Tutorial 3: 13/10/17

We talked about the film I will be making music for in semester 1. After meeting with the group I have found that they want drone and ambient pieces for their film. They have also mentioned that they would like to use a song by The Ink Spots but as getting the rights to use the track might be difficult I suggested instead I would make a piece for the film in a similar style. As they were still quite vague with what it is they want David suggested I find out what sort of sound track they want, a hyper real soundtrack Ken Loach style of if they want a more traditional score for their film. To get an idea of what Ken Loach’s films sound like I’m going to have a watch of I, Daniel Blake and also for my ideas for ambient and drone pieces I’ll look at work by Clint Mansell, Trent Reznor and Mica Levi.

Dean Humpreys

Had a talk from sound editor Dean Humphreys. He had a lot of useful things to say about working in the industry some things we’re quite obvious other things were really quite surprising. A lot of what he talked about was how to get along with people, how to make the right connections and how to make sure you keep yourself working. Two of the most important things he mentioned was to practice good time management and to be a team player. He talked at length about how if you’re not early you’re late. For me I thought 15 mins early was fine but he said anything under around 45 minutes early was late because although you might start at 9am there are still a lot of things that need doing before you can start work at 9. Being Early shows you’re committed and passionate and that alone will make you stand out from some people. Dean kept coming back to being a team player and how if you’re not one you will not work in the industry for very long. When things are difficult don’t complain about being tired just carry on and keep working because everyone is going to be as tired as you are. Also compromising is important, although you might believe you are right and the other person is completely wrong, just go along with it at the end of the day they are paying you to do the work. If you do find that you are right, don’t gloat about it just carry on, there’s no point in riling someone up and making them dislike you when you don’t know how long you’re going to have to be working with that person. Winding people up, being rude and getting into arguments will quickly give you a bad name in the industry. One last thing on being a team player is be polite to everyone, from the receptionist to the director although they have very different jobs they both have their own networks and you never know where you’re next opportunity will come from.

Tutorial 2: 06/10/17

Today we met and discussed how to move forward with my semester 1 audio project. My group has decided that they would prefer to make their documentary a year long project meaning I need to find a new group. I am currently talking to one about making some music for their film however I’m not sure as of yet what exactly they require so that’s what I have to do next. David also suggested I check out Hearing Film by Anahid Kassabian as when it comes to making music for film I have no idea what I’m doing, I’ve always just watched the film or read the script and played what feels and looks right. It’d be very helpful to have a theoretical understanding of what it is I am actually doing.

Aims & Objectives

Objectives

  • Meet with Stonethrow Films and find out what they want for their film
  • Compose music for Fare Thee Well
  • Identify reference material for both films
  • Compose diegetic and non diegetic music from a spotting session for both films
  • Compose cues for both films
  • Record and mix pieces for both films

Aims

  • To better understand contemporary composers (how they work/their process)
  • Improve workflow

Learning Outcomes

  • Learn how to effectively use Logic Pro for music production.
  • Learn shortcuts to help me get around Logic more efficiently
  • Find out how signal routes work i.e. how and why aux tracks are automatically created and how to send signals where I want rather than where they’re automatically assigned
  • Learn how to use Logic’s equivalent tools I use on a regular basis in Pro Tools like Flextime and Pitch correct
  • Learn how to effectively run spotting sessions

Tutorial 1: 29/09/17

Met with David this morning to discuss my projects. I already have a few groups lined up that want me to work with them in various roles. David suggested that I find out exactly what the groups are expecting of me and to get written evidence of this. I specifically want to work on my post production so David recommended I create a portfolio of post production work rather than one single project where I do all of the sound work on each film. This will look a lot better on my website as I can have dedicated examples of my location work, music and post production.