SCOREcast 31: Total Request (Sorta) LIVE!
In our first Q&A episode, we open up Twitter, Facebook, and a hangout on Google+ to hear what's on your mind about writing, producing, "politiking", and navigating the business.
Read MoreSCOREcast 28: Richard Bellis
Emmy Award-winning composer Richard Bellis hangs out with SCOREcast for an in-depth look at the state of the film music business.
Read MoreRyan Leach: Long Distance Scoring
Today's technology has made it possible to score a project with anyone no matter where they're located. However, long distance scoring does come with plenty of challenges.
Read MoreSpotting With the Composer and the Sound Designer
Yes yes yes…I know…we entertained this subject last month. However, in the tradition of Post, I am following up last in the process! This subject has been of particular interest to me, and has sparked a lot of interest among my colleagues in Post Production. Discussing spotting is a subject unto itself as we have seen with all the fascinating articles and comments these past weeks. The focus this time will be on the advantages, disadvantages, pluses and minuses of spotting a project with the Composer AND the Sound Designer present with the Director. Sitting down in a room, all together, with the same goal in mind… helping the Director tell the story. On the surface, it seems like a no-brainer — why NOT do this? Save time and energy; reduce the classic 'conflicts' during the final mix; the left hand knows what the right hand is going to do; efficient; cost saving; keeps the creative focus. Ah, if it were only that simple.
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