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Guest Post: Academy Award Nominated Editor Tim Squyres Shares a Pair of Musical Anecdotes

Guest Posts

By Tim Squyres

We made Crouching Tiger, Hidden Dragon on a very limited budget, so my staff was just me and my assistant sharing one Avid system. The action scenes were all shot almost entirely MOS, and we didn’t have the manpower to add sound for each grunt, footstep, and weapon hit, so in cutting those scenes I didn’t bother with sound effects and focused instead on making the music right. For the assembly I had used some fast, heavy Japanese taiko drumming for the first chase/fight scene that worked really well. For the assembly screening, the first time the director saw the film, we had a volume knob in the theater. I told my assistant, who was manning the knob, to start it pretty full and to keep creeping it up as the scene went on, so that by the end it was really, really loud. Everyone loved it, and we never considered a different musical approach to the scene. Music can be tremendously effective at setting the tome of a scene, and editors who ignore it often get surprised when a scene winds up doing something different than they had planned because they hadn’t paid enough attention to the music.

 

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Tim Squyres

Tim Squyres

Tim Squyres is an Academy Award nominated film editor and frequent collaborator with director Ang Lee. He is known for his work on such films as Crouching Tiger, Hidden Dragon, Life of Pi and most recently Angelina Jolie’s Unbroken.

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Accidental Love on VOD

Accidental Love, is now available on VOD.

Quick Tip: Looping Backwards in ProTools

ProTools, Quick Tips

When working with loops, ProTools makes it easy to loop a region. There are two methods. My favorite is to simply highlight the clip I want to loop and click Command + D (Edit Menu > Duplicate) as many times as I want the region to loop.

You can also click Command + Option + L to open the Clip Looping  window (Clip Menu > Loop) and use the Clip Looping window to loop the clip as desired.

Both methods work well when looping forward, that is adding loops following the original clip. But what if you want to add a loop backwards, that is add a loop before the original clip?  Luckily there’s a key combination that makes this possible.

Hold down Control + Command + Option and then click on the clip you want to loop backwards. It’ll work just like Duplicate (Command + D), except the new clip will appear in front of the one you’re looping.


If you have any questions, feel free to contact me, or add a comment.

Blog

Big Shake-Up to Music Licensing Regime Embraced by U.S. Copyright Office

The U.S. Copyright Office released a report today entitled Copyright and the Music Marketplace, where it outlines its vision for the future of music licensing. This is big news to anyone that creates and/or consumes music, in other words everyone.

Click here for more from The Hollywood Reporter, or the link above for the actual report.

Exciting times!

Blog

Guest Post: Scoring Fast With A Small Budget

Guest Posts

By Chris Ridenhour

Scoring a 90min film in under 2-3 weeks is like running a marathon race. I like to be as prepared as possible. The first thing I do, if possible, is spot the film with the director. Then I work out the themes, motifs and create my template in Logic. I like to vary my template from film to film to give myself as much sonic variety as possible.

I usually score a reel at a time, each averages around 22+ minutes. I allot about five days to complete the first reel. The second and third reel usually go pretty fast since I’m in the ‘zone’ and have a good feel for the picture. By the last reel I’m pretty much running on adrenaline to get it done in time, which usually yields good results since I don’t have time to second guess my decisions. Once the last note is written, then I go back through the whole score and modify, refine the score and orchestrations. Then I do another pass on the mix and master.

If my budgets are limited I try to play as many live instruments as possible. In my case this is guitar, cello, vocals and custom samples. Occasionally I’ll hire a live player depending on the cue. I don’t like ‘all sample’ scores. The best recorded samples will never equal the feel of live player.

If the score deadlines are super tight, I’ll invite a composer friend to write additional music based on my themes and orchestral template.

As far as the business end of things, if the budgets are super small, I would recommend trying to keep the publishing or at least a percentage of it if at all possible. This is especially beneficial if the film has good distribution. Make sure a music lawyer looks over the contract before you sign anything. Also try and negotiate soundtrack rights.

Lastly, I recommend staying in shape. Sitting all day in a chair under constant stress is very bad for your health. Try to eat right, get up and walk around every hour. A standing setup is also a good idea.

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Chris Ridenhour

Chris Ridenhour

Chris Ridenhour is  a composer known for Hansel Vs. Gretel, Mega Shark vs. Giant Octopus and #1 Cheerleader Camp. For more about Chris, click here for his IMDB page.

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Blog

Always Respond

One of my pet peeves is when people don’t respond to emails or phone messages. It seems to have become common these days to simply ignore people. If someone has taken the time to contact you, clearly he or she think highly enough of you to reach out for whatever reason. The least you can do is respond.

There’s an old saying “be nice to people on your way up because you’ll nee them on your way down.” I think this applies even if you’re already at the top of your profession.  You never know when someone who contacted you when they were on their way up might be in a position to help you or provide some opportunity down the road.

If you’re too busy or uninterested, it only takes a few seconds to send an email reply, even if it’s a simple “Thank you for your email. I’m afraid I’m unable to help you at this time. Good luck.”

