SCGI Presents: Delivering the Music Professional Skills Training Series supported by the BAI
The Screen Composers Guild of Ireland presents the first in their Delivering the Music skill training series: 'Coversations with the Sound Department’
May 30th, 6-8.30pm
IMRO, Pembroke Row, Baggot St, D2
Cost: Free to members of Screen Composers Guild of Ireland, €10 for non members
To register rsvp; email@example.com . Places will be allocated on a first come, first serve basis after SCGI members.
Niall Brady M.P.S.E Ardmore sound will be joined by a panel of post-production sound professionals for this workshop on delivering music to and working with the wider post production sound team. They will identify roles and responsibilities, technical aspects, current trends and changes, communication management and collaborative working techniques. This workshop is suitable for Composers for Screen, Post sound dept roles, Directors, Editors and Producers.
Synopsis : At the very core of film and television production is the idea that it's a form based on collaborative storytelling. Each department brings it's own voice to the story, steered by the director's vision. Each department also collaborates closely with other departments, some more closely than others, the camera department with the lighting department, the production designer with the costume designer, through to the picture editor with the sound post team, and this particular collaboration extends naturally into the music department and the composer. Sound and music form a very strong thread that links the work of the picture editor, the sound post team and the composer. The aim of this talk/ conversation is to explore and examine how the sound team interacts with the director, the editor and in particular the composer, the importance of these relationships and their natural and inherent symbiosis. On a basic level there is a technical aspect to the relationship between the sound post team and the composer but key to the technical aspect of score delivery is the opening of a conversation with the supervising sound editor/ sound designer/ re-recording mixer where the technical brief of the delivery of the score can be quickly discussed, clarified, and parked, allowing us to move into a more collaborative space with the director and his/ her film at the heart. Every job is different and has different demands on time and resources but as collaboration is vital to this form of story-telling it is important to aspire to an ideal scenario on all projects, and happily many of these aspirations cost no more than a conversation and an openness to and an understanding of what each department is doing in service of the story. The talk will aim to explore the various stages of music and sound in film and TV which include - sound post and music in pre-production - sound post and music in the film edit - score delivery from pre-production to final mix - music editing - mix considerations: the delicate balance of dialogue, music and sound design - music cue sheets and other deliverables The panel will be made up of Niall Brady, Supervising Sound Editor, Derek Holland Features and TV Editor, Ray Harman, Composer, Cathleen Flynn Music Editor and Composer and Steve Fanagan, Sound Designer will join from London by Skype