DICE:n Ben Minto on se henkilö, joka on vastuussa Battlefield 1943:n tunnusmusiikista. Hänen käsialaansa on myös sen luomista koskeva artikkeli, jossa käydään läpi koko projekti suunnittelemisesta nauhoittamiseen 60 hengen orkesterin kanssa.
Loppujen lopuksi kokoon saatiin huikeat 15 minuuttia pitkä tunnusmusiikki, johon sisältyy vain hyvin kevyesti muokattuna neljä minuutin pituinen alkuperäinen Battlefield 1942:n teema. Kappaleen säveltäjänä toimi mm. uusimmasta Harry Potterista tuttu Ian Livingstone.
Lue artikkeli
The Battlefield theme is a bit special and is one of the most recognized “Game Themes”. At first I struggled with it, it’s like deciding everything in a house should be pink, it can be too dominant and if it’s not pink it isn’t right. At first I fought against this as I wanted to make a mark on the Battlefield series by introducing new themes and ideas to this classic theme. No matter how good the new music was people always had a soft spot for Joel Eriksson’s original Battlefield 1942 themes, so much so that the Battlefield 1943 producer Patrick Liu and the Executive Producer of the Battlefield franchise had a meeting and discussed how cool it would be to have the original music, but re-recorded with an orchestra. Fortunately by this time I had gone a bit Dr. Strangelove with the theme and saw the value and emotion it gave to the title. It is like a trademark or a logo; you know it’s a Battlefield product once you hear that music and instantly you get all the buy in associated with the entire family of titles. This became a lot more of a mantra as 1943 was positioned a bit like a modern remake of the classic Battlefield 1942 using the Frostbite engine.
Now for such a quick short project, I was initially amazed by the request to have the original theme re-orchestrated and recorded by an orchestra, thankfully having already worked with Ian and knowing his “orchestra” skills it made perfect sense to ask him about the feasibility of this – mostly costs and timescales. With the different budgets for using a range of countries (Moscow, Prague, LA, London etc) I went back to my producers. Which would you rather use? was the question. London (the most expensive-just ) I replied, I’m more comfortable with knowing that Ian would know most of the people we would work with and he has a lot of contacts dealing with that sort of thing; we don’t have to get VISAS, book hotels, have any language barriers." We know that a London studio will sound great (it was either Air or Abbey Road) and that the players will be world class and be able to deliver, as well as having some of the best instruments in the world. Ok, your budget is cleared and you have 3 weeks to deliver. Wow and OMG thoughts in the same split second.
Loppujen lopuksi kokoon saatiin huikeat 15 minuuttia pitkä tunnusmusiikki, johon sisältyy vain hyvin kevyesti muokattuna neljä minuutin pituinen alkuperäinen Battlefield 1942:n teema. Kappaleen säveltäjänä toimi mm. uusimmasta Harry Potterista tuttu Ian Livingstone.
Lue artikkeli
The Battlefield theme is a bit special and is one of the most recognized “Game Themes”. At first I struggled with it, it’s like deciding everything in a house should be pink, it can be too dominant and if it’s not pink it isn’t right. At first I fought against this as I wanted to make a mark on the Battlefield series by introducing new themes and ideas to this classic theme. No matter how good the new music was people always had a soft spot for Joel Eriksson’s original Battlefield 1942 themes, so much so that the Battlefield 1943 producer Patrick Liu and the Executive Producer of the Battlefield franchise had a meeting and discussed how cool it would be to have the original music, but re-recorded with an orchestra. Fortunately by this time I had gone a bit Dr. Strangelove with the theme and saw the value and emotion it gave to the title. It is like a trademark or a logo; you know it’s a Battlefield product once you hear that music and instantly you get all the buy in associated with the entire family of titles. This became a lot more of a mantra as 1943 was positioned a bit like a modern remake of the classic Battlefield 1942 using the Frostbite engine.
Now for such a quick short project, I was initially amazed by the request to have the original theme re-orchestrated and recorded by an orchestra, thankfully having already worked with Ian and knowing his “orchestra” skills it made perfect sense to ask him about the feasibility of this – mostly costs and timescales. With the different budgets for using a range of countries (Moscow, Prague, LA, London etc) I went back to my producers. Which would you rather use? was the question. London (the most expensive-just ) I replied, I’m more comfortable with knowing that Ian would know most of the people we would work with and he has a lot of contacts dealing with that sort of thing; we don’t have to get VISAS, book hotels, have any language barriers." We know that a London studio will sound great (it was either Air or Abbey Road) and that the players will be world class and be able to deliver, as well as having some of the best instruments in the world. Ok, your budget is cleared and you have 3 weeks to deliver. Wow and OMG thoughts in the same split second.
MAINOS
MAINOS
1
28.05.2009 14:25
#1
Team: |CPPP|
29.05.2009 07:34
#2
Team: [PG]
29.05.2009 10:34
#3
Team: [YMFO]
31.05.2009 00:01
#4
1