Film Scoring and Sound Design

1. Film Scoring and Sound Design INTRO: My name is Janet re-bin Phillips. Welcome to my film scoring video series. I have been a film composer for over 25 years, working on full feature films, documentaries, corporate advertising, commercials in TV placements. In this film scoring class, you will learn how to develop a concept for a score using harmonies, rhythms, themes, motifs, melodies. Study where exactly to create emotions and movement. How to determine the correct tempo of a scene. Work with sound design using instrumental colors and textures, as well as how to focus on the storylines visual elements. 2. Film Scoring Video_ Let's Begin: Okay, let's get started. Before jumping into deep water, we need to understand some terminology so you can be well-versed when talking to your director. First, let's talk about the three methods for setting the music in a scene. In other words, what does the music representing? The first method for scoring is to accentuate the drama unfolding any situation or series of events which have vivid emotional or conflicting struggles. In other words, where's the drama coming from? Sometimes it can be the dialogue itself or an internal situation happening with the character. In a documentary, it could be a visual footage. Then the second method for setting the music is the action happening. This can be achieved through rhythms, building of dissidents or use of musical hits. However, sometimes the opposite works well for action scenes. A good example of that is the battle scene from Lord of the Rings, which everyone knows has a comma theory, vocal instead of a driving rhythm. And the third method for scoring a scene as this setting. Where does the scene take place? Is it a busy city or faraway, exotic land? Of course, there can also be a combination of using drama, action and setting. However, the storyline and visuals will always determine which method you will use. So I would like for you to start watching scenes from your favorite films and determine which method the composer is using. I would like you to also watch for scenes where the methods change within a scene. Some music will overlap into another scene based on what is happening in either the drama, action or setting. This is your first assignment. So simply locate three scenes where you observe these methods. 3. Film Scoring Video_Themes, Motifs, Ostinatos: One of the most common techniques used in film scoring, or themes or motifs. So what's the difference? Well, a theme is a recurring musical melody and can be associated with either a specific character, place, or situation in the film. A motif, is it short repeated musical idea that can actually contain thematic material and can be used three out of work, you can think of the motif as the smallest structural unit and the theme as a complete musical idea. The motif as fragmented musical idea that probably has come from part of the theme. So let's listen to a few examples of themes and motifs and see if you can figure out the difference. Next, we're going to discuss ostinatos in film. And ostinato is a repeated melodic or rhythmic figure. In rock or pop music, it's considered a riff. Ostinatos are often used in the lowest instrument. I like to use them for dynamic visual action scenes and also to build several scenes. Often an ostinato is threaded throughout an entire film. And ostinato can include a motif or a theme as well. Here's a quick example of an ostinato. So after you study a few ostinatos, your next assignment is to compose one theme, one motif. And when ostinato, of your own, Good luck. 4. Film Scoring Video_Film Music Terms and Emotions: Moving along with additional terms used in film music. Our first term is the q, which is a specific point of reference in a film. He's your time to begin and end at specific points, which could be as simple as a scene. However, sometimes a queue can lap over to another scene. A score can include pre-existing music, dialogue and sound effects, a number of orchestral or instrumental or coral pieces. So all of these can be considered in one cue. A cue sheet is the primary means by which Performing Rights Organizations track the use of music and films and TV. Without cue sheets, it would be nearly impossible for composers and publishers to be compensated for their work and accurately filled out cue sheet is a log of all the music used in a production. Let's look at what a cue sheet entails. This information includes the series or film title, episode title, episode number, air date, show length, musical production company, song queue title composer, publisher, performing rights society, timing and usage. Composers and publishers are paid based on this cue sheet. Most importantly, the usage of the music, for example, music for a film, we'll have a different price rate as opposed for music for TV. Many of you already know some of these other terms. However, I'm going over them just to make sure that you have this film vocabulary. Diegetic music is music which the characters within a film can actually hear. Non-diegetic music as background music and non-important to the storyline, folly is supplying additional sound effects to match the visual, such as hit screams and thunder. Folly is usually added by sound editing. However, lower budget films may ask the composer to add those effects as well. So watch out. A hit is a specific moments such as a cut or a line of dialogue that the music accents. Mickey Mousing is a term where the music is so linked with the actions occurring in the visuals. Cmt is the Society of Motion Picture and Television Engineers, is the timecode which is a standard way to label frames on a piece of video or film. It takes a format of hours, minutes, seconds, frames. And on a feature film, each real traditionally begins at the hour of the real number. For example, Real starts at one, real force starts at four. The number of frames displayed will depend on the film format. Now, timber is a combination of frequencies that usually give a sound. It's unique quality like a