For those of you who have scored films or TV and who use scoring programs like Finale or Sibelius, how do you get from the composition to synchronizing it with the film, and then back again when you need to make changes. I\'m looking for conceptual ideas here, not necessarily details.
I know how to use Vegas Video and Sonar to add music to a video clip, but in the case where an orchestra will be used for the final realization of the music, it is necessary to have a score, and a \"demo\" version.
I have not actually heard of any film or television composer that works that way. I do know that people like John Williams just use a plain old stopwatch and \'punches\' and \'streamers\' to hit certain points (and paper notation), but that is a rather traditional way of doing things.
To be honest, I think these days there are very few composers who still have time to notate and orchestrate their own compositions in Finale or Sibelius. Because of the severe time pressure it is usually done by score copyists and an orchestrator.
The composer often works with one of the main midi/audio packages (Digital Performer, Logic, Cubase or Sonar) in which they can sync up to video either by SMPTE or by loading up the movie in the sequencer itself.
It then becomes a lot easier to compose to certain hitpoints and make tempochanges to fit the scene.
Today\'s technology also makes it a lot easier for the composer to whip up a miditrack (in conjunction with programs such as GS) to give an impression of what the final score will sound like.
Anyway, you can read more about this in Jeff Rona\'s excellent book \'The Reel World\', where techniques behind film and tv scoring are explained in more detail.