![]() ![]() The score was performed live by the flutist Alyssa Schwartz at a conference in Atlanta. The idea was that the musical notes would rise and fall with the vibrations created by the Earth's constantly shifting tectonic plates. The park is a hotbed - literally - of volcanic activity. RASCOE: Yellowstone is known for its hills and canyons and geysers and hot springs. VICINANZA: I love the way how music can inform and can actually do a very nice job at providing a window into science and into data. And last week, that data was real time seismic readings from Yellowstone. He developed a computer program that turns data into sheet music. RASCOE: Domenico Vicinanza is a physicist at Anglia Ruskin University in England. (SOUNDBITE OF DOMENICO VICINANZA AND ALYSSA SCHWARTZ'S "YELLOWSTONE GEYSERS SONIFICATION")ĭOMENICO VICINANZA: For me, it was a fantastic moment because I felt I was able to give voice to something that otherwise was really hidden. Hopefully, we’ll be able to explore new territory like this in future client work.Close your eyes and imagine being surrounded by the serene and untouched beauty of Yellowstone National Park. ![]() But AICP gave us total creative free rein and when you can work without restriction, you can be bold and adventurous. “Considering the maddeningly finite budgets, schedules and resources we faced, we couldn’t be more pleased with the outcome. “This project was a great opportunity for us to show off our true creative talents,” concluded Vale. The greatest challenge, as is the case with many pro bono projects, was how to create something special using only available internal resources and very charitable industry friends. By the last day of the shoot, only two extras were left, so they enlisted their live-action producer and editor to play the physical embodiments of the designer’s conscience. Production timelines were tight, with Artifact having less than one day to shoot all of the live-action sequences, and less than 20 minutes to shoot the entire last scene. It really hurts when you get hit by one.” And fake rubber bats are not as benign as they seem either. “Well, we did use an actual kitchen sink to mix the half gallon of fake blood, which is difficult to make look realistic. “This production included everything but the kitchen sink,” added Vale. “We knew we had a great piece on our hands, but it was powerful to see how the sound elevated the narrative in an incredible way.” “It never ceases to amaze me how good music and sound design can really boost your project’s effectiveness,” remarked Ryan Tuttle, Creative Director at Artifact Design. ![]() They brought on longtime collaborator Soundbyte for the music and sound design. The team used After Effects, Cinema 4D, Maya and Premiere for the animation and editing, as well as handmade elements, such as illustrations, puppets, clay figures, and props. “And bam, there it was: the concept.”Īrtifact employed its full arsenal of visual storytelling capabilities to create the piece, including live-action production, visual effects, and CG/stop-motion animation. “In our frustration, we started talking about the entire creative process and how elusive it can be at times,” said Vale. As the team kicked around ideas, nothing immediately stood out, but they had to execute on a tight schedule. The idea was born out of Artifact’s own exasperation with the creative process. We’ve all been there as artists, and this piece gives the outside world a peek behind the creative kimono.” “However, we loved the idea of poking fun at ourselves. “The AICP audience expects a kind of graphic-heavy art piece with moody music and polished motion design,” added Ken Vale, executive creative director at Artifact Design. “This really highlighted the support the Southeast community has for this event.” “Artifact did a fantastic job of paying tribute to the event sponsors, by weaving their logos into a fun, entertaining and well-concepted story,” said Matt Miller, president & CEO of AICP. ![]()
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