Summer soon summer soon summer soon

Dance Video - Post Production

Here's the thing - I am not a good editor. There are numerous things in this industry that I think I am good at, but editing - seeing what looks good with what, colour correction, sound editing, etc. - is just not one of them. So for this project I figured, its time I actively bring on an editor, so that we can properly put together this project. So that's what I did. Originally I had to talked to Rufaro about editing together, but on the day we decided to start I had already edited sound with Nina, so we decided to carry on with the video too. Rufaro was okay with this, and agreed to be credited as Camera Operator, while Nina would be Sound & Edit. 

For the sound we first discussed what I had in mind, and what she figured would look good with the edit she had in mind. We started piecing together something we thought would give a nice rhythm to it, and create an interesting piece to edit to. The background sound gives it a nice atmosphere, and creates tension and works really well with for an example slowed down clips. The beat we put in with the guitar creates a pattern that we could edit to, and musical beats that would sound good with visual cuts. We also decided to add heartbeats to make it more intimate and to help with the beat, but as we didn't want this to be the main focus, we lowered the audio gain on it, and slowed it down so that it would only we barely visible. This was also done so that you might not even think about it being there, a listener might just accept it as their own heart beat. We also added a rain effect, as we didn't want to record anything during the shoot. Also, because it is an added sound we could control how much there is, and how the rain increases until the point were the dancer breaks. 

As for the edit we faced a couple of problems. We quickly realised that we should have filmed more, possibly extended the shoot until the day after. Even though we felt like we didn't have enough material we still managed to put together a rough cut that day. It had the general tone of the project, but was missing something to make it feel more complete as a video, but also as a narrative. We decided to leave it for that day and look at it with rested eyes the day after. 

We started the next day of editing by looking over the areas of the video that we didn't especially like, and that we wanted to change. We then played around with the clips to find out how they might fit together better. At times it felt like a puzzle, where we just had to find the right pieces for it to become complete. I decided I wanted to slow down the beginning quite a bit, to better see the crescendo into the middle of the video, and also to get a complete visual of what the dance is supposed to look like. That way it would be easier to understand how the water is interrupting the dancer, and how she has to change her routine. 

As for colour correction we started by all over lowering the highlights, and making her skin less bright. There were also multiple shots where the background is glistening because of the water - we tried our best to make up for that in the correction, but it only worked to a certain degree. If I could I would probably in the future make sure that the background is far enough away so that it doesn't get wet. We also added a 25-30% saturation in the beginning and all the way towards the breakdown to symbolise how the dancer is just mindlessly repeating the same routine, and only gains more colour and saturation towards the end when she finally accepts the water, and dances with it. 

I all in all like the edit, although I wish we had more material to work with. I would also have liked to use a better camera so that we could capture her movements and the water even better. But Nina did an outstanding job with both the sound and the visuals, and I can't thank her enough for working with me. 

-TJ

Creative commons:

I Am Running a Marathon with Thousands of Other Highly av Chris Zabriskie er lisensiert under en Creative Commons Attribution-lisens (https://creativecommons.org/licenses/by/4.0/)

Kilde: http://chriszabriskie.com/honor/

Artist: http://chriszabriskie.com/

Eastminster av Kevin MacLeod er lisensiert under en Creative Commons Attribution-lisens (https://creativecommons.org/licenses/by/4.0/)

Kilde: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100719

Artist: http://incompetech.com/

The best crew in the world made it efficient, fun, and an amazing directorial debut all together

Dance Video - Production

After Pre Production was over and done with I felt like the world had been lifted off my shoulders, and that I could finally breathe again. I genuienly looked forward to the shoot, and I was excited to see how I would do as director. As I've stated in my learning agreement I wish to become a director or dop in the future, and I really want to hone and try out my skills more during 3rd year. In many ways this project was my first attempt at just that. In the weeks leading up to the shoot I had felt the stress of producing, and although I managed to complete that too, I dont think that is the right position for me. The parts of pre production that I really enjoyed were the meetings with my dancer, where I got to actually direct, and create the cinematography for the project. Now that everything was in place I was ready to start my first shoot day. 

