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Copyright and Licensing: A Guide for Film Composers

Copyright and Licensing: A Guide for Film Composers

Table of Contents

Music is essential in film because it creates an atmosphere and enhances the narrative experience. To become a film composer, you must understand the complexities of music rights for film and licensing to create music that resonates with your audience while remaining legally compliant. 

This blog aims to demystify these concepts and equip you with the knowledge and tools you need to navigate the complex landscape of music for film rights. Let’s go on this journey together to safeguard your creative work and ensure its proper use.

Key Takeaways

  • Copyright is vital for film composers as it protects their original music and grants exclusive rights.
  • Composers should understand the intricacies of copyright and licensing to create music legally and effectively in films.
  • Copyright in the film industry safeguards various creative elements, ensuring fair compensation.
  • Using copyrighted music in a film requires obtaining licenses or permissions to avoid legal issues.
  • Sync licensing and master use licenses are needed to use a song in a film.
  • Music libraries and royalty-free music offer cost-effective, legal options for filmmakers.
  • Film composers must be aware of contracts, royalties, and licensing considerations.
  • Licensing music for film involves negotiation and agreement on fees and terms.
  • The cost of licensing a song for a film depends on factors like song popularity, usage, and rights holders.
  • Skillful negotiation can lead to more favorable licensing terms and lower costs.

Copyright Basics for Film Composers

Copyright Basics for Film Composers

For film composers, music copyright is critical. It safeguards your original musical works and grants you the right to use, distribute, and profit. This section clarifies copyright principles, assisting you in protecting your work and effectively collaborating in the complex world of filmmaking, where music plays a central role.

What is Copyright?

Copyright is a legal term that refers to the exclusive rights that authors have to their original artistic and intellectual works. It protects musical compositions and sound recordings from unauthorized use, copying, distribution, and performance in the film composer industry. 

Copyright gives the composer control over how his music is used and allows him to earn royalties or fees when others try to use his work, granting creative ownership as well as the 

possibility of financial rewards.

Copyright in the Film Industry

In the film industry, copyright is a critical legal framework that protects various creative elements such as musical compositions, screenplays, and audiovisual works. 

It gives creators exclusive rights to their work and gives them control over its use and distribution. For filmmakers, good copyright management is critical because it protects their intellectual property and allows for fair compensation.

Can I Use Copyrighted Music For My Film?

Using copyrighted music and film production in your film usually necessitates obtaining licenses or permissions from copyright holders, such as music composers, publishers, or record labels. 

Using copyrighted music without permission may result in legal problems or the requirement to pay royalties. You can also use royalty-free music for movies or licensed music designed for film projects.

Licensing Music for Film

Licensing Music for Film

Music licensing for film entails obtaining legal permission to use the music from the copyright owner. Continue reading to learn more:

Understanding Licensing

Music licensing for films is a complicated but necessary aspect of filmmaking. This guide will teach you everything you need to know about the complicated world of film music licensing, from the fundamentals to the nuances of dubbing licensing. 

Navigating this terrain is critical for directors who want to add captivating music to their projects.

Licensing Your Music

You can license your music for use in films as a composer or musician. In this section, we’ll go over the intricacies of licensing your compositions so that you can monetize your work and contribute to the cinematic experience while retaining creative control.

Sync Licensing

Sync licensing is an integral part of incorporating music into films. This section delves into the art of synchronizing music with visual media, covering everything from the legal and creative aspects to the collaborative opportunities it provides. 

Understanding sync licensing is critical for composers and directors looking to elevate their projects through music.

Music Libraries and Royalty-Free Music

Music Libraries and Royalty-Free Music

This section will help you find ready-to-use music for your projects without worrying about copyright for music issues.

Using Music Libraries

Royalty-free music refers to audio tracks that can be used without incurring royalties or licensing fees after the initial purchase. These music libraries provide a diverse selection of music for various purposes, including video production, presentations, and more. 

They provide a low-cost and legal solution for content creators looking for high-quality music while adhering to copyright laws. To ensure proper use, always check specific terms and licenses.

