How MUSIC & SOUND Is Organised For FILM, TV, GAMES
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- เผยแพร่เมื่อ 9 ธ.ค. 2023
- In this film Christian encounters a mighty vlog-bomber in a street in Manchester whilst on his way to a dub. The part of film making when three departments come together for a bunfight. In this definitive expose on the inner workings of sound departments across many media. Christian aims to pull the curtain back on how not to go to war with your fellow sound departments by demonstrating how he experienced harmony and a good collaborative creative spirit across a sprawling epic that has taken him 2 years to complete.
Vlog Bomber played by: Jeremy Piven
Music by: C Henson 'Hysteresis" using Crow Hill's String Murmurations, check out demo and more here: thecrowhillcompany.com/
Download the “rummage pack" from the hub at thecrowhillcompany.com/hub/ membership is free, we don't take a credit card or anything) to access this resource hub.
What are your methods for organisation of those precious data crumbs? - เพลง
ADR actually stands for automatic dialogue replacement. In the days of tape based recording, there was a set of beeps or a video wiper used to cue the talent. Some actors were so aware of their own dialogue pacing and cadence that they could do their ADR cues in single takes. The studio I worked in back in the 80s… in Portland, Oregon, mind you… did a fair amount of ADR work for industrial video production, so I learned a lot from that. In current times, ADR can be easily time corrected with a plug-in… Vocalign was the first.
Halla… in the US is called “walla” as in the background conversations sound like, “walla, walla, walla, walla, walla…”. There are specialized groups who do nothing but Walla for films.
I once got to sit in on a foley session where the big thing that day was creating a train crash… very entertaining and educational to say the least. Foley artists are quite amazing to say the least.
Wow! How generous it is on your part to share all this.
This vidéo alone has thought me a lot!
I'm at the learning stage and you are and will be one of my most important teacher.
Thank you so much!!!
An overwhelming workflow. I worked on a game and had hardly any of these hurdles, but I can totally see the value in it all. Very insightful and extremely profound. I have learned so much and will apply on the next project.
Artist, composer, techy, project manager... Wow! Blows my mind.
Weird how dialogue is often so hard to hear in cuttent films.
There is a great video by Vox about this, search: "Why we all need subtitles now"
But in a nutshell: Recording technology and its application has vastly improved allowing and demanding more nuanced speech performances (a.k.a. mumbling).
At the same time we are listening to extremely dynamic mixes created for massive sound systems in cinemas on our phones with speakers smaller than fingernails surrounded by a world of more and more background noise.
As usual it is awesome, so cool to have those insights! Thanks Christian!
Thanks so much for sharing this info and workflow, I believe implementing this will help a great deal in the future. Thanks for all your generosity!
Brilliant! Thank you for sharing in such detail your documentation process. Truly valuable.
So helpful, and weirdly timely with upcoming work..... Thanks as always.
Love these videos. Part of my chill and learning time.
Thanks for this.. Tells me that I'm very aware of those aspects of the trade that many other fledgling composers possibly don't have on their personal radar at the outset, no offense. Thanks, so incredibly valuable and congrats galore on having successfully completed this massive TV job! You're a true inspiration in terms of never letting weaker minds beat you down who do their hardest to be a massive snag in your very impressive career! Trainloads of mad respect for you on every count, on every "bar" of this musical journey of yours!
Great video, very informative and well explained.
Thanks a lot!
What an insight! I LOVE this kind of content. I have a real interest in how things are done. Many thanks :-)
Brilliant insight for anyone who’s interested. And a brilliant resource too. Thank you! 🙌👍
Great video Christian. I’m now a composer and teach music for tv and film and this is a great resource. We worked together in our drum and bass days on MC Conrad’s album, logical progression 4. That amazing session with Inda on percussion! Hope we meet up again soon. M.
Christian, thanks for sharing this workflow you spent years to be made with all your experience from lots of projects! 🙏🏼🙏🏼🙏🏼
Having this kind of workflow is really how a true professional works, because it`s not only thinking about your convenience, but others in a project team.
It really allows you to be focused more on the composing by freeing your mind from all these overwhelming and chaotic aspects of working with a huge production team and big projects.
In big projects like TV series or games, it is all about breaking down a GIANT amount of work into small "biteable" chunks.