We started building the set around 7:30, so that we would finish in time for the first shot. Nina and I started building the party tent, and covering the sides in the black cloth I had bought during pre production. This all took longer than we thought, and by the time we had set up camera we were already a little behind schedule. Rufaro was my camera operator and sat up the slider and camera with help from myself and Nina. By the time Gabby had warmed up, my first aider (Anna Woods) had showed up, and I had also made sure of that the campus security guard was available. (We exchanged phone numbers in case of emergency) 

We then started filming. We were quite lucky because it was a fairly warm night, but also the crew remained positive, and encouraging. We did the first take, and had coffee, a towel, and a warm jacket ready for Gabby immediately, so that she wouldn't freeze while Rufaro and I set up the next take. Gabby and I also did some exercises, like running on the spot, and star jumps to keep her warm, and to keep the spirits up. We carried on with this routine for the entire shoot, as in we would do a take, and then we would fuel up on towels, coffee (or tea), snacks, and warmth, and then we would commence the next take. I would say that this worked really well, and although we went half an hour over time, the crew remained positive and set on completing the shoot. We cleaned up as a team making sure that everything was packed properly and the lights had cooled down first. We also made sure that we didn't leave any litter. We didn't have time to take the set down, so we pushed it against the wall, and marked up the path next to it, to show people that they could just walk around it. We also tied it down to make sure that it wouldn't blow away over night. Nina and I then packed down the rest of the set the next morning, and that was that. 

All in all I feel like I did well as a director. I feel like I was able to keep everyones spirits up, and made it into a fun shoot, rather than a chore. The crew was extraordinary to work with and they all put 110% into the project, so I thank them all from the bottom of my heart for giving me their evening, even Logan (BTS) and Anna (First Aid) stayed for the entire thing, and remained positive and focused. This was an amazing experience, and I am now more hungry than ever to pursue directing. 



Also a massive thanks to the crew for making this a successful shoot. Rufaro did an amazing job on camera, and it was really good working with you. Nina was constently ready with anything we needed, be it snacks, coffee, something warm to drink or good advice. You were absolutely amazing! Also huge thanks to Anna for being there in case we did a boo boo, and thanks to Logan for taking all these pictures!



-TJ

A lot of running around University

 Dance Video - Pre Production

I was at a point where the idea for my project was complete, and I had to start the actual work on it. Like I've said multiple times already in previous post, I knew that finding a location was going to be my biggest problem - as my shoot required quite a specific set of needs. (Water outlet, electricity, a way for the water to run off, and enough space to make the set.) With this complication I also had to make a massive risk assessment to make sure that the electricity didn't touch the water, the dancer didn't get ill or cold, etc. I knew that the pre production that was ahead of me would be extensive, and difficult. 

I sent out multiple emails to places I thought might be able to host my shoot, including public pools, car washes, and fire stations. I also emailed Surrey County Council and Surrey Film Office for help, and in case I needed additional permits. Sadly none of these hailed fruitful as they were either too expensive, or not able to host at all. So for now I still didn't have a location although I still had to keep working on the rest of my production pack. I kept emailing similar places, and I also kept this one area in mind outside my house in the back of my mind as a backup, should I not be able to find anything. 

I carried on planning my shoot, and my production by setting the 4th - 6th of April as my potential shoot days. This way I would be able to finish my production before Easter, and get a head start on editing, as I would not have that much time before hand in after Easter break was over. I also started looking into my budget and what I would need to aquire for the shoot around this time, and I ordered different materials such as a hose, sprinkler, and cloth for the set. At the same time as I was working on this I also had regular meetings with my dancer. I was very lucky to find a dancer fairly quickly, as I posted on the students facebook page and got a reply within the hour. Gabby Ellison, which is her name, is an aquaintance of me, and I really think this was benefical to the project as we could very comfortably explore and shape the chereography together. Within our two first meeting we had the routine finished, and we had agreed upon how the dance would transform throughout the video. She showed great enthusiasm for the project, and loved the idea behind the narrative, as well as the message I was trying to send. We also stayed in touch outside of meetings by sending each other videos of different dances as to contribute any inspiration we could find. I tried my best to keep her updates on any dates that changed during pre production, as well as how the set would look, and how we would take care of her safety. This was my first time directing a dancer, and I was at first very insecure about what to do, but I figured that she probably felt insecure too, so I therefore decided that she would never dance alone during practice, except when looking over the final routine. I always did the moves with her, and we warmed up and stretched together as well. I think this made the whole practice feel less strict, and more fun. 

