# Short film scoring competition



## Westwood

As part of the release of our Lost Piano sample library, we’ve made a short film for you to create your very own score to. The competition is free to enter and you’ll be in with a chance to win some prizes as well as get your work heard by our esteemed judging team.

*WATCH THE FILM, READ ALL THE DETAILS AND DOWNLOAD THE FILE TO GET SCORING HERE >>>*

*https://westwoodinstruments.com/lostpianoscoringcompetition/*





The winner will receive all of our sample libraries, including LOST PIANO and EVERYTHING we release in 2022, plus a gift card for *either* $250 to spend at Sweetwater or €250 to spend at Thomann.

5 runners-up will also receive a copy of LOST PIANO.

We are very honoured to have 3 World-class TV and film composers on the judging panel; Nainita Desai, Chris Dudley and Kevin Matley.

The deadline is midnight GMT on December 7th 2021.

Good luck!


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## Markrs

Looking forward to having a go at this!


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## emdas

This is awesome. Will give it a shot.


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## Baronvonheadless

Very nice! Looking forward to cooking something up for this!


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## Baronvonheadless

So - beautiful film guys, and a great challenge with lots of important dialogue! Here’s my attempt! Did it all today. First score where I played guitar on it too (being a guitarist long before a midi composer) Uploaded it to YouTube and going to sit with it for a bit before I officially apply through the website. Any constructive criticism appreciated 

(But I probably won’t change anything)


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## Wedge

Not much to explain. My third scoring contest, it's not perfect but I'm happy with it.


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## freecham

Baronvonheadless said:


> So - beautiful film guys, and a great challenge with lots of important dialogue! Here’s my attempt! Did it all today. First score where I played guitar on it too (being a guitarist long before a midi composer) Uploaded it to YouTube and going to sit with it for a bit before I officially apply through the website. Any constructive criticism appreciated
> 
> (But I probably won’t change anything)



I really enjoyed listening your entry. Strange and full of emotion : well done ! The video is beautiful but it's sometimes difficult to play with the dialogue and the music in the same time. A big challenge, but exciting and different from a lot of competitions. Here my entry :


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## kclements

Thanks @Westwood 
Here is my entry:


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## kclements

So many great entries so far. Really enjoy hearing the way others treat the same film. Good luck everyone.


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## Remnant

Thank you Westwood for giving us this beautiful short film to take a crack at. I thoroughly enjoyed the film and instilling my take on a score for it. Here is my entry:


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## catibi79

Here is my entry : 


Thank you Westwood


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## Adsol

My entry for the short film.


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## Stephan Schipper

What a great video an what an expressive actor. It was so much fun to see how his gestures, his eyes, his movements connected with my music. Thanks to the people from WESTWOOD for the opportunity to rescore the film.


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## Taron

Uh, wow, okay, this is a neat challenge. Seems like the challenge will be to not to feature a piano, hahaha, but well... I will most certainly give this a shot. It's really good content and a rare kind of "real". What a nice performance, too. Guess the trickiness will be to also "act" with the music, as this is an act and not a documentary. Nice, nice, nice challenge!


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## MusicalG

My humble attempt only the 2nd time scoring to picture x


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## Westwood

Taron said:


> Uh, wow, okay, this is a neat challenge. Seems like the challenge will be to not to feature a piano, hahaha, but well... I will most certainly give this a shot. It's really good content and a rare kind of "real". What a nice performance, too. Guess the trickiness will be to also "act" with the music, as this is an act and not a documentary. Nice, nice, nice challenge!


Thank you! Yeah, it will be interesting to see how many entries use a piano!


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## Baronvonheadless

Westwood said:


> Thank you! Yeah, it will be interesting to see how many entries use a piano!


Yeah my instinct was to specifically not feature a piano until after he sits down at the piano and it fades to black. Something about featuring a piano the whole time when it’s called lost piano felt too obvious 😎


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## Westwood

Thanks to all that have entered so far. So many unique and individual approaches! Please understand that we're trying to stay away from 'liking' any individual posts or giving any sort of feedback - very difficult though as we know how much work is going in to every entry. Really humbled and honoured to have so many of you giving this a shot.


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## MusiquedeReve

I have never attempted to score a video/film and am quite new to the world of orchestral instruments

I am wondering if I should even attempt this as I am sure my submission will be embarrassing compared to what virtually all others on this site would submit

Maybe I will try it just for myself privately


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## MusicalG

MorphineNoir said:


> I have never attempted to score a video/film and am quite new to the world of orchestral instruments
> 
> I am wondering if I should even attempt this as I am sure my submission will be embarrassing compared to what virtually all others on this site would submit
> 
> Maybe I will try it just for myself privately


go for it buddy, sometimes its great just to have the experience, this is only my 2nd attempt at scoring to picture, you should do it


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## MusiquedeReve

MusicalG said:


> go for it buddy, sometimes its great just to have the experience, this is only my 2nd attempt at scoring to picture, you should do it


I don't even know how to figure out what tempo to use

Does it depend on frame rate? I looked at the contest page and do not know what the FPS is for the short film