Royalty-Free Music

Royalty-free music is a low-cost solution for content creators, providing a diverse range of audio tracks that can be used without incurring ongoing costs or royalties. These music libraries provide various musical genres, styles, and moods for various projects, including videos, podcasts, and presentations. 

This is a legal way to access high-quality music while avoiding copyright issues and ensuring your content is appealing and by licensing terms.

What License Do You Need to Use a Song in a Film?

In general, a synchronization song license (sync license) and a master usage license are required to use a song in a film. These licenses allow you to sync the song with your visual content and use the song’s recording in your film. 

The specific terms and fees of these licenses can differ depending on the song’s popularity, intended use, and the rights holders involved. Negotiating and obtaining these licenses is critical to ensuring you have the legal right to use the music in your film.

Avoiding Copyright Infringement

When using music in your projects, it is critical to avoid copyright infringement. Here are two essential strategies:

Sample Clearance

If you use existing music samples or excerpts in your work, you must obtain permission or license from the original rights holder, such as record labels or publishers. If you do not do it, it can result in legal issues and financial penalties. 

Public Domain and Creative Commons

Consider using music in the public domain or under Creative Commons licenses to ensure copyright compliance. 

Public domain music is not protected by copyright, whereas Creative Commons licenses provide varying usage rights depending on the license terms. Always read and follow the specific license terms.

Legal Considerations for Film Composers

Legal Considerations for Film Composers

Film composers must be aware of the following critical legal considerations: 

Contracts and Agreements

Composers should have written contracts outlining their roles, responsibilities, compensations, and rights. The scope of work, deadlines, ownership of the music, and any potential future use of the compositions should all be specified in these contracts.

Collecting Royalties

Composers can be entitled to performance, synchronization, and mechanical royalties. They must understand how these royalties work, register their works with performing rights organizations (PROs), and ensure fair compensation for using their music in films, TV shows, and other media.

How to License Music for Film

Identify the Right Music

Select music that complements the tone, mood, and theme of your film.

Contact Rights Holders

Contact the music’s rights holders, typically the music publisher and record label, to express your interest in licensing the song.

Negotiate Terms

Negotiate licensing conditions such as fees, duration, territory, and media rights. Prepare to talk about how the music will be used in the film.

Obtain Synchronization and Master Use Licenses

To legally use the song in your film, obtain both a synchronization (sync) license (from the publisher) and a master use license (from the record label).

Pay Fees

Pay the agreed-upon licensing fees, which can vary greatly depending on factors such as the popularity of the song, the intended use, and the rights holder involved. 

How Much Does it Cost to License a Song for a Film?

How Much Does it Cost to License a Song for a Film

The cost of licensing a song for a film can vary significantly and depends on several factors:

Song Popularity

More popular songs usually have higher licensing fees.

Usage

The cost is affected by the type and scale of use in the film. It can be less expensive to use a song as background music rather than feature it prominently.

Rights Holders

The cost can be influenced by the record label and publisher involved. Some right holders can be more willing to negotiate fees.

Territory and Duration

Licensing for a larger geographic area or extended period can raise costs.

Negotiation

Negotiation skills can result in more favorable terms and lower costs.

FAQs for Music Copyright and Licensing

Yes, composers’ musical compositions are protected by copyright when created in a fixed, tangible form. This safeguard gives them the sole right to reproduce, distribute, perform, and license their music. 

Copyright typically lasts for the lifetime of the composer plus 70 years. Composers have the option of licensing their works or collecting royalties for their use. By registering their works with a copyright office, they gain legal protection and the ability to enforce their rights.

Composer rights include a variety of legal protections and benefits related to their musical works. These rights include the right to reproduce, distribute, perform, and license their works. Composers have control over how their music is used in different media, and they can earn royalties from performances and licensing. 

They also have the right to be recognized for their contributions. These rights ensure that composers retain ownership of their works and can profit financially from their artistic endeavors.

