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CRAFTED / Where the score went, Part 1 of 3 A composer on the year the Grammys and BAFTA finally admitted that serious composing talent now works in video games, and the same year's Grammy ballot that showed they still don't know how to judge it. Los Angeles. The first of February. Austin Wintory walked up to collect a Grammy for Sword of the Sea, Best Score Soundtrack for Video Games and Other Interactive Media, a title so long it sounds like an apology. The category didn't

One of the most overlooked parts of sync is the long game. People talk a lot about landing placements, but not enough about what happens after. A good sync doesn’t always end with one campaign. Sometimes the real value comes years later through relicensing, renewals, cutdowns, online usage, regional adaptations, and entirely new brands discovering the same track. A while back, I submitted a demo for an advert. It got rejected. That could have been the end of the story. Instea

Big Fish Theory Was Paid For By A Song Nobody Played Vince Staples got a cheque from Call of Duty for one song. The game never used it. The fee, by his own account on Drink Champs, was bigger than the entire budget for his second album. A scrapped cue, one that never made it into a single cutscene, quietly outdid the record it went on to fund. The record it funded was Big Fish Theory, Def Jam and Blacksmith, out 23 June 2017. You'll probably remember the goldfish on the cove