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
Develop Your Voice
I'm going to touch on this real quick sort already have orchestral approximations. This is in looking for your own sounds and looking for your own tones that speak to you. I think orchestral music was was predominantly, you know, film music early on, not because it was the most cost effective in the most efficient, but it was a very, um, the level of dynamics in an orchestra, I think makes it very flexible for film music. A huge group of musicians can go from the softest, most subtle, quiet it's, you know, flute and violin drone to the biggest, most uproar of brass and percussion on string sections. And I think, you know, in a matter of seconds, and go from there, softest, the loudest and everything in between and, you know, string sections, which are a big part of orchestral scoring, they really do have a human like voice to them, they have a human tone. I mean, apparently, the violin is considered the closest in pitch in tambor to the human voice. I think it has a very emotional qual...
ity because of that we relate to it. You almost hear it played and certainly almost hear someone singing or someone crying at some point, so I think, that's, why orchestral music has and had a big role in film music for those reasons in looking for virtual instruments and finding your own sounds in your own tones I think it's important to keep that in mind said you know you know how quiet can we get this sound and still have it you know the be heard how loud can we get these groups of sounds think of it like an orchestra that you're starting to put together um that's been helpful for us we've gone over microphones develop your voice this is sort of speaking everything wave covered I described the tones that we enjoy hearing, you know, that's that's part of our voice we've we've worked and sculpted them and smith them in a way that can that can fit into film but that's our way you know and and everyone's got their own tones that speak to them if guitar you know is a tone that speaks most to you I think really explore how to sculpt that and howto I gotta literally fit this this tones into a picture um and you're john writing a week that's what you know most that's what you like to listen to? What is that ours I guess could be rock n roll and a large, larger sense of it way started to explore outside of that a good bit but what john are you most excited about? Start to think about how to fit that into the world of film um a composer we really look up to a guy named daniel hart who's based in texas and he scored a film called ain't them bodies saints david lowery film starring casey affleck awesome film to score is incredible and daniels background what we know of him is, uh focus he has a the violin is his primary instrument it sounds like from the score the banjo is his secondary instrument he's put together this very minimal um very focus score kind of that fits the film itself it's this dark southern gothic backwards thriller um and it was a perfect marriage he found a way to fit the tones that speak to in the most the genre that's victim to most speak to him most into the film with that in mind I would say to remain flexible you know you're going to come across projects that are asking you to compose outside of your comfort zone outside of your preferred genre um and that's the biggest thing you know brooks primary instrument is guitar what would your secondary instrument basis? He likes everything but guitar followed by base maybe you and I would probably be drums you know, I'm originally a drummer followed by piano in ninety percent of what we're doing now doesn't call for guitar or or trump's you know, so we're trying to remain it's flexible it's possible tio you know to compose outside of our comfort zone or primary instrument or secondary instrument. And we're having a lot of fun with this sort of customs sent development thing.
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