then open the door to find a quiet empty room, to then slowly leave the room and shut the door. This will be to keep the flow generally smooth and emphasise the 'Carnival of Harlequin' key frame and its audible impact.

Thursday, 30 January 2014

Psycho (1960) Film Review

Fig 1: 'Psycho' (1960) poster
'Psycho' (1960) is an incredibly disturbing but remarkably memorable film by Alfred Hitchcock, it's main themes are of murder, psychological illness and sexual pleasure. It starts in the bedroom of a couple, suggestive of it beginning just after intercourse, and moves swiftly onto the female lead, Marion Crane played by Janet Leigh, running away with forty thousand dollars in cash. The journey to see here lover again is however cut short as she arrives at the Bate's Motel. It is then from this point on that the story centers around this motel just of the highway, with it becoming the scene of at least two deaths in the duration of the film and the scene of its great reveal.

The soundtrack, lack of colour and orchestrated silences in 'Psycho' bring greater depth and tension to the film, focusing on the audience's emotions and not their belief in its reality.

"The gravity and severity of devotion can twist a person’s mind into hideous convolutions. It is the severity of Psycho’s brutal score that emphasizes this point." (Mitchell 2011)

As highlighted by Mitchell above, the emotional impact of Bernard Hermann's soundtrack for 'Psycho', his screaming violins are perfect for heightening the tension and creepy ambiance of the film's plot as well as conveying the emotional spikes of the murder scenes. These in conjunction with the films black and white tones, which are used to nightmarish effect, give a supernatural quality to the Bates Motel and the looming house.
Fig 3: Bates Motel and Overlooking house.
This nightmarish quality of 'Psycho' is no where better presented than in its characters.

"it's still gripping and irrevocably gruesome fare played to perfection by a top notch cast" (Wood 2000)

The characters of 'Psycho' are complicated constructs playing to the incredibly frightening tune of Hitchcock. This is most obviously portrayed in the beginning of the film with Marion and Norman, the strange chemistry of the two characters is overshadowed by Hitchcock's sickening plot that controls these constructs like marionettes and pushes them further and further into his twisted plot. As Wood points out the "gripping and irrevocably gruesome fare" is "played to perfection by a top notch cast" but whether this is truly done by the cast themselves is questionable, as Hitchcock can be considered a master puppeteer. His unmatched ability, even today, to hold an audience almost forever on the peak of tension with his cruel, calculated but wholly immersive camera techniques. These camera techniques are used exclusively throughout the film to both portray and convey large amounts of character emotion, his use of Norman's POV when spying on Marion and Norman's mother rushing after the private detective Arbogast falling down the stairs are good examples of this. The top down shot just before Arbogast is murdered and watching Norman's mother's corpse spin around both break this establishment of immersion, instead possessing a more surreal feel to the action portrayed, although this in itself significantly raises the audiences tension; with a feeling akin to imprisonment inside one's own body, passively watching these horrible events unfold.
Fig 3: Norman Bates and Marion Crane in 'Psycho' (1960)
The sinister plot Hitchcock plunges his characters into has an invisible twist that the audience would never have expected.

"Analyzing our feelings, we realize we wanted that car to sink, as much as Norman did" (Ebert 1998)

The quotation above from Ebert points out this invisible twist. It is not a plot or story based twist but is in fact an emotional one, the audiences emotional connection to Norman Bates to be exact. This connection begins when Marion arrives at the Bates Motel, as we are introduced to Norman; a quiet, introvert that practices taxidermy. He is shown to be quite passive, suffering from a controlling mother and her dislike of other women. The audience finds themselves very settled with Norman, slightly uncomfortable with his strong feelings and protection of his insufferable mother, but able to understand this and empathise with him and his instinctual feelings. It is from this point on, after Marion's death, that the status of protagonist is transferred onto Norman and our relationship and emotional connection to the character changes; it is this change that brings what Ebert commented on to fruition, with the audience hoping for Norman and his 'mother' to get away with the crime. A feeling that isn't truly felt until the audience's breathe catches as the car stops sinking for a slight moment, and the relief that follows after it is submerged completely.

