LUKAS STIPAR

  • As he finds the world around him in a state of decay, an old tree creature sets out to find a way to save his home, with the power of his magical flower instrument.

    After lots of experiments with all kinds of different flute and flute-like instruments, effects and electronic sounds, I ended up with the clarinet as the main instrument for its warm, earthy but also airy and fragile tone. It sings the main theme on top of a mixture of string quartet and lots of altered acoustic sounds, most of which created from sampling my trombone mute – painting the picture of an ecosystem once brimming with life, now almost extinct.

    Film: Emil Pogolski, Jim Obmann, Vanessa Chu
    Clarinet: Eve Georges
    Strings: Sirius Quartet

    Spirit Tree

    Milo’s Tune

    a story about risking everything for what you love

  • This is the result of a collaboration with students of the architecture masters’ degree at the Technical University Munich.

    Their assignment was to build a miniature model and then film in it, with the help of camera students from the University for Television and Film Munich. The concept for this specific work was to show different spaces that transition from dark and wide to bright and narrow. Watch for yourself, how the perceived inhabitability of the rooms changes under the influence of illumination and room size!

    The music too is full of these contrasts with deep, wafting drones being broken up by haptic piano chords and bursts of distortion, eventually finding structure and rhythm. Different surface textures in the models was also a concept I explored during the sound searching process.

    Models: Christine Anschütz, Jakob Hügues, Florian Roth
    Camera: Elias Schultheiss
    Light: Frederike Glemser

    architectural journey through light and space

  • Bachelor’s project by Mila Selvanathan at the mediadesign university munich.

    A simple piano tune, accentuated with bright, bell-like sounds introduces us to the world of the consumer. Immaculate, precise, and almost uncomfortably close, with every tiny detail on full display. As the theme repeats, it gets increasingly tainted and warped by electronic interferences, it’s stability challenged by the drifting pitch of strings and airy woodwinds. The consumer’s mindless humming traverses the barrier between the action and the music, as well as the opposing worlds of the consumer and the workers as the interferences become ever harsher.

    Eventually, this barrier breaks down completely and the mine collapses. The consumer’s responsibility in this is almost besides the point, as personal action simply can’t outweigh necessary systemic change.

    Film: Mila Selvanathan
    Vocals: Fabiola Wörter
    Violin: Alexander Vičar

    Score Only

    what role do we all play in a system that only gives us one option?

  • The music for this film had to be quirky, like its main character Pelle. It also had to sound like something him as a character would actually listen to, but at the same time work as score, adapting to the action and his growing impatience that eventually takes him on quite the adventure.

    In order to achieve this, I composed a two-part main theme featuring accordion, violin and a variety of plucked instruments for the first half of the film, that serves as the thematic base for the more conventional ‘score music’ of the second half – eventually returning and reuniting our two friends.

    Film: Romana Bauer, Sophia Galneder, Leo Semmelmann
    Violin & Accordion: Alexander Vicar
    Flute: Alma Cermak
    Clarinet: Eve Georges

    Main Theme

    a story about a very special friendship