Hey guys! Would like to find out what music genre you create
If your genre is missing in the option you can as well just write it in a comment!
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Foxedge wrote:It for sure will be pretty tough to get into film scoring and to actually make good money out of it. But I think the problem isn't to find the right contacts then or to get a job, but to become so good that you could actually work as composer.
Because if you get a job and they want you to make a 100 minute soundtrack (which doesn't include the other 200 minutes that won't make it into the final product) you need to be able to pull of 20, 30, 40 full tracks within the deadline.
bones wrote:You think? I reckon it's pretty easy stuff to do. Pretty much everything I do feels like it could be useful as film music. Hans Zimmer had no formal training and look where he's got to.
Foxedge wrote:but the question is if the directors do feel that too.
I am not yet past that point were composing is just "a job", a thing "I simply do", I still need to see if it will go well or not, because I gotta learn a lot still.
I wouldn't wonder though if he had learned it all by himself until today, because it's simply a huge benefit to understand what you're doing, making conclusions, understanding connections and last but not least, to communicate with other musicans, especially when you hire an orchestra and other solo instrumentalists.
bones wrote:Foxedge wrote:but the question is if the directors do feel that too.
That's not the question because the directors will never get to hear you at all, so they will never have an opinion one way or the other.
bones wrote:I am not yet past that point were composing is just "a job", a thing "I simply do", I still need to see if it will go well or not, because I gotta learn a lot still.
Trust me, nobody who works in film or TV production or post-production thinks of it as "just a job". Everybody is passionate about what they do and work way harder than anyone who thinks of work as "just a job".
Foxedge wrote:You misunderstood me here. I was referring to when you apply for working on a project and someone is actually listening through your compositions to decide if you get the job or not.
he needs to understand the whole matter of writing music so well that he can just pull great tracks out at any time, always, without the danger of getting stuck due to the lack of knowledge here and there. The avaiable set of skills must be diverse and proof.
That was what I wanted to express, it is a very hard level to reach.
bones wrote:NO, I got it. I was telling you that just because you apply for a job doesn't mean anyone will get around to listening to your demos. Production staff simply won't have the time. I've been working in the industry for 21 years. In that time I have had more than a dozen different jobs and I only ever got one of them by applying. Every other job I have got has been through someone I know or someone who knows me. That's how the industry works because nobody has time to go through an application-selection process.
bones wrote:Again, I think you are talking about a whole different thing to me. When was the last time you watched a film that had 10 "great tracks"? Most of the stuff I like has maybe one piece with more than just one or two instruments and everything else is just atmosphere - a couple of moody string chords or light percussion. If you want to be the next John WIlliams, you need to go and study music at a conservatory somewhere so you can learn orchestral arrangement and all of that stuff. OTOH, if I wanted to be anything it would be the next Mark Snow or Ramin Djawadi.
bones wrote:I think the mistake you make is assuming that to get anywhere you have to be good. That's not often the case. Mostly you just have to be good enough or have the confidence to convince others you are. Experience matters far more than qualifications. That's how the world works.
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