Lord of the Rings Animation

A couple of weeks ago our class went to watch some animation pitches, and Gabby and I got involved with a group doing a remake of Lord of the Rings. Even though it’s a super small project, I’ve learnt quite a bit from working with this animation team just generally about organisation and clarification.

When Gabby and I first talked to the team, we put our names down to do the Foley, and so did a couple of other people. We assumed the animation group would choose 1 team to work on it and that would be that. What actually happened was that they put us all in a group chat and sent us a link to their asset list and told people to write in the spreadsheet which sounds we were doing. This made it a little bit confusing, as we didn’t know who would be editing the sounds, or if we would each be editing them separately and sending them to the group (in which case they would be be edited differently and wouldn’t be cohesive as a whole.) Also from the Animation groups side, it made it very easy for some of their assets to be left out if people didn’t put their name down for them (this actually ended up happening, and because Gabby was the only one responding in the group chat, the animation guys then asked if we could do the extra sounds). After explaining all of this, Campbell volunteered to be the head sound designer, so all we had to do was record sounds for him to later edit and pass on to the team.

Our next issue was with the asset list itself, which was kind of vague:17431785_1268550486555335_346642325_o

After asking for a little clarification, they wrote descriptions such as ‘Sword Slash – A noise to indicate a sword is moving through the air at a great speed,’ which were not very helpful. What we needed (other than an animatic, which would have been best case scenario) was the length of the noise, material, and maybe some references, especially in the case of the ‘magic fire,’ which we found a reference for ourselves and hope that it is fitting:

On Monday, Gabby and I had booked a session in the C24 to get our 18 sounds recorded, and ended up adding in a few extras that we realised the team had missed on the list and would need to go in conjunction with some of the sounds on the list.

From this tumultuous little experience I’ve realised how much other disciplines don’t know about your own discipline and of course vice versa. It has reminded me that when I need a design for an album or a video clip for a song, I need to be as specific and clear as possible to get the best results for my project, and to also always be in contact with the team working for me to make sure everybody is on the same page. Gabby and I’s part in this project is now complete, and we’ve handed over the sounds to Campbell for editing. Hopefully they all turn out as the animation team needed!

Thanks for reading (:


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