Vacuum tubes zip-tied onto the top of the electro-pile used in the final shot. It took me two weeks to gather and wire up these things, but they were only seen for the final 5 seconds, and barely in frame. Ah well, at least I learned a lot in the process!
Storyboard page. You can see each note is subdivided into tied 32nd notes for each frame. I highlighted each one in order to easily see when the notes actually were hit.
Storyboard page for the rapid-fire macro shots.
Storyboard page for the big final shot. In order to give the feeling of a giant modular synthesizer, each instrument was assigned a set of lights or controls on some decidedly un-synthesizer-like gear. I would then reference this sheet each frame to determine what lights or switches I had to turn on or off to make it look like the sound was being generated by all that equipment.
The small studio setup I used to record the music. Each part of the song was recorded into Ableton Live and mixed into the final product.
An early MIDI version of the song I composed for the film.
A stop-motion story of a small robot’s quest to bring music to the world. Comprised of over 5000 photos, the entire film was shot according to specially-formatted sheet music that corresponded to the music of the film. I wrote the score such that each 32nd note was one frame. The music was performed by myself and Professor John Krueger.
Thanks to the RIT Robotics Club and Jason Stanislawski for various electronic equipment.
- Featured on Motiongrapher
- Adobe Design Achievement Awards: Finalist & Honorable Mention