Uncharted_sound-01 Asbjoern Andersen


Director Ruben Fleischer's Uncharted film (Sony Pictures Entertainment) – based on the game series originally developed by Naughty Dog – takes audiences on a cross-globe adventure. Here, award-winning composer Ramin Djawadi talks about finding inspiration in the games' scores and classic adventure films, working in comedy beats, recording the orchestra during Covid, and more!
Interview by Jennifer Walden, photos courtesy of Sony Pictures Entertainment
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Animal Hyperrealism IV Is Here!

Award-winning composer Ramin Djawadi‘s multifarious project credits include everything from huge Hollywood film like Iron Man and Pacific Rim to AAA video games like Medal of Honor and Gears of War 4 to iconic TV series like Game of Thrones and the much-anticipated upcoming prequel House of the Dragon . He’s even scored videogames-turned-films like Warcraft, and now Uncharted.

With the Uncharted film, Djawadi was diving into an IP that has a huge gamer fanbase, and a number of award-winning game scores written by several different composers over the years. Not only did he want to honor the already-established sound of the Uncharted game scores, but he wanted to bring a signature sense of adventure and fun to the film. There were many threads his score needed to weave together.

Here, Djawadi talks about finding inspiration in the Uncharted game scores, working with Director Ruben Fleischer to find the voice of the film score, supporting the comedy musically, paying homage to a classic globe-trotting adventure film, recording the orchestra during Covid, and more!



UNCHARTED - Official Trailer 2 (HD)


UNCHARTED – Official Trailer 2

The Uncharted game series is much beloved by fans, and the soundtracks for those games have won numerous awards – particularly composer Greg Edmonson for his score on Uncharted 2. Has the work of those composers (G. Edmonson, Henry Jackman, and Clint Bajakian) inspired/impacted your approach to the score on the Uncharted film?

Uncharted_sound-02

Composer Ramin Djawadi

Ramin Djawadi (RD): Yes, 100%. It’s wonderful what was written for the games – beautiful themes. So, of course, I hope I fit in there somehow. It was definitely challenging.

I had the same challenge when I worked on the Warcraft movie. It was a well-established game with established music. When you’re brought on to write new themes, you hope that you find your place in there somewhere.

Stylistically, I looked at what was done, and hopefully, my music fits with that.

 

Can you talk about your collaboration with director Ruben Fleischer? What were his thoughts on the direction for this score? And what were some initial ideas you brought to the table?
 

RD: It was a wonderful collaboration with Ruben. His overall thought was for this to be a classic adventure movie, just like the games – a fun adventure.

His overall thought was for this to be a classic adventure movie, just like the games – a fun adventure.

And so stylistically we wanted to have a bit of a hybrid, to stay orchestral and have traditional thematic material in there but also make it contemporary and bring in fun electronic elements.

 

Hear the ‘Uncharted’ score here:

Want to hear the complete score? Check it out below:


Since this is a globe-trotting adventure, did world instruments come into play?

RD: Definitely. We played with a lot of instruments. There are three main locations in the film: New York, Spain, and the Philippines. I tried to connect them all, but for New York, it’s very electronic-heavy to go with the heist that’s happening there.

For Spain, we brought in some nylon string guitars and also some bells for the scenes in a church.

For Spain, we brought in some nylon string guitars and also some bells for the scenes in a church. These are little accents; we didn’t want to overdo it.

There is some ethnic percussion and some flutes.

The main instrument besides the orchestra is the electric guitar. We found that was a fun instrument that felt right for the vibe of the film.

 


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Uncharted_sound-04

Uncharted isn’t all adventure; it’s comedic, too. How were you able to balance those two aspects in your score?

RD: Exactly. It had to be adventurous and funny, and also very emotional because there’s a big brother story in there. We had to make sure we supported those three elements in the score.

It had to be adventurous and funny, and also very emotional because there’s a big brother story in there.

Without getting too cartoony (hitting every little move and comedy beat with the music, like in a Looney Tunes cartoon), we had to make sure the humor was accented by the music and that the comedy comes out because there were so many fun moments in the film.

 

Uncharted_sound-03

What are some ways you accent the humor without making it feel contrived?

RD: It’s tricky! I wish there was a formula to writing music because it would make everything so much easier.