fluid as opposed to a clarinet. This term is important when you're talking to a director so you can describe a particular sound, texture, or palate. Now let's talk about some common uses of music for emotional impact. Some of these are quite obvious, however, it's important to recognize them quickly in a film. The first is the hero. It's uplifting. The hero or protagonist always gets an uplifting anthem or theme. When first introduced, the music is upbeat and builds competence for the heroes. They're the ones we hope will destroy the enemy and will come out on top of the other side. What is your favorite hero anthem? Of course, we have the villain next, which is up unnerving. The villain could be a murderer or a monster. Film scores use dark, eerie, or unnerving music to help let the audience know this is the nemesis. Next we have the chase, which is heart racing. The chase scene is accompanied by fast and pumping music to highlight the tension or speed at which it is happening. This can take on a variety of directions, from being silly to an intense chase resulting in a crash. Of course, we have the heartbreak which makes us feel sad, a romantic breakup, or a main character, their world falls apart. Whatever the drama, the scenes in the film are always accompanied by music that makes them feel so much worse. Then there's the attack which produces panic. One of the greatest panic scenes of all times, as you know, is the shower murder scene in psycho. Music that is so sharp and disturbing to hear it elicits a feeling of panic, fear, and to get away. So another great example is Jaws, where, you know, something is coming, then we have the lovers, the romance that desire. Romance can be accentuated in film by music that's delicate and vulnerable. He did love seeing can create desire, arousal, enjoyment, and fantasy for the viewer. So your assignment is to find those scenes and study how other composers created emotional impact. It's helpful to have a few of those samples on hand, especially starting out. Alright, we're almost ready to start composing. But first we're going to set up your DAW or Digital Audio Workstation. As composers, we're not interested in the highest quality of film because that will slow down our DAW when importing them. So ask your director for a low-resolution format MP4 version of the film. A compressed version is absolutely necessary. Since we're using so much memory on our instruments, also, some directors provide a temp track, which is simply their ideas of music for their film. If a director provides a temp track for you though, the temp track needs to be on a different file from the dialogue different track. So make sure to ask for that, that it is separated. When you received the file setup. Two audio tracks, one for the temp track and one for the dialogue. Usually recording will be set at 48 K, Thirty-six bit. Be sure your session setup is at the frame rate of the movie, which could be anywhere from 24 to 29 frames per second. It's important to ask the director the exact frames per second. Also as the director to divide a full feature film into reels consisting of 15 to 20 minutes each. This will actually make your setup much easier and not bogged in your DAW. It's also just an easier way to be organized. Probably the most important negotiation tactic to discuss with the director is to make sure that the film is picture locked. This means there are no changes to the timing of the film. Sometimes a composer will receive a film that it's not completely finished, but the director can simply provide a blank screen which will still hold the space for the film itself. And B picture locked in the timing. If you don't ask for this, that will be held to be played as you get into automation and tempo changes throughout the film, everything will go haywire and it's not worth your time and effort to go move everything if the director has not provided a picture locked film. Now let's talk about how to get started composing your score. It can be overwhelming to think about the entire film. So just choose one scene. Make a template. Color palette, if you will. The instruments or textures. This could be as simple as just a few tracks of strings. Since drums or atmospheric sounds, you can always add tracks later to double and triple any sounds that you want to emphasize. Of course, then set up your project at 4824 or 36 bit float. Make sure your temp track has been placed on a separate track for your dialogue because you only want to refer to your temp track now and then if any, import your dot MOV, you can set a tempo to begin. However, I like to decide the tempo after watching the beginning scenes. Then of course, watch the footage several times to determine the emotions. Next, compose a main theme motif or rhythmic ideas, or just a simple texture, right? A style that reflects the attitude or emotion of the scene. I usually prepare three small samples for a director before going too far. This allows us to understand more about what the director is wanting and his hearing in his head. And finally write some short musical layers that can transition from one to another. These can be in the same key signature and can be sprinkled throughout your film. Record several ideas and compare. You can even make project files that are ideas. Number 123. Then go to the file and balance your audio file with the movie. If you're having any technical difficulties balancing with your DAW, simply go to YouTube. There are many tutorials that will help you. We are ready to start composing. 