If you have the time and are able to respond more substantially, by all means do so! If it’s a fan, your kind response will stick with them for a long time.

Either way, they will always remember whether you ignored them or took the time to respond.


 

If you have any questions, feel free to contact me, or add a comment.  I promise I’ll respond.

Quick Tip: Finding the Tempo of a Track in ProTools

Quick Tips

Here’s a quick and easy way to identify the tempo of a track using ProTools:

1. Import the track into your ProTools session.

2. Create a region (Command + E) of several bars – I like to use at least 4 bars. Be as accurate as you can when identifying a downbeat (see image below).

Separate Clip at Selection

Separate Clip at Selection

3. Select your new region and Click Command+I (Event menu > Identify Beat…)

Identify Beat

Event > Identify Beat

This will open the Add Bar | Beat Markers window.

Command + I

Command + I

4. In the Add Bar | Beat Markers window, enter the start and stop bar of your selection along with the time signature. In this example I made a region that was 9 bars long at a time signature of 6/8.

Add Bar | Beat Markers

Add Bar | Beat Markers

ProTools will automatically move the song start marker to the beginning of your selection and insert the calculated tempo, in this case 96.1398.

Tempo Identified

Tempo Identified

It’s not uncommon for the tempo to be slightly off. ProTools is sample-accurate and calculates the tempo based on our selection. But us humans are not sample-accurate, so our selections will likely be slightly off.

In the above example, the beat was identified as 96.1398. It is actually 96. You can change the tempo manually if you wish. The longer the selection you use to identify the beat, the more accurate it will be. And here’s For King & Country, the track I used for this example:

https://shierozow.com/wp-content/uploads/2015/01/for_king_and_country.mp3

If you have any questions, feel free to contact me, or add a comment.

Quick Tip: Auto-Play? Don’t!

Quick Tips

Many music players allow you to automatically play music when your website loads. If you’re considering using an auto-play feature, please don’t!

Someone may be visiting your site while at work, or in a public space, or while listening to other music, or watching TV, or some other situation where auto-playing would be disruptive, not to mention it’s just plain annoying.

If a visitor wants to listen to music on your site, they know how the click the play button.


If you have any questions, feel free to contact me, or add a comment.

Blog

String Writing Aid

String-O-Graph

String-O-Graph Set

Ever wonder if double, triple & even quadruple stops are possible on a string instrument? There are a variety of resources and books that’ll list various common variations or offer finger charts. Years ago, I was introduced to the String-O-Graph, which I love and find useful when writing tricky string passages.

The String-O-Graph is simply a life-size fingering chart for violin, viola & cello, which you can print out and then physically feel where the fingers would be on the neck of the instruments.

You can order them here.


If you have any questions, feel free to contact me, or add a comment.

Blog

Manna for fans: the history of the hidden track in music

The Guardian

The Guardian

“From inner groove loops to absurd backmasking, artists have long found ways to embed secret songs, cryptic writings and coded messages in their albums.”

Read more about the history of hidden tracks in this wonderful article from The Guardian.

One of my favorite hidden tracks is Cosmically Conscious by Paul McCartney on his Off the Ground album. What’s your favorite hidden track?

Blog

What To Do When You Don’t Know How to Approach a Scene

I’m very lucky that when I watch a film without music, I often start hearing ideas for how to score the film in my head. I can imagine a score as I watch it, and feel like I know exactly what to do. Sometimes I can envision multiple approaches to a given scene.

But sometimes I watch a scene and… nothing. Crickets. No clue what to do. I’m at a compete loss for how to handle the scene musically. Sometimes this is a sign that the scene doesn’t need music. But sometimes it’s clear the scene needs some musical help, but I just don’t know what to do.

Whenever I experience this situation, whether cutting a temp-score or composing original music, I don’t spend too much time thinking about it. The first thing I try is grabbing some cues that work elsewhere in the film and putting them up against picture to see how they feel. Even if an idea seems ridiculous, I try it. Even the worst ideas can provide clues to what the music should be.

By trying different cues against picture, I get a sense for why a certain piece doesn’t work. Is it too fast? Too slow? Too dark? Too light? The wrong feel? The wrong style? The wrong instrumentation? The wrong size? The wrong energy? I may not yet know which path is the correct one, but I have just eliminated one wrong path.

If none of the cues used elsewhere work, I expand my search and look for music from other films, or sometimes even songs. With each track I try, I can eliminate wrong musical paths and the experiments inform me as to what isn’t working, and why it isn’t working. Usually after trying just 2 or 3 things I have a pretty good idea of what the music needs to be, and find the right path to solving the musical challenge of the scene.


If you have any questions, feel free to contact me, or add a comment.

Blog

Welcome to the blog

Welcome to my blog. This is where I will endeavor to share some of my personal thoughts, stories, links to sites and article that interest me, tips & tricks I’ve picked up over the years and whatever else comes to mind. On occasion I will include guest posts by friends and colleagues.

If you have any questions or comments, feel free to contact me and I’ll do my best to respond in a timely manner.


If you have any questions, feel free to contact me, or add a comment.

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