The Creators Project is a new network dedicated to the celebration of creativity and culture across media, and around the world. At a time in the history of the arts where digital technologies have revolutionized distribution, democratized access, and completely re-imagined the scope and scale with which an artist can create a vision and reach an audience, The Creators Project is a completely new kind of arts and culture channel for a completely new kind of world.
Check out this inspirational videos, from all type of different areas, here.
Gravité
Gravité (Gravity) - Falling objects synchronized to produce rhythm. 2009
I know – a little bit too late, but still interesting.
Musican/composer Mark Mothersbaugh (Cloudy with a Chance of Meatballs, New York I Love You, Nick & Nora’s Infinite Playlist) discusses the musical scores of each of this years nominated films.
Everybody talks about 3D movies – but what about the sound for this films?
Music of sound has a great review about this topic.
Along with the hyperbolic (& in my opinion somewhat dubious) promotion of 3D films as “game changing” an aspect that seems to be late to the conversation is the use of sound in such films. In some ways I guess this is partly due to the fact that with the implementation of surround sound many decades ago, bringing sound “off the screen” has been a part of the vocabulary of every film mixer since the 1970s; the concept of 3D sound is not new in that respect.
But the re-launch of 3D films in the form of huge budget blockbusters such as Avatar raises the issue again, since for such a film to cost many hundreds of millions of dollars to make means there must also be vast funds available to develop & present an appropriately “game changing” soundtrack. Accordingly there can be no doubt that a need has been created, but is it being fulfilled?
For those of you who have seen Avatar, did you think the soundtrack presented any new innovations in terms of physical depth and/or use of surround sound? But of course, accompanying that question is the philosophical issue of whether it actually should do and if so, how?
Hans Zimmer and Diego Stocco talk about the Experibass on Sherlock Holmes’ score
Diego Stocco, a great sound designer & solist, worked with Hans Zimmer on Guy Ritchie’s new movie “Sherlock Holmes”. In this video they are talking about his unique instrument – the experibass:
From Diegos Youtube Chanel:
I had the fantastic opportunity to play my Experibass on Hans Zimmer’s score for “Sherlock Holmes”, the new Guy Ritchie’s film. I’m one of the featured soloists.
Hans really loved the pounding tonal grooves and aggressive depth of the basses I was playing on the Experibass and asked me to go full scale with all those techniques I was showing in the original video. I didn’t stop there though, I also experimented with new techniques that were coming up to my mind while playing on his tracks.
A big thanks goes to my friends Daniel Holter and Russell Emanuel for passing my video and make the connection happens.
Working with Hans Zimmer and his team has been great and I’d like to thank them for this amazing experience. I’ve been a fan of his music for a long time and I felt honored when he called me to play on the score of Sherlock Holmes.
BBC Four spoiled its audience recently with a collection of brilliant music documentaries that underline the impact technology, namely the synthesizer, had on popular and academic music in Britain.
