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回顧《2025 青春設計節 YDF》

· 5min
#Event

BOUNC

影像作品來自於英國的動畫工作室 Buff Motion 的概念動態圖形（Motion Graphic），以材質轉換為基礎概念，嘗試在聲音設計與視覺動畫中碰撞出趣味與衝突的火花，同時也在實驗和探索二維、三維物件之間的界線。

基調為一個無生命的幾何體，為其注入「彈跳」（Bounce）的靈魂，也正如作品名稱，在每次跳躍、擠壓、碰撞這些物理運動的過程中，展現「俏皮、幽默、個性化」的特色，聲音部份也試圖去捕捉這些互動刻意製造的意外驚喜。

打破預期的物理定律，從各種能夠賦予「彈力」表現的聲響出發，大提琴的撥奏（Pizzicato）、合成器搭配彈力曲線的調變（Modulation），液態材質的意像與聲音設計……如影像所呈現，強調過渡材質和動態來突顯矛盾，使音、像概念一體成形，互相補佐，體驗更加沉浸。

This re-score of Buff Motion’s “BOUNC” investigates material transformation and the intriguing boundary between 2D and 3D forms. By infusing inanimate geometry with a “bouncy” soul, the project explores the humor and personality within every squash and collision. To subvert expected physical laws, I developed a diverse palette of “elastic” textures, ranging from the organic snap of cello pizzicatos to complex synthesizer modulations mapped to elastic curves. By juxtaposing liquid imagery with mechanical impacts, the sound design emphasizes transitional materials to highlight their contradictions. The result is a seamless fusion where audio and visuals complement each other, creating a deeply immersive and cohesive sensory experience that redefines the viewer’s perception of physical dynamics.

Secret Moon

影像作品來自於 3D 藝術家 orencloud，以奇幻與神話風格與唯美 CG 渲染為特色著稱，在動畫中呈現出一種末世與科技的世界觀，巧妙的將廢墟美學與生命意像結合，在知曉一切終將向死亡前行的敘事中，如何描繪消逝與如何新生成為本片最具特色的切入點。

獨異的綠色調、太空、廢墟，科技建物與裝置彷彿暗示曾經存在過一個興盛的文明，而如今因某些原因而凋零，試圖從一個更大的格局去襯托個體的死，而藝術家運用意像手法轉化，平衡孤獨與無力感，最後再將生命議題拉回到那個宇宙也許早已給出的答案：「無常」。

這些帶給了音樂創作表現很大的啟發，全曲定調基準為 A ＝ 454 Hz，大量運用甘美朗（Gamelan）、預置鋼琴（Prepared Piano）、合成器等微分樂器來支撐世界觀，混合日式侘寂美學——尺八，試圖使其與西方口味調合，轉向佛性的東方生死觀。配樂以全局視點出發，僅對部份場景塞入角色視角的旋律伏筆，剩下保留影像的原味與氛圍，不去過度介入。

Visuals by 3D artist orencloud blend mythological fantasy with post-apocalyptic sci-fi, exploring the cycle of rebirth within ruin aesthetics. The distinct green tones and celestial ruins evoke a fallen civilization, balancing human solitude with the cosmic reality of “Anicca,” or impermanence. My musical response is tuned to A=454Hz, utilizing microtonal Gamelan, Prepared Piano, and synthesizers to ground this complex world-building. By weaving the Shakuhachi and Wabi-sabi aesthetics into the arrangement, I bridge Western production styles with a profound Eastern perspective on the cycle of life and death. The score maintains a global, observational viewpoint, utilizing sparse melodic motifs only in key moments to preserve the original visual atmosphere. This approach ensures the music complements the narrative without becoming over-intrusive, allowing the immersive “ruin aesthetics” to take center stage.