Book Image

Scoring to Picture in Logic Pro

By : Prof. Chris Piorkowski
5 (1)
Book Image

Scoring to Picture in Logic Pro

5 (1)
By: Prof. Chris Piorkowski

Overview of this book

This book will help you leverage the Logic Pro digital audio workstation (DAW) for scoring to picture. With the help of expert insights from a Hollywood film composer, you'll understand how the film music industry works and be ready to meet the demands of film directors or producers, exploring common scenarios and the process of post-production and final film score delivery. Packed with all the technical and practical skills needed when scoring to picture in Logic Pro, along with insights into real film scoring tasks, this book will prepare you for success in the industry. You’ll start by getting acquainted with film scoring terminology and then advance to working with QuickTime video and its components, getting an overview of how to set up and sync a movie file in Logic Pro. You’ll see the different methods of creating tempo maps, find a suitable tempo for a film scene using hit points and scene markers, and work with time signature and beat mapping functions. You’ll also work with a pre-composed score of a Mercedes commercial that you can analyze and emulate in your own Logic Pro session. By the end of this book, you’ll have gained new skills and the knowledge of commonly used industry scenarios to help you enter the professional market of scoring to picture.
Table of Contents (19 chapters)
1
Part 1: An Introduction to Scoring to Picture
5
Part 2: Project Setup and Navigation
9
Part 3: Methods of Scoring to Picture
13
Part 4: Synchronizing Music to Picture

Choosing music choices over technical choices

Up until now, we’ve looked at everything from a technical point of view. In this section, we will look at how the music choices can become more important than the technical choices, with a focus on what will best serve the commercial. All the different technical skills that have been learned and acquired in the last chapters could be used and are important in any scoring, but we decided to take a simplified approach here.

In this example, even though we’re using the constant tempo of 99 bpm, we are still considering the hit points to make sure they fall on the downbeat of a bar, but without the use of beat mapping. Also, instead of using many time signatures, we will only use two time signatures for the entire commercial, 4/4 and 6/4. We will use the 4/4 time signature from the beginning to bar 16 and add a 6/4 time signature at bar 16 that will continue to bar 17. The 4/4 time signature will then continue from bar 17 to...