Research
(2017)Unknown, A. (2009). 3D printer creates animated movie stars. New Scientist, 201(2697), p.17.
This article looks at the 2009 film Coraline, and how it uses a technique that at the time was new. The technique was to use a 3D printer to print out the different parts used in animation. I think this is extremely helpful, but unfortunately only has a small paragraph talking about it along with a quote, and has no singular referenced author. For this reason I'm using it as a starting point rather than a main reference, and will attempt to find more sources looking specifically at Coraline's effect on the stop motion industry, as well as 3D printing's development in animation as a whole.
After my minor change to my question this is still somewhat relevant, but not as much as before considering my switch in focus from technology to sound. However this still shows an insight of the way they brought the characters to life using the expressions, which I feel helped convey the sound and give context. I need to look into ways Coraline used sound and what it did for the animation and realism (or unrealism depending on the part of the movie) overall.
Isaza, M. (2010). The Sound Design of "Coraline". [online] Designingsound.org. Available at: http://designingsound.org/2010/07/29/the-sound-design-of-coraline/ [Accessed 19 Feb. 2020].
This is part of an interview, which I would have cited in full as an interview, but unfortunately the links directing me to the full interview lead to 404 errors, which isn't helpful in the slightest. Despite this I'm going to make do with what I have, and what I have is an interview with the people that actually worked on the sound!
Firstly, what's bad about it? Well, aside from the limited length, the questions asked a little more general. Out of the three I think the only truly relevant one is the second one about their roles and what kind of sounds they where using.
Now, what's good? What's good is that it's the main sound designers talking about how they used the sound! Even if I just use one quote from them it's probably the most credible source I can get! I'll try and include at least some part of this, likely in explaining the kinds of sounds they focused on making themselves verses the sounds they used from sound banks, which shows where their priorities lay.
Coulais, B. and Unknown, A. (2009). An Interview with Coraline Composer Bruno Coulais. [online] Focus Features. Available at: https://www.focusfeatures.com/article/an_interview_with_coraline_composer_bruno_coulais [Accessed 19 Feb. 2020].
This is a far better source than the previous one. It has far more content, is again an interview directly with the composer, and actually goes into a lot of detail about what they're trying to do with the music. I expect I'll quote this a couple times at least! The only bad part is the format for some reason breaks, with the interviewer's writing going inside the interviewees (see bellow). I can still read it perfectly, but it is a tad annoying.
Day, G. (2016). Soundtrack analysis – Coraline. [Blog] GEMMA DAY. Available at: https://gemmadayblog.wordpress.com/2016/01/21/soundtrack-analysis-coraline-2/ [Accessed 19 Feb. 2020].
As opposed to the others, this one is a blog post of someone analysing a particular scene and looking at the effects it has and why things are done, looking at all the little things and how they fit together. I plan to use this to show better the scene-to-scene effect the creative choices have as opposed to the grand scale effects the others talk about.
The particular scene it goes into is the scene just before the web, and it displays the motifs of the two characters very well. The Other Mother and Coraline each have their own musical theme playing behind them as they talk, cancelling each other out whenever they interrupt or talk over each other.
Bhattacharya, A. (2016). Hellish Sounds Of Doom Showcase Proper Sound Design.. [online] TechARX. Available at: https://techarx.com/hellish-sounds-of-doom/ [Accessed 18 March 2020].
This article, albeit short, talks about how modern Doom lived up to it's older counterparts and what it did to do that, comparing it to other games that do well in this area. Unfortunately it tells you more than explains how this is done meaning I can't pull a lot of explanation from this, but it does give an idea of the feel of the games sound and what parts of it are well received and focused on. I probably won't pull that much information from it, but I might quote it to get into a specific point, using other knowledge from other sources to do so.
Carney, B. and Mossholder, C. (2016). The Sound Design Of DOOM - Exclusive Q&A. [online] ADSR. Available at: https://www.adsrsounds.com/news/the-sound-design-of-doom-exclusive-qa/ [Accessed 18 March 2020].
This is far better on the information side of things, being a Q&A with the lead sound directors themselves. It talks about how they got a lot of the sounds and a lot of the technical aspects, giving me an insight on what was prioritised in creation. While not a lot of the creative thought process it talked about, instead mainly looking at the technical side, there is a section talking about how early on guns where decided to overshadow everything in audio mixing. This was done to make it feel like the guns where the Doom Slayer's voice and the focus of the game as a whole. I'll likely talk about that specifically in detail.
