60 !!Chapter 4
What tempo is most appropriate?The tempo is directly related to the
creation of a musical mood. If the music is too fast or too slow, the entire
feeling of the commercial changes.
Does the mood of the music have to change within the commercial?
Many commercials change moods, and the music will most likely have to
change with it. For example, pain reliever commercials (e.g., aspirin) often
start with a problem that is cured after taking the medication. In most
instances, the opening music should evoke an uncomfortable feeling and
transform into a pleasant section that signifies relief. Even though this
seems like an obvious musical choice, the creatives might want only one
musical mood. Since musical solutions are subjective, discuss various
approaches with the creatives before composing.
Music that is suggested by the agency often differs from a composer’s
initial ‘‘musical impression.’’ Since selecting music is a creative process,
many styles will accomplish a musical goal.
Should sound effects be musical or realistic?If a large gun is fired,
should the audience hear a deep gunshot or a short blast of timpani and
low brass playing fortissimo? Using a combination of real effects mixed
with synthesized sounds and/or samples creates many effects. The cre-
atives generally know what they want. Discuss the possible solutions
before designing the effects. (Composers of commercials often are respon-
sible for creating sound effects; when composing for feature films, sound
designers and Foley artists usually create the sound effects.)
What will be the visual look and style of the film?Will it be grainy,
shot in color or black and white, edited with fast cuts, traditional or
unusual camera angles, and so on? This is difficult to discern when work-
ing with a storyboard. Only the creators can answer these questions.
The agency frequently requests several variations of the same piece of
music, or they might approve two separate compositions for the same
commercial. After the spot has been filmed, the recorded tracks are syn-
chronized to the video, and the final music is chosen.
After a demo has been approved and the final film has been shot, the
composer adjusts the demo to fit the exact timings of the film. After view-
ing the film, the composer or the creatives might suggest substantial musi-
cal changes. Many editors use demos as an editing tool. The ambience of
the music helps them ‘‘cut the film’’ (edit). Even after the music has been
adjusted, the client might suggest additional edits and/or musical
changes. This process usually continues until it is time to send the video
to the television stations for airplay.
Analyzing a Storyboard
Let us analyze an actual storyboard as if we were approaching a real
assignment. We will determine the timings from the storyboard and com-