Editing The Sprint: Composer
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*'''Kazuma Jinnouchi''' : We’re doing a second round of the choir session today. We have 30 singers I believe, so we'll be doing six tracks, and we'll be doing a lot of the themes, including the Halo choir. I use the piano motif that's using ''Halo 3'' and I rearranged based on that. Can we change the crescendo, not here but in these four bars. | *'''Kazuma Jinnouchi''' : We’re doing a second round of the choir session today. We have 30 singers I believe, so we'll be doing six tracks, and we'll be doing a lot of the themes, including the Halo choir. I use the piano motif that's using ''Halo 3'' and I rearranged based on that. Can we change the crescendo, not here but in these four bars. | ||
*'''?''' : How long should it be for, two bars? | *'''?''' : How long should it be for, two bars ? | ||
*'''Kazuma Jinnouchi''' : Umm… Yeah, two bars, yeah. | *'''Kazuma Jinnouchi''' : Umm… Yeah, two bars, yeah. | ||
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*'''Matt Dunkley''' : I've worked on, I think I'm up to about 137 films as we speak, just about to do my 138th, so yeah, I've worked on a lot of movies. I think the difference really in the video game score is, first up there's an awful lot more music. You tend to have, like, very big, long, dramatic themes, whereas in a film maybe you have one or two of those, you have your end titles and your opening titles and maybe one big action scene, but we've done five of them, so everything is kind of bigger and longer and so much of gameplay is action, so you might have like 20 action scenes or 30 action scenes and then you have all the play out movies which have like these big dramatic things, gorgeous cello solos and fantastic dynamic stuff and tonight we put the brass on as well. It's just a great sounding room you know it's, [clap] listen! It's just amazing and this was the template for pretty much all recording studios, a lot of the scoring stages in Los Angeles were based on Abbey Road Studio One which is where we're sitting now. Studio Two just over there’s where the Beatles did all their stuff, so it's a real historic building, but you know what I love about it is it's not a time capsule, it's working every day, plus it's got world-class facilities and world-class engineers and assistants. Yeah, it's a nice office you know. Kazuma did a lovely arrangement of the original ''Halo'' theme, but he's changed the chords and it's very clever. I think it's nice that every composer who comes to it pays homage to it in some way and quotes the theme. It's kind of like the ''James Bond'' theme if you like, in movies, if you score a ''James Bond'' movie at one time or other you always put the theme in and it's funny enough after this I'm what going to work on ''Mission Impossible'' 5, and again you know you quote the Lalo Schifrin theme because you pay homage then continue the legacy. | *'''Matt Dunkley''' : I've worked on, I think I'm up to about 137 films as we speak, just about to do my 138th, so yeah, I've worked on a lot of movies. I think the difference really in the video game score is, first up there's an awful lot more music. You tend to have, like, very big, long, dramatic themes, whereas in a film maybe you have one or two of those, you have your end titles and your opening titles and maybe one big action scene, but we've done five of them, so everything is kind of bigger and longer and so much of gameplay is action, so you might have like 20 action scenes or 30 action scenes and then you have all the play out movies which have like these big dramatic things, gorgeous cello solos and fantastic dynamic stuff and tonight we put the brass on as well. It's just a great sounding room you know it's, [clap] listen! It's just amazing and this was the template for pretty much all recording studios, a lot of the scoring stages in Los Angeles were based on Abbey Road Studio One which is where we're sitting now. Studio Two just over there’s where the Beatles did all their stuff, so it's a real historic building, but you know what I love about it is it's not a time capsule, it's working every day, plus it's got world-class facilities and world-class engineers and assistants. Yeah, it's a nice office you know. Kazuma did a lovely arrangement of the original ''Halo'' theme, but he's changed the chords and it's very clever. I think it's nice that every composer who comes to it pays homage to it in some way and quotes the theme. It's kind of like the ''James Bond'' theme if you like, in movies, if you score a ''James Bond'' movie at one time or other you always put the theme in and it's funny enough after this I'm what going to work on ''Mission Impossible'' 5, and again you know you quote the Lalo Schifrin theme because you pay homage then continue the legacy. | ||
*'''Kazuma Jinnouchi''' : So this is our fourth trip to record at Abbey Road Studios. Over three days we'll record percussion, piano, strings and brass. This is Nobuko, our orchestrator, score producer, and this is Thanh, our music copyist. We actually went to the same college, we all graduated from | *'''Kazuma Jinnouchi''' : So this is our fourth trip to record at Abbey Road Studios. Over three days we'll record percussion, piano, strings and brass. This is Nobuko, our orchestrator, score producer, and this is Thanh, our music copyist. We actually went to the same college, we all graduated from Berkeley College of Music. We three started working together during ''Halo 4'', ''117'' cue at 20th Century Fox, my first orchestra recording experience. This is what I look at when I compose. So what I do is an orchestra mock-up using synthesizers and pianos, like orchestra samples here on the score. This is what she did, she basically transcribed what I did by listening to it and then she added dynamics and then phrase marking. | ||
*'''Nobuko Toda''' : All instruments. | *'''Nobuko Toda''' : All instruments. | ||
