<P> Sanders drew inspiration for the shooting style and aesthetic of the commercial from a variety of sources, including news footage from journalists embedded with military forces in Afghanistan, and Russian feature films such as Stalker and Come and See . To keep the details within the commercial consistent with established Halo canon, the creators of the Halo series, Bungie Studios, provided Sanders with information on aspects ranging from appropriate fur color and rank insignia for the Brute, to the armor and weaponry of the ODST soldiers . </P> <P> With filming complete, MJZ contacted post-production company Asylum to begin work on the substantial visual effects component of The Life . The team, led by Visual Effects Supervisor Robert Moggach, tripled in size as the scale of the work required became apparent, given the deadline of three weeks . Work on the opening funeral scene was relatively easy, requiring the creation of only minor elements such as additional tombstones in the foreground and color correction on the actors . The same was true for the training sequence, where only minimal tracking work and compositing of matte backgrounds was required . The bulk of the visual effects work was in the battle sequence . This ranged from simple work such as wire removal to the creation of dynamic lighting and reflections from visors and armor, to particle effects for the background smoke and dust, plasma weapon fire and alterations to some of the filmed explosions to lend them the appearance given to plasma explosions within the Halo games . The entire background was a 3D projection of matte paintings and dramatic skies . While the Brute was partially animatronic, substantial adjustments such as scaling to almost twice the size and the enhancement of fine muscle movements of the creature were made . Other elements, such as the Banshee aircraft and the drop - pods, were created entirely through the use of CGI . Software used by Asylum FX included Flame and Nuke for compositing, Maya for animation, RenderMan and Mantra for rendering, SynthEyes for tracking, Silhouette Pro for rotoscoping work . </P> <P> The Life was scored by Gareth Williams, a composer for Human Worldwide . The music, an arrangement of Light of Aidan's "Lament", was created specifically for the ad, and featured a wide variety of instruments . Percussive elements included military snare drums, a hand drum, Samoan log drums and stones tapped against one another . These were joined by a Great Highland Bagpipe and traditional string orchestration such as a double bass and cello . Vocals were provided by Kathy Fisher who, despite not being a native speaker of the language, sang the Welsh lyrics provided by Williams . </P> <P> The Life premiered online as a 90 - second cut on September 4, 2009, on both the social networking website MySpace and news and review website IGN . This was followed by its first appearance on U.S. national television as a 150 - second spot three days later, during a commercial break in Spike's airing of the World War II miniseries Band of Brothers . Additional 90 - second spaces were purchased on a variety of television networks, including Adult Swim, Comedy Central, ESPN, FX, G4, History, and Spike . The Life was made available for download through Xbox Live on September 8, and continued to air on television through the release of Halo 3: ODST on September 22, 2009 and into the Christmas period . The launch was accompanied by print advertisements and a new interactive website featuring a making - of documentary for The Life, interviews with the director and other crew members, and an unaired scene cut from the ending of the commercial, as well as interactive elements exploring features of the game itself, such as an "evaluation" application offering profiles on several of the game's characters . </P>

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