List of Illustrations

Fig 1:  'Psycho' (1960) poster [Poster] At:

Fig 2: Bates Motel and Overlooking house in 'Psycho' (1960) Directed by Alfred Hitchcock. [Film Still} America: Shamley Productions. At: (Accessed 30/01/2014)

Fig 3: Norman Bates and Marion Crane in 'Psycho' (1960) Directed by Alfred Hitchcock. [Film Still} America: Shamley Productions. At: (Accessed 21/01/2014)


Ebert, Roger (1998) At: [Online Review] (Accessed 30/01/2014)

Mitchell, Maria (2011) At: [Online Review] (Accessed 21/01/2014)

Wood, David (2000) At: [Online Review] (Accessed 21/01/2014)

Sunday, 26 January 2014

Post Greenlight Story - Grave Mistakes

Coming to terms with the consequences of actions.


A caring grandfather attends his grandson's birthday party, only for the sins of his past to interfere with the present and his heart.

Step Outline

x Grayam Parsons, a 72 year old, attends his Grandson's 10th birthday party. He walks out into the garden and is greeted by the guests. 

x He begins to socialise and enjoy the atmosphere, but he begins to experience brief flashes in front of his eyes. Grim smiles echo over the other guest's faces, enormous cemeteries superimposed over ice lollipops and swirling chemicals mimicked in drink glasses.

x Grayam takes a seat on a bench to recover.

x Grandson and party guests gather for the present opening. Grandson pulls out a toy rocket, holding high in the air.

x Grayam's breathe catches in his throat and vivid images of rockets stream in front of him as his Grandson plays with the new rocket toy.

x Grayam's eyes glaze over and a tear slides down his cheek. His heart slowly gives out and he dies on the garden bench.

Sunday, 19 January 2014

Character Profile: Joyce (Grand daughter)

Name: Joyce Rivers

Age: 7

Bio: Joyce loves her grandfather. She loves him alot, he's always there for her. spoils her rotten and creates some of the weirdest but funniest things she has ever seen! But why does he seem so lonely? Why do his eyes look so sad? She always hopes her hugs can chase it away,and sometimes they do, but not forever, never forever.

Character Profile: Grayam Parsons (Rocket Scientist)

Name: Grayam Parsons

Age: 72

Date of Birth: 11/03/1980

Nationality: British

Occupation: Ex-Rocket Scientist

Bio: Grayam Parsons was, and still is, an incredibly intelligent individual, possessing the capability to make even the most theoretically absurd ideas work perfectly practically. This is what laid him in the sights of the MoD (Ministry of Defense) after graduating from university at the top of his class. His career was steady and comfortable, with innovation after innovation in defensive and offensive technology. By the time he was 33, Grayam was assigned to project Nephilim and tasked with building the future of long range warfare. The project lasted 12 years, building and redesigning the system completely countless times.

His creation was the Nephilim Rocket, a jaw dropping achievement to the scientific community. This would carry Grayam's name into the history books, but on June 20th 2026 it wasn't in the way he had expected. After months of controlled testing, the rocket was ready for live field tests and was selected for a strike on Istanbul. The result of the attack was unexpected, with a single Nephilim rocket leveling an area of 20km and leaving behind naught but debris and airborne toxins in its wake.

The world paused at this atrocity, millions dead and the land left uninhabitable, the MoD could only point the blame at Grayam. He was resigned and left jobless along with the guilt and blame from the incident, it was the lowest point in his life and with no further to fall then into a bottle. He and his family struggled with his alcoholism and nightmares for years, it wasn't until his wife died after his 65th birthday and his daughter gave birth to his granddaughter, Joyce, that he stopped drinking and decided to become someone his granddaughter could look up to.

Now 72, he works on miscellaneous and playful inventions to entertain Joyce and is a grandfather every child would wish for; but the past still lingers, constantly on his mind and in his nightmares, forever inescapable.

Any feedback and suggestions for improvement are appreciated!

Friday, 17 January 2014

From Script to Screen - Rocket Scientist Character Idea Lineup

These character designs are the first ideas for my rocket scientist created using Sketchbook Pro. Even though some of these may not match the emotional tone of my story, with him being a remorseful scientist, I wanted to draw a broad range of emotions to experiment with the rocket scientist's personality. Is he a constantly depressed guy or is he jolly and loud but covering up his dark thoughts and feelings? I feel the latter may be the better persona, with 3 and 5 suiting this.
Any feedback on these will be appreciated.

