Instrumental Anime Project

[Bakadeshi]

I'll need all project members to send me mailing addresses for the DVDs, via PM or by Email - Bakadeshi@aunmv.com

You'all will be getting the very first batches to come out when I finish them. And you don't have to pay or send me anything, consider it a gift in celebration of finally finishing this thing ;p

[Otohiko]

Best New Year's ever



...wow, I can't believe this thread will have to die now

Again guys, thanks a lot to all of you. I've been whining about this to Jasper for two weeks already, but it'll honestly feel strange NOT to have Animasia to work and wait on. I already want more!

Bakadeshi - thanks a lot! PM on the way...

[Tsunami Jones]

You'all will be getting the very first batches to come out when I finish them. And you don't have to pay or send me anything, consider it a gift in celebration of finally finishing this thing ;p

That's awesome, thanks! Address sent

[downwithpants]

Best New Year's ever

egad.. not wat i was feeling this morning x_x

but zomg wewt it's released!

it will be different not having this thread up anymore, but i wouldn't have been able to deal with it staying up for much longer. it was great to see all of the works in the project and i'm looking forward to watching projeckt life.

[jasper-isis]

Whew, I needed a breather away from the .Org for a few days.

Things feel a little strange with Animasia released and all. This thread will slide away to the back pages of this forum, and I'll soon have a 20GB space on my hard drive where the project folder once was. In a month or so, the Animasia banner will end its 7-month run in my sig.

With the project done now, I can probably expect my amount of time spent on the forums to go down a bit. I'll still post regularly for pL, but probably not in the same volume that I have been posting in here on the recent pages.

With many things changing now, it's good to know that the friends and acquaintances that I've made in the course of working on this project will be in touch for a little bit longer.

Awesome job, everybody, and thanks for the memories.

My AMV-related resolutions for this year:
- work on more solo projects
- try out more genres (like hmm... DANCE?!)
- watch more anime without thinking about making videos for them.

[Bakadeshi]

- watch more anime without thinking about making videos for them.

thats gonna be the toughest one of em all....

[Otohiko]

I just need to watch more anime, period

Well, suppose I'll take the opportunity to make a nice probably-last post for me in this thread, one which I so extensively spammed for all these... years

I think all that had to be said for the project itself already has been said, and I couldn't be happier. I'd say everything has turned out very well, in line with expectations, and I'd say I'm eager enough for more already (ProjeKct Life, this is where I go...).

I think it's also fair to say that it's been a big-time learning process. I probably learned half of what I know about AMV editing from or through the project!

***

As far as plans and belated New Year's resolutions -

-NOT retiring from AMVs
I was actually planning on getting out of AMVs and concentrating on other things in the next while - "was" being the key word. I'm brainstorming on another AMV as we speak.

-Submitting something to a major contest
which is actually worthwhile and isn't some kind of AMV-form jerkoff

-Making a video to Captain Beefheart and stealing footage from bum
yea...

-attempt a video on a more-or-less sophisticated technical level with effects and such
provided I have a concept for that.

***

So, with that, all the best to the others. It's been a pleasure (albeit sometimes a rather unique and painful one) working on the project, and I hope neither its spirit nor achievements go away in vain. I hope to see Instrumentality as a "AMVing instutution" of sorts stay as it is and continue to resurface; and I'll echo Pen-Pen's sentiment that this is indeed the one group on the .org that I identify with as far as affiliations go. Needless to say, I owe you guys for keeping me in this thing all the way through.

Cheers

[pen-pen2002]

New years resolutions:

1) regain mental health
2) Finish PL
3) get better with AE
4) Learn to use Linux
5) Play all the cutting edge games I couldn't before due to a crappy comp
6)read
7) save the world (unless the theater has any good movies showing or something)

Addresses:

415 W. Madison
Ann Arbor MI, 48103

1005 High St
Grinnell IA 50112

Hey Jasper, do you think you could post some of the QC's? Even if they are nothing special, I'd like to see them.

[downwithpants]

here are the narratives i have - i'm missing Tsunami Jones' and rose4emily's:

A parallel between "Edward Scissorhands" and "Spirited Away" was used as the foundation for the following piece...

At its heart, "Edward Scissorhands" is about a young girl who becomes enchanted by a mysterious stranger’s unearthly ability to bring beauty and love into her life. Their story ended too soon as the young girl and the stranger were torn apart, never able to see each other again. Similarly, "Spirited Away" illustrates a friendship that ultimately ended as a priceless memory.

Danny Elfman, who has written hundreds of scores for various movies, wrote this finale piece for "Edward Scissorhands" in 1990. The most remarkable aspect of this composition is its ability to tell a story in and of itself. Everything from the choral elements to the boy’s chorus exemplifies this magnificent fairy tale.

Danny Elfman couldn’t have described it better himself: "...if there's one thing I really love... it's sad music."

