Tip #69: Scoring to picture

By Dan Parkes (Director)

In the previous blog we looked at the benefits of having a tailor-made score rather than production library material. But what kind of workflow can be used when getting a score written by a composer? Here are some things that worked for us:

1. Communication
Of course, it is critical to work together and discuss the project at all times, but in our case the composer lived on the other side of the country and so the entire process was by e-mail followed up by discussions on the phone. If a director is not musically-minded he will have to ensure he can efficiently communicate what is required. A director must communicate their vision but at the same time allow room for the composer's own style and artistic licence.

2. Different cuts
A composer will likely not start work until a first cut has been made. There will obviously be subsequent cuts and so it is important to keep the composer up to date as this will affect what he has to work with and in particular timing for music cues. A good naming system is essential to avoid confusion.

3. How much?
An easy mistake that novice directors and composers can fall into is scoring too much of the film. There can be more power in silence. During initial discussions the director should impart their vision of where music is necessary or unnecessary. It may also be a good idea to leave that decision to the composer, who may come up with some surprises. Nevertheless it is important to allow the composer an opportunity to see the entire film regardless, so they have context.
4. Workflow
We had already divided the film into five 'reels' and we used this system with the composer. We would send through specific sections of the film that required scoring using a small compressed Quicktime file that was labelled and had timecode, so that it could then be used to help sync the music with the finished picture. The composer would then send back the same video but along with a preview of the music he had scored so we could see it against picture.

5. Temp tracks /scratch music
It is not uncommon for editors to use temp tracks when cutting a film. A temp track is an existing piece of music that helps set the pace and mood of a scene, giving the composer an indication of what will work. Composers often find temp tracks frustrating as it limits their creativity, but sometimes they are necessary when it is difficult to express in words what music will work, or when timing and pace needs to be established before a score is written.

6. Rushes/rough mix It is prudent for a composer to come up with musical 'sketches' first before composing or orchestrating the piece to completion. These can also be used with the early cuts of the film, with test audiences, to see what is working. However this does call for an understanding that it is there to give a rough idea of how it could work, rather than being a finished piece -we can prove difficult for those lacking in imagination to comprehend!

7. Master/final mix
Once a rough preview of the music has been decided upon the composer can then fully orchestrate it and send high quality master files (in our case 48K WAV files) which will then be edited and mixed into the final edit. We used DropBox rather than YouSendIt etc to exchange the files and found it to be an excellent system.

You can hear the award nominated score to Ambleton Delight at the following link:
http://www.ambletondelight.co.uk/music.html

Tip #68: Get a score tailored to your film

By Dan Parkes (Director)

While there is some very good production library material to choose from, absolutely nothing beats having a composer write music that is tailored to your film. Here are some reasons why:

1. Emotion
A favourite expression of mine is that 'music is shorthand in emotion.' While you have likely spent considerable time developing emotional arcs for your actors to perform, along emotionally dramatic story lines, it can actually take only one or two well selected notes of music to impart just as powerful an emotional impact. This subtle power of music to engage an audience emotionally by adding layers of depth to a scene should never be underestimated.

2. Themes/Characters
A tailor-made score can provide a unique theme for your film that can be used later in trailers and DVD menus. An identifiable main theme and minor themes for characters or plot points can help guide an audience on a journey through your story. The selection of a certain type of music or particular instrumentation can give your film an entirely different feel.

3. Pace
A score can help set and change the pace of the film -slower music for scenes that are gradually unfolding, faster music to quicken the pace for an action scene. While it may be easier to cut to library music, a composer can score it to match how it was filmed.

4. Cues
It is quite difficult if not impossible to use production library music for cues -for example dramatic cues that introduce surprise elements or that build for a reveal. A good composer can create cues for exact moments in the film, timed to fit precisely with the on-screen narrative.

5. Continuity
An underscore can also help create continuity, linking elements in a scene together which may otherwise seem disjointed.

6. Soundtrack album
With a strong tailored-made score for your film by a talented composer, you have the opportunity of also releasing a standalone soundtrack album.