5. Film Scoring Video_Short Film Preview.mp4: Great start. In the next few videos, I'm composing the animation short film called Spring, which you will follow along and composed with me. You are going to decide on your virtual instrument template, set up your project at 48 K and 36 bit. Make sure the temp track has been separated from the dialogue in portrait dot MOV and determined frame rate. We will discuss setting up your tempo in a few minutes. In the first video, I'll review the film to share where I feel the emotions shift and also how to add markers. So you can know when a different mood is approaching while watching the film with me asked herself, what is the emotional journey? Where are the build-ups? Where's the impact? Where do I want to use a theme or a motif? Next, we will learn about tap tempo, which determines the beats per minute. I'm using tap tempo to figure out a tempo for the chase scene. After that, I will share how to set up an instrument template. I'm dividing the film into three sections based on the emotional impact. It sounds odd, but I'm starting with a chase scene first because I like to tackle the most complex part. Then I'm going to compose the ending. Then I can use some of my themes or motifs to weave into the beginning of the film. So here's the short film called Spring that you are going to score. 6. TheCueTube: The animation film that you will be composing is called Spring, and it is located on this website called the tube. This is where you will download the dot MOV and then import into your DAW. This website is incredible because it provides resources for composers from filmmakers and game developers in order to practice your craft and build a portfolio. So let's first preview the film and I want to point out the different sections where we will be working. I want you to think of these as different emotions portrayed throughout the film. As you can see, the intro words lead into the title. You can create different music for the title or combine the two with a buildup for the title. And then the next section is our storyline, which introduces our main character who was given a magical crystal to help her bring about spring. So as you watch this short animation film, try to focus on just the different emotional changes or developments for now. I want you to write this out on paper where all of the changes occur in the moods. You may want to watch this film several times. And then on the next video, we will discuss the emotional changes. We are almost ready to start composing. 7. Video Spring_Emotional Musical Elements: Today we're going to look at the emotional changes in the film. As you can see, there's a brief description about the storyline before the title comes in. So this can be a little enchanting, a little mysterious. And then the title suggests a positive feeling because it is called spring. So that's our first emotional change. Next, we are shown a magical crystal and the main character of the story. The girls seems excited to have been given the mystical crystal. And as the girl places the crystals staff in the ground, the music should move into transformation with movement and excitement. So I would suggest you use in a major key or even a modal scale here, the trees are starting to become alive and moving. So our characters excited to see what's happening. But suddenly the mood changes when the tree clashes and falls on the girl, which tosses the crystal out of her staff. The crystal is tumbling down the path and now there is a chase to catch it. So the mood has changed from positive to dissidents. As we see the trees along with the girl and her dog chasing after the crystal. At this point, tension and possibly a rhythmic idea would work well here building as the chase continues. Also to determine the tempo for the chase scene. Just tap out in beats per minute how fast the girl and dog are running. As the dog catches a crystal, there should be a musical hit. However, the buildup still continuing since the girls still running. When the tree comes stumping down the chase, music should stop, although tension music is still needed. When visually everything stops, this will be a good time to have a pause in the music or an uncertainty, since we don't really know what the trees are going to do at that point. Now that the girl is in possession of the Crystal, she's regained power. There's a playful and with her dog trying to move the tree trunk. So the mood is now positive again. From this point on the music loses its tension. And when our character goes and pushes the staff into the ground, the music can start building as she knows how and what to do to help Spring unfold. Another important buildup or musical hit happens when our character emerges from the clouds with her dog and plants the crystal staff again into the ground. This is also an opportunity to slowly develop the music with excitement. As winter thaws and flowers start to bloom. The music can continue to build with a final conclusion when the girl and her dog or overlooking the mountain. So that is how to sketch out the emotional changes. So now we're going to listen to what I composed. And on the next video we will discuss how to divide the film into sections using markers, learned about tap tempo and also create an instrument palette. No. 8. Video Spring_Instrument Palette: X we're setting markers, simply go to the global window, add a marker and double-click to name it. So markers keep us organized for changes in the music and divide the film into sections. We have the intro, the title. Then I placed markers accordingly at the first emotional impact. The second change is where our character fell. Another marker at the chase scene, followed by the recovery of the crystal and so on. Markers are extremely helpful. So we can easily see where the next change will take place. Let's determine the tempo. There can be, of course, many templates depending on what's occurring visually. Look at the chasing, the metronome is clicking as I'm watching the movement of good dog and the girl running. I would not use a crystal since it has an irregular pattern as it's tumbling down the hill, I can't feels like 142 beats per minute would be a good template. We're going to set up our instrument palette. I always like to begin with strings just because it's easy to create either a theme or soundscape quickly. I've added violins, violas, cello, and bass. Then I've added brass, woodwinds, drums for percussion. And last, I've added effects like Brahms or impact hits. For convenience, I'm using contact virtual instruments, which really has an impressive for audio quality of sounds. I'm a big ominous viewer fan too, for creating textures as well as east-west for their orchestra and their choirs. But Spitfire Albion is a favorite, since the orchestra is so robust and it's divided into high, middle, and low pitches, will probably use heavy damage for percussive effects to, in this film. So now it's time for you to set up your markers, tempos and instruments. On the next video, we will listen to what I composed for this chase scene. 