My personal experience in the corporate world taught me to write down and simplify huge projects to this kind of Excel sheet or Word document.
Also while working with non-musical people, you may spend lots of time and energy explaining the amount of work you`ve done or work TO BE DONE, so at least some kind of wrote-down table or document helps you a lot in the long run.
This video is a life saver, thank you!
Thank you Christian!!!! Cheers!!!
Great insight to the complexity of it all….so not for the faint hearted! BUT it’s so cool to see your attention to the filing and the detail - so utterly essential.
so generous and thoughtful. gold Christian, gold.
Outstanding presentation.
Very helpful video! As a record producer, I use a Google sheet to organize my progress and client notes on albums. it is very helpful to me, but I can see that on your job it is more than helpful but impossible to do without. Well Done!
This is amazing.
Composing a soundtrack for a movie or tv show, it's a beautiful, awesome nightmare. Thanks for sharing.
Fascinating stuff!
That’s great. Thanks for the insight. The process sounds terrifying to me, but when you consider that it’s for very large and important projects it makes sense. I’m still trying to land a small game or independent video composition gig. But, I’ll start off on the right foot using your template and advice when and if that happens. Thanks!
LOL @0.52 Random CR-78 in bookshelf! ❤
Would be really interesting to hear your thoughts about how this process changes when you move from TV to working in video games.
I ❤ these videos.
Hiya! Love this video and been a big fan for many years on these vids! Id LOVE it if you did a vid on the impact of machine learning on music and the future of a place (as a composer) in media and content generation. Its been a much talked about topic in my circle, but id love to know more on your opinion about the impact of machine learning on music and how we are humans can differentiate ourselves or better yet...convince people that we are worth MORE than the machine learned writers and how we protect ourselves against corporate entities that view us as "more expensive" than machine generated music.
Hope we can know what series this is in the future :)
Also nice to see some of the process going into scoring... i can feel the stresslevels this would cause if you didnt have a proper team around you. I remember Tom Holkenborg once said on his first feature film he sat crying like a kid on the toilet for a few hours realeasing all the stress and tension after his score was approved :D
You have no idea how much I missed these videos. Generosity personified!
Bit sad not to bump into you whilst you are knocking about my city. Re your comments concerning dialog, pass that on to Nolan as he keeps norsing it up.
My 2 x pet hates with dialog are:
1. Don’t be lazy and rely on ducking/compression to make your dialog audible, take the time to dynamically carve E.Q.
2. Get someone else outside the project to Q.A. the Beta audio. Why? Because you and everyone else has read the script and heard the mix 100 times, so you’re more likely to favour lower dialogue levels.
This is very true - same goes for anyone mixing live sound, whether TV or stage - if it’s a multi - day performance of the same material or reading a script during a live tx you have the same issues of familiarity to deal with!
I used to work as a copy writer in advertising and I used a folder structure with "from client" (and subfolders "briefing" or "feedback), "shipped", "screenshots" etc., using Mac Os file colors to mark what's archived (grey), current (red) or approved (green). In addition to filenames with a date (and often a time when there were several versions within a day) and some human readable content, like client, project, title and my initials.
So not very different from what you do - apart from hating Excel, it's the bane of mankind!
What you're calling "Holler" is known as looping. In addition to hits and efforts (things that happen in fight scenes), loop groups also do things like medical and police jargon (things like pa announcements in hospitals or dispatch on a walkie-talkie). These are all improvised - there is no script so the actors who specialize in this typically have backgrounds in medical training, etc. They also do voice matching for the on-screen actors when there are scheduling conflict and post-production can't get the on-screen actors into an adr session. How do I know all this? My wife is a voice actor.
Crazy,. So intimidating and borderline overwhelming. I love writing cues and hope to do it for film and TV someday, but I am not organized like this and am terrified of this part of the process.
Furthermore, what I rarely see anyone address: how do you organize things BEFORE you've started actually writing specific cues? How do you organize things when you are just sketching ideas out? Here's what happens for me:
I start a session for something else. Maybe just a free write. And then I stumble upon a cool patch and start building something that might work for a different project. But, because Ive already titled it for a different thing and it's in a different folder, it so easily gets lost in the shuffle. I would love to see how a composer organizes raw, free writing ideas and THEN starts organizing them into something like this. Because nobody ever seems to talk about that. And thats just not how I work. I don't know what's going to happen when I sit down to compose.
