While designing the template, I didn't have a wall picked out yet. Because I decided on the back cabinets in the studio, I needed to stretch out the original design to take full advantage of the space I was using. The cabinets presented a design problem in itself: with the tape only being on the cabinet, that left me with a whole lot of space above and below the trumpet for me to fill. I only wanted this area to react to the sound and not be present when it's quiet. This is where my idea to use the audio spectrum on top and bottom of the comp came from, as a way to heighten major peaks in the music. I tried to incorporate a reaction to audio in as many elements as possible, including:
- 2 sets of animating trumpet outlines, increasing the stroke, while the outline on top shakes at audio peaks.
- Red, green, and blue waveforms to expand with increasing audio.
- A background in the middle to pixelate whenever audio increases.
- Top and bottom audio spectrums.
- Animating lines inside the trumpet, moving from the mouthpiece, through the pipe, and out the bell of the horn.
Besides the reaction to audio, a core element with this comp is color. From the static red, green, and blue waveforms, to the changing color of the trumpet, color is used to express the dynamic energy trumpets make with each note.
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