July 2007 - Institute of Videography

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In Issue 150 (July 2007) Ireviewed Sony’s Cinescore1.0 - a piece of music creationsoftware that automaticallygenerates complete customsoundtracks forvideographers who requireroyalty-free music to enhanceand enrich their work. It wasapparent to me as I rereadthat review that I reallyenjoyed working with thisprogram, and subsequentlyreviewing the Theme Packshas also been a pleasure.The five packs are:‘Pass the Ring’ (The WeddingSoundtrack library); ‘IncredibleVistas’ (Visual and EmotionalPanoramas); ‘The IdealVacation’ (Music for Life); ‘HighTech World’ (Kinetic Tracks); and‘Adrenaline Surge’ (High EnergyLifestyle). In this issue I shall belooking particularly at ‘Pass theRing’.A Reminder of HowCinescore WorksVideographers select a basictheme; either a preinstalledtheme or one from the fiveavailable Theme Packs and thenthe Cinescore music generationengine creates music that can beshaped to fit. Once activatedyou can then select and adaptyour Sony Theme Packs musicalofferings almost infinitely. Themusic’s time and tempo,intensity, variation and repetitioncan be easily adjusted down toframe level accuracy to createthe necessary soundtrack untilyou are happy with thearrangement of the piece andhave timed it to fit your videoproduction.So What do you getfor your Money?A quick search of the Internethas priced each of the ThemePacks at £65. For that you getten different themes designed tocomplement wedding videos.‘Pass the Ring’ contains classicalcompositions by Bach,Mendelssohn, Pachelbel,Schubert and Wagner, andcontemporary selections bySabre Entertainment artistsLoren Gold, Michael Summ, OlegSchramm and Dan Solovitz.Here’s a little more info on the‘Pass the Ring’ compilation.Air on the G StringOne of the most recognisable ofBach’s masterworks, “Air on theG String” receives a multiinstrumenttreatment on thisvery flexible Cinescore Theme.Choose from organ, strings,piano, harpsichord, and musicbox variations, or select a host ofensembles for a more full bodiedcomposition.Ave MariaNo classical selection provides amore glorious entrance for thebride than Franz Schubert’s “AveMaria.” Piano and woodwindvariations, along with 10 Moodchoices, provide you with subtleand enchanting options.Cut the CakeSweets to the sweet. The soundof authentic 1970’s style discogives “Cut the Cake” that classicparty vibe. Dial in funk guitarsand a number of alternate drumand percussion combinations andachieve the precise energy levelneeded to score your reception.Double Plus PolkaStrike up the band and preparethe dance floor. “Double PlusPolka” is an up-tempo ditty thatfeatures traditional polkainstrumentation like tuba,accordion and woodwinds in awide array of variations. Theperfect Theme for your video’smore comedic moments.Here Comes the BrideThe bride’s processional is thevisual and emotional high pointof any wedding video, so it’simportant to have many differentmusical options at the ready.This rendition of “Here Comesthe Bride” comes with fifteendifferent variations to fine tunethe moment and give the brideexactly what she’s looking for.Jesu, Joy of Man’s DesiringAnother standard for the bridalparty processional, “Jesu, Joy ofMan’s Desiring” reveals itself inthis Cinescore Theme with smallgroup, large group and soloinstruments. Choose fromharpsichord and pianofoundations, and then build upadditional textures to dramaticeffect.Last DanceComplete with glockenspiel,harp, flute, and piano variations,“Last Dance” swirls and buildswith romantic majesty to deliverjust the right music for yourvideo’s tender interludes. Perfectfor slow dance montages andpost-ceremony highlights.Pachelbel’s Canon“Pachelbel’s Canon” has longsignalled the commencement ofthe wedding ceremony.Cinescore allows you to shapethis essential wedding piece inways you never thought possible,with fifteen variations and fivedistinct Moods.The ProposalSmooth sax breaks and electricpiano melodies make “TheProposal” your go-to Theme forblack tie moments andchampagne toasts. Call up oneof the ‘live’ moods to add a bitmore energy to your soundtrack.Wedding MarchOnce the vows and rings havebeen exchanged, it’s time tohead back down the aisle and offto the reception. The ceremonial“Wedding March” is thesuperlative choice for yourrecessional music - no videoshould be without it.ConclusionI believe that ‘Pass the Ring’ hassomething