We've now spotted the music cue for this scene. Now let's try and find a piece of music that tells the the story that we want the audience to feel from our film. In order to do that, we need to figure out what we want the audience to feel during this scene. In other words, we need to put some adjectives to the music. That is why I also call a spotting session an adjective session. These adjectives will come from your log line, as we talk about Joseph changes over the course of the film and how this scene contributes to that change.
So what do we know about what happens to Joseph in this scene? We know that the adjectives for the changes in this particular scene are, becomes desperate and working. So we need to either create or find a piece of music that fulfills these adjectives. So here's a piece of music that we got from Pump Audio Library. Let's listen to it and see if it has those adjectives that we have in our mind. Nope, not really. Let's try another one.
that's more like it. So, let's try that piece in the area that we've already marked. We drop it into the timeline, let's see how it works. >> Deliver. Oh, and this design better not resemble the last few of your strip mall inspired creations.
>> Get out of the safety zone, Joseph. Do your job.
>> Mr. Dalton sent me to collect the design. Is it ready? >> Well, that's not bad, but it doesn't really build in the way that his panic builds. But what if we slide the music, so that that change that you hear in this point in the music actually comes where we put the in point of the start marker? Now, the natural build in music happens at that lean forward moment rather than much later. Of course, this does move the start of the music earlier, but it stills respects the change we wanted to have at that first marker.
>> 6 p.m. Deliver >> >> Oh and. >> This design better not resemble the last few of your strip-mall inspired creations. Get out of the safety zone, Joseph. Your drawing. >> Wow, that's much better.
In fact, the start of the music also works pretty well. Right as Mr. Dalton turns away. Then we have that nice change on Joseph's desperate look. This leads to an important point. Changes in music are almost as important as the start and stops of the music. Because after all, the start of a music cue is not much more than a big change from no music to music. The rule of threes teaches us that the way to get a reaction from an audience is to change something.
So for that purpose, changing a cue internally might work as well as starting a music cue. So once again, what are the steps to helping guide your audience with music? First, identify the needs of the overall script. The log line will be very helpful in this. Then, analyze what the scene itself needs to do to push that story forward. Then, find the lean forward moments in the scene. In a short scene like this one, there's probably only one Lean Forward Moment.
In longer, more complex scenes, there may be two or maybe even three. Then, you mark those points. These become the ins and the outs of your cue, as well as to help indicate any places within the cue where the music needs to change character. Then, use the adjectives that you came up with in your spotting session to find possible music cues that fulfill those adjectives. Don't be afraid to try out cues that might not fit your initial ideas.
I am always surprised at what works and what doesn't work. Throw out the choices that don't work, but don't be afraid to play with the spotting of the cue. Slide it earlier or later, so different music changes, come at those lean forward moments. It's just like how you picture editor scene. Everything you do is accenting the story points that you want the audience to take away. In music, as in picture, story is everything.
Start with an overview of concepts like the rule of threes, review a sampling of footage from films past and present, and then dive into script analysis. Find out when and when not to make cuts, how to collaborate with clients and directors during recutting, and how to ground the emotional backdrop for your piece with music and sound. Norman closes with a look at adapting to different genres and filmic styles.
- Exploring the history of video editing
- Controlling what the audience sees
- Identifying the logline
- Performing script and scene analysis
- Coming up with an editing plan
- Cutting from on-camera to off-camera action
- Understanding the value of recutting
- Shaping moments with music
- Working in a specific genre
- Mixing editing styles together