Wow, I'm glad I found your channel! Great, practical advice, particularly in relation to revisions (making the revision noticeable and not taking revision requests personally). I think you've presented this video at just the right level - expecting that the viewer knows the theory and language but just doesn't have the experience. Great work (and great production too!).
4:12 - Priceless. After 30 minutes of digesting suggestions you "isolate" the core of musical direction for yourself, and then... It's just you, and how much you can DO 🙂 !!
Thank you Jonas! Loving the content you've been putting out, super helpful! I was wondering if you would ever put out a video on being declined or fired from a job and how to deal with that as well as how to bounce back emotionally from that kind of scenario.
Great topic! I haven’t personally been fired (yet) but I’ve been on teams we’re the lead composer was replaced -- I’ve also been rejected from tons of pitches so I’ll put something together for this thanks for the idea!
Thanks Jonas! This was very helpful for me because I've had some of these questions on my mind, but never ask them. Great video and quality is top tier as always.
Very insightful video (and very professional production) as always - and in addition to the answers to the 4 questions we got some very useful extra tips about revisions. The one about overdelivering was a great reminder for me. Thank you!!! My question proposal for the next episode: how much creative freedom do composer's assistants have? Are they mostly polishing the main composer's ideas or bringing new (musical) ideas to the table?
@jonasfriedman I have followed you for a while now since I started tilting towards film score. I have few questions and also an enquiry to make, would you mind sharing your email or any other means I can get across to you please 🙏? Thank you
Really good information, thanks! It's a lot of things to get in place. I imagine myself starring at those cue sheets and trying to figure out where on earth we are right now 😂
Appreciate the comment - Things always get easier as you get used to them, it seems like a lot of info now probably but as you get used to the process of the job things become less overwhelming
Really appreciate this comment, I wasn’t sure anyone would watch this b/c it’s not sexy like you said but the info is so important. Appreciate the comment
this is such a helpful video! how does the naming scheme change when you send revisions? and do you have to send all the stems each time your revise it?
Really fantastic question - wish I put this in there. I only send stereo files for review - inside the naming scheme for the file is a version number -- the stereo file is the only file that gets this - and it’s left in when everything is approved and sent for final mixing stage
Man seriously appreciate your videos!! So informative. I wonder if you have any advice on how to go about learning other genres? As you mentioned, I recognized versatility as being a big part of modern media scoring, but how do you best learn a genre you aren’t really comfortable in and be able to write in that style authentically without being too cliche? How do you make something sound original enough in a style you don’t have experience in?
This requires a longer explanation so maybe I’ll make a video about it but in short - my approach has always been to start by copying - then after I’m fluent in someone else’s style I find a way to make it my own - takes lots of practice and there’s various exercises I’ve done to go through this process which I’ll put in the video - great question!
Thanks for this, Jonas. Useful info. Question - are we still delivering 24 bit 48Khz? That’s what I was taught but is that still the standard? Was also wondering if the resolution changes (downward I’d assume) for the final consumer product (ie tv broadcast or movie)?
Yep I deliver 24bit 48khz - absolutely everything from visual to audio gets compressed when being broadcast whether it’s on streaming or traditional tv just the nature of these things -
That’s something I honestly should know more about but in fact know very little. I’ve always operated in the world of if it sounds good and is not consistently in the red I send it along. Again not saying this is the best right way to go about it and I need to learn more about lufs but my lack of knowledge has not caused any issues at this point
great video! How often do you compose in other time signatures or switch them? Or do you pick one and stick with it for a whole cue and adjust the tempo to hit your marks.
It really depends on what the project needs - it’s not common but I will compose in other time signatures or switch to another time signature for a few bars where needed - for example - need to hit a picture change in the 3 and so we adjust time signature for a bar
Love the video, Jonas! I was curious, is rescoring scenes from existing films okay for a composer reel? I've been blessed to work on an indie feature, but it's the only project under my belt and I was wondering if I should make a reel out of rescoring scenes instead?