Thursday, 16 January 2014

'Like for Like' Storyboard - Ghost Rider: Spirit of Vengence

Rope (1948) Film Review

Fig 1: 'Rope' (1948) Poster
The film 'Rope' (1948) by Alfred Hitchcock is a film filled with suspense, intrigue and murder. The film begins with the murder of David Kentley, committed by his friends Brandon and Phillip for being "inferior" and "ordinary" only to then be placed into a chest conspicuously located in the center of the room. This would be bearable if not for the party that takes place afterwards. The guests slowly begin to arrive, as we are introduced to each one, the dead David's lover and even his father are present at this event; if only to be a sickening distance to his warm corpse. The party continues, with the character Rupert Cadell piecing together the macabre clues of this twisted puzzle, and eventually concludes with David's disappearance worrying everyone profusely, although Rupert finally has his suspicions confirmed when his is in fact handed David's hat by mistake upon the guest's departure. The two murderer's, Brandon and Phillip are then confronted by Rupert slightly later in a long and drawn out flurry of words and metaphor, during which Brandon intends to shoot Rupert but is quickly discovered and relinquishes the armament. In the end, shocked by the crime his former students have committed, Rupert battles with a drunken Phillip, who is now holding the gun, only to fire it off into the sky and by doing so calling the police. 'Rope' (1948) is quite unique in its approach, using different ways to simulate a constant recording; as well his daring to indicate a then taboo topic without mentioning it outright.

"'Rope' is explicit without actually committing any offenses the Production Code could object to."
 (Levy 2007)

The two characters, Brandon and Phillip, are the protagonist's of this twisted tale and can be seen to be close to each other. The manner in which both characters interact with each other is both amusing and odd to how we would assume two males act after committing murder. Brandon's elated reaction is incredibly unsettling while Phillip's is that of a normal individual, frightened and paranoid, although he reverts to a submissive role when mentally over-powered by Brandon. The interactions between these two characters can be interpreted as Hitchcock's suggestion of their sexual orientation. This was. as mentioned before, a taboo subject for the time period and was unable to be shown in film, but as Levy point's out, even due to Hitchcock's explicit suggestion of Brandon and Phillip's homosexual relationship, the way in which these character's were presented allows for extreme ambiguity regarding the subject and allows Hitchcock to push this suggestion to it limits, with out showing any homo erotic scenes whatsoever.
Fig 2: Phillip and Brandon
 The way in which 'Rope' (1948) is filmed gives a theater like quality to the production but is also a technique far ahead of its time period.

"Rope is Hitchock's underrated classic that contains some of the most unique filmmaking of it's time. Hitchcock was so far ahead of filmmakers back then and so far ahead of a lot of the filmmakers today." (McCarthy 2008)

Hitchcock's experimentation with camera technique in 'Rope' (1948) was at the time, extremely ahead of its time. His use of a single environment, a seemingly constant reel and having the film in colour allows the scenes to really come alive and seat itself within reality. The limitations of filming equipment in 1948 disallowed the effect Hitchcock was looking for, as a single camera could only record 9 minutes of film, so instead this is achieved through the use of disguised cuts throughout the film as the camera pans across an object or around the back of a character; these cuts however are quite obviously but do serve their purpose to create the illusion. The use of colour for the film, however, does go towards allowing the sets and character's seem slightly more realistic. Throughout the film, Hitchcock's mastery of suspense is seen clearly through his camera techniques and narrative, often build the audience's tension in such a way as to infuriate them. A single scene within 'Rope' (1948) illustrates this perfectly, when the house keeper slowly removes items from atop the chest containing David Kentley's body and nearly opens it up, only to be stopped at the last second by Brandon; this scene's build up is extremely slow and steady with the ambiance of conversation clearly identifying that the host's are indisposed and unable to stop her discreetly, making any audience writhe in their seats at the increasing tension and terrifying suspense. McCarthy points out the significance of Hitchcock's techniques to contemporary film today, with them appreciated by a modern audience and even surpassing some of the newest movie released today.
Fig 3: Housekeeper clean up scene
The plot of 'Rope' (1948) gives great focus to the murder and victims corpse to generate tension and unsettle the audience.

