As
s
e
t
s
a
nd Env
i
r
o
r
nme
nt
s
Si
nce t
hese l
i
ght
s had t
o be ani
mat
ed,
and t
her
e was no way t
oo see t
he i
nt
ensi
t
y of
t
he l
i
ght i
n t
he v
i
ewpor
t wi
t
hout r
ender
i
ng t
he whol
e sequence, I cr
eat
ed a di
sk
geomet
r
y t
hat woul
d change i
t
s si
z
e wi
t
h t
he changi
ng of t
he l
i
ght i
nt
ensi
t
y
,
so I
coul
d
see wher
e t
he l
i
ght woul
d i
l
l
umi
nat
e t
he sk
i
n of t
he congas whi
l
e ani
mat
i
ng.
I
ni
t
i
al
l
y I
al
so added a cont
r
ol
t
hat al
l
owed t
he t
op of t
he conga t
o “
bounce” but I ended up not
usi
ng t
hi
s cont
r
ol because ani
mat
i
ng i
t was t
ak
i
ng t
oo much t
i
me and t
he r
esul
t
wasn’
t v
er
y v
i
si
bl
e.
I al
so cr
eat
ed cust
om at
t
r
i
but
es i
n t
he t
r
umpet l
i
nk
ed t
o each k
ey
’
s v
er
t
i
cal
mov
ement
,
and one at
t
r
i
but
e f
or t
he si
z
e of t
he end of t
he t
r
umpet
,
f
or a “
car
t
oony
”
ef
f
ect
.
R i
ggi
ng t
he mi
cr
ophone coul
d hav
e been consi
der
ed a wast
e of t
i
me,
but si
nce i
t had
t
o r
ot
at
e and mov
e ar
ound and t
he base of t
he pol
e was wi
de, I had t
o cr
eat
e
somet
hi
ng t
hat al
l
owed t
he base t
o t
ouch t
he gr
ound i
n t
he cor
r
ect spot when
r
ot
at
i
ng t
he pol
e, wi
t
hout spendi
ng t
oo much t
i
me ani
mat
i
ng i
t f
r
ame by f
r
ame. By
spendi
ng a bi
t of t
i
me r
i
ggi
ng i
t I was abl
e t
o ani
mat
e i
t f
ast
er and hav
e t
he
mi
cr
ophone al
way
s t
ouchi
ng t
he gr
ound i
n t
he cor
r
ect spot
.
The gui
t
ar was t
he most i
nt
ense one,
because,
f
or each st
r
i
ng,
I had an at
t
r
i
but
e t
o
cont
r
ol t
he ampl
i
t
ude of t
he “
wav
e” mov
ement and, by mov
i
ng t
he cont
r
ol
, t
he par
t
af
f
ect
ed woul
d i
ncr
ease or decr
ease dependi
ng on i
t
s posi
t
i
on.
Dur
i
ng t
he ani
mat
i
on
pr
ocess, I j
ust had t
o mat
ch t
he posi
t
i
on of t
hi
s cont
r
ol t
o wher
e t
he finger was
pr
essi
ng t
he st
r
i
ng,
and ani
mat
e t
he ampl
i
t
ude t
o when t
he st
r
i
ng was pl
ay
ed.
Render
i
ng of t
he i
nst
r
ument
s,
Peppe Russo
11
12