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...
Feb 7, 2019 | Daily Film Scoring Bits, Technical
Placebo Effect When Mixing/Mastering Mixing and mastering has a lot of placebo effect potential and considering all the esotheric advices and approaches that some people advocate for on the internet regarding the improvement of their mixes, it is also a field to get...
Feb 6, 2019 | Composition, Daily Film Scoring Bits
Shared Chord Tones A very commonly used concept in film music to write chord progressions is the concept of shared chord tones. Basically you could treat every chord as a new tonic and find the next chord by moving to a chord that shares at least one chord tone with...
Feb 5, 2019 | Daily Film Scoring Bits, Film Scoring
Thematic Overuse Not every appearance of your main character in the movie needs a statement of his/her theme. Repeating a theme too often can very quickly become annoying or drift off into an unwanted comedic effect. In general, thematic statements are best placed...
Feb 4, 2019 | Daily Film Scoring Bits, General
Ghostwriting It happens from time to time that you’re asked to ghost write for someone else, which means that you transfer your authorship to someone else and will not be credited for your work. While this practice officially is illegal in most European countries...