Individuals who have explicitly waived their copyright or whose works have entered the public domain are typically considered composers without copyright. Some composers may release their music under open licenses, such as Creative Commons, allowing others to use it more widely. 

Furthermore, composers whose works were created before the establishment of copyright laws or whose copyright has expired, usually after a specific period (e.g., 70 years posthumously in many countries), have their compositions in the public domain, free of copyright restrictions.

The process of obtaining legal permission to use copyrighted music in a film is known as music licensing. Typically, the process entails identifying appropriate music, negotiating licensing terms with rights holders (publishers and record labels), and obtaining synchronization and master-use licenses. 

Fees for licensing differ depending on factors such as song popularity, usage, and the rights holders involved. Once licensed, the music can be legally used in the film, and composers or artists are compensated for their work. To avoid copyright infringement, proper licensing is required.

You must provide a written license or permission document specifying the scope of rights you are granting, such as reproduction, distribution, public performance, or adaptation, to grant copyright permission. Include information such as the duration, territory, and any restrictions. 

The agreement should be signed and dated by both parties. It is critical to understand how the copyrighted work will be used, as well as any associated fees or royalties. Consult with a lawyer to ensure that the agreement complies with copyright laws.

Conclusion

Understanding copyright and licensing is critical in the world of film composition. Composers can use this knowledge to protect their creative works, ensure fair compensation, and maintain control over the use of their music. If properly negotiated, licensing agreements can mutually benefit composers, directors, and rights holders. 

Composers can succeed in their careers and bring their musical talents to the magic of the screen while complying with intellectual property laws by navigating this complex landscape with due care and legal advice.

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Take a look at our Syllabus

PART ONE – Chordal State Lecture

  • Chordal States – constantly change based on harmony, melody, and film emotion
    • Grounded state versus Ungrounded state.
      • Grounded states and examples
      • Ungrounded states examples including altered tone degrees or dissonance.
    • Tools to use in between Grounded and Ungrounded, when you don’t know what the emotion will be:
      • Lydian Mode “chord” – Root + Major Third + Flatted 5th
      • Augmented triad example
      • Suspended triad
      • Intervallic triad
    • Spotify Listening – Film Score Intensive 1 playlist.
    • Homework Session – Thor Love & Thunder cue

PART TWO – Spotting, Dialog, Scoring Devices

  • Questions to ask at a Spotting Session
  • Writing around dialogue
  • Musical Devices – Key, Mode, Register, Tempo, Density, etc
  • Review Michael’s Thor cue – introduction to the review process

PART ONE – Animated Scoring and intro to Harmonic textures

  • Review of students’ Thor cue
  • Monophonic Orchestration Style (#1) from George Frederick McKay’s Creative Orchestration – 8 Orchestra Textures
    • Can be a solo instrument, doubled in octaves, or unison at same register with different instruments.

Homework – Sonic the Hedgehog cue

PART TWO

  • Review of students’ Thor cue

PART ONE – Expanded Harmony and intro to comedy writing

  • Chordal Harmony (#2) and Onomatopoeia (#8) Orchestration Style
    • Chordal Harmony – melody is supported by chords, without countermelody or conter-rhythm, in its entirety.
    • Onomatopoeia – music sounds like its subject – any musical device you can think of.
  • Review of students’ Sonic cue
  • Kids’ Music and Comedy – Types of writing – bumper-based shows, rock/pop, cheesy and sparse, short stings or reactionary scoring, electronic/EDM, classic lo-fi, instrumentation, etc.