I think it’s good practice and if your using it to showcase to another composer it’d be okay as long as it’s labeled “rescore” but I wouldn’t personally use it when showing to potential collaborators a keep the focus on your work. And btw you almost never send a video reel for pitches but instead just audio 🙂
This was terrific. Thank you for making it. I have a question as well. I'm just getting started with composing and I'm very, very slow because I'm still learning about 200 new things about the process for each composition. What is a good production benchmark for when I'm fast enough to begin considering trying to get my work looked at? Minutes of music per day? Stems per hour? I really don't know what to shoot for to be "ready" to start looking for work; I just know that I'm waaaaaay to slow right now. 😆
I would say don’t put too much pressure on yourself in the beginning. Focus less on your production output quantity and focus on the quality. Once you can produce music that is on par with other professional productions then I’d say to practice making it as much as possible. As you do it’s like lifting weights you’ll build natural ability to come up with ideas faster and work faster in general. I have a video on productivity for composers as well and different techniques to use at this point to work more efficiently (I believe it’s something like why pros compose faster) That all said once you’re making great quality music I’d shoot for being able to produce 3 minutes a day and then grow from there. Different styles and different projects take different amounts of time - ie orchestra vs pads and piano will take totally different amounts of time - but on average 3 minutes of really well produced music is a great goal. Long answer I know but hope it helps!
One more question? even if we are already great in a score composing - how to find someone who work to? So many producion libraries not working with new composers, as well as trailer labels. And find some company to make a film for them is a hardest thing i came across.
I’ve talked about getting work in other videos and will try to put together practical resources for this but at the end of the day make your music great - use all of the unbelievable resources and advantages social media offers to put your work out there - read about marketing sales and branding and combine all of that into your business to attract people to your work and to introduce yourself to potential collaborators
I love your videos man. I had a question, you said that on a project where you receive an entire film or episode to work on that you would make every musical cue its own session. Am i understanding correctly? Ive been scoring everything in one session but its always like i have to bounce stuff and make my tracks inactive to make more room all the time. I feel like i dont know why i never thought of that
Yes that is correct - ever cue is its own session - the final stems and stereo mix are then exported and those are placed into a master session by you or the music editor (often the music editor) and send off to final mix stage for the film
@@jonasfriedman thanks man. I appreciate you sharing your knowledge. Coincidentally me seeing that video couldn't have come at a better time because last night I opened a project that I've been working on and when I tried to commit a track to wav it popped up and said I was out of tracks available for that session. 😂🤪 it was like close to 130 tracks 😂. I'm glad to no longer be an idiot. Ha ha. I went through and consolidated best I could and got a fresh session ready to work on tonight. I am excited. Ha ha.
We have members for the pro course from all different daws from cubase and logic to studio one and ableton. It’s for anyone who composes using midi and I also include screen shots of my plugins and track settings so anyone working in different daws can adapt those same settings to their sequencer
Thank you for this, and YES to a conforming video, please! 10:32
Cool thanks for letting me know 🤘
Wow, I'm glad I found your channel! Great, practical advice, particularly in relation to revisions (making the revision noticeable and not taking revision requests personally). I think you've presented this video at just the right level - expecting that the viewer knows the theory and language but just doesn't have the experience. Great work (and great production too!).
Appreciate it! Really happy to know it was helpful for you
4:12 - Priceless. After 30 minutes of digesting suggestions you "isolate" the core of musical direction for yourself, and then... It's just you, and how much you can DO 🙂 !!
💯! Appreciate the comment
Thank you Jonas! Loving the content you've been putting out, super helpful! I was wondering if you would ever put out a video on being declined or fired from a job and how to deal with that as well as how to bounce back emotionally from that kind of scenario.
Great topic! I haven’t personally been fired (yet) but I’ve been on teams we’re the lead composer was replaced -- I’ve also been rejected from tons of pitches so I’ll put something together for this thanks for the idea!
Love this! Thanks for a very informative reference video!
My pleasure thank Andrew!
Absolute gems in this video, especially the last advices are diamonds.
Thanks for sharing them Jonas !
My pleasure, happy to know it’s been helpful!