I also assume that for film the sample rate of the audio should be set to 48kHz rather than 41.1kHz


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## Argy Ottas

MorphineNoir said:


> I have never attempted to score a video/film and am quite new to the world of orchestral instruments
> 
> I am wondering if I should even attempt this as I am sure my submission will be embarrassing compared to what virtually all others on this site would submit
> 
> Maybe I will try it just for myself privately


As @MusicalG said, you should definitely give it a try man! There is nothing to be embarrassed to. Just tell your little story through this kind and sweet man, Mr. Morry


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## MusicalG

MorphineNoir said:


> I don't even know how to figure out what tempo to use
> 
> Does it depend on frame rate? I looked at the contest page and do not know what the FPS is for the short film
> 
> I also assume that for film the sample rate of the audio should be set to 48kHz rather than 41.1kHz


it gives you all the information you need on the westwood page from memory, I didn't use a tempo, i just played it live and then tweaked it a little  
there is are some good videos on scoring to picture, christian henson did a good one from memory.

this was in the downloads folder from westwood my friend


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## MusiquedeReve

MusicalG said:


> it gives you all the information you need on the westwood page from memory, I didn't use a tempo, i just played it live and then tweaked it a little
> there is are some good videos on scoring to picture, christian henson did a good one from memory.
> 
> this was in the downloads folder from westwood my friend


Thank you - I just downloaded it now and saw then and then saw your post

Yeah, I think this is going to have be played live or, in my case, drawn in as live as I can get it to be

I have decided to give it a try - now, if my client (for my actual job) will behave themselves so I don't have to draft any emergency legal briefs this weekend, I will have time to work on this


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## MusicalG

MorphineNoir said:


> Thank you - I just downloaded it now and saw then and then saw your post
> 
> Yeah, I think this is going to have be played live or, in my case, drawn in as live as I can get it to be
> 
> I have decided to give it a try - now, if my client (for my actual job) will behave themselves so I don't have to draft any emergency legal briefs this weekend, I will have time to work on this


It’s great fun, I entered my first ever contest last year with the Abbey Road st Maude contest and got shortlisted to the final 15 which blew my mind x
so you never know  
I can make your client disappear for a small fee  ha ha 
good luck buddy


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## MusiquedeReve

MusicalG said:


> It’s great fun, I entered my first ever contest last year with the Abbey Road st Maude contest and got shortlisted to the final 15 which blew my mind x
> so you never know
> I can make your client disappear for a small fee  ha ha
> good luck buddy


HAHA -- this client helps me put food on the table and VST's on my SSD (even though HDD's give more warmth to the tone lol)

Good luck to you as well - I am excited to try this out - regardless of how it turns out)


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## Taron

Westwood said:


> Thank you! Yeah, it will be interesting to see how many entries use a piano!


Tadah! And I had to use yours, too, it's amazingly beautiful! Here's my go at it and it was a total joy for me. Lately I'm doing one "first" after another and I can't get enough of them either. This is the first time I've had the privilege to try scoring a short and it's been wonderful to get lost in it. Hope you won't mind me little cheekiness... I just was unable to resist it...



BIG THANK YOU for the competition already!


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## MusicalG

MorphineNoir said:


> HAHA -- this client helps me put food on the table and VST's on my SSD (even though HDD's give more warmth to the tone lol)
> 
> Good luck to you as well - I am excited to try this out - regardless of how it turns out)


Good job chloroform is only temporary good luck with your entry buddy x


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## Remnant

MorphineNoir said:


> I don't even know how to figure out what tempo to use
> 
> Does it depend on frame rate? I looked at the contest page and do not know what the FPS is for the short film
> 
> I also assume that for film the sample rate of the audio should be set to 48kHz rather than 41.1kHz


I use a free app called tempo which I tap as I watch the video to get a sense of tempo. It might be different for everyone, but that works well for me to sort of feel the tempo of a scene. Of course, tempo changes are certainly a part of expression. And yes, you should stick to 48kHz. Good luck.


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## MusiquedeReve

Remnant said:


> I use a free app called tempo which I tap as I watch the video to get a sense of tempo. It might be different for everyone, but that works well for me to sort of feel the tempo of a scene. Of course, tempo changes are certainly a part of expression. And yes, you should stick to 48kHz. Good luck.


Thanks - you too

I just wonder if some of the ideas I am having for this might be "too out there"


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## Taron

I've only recently started scoring to video, while my first was the silly stargirl thing, but it was really asking for proper rhythm, the second was the Hans Zimmer challenge, where you had to find or even make up a beat to sense where things could sit. Then Symphonic Destruction trailer, again, strict on proper timing and a sense of rhythm. But on this one here, his voice, Dennis Gerald, it has a certain lead, where I ended up just feeling along, only having brief sequences with rhythm, which he gave, but loosely. I find that this clip can and possibly should be handled totally organically and not so much dissected into segments of speed. It felt fantastic to me to just sort of "play along" or play into it.