"the emphasis on the macabre in this small story is frightfully intense." (Crowther 1948)

As stated by Crowther, 'Rope' (1948) places an alarming amount of emphasis and focus upon the missing (and murdered) David Kentley who's warm corpse lays sometimes an inch from his father, Mr. Kentley, and fiance, Janet Walker. Hitchcock makes sure we constantly remember this fact as his family and lover begin to worry greatly about him, bringing his name into conversation profusely. This is only added to by Phillip's conscience as his consistent episodes of fear through out the performance not only points out important details but mirrors the audiences supposed reaction to the macabre touches Brandon feels are necessary to complete the ecstatic and somehow pleasurable act of murder they have committed. This constant indulgence in forcing the audience's attention the murder makes it into the significant event portrayed but also leaves the character's of the film in a difficult position. This is because each character's personality and sub plots are utterly overshadowed by the main plot, giving little room for growth or even connection with them.

List of Illustrations

Fig 1: 'Rope' poster (1948) [Poster] At:

Fig 2: Brandon and Phillip in 'Rope' (1948) Directed by: Alfred Hitchcock. [Film Still] America: Transatlantic Pictures, At: 
(Accessed 14/01/14)

Fig 3: Housekeeper clean up scene in 'Rope' (1948) Directed by: Alfred Hitchcock. [Film Still] America: Transatlantic Pictures, At:
(Accessed 14/01/14)

Crowther, Bosley (1948) At:  [Online Review] (Accessed 14/01/14)

Levy, Emanuel (2007) At: [Online Review] (Accessed 14/01/14)

McCarthy, Kevin (2008) At: [Online Review] (Accessed 14/01/14)

Drawings of Francis 1 - Poses and Studies

Monday, 13 January 2014

Story Idea 4: Grave Mistakes - Premise, Logline and Step Outline

Coming to terms with consequences of actions.

A caring grandfather attends his grand-daughter's birthday part, only for the sins of his past to interfere with the present.

Step Outline

x Rocket Scientist (RC) wakes up and sits up in bed.
x RC walks past a window overlooking a cemetery.
x His brow furrow as faint screams rattle inside his head and an orange flash covers his face accompanied by    a quiet boom. He snaps out of it.

x RC continues walking into the kitchen and picks up a birthday invitation.
x Flashes of lab work, a huge rocket and military men with grim smiles.
x RC walks into the garden, his grand daughter runs over to him and he hugs her. The party in full swing; kids    jumping on a bouncy castle, buffet table and balloons. RC goes to sit down on a garden bench.
x RC sits quietly as the party carries on. Flashes of an nuclear atrocity replace the party and RC's eyes begin    to tear up.

Any and all feedback on this is appreciated.

Saturday, 11 January 2014

Influence Map - Cemetery

Influence Map - Bouncy Castle

This subject within my story will be one of the visually harder objects to figure out, as I really want to make Bouncy Castle to appear very cartoonish but still quite impressive. The "Basil's bouncy castles" logo's portrayal of the castles material is something I definitely want to use in my own concepts.

Influence Map - Rocket Scientist

Friday, 10 January 2014

The Inflatable Kingdom - Premise, Logline and Step Outline

The universal presence of good and evil as well as the importance of responsibility.

A rocket scientist crashes on a new world of unexpected material, only to find himself imprisoned by a king's greed and saved by a princess' kindness. Soon forced to take up the mantle of responsibility and destroy his own creation.

Step Outline
  • Simon appears in another galaxy and his ship starts to fail. He begins an emergency descent onto a nearby planet.
  • As he descends he sees an outstanding view of a beautiful and multicoloured landscape. The ship hits the top of a mausoleum and swiftly crashes.
  • Simon emerges from the wreckage to be greeted by a dark and dismal cemetery. Wanders aimlessly around looking for an exit as a thunderstorm sets in.
  • Unable to see properly, he is taken by surprise when he encounters a large statue. A Lightning flash reveals a scary statue.
  • Simon is surrounded by guards and arrested. He is taken to Bouncy Castle.
  • Arriving at Bouncy Castle he is taken before King Publow. The king has him locked in the dungeon.
  • Simon thinks about earth. He is upset.
  • The king's smartest subjects cannot work out what the rocket is. The king returns to Bouncy Castle.
  • Simon is visited by King Publow. He is questioned.
  • King Publow decides to have Simon deflated (killed). His daughter, Princess Ancy, saves Simon from the dungeon.
  • Simon and Princess Ancy escape Bouncy Castle. They return to the cemetery and Simon's rocket.
  • King Publow finds out about his daughter's actions. He is outraged and orders Simon's immediate deflation (death).
  • Princess Ancy tries to convince Simon to destroy the rocket. Simon is uncertain about it.
  • Simon is eventually convinced and bids his dream of home goodbye.
  • Simon and Princess Ancy flee the rocket. The rocket self-destructs.
  • King Publow sees the explosion. He is furious.
  • Simon and Princess Ancy decide to flee King Publow and live together for the rest of their lives.