[Image 1]Hidden far away in Eastern Turkey, the great mountain of Ararat may seem one of the world's most remote destinations.[Image 2] And yet, this barren landscape is inevitably tied with the history and mysticism of many civilizations.[Image 3] Known as 'the crossroads of the world', Ararat is located at the meeting of roads between Europe, Asia, and the Middle East. Long migrations brought countless peoples through Ararat's mountain passes, and many wars were fought for the control of the area. [Image 4]Mystics from many religions have written the mountain into their mythologies - including the story of Noah's Ark, which is said to have come to rest on top of Ararat after the Great Flood - a story which is alluded to as the basis for the animated film Spriggan.

[Image 5]Kashmir, in honour of which Led Zeppelin wrote a well-known song, is another region with a very similar history, located at the junction of routes between China, India and the Middle East. [Image 6]And just as the popular string quartet Bond takes the sounds of "Kashmir" into a new orchestral setting, this video follows the epic musical selection and the action-packed visuals of Spriggan to another of the world's great crossroads, Ararat.

End of All Eva blends two outstanding works of art to tell a story that's beautiful both visually and musically. The visual portion is excerpts from the critically acclaimed Neon Genesis Evangelion anime series. Studio Gainax, along with Hideaki Anno, created one of the best anime series ever conceived. Evangelion showcases biblical prophecies, heart stopping drama, and collosal mech battles. This video is a short depiction of the grand story of Evangelion

Originally, the music considered for End of All Eva was a piece composed by John Williams. However, John Williams' music was too recognizable and the full effect of the video would be lost. The search for musical accompaniment was finally settled with "The End of All Things", a selection composed by Howard Shore, from the Lord of the Rings: Return of the King soundtrack.

Not only did this video combine these two already excellent artworks to create a new piece, but it also showcased and paid tribute to their magnificent achievements. End of All Eva was created out of respect and admiration for all forms of art, and all who push themselves to present their ideas and emotions any way they can. As Orson Welles once said, "Create your own visual style... let it be unique for yourself and yet identifiable for others."

Love is freedom. [image 0a] Love can be hopeful, liberating, innocent, frail, and longing. Love threatens to break us apart but promises to build us into something new. Love lets us escape from our oppressors. And for these reasons, [image0b] love is often forbidden.

[image 1]She came into his life like a gently falling star and melted away the winter in his soul. She accepted him for who he was, even after she discovered [image 2] his secret. Through their love, he felt like he had finally been released [image 3] from his loneliness. But his freedom was not eternal. Fate [image 4] forced them apart, and all that remained [slight pause] were their [image 5] forbidden memories. [Fade to bumper?]

From the yearning lyrics of Jim Croce to Van Craven's haunting piano adaptation, the song "Time in a Bottle" carries with it a bittersweet message. Happy scenes accompany sad melodies, while happy melodies complement sad rememberings. This [very slight pause] is the story of a tragic, broken love.

At the heart of this piece lies magic, spirit, and adventure, elements that one can come to expect from any of Hayao Miyazaki’s films. There is no real story involved here. It is, rather, a blend of selected scenery from three of Ghibli’s most beloved films, depicted in a way that fills the piece with energy, spirit of magic, and adventure. Or just plain fun.

The charm of Kiki’s Delivery Service perfectly fits the theme of the chose music, James Newton Howard’s "Flying" from the Peter Pan soundtrack. Laputa, Castle in the sky adds a dash of adventure, and The Cat Returns sprinkles on the high spirited adventure and fun.

James Newton Howard’s theme to Peter Pan perfectly accentuates this concept. "Flying" is the most prominent theme in his score, and can be heard complete with full orchestra and synths from Howard's Toto days in the cue "Flying." [note from jasper: I'm not sure what this means.]

The piece opens with a serene feeling as the music flows with light chimes, flutes and piano accents. Then it the music picks up with a more adventurous soaring motif, accentuated mostly by flying and high energy scenes from the various Ghibli titles. The spirit of adventure is held through most of the middle of the piece, and climaxes to an astonishing feeling of accomplishment and contentment at the end.

This piece, at its core, is about memory. Reliving the good memories, suppressing the bad ones... rationality cowers in the face of such emotions. Memory is a powerful and selective force. What if your memories could outlive you? What if you could leave behind a testament to your memories? Would it be a place of joy, of calm reflection, or, as in this piece, a vengeful trap... a nightmare? Join a crew of innocent spaceworkers who venture into just such a world.

The piece begins with a quiet melody; faint opera music plays in the background. As the music quickens, the piece chronicles the men's journey into the unknown. A few minutes later the music changes dramatically; it is once more subdued, but has taken on a much darker tone. It is at this point that the nightmare begins to take hold. At first it is only visions, but soon the line between past and present, between vision and reality, begins to waver. Slowly but inevitably, dreams become reality and the men are consumed, trapped in a world of jealousy and revenge.

There is no salvation. And for these simple, hard-working men, there is no escape.