But, @MorphineNoir , whatever ideas you're having, let them be however "far out" they want to be. That's what makes it exciting! As long as you care for the content, it's all good, I think.


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## dhmusic

MorphineNoir said:


> Thanks - you too
> 
> I just wonder if some of the ideas I am having for this might be "too out there"


A film like this is begging for something "out there". Go for it!

Look at it this way - if this is new/uncomfortable territory for you then let yourself completely botch it in front of peers who aren't going belittle you for it. That alone is quite an accomplishment


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## MusiquedeReve

dhmusic said:


> A film like this is begging for something "out there". Go for it!
> 
> Look at it this way - if this is new/uncomfortable territory for you then let yourself completely botch it in front of peers who aren't going belittle you for it. That alone is quite an accomplishment



Yes, I am taking a deep breath and going to try and work on it this weekend before the contest ends
I am not very good at mixing or mastering so, it will be what it will be


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## dhmusic

MorphineNoir said:


> I am not very good at mixing or mastering so


You'll be a lot better once you finish it and get feedback


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## MusiquedeReve

dhmusic said:


> You'll be a lot better once you finish it and get feedback


Well, I don't have Isotope or anything like that - might have to just use Soundcloud mastering or something like that


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## dhmusic

MorphineNoir said:


> Well, I don't have Isotope or anything like that - might have to just use Soundcloud mastering or something like that


They offer a trial if you're looking into learning it. It doesn't have to be super compressed or anything for this kind of project, you might be better off just focusing on the content. I think they mentioned not to do anything to the VO though so I think that might mean leaving that out of a mastering chain. I could be wrong though.


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## MusiquedeReve

dhmusic said:


> They offer a trial if you're looking into learning it. It doesn't have to be super compressed or anything for this kind of project, you might be better off just focusing on the content. I think they mentioned not to do anything to the VO though so I think that might mean leaving that out of a mastering chain. I could be wrong though.


Yeah I would just have the composition mastered then reinsert it into Logic


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## Taron

MorphineNoir said:


> Well, I don't have Isotope or anything like that - might have to just use Soundcloud mastering or something like that


There are plenty of amazing, free mastering vsts and it doesn't take too much to learn how to handle mastering with them, technically. But you do have to- and should want to- learn a few things about mastering. It's well worth your time and can be quite exciting. Once you have found your ways, you will probably find your own kind of inner template on how to go about it, too, and it won't be much of a riddle anymore. 
Somehow, though, one never stops learning when it comes to mastering. 

Key #1 is that your overall arrangement has to make sense, your instruments have to be composed into a balance that gives them the meaning they are meant to have based on your vision. Some of them you have to help with EQ in the mix. Sometimes on these instruments itself or you have to help one by EQing the other instruments properly, but it sounds more complicated than it is. Volumes, effects, all of it has to "make sense" for you! Then, whatever others may perceive, it will be your composition they hear. But you want to gain awareness and control.

Then there are technical aspects to consider regarding levels and- in film cases- balance between music and dialogue (and/or foley work in other films). Because that mostly would be part of the direction of the movie, musicians don't necessarily have to be involved in that too much. But if you're on your own, well... I recommend being sensible about the film and not just feature your music for its sake. It's meant to become part of a whole.
Compression, lessening the dynamics of your music, allows you to control how much attention it grabs, but also to prevent parts from becoming too quiet or too loud. There are considerable differences regarding to what medium the film is for, TV or theaters, with TV asking for much less dynamics, way more squashed to prevent people from darting to the volume control when things get suddenly too loud or turning it up, because they somehow feel it's too quiet suddenly. Used be additional technical reasons, but with the digital age they have sort of vanished, I suppose.

But, yeah, take control, learn the basics and you won't have to depend on expensive tools or services.

Easy, free vsts to help the master:
OTT - https://splice.com/plugins/3788-ott-vst-au-by-xfer-records
Nova 67p - https://www.tokyodawn.net/vladg-nova-67p/
Loudmax - https://loudmax.blogspot.com/

For the longest time, these tools had helped me to get to a decent master. There are plenty more and possible even more desirable vsts for free, but those I can vouch for from experience!

Anyway, too much info? I hope not... GOOD LUCK, that's for sure!


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## MusiquedeReve

Taron said:


