VOL. 8, NO. 2 spottingspotting SUMMER 2006

notesnotesGuild of Canadian Film Composers The Guild of Canadian Film Composers is a national association of professional music composers and producers for film, television, and new media.

COMPOSING FOR GAMES by Mike Freedman & Brian Germann AND BEYOND Video games have come a long way since the days of Pong. Now, they are faster, sexier and highly addictive.

Video games have rocketed past movies in part of the game,” explains Williams. “For mass appeal and the market shows no signs instance, say the player enters a dark cave- of slowing down. In 2004-2005, video games that’s low intensity. But as they move forward generated over $10 billion in revenue. And they see a corpse lying on the ground-a trig- even though only a small number of compos- ger point for medium intensity, and then the ers are currently employed in this area, it is a player keeps moving forward until this crea- rapidly growing field with many opportuni- ture runs out and attacks you- trigger point ties on the horizon. Composers are finding for high intensity.” refreshing and challenging work in this inter- active and dynamic medium. Williams points out the two different meth- ods for writing music in video games. “You’re Technical and Musical either doing cut scenes, referred to as ‘in-game Aspects of Game Composing cinematics,’ which is essentially writing to picture. Those cues are less intense and more Writing music for video games and multi- ambient,” he says. However, writing the media has its own set of unique challenges “in-game” music is much different. “When that are specific to the genre. “The music is working on ‘in-game’ or ‘gameplay,’ there is interactive compared to working with film no quick time or pre-rendered material at all. and television. The concept of interactivity The only thing I’ll have to start with is artist’s in games is insane,” says Nayan Williams, a concept such as character or environment Toronto based game composer. highly complex, non-linear process to com- sketches, the storyline of the game and some position. As scenes evolve and change, so reference material.” Current video games are much more complex must the music. The music should be poised than those of ten years ago. Now, games can to morph, grow and diminish depending on Since much of the music is written without be played for hours and hours. Most media where the player takes the game. “Based on being locked to picture, producers will provide composers are used to writing music that is the gameplay, we determine how many levels reference tracks (instead of temp tracks) to the linear, while game composers speak about a of intensity will be required for a specific composer to give them an idea of what they’re cont. on nxtt page

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RETURN ADDRESS: The Guild of Canadian Film Composers Box 291, 275 Street East, Toronto, ON M5A 1K2 ADRESSE DE RETOUR : Guilde des compositeurs canadiens de musique de film, C.P. 291, 275, rue King Est, Toronto (Ontario) M5A 1K2 Gaming, continued looking for. Although in most cases, compos- of the Publisher is similar to a Film Producer composer to write only the title theme. They ers are working with sound libraries, higher insofar as it approves the budget, provides the would pay a large commission in addition budget games have created opportunities for financing and has final approval and sign-off to negotiating royalties after “x amount” of full orchestration with a number of games fea- privileges. They may have an A&R person sales. The company may then employ its staff turing serious Hollywood composers. who licenses the commercial music for use in composers/less-known composers to write the popular video games. The Developer acts on remaining bulk of the music at a “buy-out” Being a game composer calls for versatil- behalf of the Publisher to design, implement price, which does not include any royalties. ity. “I’ve flirted with reggae, dance, blues, and produce the game. According to Robertson, “an in-house com- by Tobin Stokes country, rock, to name a few, and the intros poser on salary eliminates the motivation to and extros are usually in orchestral style,” says Depending on the size of the Developer, rush the compositional process, and may not Robert Marchand, a Montreal based com- the composer works closely with the necessarily produce the right fit of music. poser for children’s CD ROMs. Audio Director, Sound Director or Sound Although a freelance composer would also try Supervisor to craft the music. Interactive to compose the right fit of music, he would Game composers also find the genre allows music is key in games today and it requires consider the time factor more prevalent as them great creative freedom. There is much a composer to think about foreshadowing, he would likely be paid by the number of opportunity for composers to have input in transitions, and replaying music with varia- minutes of music delivered or a flat fee. So, the musical direction. “The gaming indus- tions to allow for the game’s large content even though games usually have a huge profit try” says Williams, “is relatively cutting edge requirement. margin, royalties are generally not paid to the and gives you flexibility in terms of experi- composer unless he is a ‘name-composer.’” menting with different things.” Graig Robertson, a former staff composer for Radical Entertainment states: “The market is A Developer works with a master budget The Business of good in for composing music for given from the Publisher, and assigns sub- Game Composing video games. There are gaming companies such budgets for all of the components of the as Radical, Rock Star and that game’s development and design. The budget Video game companies can be separated employ both staff and freelance composers.” for music production is generally set upfront. into two main categories: Developers and Therefore, a composer’s best chance to nego- Publishers. Larger companies such as The current trend is to hire “name-compos- tiate any royalties would be directly with Electronic Arts (EA) are both. The function ers.” A gaming company may contract a said the Publisher – but this is unlikely to occur. cont. on next page THE GUILD Announcing a new DVD from GCFC… OF CANADIAN FILM COMPOSERS Highlights from the most informative and fascinating sessions featuring some of Canada’s best-known film and television composers in panel discussions and desmonstrations Topics include cue creation and scoring, new technologies, instrumentation and orchestral recording, best business practices and relationships, industry trends and challenges. To order online www.gcfc.ca To order by phone 416-410-5076 Toll Free 1-888-657-1117

