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@magates said:
HOURS: Night Job (6pm+, flexible, we'll work around busy schedules) 2-7 days a week (3+ and/or weekends preferred) DUTIES: Dependent on experience and capabilities, could include: Orchestral Recording Sessions Music preparation Scores, Parts, Prelays, Media, Proofreading Studio Recording Additional Score Supervision (ie: Listening for mistakes) Music Librarian / Manuscript Coordinator Conducting Post Cataloging of takes Preperation for Music Editing Rough Preview Mixing (Pro Tools, etc) Possible Ghostwriting Software (Macintosh) Finale Sibelius Pro Tools Logic Internet (GoLive, iWeb) Pre-Composition Attending Spotting Sessions (Taking notes, etc) Preparing Templates (Sounds, Manuscript, etc) Creating Timing Notes (Hit points, markers) Office Business Software (Word, Excel, etc) Email Marketing Research People find you energetic, an organizer, a perfectionist / detail-oriented, having excellent communication skills, even-tempered, ambitious, creative, talented, gifted, intelligent, sharp / quick, functions under pressure. COMPENSATION: Unpaid internship. MUST BE WITHIN COMMUTING DISTANCE OF THE WEST VALLEY AREA AND READY TO BEGIN IMMEDIATELY. EMAIL RESUME IN PDF FORM TO magates at gmail dot com
That's pretty much how the workflow is at a scoring stages in Los Angeles!
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I meant the workflow, not the unpaid practical work placement, hire and fire we called that priciple.
The question is how fast a person who has the required talent will get paid. People working in this business are very fast in recognizing a talent. I started in 1981 pretty much like what megates posted, and was paid after a week. One of the biggest problem is finding qualified personal.
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How fast indeed.
I for one am curious about the average time from internship to rent-paying status. L.A. is not kind on the wallet.
Clark
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Hey Angelo, back in 1981 when you started the same way, I didn't know Pro tools, Logic, Finale, internet etc. all these computer software and hardware we sweat to learn existed back then....
Yes, right, back then we didn't had ProStools and the other creepy crap, that's one of the reasons why the music of that era sounds so bad, we had to play the stuff because it was simply impossible to store much intelligence on 64 KB of memory. I owned one of the first Linn Drum and worked with the Synclavier.
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Here a link to two videos of one composer and the studio folks who sleep 3 to 4 hour during production:
part 1
http://www.listal.com/video/210133
part 2
http://www.listal.com/video/210131
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This part makes me laugh!! I'm surprised they didn't say: "you must be good looking with a great physique..."
@magates said:
People find you energetic, an organizer, a perfectionist / detail-oriented, having excellent communication skills, even-tempered, ambitious, creative, talented, gifted, intelligent, sharp / quick, functions under pressure.
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These links and this film was extensively discussed when they came out. It basically shows a couple of things. (a) John Newton Howard is a workhorse and very good filmscore writer and (b) why even try to remake King Kong unles you're mad? and (c) you can't polish a turd with filmscoring and all those extra people getting well paid and all the hours they put in - mistakenly thinking that the more work you do, the better the film will be.
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Hey. I know you guys got alot of funny feedback, but I'm interested. You never can learn too much you know? I'm a full time pianist, keyboard musician that just purchased a VSL set. I'm trying to get my feet wet in the L.A. film scene. If its not too late please email me. Thanks
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Hey. I know you guys got alot of funny feedback, but I'm interested. You never can learn too much you know? I'm a full time pianist, keyboard musician that just purchased a VSL set. I'm trying to get my feet wet in the L.A. film scene. If its not too late please email me. Thanks My email is ktnujynisis@yahoo.com
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