Julian Scott

Berlin Ballet

An avant-garde dance piece choreographed
by Antonio Gomes and commissioned by Bertelsmann for performance in Berlin.

The opening to the work was a massive visual backdrop featuring two dancers. They dance to a symphonic score performed by the Royal Philharmonic Orchestra.

The piece continued with a fusion of fractal video images, motion controlled video samples (of the dancers), plus a live dance troupe.

Solo operatic voices were combined with 60 piece choir, orchestra and urban/ethnic percussion.

A short video of part of the recording sessions at Abbey Road can be viewed below.

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I.O.C. Olympic Museum

Finale sequence for the International Olympic Committee’s award winning permanent museum in Lausanne, Switzerland.

An emotive multi-screen presentation featuring the “triumphs and defeats” witnessed in Olympic Games past and present.

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Kings Cross Official Opening

The official opening ceremony was the culmination of a £500 Million project conceived in 1997. Architects John McAslan and Partners delivered a stunning webbed arch spanning the station concourse receiving the prestigious New London Architecture ”Overall Winner” award.

The ceremony, created by Unspun for Network Rail, was hosted by Kevin McCloud along with Boris Johnson, Justine Greening the transport secretary, David Higgins Network Rail chief executive and David Partridge of Kings Cross Central.

The event featured a soundscape scored using sounds captured from the day to day activities of the railway network. This evolved into a musical work based of the rhythms of the track and sounds of the trains reflected in an orchestral setting.

The finale was a Son et Lumiere across the 7500 square metre western concourse highlighting the shapes and reflections of the new design. The 20 metre high latticework “funnel” constructed of steel and glass was the centre piece for lighting designed by Glyn Peregrine.

The soundtrack was realised using a multi-channel and multi-space sound system allowing the audio to be fine-tuned to the environment as well as providing sound quality of cinematic proportions. There was also a documentary of the project produced by Wilder.

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Ferrari

Ferrari World, the world’s largest indoor themed park opened in November 2010. The structure was designed by Benoy Architects and the visitor experience created by Jack Rouse Associates of Cincinatti.

Julian conceived and scored the music for the centre-piece Made in Marenello. A dynamic dark ride through a virtual recreation of the design and manufacturing process of a Ferrari 550. The initial ideas were presented to Ferrari in Maranello and approved by Luca di Montezemolo.

The score, performed by the Royal Philharmonic Orchestra, is synchronised to play from both moving passenger vehicles and static surround sound installations. This enables a seamless narrative to journey with the audience yet at the same time deliver the full surround cinematic experience.

The orchestra, recorded in Studio 1 Abbey Road London, was conducted by Jill Jarman. Sound recordings of Ferrari cars at special sessions were integrated within the work and a robotic painting sequence was “choreographed” to the music along with filming at the Ferrari factory in Maranello, Italy.

Julian worked closely with the ride technicians and location sound design team to ensure the recordings would match the environment and synchronise with the movement and media elements.

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Hollywood Costume

Hollywood Costume – V&A London, The Academy Museum Los Angeles, International Tour

Hollywood Costume is a ground breaking exhibition exploring the central role costume design plays in cinema storytelling. Conceived by Oscar nominated Deborah Landis and researched over a five year period the record breaking show was was sold out for the duration of it’s six month London run with over 265,000 visitors. There followed an international tour due to conclude at the Academy Museum in Los Angeles.

The exhibition spread over three entire galleries featured highly innovative design from London agency Casson Mann under the creative direction of Roger Mann.

The soundtrack to the exhibition had a number of challenges. Deborah didn’t want background music but a captivating score reflecting the emotions of blockbuster movies across the decades.
Visual media was produced with a short loop duration to inform a moving audience however due to the open and reflective nature of the galleries a repetitive theme of short duration could have detracted from the experience.

The solution was a score that evolved over a number of minutes yet had a tempo framework allowing the visual media to repeat yet remain in synchronization with the music. The galleries were also divided into four zones with synchronous but varying orchestrations evolving as the visitor passed through the exhibits moving from romantic Hollywood via action percussion to baroque for the historical sections. This removed the usual audio clashes that occur when numerous soundtracks are played in an open space.

