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Universal
Production Music
Challenge
I was tasked with capturing the energy and emotion of a selected audio track from Universal Production Music. Using expressive animation to see the music from a unique approach that engages the new generation of music producers, editors, and art directors.
Audio Seleciton
This track thrives off a variety of sounds compiled by multiple synth devices. With repeating patterns that mix and match to form unique sounds. Adding complexity to the music over time. Overall an otherworldly feeling, which caught my attention.
Praxis I - Track by Alexis Francois Georges Delong
Design Approach
Making sure to capture the atmosphere and complexity of the audio track through abstract visuals that stem directly from the music. As well as referencing current music producer and listener trends.
Directions & Development
Direction 01
Wireframe forms evolve over time mirroring the music budling in complexity. Based in particular on the “OP-1” synth used in this track to combine various sounds.
Unlike many other synths, the OP-1 features a retro-esk pixelated screen. Referencing this style in addition to showing digital pattern forms.
Direction 02
Seeing music through a deep space world of vintage vinyls. Exploring through its macro and microscopic aspects as a means to visualize sounds in orbit.
Referencing a recent resurgence of interest in vinyl records. Using a stylized fake 3D design to capture the track's atmospheric tone while appealing to young listener's interests.
Refinement
As storyboards and designs were further developed, there was a feeling that the themes were being forced onto the music. As opposed to the music leading the animation. These outside interpretations did not feel like they were being inspired specifically by the actual sounds the track is made up of.
After speaking with my creative director. The approach emerged to create a series of looping animations. Each being based on the repeating patterns that build in complexity throughout the track. As well as iterations of the loops when a sound pattern is altered. These animations would then repeat and mix together as a way to "Paint with Movement”. After breaking down the track into its separate parts, each animated loop was inspired by a combination of how the sound moved, and an instrument or object that sounded familiar to it.
Two beats that evoked shapes of a doorbell
A popping rhythm that mirrors popcorn expanding
Varying notes and size steps of chimes or xylophones
A buzz that felt pulled or stretched out
Resembling a flute's rounded keys that flap up
Rapid clicking and feeling of a run cycle
Movement of an echo that's split into three beats
Process
Process
1st Pass Animation
An initial attempt at combining the animated loops into the sequence of the track.
Parts of the track that repeat the same loop feel too repetitive without variations in animation, order, or color.
A potential use of cameras moves could help exaggerate or give variation to the sequence
2nd Pass Animation
At this point, each part of the sixty-second sequence was in place, giving an opportunity to play with these "visual instruments" and add more complexity.
Considering the use of offsetting loops, transparency, blend modes, and patterns in an attempt to "paint with motion"
The way the initial text animation almost gets squished by the loop feels like an unflattering way to treat a slogan.
Final Animation
Results
Mockup
Motion Designers often don't dedicate enough time to the importance of play. Not letting our thoughts get in our way or being stuck with only others' ideas. Instead allowing feelings of motion to drive something original. Creating individual pieces, but then stepping into the unknown of how any of it would come together later on. This uncertainty drove me to see animation from a new perspective.
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