Yes, would definitely like to see a video on midi prep, especially on working to the grid (or not), getting different libraries to work well together in the grid, track delays, etc.
@jonasfriedman you don't read music??? Wowow! 🤯🤯🤯. How do you create your scores? I was so sad knowing that I couldn't read sheet music because of personal reasons. How do you manage to make your scores so perfect without writing?
@@yoily_weinberger I write it in midi / I make sure everything looks and sounds good a I then hand off to a trusty copyist / of on big projects orchestrators to make the sheet music. I learned everything by ear so I’m not classically trained
GREAT VIDEO! IMO, you’re one of then most concise presenters on TH-cam. Judging from the level of organization in the videos, I’m sure your clients love working with you.
Hey Jonas, Marcus Galic here, thanks for answering my questions! Great information, really helpful and really streamlines the process of working in a team that makes it clear. Looking forward to more videos from you!
Everyday is honestly different, which is a lot fun. Some days are 8 hours in the studio, others are 12 or 16. When I was at the height of juggling projects I worked min 12 hours a day 7 days a week for many months and sometimes the hours where much more (I try not to do that anymore). Some days I shoot these videos and work on other projects that interest me, so it’s always changing :)
Thanks for your content. Ann Katherine Dern just post a video about this aspect of the work, and how it tends to involve less and less people to produce a soundtrack nowadays. You guys are synced !
On 2 films I did it was 4 writers not including the lead composer. On top of that there was a tech assistant and general studio assistant who did a cue here and there every once in a while Another film I did it was just me and the main composer. So it fluctuates depending on how much overlap the studio has and how efficient he team is in general
@@jonasfriedman budget is also I concern I assume. do these assistants get credit for the work, and royalties? or a flat fee? quite a curious employment position
@Doty6String that’s where it gets tricky. Some lead composers credit fairly and appropriately and include cue sheet appropriately - others give credits far beneath the work of an additional music writer and do not give cue sheet or only partial - every studio and lead composer is different in this regard - Obviously this can and has created ethical problems and there has been a lot more talk about it lately with news articles in the industry taking notice but sometimes it’s not just an issue with the lead composer but with the studio and creative team behind the project and how their understanding of composing teams - it’s a delicate and in depth topic I’ll try and address at some point
hey jonas! i was wondering how much work you do remotely and if assistant composers can work remotely or if they should work at the same studio as the lead composer?
I do 100% of my work from my home studio and have for many years. Other than when I worked with junkie xl where i did maybe half the time in my home studio and half the time from his - one of the reasons i have always been able to do this is I have a really good setup - all the necessary VI’s, security systems etc. However I still recommend to people starting out to spend at least some time in the same studio as a lead composer if they get an opportunity to do so. you will form much deeper relationships with multiple people and I just think it’s the best option for a little bit. Even when u was working remotely for lead composers I was getting together with them for lunch a few times a year - I was meeting them at the studio just to deliver files and hang for a little bit. Once you’re up and running on your own for sure work from wherever but I would never discount the advantages of FaceTime and deep learning as an assistant - and even after you’re up and running on your own I personally would choose real in person face to face meetings with anyone I’m looking to build a serious relationship with
Do you mean like main title music for a film series or game? Or logo music that’s maybe 5 seconds long for advertising? In the advertising side I feel more and more of that can be covered potentially by music libraries or editing sometimes - sometimes composers get opportunities to do a logo like the famous Fox fanfare or dream works logo but that’s a rare opportunity. Tv openings / titles or game openings and titles are most common in my experience and I think is a great video topic 🤘
@jonasfriedman I meant music that is designed for titles animations like Fox, Universal Pictures, and even shorter versions. The point is music that is designed for logo reveals. Does that make sense?
