I'm precisely in the works of improving my skills to go and look for my first gig soon. Going for indie films to step in the business looks like a good idea. Contacting other composers to work with them sounds bold, but he who doesn't try will never succeed for sure. Thank you very much for all your videos and valuable advice.
I really love all this insight into your first experience into composing for films. I especially love your perspective on what you were realistically expecting would come out of that first opportunity. It took me a while to get to the point mentally, where I have more realistic expectations on my future projects and have a more wholistic approach/appreciation for whatever opportunities will come my way. Its especially encouraging to hear you say that you might've low balled yourself out of the sort of 'desperation' of trying to get your first opportunity. I haven't got any credits as well but like you, I believe that I'm fully capable due to the prior experience I have in other areas of music production etc. Thanks again for continuing to share your stories with us.
Awesome story on the importance of learning through experience and the value of relationships! Good music really is just the beginning, it takes so much more though to get ahead.
This is precisely what I needed to hear. I'm in a similar situation right now - my second scoring project ever was a feature I worked on earlier this year that's been playing at a few festivals. I was hoping the calls would come rolling in, but that definitely has not been the case... But, as you said in the video, it gave me a lot of confidence to continue pursuing this path.
Happy to hear this resonated Drew and congrats on the feature 👏 Keep going! A composer much older and more experienced than myself once told me “the awesome thing about this work is one day you can feel down about things and the next morning you get a phone call with the greatest project ever…if you keep putting yourself out there you never know what will happen next”
Amazing. Thank you for sharing this. Also isn't it awesome when we get to interact with people who are kind and respectful? Kindness and respect go a long way especially in creative industries.
I love seeing these bts of being the underdog instead of just basting in the glory of superstars. Some of us just want to work doing what we love for a enough pay.
Very cool, man! I'm the furthest thing from a composer but I am quite intrigued by the thought process of people in your profession. Good luck with the channel!
Excellent info, thanks Jonas! maybe in the future, you can make more about submitting a song to P.R.O , and a copyright video in general, I think many composers are interested in how to protect a song, find a publisher and release it on platforms. if you have any advice on where to learn about these things, maybe you could post a link, I think many people would be interested in it. Thank you!
Thanks @mirkodrobac9090 ! That's a great idea about doing video on copyright and PRO's. I'm not sure of a resource for this off the top of my head other than going to individual sites from organizations like ASCAP or The SCL. We'll add this to the pipeline!
this video gave me a lot of faith in being able to compose full-time. how did the process of acquiring work on films change as you started assistant composing on higher profile films and TV?
By assisting on higher profile projects it became easier for me to cold email people and introduce myself - the fact I I was associated with projects people knew made me feel “less random” to people. I’m not saying this makes logical sense but it’s something I noticed as time went on. From there I was able to build a more substantial network for myself - still was a long process but again being associated with work people knew made introductions much smoother especially if the person I was introducing myself to happen to know someone else that worked on the same project.
This is amazing! Question, do you think that contacting collage animation and film departments and film student graduates is a good way to get scoring credits?
@envrie9423 - absolutely! It's always beneficial to find other creatives who are at a similar point in their journey to befriend and collaborate with. The ones you have mentioned I think are a great place to start for most composers entering the space.
Hello Jonas, unrelated question but do you have any information about how JXL handled the delay compensation in his template ? Since he use massive expression maps with KS. Does he manually nudges the notes like in the ancient mesopotamian era 😆?
I use the track delay, and I believe he does the same - it's built into each track in cubase/nuendo and is located beneath the pan option NOT in the track explorer but to the left when you click on a track. when creating a template most libraries should be pre-set up according to how they're samples are recorded
@@jonasfriedman i agree, but track pre delay only allow you to set one value for all the articulations. If you have legatos and short on the same track, and you set pre delay based on the legatos delay, then the shorts would be playing too early. Inversely if you set the delay based on the short delays, the legatos will be very late
That’s one way but you have to realize it’s a really low barrier to do that meaning LOTS of people will be going that. Fewer people take the time to go to in person events and make the most of them. And I’m not talking about events for musicians - look for events for film makers - think like the people you want to work with think - so if you were an indie film maker how would you be trying to build your career? Where would you go to network and meet people that could help to u create the best short and long form films possible? Those are the places I’d recommend finding people and therefore projects - will elaborate on this more with maybe a couple of videos about networking cold outreach in general
I’m in this position right now and I’m so thankful for all the support and encouragement you give in this amazing channel ❤
Exciting stuff! Wishing you the best of luck
I'm precisely in the works of improving my skills to go and look for my first gig soon. Going for indie films to step in the business looks like a good idea. Contacting other composers to work with them sounds bold, but he who doesn't try will never succeed for sure. Thank you very much for all your videos and valuable advice.
My pleasure
I really love all this insight into your first experience into composing for films. I especially love your perspective on what you were realistically expecting would come out of that first opportunity. It took me a while to get to the point mentally, where I have more realistic expectations on my future projects and have a more wholistic approach/appreciation for whatever opportunities will come my way. Its especially encouraging to hear you say that you might've low balled yourself out of the sort of 'desperation' of trying to get your first opportunity. I haven't got any credits as well but like you, I believe that I'm fully capable due to the prior experience I have in other areas of music production etc. Thanks again for continuing to share your stories with us.