More fantastic answers! Great video as always, keen for that conforming video too!
Awesome! Thank you!
Thank you. I'm learning each time I see one of your videos.
So happy to hear that!
Thanks Jonas! This was very helpful for me because I've had some of these questions on my mind, but never ask them. Great video and quality is top tier as always.
Glad it was helpful!
Your channel is such a fantastic resource, Jonas! Another great video. Thank you! 🙏 And I also vote for a conforming video.
Thank you very much!
This video is gold! Thank you for this content
My pleasure!
Thank you for your great efforts. Wonderful content:)
Really appreciate it, thanks for checking it out
Can't believe this information is all free - thanks for another amazing lesson!
My pleasure, appreciate the comment
Thank you - awesome.
🤘
Thanks so much J ! I really appreciate your knowledge and generosity. Cheers !
My pleasure thanks for watching!
Awesome video Jonas and very helpful. Thanks so much for sharing! 👍
So happy to hear it was helpful thanks for watching!
Thanks Jonas, great and useful information as always! Would be very interested to see a video on conforming. Have a great day. :)
Noted! Appreciate the comment
Great teachings! Thank ou Jonas
My pleasure thanks for watching🤘
Very insightful video (and very professional production) as always - and in addition to the answers to the 4 questions we got some very useful extra tips about revisions. The one about overdelivering was a great reminder for me. Thank you!!! My question proposal for the next episode: how much creative freedom do composer's assistants have? Are they mostly polishing the main composer's ideas or bringing new (musical) ideas to the table?
Fantastic question I’ll see what I can put together
Thank you ❤
You're welcome 😊
@jonasfriedman I have followed you for a while now since I started tilting towards film score. I have few questions and also an enquiry to make, would you mind sharing your email or any other means I can get across to you please 🙏? Thank you
@emmygoldstudios - please use the contact form on ModernMediaComposer.com - thanks
Really good information, thanks! It's a lot of things to get in place. I imagine myself starring at those cue sheets and trying to figure out where on earth we are right now 😂
Appreciate the comment - Things always get easier as you get used to them, it seems like a lot of info now probably but as you get used to the process of the job things become less overwhelming
Thanks Jonas
My pleasure
This is super interesting. Thanks for diving into these niche topics (that may not be very sexy). It's super helpful and insightful!
Really appreciate this comment, I wasn’t sure anyone would watch this b/c it’s not sexy like you said but the info is so important. Appreciate the comment
@@jonasfriedman All good. Thanks for uploading anyways, even if you weren't sure it'd be watched :)
this is such a helpful video! how does the naming scheme change when you send revisions? and do you have to send all the stems each time your revise it?
Really fantastic question - wish I put this in there. I only send stereo files for review - inside the naming scheme for the file is a version number -- the stereo file is the only file that gets this - and it’s left in when everything is approved and sent for final mixing stage
@@jonasfriedman gotcha, that makes more sense. sending steams each time seems really tedious haha, thanks for the reply!
👌 Many Many Thanks
💛🙂🙏
You’re welcome!
Great video
Thanks!
Man seriously appreciate your videos!! So informative. I wonder if you have any advice on how to go about learning other genres? As you mentioned, I recognized versatility as being a big part of modern media scoring, but how do you best learn a genre you aren’t really comfortable in and be able to write in that style authentically without being too cliche? How do you make something sound original enough in a style you don’t have experience in?
This requires a longer explanation so maybe I’ll make a video about it but in short - my approach has always been to start by copying - then after I’m fluent in someone else’s style I find a way to make it my own - takes lots of practice and there’s various exercises I’ve done to go through this process which I’ll put in the video - great question!
@@jonasfriedman awesome. Thank you!
Thanks for this, Jonas. Useful info. Question - are we still delivering 24 bit 48Khz? That’s what I was taught but is that still the standard? Was also wondering if the resolution changes (downward I’d assume) for the final consumer product (ie tv broadcast or movie)?
Related: I’ve also wondered about LUFS.
