Fulldome
King Tut
An original orchestral score in progress for King Tut, a current commission for Mirage3D. The film returns to the 1922 discovery of Tutankhamun’s tomb, recreating the excavation — its layout, textures, and atmosphere — from the original records and Harry Burton’s photographs, for the 24K LED dome. The music is lush, romantic, and nostalgic, built for spectacle: an evocation of discovery, deep time, and the ancient world at the scale of the dome.
The first cue
The earliest music for King Tut dates back to 2018, recorded alongside the Mars 1001 sessions when a gap opened in the schedule. I stayed up the night before the final session to write it, and — with Edgar Sandoval working on Los Angeles time — the parts were ready to print by morning. The cue scores the moment Howard Carter, with Lord Carnarvon beside him, breaks a small hole in the sealed doorway and looks into the tomb for the first time and, asked whether he can see anything, answers: “Yes, wonderful things.” It was used in 2025 at the GSCA conference as the music for the film’s first fulldome trailer.
From the trailer
Frames from the fulldome trailer — shown as full dome masters, the circular fisheye projected across the whole dome overhead.
Work in progress
The current focus is a six-minute sequence evoking the golden age of travel, following Carnarvon’s journey to Egypt. The music is being written first, ahead of the render — the live-capture footage, shot at 17K and above on location in Paris, Switzerland, and Egypt, is still being finished.
Credits
Music composed by Mark Slater · Mirage3D · 2026 (in progress).