Social Composers: VI-Control - Film Scoring Tips (2024)

Table of Contents
Frederick Russ Mike Greene FAQs

Today I am happy to interview the 2 people that have made possible for countless composers to share their knowledge for the past 15 years with VI-Control, one of the most popular online forums out there. Frederick Russ founded VI-Control in 2004 and managed it until 2017. Mike Green took it from there and has been managing it since.

Frederick Russ

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Hi Frederick, I am very happy to have you on this series! Tell is a little about yourself. What do you do for a living?

I write music for media. Lately for music libraries. I also counsel creatives who struggle.

When did you start VI Control and what was the composers’ forum landscape like back then?

I started VI in 2004. The first day we had a grand total of ten members. I remember celebrating! Forums for composers were brutal back then. Advertisers could do no wrong; composers members paid the price for saying anything derogatory (since it was considered a threat to the forum income) so they were routinely banned, no matter the length of their membership. It was wrong, everyone knew it, yet there was no alternative.

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What was the philosophy/mission of VI Control?

VI returned the power back into the lives of its members. They were considered important commodities and treated with respect and could freely speak their mind (hence, a forum). In return, we expected members to police themselves. Our motto has been Musicians Helping Musicians. The vision was to be a place to share secrets and ideas related to composers who use samples and midi mockup to create music for media.

Banning did occur however under extraordinary circumstances if A) a member was attacking another member publicly after repeated warnings from a moderator or administrator; B) was trolling repeatedly to disrupt the flow of conversation; and C) continued spamming the forum with unvetted ads after being warned. For a time, we had a standing rule to proceed with a banning by the decision of at least two moderators.

What was your role in the group/forum?

I was the administrator. I ensured that the forum stayed updated technically. I also moderated.

“You can find musical jewels in what seemed like half baked ideas.” – Frederick Russ

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Can you share the best tip you have read on VI Control?

To continue writing, even when you don’t feel like it. To always write. You can find musical jewels in what seemed like half baked ideas. Composers were encouraged to compile their ideas and then go back periodically to review them in brainstorming mode (suspending judgment while you try combining short snippets of ideas to create an entirely new piece). It’s a mental game to compose. While it’s important to remain aware of problems, it’s also important to remain open to the creative process without abusing oneself for not being perfect. I’ve abandoned hundreds of cues only to return and build 3 out the ideas I find. Seemed to be a recurring phenomenon amongst composers.

Are you member and active on other groups/forums that you’d recommend to your colleagues?

Nothing remotely close to VI. There are some cool Facebook groups though.

Do you feel Mike Greene did a good job leading VI Control after you?

Of course. I personally chose Mike and had known him for years before VI switched hands. Mike knew the philosophy quite well and was balanced in his decision making. Besides, Mike is a great guy and is making a difference at VI.

Thank you so much Frederick, I am going to pass the mic (or should I say the pen?) to Mike.

Mike Greene

Hi Mike, thanks for taking part in this chapter of the Social Composers series. Can you tell us a bit about your work?

Currently, I am the owner of Realitone, a company that makes sample libraries.Before that, I was a composer for TV shows and I wrote and produced songs for records. I still do the occasional tv show or record, but I’m too busy with Realitone to do much of that anymore.

What is your role in VI-Control?

I am the owner and administrator.Previously, that was Frederick (That’s who I bought the forum from a few years ago).

Why is VI-Control it unique?

VI-Control is the main forum for film, TV and game composers, as well as the premiere platform for sample library instruments.This is the place.

“VI-Control is the main forum for film, TV and game composers, as well as the premiere platform for sample library instruments. This is the place.” – Mike Greene

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Frederick has told us about the values/mission he gave the forum during the years he managed it, did you keep or change them?

The values and mission are the same as when Frederick owned it.

Can novice composers join and why should they?

Many members are novices.The only way to know if it’s right for you is to visit and see what you think.

What about experienced composers?

We also have many experienced composers, some of whom are very well known. I won’t name them, because i don’t want people thinking they should visit so they can pester them with questions.

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Have you ever witnessed new professional relationships born from interactions between members in the forum?