I tried uploading the video we took of the finished routine after our second meeting, but for some reason neither blogger or youtube was able to upload it even though it is a .mov file. Anyway, here are two screenshots I took of the video. During our third meeting we went on to work with water, and how the water would change her movement, but I don't have any visuals of that.

 

I also discussed costume with Gabby, and what we thought would fit the film. We both agreed that we wanted it to be inspired by marital arts and yoga, as well as still being flexible enough to move comfortably in.  

I was also working on the rest of my production pack even though my location had still not be procured. In the synopsis and treatment I pretty  much just summed up what I have written in my previous blog post about the project. In cast and crew I made sure that I would have enough people on location to help with filming, lighting, and taking care of the dancer. 

For equipment I kept it fairly simple. I wanted the GH4 so that I could shoot in 50fps to properly catch the water, and film better at night. The lighting was very basic as well, as I wanted all the attention to be on the dancer. I also made sure that I already had sandbags so that the lights would be secure. I also chose to have a slider for my shoot, as I wanted to explore shots with only slight panning, this was just so that I would have more options to choose from during the edit.

The Location Drama

It was now a week before the shoot, and I had given up on finding a location. I therefore decided to go with my backup although it wasn't the best at all. I did my risk assessment accordingly, and hoped that it would be enough. I went to my final tutorial with Rosie, and she immidietly says the she doesn't think she would be comfortable with me filming there, as there were certain aspects of it that were unsure, and could be unsafe. We start brainstroming where I could shoot, and if I possibly could shoot on campus, as this would make it safer, and easier to transport equipment. She makes a couple of calls and we discover that there is one spot that matches all my requirements. This started my most efficient, stressful, and productive week of my entire life. If I were ever to film on campus with electricity and water I would need to be signed off by Health and Saftey, the Campus Location Manager, and my Course Leader. This included having a risk assessment of massive proportions, a set that has been constructed safely, ladder training, and First Aid perosonell on site in case something goes wrong. I had multiple meeting with Julia Critcher about the set and how I would make sure it was safe in every way possible. I had multiple meetings with Tipu and Emma from Healthy and Safety to make sure that all my materials, equipment, and risk assessment would be safe for actors and crew. And I had countless meeting with Rosie to update her on how I was doing. I kept updating and adding to my risk assessment to make sure that everyone was fit, and in the end everyone signed off on it and I was ready to go.

This was the biggest production I had ever done, and it was my first time producing, so everything took its time, but I think I did an alright job in the end, and I am very happy with how I pulled together and managed to pull it off. 

-TJ

"But now the rains weep o'er his hall,

with no one there to hear." - The Rains of Castamere

It has already been a long journey just to get to this pitch, and I have already learned so much. Starting out I had no idea if I should pick Fields and Frames, or Dance Video - I had ideas for both, and at first I figured I would be able to do everything. I quickly found out that that was not the case.. Since then it's been a rollercoaster, and believe it or not, the pitch is ready, the dancer is found, and the location is almost ready too - can you believe it ? Now, there is still a long way left to go, I've got most of the pre production left, and the project is far from getting signed off and ready to shoot yet, but you know, lets look on the bright side, we're getting there.

My dance video is heavily influenced by Bill Violas video art installation "Tristan's Ascension" as in it will feature falling water and one performer. I will combine this with dance elements from casual street dance and martial arts. This piece will show a narrative that reflects the constant battle between nature and humans, and how in the end we might be better off if we could find a way to work in harmony, and live together, side by side, without obstructing the other.

The set itself is fairly straight forward - just a black room, with a spotlight, and water raining down from above - but its the dance that tells the story between the two characters. In this narrative both the dancer and the water itself will play their respective parts as two opposing forces, who are both trying to achieve an action, but is being obstructed from completing that action by the other part. The water wants to do what water wants to do when it rains, to reach the ground, and the human wants to complete these movements without distraction. 

