Scoring Cut Scenes
by Lance Hayes
Composing music for games is, in some ways, like composing for other media. One
similarity that games share with linear media is scoring cut scenes. In games a
cut scene is usually a small sections of pre rendered animation or live action
content that is often managed like a short film. They are used for various reasons
to propel the storyline, tell back-story, present montages etc.
the project, cut scenes are handled much the same as short pieces for film or
television. Many will have original music, sound design, voice over and even
Foley work. They can be quite sophisticated and are often one of the more
exciting pieces from a game. This is why they are often used by the developers
and publishers in the advertising campaigns. Few parts of the gaming experience
are so distilled.
Examples (WARNING: Some of these clips
example of a high-end project with superb use of music and audio here is a cut scene
from The Force Unleashed
II. The editors have done a wonderful job of balancing composer Mark
Griskey’s powerful choir and orchestral elements with the sound design in the
example of music and sound in a game promo/cut scene is Russell Shaw’s music
blending with a fantastic voiceover and top notch sound design in the Fable III Intro Cinematic.
Composing and Mixing the Forza 3 Intro Cinematic
home, I thought I might talk a little about my experiences working on the Forza Motorsport 3 intro
video. While not as epic as the previous examples, this cut scene was
enormously fun to work on and was a hit with the millions of fans of the Forza
video composition process started when I sat down with Landin
Williams, the cinematic lead at Turn 10, and looked at a rough edit of
the video. We talked about basic ideas and about the sound that they were
looking for. This is different than the approach in most projects where you are
often given the final edit already picture locked so that, ideally, no further
editing takes place.
Back at my
studio I sat down at my keyboard. I often start out playing piano to come up
with some basic ideas, and then I work up the arrangements from those concepts.
After I wrote some basic themes and ideas in the initial creative sessions, it
was time to move over to the electronic tools. The drums were worked up using a
blend of Battery and Reason. The synths were a combination of custom sounds
from Absynth, Reason, NI Massive, and Arturia. As I often do, I used the sequencers
in both Reason and Sonar on this project. I like the control that Reason allows
you and how fast it is so I tend to use its sequencer alongside Sonar which is
both a fantastic VST host and a good MIDI focused DAW.
interesting aside; while working on this piece I composed a number of tracks
that, while not a perfect fit for the intro, wound up in use elsewhere in the
Forza universe. One good example is this piece that ended up
the trailer music for the FM3
“World Class Car Pack” (featuring Mike Caviezel on guitar and bass).
project neared completion we were getting down to content lockdown and the team
was furiously working to get everything into the game. There was a lot of back
and forth as we worked to get the perfect track for the feel of the game.
the team and I had a direction that we liked and the video had come together
more completely I would get edits via FTP, plug them into Sonar and compose to
picture. Once we had an edit that worked I was able to focus on the finer
details of the production. After that, the biggest time commitment became
tuning the production to fit changes and team requests.
Once we had
the track nailed down, I took the stems to the Turn 10 studios at Microsoft. The
audio director Greg Shaw and I worked up a 5.1 mix that focused on balancing
ambience and intensity. The car sound design was layered in on top of that and
the end result is what you hear when you first start up the game and the cut
scene fades in on your new car experience.
offer a unique opportunity in the game universe to present the player with a
linear experience. For composers it’s a fantastic opportunity to emphasize or
introduce the ideas you have for the core concepts in your soundtrack. In this
example the intro cinematic cut scene in Forza 3 helped us set the tone for the
soundtrack and the user experience. The cut scene challenge on FM3 was to meet
team and fan expectations while reinforcing the user experience in an efficient
In upcoming posts,
I’ll be talking about interactive music which is where game music really
shines. Also note that the end all, be all of game networking events in the US,
The Game Developer’s Conference in San
Francisco, is coming up at the end of February.
Tip of the Month: On
occasion I’ve talked to composers who haven’t picked up a game since Pac-Man’s
rein and want to write music for games. If you're interested in game audio you should
probably play video games. Games in any format you can find including all of
the major consoles, handheld devices, phones, pc, web, etc. It is definitely one media that hands on
experience is an unbeatable resource. This is not to say that if you are well
known enough or your niche is fine enough that you can’t find work but for the
rest of us it’s sort of a necessity. So get out there and rack up some points!
Author bio: Lance Hayes is also
known as DJ Drunken Master and is a keyboardist, synthesist, and leading
composer of music for video games. Most recently, he composed the
soundtrack for Microsoft's Forza Motorsport 3 title. Find out more at www.djdm.com.