Yep I deliver 24bit 48khz - absolutely everything from visual to audio gets compressed when being broadcast whether it’s on streaming or traditional tv just the nature of these things -
That’s something I honestly should know more about but in fact know very little. I’ve always operated in the world of if it sounds good and is not consistently in the red I send it along. Again not saying this is the best right way to go about it and I need to learn more about lufs but my lack of knowledge has not caused any issues at this point
great video! How often do you compose in other time signatures or switch them? Or do you pick one and stick with it for a whole cue and adjust the tempo to hit your marks.
It really depends on what the project needs - it’s not common but I will compose in other time signatures or switch to another time signature for a few bars where needed - for example - need to hit a picture change in the 3 and so we adjust time signature for a bar
Love the video, Jonas! I was curious, is rescoring scenes from existing films okay for a composer reel? I've been blessed to work on an indie feature, but it's the only project under my belt and I was wondering if I should make a reel out of rescoring scenes instead?
I think it’s good practice and if your using it to showcase to another composer it’d be okay as long as it’s labeled “rescore” but I wouldn’t personally use it when showing to potential collaborators a keep the focus on your work. And btw you almost never send a video reel for pitches but instead just audio 🙂
@@jonasfriedman Gotcha. And I didn't know about audio reels being the main type of reel, appreciate the info!
This was terrific. Thank you for making it. I have a question as well. I'm just getting started with composing and I'm very, very slow because I'm still learning about 200 new things about the process for each composition. What is a good production benchmark for when I'm fast enough to begin considering trying to get my work looked at? Minutes of music per day? Stems per hour? I really don't know what to shoot for to be "ready" to start looking for work; I just know that I'm waaaaaay to slow right now. 😆
I would say don’t put too much pressure on yourself in the beginning. Focus less on your production output quantity and focus on the quality. Once you can produce music that is on par with other professional productions then I’d say to practice making it as much as possible. As you do it’s like lifting weights you’ll build natural ability to come up with ideas faster and work faster in general. I have a video on productivity for composers as well and different techniques to use at this point to work more efficiently (I believe it’s something like why pros compose faster)
That all said once you’re making great quality music I’d shoot for being able to produce 3 minutes a day and then grow from there. Different styles and different projects take different amounts of time - ie orchestra vs pads and piano will take totally different amounts of time - but on average 3 minutes of really well produced music is a great goal. Long answer I know but hope it helps!
One more question? even if we are already great in a score composing - how to find someone who work to? So many producion libraries not working with new composers, as well as trailer labels. And find some company to make a film for them is a hardest thing i came across.
I’ve talked about getting work in other videos and will try to put together practical resources for this but at the end of the day make your music great - use all of the unbelievable resources and advantages social media offers to put your work out there - read about marketing sales and branding and combine all of that into your business to attract people to your work and to introduce yourself to potential collaborators
I love your videos man.
I had a question, you said that on a project where you receive an entire film or episode to work on that you would make every musical cue its own session. Am i understanding correctly?
Ive been scoring everything in one session but its always like i have to bounce stuff and make my tracks inactive to make more room all the time. I feel like i dont know why i never thought of that
Yes that is correct - ever cue is its own session - the final stems and stereo mix are then exported and those are placed into a master session by you or the music editor (often the music editor) and send off to final mix stage for the film
@@jonasfriedman thanks man. I appreciate you sharing your knowledge.
Coincidentally me seeing that video couldn't have come at a better time because last night I opened a project that I've been working on and when I tried to commit a track to wav it popped up and said I was out of tracks available for that session. 😂🤪 it was like close to 130 tracks 😂. I'm glad to no longer be an idiot. Ha ha.
I went through and consolidated best I could and got a fresh session ready to work on tonight.
I am excited. Ha ha.
Is the Modern Media Composer Course Meant for Specific DAWs, or is it a General MIDI Composing course?
We have members for the pro course from all different daws from cubase and logic to studio one and ableton. It’s for anyone who composes using midi and I also include screen shots of my plugins and track settings so anyone working in different daws can adapt those same settings to their sequencer
Conforming.
🤘