A soundtrack can make or break a film, so it's crucial to collaborate effectively with a music editor who can help you shape the mood, tone, and pace of your story. In this article, you'll learn some of the most effective ways to work with a music editor when composing a soundtrack, from pre-production to post-production.
Before you start composing or selecting music for your film, you need to have a clear vision of what you want to achieve with your soundtrack. What is the genre, style, and theme of your film? What emotions do you want to evoke in your audience? How do you want to use music to support the narrative, characters, and setting? You should communicate your vision to your music editor as early as possible, using references, mood boards, scripts, storyboards, or rough cuts. This will help them understand your goals and expectations, and suggest ideas or options that match your vision.
Depending on your budget, time, and creative preferences, you may choose to compose original music for your film, use existing music from libraries or artists, or a combination of both. Each option has its own advantages and disadvantages, such as cost, quality, availability, and licensing. You should consult with your music editor about the best sources for your film, and how to balance them to create a coherent and effective soundtrack. Your music editor can also help you navigate the legal and technical aspects of music licensing, such as obtaining permissions, paying royalties, and clearing samples.
Once you have your music sources, you need to establish a workflow with your music editor that allows you to exchange feedback, revisions, and approvals efficiently and smoothly. You should agree on the format, frequency, and method of communication, as well as the tools and platforms you will use to share files, notes, and comments. You should also set realistic deadlines and milestones for each stage of the music editing process, such as spotting, temp tracks, rough mixes, final mixes, and mastering. You should respect your music editor's time and expertise, and trust them to deliver quality work that meets your standards.
Working with a music editor is not just a technical process, but also a creative one. You should be open to their suggestions and feedback, and encourage them to express their opinions and ideas. You should also be willing to experiment with different music choices, styles, and techniques, and see how they affect the impact and meaning of your film. You should avoid being too rigid or attached to your initial vision, and embrace the possibility of discovering new and unexpected ways to enhance your film with music.
It is common for a composer to not compromise his/her art and to be resistant to suggestions for changes in his/her work. However, it is important to keep in mind that a music editor's role is not purely technical; it is also creative and should be considered as an art form in itself. Open and free collaboration and feedback are essential for achieving the best results.
The final step of collaborating with a music editor is to test and refine your soundtrack until you are satisfied with the result. You should watch your film with the music in different settings and devices, such as headphones, speakers, or a theater. You should also seek feedback from other people, such as your crew, cast, or test audience. You should pay attention to how the music matches the visuals, the dialogue, the sound effects, and the overall mood of your film. You should also check for any technical issues, such as volume, quality, or synchronization. You should communicate any changes or adjustments you want to make to your music editor, and work together to finalize your soundtrack.
I've found that having a clear vision of what one's project is about from inception, makes it easy to share same vision with a music editor or producer. Also locating your project in the right culture, era and genre make it easy to identify exactly what type of music adds value to a finished project rather than just randomly choosing music by ear. A good music editor will easily key into a filmmaker's vision if he knows where to draw samples from, then fine tuning and adjustments can be made to the satisfaction of all involved in the project.
Important to remember they are the main artist in this space. So, I like to bring them in at the beginning of the project for a quick overview of what they're thinking. While the finished product might be completely different, they will have been heard from the beginning and not just at the end of the process.