The video will start with the dancer performing their moves undistracted, but slowly the water starts dripping, and increasing in amount. After a while the water is now physically making it difficult for the dancer to perform the moves, and as the water pressure increases (we will achieve this by using a hose, or just increasing the amount of water being poured), the dancer also increases the intensity oh their moves - making them more powerful and aggressive. It will be obvious that the dancer and the water is out of harmony with each other, and that they are in a way egging each other on to become more annoyed, and more tempered. There will be a crescendo in this part of the video where it becomes intense until the point where the dance can't go on, after this the video and the dance will almost come to a full stop, before slowly starting up again as the dancer realised that its possible to dance with the water if they just change their moves slightly. At this point the dance will change from the previous more aggressive and combat inspired dance, and transform into a more flowly, abstract dance that's inspried by the art of Tai Chi. The dance goes on, but this time in harmony with the water, letting it flow with the body, instead of interrupting it. This goes on for a while until we get to the end of the video where the dancer and the water is in complete sync and camera pans out. 

The North Pole melting

Now it wouldn't be much of an art uni video if it didn't have a deeper meaning now would it? Well of course it does, and this time I don't feel like it's very subtle. It's about humans and nature having to learn how to work together and live along side each other on this earth, instead of constantly slashing away at each other. Like in the dance, the two parts keep egging each other on - we destroy the atmosphere, the water heats up, and natural disasters come more and more often, and round and round we go. Now, there have been made countless documentaries and films about this subject, and this is my contribution - and my wish - that maybe one day we can learn to work together and take care of each other. 

TJ

"My most challenging project yet"

 Dance Video Idea

Consider this my treatment pitch. Going off my previous research post I have combined multiple of my ideas into one final one. My dance video will be a 1+ minutes long, and will consist of a minimalistic dance with smooth and fluid movements that correspond with the raining of the water. It will be filmed with a black background and a spotlight on the dancer, I only want the dancer and the water to be in focus. I really like how Bill Violas work almost feels sentimental and nostalgic, so I want to try to create that atmosphere with the low light, and black background. As for the sound I want it to be as little of it as possible, almost nothing at all. The little I want to have will be very experimental and abstract, and will serve the purpose of helping the atmosphere. As far as my crew goes I have 2 or 3 people who have said they would like to help me, but I have not assigned any roles as of yet, because I think we will have to a bit of everything. I want to work very closely with the dancer, and develop the choreography while filming, with maybe only one or two rehearsals before. I have some shots in mind, e.g. a static wide shot and some static close ups, but other than that I want to feel what seems natural to capture with the dancer, the same way I want the dancer to tell me what movements would feel natural for the video and setting. 

The biggest problem I'm facing moving into pre production is location. I of course also have to be really careful with my use of water in combination with the spotlight, but I feel like that can be easily protected through my risk assessment, and careful set building. As I mentioned in the previous blog post, the location will be my biggest problem as I will need somewhere with enough space for the project, and a place for the water to run off. I am currently still looking for affordable places to do this, and I am also considering doing it outside (something which would solve my water problem, but might create new ones like weather, and lighting.) 

In my risk assessment I will discuss everything from taking care of the dancer, to health and safety when it comes to studio or outside shooting. 

TJ

"Does the camera dance too?"

Dance Video - Innovation and Interference 2017

For this project we are tasked with creating a dance video, where we learn a greater understanding of the relationship between the choreography, the dancer, and the camera. We can create whatever sound we want, and be as experimental as appropriate - and I'm assuming that this means we can go nuts as long as we still fill the brief of the unit. We will explore rhythm, beat, dance, sound, and choreography throughout this project and if successful we will incorporate all of this in the finished video. 

I think the biggest challenge for me will be how to capture the choreography and scene with the camera to best show the extent of the performance. I also struggled during the editing process of last years dance video, so I also think that will be a challenge - I might have to ask for help from some of my course mates to crew and edit. But as far as the brief I don't I will have any problem with creating this. I already have multiple inspirations I want to look at and incorporate. 

Bill Viola 

Bill Viola is a visual artist from New York, who does a lot of work with the elements in his film. He creates almost miraculous visuals by manipulating time, and incorporating the elements in ways that makes the frame look almost religious at any point in the video. The one that especially caught my eye was a piece called "Tristans Ascension", in which water slowly rises up around a body. During the duration of the piece the water rising becomes more and more intense and the body even starts being pulled with it. I assume he used suspension cables to do this and then removed them in editing, but nonetheless, it makes for a stunning visual, with heavy religious undertones. I really want to use this effect of water and time manipulation in my dance video as I think the movements of the dance would look amazing with these kinds of effects.