> There are plenty of amazing, free mastering vsts and it doesn't take too much to learn how to handle mastering with them, technically. But you do have to- and should want to- learn a few things about mastering. It's well worth your time and can be quite exciting. Once you have found your ways, you will probably find your own kind of inner template on how to go about it, too, and it won't be much of a riddle anymore.
> Somehow, though, one never stops learning when it comes to mastering.
> 
> Key #1 is that your overall arrangement has to make sense, your instruments have to be composed into a balance that gives them the meaning they are meant to have based on your vision. Some of them you have to help with EQ in the mix. Sometimes on these instruments itself or you have to help one by EQing the other instruments properly, but it sounds more complicated than it is. Volumes, effects, all of it has to "make sense" for you! Then, whatever others may perceive, it will be your composition they hear. But you want to gain awareness and control.
> 
> Then there are technical aspects to consider regarding levels and- in film cases- balance between music and dialogue (and/or foley work in other films). Because that mostly would be part of the direction of the movie, musicians don't necessarily have to be involved in that too much. But if you're on your own, well... I recommend being sensible about the film and not just feature your music for its sake. It's meant to become part of a whole.
> Compression, lessening the dynamics of your music, allows you to control how much attention it grabs, but also to prevent parts from becoming too quiet or too loud. There are considerable differences regarding to what medium the film is for, TV or theaters, with TV asking for much less dynamics, way more squashed to prevent people from darting to the volume control when things get suddenly too loud or turning it up, because they somehow feel it's too quiet suddenly. Used be additional technical reasons, but with the digital age they have sort of vanished, I suppose.
> 
> But, yeah, take control, learn the basics and you won't have to depend on expensive tools or services.
> 
> Easy, free vsts to help the master:
> OTT - https://splice.com/plugins/3788-ott-vst-au-by-xfer-records
> Nova 67p - https://www.tokyodawn.net/vladg-nova-67p/
> Loudmax - https://loudmax.blogspot.com/
> 
> For the longest time, these tools had helped me to get to a decent master. There are plenty more and possible even more desirable vsts for free, but those I can vouch for from experience!
> 
> Anyway, too much info? I hope not... GOOD LUCK, that's for sure!


Thank you - I'd rather have too much information that will take me a bit to dissect than not enough where I then keep coming back with (stupid) questions


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## milford59

I am a hobbyist only, and I don't like to listen to other peoples efforts before I finish my own, although I have now listened to some and they are very good. I took a slightly different approach, using only a piano - and my music is very sparse. I felt that the acting and monologue was very powerful, so I didn't want to get in the way.. but what do I know !!


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## Taron

liquidlino said:


> Do I hear OAE in there? Sounds like a *ton* of sound


I had to search for "OAE", haha, still don't know the acronyms, but I assume you mean the LABS frozen or scary strings I've used, which may be in OAE, too?!  ...in the video description on youtube I wrote down all (free) libraries I've used with links. 

Thanks for asking, by the way!


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## Codetronx

Another one !!! 
Finally I've chosen to let the piano alone as a co-starring.


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## Captain Oveur

@Westwood Regarding this bit of the rules:


> *Can I add foley to the film?*
> No, please keep your entry to purely music. Do not add any real-world sound like footsteps or wind.


Does that ban the likes of Soniccouture's Geosonics or other sound design instruments, so popular in underscore these days, that are based on foley recordings? Where is the line between music and SFX?


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## Baronvonheadless

I used Albion Tundra's air patch on some parts where they're just blowing through woodwinds and brass and it sounds like air/wind but its a textural element from an orchestral library, not sound foley wind...so I hope that wouldn't disqualify it. I use it combined with strings playing Col Legno sustains and dissonant pointillistic orchestral swarm type stuff during a quiet moment


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## Remnant

I have a couple whooshes from Fracture Sounds Box Factory that sound a bit like wind too, but not a special effect.


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## Germain B

A beautiful short movie that was quite challenging.
Here's my attempt :


Libraries used :
- Orchestral Tools Tallinn (Strings)
- Orchestral Tools Berlin Woodwinds + Additionnal Bass flute
- Embertone Herring Clarinet
- Soundpaint 1975 Guitar
- Soundpaint 1928 Piano


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## purplehamster

Here's my attempt.


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## tritonely

This piece is a homage to the piano libraries which try to become more than just a great natural piano sound. The piano's you can hear in this piece along with some other instruments: Westwood: Lost Piano, Heavyocity: The Ascend, Teletone Audio: Golden Age Grand, Native Instruments: Noire and Piano Colors, Spitfire Audio: Olafur Arnalds Composer Toolkit and Stratus.

Thank you for listening and thanks to Westwood Instruments for the great opportunity! Would love to hear your feedback, suggestions or support.


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## TomislavEP

I've participated in several of these competitions lately and this one is definitely closest to my usual sound and sensibility. Here is my entry:


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## Argy Ottas

Hi people! Well, I tried to tell this man's story in my turn.
I kinda came close and connected with this sweet hero.
Huge shout out to the people trusting us this beautiful little story.
Hope you enjoy it


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## Pier-V

I *love* this idea, but unfortunately I've discovered about the existence of this competition only now! Realistically speaking, I don't think I would ever be able to meet the deadline.

@Westwood Therefore I have a question: if I score this short in my spare time, would I still be able to upload the result on my Youtube channel as a regular, out-of-contest video after the competition ends? Or was it just a one time occasion?

Regardless of the answer, I'd like to express my sincerest appreciation for the powerful monologue you gifted us with. I love monologues, and I was searching for something of this level from a long time. Thank you.