[image1]In 1888, Erik Satie wrote the first of a trio of short piano compositions called the Gymnopedies. [image2]The first Gymnopedie begins playfully and innocently before taking a sadder mood with tones of yearning and nostalgia. [image3]The music evokes a dreamlike sense of wonder as a single melody wanders capriciously over rocking progression of seventh chords.

[image4]Azumanga Daioh was chosen to illustrate the song bcause, underneath its comedic plots, it tells the stories of adolescent girls enjoying the final years of their youthhood innocence.

[image5]The first Gymnopedie was arranged for orchestra by Claude Debussy in 1896 and renamed as the third Gymnopedie. What you will now hear is an abridged version of Debussy's Third Gymnopedie, performed by the Orpheus Chamber Orchestra.

Created solely for the Instrumentality Project, the next selection is the first instrumental video its editor Arian Sanders has created. Although finding a fitting musical selection was a challenge, the remainder of this piece seemed to fall naturally into place. The eerie, dark tones of Tool's Schizm, performed here as a string quartet arrangement, complement the visuals of the grim anime masterpiece "Akira."

Feeling that the use of heavy special effects and visual processing would destory the dark atmosphere desired for this piece, the editor limited his editing to simple crossfades at transition points in the footage. Thus the name Simplicity.

Joe Hisaishi [image 1] created the music in this mext piece for the original Japanese production of Castle in the Sky. Hisaishi has composed beautiful scores for many Miyazkai films, including Nausicaa, Princess Mononoke, and Spirited Away. When Disney licensed Castle in the Sky for domestic release, they asked Hisaishi to compose more music for it because - quote/unquote - Americans feel uncomfortable if there is no music for more than three minutes. A new soundtrack was complied, but it lacked many of the songs from the original soundtrack. One of these was a soft piano melody called "Sheeta's Decision."

"Sheeta's Decision" is calm and dream-like. [image 3] It begins a simple string of notes, then transfers to quick glissandos. And then the main melody drifts in. [image 4] It carries us away to a surreal world... where anything is possible. [image 5] Time slows down... gravity releases its hold... [image 6] and mysteries lurk beyond heavy doors...

[slide 1]Shifting away from the traditional classical music composition of the eighteenth and nineteenth centuries, Claude Debussy developed a style labeled Impressionism [slide 2]that would revolutionize French music after the turn of the 20th century. While traditional classical music followed a directional, goal-oriented form, [slide 3]Impressionist music emphasized the quality or color of the tone itself. [slide 4]Debussy's piano works required a new style of piano playing, characterized by suspended bass notes and distinct pedalling.

[slide 5]"Clair de Lune," translated as "Moonlight," is perhaps Debussy's most well-known piece. It comes from his work Suite Bergamasque, [fade to bumper]written in 1890 and revised in 1905.

In 1997 a movie titled, "The Fifth Element" was released. On this movie's soundtrack was a piece of music called The Diva Song. The Diva Song is a techno opera song. It starts off very slow and sounds quite like normal opera About half-way into the song it changes. The tempo picks up, a back beat is added and the singer changes her style to something more upbeat. Many people fell in love with the song from that point. Fans liked that part so much that many of them, who had computers, began making their own copy of the song containing only the fast part. This fast "cut" of the song was dubbed "The Diva Dance" and this is the version you will hearing on this vid.

This AMV showcases battles and effects timed to the powerful vocals of The Diva Dance. Enjoy.

[Image 1]Seeking new sounds and ideas through live improvisation, the ProjeKcts appeared from the fragments of King Crimson's "Double Trio" lineup in the late 90's. Taking on this alter-ego, the musicians sought to break away from the band's established history, with a sound that fused conventional instruments with digital synthesizers, effects and loops. [Image 2]Particularly crucial to the ProjeKcts' style were soundscape guitarist Robert Fripp and touch guitarist Trey Gunn, who took part in every ProjeKct. Spanning at least five distinct lineups, the ProjeKcts have guided King Crimson's music into the new century. [Image 6]"Deception of the Thrush" initially came about in 1997 as part of ProjeKct 2's experiments, continuing to be performed and developed live by ProjeKcts 3 and 4 until 2003. The version presented here was one performed in Tokyo on April 15, 2003. [Image 7]The piece consists of three primary parts. The first begins with a soft soundscape, punctuated abruptly by an electronic voice reading fragmented lines from T.S. Eliot's poem 'The Wasteland'. [Image 4]As the last of these lines fades, a chaotic guitar solo rushes through in a desperate tone and a powerful beat develops, leading this second part to a climactic conclusion. [Image 5]However, as the last notes of the solo fade, soft, floating chords suddenly brighten the soundscape, and the bittersweet final part of the piece ends with the soothing notes of Trey Gunn's touch guitar solo, fading to silence in harmony with the soundscape.

[ooshna]

Soumm any progress come on people this thing needed to be finished over a year ago