Feb 14, 2019 | Daily Film Scoring Bits, Technical
Good Samples vs Bad Orchestras On low budget movies, composers often try to squeeze the last penny out of their budget and try to get amateur or student orchestras involved to record their score. My general experience on such experiments is to rather go for a good...
Feb 13, 2019 | Composition, Daily Film Scoring Bits
First Statement of a Theme When composing a piece, present your main musical idea for the first time in the clearest direct and most unobscured way to your audience so it is actually being perceived as important and remembered for further appearances where it might be...
Feb 12, 2019 | Daily Film Scoring Bits, Film Scoring
Anticipating Hit Points One of the most overlooked things by learning composers is the difference between a hit point that can be anticipated by the audience and one that can’t. Unfortunately, these issues are not discussed a lot in literature on film scoring but are...
Feb 11, 2019 | Daily Film Scoring Bits, General, Working Together
Feedback Time Clause One thing that can sabotage even the most comfortable time buffer on a project is a client who takes forever to give feedback on drafts/demos. Unfortunately, this is not uncommon as directors/producers usually have a lot on their plate during post...
Feb 8, 2019 | Daily Film Scoring Bits, Orchestration
Doubling Woodwinds Woodwinds usually sound more brillant and characteristic when they’re playing solistically instead of doubling the same instruments in unison. For example 3 flutes playing a line in unison in generally sound thicker and slightly louder than a solo...