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## silouane

This is mine


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## Navid Lancaster

Westwood said:


> As part of the release of our Lost Piano sample library, we’ve made a short film for you to create your very own score to. The competition is free to enter and you’ll be in with a chance to win some prizes as well as get your work heard by our esteemed judging team.
> 
> *WATCH THE FILM, READ ALL THE DETAILS AND DOWNLOAD THE FILE TO GET SCORING HERE >>>*
> 
> *https://westwoodinstruments.com/lostpianoscoringcompetition/*
> 
> 
> 
> 
> 
> The winner will receive all of our sample libraries, including LOST PIANO and EVERYTHING we release in 2022, plus a gift card for *either* $250 to spend at Sweetwater or €250 to spend at Thomann.
> 
> 5 runners-up will also receive a copy of LOST PIANO.
> 
> We are very honoured to have 3 World-class TV and film composers on the judging panel; Nainita Desai, Chris Dudley and Kevin Matley.
> 
> The deadline is midnight GMT on December 7th 2021.
> 
> Good luck!



Submitted my composition yesterday.


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## davetbass

Here's mine, the wood blocks sound a little like an old clock I think. I tried different themes and to follow the moods of the dialog, but everything (I tried at least) took away from the scene. I really got into the dialog, unless I missed something he's not a musician but more a business man going through some mid life stuff and maybe regretting not pursuing music or some other choices. Thanks for this scene!


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## Westwood

Captain Oveur said:


> @Westwood Regarding this bit of the rules:
> 
> Does that ban the likes of Soniccouture's Geosonics or other sound design instruments, so popular in underscore these days, that are based on foley recordings? Where is the line between music and SFX?


Hello! Sorry for just picking up on this. Sound design is fine when it's not trying to re-create real-world sounds. What we didn't want was anyone creating foley like footsteps or wind etc. We did have those in originally, but it didn't seem to fit with the voice-over. It also keep the playing field level for people who aren't interested in doing this.

In reality, we're going to have to be a bit lenient and allowing some flexibility in the rules we've put in place, especially as many modern scores do have a huge crossover between score and sound design. We also understand the nature of competitions like this, is that many entrants have never done this before, are hobbyists or just getting started. It would be a shame to put people off entering further competitions by disqualifying someone's entry for a minor breach. What's most important to us, and I guess this should be the same for any score are the musical ideas and the feeling they create.

This is our first competition and it's been a huge learning experience for us too with the amount of different entries and questions we've received. But massively exciting and if everyone's enjoyed it and the feedback is good, hopefully there'll be another one next year.


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## DSorah

As with all these competitions, there is so much to learn from every individual's unique approach to scoring. It's remarkable to note that *every experience we have in life, every piece of music we have heard, every piece of music we have composed up to this point, brings us to create something new and indicative of all those prior experiences*. Although we think in the present as we compose, it's a great exercise to pause and reflect on what has brought us each to this point in our creative lives. Incredible! Congratulations to everyone and thank you for sharing a bit of who you are through these contests. 

That being, said, this is who I am in this particular moment in time.


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## NekujaK

What's refreshing about this particular clip is we got to work with a very dialog-heavy (monlogue actually) scene. And of course, when it comes to film, dialog is king, so it presented a different kind of challenge than most other recent competitions.

I've been getting weary of creating music with only virtual instruments lately, so for this entry, I decided to pull out the recording gear and throw in an actual live instrument as well. Fun stuff!

Good luck everyone!

​


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## proggermusic

I thought I'd posted this already, but it looks like I didn't! So here's my relatively simple and piano-centric take on it. Really lovely film, I enjoyed it a lot.


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## OstrovskyiComposer

Hi to everyone,
i'd love to share my work with you. It's great to see many interesting scores here.
Everyone, good luck with the project!


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## yiph2

Here's my entry:


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## Noland

This was an really enjoyable challenge and a great video to work on, appreciate the opportunity from Westwood and good luck to everyone taking part!


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## Nando Florestan

I only saw this thread 3 days ago. In spite of the short time, I had to participate, because the film itself got me excited. Instead of yet another terraforming animation, this is a sentimental drama about real issues that many of us do go through.

Unlike most competitors, this version is woodwind heavy. Woodwinds, alto sax, clavinet, one percussionist.


Does anyone know what he says near the end? It sounds like "it's this way or ndowe"... I get the gist, but wish I knew the actual word there.

I remember last night as I went to sleep I thought what a chore it would have been to take a piano upstairs a couple floors in that old building. Then today I realized the last scene is actually shot in the lobby, hahaha. It took me circa 14 viewings to realize it...


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## Lo28

Here's my entry. What a great film. I hope my score can live up to the quality of the movie!


It must be an immense task for Rob Hill and the Westwood team to check all the entries, nearly 400 at this time. Good luck to them!

P.S. I'm thrilled by the possibility that Nainita Desai might hear my entry. Fingers crossed!


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## Lo28

Nando Florestan said:


> I only saw this thread 3 days ago. In spite of the short time, I had to participate, because the film itself got me excited. Instead of yet another terraforming animation, this is a sentimental drama about real issues that many of us do go through.
> 
> Unlike most competitors, this version is woodwind heavy. Woodwinds, alto sax, clavinet, one percussionist.
> 
> 
> Does anyone know what he says near the end? It sounds like "it's this way or ndowe"... I get the gist, but wish I knew the actual word there.
> 
> I remember last night as I went to sleep I thought what a chore it would have been to take a piano upstairs a couple floors in that old building. Then today I realized the last scene is actually shot in the lobby, hahaha. It took me circa 14 viewings to realize it...