Love your comment about the need to get scripts early on - shame they constantly change even up to the last day of the production! (It never ceases to amaze me that crews can work in this chaotic world of uncertainty - pity the poor 1st Assistant Director who has to schedule the shoot and the edit team trying to cut it to the latest version from the ‘grown ups’ - so how you can trust a script to be accurate as the composer I will never know!
Just watching this gives me palpitations. I'm still pen and paper for checklists with a final film session I put the finished cues in.
Ive only done little films so the idea of a series terrifies me if I'm honest.
Protip: Date format should be YYYYMMDD - You’ll never turn back.
For searchable dates I use "2023 12-10 December"....especially for computer file names.
In written form typical "10. Dec. 2023."
@@SirWhiteRabbit-gr5so I like the addition of the month name.
Month name as well. MMDDDDMM gets confusing for others, specially with project deadlines.
Oooh I’ll give that a try!
This is the way the filenames are easily sortable on date. We use three letters for months when it comes to pharmaceutical projects, because that way you can't ever mistake days and months
Fascinating. Do producers,directors mandate such control standards? Is there an industry standard? If so, does this control & coordination record become a contract deliverable or series of?
0:32 That guy was perfect 😂
class is in session 😀
Did that long file name format only apply to STEMs that get exported? Do you or your editor have a script or other shortcut to batch-naming files?
If you don't recommend using Dropbox, which other file sharing/pool would you recommend for such assignments?
Thanks so much for sharing this wisdom! Maybe I'm doing something wrong, but in the hub I don't see the "bible", the only download seems to be a logic project. Has the link been removed or am I looking in the wrong place??
Hi Christian, thanks a million for this incredibly educational insight. Unfortunately I can't seem to access "The Bible"
. Any help would be greatly appreciated.
"Cue" in film with scores comes from directors early in Hollywood saying "cue the lights, cue the camera, cue the music... action!" It's an old term from Chaplin and others, Key Stone Cops.
Does anyone have any resources for learning this craft of film composing? I've been aspiring for a while. I don't really know what I'm doing and I feel like I'm flying blind...
I don't really want to go spend $20k on an online certificate program. I don't even really know if I want to do this as a career. It's more of a hobby right now that I've gotten paid to do a handful of times.
I don't feel very confident and I want to learn more about the craft and figure out how to do certain things.
i have a question how come you use logic and then pro tools cant you do everything in one daw? or is there a process.. sorry if you already explained this before...
I would say that the organisational method for games differs slightly. Don't forget a huge proportion of a sound designer for games' job focuses on implementation of sounds into the game engine - which is a highly technical process. Honestly if you do sound for games - you should consider yourself a game developer first and sound designer second.
Hi Christian very interesting presentation. I write macros for Excel ( VBA) so if you need to automate any activities in your work flow then I would be more than willing to write some code for you……fair exchange for years of free instruments…merry Xmas🙏🏿🙏👍
12:55 If not Dropbox, what do you (and the rest in the comment section) recommend?
WeTransfer gets used a lot. But the free version is very limited on terms of size, 2 gig or something like that. And time. Link only lasts for a week I think.
Paid version has no limits I think.
Google drive, one drive, iCloud, sharepoint
2nd this question!
I find We Transfer very good. The fact you know when your colleague has downloaded the file is priceless
Besides WeTranser, there is also MASV. It has some neat features organization wise in the desktop app, my fav being the "No Zip file". Saves time and frustration on the other end.
That guy was the best 😂
he was the spicy background layer 😆
Automated dialogue replacement (ADR)
Where can I find this Bible Template it is not in the hub? When I try to download it there I can only download a logic session without any doc file
Hi, we've just updated the download link on the hub so should have everything in there now.
ADR is Automatic Dialog Replacement; it ain't automatic though...
You said your "team" a few times. What "team" should a "composer" have?
I thought we were 1 man shows...
No room tone? Lol
Well I am now completely put off aiming to make music for tv/movies. My brain has now well and truly been fried. Thanks for nothing Mr Henson.
Still will not stop me making music though.
No no no! The idea is that you have these tools, sheets and workflows so you don’t have to engage your brain.
offer to be my stepdad still on the table
modern sound mixing of dialogue is the worst. so many people use subtitles because of it