Sentences with phrase «orchestral score in»

As part of the special music promotion, the donations we receive from this prize category go directly to help fund an all - out, full orchestral score in the game, recorded in a live studio!

Vanillaware's couch co-op masterpiece returns in glorious 4K with a brand new orchestral score in Dragon's Crown Pro, available now...

Not exact matches

The orchestral scores are easily some of the best in the series.

Add in an epic, bombastic orchestral score by Kevin Riepl (he also worked on Gears of War) and a surprisingly robust and easy - to - use level creation tool and you have one of the better games to be released so far in 2011.

A number of mainstream film critics have hailed his work on the new film — virtually unheard - of for a traditional, orchestral, «proper» film score in the 21st century.

Yet there are many plodding stretches which Corbet doesn't succeed in concealing by inserting wild camera movements combined with Scott Walker's bleak, juddering orchestral score.

The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics...

Based on Yousef's 2010 memoir Son Of Hamas, Nadav Schirman's film — an audience prizewinner at Sundance in January — briskly runs down a decade - plus of double - dealing on the front lines of the Israeli - Palestinian conflict, offsetting the interview footage with archival news reports, a crashing orchestral score by Max Richter, and staged aerial surveillance shots, tinted night - vision green for maximum atmosphere.

Howard's finest scores come when he is writing thrilling, dynamic, colourful orchestral music in Wyatt Earp or Dinosaur or King Kong, with incredibly variable results elsewhere.

By stark contrast, the orchestral arrangements commonly found in Marvel films are largely based upon «temping», a term that refers to emulating or repeating existing scores in the initial cut.

To hear some tell it, Alexandre Desplat is just about the finest thing to happen to motion picture scoring since Bernard Herrmann or Franz Waxman, the sensualist who will redeem the most (in most cases rightly) denigrated of orchestral literature from John Williams or James Horner.

The film is bolstered by Max Richter's orchestral score, often soaring, and photographer Rob Hardy's use of outdoor scenes, where the movie was filmed in London, Oxford and Yorkshire.

In a recent press release, Danna stated that director Michael Bassett (interview) told him, ``... I need you to inject more musicality and orchestral elements into the score...» Danna once again collaborated with Yamaoka to create the aural landscape that we will be hearing in the filIn a recent press release, Danna stated that director Michael Bassett (interview) told him, ``... I need you to inject more musicality and orchestral elements into the score...» Danna once again collaborated with Yamaoka to create the aural landscape that we will be hearing in the filin the film.

Johnny Greenwood's score is lushly orchestral, although we're probably in for another round of «Is this eligible?»

Each Blade composer has had to balance his scoring chores with songs cemented to key scenes and montages: Mark Isham went for a brooding synth and orchestral blend that managed to smoothly weave in and out of the pumping songs laid over the main battle sequences; and Marco Beltrami's large orchestral score was tweaked by Danny Saber and buoyed by a similar number of songs.

Having helped create an all - singing serial killer tuner for «London Road,» Adam Cork uses his instrumental voice to capture the despair and ebullience of North Carolina author Thomas Wolfe for «Genius,» (Milan Records) his Americana - accented score capturing the unique, orchestral spark of literary inspiration along with the jazz bounce of a copious writer's enthusiasm on the loose in The Big City.

With the morally uncertain «Monkey King 2» battling mountain - sized skeleton demons and flying witches, he's the closest thing that China has to a superhero (and likely one of the oldest in the world at that), Young jumps off such robust Marvel scores as «Spider - Man 3» and «Ghost Rider» for a series of hellzapoppin orchestral battles, as a battery of millennia - old Asian instruments like the erhu are skillfully blended with raging electric guitars, the score's numerous themes bursting with the honor of eternal warriors and choruses thundering from the heavens.

Leone - style close - ups fetishise narrowed eyes under low, wide brims; horses gallop across widescreen plains in clouds of dust; a rowdy saloon falls deafeningly silent upon the entrance of a stranger; low - slung shots worship the seven walking in a line; a thrilling orchestral score features breakout horns, plucked banjo strings and hints of Elmer Bernstein's galvanising original music; and Red Harvest dons Stars»n' Stripes war paint.

