58 !!Chapter 4
poser has to determine the timings frame by frame. The best approach is
to use a stopwatch.
Read each frame or each section and note the timings on the story-
board.
Record all dialogue onto a CD or audio program. (The timings of
cassettes are not accurate.)
Leave space for action that has no dialogue.For instance, if someone
is walking up steps and it takes 2 seconds, this timing must be included in
the calculations.
If working with a digital audio sequencing program, begin compos-
ing while listening to the dialogue.This is an excellent reference tool.
Confirm the timings with the creatives. What seems logical may not be
the agency’s vision. A professional announcer can read advertising copy
quickly and be perfectly understood. As a result, the final timings may
change. Most agency producers experiment with actors and announcers
while either filming or recording, which could alter the initial script. Make
certain to have the final copy (script) before writing the music.
If writing to a completed film, it is advisable to check the timings.
Sometimes, the film might be too long. Other than an error, this happens
because the editor cannot fit the appropriate frames into the allotted time.
The composer is asked to score to this longer time. After the commercial
has been edited, the film company electronically compresses the entire
film so that it fits the correct time. If the time difference is not too extreme,
it will be difficult to notice the compression.
The music should not begin until at least seven frames have passed
and should end .05 seconds before the film ends. Time is needed for the
video to attain the proper speed at the beginning, and room is needed at
the end to cut to another commercial (or program) with a smooth transi-
tion. Because of new technology, it might be possible to begin the music
on the first frame of the picture. Question the producer prior to compos-
ing. Ask questions throughout the initial creative meeting. The following
are some suggestions.
Who is the target audience?The answer to this question helps to con-
jure up musical ideas. For example, if the target audience were 50- to 65-
year-old women, most likely, hip-hop would not appeal to most of them;
therefore, hip-hop would be an inappropriate musical style.
What are the demographics, psychographics, or sociographics of the
audience?The answer helps to narrow musical choices. Within these
groups, countless musical styles could succeed; ask the creatives for guid-
ance. It is essential to know which styles arenotacceptable. This should
also be a part of the creative discussion.
What musical styles work best?It is advisable to bring examples of
musical directions to a creative meeting. Most likely, the creatives will play
an example of what they feel would be the appropriate style. If a musical