Book Notes :: Music Production for Film & TV

Posted on by 1bb

1.Sample Rates

  • Definition: Sampling converts an analog signal into digital data. The sample rate is how many samples are captured per second.
  • Two standard rates:
    • 44.1 kHz — used for audio destined for CD.
    • 48 kHz — required for film and television audio.
  • Why 48 kHz for video: it was chosen to stay compatible with common video frame rates (NTSC 29.97 fps, PAL 25 fps, 24 fps, 30 fps), delivering a consistent ~22 kHz frequency response across them.
  • Gotcha: 44.1 kHz and 48 kHz recordings have an audible tonal difference — mismatching them mid-project can cause real problems. Most DAWs will warn you, but always double-check project sample rate before starting.

2. Frame Rates

  • Musicians normally think in tempo/bars/beats, not frames — but film/video work requires awareness of the frame rate you’re scoring to.
  • Always confirm the frame rate with the filmmaker directly.
  • Common frame rates:
    Rate Use
    24 fps Film, HD video
    25 fps PAL video/broadcast
    29.97 fps (drop frame) NTSC video/broadcast (most common today)
    30 fps (drop frame) NTSC broadcast (rarely used)
    30 fps HD video, early B&W NTSC
  • Setting frame rate in Logic Pro X:
    1. Create a new empty project.
    2. Go to File > Project Settings > Synchronization.
    3. Choose the correct frame rate from the pop-up menu.

3. MIDI — Core Concepts

  • MIDI has been central to film/TV composition for decades because it’s fast to capture, edit, and revise — useful under tight release schedules.
  • Used across virtually every genre (funk, rock, R&B, hip hop, pop, etc.).
  • Evolution: early MIDI instrument emulations (especially brass) were poor, but quality has improved so much that MIDI can be hard to distinguish from live instruments in some contexts.
  • Double-edged sword: better MIDI lets composers work within shrinking budgets, but it also reduces paid performance opportunities for live instrumentalists.

Copying MIDI to Build Layered Instruments

  • MIDI is just data, so it’s easy to duplicate/layer — e.g., building a full orchestral string section from a single MIDI passage.
  • Workflow in Logic Pro X:
    1. Select the recorded MIDI region (record one on the Piano track if none exists).
    2. Hold Option and drag the region to another track (e.g., Strings) to copy it.

4. Working with Video Files in a DAW

  • HD video = bigger files = more disk bandwidth needed. This competes with the DAW’s other demands (software instruments, DSP, audio/MIDI streaming) and can hurt performance.
  • Solution: Proxy video files — smaller, lower-overhead versions of the original high-res footage.
    • Easier for the DAW to play back.
    • Faster to upload/share with collaborators.
    • Created via transcoding in apps like Final Cut Pro, Avid Media Composer, or Adobe Premiere.
  • Logic Pro X + QuickTime: Logic works closely with QuickTime and accepts any QuickTime-supported format (e.g., .mov, .m4v).
  • Getting video info before scoring:
    1. Open the video in QuickTime Player.
    2. Choose Window > Show Movie Inspector (or Cmd+I).
    3. Inspector shows format, fps, data size/rate, and dimensions — needed to correctly set sync settings in Logic.

Watching the Scene

  • Mute the proxy video’s existing audio/dialog track before scoring so it doesn’t influence your writing.
  • Watch in a distraction-free environment; pay attention to:
    • Rhythmic pacing of on-screen action (cars, footsteps, birds, etc.)
    • Overall mood
    • Color scheme
  • These observations should inform the composition throughout.

5. SMPTE Timecode

  • What it is: a time standard defined/managed by the Society of Motion Picture and Television Engineers, used to sync audio, MIDI, video, and film.
  • Format: HH:MM:SS:FF (hours : minutes : seconds : frames [: subframes]).
  • Purpose: a common “timing language” that keeps different hardware/software in sync and avoids drift or inconsistency.
  • In Logic Pro X: the default bar ruler shows musical bars/beats, but can be switched to show timecode instead — useful when timing needs to be precise to real time rather than tempo.
    • Path: Tracks area menu > View > Secondary Ruler.

6. Foley & Precise Spotting

  • Sound design for film often includes composition + Foley recording/design + mixing/mastering — composers are frequently asked to cover all of it.
  • Foley examples: footsteps, doors, camera noises, printers, etc.
  • Problem: audio regions snap to bars/beats by default, but Foley must align to an exact moment on screen (real time, not musical time).
  • Solution: Pickup Clock key command — moves an audio region precisely to the playhead position.
    • Setup:
      1. Open Logic Pro X > Key Commands > Edit (or press Option+K).
      2. Options > Expand All.
      3. Search “pickup” → select Pickup Clock (Move Event to Playhead Position).
      4. Default key assignment: semicolon (;).
    • Use case: place the playhead exactly where the on-screen action happens (e.g., a door opening), then use Pickup Clock to snap the audio to that instant.

Quick-Reference Cheat Sheet
Task Where in Logic Pro X
Set frame rate File > Project Settings > Synchronization
Copy/layer MIDI Option + drag region to new track
Show SMPTE on ruler Tracks area menu > View > Secondary Ruler
Snap audio to exact time (Foley) Key Commands > search “pickup” > assign/use Pickup Clock
Check video fps/format QuickTime Player > Window > Show Movie Inspector (Cmd+I)

Sample rate rule of thumb: Film/TV → 48 kHz. CD/music-only → 44.1 kHz.