Sentences with phrase «orchestral scores»

While soundstage got better and dialogue sounded more crisp, the signal processing sounded artificial with boosted highs and lows, altering the timbre of instruments during orchestral scores.

Its lack of bass is more apparent in atmospheric titles with orchestral scores, and music doesn't perform particularly well either, but for everyday gaming usage, it's hard to find anything better for a mere fifty bucks.

Don't forget to visit the downstairs section of the gallery, where images of the sky and the earth each cover one wall, while orchestral scores play dramatically in the background.

The Soundtracks draws inspiration and grandeur from orchestral scores of classic films for the 1940s.

The sweeping orchestral scores are here, but there's also plenty of other, less majestic music.

It's composed by Hitoshi Sakimoto, who's usually known for tense orchestral scores like in Final Fantasy Tactics and Radiant Silvergun.

He is famous for his rich orchestral scores, which have been performed by the Kanagawa Philharmonic and Warsaw Philharmonic, and his memorable opening and ending themes.

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.

Continuing the franchise's tradition for high - quality orchestral scores, he delivered an intense soundtrack that captures the essence of the gameplay and improves the overall experience for the player.

He performs world percussion, drums and guitar on many of his own tracks and has conducted and recorded his live orchestral scores at Abbey Road Studios, Air Studios London, Capitol Records, FOX, Paramount Pictures and Skywalker Sound.

Oblivion / Morrowind / Baldur's Gate / Icewind Dale all have strong orchestral scores.

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

His eclectic output has been pretty impressive so far — ranging from electronic soundscapes through to fully - orchestral scores.

Plumeri offers a fascinating account of his preference for orchestral scores and how he imagined a romantic theme for images (excised) of our heroes digging money out of the skull of one of their buddies.

For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman's Excalibur (1981) and Jim Henson's The Dark Crystal (1982)...

Starting with one epic after another, all requiring massive orchestral scores, the new millennium has seen him score six movies so far: Shaft, Baby Boy, The Musketeer, Zoolander, Changing Lanes and now Enough.

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

Well, that's one way visualize an orchestral score.

How about a movie whose visuals, architectural and costume design, and orchestral score draw heavily on cultural influences seldom seen on Western screens?

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.

One of its greatest facets is the orchestral score by John Debney, who digs back into an almost classic 1950s playbook to give Predators the right kind of rah - rah fun.

The audio track, which boasts a speaker - filling 7.1 mix, suitably mounts composer Michael Kamen's ever - present orchestral score as the film's audio - visual star.

Basic Instinct (1992) was Verhoeven's homage to Alfred Hitchcock, right down to the lush orchestral score and thriller scenario.

Mica Levi's orchestral score, full of shrieking glissandos and two - step beats, forms a singularity between international art house and big budget science - fiction fare.

The humour of the writing and the main performances is wonderful, and the ambiguity of it all is tantalising... set against the backdrop of a 60 - piece orchestral score by Radiohead's own Jonny Greenwood.

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.

Once the film finds its footing, the mystery unfolds with a palpable disquiet and doom courtesy of Ennio Morricone's menacing orchestral score (coupled with anachronistic tracks) and Robert Richardson's cinematography that uses the expanded frame even when so much of the film takes place inside.

Previously out - of - print, Debney's acclaimed thrill - ride of an orchestral score, performed by the London Symphony Orchestra, returns to the hearts and ears of film music enthusiasts everywhere!

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.

The orchestral score by Tarr's long - time composer Mihály Víg is as incessant as the wind, repeating and repeating like Philip Glass.

From its simple, yet compelling story, to its deep character development, to its methodical combat, to its breathtaking visuals and wonderful orchestral score.

Brunt explains that the process of re-arranging an orchestral score for a live performance is a lot more intricate than people may realise.

A unique film with no orchestral score, American Sniper uses intense surround sound to build tension and evoke...

With its sheer artistry, muscular idealism, and the passionate intensity of the acting — along with Leonard Bernstein's bright, clamorous orchestral score — Elia Kazan's On the Waterfront is a true classic.

And while Greenwood is primarily PTA's composer, for «Inherent Vice,» he was given the opportunity to break from the atonal orchestral scoring sonic palette he's rendered thus far and presented something exciting, typically askew and eclectic.

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.

The unmemorable orchestral score is supplemented by contributions from Alan Parsons, whose synth - driven music has an electronic dance beat and sounds like discarded tracks from «I, Robot.»

And it seemed more accessible to my music skills, or lack thereof shall we say, rather than Indiana Jones or something that's a fully orchestral score and dizzyingly complex when you're fifteen or twenty.

Though a straightforward mono mix, «Thirst» has some marvelous sound design that particularly pays off during a hallucinatory «conversion» sequence of sorts, with wild sound effects by mixer Peter Fenton that beautifully intermesh with Brian May's excellent orchestral score.

(Note: original orchestral score extracts are also available on several compilation CDs.)

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.

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.

Enhanced by a stunning and deeply moving orchestral score by composer Joe Hisaishi, Princess Mononoke is a genuine hand - drawn animated masterpiece.

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.

It begins with an all too familiar aerial shot that is, of course, accompanied with a dramatic orchestral score, but the Dowdles try to mix it up and flip the image upside down for no apparent reason.

Like the first evocative and compelling trailer, this one - minute preview is very much a tonal poem, cutting together cryptic and context - free shots of the film, set to a haunting orchestral score.

Natalie Portman, with cheekbones jutting, walks through pristine, monied 1960s surroundings to Mica Levi's orchestral score.

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.