Homework – Little Margo cue

PART TWO – THURSDAY-SCI FI Music, Chromatic Expansion and Hans Zimmer Music

  • Review of students’ Sonic cue
  • “How DUNE Composer Hans Zimmer created the Oscar-winning score l Vanity Fair” YouTube video
  • Review of students’ Little Margo cue

PART ONE – Chromatic expansion, polyphonic texture, Sound design drones

  • Polyphonic Writing, Orchestration Style – consists of two or more simultaneous melodic lines. Similar to fugues or counterpoint. Maybe side by side to start, then together.
  • Spotify listening playlist – Polyphonic Harmony
  • Chromatic Expansion – Take the top voice and go up chromatically while chords change underneath.
  • Review students’ Little Margo cue
  • Making a Drone using a Synth Plugin
  • Homework – Mandalorian cue

PART TWO – Live Scoring “star Wars” Speed Writing

  • LIVE Scoring session – Star Wars Carbonite – spotting and scoring
  • Loopback sample setup

PART ONE – Modulations, secondary harmonic dominants, James Bond Music(SPY)

  • “Kobe Bryant’s Greatest Speech – BEST Motivation Ever” YouTube video
  • Review of students’ Mandalorian cue
  • Secondary Harmonic Dominants (teoria.com) – method of prolongation of the chordal structure and movement to another chord or key, including false cadences.
  • Spotting session – Golden Eye cue
  • Spotify playlist – Bond Music – Spy music – review instrument palette and playing styles.

WEEK 5 PART TWO – Templates Intro including libraries, MIDI CC

  • “John Barry and David Arnold – The Music of James Bond” YouTube video – music review
  • MIDI CC’s – 1, 7, & 11 – how to get a quick and dynamic response from brass and strings.
  • Michael shares a look at his Template and favorite Libraries.

PART ONE – James Newton Howard, Trailer music,

  • “The Pretty Woman soundtrack changed my career / James Howard Newton on Composing” YouTube review.
  • Review of students’ Golden Eye cue
  • Trailer & Promo Music – both part of music library music
    • Promo – Station promotes a new show or episode coming up
    • Trailer – written in shorter sections, not a lot of modulation or melody, with editable hit points, ostinato, swells, etc.
    • Spotting session – Joker Trailer cue

PART TWO – Guest in depth dive of Vienna Ensemble and Midi mapping/articulations

Guest teacher Steve Steele – Creating Articulation Maps, Vienna Ensemble Pro, Babylon Waves Art Conductor, MIDI CC’s, creating a workflow and Aux’s in your Template in detail.

PART 1 – Sound Design,Reharm progressions, Motifs and themes

  • Sound Design – anything non-orchestral or non-band oriented
    • Best chance of success in trailer music if you are good at sound design – more important than how good you are at orchestral music.
  • Spotify listening playlist – Sound Design
  • Incorporating Sound Design alongside Orchestral music in trailers, so you can hardly tell which is which. Strings and Synths made to sound like one thing – together.
  • Review of students’ Joker Trailer cue
  • Spotting session – Star Wars Return of the Jedi cue.

PART 2 – Reharm discussion including John Williams, Hybrid Brass

  • Reharmonization – cool chord progressions
    • vi-IV-II is a very powerful one, cinematic, gets you out of one key
    • vi-IV-VII keeps building and overcoming.
    • Variations: I-iv6-II Great for REVEALS with the last chord
  • Hybrid String-Synth and Brass-Synth creation
    • How to make a Hybrid Synth & Orchestral String instrument from scratch, including many FX plugins
  • Star Wars Theme Reharmonization ideas

PART 1 – SATB Scoring, Homophonic textures, Musicals

  • Homophonic Texture orchestration style – Melody with texture of chords underneath. SATB
  • Review of students’ Star Wars Return of the Jedi cue.
  • Homework – Lion King cue

PART 2 – Live Satb Scoring, Voice Leading In Film Scores

  • Review of students’ Star Wars Return of the Jedi cue.
  • LIVE Scoring – SATB
  • “How to Get From Chord to Chord – Voice Leading Music Theory by Odd Quartet” YouTube video review
  • “The Orchestration Method that ALWAYS Works by Ryan Leach” YouTube video review.