With writing comedy music, it can be tricky because if you overdo it then you flatten the joke. But then if you don’t acknowledge it at all then you flatten the joke.

With writing comedy music, it can be tricky because if you overdo it then you flatten the joke.

So the answer is somewhere in between. It’s different for every scene. Sometimes there were moments that we wanted to have some music, but then later we decided to just take the music out because it was funnier without any music. It didn’t need any support or any accents.

Sometimes, I’ll do music for the scene but then have a hard out to land a line of dialogue or a movement on the screen.

There are different approaches and every scene calls for a different approach.

 

Uncharted_sound-06

I love your theme song for Uncharted. It has that “Indiana Jones” vibe with the big timpani hits and the brass melody line. Was that an inspiration for you when writing the theme?

RD: 100%. Again, the initial thought was to make this a classic adventure movie, and so, of course, Indiana Jones comes to mind.

I’m a big fan of John Williams and so this was my interpretation of the classic adventure theme.

I’m a big fan of John Williams and so this was my interpretation of the classic adventure theme. It sets the tone because this is a globe-trotting adventure and that direction captured the mood pretty well.

 

Uncharted_sound-07

What was the most challenging cue for you on Uncharted? What were your challenges and how did you work through them?

RD: I don’t think I can point out one particular scene. I’d say the biggest challenge was to keep it all cohesive because we change locations.

I’d say the biggest challenge was to keep it all cohesive because we change locations.

The electric guitar was one element we liked as a through-line, besides the orchestra. It gave the soundtrack a Rock ‘n’ Roll vibe, making it a bit of a wild ride for the characters. That helped to connect everything nicely without overdoing it.

I wanted to make sure we didn’t have too much orchestra but still had enough. I had to find a balance between that and the electronic elements.

 

[tweet_box]Ramin Djawadi on Scoring Adventure for ‘Uncharted’ film[/tweet_box]

Uncharted_sound-09

Can you talk about your experience of recording the orchestra for this film? Where did you record? Were there any Covid restrictions that complicated things?

RD: We were dealing with Covid restrictions but it wasn’t as crazy as it was at the height of the pandemic.

We were recording in London. Normally, I like to be at the recording sessions. My favorite part of the whole scoring process is hearing the orchestra play it. You write all the music but then it really comes to life when the musicians interpret it and play it. It’s such a rewarding experience.

You write all the music but then it really comes to life when the musicians interpret it and play it.

But, I had to attend the sessions via Zoom. At that point, we had perfected the technology and workflow. We had multiple Zoom sessions going and they were in sync so that when they hit record, I had the picture running in time with the session and I could see how the music worked to picture. Everything went smoothly. But, it was a challenge.

At least we were able to have the recording sessions at the studio. I remember when the musicians had to record their parts at home and send those to us. That was very tricky.
 


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We recorded at AIR Studios… the engineers there figured out how to place the musicians, including having the doors open to the overdub room and having players in there.

When we recorded the orchestra, the restrictions were already lighter. We were able to have 50 players in a room. That’s a good size. They still had to sit 6-feet apart from each other. The musicians don’t like that. The traditional orchestral setup is to have the musicians sit in pairs, for tuning and page-turning. There’s a reason why they sit the way they sit. So, that was a challenge to have them spread out, but the musicians were so fantastic. The tuning was great and it all worked out.

We recorded at AIR Studios, which is one of the largest scoring stages in London. The engineers there figured out how to place the musicians, including having the doors open to the overdub room and having players in there. All the technical aspects they had perfected by this point, so it wasn’t an issue.

 

Uncharted_sound-08

What was your favorite cue for Uncharted? Or, what cue do you feel best supports a particular scene in the film?

RD: There are two that come to mind.

One is in the first half of the film when they’re in New York during the heist. I really enjoyed working on that scene and seeing how it came out. It’s a long scene and has a long build. Ruben was very fond of that cue. He felt it was a great blend between the electronics and the orchestra, how it builds and which instruments come in when.

That cue summarizes the film pretty well because there’s comedy and tension. It has all these different emotional bits.

That cue summarizes the film pretty well because there’s comedy and tension. It has all these different emotional bits.

The other cue is when Nate finds the treasure and the ships. There’s an emotional payoff to the brother story and the treasure story. It’s quite the contrast to the heist cue that I just described. This track is purely orchestral and very emotional and has that big adventure feel.