A specially designed sound system with studio quality monitors was installed across the three galleries. In each space the music was mixed on the system to match the gallery acoustics prior to transfer to the show system. This enabled a more theatre like sound quality to be achieved.

In the second gallery where there were a number of interview recordings the soundtrack had neutral mixes in the busier areas morphing into stronger movements where a more dynamic presentation suited. Although there was a common theme across the whole exhibition the design of the music created a linear duration of 90 minutes so the visitor could enjoy an extended view of the displays without repetitive audio content.

An example of how the music was scored to evolve across a gallery can be heard on the audio player (Hollywood Costume transitions). This illustrates how the orchestration seamlessly evolves between zones without clashes.

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The Frozen Forest

A short film from City Pines Films shot in Ontario, Canada. Locations include Burleigh Falls and the dense forest area north of Fenelon Falls.

Stunning time-lapse cinematography, shot in temperatures of -20 and below, by director Ben Lean.

High Definition and Standard Definition versions can be viewed in the players, also more tracks with a winter theme, composed by Julian, can be heard below.

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Yahsat

Yahsat 1a, launched by Al Yah Satellite Communications Company of Abu Dhabi, as part of the regions first multi-purpose satellite system. Constructed by EADS Astrium and Thales Alenia Space Y1A was launched at the Guiana Space Centre in French Guiana atop an Ariane 5 ECA rocket.

The documentary charts the progress from initial concepts through to design, construction and launch.

In addition to providing music for the programme Julian provided the sound design and broadcast mixes.

Listen to the power of the Ariane 5 leaving the launch pad in T minus 10, with further extracts from the documentary and additional music below.

Olympic Games

Opening and Closing Ceremonies

The Opening and Closing Ceremonies of the Athens 2004 Olympic Games captured a global TV audience in excess of 4 billion.

Julian worked on the project over an 18 month period collaborating with Yorghos Koumendakis (co-creator of the Ceremonies concept and Director of music) to produce the opening and closing soundtracks.

The Olympic ceremonies, realised by Jack Morton Public Events under the direction of David Zolkwer, were the first to be produced by a non- indigenous company. They assembled a team from across the globe to assist Greece in creating what was universally acknowledged as “a triumph”

Advanced technologies were utilized by Adam Wildi (Senior Technical Director) to bring an ambitious creative dream to a world stage.

Major elements included flooding the Olympic Stadium with half a million gallons of water, a fiery comet shooting from the sky and igniting the Olympic Rings, a 22-ton, 60-foot cycladic head emerging from the “sea”, splitting and re-splitting to reveal two statues, then fragmenting into 18 sections depicting the Greek islands.

Further details can be viewed by clicking the links below:

Countdown

Drums

Bells

Glass Orchestra

Olympics Case Study

Great Britain

The flagship film for the UK Trade and Industry and British Council “Great Britain” campaign launched by Prime Minister David Cameron.

The campaign promotes The United Kingdom internationally and raises awareness of the UK’s strengths in the arts and education. Since launch it has delivered a direct return to the British economy in excess of £1Bn. The film has been presented across the globe from China to the United States of America as both single and large scale six screen presentations.

The six screen version, along with additional music from the presentation, can be viewed below.

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Toyota – London

The entire length of the Excel centre equivalent to two and a half football pitches was transformed by Jack Morton into a performance space which featured a race track, skating circuit, performance areas, motor-show scale vehicle exhibition and West End theatrical stage for an evening musical. The event under the creative direction of Kim Gavin featured 100 cast, skaters, acrobats, singers, percussionists, mime artists, 50 vehicles and the Toyota Formula 1 team and drivers Timo Glock and Jarno Trulli.

The audience were taken on a journey through 45 years of Toyota in Europe told through human stories, dance, action sequences and archive footage. There were 14 car reveals, Formula 1 cars doing doughnuts and a 30 piece drum band.

A stadium scale sound system provided surround sound. The tracks were mixed and edited on site with changes being made to tempos and durations as the event choreography was fine-tuned.

