We took some of our favorite trailers and videos, and rescored them from scratch to show you what we can do with full artistic liberty.
Enjoy.
If you’re not interested in that, and you just want to see who we’ve worked for, click here.
The images displayed on this trailer, although action packed, are extremely sad and violent: war is one of the worst phenomenons in our society. And, unless taken in a cartoonesque manner (and this isn’t the case), “cool” is not the right mood.
We gave this trailer a music more attuned to the treatment of themes like desperation, war and suffering.
The best representation comes near the end of the clip, with the maimed soldier being carried away by a fellow: it’s an extremely sad picture. You can’t take it lightly by putting a cliffhanger on it: gives a sense of “and guess what now…!??” that has little to nothing to do with a wounded man who lost all his hopes in a war.
The original trailer doesn’t work on music: the leverage is fully shifted to a cobranding with Rihanna.
We choose to shift back the attention on music.
The Zonda R is a beautiful car, crafted with artisan care and spectacular features.
We choose an alternate audio direction, who underlines these characteristics.
We also tried to use the music to enhance storytelling, with this structure:
The original trailer used no real music, limiting itself to some standard percussive sound design to underline the action.
But Crysis is much more than that: it’s one of the best stories told by a modern video game. It has a lot of character.
And on the top of that, Hans Zimmer created a beautiful and extremely characteristic theme for the 2nd episode.
Our version has a full fledged music, composed on a variation of Zimmer’s theme for Crysis (seriously: it’s beautiful. You should listen to it: https://www.youtube.com/watch?v=Iy4iQvJo24U)
We used music to both underline the trailer’s action and the Crysis story and feeling: a mix of sadness, despair and courage.
This is one of our favorite Zimmer’s track – and also soundtracks in general: Man of Steel’s soundtrack is beautiful.
This track in particular has some extremely powerful passages, that we would have really liked to hear more developed without the constraints of a movie soundtrack production (the soundtrack is not made to be listened to: it’s a support to the image).
So, we choose to re build this track to become a full music track. And during this process we have also strengthened and interpolated its former features.
Suicide Squad’s branding is an extremely colourful one, who pushes a lot on how this team is entirely composed by a band of misfits with a great attitude for public property damage.
We followed this message by crafting an energic and crude soundtrack, instead of the original pseudo-poetic audio direction choice: we see nothing poetic in criminals and violence.
This clip is an interesting case: try looking at the former version, but putting it on mute.
The clip is absolutely not energic or aggressive: it’s extremely soft. Almost sweet: 2 young people exchanging sweet looks and playing together in a beach.
That’s not aggressive.
You can turn upside down this mood by boosting it with an energic track by Led Zeppelin, trying to convert an innocent face into an “intense stare”
…or
let the video flow with its natural behavior, and use a positive track to underline this aspect.
Just like we dit.