 

A big thanks to Ramin Djawadi for giving us a behind-the-scenes look at the sound of Uncharted and to Jennifer Walden for the interview!

 

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    • Processed Fire: Distorted impacts and unique crackles.
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    • Processed Water: Underwater whooshes and stylized liquid smashes.
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    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

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    OFF
  • Bundles Audiohero – The Prodigy Play Track 300000 sounds included $5

    Download 50 Sound Effects for $9.99 within a month from a library of more than 300,000 tracks. We give you Access to a wide variety of collections from Sound Ideas and the Hollywood Edge, including categories such as ambiance, animals, comedy, cartoon, crashes, designed sounds, foley, feature film, guns, sci-fi, production elements, sports, surround sound, transportation, and the list goes on! Instead of purchasing a boutique library, choose from an extensive library ala carte. We provide you with the massive audio library without the large cost.

    The sound effects are all recorded in 24bit 96khz down to 16bit 44.1khz. These sound effects have been used in many productions such as feature films, video games and all types of broadcast.

    What you get:

    Purchasing this offer gets you a special code that lets you download 50 sound effects from Audiohero.com within a month. The sounds you get with this purchase are covered under the Audiohero EULA.

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    Ends 1767135600
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Hand Combat Sound Effects Violent Combat Play Track 4213 sounds included From: $135 From: $108

    THE RAW SOUND OF CINEMATIC FIGHTING

    VIOLENT COMBAT is a professional sound effects library built for fight scenes that demand impact. Packed with punch sound effects, fight sound effects, and powerful combat sound effects, it delivers everything from raw realism to over-the-top cinematic action. With improved fidelity and greater variation than its predecessor CLOSE COMBAT, this collection gives sound designers production-ready audio for film, TV, and games.

    Violent Combat | Sound Effects | Trailer

    From Realism to Cinematic Exaggeration

    Dial in the tone you need with dedicated categories: Martial Arts, Grounded, Over The Top, and Gory. Whether it’s kung fu sound effects, karate sounds, or exaggerated wrestling hits, you can shift seamlessly from authentic to stylised.

    Successor to Close Combat

    VIOLENT COMBAT builds on the legacy of CLOSE COMBAT with higher fidelity recordings, better-organised categories, and more variation. It’s the ideal companion, giving you the flexibility to cover every style of fight scene.

     

    Sounds That Land With Force

    Recorded with a wide range of props and techniques, each fighting sound effect has real weight. Where needed, selective pre-processing boosts impact, avoiding the flat results of real fight recordings.

    Production-Ready and Versatile

    Equally at home in film, TV drama, high-end game audio, or immersive theatre. From knockout sound effects to stylised fight sequences, Violent Combat is ready to drop straight into your mix.


    Included Sounds – KEYWORDS

    AIR, BODYFALL, CLOTH, CRUNCH, FINISHER, FURNITURE, GORE, GRAB, GRAPPLE, IMPACT, KICK, LEATHER, MARTIAL ARTS, METAL, MOVEMENT, PLASTIC, PUNCH, SLAP, SWISH, SWOOSH, THROW, WHOOSH

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  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

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  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

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  • 638 meticulously processed stereo fire spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of fire spells. It also includes source sounds for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

    The library is fully focused on fire spells. You will find simple one shot magic firebolt, powerful high level fire spells, fire sword, berserker enchantments and so on. Spells such as fireball,  firewall, rain of fire, meteor, fire nova, magma storm, pyroblast, sword of Avernus, etc. are included in this library.

     

    THE ARCANE FIRE SPELLS
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  • Immerse yourself in an atmosphere of natural power and tranquility with the “Rain and Thunderstorm” sound collection, consisting of 4 Vol-s.
    This collection features a variety of looped sounds: light rain, night rain with loud thunderclaps, and other effects that will help you create the perfect atmosphere – from a quiet, secluded night, long scenes, or endless atmospheric effects without abrupt transitions, to a dramatic thunderstorm on the horizon.
    The recording was made by a Zoom H3-VR recorder in the Ambisonics A format (96 kHz 24 Bit) and then converted to the AmbiX and Stereo formats (96 kHz 24 Bit), which are located in different folders of this sound pack.


   

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