Really appreciate this comment. Glad to hear to you have found the video and stories insightful. First credit is the hardest!
Excellent, thanks very much Jonas!
My pleasure!
Awesome story on the importance of learning through experience and the value of relationships! Good music really is just the beginning, it takes so much more though to get ahead.
Couldn't agree more!
This is precisely what I needed to hear. I'm in a similar situation right now - my second scoring project ever was a feature I worked on earlier this year that's been playing at a few festivals. I was hoping the calls would come rolling in, but that definitely has not been the case... But, as you said in the video, it gave me a lot of confidence to continue pursuing this path.
Happy to hear this resonated Drew and congrats on the feature 👏 Keep going! A composer much older and more experienced than myself once told me “the awesome thing about this work is one day you can feel down about things and the next morning you get a phone call with the greatest project ever…if you keep putting yourself out there you never know what will happen next”
@@jonasfriedman That is excellent advice. Thanks for sharing it, and thanks for all the content you share with us!
Amazing. Thank you for sharing this. Also isn't it awesome when we get to interact with people who are kind and respectful? Kindness and respect go a long way especially in creative industries.
It is awesome!
Great advice. Your channel is going to help a lot of people!
appreciate it @stevenyotis7362 !
Super helpful and honest advice. Thank you 🙏🏼🙌🏼
Glad it was helpful!
This is fantastic thank you so much for sharing 😊
My pleasure
I love seeing these bts of being the underdog instead of just basting in the glory of superstars. Some of us just want to work doing what we love for a enough pay.
appreciate you checking it out
helpful and with many interesting advices. Thanks again for your videos.
Glad it's helpful!
Very cool, man! I'm the furthest thing from a composer but I am quite intrigued by the thought process of people in your profession. Good luck with the channel!
Appreciate it @edenatlas7440
I just watched your interview with Soundiron. You did a great job!
appreciate it!
Excellent info, thanks Jonas!
maybe in the future, you can make more about submitting a song to P.R.O , and a copyright video in general, I think many composers are interested in how to protect a song, find a publisher and release it on platforms. if you have any advice on where to learn about these things, maybe you could post a link, I think many people would be interested in it. Thank you!
Thanks @mirkodrobac9090 ! That's a great idea about doing video on copyright and PRO's. I'm not sure of a resource for this off the top of my head other than going to individual sites from organizations like ASCAP or The SCL. We'll add this to the pipeline!
this video gave me a lot of faith in being able to compose full-time. how did the process of acquiring work on films change as you started assistant composing on higher profile films and TV?
By assisting on higher profile projects it became easier for me to cold email people and introduce myself - the fact I I was associated with projects people knew made me feel “less random” to people. I’m not saying this makes logical sense but it’s something I noticed as time went on. From there I was able to build a more substantial network for myself - still was a long process but again being associated with work people knew made introductions much smoother especially if the person I was introducing myself to happen to know someone else that worked on the same project.
Very helpful and insightful thank you 🙏🏻 …also, would love to know the name of the instrument you’re playing on 8:32
It’s called a GuitarViol from a company called togaman guitars. Really versatile instrument
Awesome thank you 🙏🏻
This is amazing! Question, do you think that contacting collage animation and film departments and film student graduates is a good way to get scoring credits?
@envrie9423 - absolutely! It's always beneficial to find other creatives who are at a similar point in their journey to befriend and collaborate with. The ones you have mentioned I think are a great place to start for most composers entering the space.
@@jonasfriedman excellent, I'll try some different methods 👍 Deeply appreciate the film/tv composer content, super high quality!
Hello Jonas, unrelated question but do you have any information about how JXL handled the delay compensation in his template ? Since he use massive expression maps with KS. Does he manually nudges the notes like in the ancient mesopotamian era 😆?
I use the track delay, and I believe he does the same - it's built into each track in cubase/nuendo and is located beneath the pan option NOT in the track explorer but to the left when you click on a track. when creating a template most libraries should be pre-set up according to how they're samples are recorded
@@jonasfriedman i agree, but track pre delay only allow you to set one value for all the articulations. If you have legatos and short on the same track, and you set pre delay based on the legatos delay, then the shorts would be playing too early. Inversely if you set the delay based on the short delays, the legatos will be very late
@bensmirmusic ahh yes this is why I personally put my articulations on separate tracks and don’t use key switches.
spot demos? - oh, dear. Spare me!
Not sure what you mean
Hey Jonas,
How do you suggest we look for indie films? Through websites like indiegogo??
That’s one way but you have to realize it’s a really low barrier to do that meaning LOTS of people will be going that. Fewer people take the time to go to in person events and make the most of them. And I’m not talking about events for musicians - look for events for film makers - think like the people you want to work with think - so if you were an indie film maker how would you be trying to build your career? Where would you go to network and meet people that could help to u create the best short and long form films possible? Those are the places I’d recommend finding people and therefore projects - will elaborate on this more with maybe a couple of videos about networking cold outreach in general