Perspectives: Film Scoring in Logic Pro X

Logic Pro X gurus Eli Krantzberg and Doug Zangar team together to bring you a dual perspective on one task, creating music scores for film cues in Logic Pro X! Both Eli and Doug work with the same film content, and create their own music scores independently. You'll also see how they each approach and execute their visions separately, giving great insight into the process.

Eli - Cue 1

• Perspectives (06:07) - Get an overview of what this is series is about, and see and hear versions of the two cues that will be used, with and without the music that will be composed for them during this series.

• Initial Setup (03:51) - Watch as the first cue is brought in to an empty project. Logic's time line is adjusted to match the burnt in time code (BITC) in the video, and the start position of the first cue is set.

• Aesthetic Considerations (05:26) - Get a look at the relevant elements of the film that are useful to consider when zeroing in on how to make initial compositional choices.

• Scene Markers (04:34) - Watch as scene markers are added at scene changes, in order to facilitate easier placement of musical hits or other elements that may need to occur at these locations.

• Thematic Introduction (05:27) - Follow along as Logic's Studio Strings instrument is used to record the first thematic element. Articulation IDs and note lengths are then tweaked to get the desired sound.

• Developing the Structure (06:38) - See how meter changes are used to line up scene changes with downbeats. Copies of the main theme are edited to fit with the new time signatures.

• Creative Doubling (05:47) - The principle string motif is now copied to the Persian Santoor instrument and the Taiko Drums instrument. Selective transposing, muting, deleting, and copying are used to add an Aleatoric element to enhance the intricacy of the emerging and evolving rhythms.

• Building the Instrumentation (04:42) - A high-hat based apple loop is now introduced to add more continuity to the evolving and changing rhythms. Two simple and subtle Alchemy pad parts are added to reinforce the overall mood of the scene, and add some cohesion to the central disjunct and rhythmic string theme.

• Whoosh, Boom, & More (06:26) - Additional elements are also added to tweak the transitions and reinforce the rhythms.

• Mixing the First Cue (07:12) - Listen now to the full cue with some processing applied, both with and without the source audio. Learn how to either export the individual tracks for delivery, or mix down the finished cue directly to the film.

Doug - Cue 1

• Set Up Project (07:55) - Doug gives the steps needed to set the project audio and frame rate, set Logic's time line to match the movie burnt-in timecode (BITC) and trim movie start.

• Aesthetics (05:57) - This video covers some of the elements to consider before one starts composing for a film.

• Setting Markers (06:38) - Watch how markers are placed, named, colored and SMPTE locked.

• Setting Tempo (08:11) - Tempo choice is now discussed along with metronome set up and proofing tempo to markers.

• Preparing the Project (08:08) - The melodic theme for the cues and creating score paper are discussed, and Studio Strings parameters are reviewed and CC 11 Expression is demonstrated.

• Piano Score to Strings (08:37) - View and listen to a piano score and learn to move the score to string parts.

• Polishing Strings Pt. 1 (07:49) - Watch and listen as Expression, the note attack and release values are copied from a final part to a raw part to give it some life.

• Polishing Strings Pt. 2 (07:19) - Learn to create better sounding slurs, as well as brighten the pizzicato notes with Expression. Plus, see how to do Marquee Tool type selections for the region automation.

• Doing the Mix: Cue 1 (09:51) - See how to set up MIDI Chase to hear long notes, use Expression as volume control, and plug-ins from the Studio Strings patch. Volume, Pan and Reverb are also added, and lastly, see how to export audio.

Eli - Cue 2

• Cue 2 Setup (05:55) - See how doing a "Save As" in Logic allows us to start with all the same instruments already in place. The second cue is imported, scene markers are established, and the overall emotional trajectory of the scene is discussed.

• Initial Motif (03:49) - Follow along as the initial string motif is played in, and odd meter bars are set up so the beginnings of the scene markers fall on downbeats.

• Motivic Development & Rule Breaking (05:28) - See how the initial motif is at first repeated and then varied, and Step FX with reverse reverb is used to augment the pizzicato string tails. Then hear how adding underlying harmony using very dissonant inner intervals heightens the emerging catharsis the main character is experiencing.

• Building the Tension Pt. 1 (07:09) - Sculpture, in conjunction with Delay Designer & Phat FX, is now used to create an alternate part that syncs with the alternate rear view mirror shots throughout this scene.

• Building the Tension Pt. 2 (06:33) - Additional elements are now added to heighten the emotional tension leading up to the climax of the film.

• Automation & Playback (04:45) - Watch the payback of the full cue both with and without the source audio blended in.

Doug - Cue 2

• Project Setup (04:45) - Doug shows how the new movie is brought in, and how to conform the project settings to the movie. Importing tracks and metronome settings from cue 1 is also shown.

• View Cue & Set Global Tracks (09:37) - Review the cue and the emotional content from Amber's viewpoint. Adding markers, tempo map and time signatures is covered, along with tempo testing a string texture on the piano.

• Adding Strings (09:23) - The rhythmic texture is now moved to the strings and modified to fit the changing harmony. High and low sustained notes are added, and adjusted for the harmony as well. The melodic theme is then added.

• Adding Synths (06:58) - Doug now shows how to use Alchemy and Sculpture to enhance the emotional content. See and hear patch choices, placement and volume automation.

• Adding Percussion (08:49) - Cymbal samples, a clay pot loop and timpani doubling a taiko drum provide the percussive elements. See how they are used to provide textural coloring and a hint of rhythmic propulsion.

• Doing the Mix: Cue 2 (07:33) - Take a look at audio routing, FX plug-ins and the automation used to create the mix. Lastly, hear playback with and without the movie audio.