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SUMMER 2006 sn 7 Gaming, continued Robertson recommends obtaining a “revision ous reasons so it’s good to be a staff composer the computer programming which generates clause” included in the contract, especially and not have to worry whether a project will the video elements.” Therefore, the idea of with buy-out contracts, to avoid endless revi- make it to the market.” He also offers advice taking video games to “the next level” with sions to the musical compositions. to composers thinking about writing for video improvements to the audio by using features games. “Try to give extra value on your first gig such as 5.1 Surround Sound is an example The manufacturing of a video game goes by really understanding the game play and how of the importance music has in the future of through many developments and a composer your music could enhance it. This will help multimedia. sn can spend anywhere from a few months to over you be successful at getting future contracts. a year working on just one title. Marc Baril, a It’s not the music production-it’s how it’s Nayan Williams is a Toronto based game composer staff composer at Radical Entertainment, says implemented in the game.” who has been scoring video games for several years. He has completed six games for both the Microsoft Xbox one advantage of being a staff composer is that and PC platforms and is currently working on next it gives him the opportunity to play the game Robertson adds that “the generation titles for the Xbox360. Williams worked and listen to how his music fits all the various is becoming similar to the film industry in for Digital Extremes on games such as Pariah and levels. In addition, being in-house allows him that the unions are becoming more involved. Unreal Tournament. Most recently, he composed for to work on the game in its early stages, which For example, cinematic games that make use Warpath with Grooves Games in Canada can reduce the need for revisions. Baril also of film footage or actor’s voices via sound Robert Marchand is a Montreal based composer, notes that working as a staff composer gives bytes go through ACTRA. Also, the AFM has who has spent the past ten years doing music and him more liberties to make suggestions to the revised new rates for music used in media, sound design for interactive, educational CD ROM designers on how and when the music should DVDs and CD-ROMs. And licensing popu- games for children. He composed for Mia Mouse (Vol. play. “Seeing the music well-implemented is lar music means contracting with the record 1-4), which has been distributed in forty countries. Robert is also well established as a composer for film, very important,” says Baril. “Game play can companies.” TV and commercials. last between twenty to forty hours so a com- poser needs to make repetitions without it Robertson also notes that while he was at Marc Baril is a staff composer at Radical sounding repetitive – it should provide variety Radical Entertainment, The Hulk and Dark Entertainment based in Vancouver and has 14 years of and balance.” Angel were the first games they developed experience composing music for video games. that made use of “interactive music.” He Graig Robertson was a former staff composer at Baril discussed how the gaming industry is goes on to say that “the audio is the only Radical Entertainment and is now a freelance compos- involving composers earlier in the production ‘real thing’ in a game as it is created from er based in Vancouver with 10 years experience posing process. “Projects often get canned for vari- samples of real live instruments as opposed to music for video games.

SUMMER 2006 sn 8