There is significant demand for music and sound for film, TV and, increasingly, new media (computer games and the internet). The 21st century is also seeing the rise of new audiovisual artforms, which will provide unique new opportunities for musicians prepared to contribute to them. CMT and MTP students explore aesthetic and technical considerations surrounding the creation of original music and sound design for the moving image. Some students also learn image creation and manipulation techniques, allowing the musical treatment of image via software such as Max/MSP/Jitter.
A Third Year Final Portfolio Project that explored the aesthetics and technicalities of producing a virtual orchestrated score as well as creating sonic arts for games and films in which the texture, dynamics, colour and the stereo imaging change according to the visuals. In this case, the visuals were taken from a particular level of the video game ‘Journey’ (thatgamecompany 2012). The entire soundtrack as well the sound design has been replaced with a new one that has been created from scratch.
STEMMA uses 3D animation to portray the development of a sphere through a multitude of different generations before becoming ultimately itself.
This is a portfolio piece created for the final year Creating and Performing module. It was scored in Logic, animated in Cinema 4D, and composited in After Effects.
This third year Final Project is a visual and sonic exploration of gesture. The film entails a constant evolution of movement and behaviour, forming coherent artistic relationships between what is seen and heard. It plays with the idea of particles (cubes), which have the ability to demonstrate shape without ever realising a specific object.
A level from Half-Life II, Stephen created his own sound effects for the game and replaced the old ones in Half-Life. So the sound design here is entirely his own, but is being played by the game engine.
This is a second year sound and image project by Annelie involving a collaboration with Marcus Nordgren, whose film depicts a forest during dusk condensed to ten minutes. The image does not move, the only thing that changes is the light as the sun goes down. The slowly evolving image is complemented by a sonic accompaniment that moves gradually from the concrete to the abstract, highlighting the slow transformation of the forest from somewhere familiar to somewhere else.
This work uses computational techniques developed by Luke himself to control the behaviour of vast numbers of sound and image grains using physical modelling and fluid dynamics theory. Each grain is present during the entire 15 minutes of the piece's duration, a two-minute extract of which is given below.