How To Make A Music Video With Your Own Song How to Match the Music to Your Movie – Secrets of a Music Supervisor and Film Composer

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How to Match the Music to Your Movie – Secrets of a Music Supervisor and Film Composer

And so you finally put together a great group script and even recorded some of your scenes. You are beginning to think about post-production, editing and the final impact on your film. .. What about music? Should you hire a writer? What about the music manager? What to do?

So many filmmakers find themselves in this position. As evidenced by a visit to an industry council or a filmmaker’s workshop, inevitably someone has completed 90% but still hasn’t thought about where to get the music, either personal scoring or track. Licensed songs and melodies.

So with that in mind, here’s an overview of how music matches your movie.

1) Who is the intended audience?

Whose movie do you want to watch? The tighter your focus, the better. Do not just talk together. Think about who you love the most and even tell others and spread and preach the gospel of your great work. These are the dead and your core audience. After all, creating something is all about connecting with your audience. Who is your audience?

2) What kind of feelings do you want to express?

The music is so cool that it is invisible and still very energetic. It’s like a magic weapon of communication. Just look at the advertising industry. 99% of 30-second TVs have music or a form of enhanced sound design acting as music. Music is something that carries emotions. It passes through the left brain, which judges rationally and towards the core of emotions. You will not see people crying in movies without music – guaranteed. You can try this experiment at home. Watch some shots or horror and mute or mute. You will not jump on your chair. In fact, this is a great test. Open the movie like Friday the 13th with a mute. Then open a CD of something like Django Rheinhardt or Dixieland swing or something like that song by Katrina & the Waves & “Walking on Sunshine”. The coherence is very interesting. And this is what music managers and you always do. They think about the sub-theme of the scene and the whole part of the film, and they match the music.

3) Limit your global reach.

Now you need to determine the choice of music / mood you want to communicate. In a scene list, you can start writing keywords. For horror stories, you may want to write words like fear, anxiety. There must be a release from stress somewhere as well. By creating this list before your observation, you have a way of communicating with your team whether it is your editor, composer, producer, music manager and so on. There should be no music.

4) It’s all about time

The latest great filmmaker Jerry Goldsmith remarked, “It’s all about time.” 80% of the work is done by matching the rhythm of the scene. It starts to be specific and each composer or music director will have their own acceptance, but generally there is a rhythm created for a scene based on the editing and the overall context of where we are in the story. .

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