Film scoring software.

[b3fiend]

Does anyone here do any film/video scoring?

 

I just got hooked up with a project to score a 30 minute cable TV show. Most of it involves the 1-2 minute intro and outro(?), along with commercial fades, etc.

 

This is uncharted territory for me, so I am looking for software recommendations. I already have PT LE and Cakewalk Sonar that have video functionality, along with various other aduio apps, but I am sure there are better tools that I am not aware of.

 

Is PT LE pretty much the was to go for this? I'll be mixing audio and midi tracks along with the digitized video. The final MPEG/AVI video I send back is only meant for demoing the music - when they decide what they like I would just send them a high-quality audio file.

 

Is video scoring software the way to go for this?

 

Thanks,

-gregg

[graypencil]

If you're composing stuff that has to be in synch with picture, you; ll need some sort of MIDI sequencing program that can lock up to a picture source either SMPTE code ( or I guess the more uo to date guys use quicktime somehow, but I prefer the SMPTE approach ..)

 

The main programs that have these capabilities are MOTU Digital Performer and Cubase ..there a re others, but most guys I know use one of these ..

 

Also, you need to be aware of what format the material is beingsupplied in .. 30 FPS is NOT the same as 30 drop frame ( 29.97 ) Be sure of these basics, or you'll experience troubles in syncing the track to picture ...

 

IF you get further into film work, and work on more extended projects, you also may wish to explore a program like Auricle (..which is primariy use for feature film work and by music editors ) that has many more sophisticated timing and marking features.

 

Good Luck!

 

Phil Kelly

[steadyb]

You could always order the complete set of John Williams Acid Loops vol.1

Myself, I prefer the Leonard Bernstein REX file collection 'cause I can also change the quantize values.(You should hear some of the "West Side Story" loops as an 8th note swing, now thats country!!!)

 

steadyb

[synthetic]

I have scored a few indie features. This is the way I did it. It may or may not be the correct way, but it works great for me.

 

I have always used Opcode Studio Vision for sequencing. I have a Studio 4 MIDI interface for getting SMPTE LTC timecode from the video deck into the computer. I haven't used digital video, it may be more trouble than it's worth. I would be concerned with TC drift using a Quicktime video unless they exported it right from their editor. Also, it's a tiny image taking up screen real estate. You might think about renting or buying a professional S-VHS deck for this project. You can get a "composer's dub" of the show, with temp audio without music on track 1 and LTC on track 2.

 

I start by watching the scene and seeing what I want to write and where the hit points are. The director will probably have opinions on this. For example, I may want a cymbal swoosh and chord change on the cut, or to have the music land right on a punch, etc. I write down these SMPTE timecode locations and enter them into Vision. Vision allows you to set markers based on measure numbers or SMPTE numbers, I do it in SMPTE numbers.

 

Next, I open the Tempo track window. This window shows the events I entered with the SMPTE and measure numbers side by side. For example, the two events might be:

 

Cut 01:02:03:04 05|3|003

Punch 01:03:09:10 11|4|320

 

I forget exactly how it looks, but something like that - measure|beat|subbeat. By looking at the list above, I see that the cut lands almost right on measure 5, beat 3. However, the punch is a bit off. If I speed up the tempo a bit, I can probably get the punch to land right on bar 12. However, then my hit point for the cut will be a little off. So I can add a tempo change after the cut, or I can choose one or the other. I'm talking about small tempo changes - from 110.00 to 110.30 or something. You can also watch it as it is and see if it works. It is better to be a little late than a little early, and you usually don't want to telegraph a surprise with music.

You might want to look through back issues of Keyboard for the Reel World column for more scoring tips. Good luck, -jl

[Sergievsky]

Originally posted by b3fiend:

I already have PT LE and Cakewalk Sonar that have video functionality, along with various other aduio apps, but I am sure there are better tools that I am not aware of.

 

Is PT LE pretty much the was to go for this? I'll be mixing audio and midi tracks along with the digitized video. The final MPEG/AVI video I send back is only meant for demoing the music -

-gregg

 

Sonar and PTLE seems more than capable for what u want to do, except for merging it with the video. I think you'd need to merge your audio to the video on the video editing software, like Adobe Premier or Final Cut Pro. Vegas Video can do both i believe, but i do not use it, but have heard good things. Anyone? I personally use Digital Performer and am more than happy (though playing huge video files and mixing lots of audio tracks can really slow down the system...) You'll need some big and fast hard drives.

[graypencil]

<

choose one or the other. I'm talking about small tempo changes - from 110.00 to 110.30 or

something. You can also watch it as it is and see if it works.>>

 

this is good advice .. another trick ( especially if you are going to be adding live players to your score who will be referring to a "movable" click ) is to have the tempo change during a long note ( say at least a half note - preferably a whole not ) PRIOR to the point where you want to make the hit.

Even fairly abrupt tempo shifts can be accomplished in this fashion ..

 

you can also gradually accelerate, or "push " a click if the tempo shift is a slight one without disturbing an overdubbing musician(s) ..

 

 

<< It is better to be a little late than a

little early, and you usually don't want to telegraph a surprise with music.>>

 

this is gospel in film scoring !!

[graypencil]

<

may be more trouble than it's worth. I would be concerned with TC drift using a Quicktime video

unless they exported it right from their editor.>>

 

I myself have preferred to work this way ... basically because I started out with this system, and with two video decks, I find it easier to make a composite "polaroid" by mixing back in the dialod with my stereo mix for directors approval. ( You will discover possibly the need for a separate means of compression for the audio track that comes with the work print.

 

<< You can get a "composer's dub" of the show, with temp audio without music on track 1 and LTC on track 2. >>

 

Another warning .. make sure you have the means to generate fresh TC in case there are any glitches in the dub supplied by the editing house ...

 

also, when you make your mixes for delivery ( assuming you're delivering it in semi mixed multi track form on an ADAT or DA88 ..with the music split out the way you want it, and the code separate ..) make sure you allow at least thirty seconds pre roll and post roll of TC before program to assure the fastest lockup in mixing ...

[synthetic]

Another tip, if possible have your cues go a bit long. Sustain the last note a bit longer than it needs to be. You can always trim it on the dub stage, but it's a pain to extend a note.