 "Tristan's Ascension" by Bill Viola (2005)

 The challenges I would be facing with this idea are many, as it is a very complicated and craving project. I would have to find a dancer who would be comfortable with the water, and possibly getting cold and wet. In the risk assessment I would have to make sure that I will take care of my performer as far as this goes (Bring towels, food, and possibly something warm to drink, etc). I also have find a location where I could use a large amount of water with a safe way to dispose of it, maybe like a large warehouse or a garage. This is definitely an idea I want to incorporate in my final pitch, but I also have other ideas that I want to pursue. 

Stop Motion

The second concept idea that sprung to mind was stop motion. I am researching this idea more for my own interest as actually creating a dance video using stop motion would take weeks on end, and I might end up with something that doesn't even fit the brief. I have been interested in stop motion for a long time, but I haven't tried to create a full on stop motion project since creating a short film for my university application. It was just a silly video, that was meant to be a lot bigger and more developed, but I was only a crew of myself, and stop motion is really difficult.

I don't know who reviewed my application, 

but this was the end result of my little project.

I also had a look at the behind the scenes making of Wes Andersons "The Fantastic Mr. Fox", and that just confirmed my earlier suspicion that using stop motion for this project would be impossible. I do really want to use it for a future project though as I think it is a fascinating way of creating film. 

Minimalistic Dance

A still from the music video for Flume & Chet Faker's "Drop The Game"

 We all have strengths and weaknesses when it comes to life, and although I agree that we should always try to strengthen our weaknesses, and try new things - I have to admit that creating choreography is a massive challenge for me. I have never done dance in my personal life, and I'm a very stiff person in general. So I want to make the dance as minimalistic and simple as possible - if anything I think that would be considered playing to my strengths, rather than hiding my weaknesses. While looking around for this on youtube I found this music video for Flume and Chet Faker's song Drop The Game. It features a man in his 20s dancing in the street, but instead of it looking like a overly planned routine, its rather a collection of casual movements that seamlessly fit the music. I think that these kinds of movements would look stunning if maybe combined with the water and time manipulation I explored in the Bill Viola section of this post. It would require that I have very close contact with my dancer, as I would have to work them to create the  dance as it has to look natural for them to perform it. 

 "Drop The Game" by Flume & Chet Faker (2013)

Martial Arts

The last idea I have researched and want to discuss in this post it martial arts, and how it can be used for this project. I have been a fan of kung fu films since I was very young, even though most of the film are very dramatic and over the top. But the choreography that goes into that kind of fight scenes must be incredibly dubious, and well thought out for it to look real. Now, I am not a martial artist, nor have I ever created a dance using martial arts, so of course this is a stretch, but I also think that if combine it with either of my other ideas I might be able to create something that will look absolutely beautiful. While writing this post a memory came to mind about something else I could use in combination with martial arts and Flumes style of dancing. It's a bit silly, but if translated to a real choreography I think it would look amazing. I am talking about the children's cartoon Avatar: The Last Airbender that ran on Nickelodeon in the 2000s. It's a show about people who can control the elements through certain gestures and movements that correspond to the element they can use. For and example if you want to control water you need to have very fluid and soft movements, while if you want to throw rocks around it requires stomping and rough movements. 

This idea would also require that I have good contact with the dancer, as I need to make sure that they are comfortable with the style of dancing, and they believe it can be done. 

This is all the research I have done so far, and I will in my next post put together a pitch so that I can get started on pre-production as soon as possible. There are clearly very many challenges with this project, and I am really pushing myself into new territory, but I truly believe that I can creating something unique, and raise my standard as a video artist.


TJ

Maps and Networks comes to an end

I have now come to the stage of this project where I have to think thoroughly about my installation while also finishing my project. I have my clips, and I just have to edit them properly - maybe remove some noise without losing too much information. But that comes further down in this post, first I want to talk about installation. 

