I wanted to share some relevant examples from my portfolio to not only show my versatility and range as a composer, lyricist and writer, but also to provide evidence of my track record in order to give assurances of my ability to carry out this project with a high degree of quality and understanding, especially in terms of being able to respond to the technical demands of high-level production.
MUSICAL THEATRE DIGITAL AND ONLINE
The addition of video and digital content to my online presence as an artist is something I really started to spend time on from 2016 onwards. Whilst my Youtube channel is still in relative infancy, in comparison to my Soundcloud page (which I’ve had since 2013), I’ve already been able to see the impact that online video and audio content has in terms of audiences engaging with me and my work, so I am excited to approach this project directly with that in mind from the outset.
From a technical point of view, all of the content put out on these channels has been edited and produced by me. I have filmed much of it myself too, bar any In Versions showcase performance footage (filmed by Matt Smith at Videofeet) and any Live at Zedels footage (filmed by Bartek Podkowa from Seven Hills Films – who is one of my creative collaborators for this project).
Please note that Don’t Look Behind You was filmed entirely in my lounge, on my own iPhone and was subsequently selected for the Little Angel Puppets on Film festival in 2012
Here are another couple of examples of my work that were edited and posted outside of my own channels by other producers and companies.
I also want to add some examples of my music at final production stage to give you a further sense of my orchestration and studio skills, because obviously the FLOMO soundtrack I’ve submitted is still in midi realisation/demo stage. I was particularly interested, going through my catalogue in sharing this piece from Josephine, the show I mentioned in my biography that will be going into full production later this year. The structure and intention with this piece is very similar to that of FLOMO, although of course Josephine is being made for the stage.
This piece is for a 7 minute montage sequence that had a narrative arc in the story spanning 40 years of Josephine’s life. We developed it during our last R&D period. Accompanying the music is short sharp visual transitions, dialogue, singing and dancing – all the things I have built into FLOMO in a similar way, and this track is a production draft that we used at the public sharing of that R&D.
Below are several other examples of my audio recordings including incidental music, songs for stage, music for production, broadcast and online.
JOSEPHINE MONTAGE | by Zara Nunn