Space, time and movement Hochschule fur Gestaltung Digitale Medien Professor Götte Juliana Rego, Kashyap Bhatia and Matt Talese Sonny Rollins Theodore Walter (Sonny) Rollins (7. September 1930 in New York City) ist ein US-amerikanischer Tenorsaxophonist. Sonny Rollins startete zunächst als Pianist, wechselte dann zum Altsaxophon und kam 1946 zum Tenorsaxophon. 1949 nahm er mit Babs Gonzalez seine erste Schallplatte auf. Im gleichen Jahr folgten Aufnahmen mit J. J. Johnson und Bud Powell. Am meisten arbeitete Sonny Rollins in der Anfangszeit mit Miles Davis zusammen, mit dem er seit 1951 auch zusammen aufnahm. 1956 erschien mit Saxophone Colossus eine seiner bedeutendsten Aufnahmen, auf der u.a. mit dem Calypso St. Thomas ein weiterer Jazz-Standard zu finden ist. . Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Sonny Rollins In den 1950ern galt Sonny Rollins als talentiertester Nachwuchssaxophonist. Er gewann 1957 den Kritiker-Poll des einflussreichen Down-Beat Jazz-Magazins. Zu der Stilrichtung: Rollins spielte in der Zeit des Cool Jazz und Bebop zwischen 1945 bis 1955. Cool Jazz ist ein Stil mit komplexen Improvisationen und komponierten elementen, es ist eine sehr introvertierte Stilrichtung. Beim Bebop handelt es sich um waermere, froehlichere Musikstuecke. Der Bebop entstand in Jam sessions, die nach Big Band Veranstaltungen von Musikern ausgingen. Es wird vermutet, dass diese Stilrichtung aufgrund des II. Weltkrieges populaerer wurde. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline Analysis of the music piece; studies about the sound tones, the volume, the depth and the interaction of the instruments. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline As we analysed the piece, we could see when each instrument begins during the song and the rythm that each one follows. The graphic shows the distance of each tone and the moments when they are played simultaneously. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Timeline transitional pauses This timeline shows important pauses, in the final segment. In two of the pauses, there was a specific beat, different from the other, for which we had to figure out how to represent. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Variants Position Size Contrast Color Shape Distance Movement Vibration Fade in/out Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Variants After having chosen the drop form for the saxophone, we started sketching how this shape could represent the characteristics of this instrument. These are the variants of shape, size, contrast, distance, movement and position on the screen that the drop shape could have. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis Variants This is a visual graphic showing options of shape for each sound. At first, we started with the drop form for the sax and the red circles for the drums. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sound Analysis initial storyboards The drops would appear from the left lower corner of the screen, growing up to the center, varying its size and shape. The rythm is placed in the center or in the center right. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards We sketched a variety of possibilities. Varying forms for each element. Many questions arised, the position of the rythm was one. Should they stay in motion or stage and disappear or stay in one place and change from inactive to active? To see which possibilities work best for us and the piece of music, we decided to try out as many as possible. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards This is a visualisation of a storyboard with the drop shape. It didn’t work because the form was being related to flowers, fire or water, depending on its color. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards We tried more geometric shapes to prevent any associations. In this storyboard, the rectangle represents the sax and the rythm are the red circles. When the sound is active, it changes to a bright color, and when inactive, they turn into grey. There were too many elements for the eye to follow, we realized that it was visually overloaded. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards According to the conclusions of the previous storyboards, we could set directions to improve it. Our targets were to keep the active elements in colour and the inactive in grey; to choose simple geometric shapes; to reduce the number of elements to the minimum and to improve the interaction between the rythm and the saxophone. In order to achieve these goals, we restarted new sketches for the final animation. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards As we have chosen the circle to be the character of the three instruments, we had to change other parameters to express their individuality. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards These changes were in their position in the screen, their color, their contrast, their transparency, their movement and their vibration. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches initial storyboards This is a study about how the sax could move on the screen and its shape. We opted to not change the color of the instruments during the animation, working only with the contrast, size and movement. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese Sketches final storyboards In the final animation, we chose to represent the rythm in red, placed in the center. The difference between the beats and the brush was given by the quality of vibration. The ellipse is the strongest beat, the 2 balls colliding represents the brush and the other 2 small circles are the lightest beats. The sax is yellow, showing its playful activity, and it moves bouncing around the rythm. To increase the dramatic, it also varies its size. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese solution final storyboards Just before the final sequence, there are two transitional pauses which the saxophone increases in volume and then decreases. In these pauses, there is a beat, deep in tone, followed by a slight echo, as these didn’t fit in the rythms character, we used it to show a pause in the motion of the saxophone. Making it appear slightly from the left lower side and the right upper side, then moving slightly back. This is followed by the finale (images left) Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese solution final storyboards For the dramatic of the finale it was important to highlight it stronger than the rest of the animation. Since the last four tones determine the ending, we activated all of the background elements, and made them move in static form compared to the dynamic appearance in the rest of the clip. As this takes place the saxophone moves forward and backward, repeating a cycle in the center. And finally disappearing from the screen. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese solution last but not least! This project was made in the 3rd winter semester 06/07, as part of a digital media course in the University of Applied Sciences Schwaebisch Gmuend. We were guided by Professor Götte and Veldana Sehic. The three of us (Matt, Juliana and Kashyap) enjoyed working together for this project and hope you enjoy watching this audio visual sequence. Hochschule fur Gestaltung Digitale Medien Prof. Götte/V. Sehic Juliana Rego, Kashyap Bhatia and Matt Talese The End
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