On the 5th of February 2018, I began working on a project. My goal for this project was to make it a bigger and more cohesive piece of work than anything I had attempted prior. Coming off the end of 2017, I began to realise that while that year's projects were both fun and challenging to complete, and a great opportunity to enhance my practical skills, what they lacked was a sense of professionalism and organisation, especially in their planning and pre-production stages. Hitting the ground running in the New Year, my goal is to become more familiar with the organisational protocol that are standard in the audio industry, and narrow down my creative practise so that I place my focus into finding projects that I am passionate towards.
I am hoping that my latest project is a right step towards this direction. After joining up with fellow classmates Brianna Pringle, Roseta Cork, and Tinaysha Aroha, we settled down to brainstorm ideas for the project. The fact that I found myself in a team with three other female audio engineers (of which there are so little), was the first thing that made me excited to see this project through.
After a discussion of everyone's vision for the project, we decided on creating a musical sequence that would take influence from both soundtrack and electronic music production (EMP) techniques. The aim of the sequence was to create a piece of music that could be used to support a trailer or clip of a video game or film that was several minutes long. Upon conducting research and conversation, Brianna recalled a game she had played before, the adventure and puzzle game INSIDE by Denmark company Playdead, bringing up a walkthrough video of the game. The game was suspenseful and exhilarating, but seemed to (as a personal opinion) lack a strong audio component, with the soundtrack seeming quite restrained compared to the striking visuals of the game. Seeing as the game also has no dialog, my team and I saw this as an opportunity to create a musical sequence that is attractive to this style of gameplay, as well as giving us as a team the opportunity to try something new in our profession, as none of us are very experienced with EMP or synthesised music. This was noted as a possible risk for this project, and as such in the coming weeks we are all aiming to increase our theoretical knowledge in this area.
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