The following videos demonstrate the next stages in my testing/production processes.
Below, architectural reference shots I took from a letting agent in West London provide excellent birds eye shots for some of the urban establishing and wide shots within the film. Rather than if I had used flat buildings, the scene will contain a parallax, giving it depth and perspective.
The outline for a 10 second scene has been completed with roughly 8 hours of work. With this knowledge, I can begin to establish the timings of final production processes by using this scene as an indicator. When colouring and further realisation is completed, the timeline will take shape and will hopefully contain a time for contingency to ensure any mishaps in the process can be addressed.
As previously mentioned, when building up from the animatic, more realistic emotions and reactions need to be applied. careful consideration of the arcs of character and sound will need to be present throughout the film.
These animations are tests of the Cruz Diez research I undertook. By compositing the scene in after effects and keying out the sound movement, I can layer the textures I am currently imagining to reflect the synesthetic movement of sound.
Anim 1: Reflects the physics of soundwave travel (see previous post). The oscillator/ the concept of sound affecting the gaps between particles inspired this.
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Anim 2: Using Cruz Diez's physiocromie concept, the sound can be manipulated by different colour spectrums. As it travels, it can pick up tone and light change. Using opacity and other elements may help to make the sounds sit in the frames in a more visually pleasing way.
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