Simple! "It's this way.. or no way"


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## antanasb

So many wonderful and diverse entries, wow! Just testifies what an amazing piece of footage to score.. Well done Westwood! 

Here is my humble entry upon the sea of other amazing entries:


Honestly, I enjoyed this one to the bone..


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## SyMTiK

Really loved working on this one, such a quality scene to work with, with an actual story and message to work around. Really proud of how this came out, if I'm being honest  Really grateful to have the opportunity to practice my craft lately with all the great footage floating around recently. So cool seeing all the different interpretations of the scene through the other entries! Really diverse moods and soundscapes, one common thing I have noticed is the difference between those who created optimistic vs pessimistic feeling scores to the scene, and the fact that scoring it both ways works!

Also if anyone is curious, these are the libraries used:
Native Instruments Noire
Orchestral Tools Arkhis
East West Backup Singers
Native Instruments Cremona Quartet
Spitfire Chamber Strings
Spitfire HZ Strings


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## AkashicBird

Currently working on my late entry, I've only discovered the contest a few days ago, and only had time to put in a few hours, but this is too much fun.
Very different from the Stargirl competition and I think I like this more.
I've only listened to the entries here after having mine 70% done, there's lots of great ones, even tho people tend to play the same "stereotypes" and beats sometimes (of course, each entry i still unique in its own way), but I'll probably be guilty of that too, even if I put a few off parts in mine.
I'm also always putting way too much stuff in what I do (classic syndrome of "I want every instrument to be heard", I suppose) and only working instinctively, can't wait to go further into music theory so I can understand what I'm doing haha...

Ok, back in a few hours, trying to fix the mess past me left me with (me when I closed the dawn last time : "wooow this is so cool, I might actually be decent" ; me today : "why is not one single part sounding right?!" )

By the way, does anyone have any tip for balancing the voice and music? Not sure there's a formula but I'm not sure what to do, I keep ushing both bakc and forth and they always end up sounding unbalanced.


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## antanasb

AkashicBird said:


> Currently working on my late entry, I've only discovered the contest a few days ago, and only had time to put in a few hours, but this is too much fun.
> Very different from the Stargirl competition and I think I like this more.
> I've only listened to the entries here after having mine 70% done, there's lots of great ones, even tho people tend to play the same "stereotypes" and beats sometimes (of course, each entry i still unique in its own way), but I'll probably be guilty of that too, even if I put a few off parts in mine.
> I'm also always putting way too much stuff in what I do (classic syndrome of "I want every instrument to be heard", I suppose) and only working instinctively, can't wait to go further into music theory so I can understand what I'm doing haha...
> 
> Ok, back in a few hours, trying to fix the mess past me left me with (me when I closed the dawn last time : "wooow this is so cool, I might actually be decent" ; me today : "why is not one single part sounding right?!" )
> 
> By the way, does anyone have any tip for balancing the voice and music? Not sure there's a formula but I'm not sure what to do, I keep ushing both bakc and forth and they always end up sounding unbalanced.


The best case scenario is to write using instruments having different frequencies than the voice. Then, there would not be much problems..

In this clip the voice is quite in the centre. Push things to the sides, spread the stereo image.

Or try a M/S eq, boost a little hi end on the sides and take away a few db around the vocal area in the middle. Should help a bit.


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## SyMTiK

AkashicBird said:


> By the way, does anyone have any tip for balancing the voice and music? Not sure there's a formula but I'm not sure what to do, I keep ushing both bakc and forth and they always end up sounding unbalanced.


I tried to orchestrate around his vocal register and intensity, to avoid clashing too much. Also did some minor volume adjustments for certain sections just to make sure he is heard! Another thing you can do is pull up any EQ with a spectrum analyzer, look at where the vocal range of his voice sits, and EQ the mix of your score to leave some space for his voice, very subtly. If you want to get really fancy I would use a dynamic EQ for this! Also as @antanasb stated his voice is very much up the center so panning as well!


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## AkashicBird

Great advice, thanks!
How did I not think about midside eq...the rush maybe haha...(still working on cleaning the compositional mess right now, I'll probably do minimal sound work but this will help immensely I'm sure)


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## shadowsoflight

"Time is infinite, but my time... My time is not."

I unfortunately didn't have very much time to work on this entry - in fact, I wasn't going to enter at all. However, I had an idea I wanted to try out, and the video was too good to pass up, so I threw something together anyways. This is rough and there are probably at least two or three more cues I should have hit, but I had fun doing it and it will be nice to add to my portfolio.

Used the free "Novel Piano" by Sonic Atoms, Valhalla Supermassive, and some FL Studio EQs/Filters.

I'll see if I can watch some of the other entries now - at least the ones mentioned on this thread. If I have time...


