LOS ANGELES, July 15th 2016 (White Bear PR) — August 25th will be dedicated to Music In Games and composers Christian Henson, BAFTA winner Jessica Curry and Christophe Héral will participate in a panel discussion. All guests will talk about their body of work, personal experiences, upcoming projects and about the characteristics of video game scores. They will also be available for questions from the audience.
Almost every musician working with virtual instruments, is likely to have at least one product from Spitfire Audio in his collection. One of the two founders of the company is the British composer Christian Henson. The multi nominated (including Ivor Novello and World Soundtrack Awards) and multi award winning composer didn’t just work for over 45 movie and TV productions but also he recently worked for big video games productions. With The Flight Christian composed tracks for the highly acclaimed game Alien Isolation and wrote the music to the fourth part of the popular UbiSoft franchise Assassin’s Creed IV : Black Flag. At SoundTrack_Cologne Christian will talk about the connection between film and games music and give insight into the production processes with virtual and real instruments.
Frenchman Christophe Héral achieved what many videogame composers are dreaming of. As “Inhouse-Composer” of videogame giant Ubisoft he created the best known and greatest franchises. He wrote music for Rayman Origins, Beyond Good and Evil and The Adventures of Tintin: The Secret of the Unicorn. Christophe will chat about the cooperation with an international games developer and publisher and he also can give insight to how music works in videogames, where skill and speed have great importance not unlike in big role-playing and adventure games.
Two time 2016 BAFTA-winner Jessica Curry knows the games industry from different perspectives, as co-founder of the Games Developer The Chinese Room and as an award-winning composer. With both the content of the games and also with the synthesis of music in games she explored entirely new ways of creating. Games such as Dear Esther and Everybody’s Gone To The Rapture blend an emotional gaming experience, which completely renounces traditional action-stuffed genres, with more meaningful and story supporting music. In the merger of storytelling and sensual experience the mentioned games expand the recent concept to a whole new category that defies all conventions.
In addition to the three panel discussions, SoundTrack_Cologne also offers participation in the following workshops and presentations.
In the workshop “Practical Introduction to Adaptive Games Music “, the composers Helge Borgarts and Andreas Kolinski give a concrete insight into the technical and compositional requirements for the development of adaptive music for videogames. Using various examples and demonstrating live during the workshop, by means of concrete projects, they show what composers have to consider if they are following adaptive game music.
At the Academy of Music and Drama in Hannover, in the Institute of Journalism and Communication Research, they have been scientifically examining the function and effect of music in games. Dr. Christoph Klimmt and Daniel Possler show in their presentation the results of their two exciting studies. In this psychological experiment they tested the effect of the game experience with music versus without music. They used music from Assassin’s Creed: Black Flag and Alien Isolation, which happens to be scored by our guest Christian Henson.
To be part of the discussions, workshops and presentations, get your accreditation here.
Source: Soundtrack_Cologne
