two main people in charge |
|
producer:
Hire a custom writer who has experience. It's time for you to submit amazing papers!
order now
manages production of film; hiring, financial, schedule etc.
director:
makes the movie; from location to actors, action to music. answers to the producer
|
|
|
composter and dirctor
meet to view and discuss the music, etc.
|
|
|
version of music complied from previous soundtracks to convey the mood of the film |
|
|
organizing all scenes in correct order.
usually longer than the final cut
|
|
|
this version is cut to within 5-15 minutes of final verious length.
often used for reviewing the ‘flow’ of the movie.
|
|
|
(“locked cut”): final version shown in theaters.
music is usually added to the fine cut.
|
|
|
film and music combined.
once approved this version gets duplicated for distribution.
|
|
|
portion of film requiring music.
(usually identified using numbers)
|
|
music is considered _______ (after the film is made) |
|
music is considered post-production (after the film is made) |
|
how much is a music budget?
what did it used to be? when?
|
|
1.5% – 2.5% of total film budget is used towards the music.
(used to be 3% – 5% in 40’s and 50’s)
|
|
what is needed for the music part of a film? (8 parts) |
|
- rehersal time needed (difficult score?)
- musicians needed
- source music (license fees often expensive)
- recording time on scoring stage
- pre-recording (music needed dring filming e.g. instrument played by actor, music for dance scene, etc.)
- mixing – recording studio time
- orchestrators
- music copyists
|
|
all composeres & publishers belong to what 3 angencies?
what are they called?
|
|
ASCAP
BMI
SESAC
(performance royalty societies)
|
|
what do the performance royaly societies do? |
|
they collect fees that are paid for use of the music (ex: license fees) |
|
|
orchestrate the music given by composer
for the intended ensemble to perform
|
|