Don't say Orchestra when you mean Woodwinds. If the story takes place at a certain point in history, the music should fit that as well.ģ. You may tell an intimate story, so one or two instruments may be better than an orchestra.
You may have natural media in the images, so natural instruments might be a good fit. (example: for my last film, I decided to have no music, realistic foley sounds, and no voices other than the narrator.) Think about how sound may contribute to your story, how it could give information to the audience.Ģ. Have a sound/music concept for the whole film, the same as you may have a mood board or an overall visual design. Some parts may even start with the music, then the images follow.ġ.
When I imagine scenes, I imagine them completely with sound and maybe music. Since sound and image are equally important parts of a film, the idea to "add music" to a film strikes me odd. Even if you throw away the whole thing and none of your sounds is in the finished track, the work isn't lost. Use it as a temp track, so you can communicate faster with your composer/sound designer. Just put together your idea of what sounds you like at which point in your film. You can have the same fun, even with a cheap mic. I like collecting and recording sounds, splicing and editing them, make music, and so on. I will, however, have the final Dolby mix done in a professional studio, since I don't have the experience nor the equipment to do it myself.īut the main reason is: I want all the fun for myself. That said, I'd never let anyone else do sounds or music for my films. It's always a good idea to hire a pro if you feel uncomfortable with doing it yourself.