“Having received feedback from many retailers and attendees, it’s clear that we really inspired and motivated our guests. It was a world-class experience.” Toyota marketing director, Paul Van der Burgh.

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Planet ‘M’

Planet ‘M’, commissioned by Bertelsmann for the 2000 World Expo, is a multimedia installation charting the history of
media.

The multifaceted soundtrack is a fusion of ancient and modern sounds, including; voices, ethnic instruments, a symphony orchestra, electronic sound images, effects, and archived audio. All elements were crafted to excite, inspire, and to illustrate an extraordinary history.

The main theme received such an enthusiastic reception from the public (and Bertelsmann’s’ directors) that it was adopted as a corporate identity and public face for the entertainment giant. This success resulted in further commissions across various media.

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Commonwealth Games

A music suite for the centerpiece of the Commonwealth Games ceremony. The full symphonic complement of the Royal Philharmonic Orchestra was engaged to realise the dramatic score.

The piece starts in dramatic fashion with the baton entering the stadium carried by an aerialist suspended by balloon. Additional pieces covered the official opening of the games, and the sensational stadium light shows.

The soundtracks were 24 track surround mixes and as well as making a stunning impact in the stadium were broadcast around the world to a billion-strong TV audience.

In addition to scoring a suite of symphonic music the producers commissioned Julian to co-ordinate the presentation and mixing of the entire opening and closing ceremonies. See Case study

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Empire of Silence Swiss Expo

A major pavilion at Swiss Expo 2002, “The Empire of Silence” evokes a battle between the forces of silence and communication.

Six interlinked theatres provided the backdrop/setting to an exciting dark adventure, culminating in the destruction of the Empire.

Over 500 effects were designed and incorporated in the innovative and contemporary score. A huge networked sound system with 50 channels of computer controlled audio was incorporated into a warehouse-sized building
constructed especially for the event.

The soundtrack, central to the show, drove the action.

The pavilion was recognized as one of the most successful and visited installations of the whole Expo being voted “Best Pavilion” by the public and winning “Live Event of the Year” at the AV awards.

Live switched the experience from a- v, ‘a traditional Expo medium’, to live theatre as a way of underlining the moment when silence becomes scary. ‘The unifying medium that runs through it all is sound,’ says Newman, ‘We worked with Julian Scott, one of the best visitor attraction composers in Britain, to create the soundtrack.’

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Boeing

For the Dreamliner 787 launch Julian was commissioned by Boeing to score music for a series of short films featuring the new aircraft.

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Williams Formula 1

A television commercial and short documentary featuring the Williams Formula 1 team.

As well as special access to the factory and technical facilities, a special test session was set up at the Nogaro racing circuit in the South of France. Prior to an official Formula 1 test session two race cars, along with drivers Jenson Button and Juan Pablo Montoya, were made available, exclusively, for the film production.

Microphones were mounted on the cars and in the pit garages as well as around the circuit. The captured sounds were used to create rhythm tracks for use in the score.

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Trafalgar 200

A composition specially commissioned for the Trafalgar Bicentennial year and given a Royal performance with an audience of 10,000 in London’s iconic Trafalgar Square.

The work celebrates Britain’s maritime heritage covering the 200 years from Nelson to the present day.

Trafalgar Square 200 was the grand finale to a comprehensive series of major events across the globe commemorating the bicentenary of the Battle of Trafalgar and Nelson’s death. The event was broadcast live round the world and featured on the BBC’s prime evening schedule in the UK.

The theatrical action, as well as capturing the historic context of the Battle of Trafalgar, encompassed the architecture of the square itself. Royal Marines fast roped down the face of the National Gallery, Free-runners scaled the column and Tameside unit performed an acrobatic window ladder display.

The finale included performances by the choir of The Royal Grammar School, Newcastle and operatic soloists Susan Jiwey and Alex Pidgen.

Below you can view highlights from the BBC’s coverage of the event, hear the dramatic and poignant story of H.M.S. Hood and the Bismarck the musical setting of the Battle of Trafalgar with the Finale “Oh for the Sea”

Trafalgar Square 200 was directed by Robert Alge for Innovision.

