Film and TV Pro Profile Live

As part of my new networking drive, I’ve consolidated my former and the (now defunct) creative district profiles with the useful online promotion site offered by those friendly chaps at Film and TV Pro, to help me network with film makers looking for assistance with soundtrack production for their projects.

Their user friendly interface allows for the download of my featured showreel, has a listing feature for present and past projects and is very quick to load. I’ll also update my testimonials there.

FYI, for anyone from the professional film industry interested in joining the network, all you have to do is follow this link to Film and Television Pro to create your own profile. You can also check out my profile here.

Regrets of the Past is FINISHED!


The team at Pellicula Film have finished their latest project, ‘Regrets of the Past’, the much talked about Austrian Star Wars Fan-Film set in George Lucas’ fantasy universe, taking place in the time frame between episodes III and IV and adhering closely to the SW lore.. The story is a space opera, following new characters in their struggle against the newly established Empire.13495580_1020803384693956_7375388331695403538_o

We celebrated our premiere at the Gartenbau Kino on Vienna’s Parkring back in June, the theatre was packed out (actually there were more guests invited than available seats!) but it was a resounding success and everyone was happy with the result.  The project has taken over four years to complete and has been a labour of love for so many professionals from the local Austrian film industry.

I  myself had a great time whilst working on the score, I made many new friends and connections, it was a blast! The film is about to undergo an English synchonisation, then it will make a tour of film festivals. In the meantime, you can check out a taster of my soundtrack here:

Scratch (Temp) Music – My Thoughts

Scratch Music – a useful tool for filmmakers (and editors) to create a sense of intended mood direction for a scene, or a crippling hinderance for the creative composer?

Most composers I know have a love/hate relationship with scratch music. Whilst it can be very informative for me and very revealing of a filmmaker’s intent to receive a music file with a scene, I have found it can also be a dangerous crutch to lean on.

What is ‘scratch’ music?

A broad definition would be that it is temporary music, added to a film in post-production to assist a filmmaker in demonstrating his/her intended direction for the film’s music; to guide the composer and/or music supervisor in creating the finished soundtrack.

In practice, a director might, for example, instruct his post production team to overlay Hans Zimmer’s tense climactic score from Inception to demonstrate his or her vision for the music style and pace for a battle scene. It also goes without saying that the license for using said cue would cost an arm and a leg. The composer therefore steps in to create a cue that mimics the style and feel of the scratch track.

I have, on occasion, received such a film edit with scratch music added, together with a very basic brief from the filmmaker: “I can’t afford the license to use this piece of music in my film, would you please compose something as near to it as possible?”.

Where to start?

Before I get bogged down in the immersive creative process (locking myself away in my home studio for hours on end, tirelessly attempting to emulate the scratch music’s timbre, groove, cadence, instrumentation, etc), I find it infinitely more productive to first touch base with the director (as it is the director in most cases on low budget projects), to ask more direct questions about their ideas for the film:

  • Why did they choose the scratch music? Was it their idea?
  • If they could, would they change anything about the scratch music?
  • Is this track indicative of the entire soundtrack’s musical direction?
  • Would they be open to other ideas, stylistic direction?

And perhaps the most important question of all:

  • Is this a locked edit, or will the editor work further on the film after receiving the final music? (Trailers are a good example of a coordinated effort between composer and editor, whereby the final locked edit will result from close collaboration of ideas).

These seem like simple questions, but without asking them the job can become very tedious and limiting, or worse; would need constant redrafting or time consuming re-edits.

A common issue for film composers is establishing a mutually intelligible language with the filmmaker, given that it is rarely the case to have a music supervisor on hand to translate the director’s expectations into a fitting soundtrack. Music is first and foremost a language, one which only a few filmmakers are fluent in. I therefore invest a decent proportion of my time for a project in getting to know what the director expects from me; sometimes over a coffee or (more often than not) over Skype. I take this chance to discuss the choice of temp music in depth, trying to interpret their ideas, “Could you make it more.. blue?”, “it’s a bit too… jumpy” or my personal favourite to date, “a little less baywatch-y“. I often chuckle at such feedback, but it can result in very useful guidance.

Moving now to the creative part: working on the track. I won’t give away my secrets, indeed every composer I know has their own approach to interpreting scratch music. Personally speaking, it has mostly been a trial and error process to develop a workflow that fits for me. Suffice to say, beat mapping, matching time/key-signatures, instrumentation all play a part in accurately imitating a temp cue music file. I generally work from the rhythm upwards (a lingering habit from my time composing and arranging pop music), but it depends on the style of course. Furthermore, I subconsciously add my own personal touches, little sparks that perhaps could be defined as my style. In any case, music is art, it lives from expression and should never be reduced to an oversimplified formula.


Whilst I can’t talk from experience here, I have heard that directors can get so attached to their scratch music that nothing can be done to beat it. This is certainly biggest challenge to overcome, that replicating the feel and mood of a fantastically produced piece of music is no mean feat. Another problem is that by following the guide too closely, it becomes blatantly obvious for a perceptive viewer to determine the original scratch music. I watched a very entertaining (and internationally successfu)l BBC show yesterday and could pick out three famous (yet generic cliché) scratch tracks from the composer’s brief. Striking the balance seems to be the key to success.

To summarise; Scratch music may be an invaluable starting point but I’ve found that it should not replace close dialogue between the composer and filmmaker. Taking the time to really analyse the chosen scratch music for the film before jumping in feet first certainly reaps benefits later. Sometimes the bespoke composed end result is light years away from the scratch file, but the most important outcome is that it encourages dialogue to help fulfill the filmmaker’s expectations. This is the most important outcome, after all.



Filmmaking Net:


More of the Game

Apocalyptic Old West is a compilation of atmospheric soundscapes and original music, woven together to form the backbone of your gaming session. We are looking for funding to produce 120+ minutes of fresh, original and authentic soundtrack. Just load the playlist and let it run in the background – and dive into an apocalyptic world of dusty world of bullets, monsters, spurs and tombstones.

But most importantly: We want YOU to be part of the project! By pledging at the “Beast” or “Blood” level, you have the unique chance of including yourself in one of the tracks. Record your scream or monster sound at home and send us your audio file. We will tweak and edit your audio and include you in the final product.

More info at our More of the Game Kickstarter page. Drop by and check us out!