TRACKS; All found at http://freemusicarchive.org/
STORYBOARD 1
Prana-Bindu - Fibre Channel
This first track I chose was quite slow and blues-y; something I chose to reflect Murakami himself. I tried to make the actions in each scene quite minimal and slow as well as the transitions between each scene to create a sense of ease visually to work with the music. I kept in mind the idea of simplicity while designing all of these storyboards. I also thought about scale; how often the women in Murakami's stories are mysterious or hidden in some way, because of this I chose to only show particular body parts and not the whole figure. Lips to hint at sensuality (smoking often a motif in his works as well) and eyes for emotion.
Though this would probably work in it's simplicity to create something slow paced, I think it feels a little dull or 'too' simple; lacking some of the dynamic rebellion I've chosen to focus on with this brief
This first track I chose was quite slow and blues-y; something I chose to reflect Murakami himself. I tried to make the actions in each scene quite minimal and slow as well as the transitions between each scene to create a sense of ease visually to work with the music. I kept in mind the idea of simplicity while designing all of these storyboards. I also thought about scale; how often the women in Murakami's stories are mysterious or hidden in some way, because of this I chose to only show particular body parts and not the whole figure. Lips to hint at sensuality (smoking often a motif in his works as well) and eyes for emotion.
Though this would probably work in it's simplicity to create something slow paced, I think it feels a little dull or 'too' simple; lacking some of the dynamic rebellion I've chosen to focus on with this brief
STORYBOARD 2
palimpsest trio - quarta stanza
This piece was much more dynamic and improv-jazz; reflecting Murakami's interests and written styles. To allow the visuals to work with this kind of sound I included a lot of cuts rather than fades, and more scenes to make for faster pace. I'm not sure if this communicates what I want to about Murakami but it was interesting to see how the speed and feel of a piece of music can change the sort of imagery you make for it!
This piece was much more dynamic and improv-jazz; reflecting Murakami's interests and written styles. To allow the visuals to work with this kind of sound I included a lot of cuts rather than fades, and more scenes to make for faster pace. I'm not sure if this communicates what I want to about Murakami but it was interesting to see how the speed and feel of a piece of music can change the sort of imagery you make for it!
STORYBOARD 3
Steven Gunn - Mr Franklin
For this piece I wanted to slow things down again slightly but have more movement and action than the first storyboard. Combing panning (the movement of frame) with slight animations in the imagery itself (smoke from the cigarette, blinking) I think I accomplished that. The only thing I'm unsure of is how these pieces would work in actual animation // After Effects. Having not used the program before I'm unsure how well I'll be able to animate // keep a consistent pace. I should also have written down rough times in seconds on each frame I drew as I feel this may have helped getting a feel for the speed of the animation itself.
For this piece I wanted to slow things down again slightly but have more movement and action than the first storyboard. Combing panning (the movement of frame) with slight animations in the imagery itself (smoke from the cigarette, blinking) I think I accomplished that. The only thing I'm unsure of is how these pieces would work in actual animation // After Effects. Having not used the program before I'm unsure how well I'll be able to animate // keep a consistent pace. I should also have written down rough times in seconds on each frame I drew as I feel this may have helped getting a feel for the speed of the animation itself.
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