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## Peter Satera

Joining in last few days too!


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## SyMTiK

Peter Satera said:


> Joining in last few days too!



Always impressed by your work! Super well done!


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## Peter Satera

SyMTiK said:


> Always impressed by your work! Super well done!


That's such a lovely comment, thank you!


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## shadowsoflight

My goodness! I just got through the first page and the entries are all awesome. There is a lot of talent in this forum.


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## storyteller

Tons of great entries. I had a lot of fun with this one. Good luck to all.


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## Mr Sakitumi

uploaded my entry with 15min to spare, shew! good luck everyone.


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## antanasb

Mr Sakitumi said:


> uploaded my entry with 15min to spare, shew! good luck everyone.



What a great entry! Good luck mate!


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## Mr Sakitumi

antanasb said:


> What a great entry! Good luck mate!


thanku


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## handel_afficionado

Hi Guys, I managed to enter last hour ago. It was Fun. Really enjoyed the monologue.
Here's my entry:


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## handel_afficionado

Mr Sakitumi said:


> uploaded my entry with 15min to spare, shew! good luck everyone.



Mr, your music lifts the film and the dialogue. Really powerfull. Congrats.


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## pranic

This was a really enjoyable project to score, and wanted to send a big thank-you to @Westwood for the opportunity to work with such a lovely short film.
Here's my entry for the competition.


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## AkashicBird

Well, I overestimated my upload speed and didn't make it in time.
Not a big loss tho, it's really messy despite my efforts. (didn't have enough time for proper mixing, or fixing the improvised takes)
But yeah. Fun and learning. Thanks to Westwood for the opportunity and good job everyone!



As a total beginner, any piece of advice is welcome.
I worked on Reaper and mostly used BBC core, along Superior drummer 3, and a bit of Cineperc, Strezov's Freyja and Rhodope.


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## NekujaK

What's interesting and particularly challenging with this and other recent scoring competitions, is that composers are being asked to take responsibility for a lot more of the decision-making process than typically occurs in many real world situations.

For example, with this clip, we were asked to create music that "elevated" the film's content, but it was left up to us to decide if the music should convey sadness, hopefulness, anger, frustration, etc... Those kinds of decisions are usually driven by the director and other creative stakeholders.

A spotting session between the composer and director, at the very least, would determine what emotions the music should reinforce, where those exact moments occur, and possibly even what kind of sounds should be used. It doesn't always happen this way, but it's a common way of working, and in terms of competitions, would provide a clearer basis for judging the entries.

I've heard so many excellent entries that have taken completely different emotional trajectories, I'm just glad I'm not a judge forced to make a decision. Considering we don't know what the director actually has in mind, how can for example, a beautiful hopeful score and an equally beautiful sad score be compared on the same footing? Which of those emotions is the director going for? What was the writer's intent? When does the music need to inform the audience how to feel? This is important information, since the primary purpose of a film score is to reinforce and elevate emotional content.

Just to be clear, I'm not complaining - all competitions have their quirks, and judging decisions are always going to have a large subjective component, and that's perfectly fine - it's simply the nature of the beast.

But for future competitions, it would be nice if at least a creative brief were provided up front so we know what the filmmaker is looking for, what criteria the judges will be using to evalute the entries, and in what direction our composing efforts should be foucsed. With this clip, for example, if we knew up front the director wanted the score to convey an overall feeling of sadness, we'd have an identifiable goal against which all scores can be equally compared.

Anyway, these competitions are always fun regardless, and I've been blown away by the level of quality and creativity in so many of the entries. I swear I've heard at least a dozen entries that are clear winners in my book. I don't envy the task before the judges


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## Baronvonheadless

^^good points but also I feel that honestly the monologue tells more about the mood than a brief could, in this context at least. It starts one place, goes into obvious bits of frustrated nostalgia to content nostalgia to fear and hope and an inner will to live without fear. Etc. 

To me the mood is slightly sorrowful, heavily contemplative, and ends with resolve.


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## NekujaK

Baronvonheadless said:


> ^^good points but also I feel that honestly the monologue tells more about the mood than a brief could, in this context at least. It starts one place, goes into obvious bits of frustrated nostalgia to content nostalgia to fear and hope and an inner will to live without fear. Etc.
> 
> To me the mood is slightly sorrowful, heavily contemplative, and ends with resolve.


That's fair, but I've heard equally good entries that end on a hopeful note and those that end on a sad note, and they all take different paths through the scene to get there. All are equally valid. But ultimately what's going to matter, as it always does when working with film, is what the director has in mind - not the composer's interpretation of the scene.

A creative brief would put everyone on the same trajectory so judging can focus on the actual composing, without factoring the composer's ability to also guess what the director wanted.

Anyway, it's all good.


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## Baronvonheadless

NekujaK said:


> That's fair, but I've heard equally good entries that end on a hopeful note and those that end on a sad note, and they all take different paths through the scene to get there. All are equally valid. But ultimately what's going to matter, as it always does when working with film, is what the director has in mind - not the composer's interpretation of the scene.
> 
> A creative brief would put everyone on the same trajectory so judging can focus on the actual composing, without factoring the composer's ability to also guess what the director wanted.
> 
> Anyway, it's all good.


