Starting out in the industry

[PigDog]

Hi all,

As someone looking to enter the field of composing for film/tv/game/etc., I recognize that there is a lengthy bridge of knowledge and skills to be crossed between simply writing/producing music, and incorporating that music into another medium. As such, this is something of a two part question -

For filmmakers: What would you deem to be some of the most critical skills and/or qualities of someone you're considering working with to score a project? Supposing their music is already of a high quality, what can a composer bring to the table that makes the entire process more efficient, enjoyable, and results in a better finished product (again, outside of great music)?

For composers: As you've made your way into the industry, in whatever capacity, what have been some of the most valuable resources along the way? Any recommended reading regarding the practices and techniques of working with small-to-large scale projects? Additionally, are there any recommended or critical tools that someone such as myself should look into acquiring? Obviously we all have hard drives full of VSTs and such, but anything specifically related to the processes of scoring that a composer would need in order to deliver a better product, or ease the workflow?

Thanks in advance for any responses; I appreciate your time!

 

[ChimpPhobiaFilms]

Hello new dude

First off, have you scored any films before? You could always score someone's film for free. You get experience, and if their film is successful you could get some exposure.

I think what I want from a composer is 1. being open to experimentation and change and 2. creating music that matches the visual elements/plot/movement in the film.

 

[klawire]

I can't say that I have really made my way into the industry. I have worked on scores for a couple of indie video games, which all got cancelled. Most no-to-low-budget games will never get finished. I've also scored one short film, for which my score was rejected due to budget reasons. I think it got cancelled, too.

What I learned from all those experiences is, that you should choose the projects you apply for very carefully. Evaluate the risks of the project and only apply if it's likely to get finished within a reasonable amount of time, and less importantly if it's likely to be more or less a success ie. get views. Of course, at first you might take any scoring position you're offered in order to get some experience and to get to know how the process really goes. Read about how to sync tempo with the picture in your DAW. And practise a lot - re-score scenes and trailers, that's how you actually learn how the scoring process itself goes.

Aside from developing your composing skills, you should learn how to market yourself. Networking is extremely important, and good marketing and communication skills make networking a lot easier. Selling yourself to the director isn't necessarily easy. Project management skills can be useful, too. The bigger the project, the more likely you are to benefit from knowing project management.

Concerning the tools, you should have basic mixing tools such as compressors, limiters, eq's, stereo imaging/placement tools etc. As a composer, you probably already have these. The composer is usually expected to know how to produce a balanced mix. The lower the budget for the project, the more phases of production you're expected to be able to handle.

That's all for now. Just remember that scoring is very different to composing songs.

 

[Mike Marino]

For some reading I would certainly recommend the following book:
Complete Guide to Film Scoring by Richard Davis

It will give you some broad strokes about the industry as a whole, everything from spotting a film to contract negotiations. It also has a section in the back of composer interviews where you can read about how they got into the biz. It's a really nice read.

You can also check out a bunch of online resources like:
* SCOREcast (podcasts AND their online articles) - tons of great info
* Scriptnotes podcast - podcast for creen writers....but just replace "screen writer" with "composer"; you can learn a lot there.
* VI-Control: A forum for virtual instrument users and composers around the world. There are some big names in that forum that often join into the conversations (Charlie Clouser, Thomas Bergersen, Colin O'Malley, John Rodd, Hans Zimmer, Robin Hoffmann, Mike Verta, etc). There's mega tons of information (and opinions) that can be found.

The big thing is to get out there and do something. Search for films to score on Craigslist, contact your local college/university film programs and see if they have a composer list for their students, etc. In the beginning (for me) it was all about trial and error. You do a project and you learn what to do the next time (or in many cases what NOT to do the next time)....then apply, lather, rinse, repeat.

In the beginning we all start out emulating; and I think that's great. Experiment with trying to get the sound of Thomas Newman or Zimmer or Powell or Williams etc etc etc......then, from those experiments, go make your own style, your own voice.

Find someone doing what you want to do....maybe someone local (hopefully) and reach out to them. Ask if you can take them out for a cup of coffee and an hour or two of their time and just ask questions. That really helped me along (not that I'm very far at all). It's always nice to have someone in your corner who's weathered a few storms when you're just starting out.

Not sure if any of this helps but that's all I've got at the moment.

