Aug 15, 2019 | Daily Film Scoring Bits, Technical
Cinema Sound Systems Surprises Unless you get a chance to listen to your score in a mixing cinema when doing the film mix (which is usually something only higher budgeted movies do) you should be prepared for your music sounding quite different in the cinema than it...
Aug 14, 2019 | Composition, Daily Film Scoring Bits
Hook Lines in Film Scoring The concept of a “hook-line” – as it is called in the pop world – is to create one or several elements that stick in the memory of the listener and create something that is easily remembered and recognized once it appears again. As opposed...
Aug 13, 2019 | Daily Film Scoring Bits, Film Scoring
“Fake” Tempo Changes through Rhythmic Subdivisions Rhythmic subdivisions of the same tempo can be a great tool to dramaturgically shape your scene and for creating “fake” tempo changes. Staying in the same tempo while switching back and forth between a pushing eighth...
Aug 12, 2019 | Daily Film Scoring Bits, General
Working at Home Working at home by your own time schedules can in theory be a very nice way of working but can in reality cause quite a bit of problems. Quite a few composers suffer from a lack of concentration, being constantly distracted and not really being able to...
Aug 9, 2019 | Daily Film Scoring Bits, Orchestration
Tone Colour in the Woodwind Section When writing for woodwinds, you have to be aware that you’re dealing with groups of instruments of highly diverse tone colour. Combining instruments in this section will never create a homogenous sound that is comparable to the one...
Aug 8, 2019 | Daily Film Scoring Bits, Technical
Learn Your Tools Working as a composer for commercial media requires you to stay up to date regarding technical and stylistic developments. This means, it is part of the job to more or less regularly get accustomed to a new piece of soft- or hardware. This could be...
