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In the the last part of our “How to Be a Film Compose<\/em>r” series, we dive into the mixing process. As an independent film composer, mixing is a crucial part of your role in the filmmaking process. Being able to deliver full scores, mixed in a way to where the music has a balance musically, is as important as the music itself. Many editors today may prefer the score to be sent in stems (solo tracks of each instrument group used in the score), which allows the editor many more options for bringing sections in and out depending on new cuts or creative preference. <\/span><\/p>\n If you listen to the music commentary on Mission Impossible: Fallout<\/a>, composer Lorne Balfe<\/a> explains the process of how delivering and recording stems of each instrument type is more frustrating because a lot of the scoring sessions are recording each instrument group one at a time. While he admits this is tedious, he also feels like this undoubtedly leads to a much better result and allows more flexibility for the filmmakers. Gone are the days of recording an entire orchestra while they play to E.T. flying over the moon. This does happen, but only once in a big blue Amblin moon.<\/span><\/p>\n In a way, the filmmaking process has become less magical, wondrous, and authentic in exchange for less expensive green screen and CGI. James Cameron<\/a> is a prime example of using technology in a very smart and meticulous way over the course of many years to develop groundbreaking techniques to make a film look incredible and give us that amazing cinematic experience. He barely makes movies, but when he does, they are visual masterpieces that also break new ground in the world of filmmaking from a technology standpoint. George Lucas<\/a> had more of an industry studio influence in the 70\u2019s and 80\u2019s in that regard, launching THX<\/a>, Skywalker Sound<\/a>, ILM, etc., while James Cameron still makes movies today that awe audiences through a visual spectacle using newly discovered or created technologies.<\/span><\/p>\n To relate this back to film scoring, the filmmaking process itself greatly effects the film scoring process. While the final product of many scores overall can tend to sound the same, a lot of times the steps to get there can vary depending on scheduling conflicts, type of score the film needs, and editor preferences. The general way that professionals deliver and present music to directors are pretty consistent, however, as technology and processes change again over time, adaptation is incredibly important. There\u2019s a reason that there are only a handful of composers who score in that old school approach. If every composer still wrote with pen and paper, film scoring would not be evolving with the rest of the moviemaking world. Writing in a classical, retro style is actually still a very popular sound when it comes to music in film, but the steps involved in creating that style has allowed for more movies to be made, which leads to more composer job opportunities! <\/span><\/p>\n Directors don\u2019t have time to wait for a score to be written AFTER the final cut is edited together, which is what used to be the case. Now, the music process can start much earlier thanks to mockups using a DAW (Digital Audio workstation) such as Logic Pro<\/a>. While this makes the overall filmmaking journey easier, the composer MUST be able to present a realistic sounding version of the score.<\/span><\/p>\n With a plethora of amazing sounding orchestral samples available online, and the DAW getting stronger all the time, there\u2019s no excuse to not be able to create a MIDI mockup of your ideas for the score, even if you know you\u2019ll be able to record with real instruments later. Check out Composer Hans Zimmer\u2019s Man of Steel<\/a> sketchbook: This is basically what directors are looking for when it comes to a good sounding mockup.<\/span><\/p>\n