We continue our discussion about writing music for established franchises, with guests @KazumaJinnouchi (Halo 5, Metal Gear Solid 4) and @MarkGriskey (#StarWars: The Old Republic, #PrinceCaspian, #KinectDisneyland). We also touch on the differences in scheduling between a franchise score and a new IP, as well as some thoughts about working in-house as a staff composer vs. working as a freelance contractor.
We speak with @KazumaJinnouchi (Halo 5, Metal Gear Solid 4) and @MarkGriskey ( #StarWars The Old Republic, Prince Caspian, Kinect #Disneyland) about working as a composer for a new title within an established game or film franchise.
We speak with Austin Wintory (Journey, Abzu, Assassin’s Creed: Syndicate) and Kristin Naigus (woodwind multi-instrumentalist) about the process of finding and working with live performers. Additionally, Kristin gives her insights as a performer who’s worked with both of us on various scores. Lastly, we discuss the unique challenges of working with a very small, soloistic ensemble in a game score.
Our guest Richard Jacques (Sonic the Hedgehog series, Starship Troopers, LittleBigPlanet 2) discusses musical style, evolution of genres within the game industry, and the problem of stylistic-diversity vs. focus within one’s own career.
Continuing our conversation with Gerard Marino (God of War series) about MIDI realization, focusing on sketching process, MIDI editing techniques and tricks, differences between live and sampled orchestration, and modern innovations in music technology. 2
Chatting with our guest Gerard Marino (God of War series) about why accurate sampled orchestration is important even when scoring live, writing for orchestra vs writing for samples, tech specs and the evolution of PC music technology.