PART ONE – ADVENTURE MUSIC, Advanced Orchestral Devices

  • Flying and Adventure music – instrumentation and characteristics
  • Review of students’ Lion King cue
  • Homework – Jurassic Park cue
  • Orchestral Devices
    • Bi-tonal division – ability to superimpose other modes over/under your melody
    • Metric Modulation
    • Elongation
    • Melodic Counters
    • Register Division
  • Analysis of 1 minute of John Williams’ Jurassic Park Conductor’s score

PART 2 – Music Business Part 1, Music Libraries, Brand Development

  • Review of students’ Lion King cue
  • Analysis of Jurassic Journey to the Island
  • Music Business – Pitching to Music Libraries – What to Do
    • Creating your own catalog, brand and unique perspective.
    • Write a few paragraphs about your “Brand”.

PART ONE – Westerns And Their Traditional Orchestral Devices

  • Review of students’ Jurassic Park cue
  • Western Music review – instrumentation, characteristics, etc
    • Western Sub-Styles –
      • The Good, The Bad and The Ugly
      • Aaron Copland Heroic style, such as Billy the Kid
    • Spotify listening playlist – Westerns FSS
    • Spotting session – Butch Cassidy cue
  • Review of Western music sample libraries

PART TWO – Writing Transitions, Vertical And Horizontal Compositional Syles

  • Review students’ Jurassic Park cue
  • Transitions in compositional scoring
    • Trumpet Transition sample
    • Displaced Entry Transition
    • Major 7 on the V chord Transition
    • Rhythmic Displacement Transition

PART ONE – Orchestral Reductions, Holst Analysis And Uses

  • Review students’ Butch Cassidy cue
  • 20th Century Orchestration Style –
    • Holst: The Planets listening and review instrumentation and characteristics
  • Analyze “Mercury, The Winged Messenger” section from The Planets, and do a Score Reduction.
    • Dovetailing – when you move the melody or something up and down in register and section of the orchestra.
    • Major Tetrachords
    • Staggered triads in the Harp
  • “The Planets: Mercury, the Winged Messenger Score Reduction and Analysis” YouTube video
  • HOMEWORK – Spiderman cue

PART TWO – Invervalic Writing,in Class Score

  • Review students’ Butch Cassidy cue
  • Intervalic writing style (from Paraschetti book on 20th Century writing) – can be used under dialogue and can also be a way to transition between tension and release. The point is to create tension under the score without key and mode. Move by chord or by single notes. Every interval in a melody has an emotion. Review each one.
    • Two levels to Intervallic writing – Melody and Harmonization

LIVE scoring – write a melody with 2 woodwinds, with 4 changes in the melody, 4 intervals. Harmonize with another instrument underneath. Note change in emotion.

PART ONE – Hybrid Scoring Intro

  • Review students’ Spiderman cue
  • Hybrid Sound Design Music inspired by Songs
  • How to make a Pulse from scratch, including FX plugins
    • Favorite plugins and libraries
  • Spotting session – The Matrix lobby shootout cue
  • Spotify listening playlist – Hybrid Scoring

PART TWO – Advanced Sound Design And Project Pitch Creation

  • Review students’ Spiderman cue
  • Stylus RMX and REX files
  • Audio Mangling tools and favorite plugins
  • LIVE scoring – Record something audio, chip it up, reverse, delays, distortion, glitches, etc. Make an instrument out of it.

PART ONE – Music Of Jerry Goldsmith, Sci Fi, Horror Music

  • Review students’ The Matrix cue
  • Horror music – instrumentation and characteristics, sample libraries
  • Alien soundtrack by Jerry Goldsmith analysis
  • Spotify listening playlist – Week 4 FSS Horror
  • Spotting session – Prey (Predator 7) Final Battle Predator vs Naru Fight Scene cue

PART TWO – Mixing Part One

  • Review students’ The Matrix cue
  • Mixing – Thing in Frequency Ranges. Group tracks by frequency
    • How to treat Tracks and Stems
      • EQ can be built into your Template. Every project may be different, though.
      • Make a Bus/Aux Track for each plugin effect.
    • Compression, Reverb, EQ etc. concepts and products
    • How to Set Up a Master Bus

