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  1. Home
  2. Orchestration & Composition
  3. Your Music
  4. looking for an orchestrator (needs to know finale)
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    William, I think that both you and Mike can be correct under the right circumstances. There is no doubt that for most of what I do the sound is going to be far better with a live orchestra. However, if the players were not of the top quality, this certainly wouldn't be the case. I hate programming, and being a performer at heart, I would rather be working with other musicians than sitting in my studio. However you may well prefer having ultimate control over every note.

    FWIW I can think of many past girlfriends who made me wish fro a blow-up doll..!

    DG
  • W
    W
    O.K., I was excessive as usual. No offense. However any suggestion of the old knee-jerk idea that samples are a pathetic substitute for the real thing is very irritating. Especially among sample users.
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    @William said:

    O.K., I was excessive as usual. No offense. However any suggestion of the old knee-jerk idea that samples are a pathetic substitute for the real thing is very irritating. Especially among sample users.

    Agreed.

    DG
  • N
    N
    I know I'm way late to this conversation...but let me point this out....It is WAY cheaper to produce a film this days.  HD cameras,computers to edit picture with, mics to record audio.....everything involved with creating a film is way cheaper.  So why are composers/orchestrators working for nothing?  Someone is pocketing alot of the money musicians should be getting.
  • D
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    I'm afraid that the bottom line is this:

    1) Orchestrators and Engineers get paid. If the composer does really well out of the film, it is extremely unlikely that they will pass on a bonus. Do orchestrators get a share of the Royalties? Not in my experience.

    2) Just because an orchestrator has worked for a composer before, it doesn't mean that they will be asked again. I was bumped off a film earlier this year simply because the Producers were unfamiliar with the Director's choice of composer and insisted on a team that had worked on one of "their" films before. I had worked for this composer for around 4 years, earning him 2 BAFTA's in the process.

    So as I said in point 1), orchestrators get paid. If you can't afford an orchestrator, then do it yourself, or use samples. Why should the film company get something they haven't paid for anyway?

    DG
  • M
    M
    no one's pocketing a lot of money these films (like the one I needed help with) at best break even and often lose money as they go direct to DVD.
  • D
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    So did the orchestra get paid? Did the engineer on the session get paid? Did the studio get paid?

    If the budget was so small, why use an orchestra?

    DG
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    @magates said:

    no one's pocketing a lot of money these films (like the one I needed help with) at best break even and often lose money as they go direct to DVD.

     Really??  Who ended up with the $300K.  The camera man? Editor? Actors?
  • M
    M
    300k divided over the entire crew means no one is making a fair wage, which sucks, but I guess we all do it for the experience at this point, why use an orchestra? Because it sounds better than just synths?
  • W
    W

    "... because it sounds better than just synths"  - magates

    How does it sound compared to VSL?   Is that a "synth" ?  What is that statement supposed to mean anyway? 

    BTW, it is obvious you are screwing people blue. The simple fact of the matter is - people always want music. But they never want to pay for it. And in filmmaking, the composer is usually the single most artistically talented person involved in the entire production. And gets screwed most of the time...

    I would advise anyone to tell this guy to take a flying fuck.  If you have any self respect.
  • W
    W

    BTW

    I am a filmmaker and 300K is huge. For an intelligently made low budget film.  Ask Roger Corman.   His films still cost $250,000 - and pay composers.
  • W
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    and on top of that, i can make a complete feature for approximately 1/10 that cost. And pay the composer.  of course, I am the composer.  So I take a huge chunk of the budget.
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    and one last thing -

    stay true to yourself, and avoid Maggots.  Sorry sir, Magates. I need to get that name straight. My apologies.

    You my fellow composers, are worth more than any asshole who tells you your work is worth nothing.  It is NEVER worth the experience. You already have the experience. You are an artist!   You must be paid, IN HARD CASH, every penny you are worth.   The greatest example to emulate, who would tell Maggots to f*** off, is Bernard Herrmann, the divine inspiration of all true film composers.  His salary was often the biggest single item in the budget. 

  • M
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    http://www.symphonicuproar.com/audio/FILM_COMPOSER-The_Phoniex.mp3 (with live orchestra, granted I had to use a lot of synths to make it sound this good) http://www.symphonicuproar.com/audio/FILM_COMPOSER-All_Synth_Demo.mp3 (the original mockup) William, I wish you'd keep inflammatory, slanderous and untrue remarks, at least about me, to yourself. I thought we had agreed to that? I can't take time to explain this situation to you but you couldn't be further from the truth I am afraid (about me screwing people).
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    Yes, that was a bit extreme of me, eh?  Sorry about my obscene presentation, I apologize for that. I get highly irritated by some things here.  However it is not slanderous, and on top of that I still feel exactly the same.  One should absolutely never do this kind of work for any reason whatsoever. Unless it is your OWN project that you are doing for free. That is different, but this is just being used.
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    This business reminds with Matt reminds me of The Life of Brian. I have this image of Matt's mother coming here soon saying ' he's NOT coming out - he's a VERY naughty boy!' All musicians should be treated like this................http://uk.youtube.com/watch?v=zPGb4STRfKw
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    Man some of you are harsh and icy to people on this forum.  

    But, that youtube video cracked me up....

  • PaulP Paul moved this topic from Orchestration & Composition on