Music Editor
Music Editors help Directors to achieve their musical ambitions on films, and provide a crucial link between the film and the Composer. They structure the soundtrack, ensuring that all the components work together. For film music to work successfully it must be beautifully written, well performed and appropriate to the story and setting. In addition, it must be very carefully placed within the film, in order to complement the action, rather than detract from it.
Music Editors' responsibilities vary according to each film's musical content and budget. They are usually responsible for all the music featured on film soundtracks, including: performed music (e.g., a band or singer who performs within the narrative of the film), all sourced music (e.g., bought-in pop, jazz, classical music), and the score, written by the composer specifically for the film. On musical films Music Editors are responsible for how the music is visually portrayed, working closely with the picture Editor to achieve the perfect fusion of image and movement.
Experienced Music Editors can save productions a considerable amount of money, and also contribute significantly to the overall atmosphere and mood of films by helping to create truly memorable soundtracks. As this is one of the most highly competitive areas in the film industry, it can take years for even the most talented, highly-qualified individuals to become Music Editors.
What is the job?
On a medium budget film, Music Editors usually start work well into the picture editing process, developing the Temp (temporary) Score, which is made up of music lifted from other film soundtracks or sourced music, and helps the Editor to achieve the right pace and emotional tempo; it may also provide a broad template for the Composer, and help the Director to identify the desired feel of the soundtrack.
Music Editors attend a "Spotting Session" with the Director, Picture Editor, Music Supervisor, Producer and Composer, during which they note all music cues (providing the Composer with a written template that is used to produce the score and the Music Supervisor with vital notes concerning all copyright clearances and budgetary issues). Some Composers may also require Music Editors to produce a Cue Breakdown, which involves rewriting the script from a musical point of view, helping the Composer to estimate the tempo and metre of the score.
Music Editors also communicate all editing changes to the Composer in musical terms, e.g., if a number of frames have been cut, the Composer must lose a bar or three beats of the score. Music Editors also design a "click track" for the film which is used during the recording of the score to help the musicians achieve the correct tempo and perfect picture-to-music synchronisation. Music Editors attend all music recording sessions, to help with any last-minute revisions or changes which may require additions or subtractions from the "click-track".
Music Editors work with a Specialist Music Mixer to create different mixes of all the music tracks, anticipating potential problems such as a loud cymbal crash occurring at the same time as a line of dialogue. Using a computer software programme, Music Editors lay down all the music tracks, fitting them exactly to the picture, ready for the Final Mix or dub which they must also attend in order to find quick, creative solutions to any last-minute problems.
One of the final tasks for Music Editors on films is preparing the Cue sheet - a detailed breakdown of all the music featured on soundtracks (including length and function). This is sent to the Performing Rights Society, ASCAP (American Society of Composers, Authors and Publishers) and all exhibitors so that royalties can be paid every time the film is screened.
Typical career routes
Although there is no typical career route for Music Editors, they are all highly trained and musically talented individuals. After graduating, they may work their way up the ranks of the post production sound department, training as Assistants and progressing to Re-recording Mixers or Sound Editors, before they can specialise in music. Competition is extremely tough and getting a break can take years. Although some experienced Music Editors do occasionally take on trainees or assistants, this is a very oversubscribed area, and only the most gifted and hard working are successful.
Essential knowledge and skills
Music Editors must have an expert knowledge of how music is constructed, recorded and performed. They must also have knowledge and understanding of how music can affect images and create drama, as well as an encyclopaedic knowledge of pop and classical music. A working knowledge of computer editing software is also required.
Key Skills include:
Musical skills
Technical aptitude
Strong aural skills
Excellent communication skills
A good sense of timing
Ability to work well under pressure
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Music Editors are usually graduates in Sound Technology and/or Music, who have also specialised in music at post-graduate level. Competition is increasingly high, and even those entering the film industry at a junior level usually have a B.Mus (Tonmeister) or similar qualification.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
Music Editors' responsibilities vary according to each film's musical content and budget. They are usually responsible for all the music featured on film soundtracks, including: performed music (e.g., a band or singer who performs within the narrative of the film), all sourced music (e.g., bought-in pop, jazz, classical music), and the score, written by the composer specifically for the film. On musical films Music Editors are responsible for how the music is visually portrayed, working closely with the picture Editor to achieve the perfect fusion of image and movement.
Experienced Music Editors can save productions a considerable amount of money, and also contribute significantly to the overall atmosphere and mood of films by helping to create truly memorable soundtracks. As this is one of the most highly competitive areas in the film industry, it can take years for even the most talented, highly-qualified individuals to become Music Editors.
What is the job?
On a medium budget film, Music Editors usually start work well into the picture editing process, developing the Temp (temporary) Score, which is made up of music lifted from other film soundtracks or sourced music, and helps the Editor to achieve the right pace and emotional tempo; it may also provide a broad template for the Composer, and help the Director to identify the desired feel of the soundtrack.
Music Editors attend a "Spotting Session" with the Director, Picture Editor, Music Supervisor, Producer and Composer, during which they note all music cues (providing the Composer with a written template that is used to produce the score and the Music Supervisor with vital notes concerning all copyright clearances and budgetary issues). Some Composers may also require Music Editors to produce a Cue Breakdown, which involves rewriting the script from a musical point of view, helping the Composer to estimate the tempo and metre of the score.
Music Editors also communicate all editing changes to the Composer in musical terms, e.g., if a number of frames have been cut, the Composer must lose a bar or three beats of the score. Music Editors also design a "click track" for the film which is used during the recording of the score to help the musicians achieve the correct tempo and perfect picture-to-music synchronisation. Music Editors attend all music recording sessions, to help with any last-minute revisions or changes which may require additions or subtractions from the "click-track".
Music Editors work with a Specialist Music Mixer to create different mixes of all the music tracks, anticipating potential problems such as a loud cymbal crash occurring at the same time as a line of dialogue. Using a computer software programme, Music Editors lay down all the music tracks, fitting them exactly to the picture, ready for the Final Mix or dub which they must also attend in order to find quick, creative solutions to any last-minute problems.
One of the final tasks for Music Editors on films is preparing the Cue sheet - a detailed breakdown of all the music featured on soundtracks (including length and function). This is sent to the Performing Rights Society, ASCAP (American Society of Composers, Authors and Publishers) and all exhibitors so that royalties can be paid every time the film is screened.
Typical career routes
Although there is no typical career route for Music Editors, they are all highly trained and musically talented individuals. After graduating, they may work their way up the ranks of the post production sound department, training as Assistants and progressing to Re-recording Mixers or Sound Editors, before they can specialise in music. Competition is extremely tough and getting a break can take years. Although some experienced Music Editors do occasionally take on trainees or assistants, this is a very oversubscribed area, and only the most gifted and hard working are successful.
Essential knowledge and skills
Music Editors must have an expert knowledge of how music is constructed, recorded and performed. They must also have knowledge and understanding of how music can affect images and create drama, as well as an encyclopaedic knowledge of pop and classical music. A working knowledge of computer editing software is also required.
Key Skills include:
Musical skills
Technical aptitude
Strong aural skills
Excellent communication skills
A good sense of timing
Ability to work well under pressure
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Music Editors are usually graduates in Sound Technology and/or Music, who have also specialised in music at post-graduate level. Competition is increasingly high, and even those entering the film industry at a junior level usually have a B.Mus (Tonmeister) or similar qualification.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