@@yoily_weinberger ahh so I don’t have much experience with that - they’re very rare opportunities since studios keep those sound bytes for decades - but I imagine it’s like composing for any out other logo or main title bumper will try to address at some point
Great video as usual! On your note regarding sound design, could you please talk about finding the sound for the film? For example, playing the samples straight from the box is straightforward, but how do you produce it to cater to an indie short film? A Network film? A student film? How do you tweak the sound of the music to service the individual project and what are some ways to determine how to go about this process. Thanks always! Your thoughts and efforts are always appreciated.
@@jonasfriedman excited for that! Thank you. I don’t think I’ve seen too many composer TH-camrs explore this aspect in great detail. Looking forward to it
I would think managing a bunch of musicians would resemble herding cats. How hard is it to assemble a team that is creative, yet also responsible & can follow directions?
Ha! Well this is a great question and analogy. Finding the right people is challenging - they have to be a great musician and producer and then on top of that have a sense of professionalism with an understanding that yes you may be an artistic and creative person BUT you’re also part of a service industry. When you find those people things can run smoothly - but the process of filtering out those who lack the understanding of professionalism is where it can be tough. But that’s the old saying - good help is hard to find!
Yes, would definitely like to see a video on midi prep, especially on working to the grid (or not), getting different libraries to work well together in the grid, track delays, etc.
Awesome thanks for the comment going to get some stuff in the pipeline
Yesss, video on score preparation would be awesome ! Do you also convert your midi from Cubase into Dorico in this step ?
Since I can not read music I don’t personally do anything with notation software and let the orchestrator or anyone else take my midi and convert it
+1 on this
@alvarorodriguezfilmmusic 👍
@jonasfriedman you don't read music??? Wowow! 🤯🤯🤯. How do you create your scores? I was so sad knowing that I couldn't read sheet music because of personal reasons. How do you manage to make your scores so perfect without writing?
@@yoily_weinberger I write it in midi / I make sure everything looks and sounds good a I then hand off to a trusty copyist / of on big projects orchestrators to make the sheet music. I learned everything by ear so I’m not classically trained
GREAT VIDEO! IMO, you’re one of then most concise presenters on TH-cam. Judging from the level of organization in the videos, I’m sure your clients love working with you.
Really appreciate your kind words! Thanks for watching
@KevinDePreeMusic exactly. There are only 2 producers IMO that create scores with perfect textures, Hans Zimmer and Jonas Friedman!
Hey Jonas, Marcus Galic here, thanks for answering my questions! Great information, really helpful and really streamlines the process of working in a team that makes it clear. Looking forward to more videos from you!
My pleasure! Happy to hear it’s been helpful
So much helpful and new things to know! (as always)
Many many thanks! (as always)
👌💛🙏
My pleasure happy to know it’s helpful
Just watched this video again. It was extremely helpful. Thank you!
Happy to hear it!
Great video! I guess it's a huge step from composing additional music to being lead composer. So many things can/will go wrong.
It definitely is!
As always, super helpful! 👏🏼🙏🏼
Happy to hear!
Awesome video
Thanks!
Great insight!
Thanks!
@@jonasfriedman Thank you too!
Thank you.
You're welcome!
@@jonasfriedman I absolutely love your pro course. Very well done. I’m learning so much.
@@cheribarkman1784 so happy to hear! Thank you so much for share 🙂
Thank you
You're welcome!
hey jonas, what does a day in the life look like for you depending on how many projects you're juggling?
Everyday is honestly different, which is a lot fun. Some days are 8 hours in the studio, others are 12 or 16. When I was at the height of juggling projects I worked min 12 hours a day 7 days a week for many months and sometimes the hours where much more (I try not to do that anymore).
Some days I shoot these videos and work on other projects that interest me, so it’s always changing :)
@@jonasfriedman wow sounds intense but also exciting, thanks for the reply!
Thanks for your content. Ann Katherine Dern just post a video about this aspect of the work, and how it tends to involve less and less people to produce a soundtrack nowadays. You guys are synced !
She’s wonderful and always has great on sights. Thanks for watching and leaving a comment!
Besides the great and useful content, your videos also look great, what lighting, gear, and cameras do you use ?
