Which comes first, editing or music composing?
- Thread starter HeyAndy
- Start date
Andrew McCarrick
Carbonite Member
I've done both, but normally edit first.
Erich Ocean
Active member
Both. Temp music for the edit, final music after the edit is done.
It's pretty hard to edit without some kind of music to pace by.
It's pretty hard to edit without some kind of music to pace by.
randin
Well-known member
Weird, there's another very similar thread in the audio section. Here was my response there to the question of when a composer should start.
Anything's possible these days... especially as more and more... ahem... non-composers are doing film music. Many recent big hits were done basically as music inspired by the script, set visits, conversations between director and composer, etc., and then the film was edited with the music.
I for one strongly prefer the old school way, working with a locked cut. Of course a locked cut is hard to come by these days.
Partly because, as Dave Fisk said, it's a pain in the bit. Even if you think, "I just cut 4 frames there and 5 there," it can be a massive project for the composer to adjust to. Sometimes it can be as easy as just changing the tempo (speed) of the music a beat or two per minute for a brief section and you're ok, especially if it's all electronic music. If you've got recorded live instruments, that's not so easy. And if you can't get away with that and have to actually change how the music is written and... well, the project I have open in front of me right now has about 50 tracks. I would have to do some sort of untangling and reworking in every one of those 50 tracks to adjust to 4 frames here and 5 there. This is the biggest issue of course in action, cartoons, or anything where music has to work very tightly with the picture.
The other thing is, as some of the great composers of yesteryear said and I subscribe to, the best thing is for the composer to get their own emotional reaction to and inspiration from THE FILM and the performances and direction choices in it rather than the script or intellectual conversations about the film. I prefer to watch a finished film with no temp music as my first introduction to it. That way I've got my own real reaction to the film to work with.
Another thing about that, which some directors see as a benefit, but sometimes it can cause some tension, is that the composer is a key creative on the film who is coming to it with fresh eyes as it's finishing up. Everybody else on the film has been with it a long time, sometimes too long! Many times I've had directors really appreciate some of my feedback when I come in at the fine cut stage.
But like I said, anything is possible. I would suggest hiring the composer early in the process just so you can get into it and decide together what the best process for your film will be.
There's my essay on the subject!
Anything's possible these days... especially as more and more... ahem... non-composers are doing film music. Many recent big hits were done basically as music inspired by the script, set visits, conversations between director and composer, etc., and then the film was edited with the music.
I for one strongly prefer the old school way, working with a locked cut. Of course a locked cut is hard to come by these days.
Partly because, as Dave Fisk said, it's a pain in the bit. Even if you think, "I just cut 4 frames there and 5 there," it can be a massive project for the composer to adjust to. Sometimes it can be as easy as just changing the tempo (speed) of the music a beat or two per minute for a brief section and you're ok, especially if it's all electronic music. If you've got recorded live instruments, that's not so easy. And if you can't get away with that and have to actually change how the music is written and... well, the project I have open in front of me right now has about 50 tracks. I would have to do some sort of untangling and reworking in every one of those 50 tracks to adjust to 4 frames here and 5 there. This is the biggest issue of course in action, cartoons, or anything where music has to work very tightly with the picture.The other thing is, as some of the great composers of yesteryear said and I subscribe to, the best thing is for the composer to get their own emotional reaction to and inspiration from THE FILM and the performances and direction choices in it rather than the script or intellectual conversations about the film. I prefer to watch a finished film with no temp music as my first introduction to it. That way I've got my own real reaction to the film to work with.
Another thing about that, which some directors see as a benefit, but sometimes it can cause some tension, is that the composer is a key creative on the film who is coming to it with fresh eyes as it's finishing up. Everybody else on the film has been with it a long time, sometimes too long!
Many times I've had directors really appreciate some of my feedback when I come in at the fine cut stage.But like I said, anything is possible. I would suggest hiring the composer early in the process just so you can get into it and decide together what the best process for your film will be.
There's my essay on the subject!
Yeah, here's the thread in Audio. Worth a read, as there are a couple other responses from this evening (esp. Noiz2) that can be helpful.
http://www.dvxuser.com/V6/showthread.php?281359-When-does-the-composer-get-the-film
http://www.dvxuser.com/V6/showthread.php?281359-When-does-the-composer-get-the-film
gonzo_entertainment
Veteran
"I for one strongly prefer the old school way, working with a locked cut."
Yes, can start work on themes, passages, general direction, but no point in really getting down to it until you have locked video.
Yes, can start work on themes, passages, general direction, but no point in really getting down to it until you have locked video.