9. Video Spring_Listening: We're going to listen to groups of instruments now starting with strings is just a basic setup. One track of each. Those definitely be adding lots and lots of bleeding. You can also hear an ostinato rhythm in the string section, which starts building the suspense. And then there's higher streets layered on top of that x. We can listen to some brands added to the strings with accent stamps in a rhythmic syncopation. Now the group I'd like to highlight is percussion and effects, which include Brahms hits in crescendos. I like to add the percussive effects last so I can build on the intensity. It's your turn to compose the chase scene. 10. Video Spring_Preview For Theme: One of my secrets is always to start on an important scene in the film, we tackled the chase scene. So the next most significant Que is the ending where our main character comes out of the cloud with their dog and pushes once again the staff in the ground. I'm going to jump right in and at this marker and then go back to fill in the scene leading up to this point. To me, this conclusion really should be thematic material like a strong melody. And the reason I want to tackle this early is that I may be able to read some of the theme throughout the film. We can also use a sprinkle of it in our opening or ending title. So let's get busy working on our melody in the next video. 11. Video Spring_Composing Ending: So I'm composing the ending now so I can leave some of these motifs into the first part of the film. Here are just strings which are going to be my foundation as I build up this section. And then here's the most important musical hit is when our character pops out of the clouds. So I'm going to add percussion and brass instruments to really help that expand. And as the grass and flowers come to life, there are strings playing a motif and then an ostinato pattern. At this point, I'm going to start to wrap up the theme exactly at the upcoming mountain scene. So I just added three chords to bring it all to a conclusion. Okay, now I'm going back to the start of this section and let you hear the music. Notice we're not working on the Title XI yet. We will compose the intro next and then finished with the titles. You can certainly work on whichever section you prefer. However, I just find it easier to work on the more dramatic sections first and then possibly have some motifs or ostinatos that I can then into the store. Okay, Let's listen with the breath sounds like streams and also have the thing helps build the excitement. Once again, I've created enough buildup with this section and waited to add. Most tympani and brass is on character emerges from the process, continues its model. What you do is you turn to the ending. 12. Video Spring_Intro Preview: Okay, Now that we know so much about this film, we're going to start at the beginning. It seems like a backward approach, however, now we have the thematic material that we can sprinkle in the intro and possibly the title. Or the first time the character sees the crystal. Based on the opening storyline, we now know there's a mystical or fantasy element. So that's the first emotion marker. Then we move to more excitement as we see the main character light up the crystal. I find the instruments like woodwinds, chimes, high strings are really useful to keep a light, magical sound. The next mood changes when she sets the staff and motion and we see everything waking up. This is a great opportunity to just start expanding and layering textures and building on the theme from the character's expression, She's delighted and of course, until the two trees collide, Let's start composing the intro and the awakening of spring. 13. Video Spring_Composing Titles: Now we're going to work on the opening in ending titles. I decided to use just a simple piano with reverb, with a bright and innocent melody. There's no rule whether to use a melody or atmospheric music, but I just decided to use a melody so I can bring it into the film when our characters given the crystal. So listen out for that. And then in the ending title, I've added strings to pull everything together and have a final feeling. Let's take a listen to both. Now let's create either mystical or something and chanting for the opening crawl words. Since I've decided on a melody for the title, I'm going to create a mystical soundscape behind the text and not too busy since the audience will be concentrating on reading. Okay, and here I've composed the intro using some sound effects from ominous sphere and adding just the motif from the title. Next, use the same theme as the ending, however, just a lighter version and added some enhancements with some lower brass. So this brings us to the chase. Now you'll hear the intro in its entirety. Time to start composing, take one section at a time and compose your word intro, titles, and beginning of the film. 14. Video Spring_Ending: Well, we have come to the end of the film scoring series. I really hope you have learned a lot and have enjoyed your classes. Please feel free to contact me at Janet re-bin Phillips.com or cinematic q's dot com ending closing from our master composer Hans Zimmer. I thought you might enjoy this bit of advice from him. Imagination, inspiration, and a little courage. Also, images and music become one. Have fun writing music. Always continue to learn. It's one of those types of fields that you always have to stay updated and practice, practice, practice your craft. Thank you for attending my film scoring workshop. I can't wait to hear what you compose.