# Berlin International Film Scoring Competition



## Lec (Oct 25, 2022)

Berlin International Film Scoring Competition | BIFSC


Berlin International Film Scoring Competition offers emerging Film Composers the platform to showcase their work and compete to receive multiple Awards.




www.bifsc.org




The BIFSC is back 🎬
Enjoy 😉 !!


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## sal-lp (Dec 31, 2022)

Hi, this is my entry! ❤️




Happy new year!! 🥂

Love, Sal. Lost in Time


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## Ferenc Bátri (Jan 1, 2023)

Hi, here is my entry:



Libraries:
Cinematic Studio Strings, Solo Strings, Brass, Piano
Orchestral Tools Berlin Woodwinds, Tableau Solo Viola, Tallinn Female Choir
BBCSO Pro Contrabassoon, Timpani
CineHarps
8Dio Intimate Studio Strings, CAGE Bundle, Warm Studio Solo Bass Clarinet
NI East Asia
Heavyocity Natural Forces, Vocalise 2, Damage 2, Scoring Guitars, Gravity Pads


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## Lec (Jan 2, 2023)

Ferenc Bátri said:


> Hi, here is my entry:
> 
> 
> 
> ...



@Ferenc Bátri 
Great work! It's really well orchestrated!!! (And beautifully mixed)
Do you use anything special on your BUS Master before your final export ?
Really good 👍🏼


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## Ferenc Bátri (Jan 4, 2023)

Lec said:


> @Ferenc Bátri
> Great work! It's really well orchestrated!!! (And beautifully mixed)
> Do you use anything special on your BUS Master before your final export ?
> Really good 👍🏼


Thank you so much 

Actually, my mixing approach is very general: EQ on each instrument that needs the, with the sweeping method (I use my ears, and other music as a reference). In certain sections (Strings, Brass), I applied an SSL emulation. And I use Ozone for mastering (for very basic dynamic, EQ, stereo field, leveling...). I use dynamic tools very subtly in a few cases. I don't master it as a separate process, I continuously work on the overall sound in real-time. Actually, I try to keep simple. I think the main mixing task is the orchestration itself, the layering of the section with solo patches.


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## Lec (Jan 4, 2023)

Ferenc Bátri said:


> Thank you so much
> 
> Actually, my mixing approach is very general: EQ on each instrument that needs the, with the sweeping method (I use my ears, and other music as a reference). In certain sections (Strings, Brass), I applied an SSL emulation. And I use Ozone for mastering (for very basic dynamic, EQ, stereo field, leveling...). I use dynamic tools very subtly in a few cases. I don't master it as a separate process, I continuously work on the overall sound in real-time. Actually, I try to keep simple. I think the main mixing task is the orchestration itself, the layering of the section with solo patches.


Thank you,
I really like your approach…
Keeping it simple and trusting your ears is ultimately the best! (the result on your orchestration is very homogeneous and coherent)
Thanks for your explanations, it's always very interesting to see the approach and the creative process of other composers 😉


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