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
Inventory of Tools & Strengths
We're going to jump into some tools I think I think one thing we would like to consider ourselves we're composers but I think we like to consider self this craftsman that are part of a larger collaborative process rather than, you know, hired guns just to throw music on in the end we like to be part of the bigger team in thinking of sort of across craftsman mentality we like to think yeah, the toolbox that we have different musical experiences in different ideas that we can pull on different projects. So these are things to think about um that work for us that we continue to try to sharpen and improve upon to think about your skills as a composer or is the director is a set of tools? Um I think for musicians carries about getting the film composition one of the challenges is feeling like you have to play everything you have to be a jack of all trades instrumental wise, I think I didn't find a primary instrument and how you do it differently sort of how you do it your own way um is the ...
best place to get started a piano player should focus on, bring in piano music and into the world of film in their own way I think you need a little more I think there needs to be a complementary instrument some sort oftentimes you need more than one tone toe work with being proficient on to general instruments is a great way to get started. Um text strengths this is important brooke and I worked on a film called blue ruined about wei scored the film almost two and half years ago that it was a condensed schedule kind of a whirlwind five six stay long days long days to get ready for a festival deadline we have worked with the director jeremy sunday before we've known him for quite a while very open conversation between the two of us at the end of the process we asked him what do you think? How did it turn out? We were looking for feedback on our prize so we could improve and we were expecting maybe compositional notes, musical ideas and feedbacks but that he was very pleased with the first thing he said was you need to be quicker with tech with the computer with with the programs were using it is a you know, deadline intensive part of the process and um that was immediately something we knew we had to improve upon. So that became a focus for us. Um marketing strengths ultimately you're working for yourself you are having to, you know, pitch what you do and if not find paid work just fine jobs to work on um this is creating a concise email this is feeling comfortable going into a cocktail party and talking about something that you're interested in this is networking. Um, again, a lot of us have these sort of innate strength already unique experiences, and again, this is, in a general sense, unique musical experiences that you've grown up working with that are that are unique to you inherent to you, but also unique emotional experiences. Um, that will help you develop your own musical voice. We'll get to that a little later, but the idea behind behind experiences is again think about music in terms of emotion, that's what you're doing, you're supporting emotional experiences, every film somehow relates back to a primary emotion or or a primary experience, whether that's loss or love trauma drama, you know, triumph or tragedy, that's those are things that in some ways, we've all experienced, so identify all these things that you already have, and I think, you know, between brooke and myself, we don't have all of these, but we have a lot of these in between all of us here, yeah, yeah, I wasn't sure moving forward, and we're going to touch on all these or not. So I asked us before you go to the next fight, but for the tech strings in the film that you were just talking about, I mean, how did you guys work on developing that, you know, like tryingto, uh, make that faster, you know, for the filmmaker that you're collaborating with you, how did you develop those text rings? Totally. I think that literally is the very next line. Okay, okay, um, a lot of just continuing to teach yourself.
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Will Blair
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