Thanks! Sony A7iii / aputure key and hair light and then some tube lights behind the desk (all aputure) gmaster 1.4 50mm lense
How big are these teams on say a feature film? How many “assistant” composers are there on a project like that?
On 2 films I did it was 4 writers not including the lead composer. On top of that there was a tech assistant and general studio assistant who did a cue here and there every once in a while
Another film I did it was just me and the main composer. So it fluctuates depending on how much overlap the studio has and how efficient he team is in general
@@jonasfriedman budget is also I concern I assume. do these assistants get credit for the work, and royalties? or a flat fee? quite a curious employment position
@Doty6String that’s where it gets tricky. Some lead composers credit fairly and appropriately and include cue sheet appropriately - others give credits far beneath the work of an additional music writer and do not give cue sheet or only partial - every studio and lead composer is different in this regard - Obviously this can and has created ethical problems and there has been a lot more talk about it lately with news articles in the industry taking notice but sometimes it’s not just an issue with the lead composer but with the studio and creative team behind the project and how their understanding of composing teams - it’s a delicate and in depth topic I’ll try and address at some point
hey jonas! i was wondering how much work you do remotely and if assistant composers can work remotely or if they should work at the same studio as the lead composer?
I do 100% of my work from my home studio and have for many years. Other than when I worked with junkie xl where i did maybe half the time in my home studio and half the time from his - one of the reasons i have always been able to do this is I have a really good setup - all the necessary VI’s, security systems etc.
However I still recommend to people starting out to spend at least some time in the same studio as a lead composer if they get an opportunity to do so. you will form much deeper relationships with multiple people and I just think it’s the best option for a little bit. Even when u was working remotely for lead composers I was getting together with them for lunch a few times a year - I was meeting them at the studio just to deliver files and hang for a little bit. Once you’re up and running on your own for sure work from wherever but I would never discount the advantages of FaceTime and deep learning as an assistant - and even after you’re up and running on your own I personally would choose real in person face to face meetings with anyone I’m looking to build a serious relationship with
@@jonasfriedman perfect, thank you for the reply!
What about logo intro music ( brand music and logo animation music )? How would you do that? Can you please make a video on that topic?
Do you mean like main title music for a film series or game? Or logo music that’s maybe 5 seconds long for advertising? In the advertising side I feel more and more of that can be covered potentially by music libraries or editing sometimes - sometimes composers get opportunities to do a logo like the famous Fox fanfare or dream works logo but that’s a rare opportunity. Tv openings / titles or game openings and titles are most common in my experience and I think is a great video topic 🤘
@jonasfriedman I meant music that is designed for titles animations like Fox, Universal Pictures, and even shorter versions. The point is music that is designed for logo reveals. Does that make sense?
@@yoily_weinberger ahh so I don’t have much experience with that - they’re very rare opportunities since studios keep those sound bytes for decades - but I imagine it’s like composing for any out other logo or main title bumper will try to address at some point
@jonasfriedman awesome!
Great video as usual! On your note regarding sound design, could you please talk about finding the sound for the film? For example, playing the samples straight from the box is straightforward, but how do you produce it to cater to an indie short film? A Network film? A student film? How do you tweak the sound of the music to service the individual project and what are some ways to determine how to go about this process. Thanks always! Your thoughts and efforts are always appreciated.
Really good questions - I’ll see if we can put some videos together on this topic
@@jonasfriedman excited for that! Thank you. I don’t think I’ve seen too many composer TH-camrs explore this aspect in great detail. Looking forward to it
I would think managing a bunch of musicians would resemble herding cats.
How hard is it to assemble a team that is creative, yet also responsible & can follow directions?
Ha! Well this is a great question and analogy. Finding the right people is challenging - they have to be a great musician and producer and then on top of that have a sense of professionalism with an understanding that yes you may be an artistic and creative person BUT you’re also part of a service industry. When you find those people things can run smoothly - but the process of filtering out those who lack the understanding of professionalism is where it can be tough. But that’s the old saying - good help is hard to find!