Yes, although VI-Control is not a place where you are going to get composing gigs.It is a forum for other composers, not directors.

Are there other services tied toVI Control?

We have meet-ups very rarely, but they do happen from time to time. (Maybe once every couple years?)

Can you share the best tip you have read onVI Controlso far?

Don’t eat the yellow snow.

Are you member and active on other groups/forums that you’d recommend to your colleagues?

The Soundboardis also cool, although much smaller.

Thank you so much for participating!

You’re welcome!

  • Social Composers: VI-Control - Film Scoring Tips (4)

    Giovanni Rotondo

    Editor in Chief of Film Scoring Tips.Giovanni Rotondo is an experienced London-based film and television composer whose music has been showcased on top-tier platforms like Netflix, BBC 1 and Rai 1. Known for his versatility, Giovanni has contributed to feature films, TV series, TV movies, and documentaries. He's also the creative force behind the popular game music album series "The 8-bit Time Adventures." A BAFTA Connect member, Giovanni is renowned for blending technical skill with creative flair. For more information, visit: giovannirotondo.com

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Contents

Social Composers: VI-Control - Film Scoring Tips (2024)

FAQs

How do composers score movies? ›

The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such ...

What are the cues in film scoring? ›

In the language of film scoring, cues are musical snippets strategically woven into a movie's soundtrack. These brief compositions, often just a few seconds long, serve as emotive triggers, synchronizing with on-screen actions, dialogue, and visual nuances.

How competitive is film scoring? ›

Many musicians want to get into writing and producing music for film and TV, so it is a highly competitive field. The first step is to build musical skills and experience, which you can get from attending a formal music program.

Do film score composers get royalties? ›

Void of any agreements or contracts, composers generally keep the rights to their creations. Even with buyouts or work-for-hire, composers are often still entitled to the writer's share of performance royalties, unless their contracts specify otherwise.

What is Mickey mousing in film? ›

In animation and film, "Mickey Mousing" (synchronized, mirrored, or parallel scoring) is a film technique that syncs the accompanying music with the actions on screen, "Matching movement to music", or "The exact segmentation of the music analogue to the picture." The term comes from the early and mid-production Walt ...

How do you name a film score cue? ›

Cue naming convention

The first number is usually the reel number for film or the act number for TV. The letter is almost always M for music, and the second number starting from 1 progresses in increments of one from cue to cue. So 2M15 would be reel two, cue 15.

Why are cue sheets important in film? ›

Cue sheets are the primary means by which performing rights organizations track the use of music in films and TV. Without cue sheets, it would be nearly impossible for such composers and publishers to be compensated for their work. An accurately filled out cue sheet is a log of all the music used in a production.

What is the golden age of film scoring? ›

Ah, The Golden Age. Some of the greatest film music of all time came out of Hollywood during the period from the 1920s to 1950s. Titans of film scoring like Max Steiner, Franz Waxman, and Erich Wolfgang Korngold defined what it meant for music to be cinematic.

What makes a successful film score? ›

First and most importantly, a soundtrack must match the tone of the film. In some cases this is pretty obvious; explosions shouldn't sound like a cough and vehicles crashes need to portray BIG forces of impact. But there's more to it than that, small scale cinema needs a soundtrack that's in proportion.

How much time does it take to compose a film score on average? ›

Once the precise timing, narrative content, and emotional tone of each music cue has been determined, the composer spends anywhere from two weeks to three months writing the score, which runs roughly half the length of the movie (i.e., an hour of music for a two-hour film).

What is the average age of film composers? ›

The median age of film composers on the top 200-grossing movies (1988-2017) was 46.6 years old. This has been steadily rising; the median age in 1988 was 41.4 years old but by 2017 it had grown to 54.

What is the process of scoring a movie? ›

Film scoring is a very iterative and collaborative process, with many rounds of feedback and rewrites to get the music to fit the film just right. Once these motifs, themes, and instrumentation choices come together, you can begin to write your music to film.

How long does it take to compose a film score? ›

Here is what I learned writing music for several films: Writing music for a film can take somewhere between 2 to 3 months on average and it should rarely exceed that timeframe according to most industry experts. With that said, several factors will be taken into account to determine the length of the project.

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