Introduction and Proposed Project
Project proposal
My first idea is to collaborate with an animation student to create a short film in a ‘minimal’ animation style accompanied by an original composition produced by myself. For this project, I want the music to feel like it is breathing with the animation. The aim is for the soundtrack to sit naturally alongside each frame, giving the visuals more movement, energy and personality. Different sounds and instruments can completely change how we feel, so I will use this to guide the mood, whether calming, uplifting or intense. My goal is for the music to pull viewers into the animation so it feels more alive, as if the characters are stepping out from the screen. I want the audio to help the whole piece flow smoothly and feel immersive. Overall, I am aiming to create something polished and meaningful, where the music genuinely adds to the story rather than simply sitting in the background.
My second idea is to work with a visual communications student to create an experience that feels exciting and personal. The plan is to sync lights or visuals to a DJ set made entirely from my own tracks, so the whole performance feels connected and alive. I like the idea of the lights reacting to every drop, melody and shift in the music as if the visuals are another performer in the room. This turns the set into more than just me playing tunes; it becomes something people can feel and get lost in. The aim is to create a moment that showcases my music in a new way and allows the audience to experience it with both their eyes and ears.
As Wassily Kandinsky suggested, “Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings” (Kandinsky, 1977). His belief in the connection between sound and image reflects the approach I want to take – creating work where audio and visuals communicate a shared emotional message.
Project goals
My main aim for this project is to create audiovisual experiences that highlight the skills of my collaborators as well as myself. The final products can be added to portfolios and used as promotional material for everyone involved. For me, this will help promote myself as a music producer to potential employers and creative professionals. For my collaborators, it will expand their portfolios and demonstrate their abilities in animation or lighting. I want to push my boundaries and step out of my comfort zone by creating work that is about the audiovisual experience as a whole, not just the music. I also aim to improve my communication and teamwork skills by working with people outside my university – skills that are essential for future careers.
Methodology and Rationale
Methodology – what will I do?
I will need to identify and contact students from animation and visual communications to find potential collaborators. I have already begun this by emailing several Heads of Department at Leeds Arts University (Animation and Visual Communications), as shown in Appendix 1.
(Appendix 1)
Once I secure collaborators, I can share creative briefs and hold meetings to discuss the concept and style of the projects. I have already started gathering visual references for the animation style I want and musical influences for the soundtrack. I will use automation within my DAW (tempo, volume, filters) to make the music feel like it is ‘breathing’ with the visuals. For the second project, I will create original tracks for the DJ set. I will also work with my collaborator to design lighting choices, colour schemes and any transitions. We will run tests to fine-tune timing and ensure everything connects smoothly.
I also plan to show drafts to peers or tutors for feedback and adjust the audio timing, transitions or visual cues based on their responses. This will help ensure all components reach a professional standard suitable for portfolio use.
Rationale – why?
Collaboration reflects real-world scenarios where producers often work with animators and visual designers, so this will be good practice. My original compositions will also demonstrate my identity as a producer and strengthen my portfolio. Both outputs can be used to promote myself to future employers, creative partners or event programmers and will broaden my technical skills beyond music alone.
Inspiration and Context
Inspiration and influences – Project 1
For the animation project, most of my inspiration for the style came from YouTube, where I explored different approaches:
‘Deadfish’ – Ekrixart, 2022 (Youtube)
‘CEREAL!’ – XRayAlphaCharlie, 2024 (YouTube)
Stylistically, two animations stood out the most because they were minimal and centred their stories around a character. They also had a slightly unpolished feel, which I think adds charm and personality. Hoffler and Leutner (2007) found that “minimal animation supports usability and clarity, rather than distracting from the content,” which reinforces why I want this style. Watching these inspired me to add sound effects to highlight specific moments, such as a door slamming. I think this would elevate the production by giving it more of a cinematic feel.