Gordon, M. (2016). DOOM: Behind The Music Part 1. [video] Available at: https://youtu.be/ua-f0ypVbPA [Accessed 6 Mar. 2020].
"Doom is here, it's claustrophobic, it's aggressive, it's brutal, it's tactile, it drills into your face, it's piercing, it's at you"
Gordon, M. (2016). DOOM: Behind The Music Part 2. [video] Available at: https://youtu.be/1g-7-dFXOUU [Accessed 6 Mar. 2020].
“I thought what would this energy sound like, and how could I use that in the music?”
I'll talk about the two above sources at the same time as they're part of the same 2 part series and continue from each other. Firstly, it's Mick Gordon himself: the man behind modern Doom's music. He's as qualified as you could possibly get to talk about the music since he made the thing. I've highlighted these quotes in particular as they lean heavily into the decisions Mick made when making the music and I hope to use them. Overall it goes into a little bit of the technical aspects of the music but stays more focused on the creative decisions he made and why he made them, for instance his inspiration from the concept art and how that lead him to the instrument he made for the project. They're short and give more of an overview, but really sell the creative ideas he had when making it all.
Gordon, M. (2017). DOOM: Behind the Music. [video] Available at: https://youtu.be/U4FNBMZsqrY [Accessed 6 Mar. 2020].
“To be inspired by this I started getting this awesome concept art though for the project. I was really fascinated by these concepts of where they had these giant rock structures that were being held together with this evil force of energy. This Hell energy.”
“I had this idea of this.. This sort of force that was travelling through things and getting corrupted. This evil energy”
This is a much longer video that talked about a lot of the same stuff as the above pair of sources but in much more detail. This is how I found out about him constructing this monolithic electronic instrument to create the sound of Doom along with what lead to him introducing guitar into the soundtrack to appeal to the nostalgic feel of Doom. The highlighted quotes here lean more into some of the earlier artistic directions which I want to talk about, but I'll also be talking about some of the technical decisions as well, even if I don't directly quote them.
This article looks at the 2009 film Coraline, and how it uses a technique that at the time was new. The technique was to use a 3D printer to print out the different parts used in animation. I think this is extremely helpful, but unfortunately only has a small paragraph talking about it along with a quote, and has no singular referenced author. For this reason I'm using it as a starting point rather than a main reference, and will attempt to find more sources looking specifically at Coraline's effect on the stop motion industry, as well as 3D printing's development in animation as a whole.
After my minor change to my question this is still somewhat relevant, but not as much as before considering my switch in focus from technology to sound. However this still shows an insight of the way they brought the characters to life using the expressions, which I feel helped convey the sound and give context. I need to look into ways Coraline used sound and what it did for the animation and realism (or unrealism depending on the part of the movie) overall.
Isaza, M. (2010). The Sound Design of "Coraline". [online] Designingsound.org. Available at: http://designingsound.org/2010/07/29/the-sound-design-of-coraline/ [Accessed 19 Feb. 2020].
This is part of an interview, which I would have cited in full as an interview, but unfortunately the links directing me to the full interview lead to 404 errors, which isn't helpful in the slightest. Despite this I'm going to make do with what I have, and what I have is an interview with the people that actually worked on the sound!
Firstly, what's bad about it? Well, aside from the limited length, the questions asked a little more general. Out of the three I think the only truly relevant one is the second one about their roles and what kind of sounds they where using.
Now, what's good? What's good is that it's the main sound designers talking about how they used the sound! Even if I just use one quote from them it's probably the most credible source I can get! I'll try and include at least some part of this, likely in explaining the kinds of sounds they focused on making themselves verses the sounds they used from sound banks, which shows where their priorities lay.
Coulais, B. and Unknown, A. (2009). An Interview with Coraline Composer Bruno Coulais. [online] Focus Features. Available at: https://www.focusfeatures.com/article/an_interview_with_coraline_composer_bruno_coulais [Accessed 19 Feb. 2020].