PART ONE – Atonal Music

  • Review students’ Prey cue
  • Atonal music style – instruments, characteristics, sample libraries
    • Uses shapes and colors outside key and mode.
    • Doesn’t have to be dissonant all the time.
    • Nebulous emotional center
      • Two ways to increase emotional intensity – speeding up or down, crescendo/decrescendo
      • Homogenous instruments or Non-Homogenous instruments
    • Spotting session – Mizimono cue (Hannibal season finale)
    • Spotify listening playlist – Atonal Class Music
    • Ideas for Scoring Atonal Music
      • 12-tone system of writing
      • Use Intervals in dissonant shapes
      • Alternate mild consonant interval to a more dissonant interval in succession
      • Clusters

PART TWO – Switching States And Emotions Rapidly, Midi Mockup

  • Review students’ Prey cue
  • LIVE Scoring – Atonal to Tonal – Grounded to Ungrounded
  • How to Record Initial Volumes into MIDI Instrument Tracks (and Gainstaging)
    • Adjusting CC’s on instruments, stems, leaving headroom on the master bus

PART ONE – Team Scoring Week, Bernard Hermann

  • Spotify listening playlist – Film Score History – Bernhard Herman, Vertigo & Psycho film scores
  • Review students’ Mizimono cue
  • Working with a Team – Work in pairs remotely to write Great Wolf Lodge cue.
    • Some of the best film score composers today have teams – Hans Zimmer, Harry Gregson-Williams, etc.
    • Who will write what? Style? Tempo? Key? Who will do the Deliverables to submit to Producer?
  • HOMEWORK – Great Wolf Lodge cue

PART TWO – Stacks And Ensemble Writing, Master Business Planning

  • Review students’ Mizimono cue
  • LIVE Scoring – Make an Instrument by Stacking instruments – Omnisphere is great for this. Trailer music and music library work, and Pop – these will require that you bring something new to the table. Can turn them into Risers, resample them, add FX plugins, etc.
  • Write a Master Plan – Don’t be on the No Plan Plan. Make a list of people, organizations, events, etc that you can access to promote yourself and make connections and relationships.

PART ONE – Computer Technology, Romantic Comedies

  • Computer configuration – Tech spec discussion regarding requirements for a good computer or network – size, speed, etc.
  • Review students’ Great Wolf Lodge TEAM cue
  • Romantic & Romantic Comedy music –
    • Instruments, writing styles, sample libraries
    • Woodwinds feature heavily, Pizzicato, Lydian mode, mallets, not super heavily orchestrated, etc
  • Write a Romantic Theme for violin. Deliver a chart for just the violin part. Send audio of orchestration or accompaniment with separate click track. Next week, we’ll have a live violinist in the studio to play and record your theme.
  • Spotify listening playlist – Romantic Comedy Score review
  • HOMEWORK – Titanic cue

THURSDAY – LIVE RECORDING IN CLASS WITH STRING PLAYER

PART ONE – Sync Music,promo Music, Hits Slams, Drums

  • Review students’ Titanic cue
  • Sync Music – Different styles, musical beds, used before TV shows, announcing new series/episodes, in movie trailers.
    • Definite format to this style
    • Big drum sounds
    • Editable hit points
    • Original music or Soundalikes
  • How to get your music in front of the right people. Who are the right people? How does the business of Sync music work?
  • Spotify listening playlist – PROMO Music/Sync playlist.
  • HOMEWORK – Back to the Future cue

PART TWO – Trailer Music<,music Pitch Part Two

  • Review students’ Titanic cue
  • LIVE Scoring – Trailer ending sample (last 15 seconds)
    • BIG ending, fast and frantic
    • Rise, Post Hit, then a sparkly thing at the end
  • Samples Libraries good for Trailer sounds

PART ONE – Video Game Music And Industry

  • Video Game Music – Non-linear, think in “blocks” of music
    • Must loop right at the zero point and create a tiny fade at the front and the end. Snap to Zero Crossings.
    • Emotional Mapping
    • Vertical Resequencing, Horizontal Resequencing
    • Cross Fading
    • Transitions
    • Middleware – Game Audio Engine
  • Spotify listening playlist – Video Game Music Mix
  • Spotting session – Video game cue “sections”. Deliver loopable audio regions for selected parts of the game.
  • Review students’ Back to the Future cue

