Fimucité Film Scoring Academy is born

MUSICIAN WORKSHOP IN 2 PARTS

DYNAMIC MUSIC PARTNERS

(LOLITA RITMANIS, KRISTOPHER CARTER & MICHAEL McCUISTION)

25th of September – Sunday – From 2pm to 5pm

“Becoming a Professonal Musician in the World of Studio Recording” (for music students).

First part:

– The power of film music—understanding how the musicians’ performance drives the story-telling.

– Discussion about what composer is trying to achieve with the music, mood, orchestration.

– Playing clips of music to picture and discussing impact.

Second part:

– How to prepare for a career as a studio musician.

– What are the skills needed.

– Q & A.

 

ASCAP Presents: MASTERS SESSIONS with RICHARD BELLIS.

Seminar for audiovisual composers and students

30th of September – Friday – From 11:30am to 2pm

11:30am Creativity on a Deadline (Introduced by Shawn LeMone)

“Courting the Muse” is more like speed-dating for today’s media composer. How can we guarantee the score will be finished on time when we don’t have an inkling of what to write? A score cannot be brilliant enough to overcome being incomplete upon delivery. This class talks of a method for fostering both creativity and efficiency when 30 or 40 cues are required in a specific time-frame.

1:00pm Skill Sets: Not Available from Any Software Manufacturer (Introduced by Agata Grabowiecka)

This talk shines a light on those aspects of film and TV composing which can’t be bought but can be taught. Once the software, samples and plugins are laid aside, what is the core, creative process behind scoring and what are the right choices to make? Among the many insights, this seminar highlights the question of Sonic Competition

 

ASCAP Presents: MASTERS SESSIONS with RICHARD BELLIS.

Seminar for audiovisual composers and students

1st of October  – Saturday – From 12:30pm to 2pm

12:30 – The Director/Composer Relationship (Introduced by Michael Todd)

What gives a director confidence in a composer? How can we make them WANT to like our music? Professional Conversations are essentially presentations. They are, to the filmmaker, an outward display of how your mind works; of whether your thinking process is organized or scattered. Your conversational abilities can instill either confidence or skepticism and the last thing we need is for a director to be skeptical or apprehensive about the music we’re going to create for the film.