The composer builds to an extent on the sound he established during one of his international breakthrough scores (2005's Syriana) but he takes it off in different directions for a score which will probably be an easier listen for most people than that one thanks to the increased orchestral element and the couple of notable concessions to mainstream Hollywood - style Americana.

The score explodes to life in «Ship in a Painting», which is far more satisfying to the listener - immense orchestral and choral forces combine for some fine old - fashioned gothic horror music à la Jerry Goldsmith or Christopher Young.

The two crowd - pleasers are «The Mission» and «Cleared Iranian Airspace», pieces of warm, fully - orchestral Americana that might come as a bit of a surprise to die - hard fans of the composer but which somehow actually blend in rather well with the rest of the score.

It's become something of an axiom of modern film music that music for any kind of serious film set in the modern day will not have a traditional orchestral score - were Oliver Stone to make Born on the Fourth of July today, I seriously doubt he would have John Williams score it - and so he turned to Craig Armstrong, still primarily known for his instrumental pop music and song arranging for popular singers.

Also in the Definitive Edition is a new orchestral score, in addition to a re-recorded soundtrack.

Hans Zimmer's haunting orchestral score only adds to the drama, working in sync with each passing gunshot.

Cinematographer Sean Bobbitt («Shame») emphasizes the sharp redness of blood in an otherwise shadowy world often tinted by yellows and greys, while Javier Navarrete's downbeat orchestral score roots the story in the baroque traditions of the period from which the two lead characters hail.

Striking a poignant note, quite literally, the film's haunting electro - orchestral score marks the final screen credit for composer Johan Johansson, who died this month, here working in tandem with fellow Icelander Hildur Gudnadottir.

Shot in black - and - white and scored to orchestral jazz, it looks like Allen's Stardust Memories but it plays like the most explosive drama of the year.

Directed by Chris Walas, Fly's chief makeup whiz, the sequel was partially saved by Christopher Young's massive orchestral score, which itself is given generous time in the DVD's making - of featurette.

Bava's choice of music (and composer) has sometimes been very uneven: Carlo Rustichelli's romanticized and treacly music for Whip and the Body detracted from the film's pinched, sadistic sequences; Libra's prog - rock score for Shock felt at times like an effects - ridden mimic of Goblin's supernatural score for Dario Argento's Suspiria; and Stelvio Cipriani's muzak for the original Italian version of Baron Blood deserved to be replaced by Les Baxter's more eerie, orchestral score when AIP initially released that film in North America.

In his approach to scoring the film, Cacavas uses modern jazz / pop sensibilities to score the villains of the piece, saving the traditional orchestral writing for Van Helsing and his associates.

Ben recently completed a spectacularly epic orchestral score for the feature film Conquest 1453 directed by Faruk Aksoy, the most successful film ever in Turkey and in early 2012, the second most popular film on IMDB, beaten only by Underworld: Awakening.

Or perhaps it's just because orchestral scores are in a creative rut across the board.

If Klaus Badelt turned pirate scores into electro - orchestral rock operas with the «Caribbean» movies, «Cutthroat Island» stands tall as a last, defiant gasp to the old - school symphonic way of playing brigands in all of their unapologetically symphonic glory, as accompanied by Jeff Bond's entertainingly blunt notes about Carolco's sinking ship.

The 1927 storyline is shot in black and white, mimicking the silent movies of the era, with a swelling orchestral score by the frequent Haynes collaborator Carter Burwell.

More than 25 years since Legend «s release, only Jerry Goldsmith's original orchestral & synth - embellished score has received a definitive CD release (via Silva Screen), whereas Tangerine Dream's electronic replacement score for the North American edit has yet to be issued on disc in its complete unexpurgated form.

Later I branched out from the guitar and took an interest in orchestral scoring and I have recorded and released two audio CDs featuring the soundtracks for the computer games «Star Trail» and «Shadows Over Riva.»

