Another term used to describe abstract animations is visual music, which is what drove me to make a rhythmic abstraction. I had originally planned a simple animation using nothing but circles to mark notes of the song. This idea was scrapped after making it, due to how dull the outcome was. I swapped out this plan for a concept that actually tells a story. I went to work after the original failed, picking a new song and creating more figures to utilize. The main story is a conflict over who would be in the space at the end of the song. This “conflict” seems to be a serious matter for the combatants, however its appearance is more like bickerin
g children. The song used came from the Okamiden Original Soundtrack, named “A Real Knee-slapper”. It’s upbeat and fast motion made the fight much less serious and all the more childish than the “characters” would have you believe. The true inspiration I had gotten for using the cut outs was actually from Animando, by Marcos Magalhães. His different animation styles all impressed me, but I thought his cutout style is the most interesting to try and use. The overall chaotic feel for the piece came from Hy Hirsch’s Come Closer, which was curved and squiggled lines flowing about in a chaotic pattern compared to the music. The fast pace of the music makes syncing the animations extremely difficult, every time I tried to match the animation to the song, it turned out to backfire. After three retakes I finally decided to stop trying to match the frames right away and instead just took the shots without a plan. The results turned out to be better when I stopped trying, and I simply had to slow down the video and music in premier to synchronize the two a little more efficiently. The areas I felt had the smoothest animations were between two and six seconds. These scenes were the smoothest, especially when the orange triangle pushes everything away. The pace that each shape left the page looked smooth while most of the other exits are rather choppy.