Hallway Gallery - advantages/disadvantages

During my first presentation I said that I simply wanted to have three screens right next to one another in the hallway. A simple way of showing all three colours and the contrasts between them. Since then I have a thought about many different way of doing it - projection, have the screens on top of another, make a three wall thing in a corner - but they all sort of do the same, they just show the pictures without adding anything. The whole point of putting thought into your installation should be to a) give additional meaning to the project, and b) make people who pass by want to stop and have a closer look, preferably standing there for a while. At this point in my work I decided to do two pictures instead of one. This lead me to think about duality, and how I could show this through my installation. Red and blue are very contrasting colours that both catch the eye, and it is my thinking that if you put them right next to one another you might lose some of that, because they lessen each other. Another thing I wanted to show was that these emotions that the images are based on don't necessarily flood your mind at the same time - they usually linger in intervals. When you're extremely sad and lonely, you feel less passionate, but it is still there in the back of your mind waiting for its chance at the wheel again. 

To portray this I want to place my two screens on opposite walls. 

Considering that its a narrow corridor, and that at multiple point there is a wall directly on either side, I think it would be perfect to have one screen showing the blue footage on the left wall, and one screen showing the red footage on the right wall. That way when you look at one of them you have to turn your back to the other one, just the way emotions do. I think this definitely adds to my project and I hope it can be done. 

Completion of my work 

As I discussed in an earlier post I decided to switch over to Premiere Pro for my editing, as Photoshop didn't quite work out. To be honest that did simplify the process of my videos a lot, and maybe it very easy to complete this task. I simply made sure I had the point of where the screen/phone flickers off, and then alternate between normal footage and reversed footage to make it look more fluid. I did this in Premiere Pro, so that I also could add the tone and bars, and countdown clock. 

This is my finished work: 

Blue

This my final blue piece, without bars and clock. I feel like this video accurately depicts loneliness through colour and visuals. I am also satisfied with the flickering of the screen. Although a lot of people won't realise that it spells out S.O.S. I think it adds a lot to the project. 

Red

As you can see the red is slightly noiser than the blue. I tried very hard to get rid of this and by adjust the original light source, but what you see in the final version is the best I could get. I like the colours, and I like that it has captured an "intimate moment". I also think it works very well in comparison to the blue. 

-TJ

we'll fix it in post

Now we have to make this film come to life. We are still nervous that we don't have enough footage to realise our original idea. We want to give these items a new meaning, bring them back in a new light. That's why we used the blue gloves, to give them a delicate touch, almost like a museum curator preserving precious treasures. 

We also want the sound to match the objects, not necessarily literally, but possibly a link to where we found them, or to what they were used as in their previous life. For an example: We found a lot of our items in the park, and that's why we want to have nature sounds (birds chirping, wind etc) to match those. But we also found piano notes made by a composer called Wilfred Sanderson, so we found another piece by him that we wanna use in our sound track as well. 

i love going item scavenging

So everything wasn't as simple as we thought. In Surrey you're not allowed to take objects from landfills, and lost and found boxes are also off-limits. This greatly limited our search radius, and we now had way less chances to find objects than what we originally hoped to have. 

On the first day we went to charity shops and looked for items we could use. We found some good postcards which all of us agreed nicely fit the aesthetic of the film we envisioned, and we also asked around if they had some items in the back that they might not be able to sell. This further led to some items we could use. 

On the second day of item finding Preston, Arturs, and I went to Farnham Park to see if there where any objects there that we might be able to use. We also picked some flowers and leaves. These will look really nice after we film them. 

Ah, I forgot to mention! We might be scanning the postcards, but for the rest of the items we had to figure out a different approach. That's why set up this intricate recording studio: 

As you can see it consists of a sheet of glass, held up by two tables, with a camera underneath and a white screen above. This worked really well with most of the items - some of the denser items look too dark, but the more delicate ones like plants, and a cassette tape look really nice because they're almost translucent.

We are struggling with having enough footage though. We might have to rely on found footage as well. 

the idea, and how we thought we could make it reality

So Natalie's original idea was this: 

"The main concept for my film is a moving photomontage under the theme of lost and found objects. Everything in the film must be found be the filmmakers. Even the camera has to be one found in a charity shop or second-hand shop. This includes archive footage and pieces of fabric that are found outside shops, or interesting textured nature found on the ground. 

All these things complied into a montage will create a beautiful concept with an interesting and unpredictable aesthetic. The film will begin with simplicity. A montage of  clips from archive footage will play. The layering will become more complex during the climax."