This is a far better source than the previous one. It has far more content, is again an interview directly with the composer, and actually goes into a lot of detail about what they're trying to do with the music. I expect I'll quote this a couple times at least! The only bad part is the format for some reason breaks, with the interviewer's writing going inside the interviewees (see bellow). I can still read it perfectly, but it is a tad annoying.
Day, G. (2016). Soundtrack analysis – Coraline. [Blog] GEMMA DAY. Available at: https://gemmadayblog.wordpress.com/2016/01/21/soundtrack-analysis-coraline-2/ [Accessed 19 Feb. 2020].
As opposed to the others, this one is a blog post of someone analysing a particular scene and looking at the effects it has and why things are done, looking at all the little things and how they fit together. I plan to use this to show better the scene-to-scene effect the creative choices have as opposed to the grand scale effects the others talk about.
The particular scene it goes into is the scene just before the web, and it displays the motifs of the two characters very well. The Other Mother and Coraline each have their own musical theme playing behind them as they talk, cancelling each other out whenever they interrupt or talk over each other.
Bhattacharya, A. (2016). Hellish Sounds Of Doom Showcase Proper Sound Design.. [online] TechARX. Available at: https://techarx.com/hellish-sounds-of-doom/ [Accessed 18 March 2020].
This article, albeit short, talks about how modern Doom lived up to it's older counterparts and what it did to do that, comparing it to other games that do well in this area. Unfortunately it tells you more than explains how this is done meaning I can't pull a lot of explanation from this, but it does give an idea of the feel of the games sound and what parts of it are well received and focused on. I probably won't pull that much information from it, but I might quote it to get into a specific point, using other knowledge from other sources to do so.
Carney, B. and Mossholder, C. (2016). The Sound Design Of DOOM - Exclusive Q&A. [online] ADSR. Available at: https://www.adsrsounds.com/news/the-sound-design-of-doom-exclusive-qa/ [Accessed 18 March 2020].
This is far better on the information side of things, being a Q&A with the lead sound directors themselves. It talks about how they got a lot of the sounds and a lot of the technical aspects, giving me an insight on what was prioritised in creation. While not a lot of the creative thought process it talked about, instead mainly looking at the technical side, there is a section talking about how early on guns where decided to overshadow everything in audio mixing. This was done to make it feel like the guns where the Doom Slayer's voice and the focus of the game as a whole. I'll likely talk about that specifically in detail.
Gordon, M. (2016). DOOM: Behind The Music Part 1. [video] Available at: https://youtu.be/ua-f0ypVbPA [Accessed 6 Mar. 2020].
"Doom is here, it's claustrophobic, it's aggressive, it's brutal, it's tactile, it drills into your face, it's piercing, it's at you"
Gordon, M. (2016). DOOM: Behind The Music Part 2. [video] Available at: https://youtu.be/1g-7-dFXOUU [Accessed 6 Mar. 2020].
“I thought what would this energy sound like, and how could I use that in the music?”
I'll talk about the two above sources at the same time as they're part of the same 2 part series and continue from each other. Firstly, it's Mick Gordon himself: the man behind modern Doom's music. He's as qualified as you could possibly get to talk about the music since he made the thing. I've highlighted these quotes in particular as they lean heavily into the decisions Mick made when making the music and I hope to use them. Overall it goes into a little bit of the technical aspects of the music but stays more focused on the creative decisions he made and why he made them, for instance his inspiration from the concept art and how that lead him to the instrument he made for the project. They're short and give more of an overview, but really sell the creative ideas he had when making it all.
Gordon, M. (2017). DOOM: Behind the Music. [video] Available at: https://youtu.be/U4FNBMZsqrY [Accessed 6 Mar. 2020].
“To be inspired by this I started getting this awesome concept art though for the project. I was really fascinated by these concepts of where they had these giant rock structures that were being held together with this evil force of energy. This Hell energy.”
“I had this idea of this.. This sort of force that was travelling through things and getting corrupted. This evil energy”
This is a much longer video that talked about a lot of the same stuff as the above pair of sources but in much more detail. This is how I found out about him constructing this monolithic electronic instrument to create the sound of Doom along with what lead to him introducing guitar into the soundtrack to appeal to the nostalgic feel of Doom. The highlighted quotes here lean more into some of the earlier artistic directions which I want to talk about, but I'll also be talking about some of the technical decisions as well, even if I don't directly quote them.
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