PART TWO – Advanced Chordal And Tectural Scoring Techniques

  • Review students’ Bank to the Future cue
  • LIVE Scoring – Leading Shapes, Whole Tone Scale – Go from Lydian shape to resolution, which needs to modulate somewhere else. Use Leading or Common Tone resolutions style.
  • Leading Shapes, Whole Tone Scale – very useful if someone comes to a new place, or if there are mixed emotions.
    • Two whole tone scales – one starting on C and one starting on C#. Triads are all Augmented triads. Lots of Lydian Shapes in the Whole Tone Scale.
    • Leading Resolution
    • Common Tone Resolution
    • Alternate Root Notes

PART ONE – Mixing And Mastering

  • How the Video Game music business works – special events, etc
  • Review students’ Video Game loops
  • Mixing & Mastering Considerations –
    • Think front to back – far to close
    • Where to put reverb plugin in the signal chain
    • Frequency Masking
    • Drum sample mixing
  • HOMEWORK – Toy Story cue
  • Students screenshare live and “show and tell” their mixing workflow for the Toy Story cue. Have DAW open to show us.

PART TWO – Guest Composer

  • Guest composer Gigi Meroni Animation music specialist.
    • References for music given by Producers.
    • Are most of your episodes shorter these days?
    • Do you get writer’s block?
    • What are some good ways to try to get work when you’re just starting out?
  • Mixing Drums – Split them out and mix separately – LOTS of detail regarding drum positioning, panning, bleed, overhead mics, EQ ranges for each drum type, etc.

PART ONE – Personal Plan, Business Development, Final Full Episode

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • HOMEWORK – Wolf Lodge FINAL 24-minute episode cue
    • Theme for each character
  • ScoreCraft Academy Post Class Action Plan review
  • 20 questions to answer in detail about what concrete things you will do within different timeframes to get you further along in your composing career

PART TWO – Speed Write

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • LIVE Scoring – Speed & Accuracy – How far have you come?
    • Section vs Section of Orchestra contrast. Write one complete section of the orchestra by itself, not across sections, and write it into another section of the orchestra.

PART ONE – Synthesis

  • “Analog Synths Explained” from Groove 3 video by Scott Dugan
    • Oscillators, Filters, Envelope Generator, Attack/Decay/Sustain/Release ADSR, Low Frequency Oscillator (LFO’s)
  • Favorite analog synth plugins and hardware.

PART TWO – Getting Paid, deliverables, Live Sound Design Session

  • Music Library Business format and payment process, royalties & publishing
  • LIVE Scoring – Sound Design Synthesis – Learn to use an LFO. Write a 20 second Intro to a trailer.
  • Omnisphere’s LFO – How to assign and use LFO’s

PART ONE – Brand Development, director Producer Interviews

  • What is your BRAND? It’s more than just music. It’s your journey. Document your journey, and share it! Do it in a way that will inspire people.
  • What will you bring to a project?
  • Why am I right for the project?
  • Michael interviews each student with the questions above.
  • Important concepts to convey to potential project managers –
    • I’m an expert, not a jerk about it.
    • I have a passion for music.
    • I have a passion for the project.

PART TWO – Personal Development, Score Reductions

  • Conductor’s Score Reductions review
    • Scherzo for Motorcycle and Orchestra score reduction and analysis Indiana Jones (NMK Music)
    • Finlandia score reduction and analysis (NMK Music)
  • Uncommon Sense for Creative People – Whitty-isms
  • Submit “My Strengths and Weaknesses” paragraphs to Michael. Notice how they may have changed since the beginning of the class.

Final Wrap

  • No Zoom – just hanging together.
  • “Alan Silvestri breaks down the composing workflow behind his blockbuster scores” (by Native Instruments) video
  • “Watch this every day and change your life – Denzel Washington Motivational Speech 2023” by AlexKaltsMotivation video
  • Final