practical to offer,whatever your weddingproduction experience - as thissoftware can provide you with asound score with the flexibility tomodify unique, royalty-freecustom soundtracks very quickly.The multiple variationsavailable allow you to adapt eachselection so thatyou canaccentuate thegrand momentswith crescendos,or soften themood right down.Once again it isworth noting thatwhile Cinescore is a standaloneproduct, when someone has itinstalled on a machine along withSony Vegas, it will act as a 'plugin'in Vegas.Cinescore is a powerfulmusical composing tool, but forme it is the Theme Packs thatbring it to life. ‘Pass the Ring’does was it says on the box - itproduces high quality royaltyfreemusic for weddingproductions! Phil Janvier M.M.Inst.V.Notes: Additional information isavailable on the Sony web site:www.sonymediasoftware.com.22 August 2007 Focus Magazine www.iov.com
Part 13 - NetworkingI hope last month’stechnically-based articlewasn’t too much for you.Anyway, I’m getting back tomore familiar Cookie-territorythis month with a look atnetworking and the role thatit plays in developing yourbusiness.In previous articles you’veheard a lot about ‘networking’from me, but what does it reallymean? It’s generally commonsense, but there are aspects ofnetworking which might not beimmediately apparent.Nevertheless I’m going to dealwith all aspects of industry-basednetworking. You might betempted to skip this month’sinstalment - but please don’t.It’s probably those that thinkthey know all the opportunitiesthat are missing the chance tocapitalise on this easy way toexpand your business.Sole TradersOne of the drawbacks ofvideography is that you’ll oftenbe working in isolation.Camerawork is not somethingthat you can do whilst happilychatting away with yourworkmates or colleagues.Editing is the same, in that it’ssomething that you have toexclude yourself from externalinterferences to enable you toconcentrate on the job in hand.The truth is that videography,in its purest form, is a solitarytrade. The end product willgenerally be created by anindividual or small team ofpeople. Compare this to abuilding site – where allcraftsmen work alongside eachother (though not alwaysharmoniously) and generallybenefit from their contact andexchange with each other. Youdon’t even have to move that faraway from videography towitness a collaborative market asboth the film and TV productionindustries will be made up ofliterally hundreds of associatedcraftsmen brought together toachieve a single end product.They will often cross-promoteeach other or at the very leasthave a team of complimentarytradesmen that they would preferto work with.Videography simply doesn’thave the same networkingpotential. It’s therefore verydifficult for the videographer tonetwork on the job. There are, ofcourse, exceptions to this (multicamerashoots and collaborativeprojects) – but generally speakingthe only occasions where you’llget the opportunity to networkare industry-based events andmeetings – plus some of the lesspersonalised methods coveredlater on in this article.Can’t Mix – Won’t Mix!The videographer’s almosthermitic existence is not onlybecause of the nature of thework. There are some whochose not to mingle because ofan inherent distrust of thecompetition. The fear of havingtheir clients stolen, or havingothers tap into what someconsider as unique knowledge orinformation, keeps some of youfirmly locked away in your ownlittle world. I’m not saying thatevery videographer is like this –but I’m also sure that there willbe some reading this that’llrecognise themselves and others.I’m also sure that there aresome videographers who are thisway not because of any fears ofbusiness espionage, but morebecause they are the introvertedcreative sort who find socialinterchange far too intrusive ordemanding. Again, not allcreative people are this wayinclined, but there’s astereotypical type who will findface-to-face communication alltoo much.Having now completelydecimated the good character ofmost of the industry, I hope toconvince even the most lost ofcauses that networking withothers in your trade can deliverboth financial and creativerewards.There are opportunities tomix – you just have to putyourself out a little. www.iov.com Focus Magazine August 2007 23
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July 2007 - Institute of Videography

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