Lessons
Modern Approach to Film Composing
10:33 2The Role of a Score
07:55 3Inventory of Tools & Strengths
04:33 4Continuing Education
08:21 5Building Your Home Studio
21:35 6Working with Iris 2 and ProTools
30:32 7Develop Your Voice
04:25 8Spot the Film
52:34Focus on Instrumentation
38:15 10Communicating with the Director
23:14 11Revising with Director's Feedback
46:01 12Create Stems for Delivery
02:36 13Professional Approaches to Composing
07:31 14Getting Your First Job
16:28 15Working Remotely
26:41 16Creating a Pitch & Other Projects
30:22 17The Composer's Philosophy
04:17Lesson Info
Create Stems for Delivery
What I'm doing is that I just made it, so I'll be quick about it. We just made a handful new audio tracks um, basically, what we'll do is just bounce everything that we did into little groups, so, um, way have four tracks of global, so that will make up their own. Yeah, we like the way the global drones, the individual elements that make up the bull drone we like the way that they sit relative to each other. We're gonna group those in rather than delivering all of the separate elements were gonna group is in the one stand one drone and with the same thing with the impact then way have several impacts, those will all become one impact sound, so when you do your stems, are you doing it for the full length? Or you're going to send the q exactly where to drop it? We don't both ways you have sometimes we don't buy it. If the film is is split into rials, sometimes we'll do the entire real all at once this last time we did, we're so back and forth with swapping out cues that we just kept it e...
very q got its own bounce, so h q had maybe ten, twelve stems um, because we're swapping so many elements out and now blue room was broken into five, rials. Five different, uh, you know, twenty five minute chunks. Basically, we're kind of bounced that whole rial, and one has what is the fourth fourth stem I miss with bad the impact's impact global there. Maybe the reign of this year. And we'll put the ramp together. Yeah, I do like ramps. Um, way. Jump into this and actually do it right now. Basically, you just record. Enable all these, um, you know, route each group to each of these new tracks. Um, once you've done that, then you would just export each of those waves out of the session, and usually everyone has different ways to name. Sometimes you'd include the time code of where the file head is. That's. One thing it's helpful or doing the whole session, you just have to pop with the beginning. Just some place where there's a hard sink that, you know, it's moving between different sessions that editors sound designers, everyone's locking in on the same same place and that's always different. Depending on projects, you know, kind of changes. He's gonna have to work with whatever inside is going to be the work flow.
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Will Blair
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