Our group consists of Natalie, Preston, Arturs, and myself. During our first meeting we discussed the idea and how we could do it. We all agreed that finding enough objects might pose a challenge if we wanted to have it as fast-paced as Natalie described in her pitch. We decided to give landfills, and places where they might have a lost and found box a call, and visit charity shops in person. We also set up a calendar with a schedule for which days we are going item hunting in the streets, in Farnham park, landfills, and lost and found boxes. 

Sound is different from music. The same components are used, yes, 

but sound can make you see so much more.

Hello hello hello, testing testing, 1 2 3. 

So today I set out to record my sounds, and here are the sounds I've decided I want: 

-Tapping that increases in intensity and power.

-Tapping with slightly different sound (made by tapping microphone) -I didn't use this one, too noisy-

-Tapping that resembles a heart beat

-Bomb explosion sound effect, made with voice 

-Bomb dropping sound effect, made by whistling 

-Plane sound effect, made with a fan

I recorded all of them, and most of them sound relatively good. I will absolutely have to edit them slightly, maybe distort some (the whistling for one as the pitch is too inconsistent). 

I also played around with some synth on Garage Band because James and I discussed an earlier piece he had made, were the synth sounded like artillery fire. I tried it out and I got some interesting results, but I also felt like it didn't fit my piece. I will definitely incorporate it in future projects though!

Here's my final piece: 

Final Sound Piece

Now that you've listened to it, I'll tell you what I did to make it sound like that. 

First of all I had to do noise reduction on all of them as my mic records a lot of the buzz around it. (I recorded by my computer, and the whirring from it was on the tracks.) I used the Heavy Reduction preset, as I wanted all of the noise to be removed. 

As I wanted the tapping to be quite loud, and the other sounds to come in naturally and not abruptly, I had to play around with the amplifier. Some tracks, like the tapping and the heart beat I had to amplify, while other tracks like the explosion and the bomb dropping I had to quiet down a bit. In the beginning of the piece I turned them down to about -25db, while later in the clip when I wanted the bombs to be "closer" I turned them to -5db. 

As I mentioned just now, I wanted the bombs and planes to seem far away in the beginning and then come closer. I did this by using an FFT-filter, and putting it to a low pass frequency, so that only the lower frequencies pass through. I curved it, instead of shelving it, as to make it sound like it was coming closer.

And that's about it. I'm quite pleased with my final result. 

-TJ

Can you hear that? Sounds like a sound project. So fresh and audible.

First things first, this is the second time I've ever played around with sound. The first time I was convinced I could create the next big party tune, but alas, Adobe costs money, also, creating a Billboard Top 10 hit takes a lot of time. (Needless to say I benched the project. Watch out though.) 

But this also means that I'm excited to get back to it and play around with actual, professional sound editing software magic. 

Nothing like some fun photoshopping to procrastinating making a blog post. 

Experimental sound project, let's go! 

In our first lesson with James we were told that our piece should be based of an image. We were presented with 8 (I think it was 8, oh well) different images, and among the herd there was one that I recognised. 

"Guernica" by Pablo Picasso 

HISTORY LESSON 

In the spring of 1937 the Spanish Civil War was raging. And long story short, the Republicans, supporting the left-leaning government, fought against the Nationalist forces led by Fransisco Franco. If you know anything about history, then you know that Franco isn't necessarily known as a nice guy. If you need any convincing of why he isn't a nice guy, then you should know that he was supported by both Mussolini and Hitler, two of Europe's least nice guys.  Anyway, Hitler and Mussolini, who both were very right-winged in their political ideologies figured it'd a good idea to have Spain as a ally, but also that this civil war was a great way to test out their weapons, as to show the rest of Europe that they packed some real fire power - essentially one big scare tactic. 

Well, in 1937 Guernica was the next target. Italian and German air-forces bombed the poor city to rubble. It was completely unnecessary. History lesson over. 

I guess I have a certain soft spot for this part of history, as a town were I have roots, Dresden, also was bombed without reason not a mere 10 years later. Anyway, let's get to recording. 

What I want

I have a very clear idea for what I want to create. I want the piece to start out quiet with a steady beat. I then want it to come more and more chaotic, with planes and bombs whizzing by. It's a simple project, but I feel that this is what I hear when I look at this painting. 

-TJ