I am currently taking on new film composition students through Skype. I currently have students in the US, Norway, Italy and Ireland.
Read about it here: http://alainmayrand.com/index.php/teaching/
You can contact me here: http://alainmayrand.com/index.php/contact-2/
Here’s my animation reel:
This is the definition of passion! Of never giving up and being true to your vision.
“White Tiger Legend” is an animated fantasy kung fu adventure from the CGI artist Kory Juul.
Kory has worked on such films as “Avatar”, “The Matrix” and “The Hobbit”. He has travelled the world to put this film together from a story that has been in him for many years. It’s really inspiring what he has done.
This is a film I would love to see and especially to score. I have seen the film as an animatic, and let me tell you, it’s a great story and it’s the perfect film for the kind of score like the ones that made us fall in love with film scores to begin with; huge, colourful, heart-pounding and thematic. With the independence of going the Indiegogo way, this is possible. And I have in me to knock this out of the park and make this a great film score.
I have been in touch with Kory for a number of years now, been witness to his incredible journey to make this dream become a reality, and he’s been a real inspiration to me. Check out the video link below, you’ll see.
There’s some nearly complete footage, a bunch of animatics,but as I said, you will the amazing steps Kory has taken so far, the travels and effort, as well as a cameo from a bald guy you might know.
Anyway,hope you’ll chip in because you’ll get a KILLER score out of it, I promise you that!
Any leader”s goal should be to get the best out of his team, for each of them to perform to the best of their abilities to achieve the highest quality and most profitable end result.
Composition requires a high amount of cognitive clarity, we can agree on that. So check out this quote.
“Research by the US military has shown that losing just one hour of sleep per night for a week will cause a level of cognitive degradation equivalent to a .10 blood alcohol level. Worse: most people who’ve fallen into this state typically have no idea of just how impaired they are. It’s only when you look at the dramatically lower quality of their output that it shows up. ” Link
It’s common for composers to be given such schedules that they end up with very little sleep for extended periods. So how much better quality creative material could we deliver with more generous music production schedules?
I personally want to give 100% to the project I am on for two simple reasons:
1) it’s best for the film and for my relationship with the film makers
2) it represents me better for future work and for those who listen
So scheduling sleep is part of the equation, simple as that.
Got a few spots open for private composition students over Skype. You can find out more on this page here.
As most of you know, I was orchestrator and conductor on “Elysium” which came out a few weeks ago. I had a great time conducting at Abbey Road and I’ll be sharing with you a few notes I made from my time on the podium.
ELYSIUM NOTE #1
The indication “Tr.1/2″ could be interpreted as either half-step/semitone trill or only half the section doing a trill and the other half ord.
It is clearer and more universal to write accidentals with the trill sign like so.
Or if many notes are performed using trills in succession, to use “S.T. Trill” (semitone in UK and half step in North America), or “trill s.t.” instead of 1/2.
Using “1/2″ which we read as “half” is really just for North America since we say “half step” and note “semitone”.
So if you are headed to Abbey Road, remember: semitone.
I will be in Los Angeles on the 23rd to take part in a panel on the making of the Elysium score. It’s called “Bringing the Elysium score to life: tips from the team.”
Tickets are on sale so if you are around and available, drop by!
I have heard this many times “you are so lucky to have your music played by live musicians. That is my dream.”
During the recording of the score for “Primary”, my friend Brian Campbell ( recording engineer) said he understood why composers use samples rather than live players: perfect intonation, no microphone bleed, no noises from chairs, clothes, breathing, papers or noisy instruments etc…I will tell you now, luck has nothing to do with it.
Using live musicians is a lot more work. And costs money. And takes more time.
Low budget productions don’t even consider live players these days. When I offered it for “Primary” the answer was “really? We would love to but there is no money.” I explained the costs and options and it became a possibility. The director was on board and we made it happen we what we had. Same exact scenario on “Comforting Skin.”
But it wasn’t luck.
The other argument against live musician is a tight post production schedule, which happens a lot. I had to deliver an entire feature film score in a month, which is not the shortest schedule ever, but pretty short when doing it on your own. It broke down like this.
The bottom line is: You want live musicians? I know I do. So do it. For me, having been writing for real musicians for so long, I can’t stand being limited by samples. I don’t want to write down to samples. There are many moments while recording “Primary” that it was clear why live was vastly superior to samples. While I was in the studio, listening to my expressive cello lines and tender clarinet tunes coming to life through great players, all the hard work was worth it. I did feel lucky then. Alain
PS: A side benefit of stubbornly using live musicians on my own scores is that it led directly to my gig orchestrating on “Elysium” and “Ender’s Game”.
The bottom line is: You want live musicians? I know I do. So do it.
For me, having been writing for real musicians for so long, I can’t stand being limited by samples. I don’t want to write down to samples. There are many moments while recording “Primary” that it was clear why live was vastly superior to samples.
While I was in the studio, listening to my expressive cello lines and tender clarinet tunes coming to life through great players, all the hard work was worth it. I did feel lucky then.
I am sure others have done this before, but it was the first time for me and it made me wonder why I had never thought of it.
It came out of necessity: I had three weeks to write about 45 minutes of score, with mockups, approved, orchestrated and parts ready for recording 10 musicians on the 25th. Since it is low budget and I’m on my own, that’s a lot of work and the writing had to go very fast with a high amount of clarity and control in order to get the best results possible.
One of the problems when writing is keeping track of the form. Even on a single piece of music (as opposed to multiple cues on a film) it’s easy to get so familiar with your material that you forget that your main tune has only been heard twice for example even though you have heard hundreds of times already. Soon you start diverging from it, complicating things until it becomes an randon-sounding, unmemorable mess.
On the other hand, because I was going so fast, I was cautious of over-using the melodic materials.
So in order to avoid either scenario, I kept track of my melodic ideas/sections on my working cue sheet using the typical letters of form: A, B, C, etc… which I combined with colour coding.
This was so SIMPLE and yet SO effective. It gave me this bird’s eye view of the score and an instant perspective that made sure I always knew where I was.
Here’s what it looked like…
CUE | THEMATIC
1M3 | A (suspense var.)
1M5 | A
1M7 | B – Andrea motive only, not whole tune
1M9 | C (epic tune mf)
1M11 | B – w/pno. ostinato
(these are just two columns of the spreadsheet cue list. I also colour coded the themes on the spreadsheet. Other columns included in, out, timecode position, notes, check-boxes for a variety of production stages.)
And so on…
Such a simple thing, but very effective and a big help.
Being a film composer requires some technical know-how that’s for sure, and don’t wait to learn this on the job with huge deadlines. Make sure you learn ahead of time.
I have just completed composition work on a local feature and this is what I am doing now as I prepare for the recording sessions and mix.
Right now I am hugely pressed for time and just thought I would take two minutes to post this. If you are not fast at any of these steps and don’t have a system in place to keep track of your work, don’t wait.
Now back to work.