![]() ![]() ![]() His second full-length, a double-CD released a year after Tycho Magnetic Anomaly and titled America is Dreaming of Universal String Theory, was a tumultuous, sprawling and despairing set of tracks which were closer to noise music than the drifting ambient music of Tycho Anomaly. A live CD titled The Result Dies With the Worker resulted from these shows. ![]() His first full-length release, 1997's Tycho Magnetic Anomaly and the Full Consciousness of Hidden Harmony, released by the Australian Camera Obscura label, was highly regarded for its four extended tracks of drifting, multi-tracked guitar drone and gave birth to a spate of lesser releases and live appearances by a trio formed by DiEmilio with guitarist Jason Knight and drummer Quentin Stolzfus (later of the pop group Mazarin, with whom DiEmilio performed for a short time) who were, at the time, esteemed contemporaries of Philadelphia natives Bardo Pond as well as Windy and Carl and Flying Saucer Attack. Īfter releasing a cassette on the Shrimper Records label (mainly known for bedroom recordings by songwriters like The Mountain Goats, Sentridoh and others) and a self-released single in 1995, both deeply indebted to the lo-fi drone-rock of Spacemen 3 and the Xpressway label, DiEmilio embarked on a never-completed series of ten split-singles of his own work with that of another like-minded musicians, like guitarists Loren Mazzacane Connors and Roy Montgomery, on his own Colorful Clouds for Acoustics label. The Azusa Plane was the name of the location where the family patriarch dies in the Kurosawa film Ran. Performing almost exclusively on a Fender guitar and usually through echo effects, DiEmilio released three full-length studio efforts, a live disc, several EPs and a large number of singles, compilation contributions and split releases between the years 19. The Azusa Plane was the psychedelic music recording and performance project of Jason DiEmilio (1970 – 2006) of Clifton Heights, Pennsylvania. Clarke's masterpiece film and book.Jason DiEmilio (The Azusa Plane) recording "Two Projects To Harness The Surge Of The Tides" 7" in West Chester, Pennsylvania, 1996. A nice homage to Stanley Kubrick/Arthur C. You might also think about pushing the camera down to maybe the knee height of the astronauts and tilting the camera up, to heighten the sense of scale of TMA-1 and maybe inspire a little vertigo in the viewer. A very small bit of glossy shader on the surface of TMA-1 would help the viewer pick out the edges. ![]() You might even sneak in a small bit of lens flare - we're not going to look at this scene through the naked eye! Many viewers cringe at lens flare automatically though, so that's a stylistic decision. There's no problem with the way the scene is lit, I think it looks very good, but just some visual cue to help the viewer understand where the light comes from. They are really pretty sharp here, but I'd suggest you put in a prop here and there to represent a light stand, like in the set of the film - currently there are multiple shadows going on, which would be fine if we had another light source to cast them (a light stand perhaps). This is the one time I'll tell anybody that the shadows should be razor sharp, as Rutra says - the shadow won't spread at all. ![]()
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