Issue link: http://digital.copcomm.com/i/908245
36 F A L L 2 0 1 7 C A S Q U A R T E R L Y Kelly talked about starting months before the mix. By building a road map that the composer can work against, the effects can flow out of the music instead of being as competitive. But visual FX are often being brought in and upgraded throughout the whole movie-mixing process, which sometimes makes it difficult to get a seamless transition between music and FX. It usually comes together in the last week of a feature. Mark explains, "We never have enough time, no matter the budget," but reminding us that, "everybody wants to make the movie as good as it can be." 4. New Life for Documentaries: Original Music with Feature Film Impact Moderator: Steven Saltzman Panelists: Pinar Toprak (composer), Joel Goodman (composer) Joel talked about writing for advertising and the power of space and the power of holding a note. Pinar, expanding on this, explained that it is important to make sure the music breathes. She figures out the phrasing so the music doesn't get in the way. She summarizes, "It's not a fight, it's a dance." 5. Music in 360: Scoring for Games, VR, and Augmented Reality Moderator: Steven Saltzman Panelists: Garry Schyman (composer), Joel Douek (composer) Joel expressed the excitement of VR, describing it as the first wholly new medium since 1910 (when moving pictures came out). Sound has always been 360. Picture, however, is now catching up and completing the experience. Now, the user becomes a co-creator and has active participation. The harmony can change depending on the direction you're facing. Joel spoke about sonic lives being 360. TV and film are time-dependent whereas VR is about space not time. He suggested you write your music for a space. 6. Featured Score: Composer Mark Isham, Engineer Jason LaRocca Moderator: Steven Saltzman Panelists: Mark Isham (composer), Jason LaRocca (engineer) Mark and Jason discussed workflow and making it as easy as possible to get the music to the stage. Various examples were played and a workflow from Logic to Pro Tools was explored. In summary, the main takeaway from the Composer's Lounge is that the communication between music and sound design is paramount. That said, there seems to be some discrepancy between features and TV shows and the amount of communication that goes on. Features tend to have more time for the music to get sound effects and sound effects to get music, resulting in the transition between the two being Enjoying the event. Photo right provided by David Bondelevitch CAS MPSE. Inset photos by Katrina Marcinowski