Any feedback on this is appreciated.

Thursday, 9 January 2014

Story Idea 3: The Inflatable Kingdom

After the radical creation of a rocket capable of interstellar flight the governments of earth fight over who should own this marvel. It's creator, Simon the Scientist, is angry that human power structure cannot share this breakthrough in the name of peace and advancement of diplomacy and takes off from planet Earth and disappears when he successfully jumps into another galaxy. This however doesn't go as planned as when he emerges into this new galaxy the rocket's systems begin to fail,  leaving him now choice but to attempt an emergency landing on the nearest planet. As he begins his descent his is met by the strangest of sights; the world he is attempting to land on is made of rubber and he can see miles and miles of inflatable wheat fields and hardened rubber fences. Completely distracted by his strange scenery, he fails to notice the large blow up mausoleum below and his rocket pierces the structure. The air tight walls burst and he suddenly loses control of the spacecraft, it twists and turns within the former mausoleum's material until an abrupt crash is heard and everything stops abruptly. He emerges from his craft only to find himself crash landed in the middle of a cemetery, the scenery now is completely unlike what he saw earlier, the dazzling yellows, blues and reds have been replaced by greys, browns and blacks and eerie solid rubber gravestones stand silent. He began to think that things couldn't get much worse, marooned in another galaxy, no rocket, no ide where he was and stuck in a cemetery of all places. But he hadn't accounted for the weather, a thunderstorm sets in and increases Simon's desperation. He wanders through the cemetery aimlessly, hoping to find an exit. After sighting a path and following it for a while he comes upon a large dark mass, unable to make out what it is until lightning illuminates a hooded figure. Simon screeches loudly and falls backwards, the statue is kneeling, robed all in black rubber and clutches what appears to be a large needle with its skeletal fingers; Simon regains his composure and his face turns bright red as he realises the noise he just made. After examining the statue, he begins to put together rational theories of his environment only for his thoughts to be interrupted by the appearance of some suspiciously inflatable looking guards. "Outsider! You are under arrest for the defilement of the royal mausoleum and the deflated monarchs within!" A guard screams, with slight undertones of rubbery squeaks. Simon is both alarmed and shocked, dazed, he is pushed to the floor hard and has his hands tied with plastic rope. "Take him to Bouncy Castle!"

Any feedback on this story idea and any of my notes is appreciated!
Below are the notes related to this particular story idea:

Character Design Workshop Exercise

During the Character design workshop on Wednesday, we were asked to first draw a random character in the style of the ones we had brought in. I brought in the Punisher, as he is my favorite anti-hero, and drew Gru from Despicable Me in the same style. This was quite challenging and I wasn't exactly happy with the outcome.

This became quite a mess quite quickly as my particular style leaked through instead of the Punisher's artist style. However, afterwards we were tasked to draw the characters we had brought with us in the style of another random character. This time I received Stewie from Family Guy and drew the Punisher in that style. This one I particularly enjoyed and was quite pleased with the outcome this time.
This has shown me that I preform much better artistically with something cartoon-like rather that some alot more realistic. I see this, however, as a strength to be exploited in future projects.

Wednesday, 8 January 2014

Story Idea 2 - The incident of the Bouncy Castle in the Cemetery

The Scientist (who is also a rocket) and his team is attempting to create a new wonder of their world made up of the energy of citizens who hold weddings and funerals above their secret research facility, which is located underneath the city's cemetery. This, however, goes terribly wrong as instead of creating a pure bouncy castle, something never before seen in their world, they create the physical form but an influx of negative energy creates a twisted and evil soul that possesses the bouncy castle. None of the team realise this however and celebrate their success. A grand banquet is held with the brand new creation as the center piece. The bouncy castle, however, has other ideas and breaks out of the containment cell, only to attempt to eat the staff in the facility. The protagonist uses his ingenuity and flees to the armoury and procures a firearm to destroy the beast, he does so only to find he is the only one left alive.