Musical influences – Project 1
Musically, both animations used light background music that was ambient and atmospheric. I wanted my soundtrack to feel more expressive, so I searched for stronger references and came across an animation by Duncan Hatch. Although the animation was more psychedelic, the soundtrack used bouncy arps and synths to create tension and eeriness (DUNCAN HATCH, 2023). This led me to build a playlist of influences on Spotify (Appendix 2). From listening, I identified three key tracks and techniques I want to use in my own work:
• Fell by Klsr – uses changes in LFOs and filter cutoff to create a pulsing effect
• Obsessed by B12 – uses percussion and gritty textures in energetic sections
• Ever Now by Gesaffelstein – uses stereo width and panning to create atmosphere
(Appendix 2)
Inspiration and Influences – Project 2
Because I mainly produce electronic/dance music, I already had some familiarity with sounds I wanted. One influence was Skrillex’s Quest for Fire – Basement Set (Appendix 3), where the lighting responded directly to the music. Another influence was a video from my university showing a previous student performing a DJ set with lighting and visuals that added emotional depth to the performance.
(APPENDIX 3 – Skrillex basement set)
I also researched how light and sound work together to influence emotion. One article found that flicker light stimulation (FLS) significantly enhanced music-evoked emotion, especially feelings related to ‘Joyful Activation’, and that stronger FLS intensity was linked with higher emotional arousal (Montgomery et al., 2024). This supports my idea that visuals and lighting can enhance the audience’s experience during the DJ set.
Musical Influences – Project 2
For the music, I want to blend my favourite electronic genres such as Breakbeat, UKG and House. I created another playlist of influences (Appendix 4). When producing for this project, I need to keep in mind how the tracks flow together, as they must be easy to mix and transition between. I have already begun producing songs in Logic Pro (Appendix 5).:
(Appendix 4 – inspiration for Project 2 music)
(Appendix 5 – productions made in Logic)
Costs and Budgeting
Hypothetical Budget
Ideally, I do not want to spend personal money on these projects, as they are mainly focused on creative collaboration and building portfolios. However, some costs may still be needed, such as:
- Venue hire for the DJ set – £20 to £150 per hour
- Videographer – £25 to £50 per hour
Potential Funding
- Leeds Cultural Investment Programme
- Music: Leeds / launchpad funding stream
Contingency/Risk Assessment
Contingency Plan
If these projects cannot be completed, I have additional project that I could do instead:
Collaborating with my brother who is an artist to create a short timelapse video of him painting or sketching, where I will make the accompanying soundtrack. I would plan to also include a short interview about what the piece means to him, and the process he went through when creating it.
Potential for Development
Potential for Development
For further development, the animation project could potentially become a short series or a single longer film. These could be shown at film or animation festivals to help me meet new collaborators. For the DJ set, I could expand the idea into a series of videos working with different artists, each featuring new original songs I have produced.
Evaluation Viability
This proposal shows a clear vision of what I want to achieve and how I plan to combine music with visual work. I have researched animation styles, music techniques and lighting ideas, which has helped shape both project ideas. I have also taken early steps by contacting potential collaborators and gathering references, showing strong initial planning.
The main strength of the project is that it pushes me outside my comfort zone and helps me develop new skills, especially collaboration. Both ideas also have strong potential for my portfolio, showing my abilities as a producer in different creative situations.
The biggest challenge is securing collaborators, as both projects rely on their availability and input. However, I have prepared a backup plan if needed. Overall, this is a strong and achievable project that will help me grow creatively and professionally.
Bibliography
Bibliography
Hatch, D. (2023) Cosmohedron | Animated short film [YouTube Video]. Available at: https://www.youtube.com/watch?v=3pxrECZYEAA (Accessed: 3 December 2025).
Höffler, T.N. & Leutner, D. (2007) ‘Instructional animation versus static pictures: A meta-analysis’ Learning and instruction, 17(6), pp.722-738.
Kandinsky, W. (1977) Concerning the Spiritual in Art. Translated by M.T.H. Sadler. New York: Dover Publications.
Skrillex (2023). QUEST FOR FIRE Basement Set [YouTube Video]. Available at: https://www.youtube.com/watch?v=hb0XLX0b4Y4&t=114s
(Accessed 27 November, 2025)
White, J. (2025) Collab project inspiration [Spotify Playlist]. Available at: https://open.spotify.com/playlist/2F3QdH2kE6pEz9NReiQGCY?si=fea0b94edba647da (Accessed 27 November 2025)
