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Advice wanted for experienced musician wanting to branch into film

A

Awightman

I'm a musician and I consider myself extremely versatile. I write, record, and mix all my own stuff and I have experience with rock, metal, pop, blues, jazz, country, hip-hop, techno, industrial, electronica, minimal, ambient, easy listening, classical, and a plethera of cross-genre breeds.

When I was 17 I started composing using MIDI and received a ton of good feedback from other artists online. I can still remember a quote that "this person will someday either be a celebrated and beloved film music composer, or it will be a great tragedy"

Well I got out of the soundtrack zone and for about the last 10 years worked on practicing and recording "real" instruments (as opposed to MIDI), as well as performing in some touring rock bands.

I am now disillusioned with the whole touring band concept and have decided to get back into the film/tv/video game soundtrack arena.

I am willing to do what it takes to get exposure - working for only credit, writing original scores for low budget films, allowing the filmmakers to have as much say (or as little) as they want to have in the soundtrack's development...

SO MY QUESTION IS: What's the most effective way to go about getting interest from indie filmmakers, and what should my main points be in presenting myself?

So far I have only posted on this forum and checked ou versusmedia.com I also reached out to some undergraduate counselors at film schools and asked them if they would post an attached flyer on their bulletin boards. No luck yet with that avenue.

Ultimately my goal is licensing my music, but I want to gain this experience and industry savvy'ness first before I try to build those relationships.
 
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You're going to have to "bid" on them just like everyone else. Even when you're working for copy and credit there are dozens of other up-and-coming composers who want films to score as well. Besides your composing you will need something that sets you apart - the ability to play real instruments (not just guitar/piano; something like violin or reeds, for example) or access to real players; maybe your own scoring room for recording them. And, as harsh as it sounds, many beginning composers have very small limited sound libraries; you'll have to splurge on a good one.

On those occasions when I'm acting as music supervisor I am listening for versatility of styles and I am also looking for technical (recording/mixing/delivery - stems, for example) competence. You'll need scoring examples with visuals; there's lots of good composers, but scoring to picture is a different gig altogether.

I'm sorry to be so obvious, but sometimes we all need that 2x4 between the eyes.

BTW, I'm a former touring and studio musician as well; I'm sure we could swap some fun war stories, like the time....
 
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@ Alcove Audio

I appreciate it - I need the brutality :lol:

I have a decent sound library but I am shopping around for something more expansive.

As helpful as your reply is, it leaves me with a couple questions yet unanswered.

1. could i get a suggestion of where to start finding some video that I could compose to and use as part of my portfolio? Can it just be anything and everything? Is there an ideal length? Should I showcase my versatility with a versatile video or multiple videos of varying styles??
2. When I feel fully prepared, where should I start looking for projects to 'bid' on?
3. Are the paying 'gigs' exclusively looking for experienced composers, or are they more looking at the portfolio? What I guess I'm asking is when I feel confident enough to stop working for credits only, should I stop doing so even if I have not done a lot of projects?

In my naivety I could go on and on with questions. I am prepared to dig in and do the research for myself, I just want some advice where to begin. It is really appreciated!!
 
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Awightman said:
@ Alcove Audio

I appreciate it - I need the brutality :lol:
Click to expand...

I'll keep the baseball bat handy!

Awightman said:
I have a decent sound library but I am shopping around for something more expansive.
Click to expand...

You have to be constantly expanding your sound palate. A few composer friends say they usually add something significant with every project.

Awightman said:
1. could i get a suggestion of where to start finding some video that I could compose to and use as part of my portfolio? Can it just be anything and everything? Is there an ideal length? Should I showcase my versatility with a versatile video or multiple videos of varying styles??
Click to expand...

There's lots of good public domain stuff on the Prelinger Archives, and you can re-score scenes from existing films and trailers (just check out YouTube). You'll need examples of action, tension, mystery, romance, etc. Everything from simple single instrument themes to fully orchestrated ones, and some examples of various flavors like country, electronic, jazz, etc. You'll also want to do a few sound-alike scores - Williams, Zimmer, all the Newmans, etc.

Awightman said:
2. When I feel fully prepared, where should I start looking for projects to 'bid' on?
Click to expand...

Mandy, Craigs List and the numerous forums like IndieTalk. Hit networking events and hand out your card - and your demo DVD when you have one. Connect with fellow composers on those forums.

Awightman said:
3. Are the paying 'gigs' exclusively looking for experienced composers, or are they more looking at the portfolio? What I guess I'm asking is when I feel confident enough to stop working for credits only, should I stop doing so even if I have not done a lot of projects?
Click to expand...

You can submit to anything that you want unless they specifically ask for experience; all they'll want is a great score. Just make sure that you have all of your feces gathered together in one place :D. BTW, you'll run into plenty of flakes with good films who will change their mind about the direction of the score mid-stream, or may even decide to dump you and move on to another composer for no good reason that you can see.
 
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Yeah, so I'm no musician, but I'm wondering what this "library" thing is. What, like one of those sound effects libraries like the BBC one or Sound Ideas? What does that have to do with music?
 
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Composers collect instrument libraries. For example, almost all digital composers will need a string library. They are digital recordings of individual string players (violin, viola, cello, bass) and sections playing individual notes with various articulations - Pizzicato, Legato, Bariolage, Col Legno, Marcato, etc. - and also playing short passages. So in addition to needing these instrument collections the composer needs to know what these terms mean and how they would be used by a real orchestra to achieve the desired musical effect. There are also libraries for brass, woodwinds, reeds, pianos, harpsichords, organs, percussion, etc. You can spend tens of thousands of dollars on these libraries.


https://www.youtube.com/watch?v=15jlliX2ZLY

https://www.youtube.com/watch?v=GB_QueMQ7kI
 
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Oooh! Thanks, Alcove.

I find it comforting how crappy the synth brass instruments sound. Still gotta use the real thing.

The strings, though, man, sound so good, I don't think I could tell the difference.
 
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There have been some amazing scores done "in-the-box" using orchestral libraries, etc. The brass doesn't sound good in the demos because no one spent hours tweaking the "performances" to make them sound real. I've done it myself (I arrange and produce; I'm not a very good composer, though...); I once had someone comment about an album I worked on "it must be nice to have the budget for a horn section" when I did it all with synths and samplers - it took 20 tracks and dozens of hours but was still a lot cheaper than hiring a horn section.

Np matter what you are doing artistically nothing is impressive in its "stock" mode. Computer programs, plug-ins, and all the rest are only tools; they are worth nothing if you don't use them to their fullest capacities.
 
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Omnishphere, connections

Lot of good advice above. I ran a studio for several years, and it does get expensive, though not compared to film.

If you're a beginning or amateur composer that wants to work with soundtracks, you obviously won't be assembling your own orchestra as suggested.

A great starter kit for a digital only musician is Omnisphere, and Komplete 5. Sony Acid makes a very straightforward host program that's easier to use than some of the others.

Above all though, like so much of life, it depends on your connections, your friends, and your luck.

There are hundreds of guys from Julliard that never got a shot at scoring a film. However, if you watch "Sanctuary" You'll find that they've hired some moron that just holds down middle C using the first omnisphere preset when you open the program anytime they need a background. I'm not kidding, watch the show. Just holding down one key for 26 bloody episodes. Then when they need an actual track, they just use X-ray dog's royalty free stuff. (which is pretty good)

The music business is oversaturated with talent that it values at nothing, so yes, buy good equipment and practice hard, but also understand that you need to get in with the right people or none of it will matter. Lady Gaga can't play a piano to save her life, but she's this years top earning musician.
 
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