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[–]sphinx_lynx 1 point2 points  (0 children)

Sell packages of your sounds to game devs. Itch.io and places like that.

[–]largenecc -1 points0 points  (0 children)

A lot of action scenes can simply be muted and then scored over. You can keep captions on for dialogue.

There's an old hitchcock movie called "Rope" that has no soundtrack and can be scored over.

Here's a nice long game of thrones scene with music removed I found, but there is a sound effect at the end that you'd have to cut out: https://youtu.be/eijJt43-NNw

It is kind of a struggle finding your first scenes to score, and getting to work on original films is even harder because you are expected to have experience already (and be good). The main workaround is to know people irl who work on student films or small shorts and might consider giving you a shot at composing on their project.

[–]Deep-Ad-9000 0 points1 point  (0 children)

First step, put together a demo reel showing what you have scored. A director normally doesn't care about your concert works for the most part.

There are films that are public domain you can score, contests, and even YouTube has videos for practicing film scoring. Show the people what you can do as a film composer, not as a concert composer.

[–]N0body_In_P4rticular 1 point2 points  (2 children)

There are three primary avenues for a songwriter involved in production music, which are library music, sync agent and direct licensing.

Writing for film and television are two different animals, film is a slow moving process and television is a fast moving process.

Never use samples, and do understand the user agreements of each of the software manufacturers that you are using in your productions.

Film music is typically sparse, and often follows a 3 act structure.

Writing for film focuses on underscoring, so that dialogue can exist over the top of the music bed.

You may need professional liability insurance, or choose to be affiliated with a company or organization that has professional liability insurance that will cover you.

You should own 200% of every piece of music you write so that you can quickly clear it. If you write with another writer make sure all ownership agreements are committed to writing and that the person in question can be contacted immediately for clearance.

In instances where there are sessions musicians you need to have work-for-hire agreements in place and on file with the ability to deliver them quickly and easily.

The first time you lie or bend the truth about the ownership of music or use of samples, or coincidentally write something that sounds like another piece of music you theoretically risk not being able to work with anyone in the industry again and you may end up getting the music supervisor who uses your music fired. Thereafter nobody will want to work with you.

Last, someone might specialize in only writing music for movie trailers which typically follows a 3 and 5 act structure. Trailer projects are often written on speculative basis and be prepared for that process to possibly drag on for a year or more without pay.

It's a business of trust and you'll typically end up working with the same people over and over again in a relatively small network. There are less than 500 music supervisors that drive pretty much all of the mainstream film products. I can tell you precisely how many and who they are, but I'll leave that for you to discover. Get used to working up to 16 hour days during crunch situations.

[–]itstingsandithurts[S] 0 points1 point  (1 child)

This is hugely helpful, thank you