The Process

What is involved in scoring a film? This article outlines the people and places of the film music process. Depending on the budget and timeline of the film, sometimes the composer handles all of the following tasks.

Spotting Session

The director, composer, and music editor review the film together, and spot the film for music. The director shares any thoughts on general music direction and might play some examples as they determine where the film needs music. After this meeting, a SMPTE sheet is often created which lists the cues, the start times, scene descriptions, film reel, and other details. This document will be used often throughout the film scoring process for prepping ProTools sessions for the record, music programming, conforming, engraving, determining rates in the license agreement, and creating ASCAP cue sheets. This is why filmmakers deliver the reference video with a burn-in window which shows a visual display of the SMPTE timecode.

Composing Themes
The composer writes the central themes that will tie the film together. Many composers will score a major turning point in the film first, whereas other composers will begin to write themes with no reference to the picture. All composers must eventually work with the film in tight synchronization when it comes time to underscoring, if the music is going to fit well with the film. Composers use software such as Digital Performer, Logic, Sibelius, Finale, ProTools, Cubase or a variety of other MIDI Sequencers. While there is no set rule in creating music, depending on the nature of the score, composers usually try to write about 2-5 minutes of music a day

Music Programming

Most composers have a good idea what the music is going to sound like in their head,but directors and studios like to hear a Mockup before they spend  money on musicians and recording studios. A Music Programmer uses keyboards, samples, computers, and other music equipment to develop a Mockup of what the music will sound like. These mockups are beginning to sound so realistic that on many TV and web productions live musicians are rarely used. Even films with large music budgets use these elements in the final mix to boost up the live orchestra.

Conforming and Editing
If the film has picture edits being done at the same time as the composition process, the music editor will often have to conform the music to fit the new picture cut. Using audio and music software, the editor will cut sections of the music out, or extend sections in other places to fit the picture changes. The music editor works closely with the composer and the director to confirm that the music is in the right place.

Engraving

An Engraver will take the MIDI (Musical control data) files from the music programmer, or the composers own hand written sketches, and create a set of scores and parts that the musicians and conductor will use to record the music. This sometimes requires a team of engravers and copyists, as well as a music librarian at the recording sessions to organize the music.

Scoring Session
After the music has been composed, a music contractor hires the musicians, and the studio personnel and technical staff are assembled. Usually present at the scoring sessions are the composer, director, music editor, recording engineer, ProTools operator, sometimes an Auricle operator, and various assistants and techs.

Mix
This is the final stage where all the elements come together. The music is mixed in 5.1 surround sound, and then sent off to the dub where it is mixed in with the dialogue and sound effects for the final soundtrack mix.