In addition to Omnisphere samples, I used Desert Winds and Forest Kingdoms and Era II by Eduardo Tarilonte. Whatever samples you get from Eduardo Tarilonte there are always some fantastic soundscapes included. I loaded up Ancient Spirits and I think Desert Longing. I decided to make use of the samples that I have so brought the flute, harp, cello, baroque guitar, nylon guitar, strings and symphonic choirs 'mm' samples to the forefront, rather than looking for a new lead instrument. I also loaded in Altus and Cantus for voices as well as some of the new Vocal Codex samples I have not had for that long.
|Screenshot of Opening Titles in Cubase|
The film was not yet complete but I decided to do something I had never done before and start the music score in advance. I experimented with harp with pizz strings on every other beat to begin with. With this sequence started I overlaid some strings and then recorded in a lead tune with cello. I added guitar and layered this up with Altus phrases and flute. The result was an atmospheric yet tension-building sequence. When the film was complete and I dropped it into the project, I was able to continue the tune for the opening titles easily as most of the hard work was done.
Everything was pretty straightforward from then on. A score gets much easier once the narration starts and it is mostly musical underscore. When the dreams started, I had all my samples ready and I found that dropping most instruments out and bringing in the Ancient Spirits and soundscapes created an immediate dreamlike atmosphere. I kept this up and added some ambient drums from StormDrums for depth. I also added some sound effects of wind and thunder which was great.
The fun part began with the long Hell sequence. I built up the tension with Bowels of Hell from Omnisphere and it was really quite scary; scary and interesting. After a while I realised the Hell sequence was longer than I expected. I felt it needed something else.
|From the Hell Sequence|
The film left me moved and inspired. Writing the score was a rare event, having the opportunity to use so many interesting soundscapes and have a lot of freedom with this. I also found it really easy which is rare too. The previous score for Jacinta Marto was really difficult for me.
For the entire score I had been looking for an opportunity to use my new sample from Vocal Codex 'Salve Regina' but I had not been in the right key to make it work. I put in a phrase of it here and there. At the end credits I decided to play in the entire thing and lo and behold it fitted perfectly. This film is now available on DVD worldwide through Amazon and www.marysdowryproductions.org
|Saint John Bosco DVD|