- Mike

 

[PigDog]

Thanks for the responses guys! Mike, the idea about a composer list at the local colleges/universities is excellent; I've begun looking into it as I write. I've also recently moved to Toronto for the exact reason of trying to physically meet people in the area, as well as be in a high-density area for film and the arts, of course. So yes, duly noted.

For those asking, my "scoring" experience up to this point is actually a little different than most, I believe. I've been composing orchestral pieces for metal bands, which are blended within their tracks. It's been a lot of fun over the years, and certainly given me a firm grasp on the epic/larger-than-life end of the spectrum. Actually, more than a few softer pieces as well, for little interlude bits.

 

[sfoster]

i would not pay someone to score a film unless i could see an example of a film they scored, and i like their work.

 

[Alcove Audio]

You need to have very diverse styles, all the way from traditional orchestral scores, to purely synth work, to all sorts of genre styles. By genre styles I mean rock, bluegrass, jazz, etc., etc., etc. And you'll need to mix all of those together. I worked on a feature a few years ago where the score combined synthy stuff with "Country" instrumentation - guitars, mandolins, fiddle, etc. - and some orchestral things. It was a really nice score, BTW.

You're going to have to score a whole bunch of films for free. Take anything you can get, no matter how bad.

You're going to need a reel of some kind just to get those freebee gigs; there are a lot of guys & gals looking to get into scoring. Try re-scoring some things off of the Prelinger Archives (http://archive.org/details/prelinger). Re-score trailers and commercials. Do stuff you don't want to do - it really stretches your creativity. Do several radically different styles for the same clip.

Always remember that you are a hired gun; if you can't deliver what your client wants s/he will find someone else. If the client requests changes, make the changes whether you like them or not; you are fulfilling the directors vision, not your own.

Don't get upset when someone like me (audio post/sound design) slices and dices your mix; it's all a part of the biz.

Learn to work with the audio post person/team. Those are the composers I like working with the best. We should be collaborators. As an example... on a recent project there was a chase scene where the score was originally very heavy on percussion and whooshing synths. There were spots where the footsteps and heavy breathing needed to be heard. The composer and I bounced a lot of ideas back and forth, and the result was really good.

Do stems. Sometimes when we finally get to the mix the director wants last minute changes. Having stems makes it much easier for the rerecording mixer to bring down - or bring out - specific parts of the score.

It's always a help to supplement your ITB scoring with real instruments. Start making contacts with local players. Having a real string quartet supplement your string section can bring enormous "realism" to your score. The same with woods, winds, plucked and percussion. Lots of college kids will be happy to work for gas money and credit. You will have to record them at another facility (make sure that's a part of your proposed budget), or you will need your own mics, pres, etc. (also a part of your budget, but less expensive).

 

[Sweetie]

It's who you know.

Get you know directors, producers and everyone else who can recommend you to the right person.

How to do this? Work with a lot of people.

How to do that? Be prepared to pay your dues.

How to do that? Get a showreel and get it out there. Be prepared to the need that you may need to do a lot of work for free.

Develop a thick skin.

Be aware, by the time a film/short gets to you, they've already over-spent the budget. So you're often going to get, "We got nothing to pay you" until you're known. Even then, it can be hard since you're at the rear end, unlike writers, who are at the front-end. They have different issues though.

 

[ChimpPhobiaFilms]

Thanks for the responses guys! Mike, the idea about a composer list at the local colleges/universities is excellent; I've begun looking into it as I write. I've also recently moved to Toronto for the exact reason of trying to physically meet people in the area, as well as be in a high-density area for film and the arts, of course. So yes, duly noted.

For those asking, my "scoring" experience up to this point is actually a little different than most, I believe. I've been composing orchestral pieces for metal bands, which are blended within their tracks. It's been a lot of fun over the years, and certainly given me a firm grasp on the epic/larger-than-life end of the spectrum. Actually, more than a few softer pieces as well, for little interlude bits.

I'd score some films for free. You'll get a feel of what it's like to work with a director.

 

[radiance]

Try re-scoring some things off of the Prelinger Archives (http://archive.org/details/prelinger). Re-score trailers and commercials. Do stuff you don't want to do - it really stretches your creativity. Do several radically different styles for the same clip.

Although I'm not the OP, I just wanted to say that your reply is full of great advice to new composers! Thank you for the link to the Prelinger Archives. This is exactly what I have been looking for to help me practice and improve.