There are many composers out there wanting an opportunity to show what they can do. However, there are some important things to look out for when finding an ideal composer for you film:

1. Film experience
What experience do they have writing music for an actual film? Being able to write a good piece of music is not a prerequisite for film scoring. Film soundtrack music is quite a different genre in its own right and a novice can often fall into common traps if lacking experience.

2. Subtlety
Soundtrack music needs to accompany not dominate a film. There are times when there should be no music at all. Or the music should hint at rather than tell an audience what is happening.

3. Genre
Has the composer ever written the kind of music that you are wanting for your particular film? While a composer who has experience writing techno dance music may want to broaden their horizons with something orchestral, you are taking a great risk if this is going to be their first foray into the genre.

3. Reliability
A composer is often brought in during the final post-production stage and can often only begin work once a rough cut of the film is coming together. Make sure your composer is both available and reliable enough to ensure you hit your final deadlines.

4. Communication
If you do not understand musical terminology you will need to find an effective means of communication. It is most important that this communication is clear from the beginning, as there is nothing worse than having a composer spends hours creating a score that you then have the painful process of explaining is not at all what you were wanting....

In the next blog we will look at the process of writing music for screen and how it works within the film's overall workflow.

Tip: #65: Sourcing music for your film

By Itsuka Yamasaki (Producer)

It is important to realise that you cannot just use any music from whatever source without permission. The music must be either written for, or cleared (licenced) for your film. We would like to suggest some possible routes you could take to source music for your film, providing that you are not after any really famous piece of music (which is both expensive and difficult and worth avoiding).

1. Use your composer all the way

If you have a composer on board, it is an option to ask him/her to do all the music, including opening and ending themes, any kind of background music (car radio, music played in a club scene etc) as well as the general score. In this case, the fee is as much as you negotiate with the composer and you only have to worry about one contract.

Ambleton Delight composer Iain Cameron.
His score for the film was nominated for a Best Score award.

2. MCPS

MCPS acts as a kind of agent for professional musicians. To clear a piece of music, you only deal with MCPS online and you don’t need to obtain copyright separately. The rate will vary depending on the form of your film, but for Ambleton Delight and the trailer, I have calculated it would have cost 3750 GBP.

3. Other production libraries

There are other organisations and individuals that offer production music with varying costs. There are so many of them but here are a couple we can recommend:

Audio Network: http://www.audionetwork.com
Audiojungle: http://audiojungle.net/

4. Royalty-free/Creative Commons

There are some musicians and composers who write and provide music for free, as long as you credit them with a specific attribution and or mention the Creative Commons licence. Although be careful as there is some low quality material (midi files etc) out there!

A good example of such a high quality Creative Commons composer is Kevin MacLeod: http://incompetech.com/

4. Scout up-and-coming musicians.

This is the path we took with Ambleton Delight. We searched online and offline for artists with great music and we asked them if would they let us use their music free of charge in return for promotion. The only disadvantage is that you need to draw the contract yourself for each piece of music, but we believe it was well worth it!

To simplify the task, (with some exceptions) we only selected self-managed British musicians without a record deal. By this we were making sure that one person (or one group) held all the rights involved in the piece. Another thing to note that we made sure that the contract covered the entire production (trailers, website, Making Of… anything related to the film), not just the film itself. This saved us a lot of time and money.

Brighton band "Swallowing Shotguns"
provided some of their metal music for the film.

You can check out some of the excellent songs used in Ambleton Delight from here:

http://www.ambletondelight.co.uk/music.html

Regarding the legal side of music rights, there are good articles that offer relevant information such as these.

http://www.raindance.co.uk/site/index.php?aid=731
http://www.raindance.co.uk/site/index.php?id=46,2344,0,0,1,0

Reference:

"DO THE RIGHT THING: The world of music licensing made simple" by Audio Network
http://www.prsformusic.com/users/productionmusic/Pages/default.aspx
http://www.audionetwork.com

VIDEO BLOG: Episode 6

Explore the post-production workflow including editing using the Cineform HD intermediate codec, sound effects, and most importantly having a tailor-made score written and how to get high quality band music, even for free!

All this and more in the sixth episode of the seven part series 'How to Make a Next-to-Nothing Budget Feature Film' exclusively on YouTube..