Not too sure if this plot is too much but I enjoy the crazy defiance of reality with it.
If anyone has ideas on how to improve this or if it too much It'd be greatly appreciated!

Term 2 - Storytelling and Commission: From Script to Screen

This Project's goal is to produce both a 2D animatic and a Maya pre viz animation from a story constructed around three predetermined elements. The three words I have drawn from the blue box are Rocket Scientist, Cemetery and Bouncy Castle. These elements are completely unrelated but can be mixed for a number of different stories. My first idea was having the rocket scientist be stranded on a space cemetery only to be invaded by scavengers who intend to strip the ship and corpses, the only fault with this plot would be the absence of the bouncy castle as a key plot point. I will continue to work out different ideas and try some wacky combinations.

La Jetee (1963) Film Review

Fig 1: "La Jetee" Theatrical Poster

The film "La Jetee" (1962) is a film directed by Chris Marker that uses still images with only a tiny snipet of actual video footage. The way in which the film emotionally effects its audience through this unconventional method is unexpected.

"it’s a stirring, emotional film about the unique hold memories have over people’s lives and how experiences themselves are fleeting." (Melin 2012)

As noted by Melin in the quotation above, the way in which Marker portrays and conveys the incredibly far fetch plot by focusing upon the emotional journey of the protagonist and his love interest and leaving the realistic elements out of focus. The memories from the protagonist's childhood have a "unique hold" over him throughout the rest of his life and through the ending's generic, albeit unexpected, twist the protagonist actually creates those strong memories for himself. His complete obsession and the narrator's emphasise upon the love interest in the story draws the audiences attention away from his death to allow for this surprising outcome.

Fig 2: Death scene in "La Jetee"
The settings for many of the love interest sequences convey interest and intrigue to the audience from normal and ordinary objects.

"The postwar world could be any basement hallway, while the trip into the past takes advantage of Parisian shops, parks, streets and museum galleries – Marker knows how to find the extraordinary in the ordinary." (Hall 2011)

This approach, that which Hall points out, relies on our suspension of disbelief, which itself is supported through how the film presents its story. The fact that a narrator is used and describes each scene as they happen brings the story to life for the audience as the photo stills, by nature, are not enough to captivate the audience and run the risk of boring them instead. This makes the narrator an integral part of the film's construction and allows the story's direction to be controlled, portrayed and conveyed more acutely to its audience, this is most obvious in the unexpected twist mentioned earlier.

Fig 3: Park walk scene in "La Jetee"
The soundtrack within "La Jetee" makes use of both actual music and calculated silence to invigorate the film's story elements.

"The soundtrack's texture is similarly sparse, and the fluid montage leads the viewer into the sensation of watching moving images. Until, that is, an extraordinary epiphany when an image genuinely does move: the man's sleeping lover opens her eyes." (Andrew 2006)

This allows the film to come alive as if watching a comic book slideshow, and highlights the protagonists emotions in each scene and sets the mood of each scene quickly and simply. The narrator's voice controls the emotional conveyance of each scene as well, with his vocal tones changing only very slightly and still being able to capture the audiences attention.

Illustration List

Fig 1:"La Jetee" Theatrical Poster (1963) [Poster], At:

Fig 2: Death Scene in "La Jetee" (1963) Directed by: Chris Marker. [Film Still] France:
Argos Studios. At: (Accessed: 07/01/2014)

Fig 3: Park Walk Scene in "La Jetee" (1963) Directed by: Chris Marker. [Film Still] France:
Argos Studios. At:
(Accessed: 07/01/2014)


Melin, Eric (2012) At: [Online Review] Accessed: 07/01/2012

Hall, Phil (2011) At: [Online Review] Accessed: 07/01/2011

Andrew, Geoff (2006) At: [Online Review] Accessed: 07/01/2014

Tuesday, 7 January 2014

Term 2 - Project 1: Soundscape

The key frame I received for this project is "Carnival of Harlequin" by Joan Miro. While not initially sure about how to approach this, because of the expressive and confusing nature of the piece, I'm staring to think along the lines of approaching this as an classical musical arrangement, using influences from energetic classical pieces or a slower piece given alot more energy, with the animatic featuring as an orchestral performance of sorts, using an array of animal and mechanical sounds mixed with instrumental under tones. This is only one of my first ideas and any suggestions and constructive criticism is appreciated.