Within the FIMUCITÉ project, in parallel with the artistic evolution of the festival, we have noticed a growing need to transmit the professional musicianship that forms part of the concert programs in such a manner so that it is preserved as educational heritage for the next generation of musicians as they pursue their training. Given this, the festival organizers were interested in creating a way for music students interested in exploring alternative career choices to receive more specialized training focused on current artistic trends in music for the audiovisual industry.
In 2016, the FIMUCITÉ Film Scoring Academy was established to meet this need and was made possible thanks to individuals of outstanding talent in the audiovisual sector who possess the teaching and communication skills needed to precisely illustrate what is demanded of emerging musical talents in terms of artistic requirements and industry standards.
The FIMUCITÉ Film Scoring Academy represents an important advance for those studying music and composition by enabling them to become familiar with aspects of different disciplines in the audiovisual industry that they would not otherwise have the opportunity to study during their academic careers.
REGISTRATION PERIOD UNTIL SEPTEMBER 26TH. LIMITED PLACES
"Temp Tracks: Fight or Surrender"
Emerging media composers (film, TV, game and internet) are getting mixed signals. “You need to find your own voice” from some people and then, “I want it to sound just like the temp” from others. This masterclass discusses both of these topics.
Where does “your voice” come from? How can you develop it? What if the director just wants you to imitate the temp music? Why is there a temp score? Is it friend or foe? Who created it (can make a big difference)? What are the chances for modifying or mitigating the temp? If you want to be original, you must first get permission —“And just how do I do that?” Defining the dramatic “Essence” of the “beloved” temp score.
Richard Bellis answers these questions and proposes a method for a healthy discussion with the filmmaker.
"Best Orchestral Film Scoring When on A Budget"
For young composers who aspire to record their film, TV and video games scores with orchestral players: from a quartet to 100 piece symphony orchestra and choir.
These days a multitude of orchestras all around the world are offering a staggering and often bewildering choice of recording costs to seemingly suit every budget. From the top session orchestras in Los Angeles and London, to world renowned orchestras like The London Symphony Orchestra and The Royal Philharmonic Orchestra, to European groups in France, Spain, Belgium and the Czech Republic... and to orchestras further East in Hungary, Slovakia, Bulgaria, Moscow and Macedonia; how to you find out who are not necessarily the "cheapest" on paper but who actually offers the best in terms of quality of musicianship and recording technoloy.
Tadlow Music and James Fitzpatrick have been recording all around Europe for over 30 years and can offer some insights in this masterclass into how to get the best quality that you budget can afford! It was in 1989 that Tadlow Music and the City of Prague Philharmonic Orchestra were among the very first to offer "remote" ISDN sessions ... now this area has become something of a "minefield" that Tadlow Music can helps mny composers through every day .... and can guide you through this musical jungle.
Also, Tadlow Music will be presenting a few choice video examples of their recordings of Classic Film Scores.
"Creating Soundtracks With A Small Budget"
For composers and musicians who aspire to become film composers.
The term “Film Composer” is easily associated with big blockbuster movies that have sweeping and pounding orchestral scores. Big scoring stages filled with musicians, huge mixing desks and infinite possibilities.
In reality, that’s only for a few composers. For most (young) composers it’s already a struggle to negotiate a readable fee for you work, without any production budget.
This masterclass focuses on composers in this situation.
How can we do our job within the given situation. How can we create a workflow that will allow us to sound as professional as the top composers, without trying to “sound like” the top composers
It’s all about creativity.
Being creative and organised in every step of the process will allow you do more. Create a score that works with the movie but is limited to the amount of musicians you can afford. Collaborate with musicians and ensembles who are looking to expand their working field.
"Work Smart, Not Hard. Writing Music for Video Games"
In his talk, Marcin Przybyłowicz will share his experience on establishing healthy relationship between composers and game developers, from both AAA and indie markets. Production process of a video game is often chaotic and - at first glance - unstable, especially for all outsource content creators, including composers.
This talk focuses on working with budget constraints, finding ways to overcome communication issues with developers, planning content creation and implementation phases, and most of all - being clever at every stage of the creative process.
"The Virtual Studio Instrument"
Craig Stuart Garfinkle
In this seminar, award winning and Emmy nominated composer Craig Stuart Garfinkle will show, using the actual scores and ProTools sessions from his music from games such as 'World of Warcraft' and 'Baldur’s Gate', how the contemporary composer composes and produces their scores.
Included will be how he integrates programs such as Apple Logic, ProTools and Sibelius, to create the best workflow.
He will also demonstrate some of his favorite tools, such as The Vienna Symphonic Library, MIR PRO X, Ivory, and a host of other audio toys for the amateur and pro alike.
Finally, he will discuss his overall philosophy towards composition and how he uses it to paint the visual image. He’ll touch on techniques such as using point of view, foreshadowing, as well as visual phrasing and visual tempo to create effective scores.
"Conducting Video Game Recording Sessions"
Conducting Seminar with Maestro, Eimear Noone.
Have you ever wondered what a conductor really does and how conducting works? Here’s your chance to learn directly from Eimear Noone as she discussed the techniques and tools she employs to conduct these great scores. Bring your baton – but no experience is necessary.
In addition to an overall view of the function of the conductor, the seminar will also include topics such as:
- Exercises for strength, stamina and precision,
- The basic beat patterns, including sub-divided patterns,
- Meter changes,
- Basic techniques to get you through a recording session such as firmatas, cut-offs, cues, dynamics and articulation,
- How to procure a clean execution and good ensemble by breathing with the orchestra,
- Working with click-tracks and a discussion on free-timing,
- Recording procedure and protocol.
The seminar will conclude with a handful of the participants getting an opportunity to employ what they have learned by conducting a small ensemble, master-class style, with Eimear critiquing the students.