Issue link: http://digital.copcomm.com/i/1261193
M OT I O N P I CTU R E S O U N D E D I TO R S I 33 1. PERRY LA MARCA: What is a music editor, and what value can they bring to a project through various stages of post production? STEVEN SALTZMAN: Many readers may know well the music editors' work and the multifaceted problem solving we can bring to the table to help achieve the successful completion of a film or television project. For those less familiar or as a reminder, here's an overview. The three main areas of sound that fulfill the soundtrack of any production are dialogue, sound effects, and music. The music editor is responsible for managing, overseeing, and preparing all the music through its early inceptions to the final dub and print-master. There are countless pieces to this puzzle all along many stages of post production. In the beginning of editorial, there is often temporary music placed for the underscore and songs being compiled as the editing of the picture evolves. A music editor often starts temp scoring early in the process of post production even prior to having a composer on board. Showing a film as it is being developed creates an environment of trust to those interested and support from the financial backers. In showing or previewing a project to an audience or someone outside the editorial process, it is important to have the sound and picture feel as complete as possible. In this early process, the music editor creates music spotting notes that will be used as a guide or road map along the journey. Moving to the next phase of post production that can overlap the temp process is working with the music supervisor, editing and placing songs in the show both as featured songs, song-score (scouce), and diegetic music. As the film heads toward the finish line after often multiple temp mixes and previews, a composer is typically hired. It's quite possible the current music editor who has started the ball rolling may jump off the project and the composer may bring their own team members on board for the next phase of post production. Current trends show that it's common for a music editor who is already on the project and liked by the director, editor, and hopefully others, to stay on and work with the composer as they score the movie. This next phase is most critical as the music score is written and prepared for the dub. The music editor becomes the composer's right-hand person, often being a communicator-helper between the director, producer, or show runner sometimes helping with the creative direction of the music. Eventually as the score is approved, cue by cue, it will be delivered to the music editor as the stemmed-out master recording for the final mix. During this time, there are often more picture changes. The whole sound team will need to keep up with any picture changes by editing or conforming their many tracks of dialogue, sound effects, Foley, and the music. This is often one of the most challenging tasks of a music editor's responsibility. The music will need to be cut and shifted to rematch the emotion and action of the new picture edits but at the same time maintain the composer's original integrity of their music. It is here that the music editor puts on a composer's hat and steps into partnership with the style and direction of the music. It's at times quite common for a music editor to be asked to modify a piece of music or even create a new musical cue using existing stems for a new scene that was not spotted for scoring. This is where the close and trusting relationship with composers and director, producers, and show runners come together and expose all the necessary skills required for music editing. To tie up the whole ON MUSIC EDITING 6 Questions for Steven Saltzman BY PERRY LA MARCA MPSE Recently, I had the opportunity for a virtual sit-down with former MPSE Board member and veteran music editor Steven Saltzman. Steven's credits span the range of Hollywood success and include The Revenant, The Tribes of Palos Verdes, The Queen of the Desert, Straw Dogs, and many more. For the inaugural issue of MPSE Wavelength, I wanted to spend a little time probing the art and craft of music editing —what it is, how it's evolved, and where it's going... Given Steven's experience both in the field and in educational outreach, I can't think of a better person to discuss this with. Here then, dear reader, are my six questions for Steven Saltzman.