I think the Disney method is something I will definitely use again - but the process of creating a profile for potential customers felt a bit empty for me. I can think of different people all day that I think would like the podcast, but I think it would be better to spend that time marketing and networking that creating hypotheticals.
I enjoyed creating scenarios for where the podcast would be listened to, but I feel like it wasn't as affective as the Disney method process. No reason not to try them all though if I get the time for suture projects.
After reading through the 001 feedback, the sentence that pokes out to me first is the one saying how the project is still in it's 'potential' place, meaning it's not actually happened yet. So basically I just need to be more active and get shit done. Do more gigs, release some material, reach out with my content to get people involved.
And in response to the feedback (and a discussion with Tom), I have realised that despite not producing or releasing anything that is how I would hope it to be - professional, polished, high quality etc I have still been creating a persona and aesthetic around Araby that delivers a DIY bodge job kinda vibe. I have mentioned before about the 'loner in his bedroom making music' aesthetic and creating un polished and scrappy tracks would fit into that mis en scene. This makes me question if I really need to wait to get someone to master my tracks properly before they are released, because if I release them now in their original and 'genuine' state, then that fits the aesthetic to a tee.
Because I am not very good (terrible, actually) at mastering tracks, they run the risk of going too far past the 'badly done mix' vibe and into the 'ew, what's this in my ears?' vibe. So I need to find a way to create low fi mixes that sound 'clean' enough to make radio play normal, but 'dirty' enough to keep with the 'oh I threw this together in my bedroom' aesthetic.
You still with me?
The same goes for my animation and video content. I showed my animation test run video to the animation lecturers at uni (I forget their names... Ian? Maybe.) and asked their opinion. They said that if I were to submit it into their grading criteria then I would fail, but they believe that if it were submitted for a fine art piece, then it would be suitable because it is all about the context of the piece.
No, my animation skills do not exist past that of any idiot with an adobe Character Animate download and half an hour to kill. BUT who really cares? (other than the artistic perfectionist deep inside me that screams every time I see Pablo's mouth not move in the right way). Correct, no one cares because it fits the context that it sits in.
But bringing the animation into the SBTIB argument - there is still a line in which people will make as to whether they accept it as a genuine product. For example South Park is very basic in its animation - but it plays on that and it becomes funny because of it's limitations.
The animation lecture said something along the lines of 'don't create animations just because you can, do it because you can't do it with a real camera and real people (or pigeons)'.
He said that despite Pablo being a pigeon and 100% living in the pigeon world, we (the audience) do know that it's not really an actual trained pigeon that has befriended a dove - that's what gives you the fourth wall breaking environment to work in.
SBTIB or SBTIG.
A fine line, but I think that I'm going to go for it and make bad things happen to good people.
And I'm gonna own it.
Who tf is Araby anyways?
I am working on three different videos for my three new tracks.
The first is called NONE HERE and will be a fantastic green screened version of myself placed into an animated bedroom. I plan to make the bedroom gradually come alive throughout the song. Maybe having some of my ornaments or teddy's singing the backing vocals.
The second will be a polished version of the MAKE BELIEVE video. I have already shown the working progress of this video, it just needs a little tweak here and there and then it'll be good to go.
Finally I will be making a video for the track MY, MY. I'm looking forward to this one as it will be a physical production rather than animation. I am approaching a professional dancer to perform in the video for me. We shall shoot on location at a warehouse in which the video narrative will (hopefully) read that the dancer has finished a looooong shift and is unloading the van into the warehouse. She is tired and bored of the monotony, so she starts to dance a little but, the lights that are stored in the warehouse start flickering and it builds into a climax of the dancer interacting and dancing with the lights, the lights shine and groove with the song too. EXCITING.