@tornitore, I really like your investigative approach musically in Scene 2. As it is an interview, I see the connection and it fits well. The pace of the dialogue and the music fit really well.
In Scene 1, the introduction to the atmosphere is presented instantly. You immediately get a dark feeling. The different sound design choices are great. Adding the frozen strings, pads, and wind sounds to the dark tremolo glitching synth is really well executed plus the dark percussive bass in Scene 2.
I can't provide any feedback on the specifics of the WLM, as I don't have experience with it. However, when I listen to the dialogue, it is close to clipping. It affects the dialogue a bit and dialing down the maximizer would benefit the mix.
The overall experience of the scenes and the music is cool and you really get a sense of investigative atmosphere, which enhances the level of interest in why there is an interview with a mom talking about her lost son. Great job!
I express my sincere gratitude for your feedback which you kindly provided to me. I appreciate the time and attention you have taken to listen and evaluate my work and to share your valuable advice. You have inspired me to work with even more effort and dedication, in order to constantly improve my compositional skills.
In particular, I really appreciated your advice to better balance the music versus the dialogue, the fact that the dialogue is in English, and it's not my native language, I didn't fully notice how my music could affect the clarity of the words spoken by the actor. Your observation opened my eyes to this aspect, and I had a slight doubt about some frames, but you took them away from me. Thank you.
I will fix some steps. Also waiting for feedback from @jpdussan to finish it off altogether.
Hi @tornitore!! First off, thanks so much for taking our course and for working hard on the final project. Sorry for the delay in getting back to you, we wanted to make sure we have it the proper attention :)
We really like the sounds that you were able to make, and how you ran with the idea of developing a note into an interesting unfolding of sounds. Very talented! In terms of mixing etc., we typically like to keep the dialogue at the volume that it is given to us, and just make sure that the music is tucked underneath, so we can hear everything.
We think the first half is really strong, and would love to keep that energy towards the second half. Because the scene is so intimate and introspective, we feel like the pulsing synth could be saved for later in the picture (like in a future scene.)
While it's definitely good to know all these mastering details, it typically is outside the scope of the composer's role, more so in the film mixer's role. It's most important to know what kind of delivery is needed for your client (often they want the music un-mastered.) But definitely still great that you have an interest with this, and if you are doing your mastering, it looks like you've got it right. Also, a film score soundtrack release, is indeed always mastered, whereas the actual score, isn't. Mix With the Masters is a great resource for more on this, via Alan Meyerson.
Sorry again for the delay, and hope that this all helps:)
@jpdussan Thank you for your reply. I was looking forward to your comment. I understand, Okay thanks so much. I will also calmly watch this masterclass. Thanks again and congratulations on your career.
@tornitore ah sorry for the delay, I just saw it. I thought you worked with Ableton.
Ableton has problems with timecode. Yes, my grandfather was born in Sicily, a town in Catania, I am Italian by blood, Gracia!!! a hug
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@tornitore, I really like your investigative approach musically in Scene 2. As it is an interview, I see the connection and it fits well. The pace of the dialogue and the music fit really well.
In Scene 1, the introduction to the atmosphere is presented instantly. You immediately get a dark feeling. The different sound design choices are great. Adding the frozen strings, pads, and wind sounds to the dark tremolo glitching synth is really well executed plus the dark percussive bass in Scene 2.
I can't provide any feedback on the specifics of the WLM, as I don't have experience with it. However, when I listen to the dialogue, it is close to clipping. It affects the dialogue a bit and dialing down the maximizer would benefit the mix.
The overall experience of the scenes and the music is cool and you really get a sense of investigative atmosphere, which enhances the level of interest in why there is an interview with a mom talking about her lost son. Great job!
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@niel_motz
I express my sincere gratitude for your feedback which you kindly provided to me. I appreciate the time and attention you have taken to listen and evaluate my work and to share your valuable advice. You have inspired me to work with even more effort and dedication, in order to constantly improve my compositional skills.
In particular, I really appreciated your advice to better balance the music versus the dialogue, the fact that the dialogue is in English, and it's not my native language, I didn't fully notice how my music could affect the clarity of the words spoken by the actor. Your observation opened my eyes to this aspect, and I had a slight doubt about some frames, but you took them away from me. Thank you.
I will fix some steps. Also waiting for feedback from @jpdussan to finish it off altogether.
Thanks and good music :)
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PlusHi @tornitore !
I am Franco Palermo, I am writing to you from Argentina! Very good your work, congratulations !!!
I loved how you managed to generate an atmosphere and a climate of tension and emotion!!!!
I ask you a question, are you working with albeton sure? how did you do with the timecode? how did you solve this problem?
A thousand thanks
My Italian is horrible but I made the intent.
Greetings
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@frankopalermo Don't worry, you can write in your original language, Domestika has the option to do the automatic translation.
You have a Sicilian surname :D
Thanks for your feedback, I work with FL STUDIO what problems are you having with ableton?
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Docent PlusHi @tornitore!! First off, thanks so much for taking our course and for working hard on the final project. Sorry for the delay in getting back to you, we wanted to make sure we have it the proper attention :)
We really like the sounds that you were able to make, and how you ran with the idea of developing a note into an interesting unfolding of sounds. Very talented! In terms of mixing etc., we typically like to keep the dialogue at the volume that it is given to us, and just make sure that the music is tucked underneath, so we can hear everything.
We think the first half is really strong, and would love to keep that energy towards the second half. Because the scene is so intimate and introspective, we feel like the pulsing synth could be saved for later in the picture (like in a future scene.)
While it's definitely good to know all these mastering details, it typically is outside the scope of the composer's role, more so in the film mixer's role. It's most important to know what kind of delivery is needed for your client (often they want the music un-mastered.) But definitely still great that you have an interest with this, and if you are doing your mastering, it looks like you've got it right. Also, a film score soundtrack release, is indeed always mastered, whereas the actual score, isn't. Mix With the Masters is a great resource for more on this, via Alan Meyerson.
Sorry again for the delay, and hope that this all helps:)
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@jpdussan Thank you for your reply. I was looking forward to your comment. I understand, Okay thanks so much. I will also calmly watch this masterclass. Thanks again and congratulations on your career.
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Plus@tornitore ah sorry for the delay, I just saw it. I thought you worked with Ableton.
Ableton has problems with timecode. Yes, my grandfather was born in Sicily, a town in Catania, I am Italian by blood, Gracia!!! a hug
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