Nan Avant: Audio, Delivery, and a Quick Response

My experience as a composer has been primarily working with independent filmmakers with smaller budgets on short, feature, and documentary films. As I read through the articles from this month’s SCOREcast writers, I found similar scenarios that I also encounter in my work — one of them being the question of audio demonstration. Whether the project is with a local filmmaker or an out-of-town client this is certainly a factor to consider, and I have learned to ask many questions at the beginning of a new project.

S. Peace Nistades: It’s Not Done ‘Til It’s Done

… One thing every project has in common is deadline and delivery. As I’ve been working on project after project, I’ve put a lot of thought into getting to that final phase as smoothly as possible for both myself and the client by looking at the entire process leading up to deadline and delivery. Something that has remained true about the process on most of the projects I’ve worked on is, it’s never done ‘til it’s done.

All About Delivery for Film and TV Music

From a technical point of view, preparing music files for delivery according to your client’s requirements should be a pretty straightforward thing. Although every project is a little bit different, there are some standard procedures, and we’ll go over them, with some definitions, a few precautions, and one or two minefields. Copyright secured by Digiprove © 2011All Rights ReservedOriginal content here is published under these license terms: X License Type:Read OnlyLicense Summary:You may read the original content in the context in which it is published (at this web address). No other copying or use is permitted without written agreement from the author.

Heather Fenoughty: Acknowledge Your Success

I cannot emphasize enough how incredibly important it is to acknowledge your success in creating, to completion and delivery, a musical score. This music that you have produced is an integral part of the film, show, game or whatever project it is. It could not exist in its current form without your efforts. For the sake of your growth as a composer, sound designer, or other post-production professionals, you must underline the importance to your own psyche that this is a moment to be emphasized and cherished, that it is something desirable – and so to be repeated.

It’s Never Over

This weekend’s post ties together a couple of the topics we’ve touched on during first year here at SCOREcast (has it really been almost a year… we ought to do something to celebrate! Hmm…): delivery and studio organization. The question, then:

Is a gig ever really over? Sometimes it’s clear when you’re finished (especially if things go, how you say, not so well). Other times, though, it seems that these ghosts of gigs past come back to haunt us over and over. More on all of this after the jump.

Delivery vs. Demo

Today’s Provocation strays ever so slightly off our April theme, but I hope you’ll follow along anyway. I’m going to lay out my some of my own ideas on turning delivered cues into demo cues. My overall opinion: if you want to put your best musical foot forward, there’s work to be done. Potentially lots of work.

Better Delivery With OMF and AAF

As composers, we are all accustomed to delivering audio (and sometimes even video) information under many different circumstances and in many configurations. As an audio engineer, I am often on the receiving end of this information, and I’ve seen just about every disaster you can imagine.

You are going to see a lot this month about “delivery”—stems, dubs, pre dubs, etc. I want to jump in and give you some info on two delivery formats that you may or may not be too familiar with, in hopes that they will help give you a more solid method for getting your content shipped around the world.

James Olszewski: Delivering Micro-Projects

To a do-it-yourself composer working on student films, non-paying gigs, super-low-paying gigs, and other micro-projects (although don’t call them that!), delivery may not seem like that big of a deal.

Sometimes it isn’t; sometimes “delivery” amounts to emailing an attachment to the dude you’re working for and saying, “Here you go.” If your uncle is working on a home video and wants you to throw something together in exchange for him washing your car, go for it—do it that way.

But what happens when your career jumps up from micro-projects to mini-projects; or from mini-projects to legit projects? Wouldn’t you want to already have the professional delivery processes and habits, and lessons-learned in place from the start? Micro-projects are a great learning ground. So go learn—make your mistakes while the stakes aren’t high. All of us, regardless of how small the project is, should at least try to deliver professionally. If you don’t, you won’t make any mistakes at it until it counts, and then it’ll hurt.

April’s Theme: Delivery & Finaling

We’ve covered a lot of ground here at SCOREcastOnline.com this last month as we’ve talked about “spotting films” and we are going to continue to discuss some of the other technical aspects of the post-production process over the next 60 days as we close in on our website’s one-year anniversary in May.