Even if you don't dig Florence + the Machine the way I do, you got ta admit it's a thousand times more fitting, in terms of the game's overall orchestral score, than 30 Seconds to Mars» whiny wailing.

An actor's performance becomes more impressive as you can hear subtle nuances in their voice, a sweeping orchestral score becomes a force of nature, sweeping over you, while a game suddenly comes to life with tiny audio details, giving rise to a far better appreciate of sound design.

Every tune in the game will be recreated as an amazing orchestral score.

The Mafia 2 Collectors Edition comes packed in a Steel - book case along with a map of Empire Bay, a CD filled with the Orchestral Score for Mafia 2, a 100 - page hardback photo style album as well as some DLC to top it all off!

As part of the special music promotion, the donations we receive from this prize category go directly to help fund an all - out, full orchestral score for the game, recorded in a live studio!

Immerse yourself in a soaring orchestral score performed by the Copenhagen Philharmonic Orchestra.

In terms of sound design, the orchestral score does a good job of giving weight to battles and a sense of triumph to discovery.

Wonderboy III's original chiptune score has been re-recorded as an orchestral one in one of the more impressive adaptations in many years.

By the end of Arkham Knight, things start to get serious and with the impending end of the bat himself, an orchestral score set up the scene perfectly as you push on in the final third.

The game's sound is also spectacular, with a moving orchestral and electronic score, and the game being presented in full 5.1 surround sound.

Tooth and Tail has a setting that echoes the Russian Revolution, and Wintory's score combines folk influences with his usual orchestral strengths (heavy on the strings) in a way that echoes his work on Assassin's Creed Syndicate.

(«The Knights» Theme», The Order 1886 [shared w / Jason Graves]-RRB-; nominated — Hollywood Music in Media Awards, «Best Score — Videogame» (ABZU); nominated — Movie Music UK 2015, «Best Video Game Score» (Assassin's Creed: Syndicate); winner — Movie Music UK 2015, «Best Original Song» («Underground,» Assassin's Creed: Syndicate [shared w / Tripod]-RRB-; winner — International Film Music Critics Association, «Best Original Score for a Video Game» (Assassin's Creed: Syndicate); winner — Annual Game Music Awards, «Best Score, Cinematic / orchestral» (Assassin's Creed: Syndicate); nominated — Annual Game Music Awards, «Artist of the Year: Western Composer» (Assassin's Creed: Syndicate, Sunset); nominated — MundoBSO.com, «Best Videogame Soundtrack» (Assassin's Creed: Syndicate); winner — IGN.com, Best of 2015, «Best Original Music» (Assassin's Creed: Syndicate); nominated

(«Underground», Assassin's Creed: Syndicate [shared w / Tripod]-RRB-; nominated — Game Audio Network Guild Awards, «Best Audio for an Indie Game» (The Banner Saga); winner — Game Audio Network Guild Awards, «Best Soundtrack Album» (The Banner Saga); nominated — Game Audio Network Guild Awards, «Best Original Instrumental» («Of Our Bones, The Hills», The Banner Saga); nominated — BSO GoldSpirit Awards, «Best Score for a Video Game» (The Banner Saga); nominated — International Film Music Critics Association, «Best Original Score for a Video Game» (The Banner Saga); nominated — SXSW Gaming Awards, «Excellence in Musical Score» (The Banner Saga); nominated — NAVGTR Game Awards, «Original Dramatic Score, New IP» (The Banner Saga); nominated — Annual Game Music Awards, «Best Score, Cinematic / orchestral» (The Banner Saga); nominated — Annual Game Music Awards, «Artist of the Year: Outstanding Contribution, Western Composer» (The Banner Saga, Soul Fjord); nominated — Annual Game Music Awards, «Outstanding Achievement: Music Production» (The Banner Saga); winner

Whilst there are no overtly bombastic orchestral scores permeating your every beat, Hellblade's astonishing use of binaural audio puts it in front of most other games on our shortlist.