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Topic: AES article about FILM SCORES

  1. #1

    AES article about FILM SCORES

    October 05 issue of the Journal of the Audio Engineering Society has an article about the current state of the art scoring practices, called The Evolving World Of Film SOund. http://www.aes.org/

    The authors signal an interesting irony: with the triumph of technology the (final) acoustic orchestral track may be judged by its fidelity to the sampled mock-up (created during the process).
    Best regards,
    Michiel Post

  2. #2
    Senior Member
    Join Date
    Oct 2005

    Re: AES article about FILM SCORES

    Err, can't find the article - do you have an exact link?

  3. #3

    Exclamation Re: AES article about FILM SCORES

    The on-line journal is a free benefit given to all members of the AES. To become a member just "click here".
    Membership has its priviledges...

    I think the article is a good indicator to the industry that the production methods are changing in ways that are advantageous to the technologically savvy. People that are "on the ground" in lower tiers of the industry (lower than "Lord of the Rings" - which includes just about everybody) understand this already. But it takes a while for the reality to "bubble up" to that level - for someone to write an article about it - and then for everyone to recognize it and declare it "true".

    There are some things they mention about transcription of MIDI parts to printed score that I think are a bit misleading, given the current state of technology, but I think it's still useful that they've at least put it "out there" that the ground is shifting - which is undeniable and obvious to everyone here - but the rest of the world in audio post and filmmaking in general still needs to read and understand from their perspective at 10,000 feet of altitude...
    Houston Haynes - Titan Line Music

  4. #4

    Re: AES article about FILM SCORES

    Sorry I didn't realise the article is for members-only.

    The authors start with an overview of the complexity in current movie production stages. The sound editor is now making a convincing sound track to a picture that changes every day. Discussing the work-flow for LOTR ("Sound Editing Workflows and Technnologies for Digital Film - The non-linear SoundTrack" 118th AES Paper 6354) by John McKay reports the difficulties of getting the process in-sync: shooting 3 movies, doing 700 VFX, composing, picture editing, sound editing, music scoring and pre-dubbing all taking place at the same time. Download the pdf file here
    The second publication "Film Music Scoring Using a Digital Audio Workstation" (118th AES paper 6388) gives attention to the change in our field. Where a team of composers, orchestrators, arrangers, copyists and so forth used to be involved from beginning to end, we now work with a mock-up score that is so incredibly realistic and flexible for the director that a new challange appears: To get the real score to sound as close as possible to the mock-up that was done with modern sample libraries.

    Both quoted papers can also be purchased online at:

    For more info I found this website to sell very good material:
    And a great directory:
    Best regards,
    Michiel Post

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