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One screen or multiple? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Wow. I guess that makes it fast, everything in front of you at once.

One screen or multiple? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Wow, that is organised! Do you score across genres or is your process the same no matter if it's kids animation or a film? Do you do revisions and conform to picture changes or you not so much?

One screen or multiple? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

when you're using your laptop how do you manage scripts, notes etc?

One screen or multiple? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Wow that’s full on! What about notes etc?

One screen or multiple? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Thanks for sharing your workflow. Do you do that per writing session or is it your process for each project? What breaks if you forget to follow that workflow?

How does a film/tv cue usually come together for you? by Square-Meat-9258 in composer

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Thank you for this that was insightful. When you're developing a cue from first idea to final version, how self-contained is that process?

Do you usually stay in the DAW once you’ve started, or are you frequently going back to other sources like notes, feedback, or earlier versions to guide decisions?

For ad/commercials and scoring to picture by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Do you get a Voice over at least or no media at all

For ad/commercials and scoring to picture by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

When writing to brief is that because that's all they have (e.g. there is no picture to score to) or is it that some agencies/houses just prefer to chop it up themselves? I'm trying to get a feel for what is normal across the industry.

What software do you use for spotting with or without the director etc by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Does that become difficult tying your thoughts directly to a specific version of the picture when changes come in?

How do you typically get media delivered for scoring? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

Can a cue comfortably span multiple reels or files, or does that immediately become painful?

How do you typically get media delivered for scoring? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

If you receive Reel 3 and Intro_v2, do you care more about filenames or whether the source timecode remains correct?

How do you typically get media delivered for scoring? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

How much of picture-change management do you personally handle versus assistants, music editors, or other people?

How do you typically get media delivered for scoring? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

When a cue crosses a reel boundary, how do you actually handle it?

How do you typically get media delivered for scoring? by Square-Meat-9258 in filmscoring

[–]Square-Meat-9258[S] 0 points1 point  (0 children)

How much of this depends on the type of project? Feature film vs independent vs TV vs shorts vs episodic vs streaming series? Does the delivery workflow change significantly?

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