Hello Everyone

Hello everyone, I'm new here. I'm a composer trying to learn as much about the film industry as I can, as well as make some new contacts to work with and learn from. I've been a professional musician for a long time, but I'm fairly new to the film world. When I'm not involved in something musical I enjoy cooking, sailing, spending time with my family, and just about anything outdoors. Looking forward to meeting some of you. Thanks!
 
Welcome! Did you do that westworld competition?
All the composer I know were involved in that last month.

they had a contest to Re-score a 5 minute scene from the HBO show.
 
Hi There!!!!!!!!!

Okay, lesson #1: Work closely with the SSE/SD (Supervising Sound Editor/Sound Designer) in conjunction, of course, with the director. Just as one example - there is a section of a chase scene where the director wants the footsteps of a character to be very prominent. If the score is heavy on percussion in that section it will be very difficult for the rerecording mixer(s) to achieve a suitable balance. (As you can probably guess I do audio post.) So discussions & cooperation between you and the audio post folks will greatly enhance the project.

Lesson #2: Try to avoid frequencies/instrumentation that occupy the same range during dialog. Admittedly, this can be difficult if the dialog is between say, James Earl Jones and Jennifer Tilly.:lol:

Lesson #3: It is the directors project. His/her word is final. If you can't handle that then look for another line of work. This is not to say that you shouldn't "stick to your guns" when there is a creative disagreement; I have argued vociferously, albeit very politely, for or against _____________ (fill in the blank) with a number of directors. Sometimes they agree, sometimes they over-rule, sometimes we both collaborate on a different creative direction. But in the end it is the directors project and their creative vision; you/we are merely there to creatively/artistically bring that vision to life.

You have a whole lot to learn - working with directors, working with battling creative partners (producer vs. director, co-director vs. co-director, etc.), working with editors and audio post people, dealing with time code, and many, many more new experiences.

We're here if you need us.

Peace,

Uncle Bob
 
Welcome! Did you do that westworld competition?
All the composer I know were involved in that last month.

they had a contest to Re-score a 5 minute scene from the HBO show.
[/QUOTE

I did. It was a great experience. Not sure if I'm allowed to post a link to mine here, but if anybody wants to see it I'd be happy to share it with them.
 
Hi There!!!!!!!!!

Okay, lesson #1: Work closely with the SSE/SD (Supervising Sound Editor/Sound Designer) in conjunction, of course, with the director. Just as one example - there is a section of a chase scene where the director wants the footsteps of a character to be very prominent. If the score is heavy on percussion in that section it will be very difficult for the rerecording mixer(s) to achieve a suitable balance. (As you can probably guess I do audio post.) So discussions & cooperation between you and the audio post folks will greatly enhance the project.

Lesson #2: Try to avoid frequencies/instrumentation that occupy the same range during dialog. Admittedly, this can be difficult if the dialog is between say, James Earl Jones and Jennifer Tilly.:lol:

Lesson #3: It is the directors project. His/her word is final. If you can't handle that then look for another line of work. This is not to say that you shouldn't "stick to your guns" when there is a creative disagreement; I have argued vociferously, albeit very politely, for or against _____________ (fill in the blank) with a number of directors. Sometimes they agree, sometimes they over-rule, sometimes we both collaborate on a different creative direction. But in the end it is the directors project and their creative vision; you/we are merely there to creatively/artistically bring that vision to life.

You have a whole lot to learn - working with directors, working with battling creative partners (producer vs. director, co-director vs. co-director, etc.), working with editors and audio post people, dealing with time code, and many, many more new experiences.

We're here if you need us.

Peace,

Uncle Bob
Thanks Uncle Bob. Yeah, all of that is stuff I'm definitely figuring out. At this point I really just need some experience working with some actual filmmakers. It seems like right now, with everything going on in the world, it's particularly tough getting a foot in the door in this industry.
 
I did. It was a great experience. Not sure if I'm allowed to post a link to mine here, but if anybody wants to see it I'd be happy to share it with them.

it's perfectly reasonable to post a link as a reply.
Alternatively you could create a thread in the promotion subforum if you want to dedicate a thread to it.
 
Thanks Uncle Bob. Yeah, all of that is stuff I'm definitely figuring out. At this point I really just need some experience working with some actual filmmakers. It seems like right now, with everything going on in the world, it's particularly tough getting a foot in the door in this industry.
Do you have a link to your music?
 
Do you have a link to your music?

I've never been a composer or tunesmith. I tend to be a solid "second in command" type. As a musician I always wound up as the musical director, whether I formally had the title or not - doing the arrangements, getting the vocals tight, dealing with the stage crew, coordinating with the FOH & monitor mixers and the stage manager. I would have bands in my studio to do demos, rehearse new material, etc. I have even produced some singles and even a couple of albums.

If you are still interested in my tracks there are a few on YouTube. They are mostly "beats" along with a few ambient tone poems. I worked as a music recording engineer in the late 90's/early 2000s at a studio that specialized in Rap and Hip Hop. When the studio (which I designed and helped to build) wasn't busy I spent my evenings playing with the all the toys; we had about 10 MIDI modules, a few keyboards and quite a few processors (compressors, 'verbs, delays, etc.). I continued that practice in my own studio to familiarize myself with all the plug-ins and the like.

I also recreate, exclusively in MIDI, classic tracks which I like. Since the stuff I grew up with is from the 70's and 80's the big challenge are the tempo maps. My recreation of "Karn Evil 9" by Emerson Lake and Palmer almost used up all the tempo markers in Pro Tools. Many of these are years in the making, not because I'm lazy or anything, but was something to do to fill the time when clients were late or cancelled, or whatever. I usually have a half dozen or so going at the same time and work on whichever one fits my mood at the time. I grew up with a very religious background and was even the organist/choirmaster at a small church; I started when I was 16. So when the Corona Virus hit and work went down to zero I started transcribing the hymns that I loved and just continued on. I've completed a little over 200 so far; I don't know if I'll ever post them or not.

Anyway, enough blathering. Here are a few beats and a few MIDI recreations. If you want to hear more they are listed under my name - Bob Kessler. The Beats are under my Shadow Factor persona and the recreations are under my MIDIots Delight moniker.







 
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Nice work. Who would you say are your influences musically, and how are those influences incorporated into your work/style?
Thanks! I’ve been influenced by a lot over the years. Everything from some of the great classical composers, to jazz, to soul, hip-hop, Americana. As far as film composers go it’s the usual suspects I guess, but I find myself lately drawn to more subtle sounds, like Johan Jóhansson or some of the other Icelandic composers. I really like anything Thomas Newman did, Alan Silverstri, and Hanz and John Williams of course. I like a little bit of it all I guess, and I think it all comes out at various times. I’ve been in the music industry for most of my adult life, but I feel like I’m just starting to really find my voice as a film and media composer; so I guess I’m trying to find that balance of imitating when necessary, but finding my own voice.
 
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