Sentences with phrase «game composer so»

Not exact matches

McCreary is the composer for this game's outstanding music score and he also did Battlestar Galatica, so you know it is great.

Production values are at the highest levels, so we can also expect nominations for cinematographer Hoyte van Hoytema, who figured out how to take large - size cameras into challenging small places, production designer Nathan Crowley, editor Lee Smith, costume designer Jeffrey Kurland, VFX supervisor Andrew Jackson, and special effects supervisor Scott Fisher, not to mention composer Hans Zimmer, who is often taken for granted but is at the top of his game here.

Tilton demonstrates in this video game score that he has all the hallmarks of someone who would be a great film composer — not just the composition itself (which is beyond reproach — the orchestration in particular is so impressive) but also his dramatic sense, which is honed to provide a gripping narrative here.

And another collaborator from The King's Speech, composer Alexandre Desplat, returns with a score that compliments the film's compassionate tone (it's a little Downton Abbey meets Imitation Game), so a ninth (ninth!)

Directed by the great Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), with a screenplay written by the talented trio of Peter Straughan (The Debt), Hossein Amini (Drive) and Søren Sveistrup («The Killing»), featuring behind - the - scenes work from the likes of editor Thelma Schoonmaker (Raging Bull), cinematographer Dion Beebe (Chicago), composer Marco Beltrami (The Hurt Locker) and production designer Maria Djurkovic (The Imitation Game), and listing Martin Scorsese (Silence, The Wolf of Wall Street) as one of its primary producers, how things turned out so disastrously I have no idea.

JG: [Thinks for a bit] It's just funny to me because being so involved in games, so steeped in the production of games, I don't see titles of games like God of War or Splinter Cell, I see the composer that worked on them because I know most of them personally.

Plus, he explains why it's taken so long for Video Games Live to return to the UK and shares what the greatest thrill for a game composer is.

So with each new game, it's really nice to be able to bring in some of the younger composers and bring new staff to each game to allow them to bring in some of their new ideas and compose in a way that helps create a new feel for each game.

We also work from home, operate under a profit - share agreement, and luckily I'm the composer, so I don't have to outsource anything, but I also turn down opportunities at my paying job and took a half - time position to ensure that I've had the time to dedicate to the game.

There are only two developers working on the project, with a third being the music composer, so the development will be a bit drawn out, however given that it's a smaller team, the game already has a handcrafted feel to it.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

- the eight protagonists won't have similar stories to each other because the team wants players to enjoy different experiences - the other six protagonists will have jobs different from Orberic (Swordsman) and Primrose (Dancer)- Orberic and Primrose were chosen for the demo because their starting points are closer to other party members - each protagonist will have different starting points, so there may be a gap in the progress difficulty - the team is trying to even things out, but they don't want every character to have the same difficulty, as that would be boring - the demo has surpassed 1 million downloads worldwide - a demo was released because they thought simply publishing screenshots and trailers wouldn't convey this game's fun factor - more than 80 % of the overseas player base found the game interesting - there was one player who won against a high - leveled NPC in a Duel, and another who defeated all bar customers - the team had expected the former, they didn't expect the latter - the music was received very well, which comes from composer Yasunori Nishiki - overseas players complained of hard - to - read text, because the UI was based on the Japanese version, which will be adjusted - the biggest complaints were about slow map movement, and the lack of fast - travel - both of these features have been implemented, with faster movement and fast - travel between cities - players also found the screen too dark, so devs are adding waypoints for paths and also bigger roads - there will be an Event Skip feature, as well as the ability to freely watch events that have been already seen.

I often pass over game scores that don't yet have any kind of official release (or aren't likely to get one), but there are certain composers I always want to bring to your attention — for example, there's no way to get a copy of the soundtrack to Digimon Story: Cyber Sleuth - Hacker's Memory, but I've developed a special fondness for the work of Masafumi Takada over the last couple years, so I have to at least mention it here.

So, if you want to be a working game composer, here are tips to increase your employability for these smaller, yet still very serious and well paying, game companies by getting started in sound design.

According to the artists on stage, there were other composers on the title, but Hiro's songs, written over twenty years ago, were the ones that best fit the mood of the game and so made it into the final build.

He remains undoubtedly one of the most influential, versatile, and creative game composers of all time and will be forever known for «doing so much with so little».

Composer Cris Velasco announced on Twitter that he is getting ready to record the soundtrack for the game, which should add a nice audio element that has been missing from the game so far.

You may or may not know this, but I am a huge Turrican II fan, so it thrills me to see that the game's composer, Chris Huelsbeck, has launched a follow - up crowdfunding campaign to his Turrican Soundtrack Anthology from a few years ago that focuses specifically on turning the music of Turrican II into a new orchestral album.

Should there be greater representation for video game composers and musicians so as to prevent unfair wages, especially for newer indie games?

So if you've finished listening to VGH # 8, you know that most of my favourite game music composers are from Japan.

So, what you're saying is Yoko Shimomura is the greatest video game composer ever?

Given the prestige of the game's composers, it's no wonder the soundtrack is so fantastic; it's just a shame that the voice acting has to be so atrocious.

The first one is the ever - so - popular Hitoshi Sakimoto, composer of such games as Final Fantasy Tactics, Radiant Silvergun, Murumasa: The Demon Blade, Orge Battle: Let us Cling Together, and you get the idea.

It features: — 3D real - time sandbox game built with Unity game engine — metallic shader, lighting, particle effects, lens flare, explosions, fx — space combat RPG with extensive skill tree — open and living universe where 600 + ships fly around autonomously — epic story with dialogue system that allows real choices — recruit 6 wingmen and 2 can fly with you at a time — even discover romance with another wing pilot — recruit 5 corporate pilots who can fly trade routes on your behalf — trade, fight, mine, pirate, scan for derelict ships and wormholes — many mission types: epic, freelance, dynamic, wingman acquisition, faction loyalty — deep combat mechanics, AI, and faction standings — 20 + ships, 180 + modules, 33 solar systems with a unique follow - through - warp mechanic — 15 + factions to vie favor or destroy — cinematic camera shows you the action when it happens — fly manually with or without Newtonian physics or use autopilots exclusively — 22 track theatrical - quality award - winning soundtrack by renown composer, Sean Beeson — cloud save lets you continue your game at home or on the go MEMORY: Dangerous uses a lot of memory during play, so if you have an older device, please close extraneous programs and reboot prior to playing.

Dissidia's director allowed — or rather, required — that the game's composer make radical rearrangements to classic Final Fantasy tracks, so even longtime fans are treated to a bold new take on the familiar.

The soundtrack, primarily composed by Eveline Fischer (regular series composer David Wise only contributed a few tracks) is a good mix of music, but it fails to create the atmosphere and moods that the other games in the series did so easily.

It's a different composer than the console game but it fits so well that you would never notice.