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The Troop

The Troop is a 35mm CinemaScope production which had a Royal Premiere at BAFTA. It has also been presented to Her Majesty the Queen at a special showing at Windsor Castle.
The film was produced and directed by award winning director Marcus Dillistone, and shot by Oscar Nominee Alex Thomson BSC. The Troop has a powerful, epic soundtrack.

Julian recorded and produced many of the audio effects used within the film along with composition and production of the music score, to find out more view the case study.

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Nannies From Hell

A major network TV documentary exposing the shocking subject of nannies and child abuse.

The orchestral score added a sometimes haunting quality to the story, and was described by ITVs’ head of documentaries as “…bringing film quality scoring to television.”

As well as attracting one of the years’ highest viewing figures for a UK documentary, the 60 minute film has been distributed around the world.

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London Transport Museum

Julian was commissioned by the London Transport Museum to provide a complete audio identity across the entire museum following a £22 million refurbishment and extension.
Individual exhibits were brought to life through dramatic audio “plays” performed by a large cast of actors, with specially composed soundscapes providing atmospheres reflecting the last three centuries. Songs from the 19th Century were re-arranged and recorded to add colour to the period displays.
Original recordings were made of many of the museum’s unique vehicles and trains and access granted to hidden parts of the underground to capture unique sounds which were then used as rhythmical elements within the compositions.
A full surround sound system was installed across the galleries and within the exhibits to allow high quality and focused playback of the numerous soundtracks.

A number of soundtracks can be reviewed in the audio player.

Audio Notes:

1. Entrance – a piece to bridge the environments of the street and the galleries
2. 20th Century – a multichannel soundscape covering the 20th Century Galleries
3. 19th Century – a multichannel soundscape covering the 19th Century Galleries
4. Jolly Young Waterman – by Charles Dibdin, was written for his opera The Waterman and is used in the Thames Story in the 19th Century Gallery
5. Who’s For The Bank – by GW Hunt a music hall song from 1865 played in the horse transport section
6. A Bricklayer’s conversation – recreated for the Cut and Cover model depicting construction of The Underground
7. From The Horses Mouth – an amusing “conversation” between two pairs of horses from the buses and the trams, each pair talks disparagingly about the other and pass bitchy comments back over their shoulders.

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Olympic Torch

When the Olympic Torch visited the United Kingdom on it’s journey to the Beijing Olympics Julian was asked to score the official music for the lighting ceremony in London.

The music was played at a specially constructed stage by the O2 arena and broadcast on a live BBC TV special.

The torchbearers were Ellen MacArthur, Danny Crates, Theo Walcott and Dame Kelly Holmes.

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Ajyal Film Festival

Closing ceremony of the International Ajyal Film Festival.

A circus like performance featuring aerialists, trapeze artists and fire-eaters on a grand scale, closed the five day event that had featured aspiring and established directors from across the region.

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EMI Music 100

Music 100 was large scale interactive public exhibition tracing the history of sound and marking the Centenary of EMI. Technologies explored ranged from the first wax cylinders to digital multit-racks and surround sound.

The exhibition was opened by Diana Ross at Gallery West in docklands, London with proceeds donated to the Music Sound Federation.

As well as composing a number of original works, including an introductory piece “The Drum” Julian also worked closely with the curators in the selection and preparation of hundreds of audio archives to represent the history of recorded sound and music. Editing, production and technical management was provided to ensure a dynamic cohesive presentation of the material.
Close co-operation was maintained with the designers and installers of the complex replay systems with particular attention being given to how multiple sound systems interacted over the total exhibition space.

In excess of 300 individual soundtracks were produced by Julian representing the sonic highlights of the past century. These included extracts as diverse as “Soldiers of the Queen” from 1898, Caruso the opera singer, King George V, and an amateur recording of the Quarry Men (later known as The Beatles) at a church fete on 6th July 1957 the day John Lennon met Paul McCartney.

There were also interactive multitrack and surround sound demonstrations recreating the inner workings of a top recording studio.

Listen to The Drum and original composition commissioned for the exhibition.

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