Tuesday, 29 May 2012
Wednesday, 31 August 2011
Ernold Same
Ernold Same awoke from the same dream
In the same bed
At the same time
Looked in the same mirror
Made the same frown
And felt the same way as he did every day
Then Ernold Same caught the same train
At the same station
Sat in the same seat
With the same nasty stain
Next to same old what’s-his-name
On his way to the same place
With the same name
To do the same thing
Again and again and again
Poor old Ernold Same...
Friday, 26 August 2011
Tuesday, 16 August 2011
Monday, 15 August 2011
Sunday, 7 August 2011
Thursday, 14 July 2011
Tuesday, 5 July 2011
Monday, 27 June 2011
Monday, 20 June 2011
Splatter Sounds

I started to feel better and got on with my next project, "splatter sounds" i took a packet of ink cartridges and some a3 paper and cut the ink cartridges and splattered them all over the paper, i then my used little finger to make abstract paintings out of them, I scanned them in and and coloured them in on photoshop. The idea was to create a vague scenery out of each piece and make them identifiable by their soundscapes.
I was looking for animators and editors to work on this to bring the pictures to life, but all my plans fell through as everybody was far too busy with their own projects, I then edited the videos myself, but i didn't really know what i was doing and some points went on far longer than i wanted, but i made do with what i had and collected the sounds I had in my head.
This week i recorded hundreds of sounds that i thought would fit with each scene and began editing and modify each sound, i experimented with "sound pockets" were I took sounds with simliar frequencies and by dipping a certain frequency in one of the sounds then boosted it in another, I was pleased with the results, were as the Bloomsbury Videos were jagged and full of jump cuts, I wanted this to run seamlessly, weaving from scene to scene evenly and smoothly.
I knew I wanted to start the video with underwater sounds and end it with electronic sounds. I was lucky enough to get my hands on a hydrophone microphone, which I took to 3 or 4 lakes and rivers, the results were astonishing, I managed to capture bugs and insects swimming around which sounded fantastic and fitted perfectly for my project. The Electronic sounds I made with a Coil pickup microphone placing it on lamposts at night, mobile phones and a fridge. The rest of the sounds were recorded with a Zoom H4 and a 416 shotgun for some of the atmospheres,
overall I am quite pleased with how it turned out, It was a shame it was not animated or edited how I would of liked but I plan to do this again next year.
Bande A Blog
3rd Week Of May
In Post Production, I worked closely with editor and fellow Ravensbourne student Andrew Williams we sat together and showed him Bande Apart and explained what I was going to with the sound. Andrew took it upon himself to add his own touch and did a fantastic job of keeping in the style of Bande A part.


In Post Production, I worked closely with editor and fellow Ravensbourne student Andrew Williams we sat together and showed him Bande Apart and explained what I was going to with the sound. Andrew took it upon himself to add his own touch and did a fantastic job of keeping in the style of Bande A part.


The Music was very important to the adverts, me and Andrew spent a long time going through my records finally settling on four or so pieces. We ended up with French composer Martial Solal and Italian composer Nino Rota’s music from the 1960s. The rhythm and tempo was very important when Andrew came to editing the picture.
I illustrated the titles to to get the feel and style of 1960s Godard graphics.
http://annyas.com/screenshots/updates/the-typography-of-jean-luc-godard/
I illustrated the titles to to get the feel and style of 1960s Godard graphics.
http://annyas.com/screenshots/updates/the-typography-of-jean-luc-godard/
Bande A Blog
2nd Week Of May 2011
We then set out to find locations for the shoot, we called around and found a café in Brockley and a school in Beckenham to work in for the 8th of June. Nicola found a actress/dancer who was perfect to play Anna Karina and got in contact with Mr Jim Walter a excellent director and cinematographer who provided the camera equipment as well. My job for the day was to produce and make sure everything went according to plan and record dialogue and location sound.
I used a Sennheiser 416 and recorded into a Zoom H4, I recorded everything entirely in mono to recreate the accurate sonic sensibilities and style of the film. I recorded some Foley and atmos on location, but did most of the Foley in my home studio. The atmosphere for the café had to be recorded in in a separate café in Beckenham, which took several attempts as most cafes play music. It took a while for me to find a café which sounded right.













We then set out to find locations for the shoot, we called around and found a café in Brockley and a school in Beckenham to work in for the 8th of June. Nicola found a actress/dancer who was perfect to play Anna Karina and got in contact with Mr Jim Walter a excellent director and cinematographer who provided the camera equipment as well. My job for the day was to produce and make sure everything went according to plan and record dialogue and location sound.
I used a Sennheiser 416 and recorded into a Zoom H4, I recorded everything entirely in mono to recreate the accurate sonic sensibilities and style of the film. I recorded some Foley and atmos on location, but did most of the Foley in my home studio. The atmosphere for the café had to be recorded in in a separate café in Beckenham, which took several attempts as most cafes play music. It took a while for me to find a café which sounded right.
Bande A Blog
1st week of May 2011
London College of Fashion Student Nicola Short and I started brainstorming ideas for video adverts to promote her products and concept store. Her clothes and style were heavily influenced by1960’s France. It was then that I came up with the idea to emulate the style of the French new wave films from the 1960’s. After viewing all of Jean Luc Godards 60’s output, we decided that 1964’s Bande A Part’s was most suited to what we wanted to achieve stylistically. At first we wanted to copy some selected scenes but decided we could use the film as a blueprint for the adverts and create what we wanted.
















