Issue link: http://digital.copcomm.com/i/47583
mediately," says George Kallis, music composer for Pri- malScream. The challenge for Kallis was to compose an epic score in a 30-second timeframe. To achieve this, Kallis wrote sev- eral different sections of music to highlight each important moment. "The spaceship is scored with an arpeggiated se- quence, which I first composed on major chords, but then de- cided that going minor was still manageable in order to better establish the fantasy sound- scape the scene required.We ended up with a very filmic theme stated on French horns, while its chordal pattern is per- formed by high woodwinds and harp.This turns into an an- ticipation motive on the fid- dles, while our alien leader is having a taste, followed by an energetic jingle during the cel- ebration of their discovery" Due to the quick turnaround time, Kallis did not record live musicians but instead scored the track using Apple's Logic and Kontakt by Native Instru- ments as a soft sampler."The result was very effective with some smart sample choices," he says. "I own most of the current sample libraries, but using only the newest libraries in the mar- ket is not necessarily the right choice, as these new collections are massively available. When we do not have live musicians, I usually try and make good use of my old collections, which still sound very realistic and are not so commonly used. Some of the instruments of the Miroslav and Siedlaczek libraries, which were popular in the '90s, are still in my templates and I did use a few of them in Earth's Treasure, particularly for layering. This provided the 'live' element and distinction in the music." With the look and sound of a big-budget film, audiences aren't aware that it's a commer- cial for McDonald's until the end of the spot."It looks like a movie," says Brawley. "And it sounds like a movie; that's im- portant. I think the agency, Mo- www.postmagazine.com September 2011 • Post 39