The video below is a compilation of a couple of rough designs I have been working on, using the full width of the composition. These are just some very initial designs and need a lot more developing and depth adding to them, but it gives me a rough outline of the type of designs I want to work with.
I like the first design because it feels like a moving floor, however I need to work on making this more dynamic and for more displacement of the particles. I also need to add some colour into it and maybe add something to the top half of the screen.
For the second design, I simply changed the camera angle so that the particle field was flat across the Z axis, giving the appearance of waveform visualisation. Again, I also need to add more displacement into the visual and add lots more colour.
I really like the 3rd design of the moving geometric shapes, however I need to make it fill the width of the composition more and react to the music with more displacement.
For the fourth design, I followed a tutorial on how to make it look like the audience is looking through a tunnel. I like the idea of this, and how it leads the eye down the tunnel, but I am not sure on how much scope it has for designing an entire 3 minute long song.
I will be developing my ideas and posing again with the development.
After having a meeting with my supervisor (Lucy Turner), she mentioned the Björk Digital exhibition that was at Somerset House last year. She said it reminded her of my project because it is also an immersive audio-visual experience. The Björk Digital exhibition involved users engaging with her performance through virtual reality, so they could hear and see her perform realistically.
“Björk believes that by offering a private theatrical experience, VR provides a unique way to connect with her audiences.” (https://www.somersethouse.org.uk/whats-on/bjork-digital)
This quote links to my project because although it is not a VR project, it is a 360° experience that uses both sight and sound to give the audience the opportunity to fully engaged with the work.
Lucy asked whether I had thought about making my idea a virtual reality project, and I explained that I did explore this in the Developing Media Design Concepts unit, however there were many things obstructing me from doing this; mainly being a lack of resources as well as relevant tuition. I also realised that as much as I like the idea of virtual reality, I wanted my project to be a more tactile experience for the audience, therefore having a physical environment suited my ideas better.
The music element of my project is very important, as I need to use music that is suited to having synced visuals. When I think of music visualisation, I either think of heavy drum & bass, dance music or more classical/slower tempo music. I decided I want to use music from people that I know for a number of reasons: to support them and their music, as well as not having to get permissions from music that has copyright. I know a drum & bass artist called Muzzy (https://www.youtube.com/user/Muzzy654), who has allowed me to use his music, as long as it is not being used for commercial purposes. I have also been given access to the music of King Tolla (https://soundcloud.com/kingtolla), who has more of a slow tempo style of music. As well as these artists, I will be looking online for more copyright free music, so I have more genres of music to try out with different visuals, because all different types of music lend themselves to different styles of visuals. For example:
This music is down-tempo and classical, which suits this floating, glowing particles effect. Whereas music more like drum and bass could suit more of a waveform visualisation like this:
Joanie Lemercier is an artist who predominantly works with projection and light within space, and “its influence on our perception” (http://joanielemercier.com/about/). I have been following his work on social media for some time now, and everything he makes is so inspiring to me and what I am interested in. He was the co-founder of AntiVJ, so used to do a lot of work with projection mapping for large scale events and performances, however his focus has now shifted to projected light within space. One of his most recent and most interesting projects is ‘No-logram’, in which he makes a screenless, interactive projection. With this, he is pushing the boundaries of what is possible with projection – the light is reflected by the fine particles of water, giving a 3D dimension to the work. Lemercier also explains that with this technique there is no limitation on size or scale, meaning that it could be used in very large public displays.
Another piece of work from Lemercier that I find very interesting is his project ‘blueprint’. ‘Blueprint’ is an audiovisual piece in which multiple screens and projectors link together to create a large scale, synced projection, that is broken up into numerous screens. The audience can position themselves wherever they like within the installation, and they will still be surrounded and immersed by the visuals, because of the use of rear projection too. Im many ways, ‘blueprint’ relates to my own project, because although mine is meant to be experienced from inside the cylinder, audiences will also be able to see it from out outside, giving a sense of enigma and will hopefully leave audiences wanting to find out more. Similar to ‘blueprint’, my work is about the connection of sound and vision, and how audiences interact and interpret it.
Deciding on a name/title for a project/artwork is said to be a very difficult task, so with still a lot of time before the deadline, I thought I would start thinking of my name. One of the main ideas I wanted to portray about my project, was the idea that it is two mediums joining to create an overall greater outcome. I also like using a single word as a title, as I feel it is can be punchy and memorable. The words I thought of were:
I like the word synergy because by definition, it is “the combined power of a group of things when they are working together that is greater than the total power achieved by each working separately.” (Cambridge Dictionary, 2017.) This is exactly what I see my project as; combining two separate elements to create an outcome more powerful than them working separately. From this, I started to do some quick designs on how the poster and other collateral would look:
One of the main aspects of the project I want to make full use of, is the full width of the cylinder surface. I aim to use 4 projectors, covering the 6.3m circumference of the cylinder. The resolution of the projectors is 1280×720, therefore when I set up my composition in After Effects I need to make the width 4×1280=5,120, which looks like this:
The examples of music visualisation I did in the Developing Media Design Concepts unit were limited to 1920×1080, and a lot of spherical shapes where used to fill this space. However, because I now have such a wide space to work with, I want to design visuals that will fill the entire space and engage the audience all the way around the cylinder, not just in specific places. Below are some thoughts for the ways in which I can design my visuals to make use of the full width:
A visual that is a long line in the middle, so joins seamlessly 360°
Something that is along the entire width, possibly a waveform visualisation
Two visuals on either side of the cylinder working their way into the middle
A visual that moves around the entire area