If you want to distinguish your movie, be it a long or short, pay extra special attention to your film scoring and sound mixing. This evening masterclass is presented by two dynamic industry professionals.
Part 1: The care and feeding of your composer
As a filmmaker, when you tend to think about music for your film, your thoughts often turn to your favourite soundtracks, conjuring up memories of epic, sweeping melodies, or perhaps tender, heartfelt tones. You might think of soundscapes made from pulsing, oozing synths, or a collection of amazing songs. You agree that music can help set just the right tone for your film…
…and then your mind starts flooding with questions. “What kind of music do I need?” “How do I ask for what I want?” “How does this film scoring thing even work, anyway?!”
While we regard film music as an integral part of the fabric of storytelling, the actual process of scoring a film, let alone a filmmaker’s role in this collaboration, may seem arcane – and perhaps even a little intimidating – to the uninitiated. If only there was a way for you to find out everything you wanted to know about the musical wizardry of film scoring, but were afraid to ask.
Over the span of an hour, composer David Federman will help to demystify the concepts and process of scoring a film as he conducts you through a series of topics ranging from the practical to the esoteric, with an overall goal of helping make your experience working with a composer that much easier.
What You’ll Learn In Part 1:
- The process of film scoring, as applicable to a filmmaker
- What it’s like to actually work with a film composer
- How best to communicate with your composer
- How to make the most of your collaboration
Who Should Attend?
- are interested in having music in their films but may feel daunted by the prospect of collaboration
- are looking forward to working with their very own musical expert
- want to learn more about film scoring, or
- have ever said, “I don’t know what I want but I’ll know it when I hear it`’.
About David Federman Instructor of Part 1
Born in Canada, trained in Europe, and tested in Hollywood, composer and conductor David Federman brings an elegant musical voice steeped in international flair.
Recent scores include the romantic comedy feature JOHN LIVES AGAIN (dir. Anthony Furey), the Spanish psychological thriller short CRUZAR EL UMBRAL (dir. Sergio Hernández Elvira), the fantasy/drama short THE SUITCASE (dir. Philip Leung), and the coming-of-age short HARU’S NEW YEAR (dir. Alice Shin). You can also hear his music in Season 5 of CBC’s SOMEONE KNOWS SOMETHING podcast (prod. David Ridgen).
David’s work has been recorded by ensembles around the world, notably in London, Budapest, Los Angeles, New York, and Toronto.
Don’t miss this chance to learn from a master.
Part 2 Sound Mixing – Everything is Intentional
Creating and mixing sound for picture is a very subjective process. Sound can be bold, it can be subtle, it can be realistic, it can be impressionistic, but, no matter the direction you take, it must always be intentional.
When staring at a blank sonic canvas the first thought is “what direction should I go?”. Over time I have developed my own list of concepts to consider before deciding how to create a sonic world that supports the story and emotion of a film.
During this presentation your tutor will:
- Share an insight into what goes through my mind when I’m starting a project.
- Teach others about different technical aspects of sound and how to use them to your advantage.
Topics discussed include:
- On set sound.
- Realistic vs Impressionistic
- Matching sound to colour
- And more!
About Bret Killoran Tutor of Part 2
Starting as a musician, Bret Killoran continued to perfect his craft while working at some of Toronto’s top recording studios as an audio engineer. Through this experience, Bret was first exposed to working in film. It was then he realized he would prefer to watch a movie over listening to an album, and has credited this point to being the catalyst for him recognizing his true passion in film.
Since breaking into the industry as a freelance re-recording mixer, Bret has worked on acclaimed film and television projects including The New Romantic (SXSW), Poor Agnes (Best Canadian Feature at Fantasia), Bellevue (CBC), Note to Self (CBC), Away Home (TIFF), Bee Nation (Opened Hot Docs 2017), and This Changes Everything (TIFF).