True enough.


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## scentline

Here’s my humble entry for the Westwood competition with more of a jazz + chamber style approach.

Jazz was started in the United States in the early 20th century as American vernacular music. But I think it is the music of the African diaspora and jazz musicians always look for depth of their soul and their true identity regardless of their ethnicities.

It’s a rubato (free tempo) piece, so there’s deliberately no quantization to hit the sync points with a more natural and organic jazz sound.

Thank you for creating the fabulous film and holding this competition.


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## pranic

This was a challenging piece to write to, and my intial tendency was to get big and crescendo in some more instruments while our subject walks through the building while he was clearly frustrated both with himself and the world. Instead, I opted to write my track almost on the border of diagetic music that our character could hear playing in his head. Maybe he took piano lessons when he was younger, stopped and hasn't sat at a piano for ages -- but the memory of a song once practiced as a child was stuck in his head, and it came out beautifully when he sat down at the keyboard?

it's hard to know the motivations of the director, but I think there was plenty of opportunity to take this particular scoring opportunity in many different directions. 

That might be overthinking things, but for me, that's where I took it.

I'm interested to hear from the judges on what they were looking for, and how they choose their finalists -- that's always fascinating to hear (when it's shared with the community of composers who have submitted). Definitely invaluable information to make the next opportunity that much better.


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## Vladinemir

Found out about this one too late but wanted to give it a try at least because I love this video. Managed to make barely a sketch with Shipwreck Piano. The idea was to use only piano sounds like bowed and plucked piano instead of strings but it's too late now.


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## Westwood

NekujaK said:


> What's interesting and particularly challenging with this and other recent scoring competitions, is that composers are being asked to take responsibility for a lot more of the decision-making process than typically occurs in many real world situations.
> 
> For example, with this clip, we were asked to create music that "elevated" the film's content, but it was left up to us to decide if the music should convey sadness, hopefulness, anger, frustration, etc... Those kinds of decisions are usually driven by the director and other creative stakeholders.
> 
> A spotting session between the composer and director, at the very least, would determine what emotions the music should reinforce, where those exact moments occur, and possibly even what kind of sounds should be used. It doesn't always happen this way, but it's a common way of working, and in terms of competitions, would provide a clearer basis for judging the entries.
> 
> I've heard so many excellent entries that have taken completely different emotional trajectories, I'm just glad I'm not a judge forced to make a decision. Considering we don't know what the director actually has in mind, how can for example, a beautiful hopeful score and an equally beautiful sad score be compared on the same footing? Which of those emotions is the director going for? What was the writer's intent? When does the music need to inform the audience how to feel? This is important information, since the primary purpose of a film score is to reinforce and elevate emotional content.
> 
> Just to be clear, I'm not complaining - all competitions have their quirks, and judging decisions are always going to have a large subjective component, and that's perfectly fine - it's simply the nature of the beast.
> 
> But for future competitions, it would be nice if at least a creative brief were provided up front so we know what the filmmaker is looking for, what criteria the judges will be using to evalute the entries, and in what direction our composing efforts should be foucsed. With this clip, for example, if we knew up front the director wanted the score to convey an overall feeling of sadness, we'd have an identifiable goal against which all scores can be equally compared.
> 
> Anyway, these competitions are always fun regardless, and I've been blown away by the level of quality and creativity in so many of the entries. I swear I've heard at least a dozen entries that are clear winners in my book. I don't envy the task before the judges


Really great feedback and thanks for taking the time to write such a great summary of these competitions! I think we've learnt so much from doing this one that we can take into the next one. It's clear that there have been dozens of approaches and that makes the all the entries really diverse and has made listening to all the entries so far really fun.

I love what you think about real-world scenarios and potentially that's what we'll aim to do with the next one. Make it as close to the real thing as possible with a spotting session included and notes on what beats and emotions should be hit.

Saying that, I love the idea that people can express themselves freely and take what they want from the script and be free to create whatever they like.

Potentially there could be one film with two different entry types and two different winners:

1. Director's notes - watch the spotting session and write what's in the director's head.
2. Free creative - Do what you like. The most creative and individual wins.

Would love to hear people's opinions on this . . .

Thanks,

Rob


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## NekujaK

Westwood said:


> Potentially there could be one film with two different entry types and two different winners:
> 
> 1. Director's notes - watch the spotting session and write what's in the director's head.
> 2. Free creative - Do what you like. The most creative and individual wins.
> 
> Would love to hear people's opinions on this . . .


A full spotting session isn't necessarily required, but it would be definitely be cool. At a minimum, a simple creative brief that describes the emotional intent of the music, and some of the key hit points, should provide sufficient guidance.

I agree that a "free creative" approach is much more fun all around, but I imagine it also makes the judging more difficult... unless of course, you're judging on pure creativity, which is perfectly fine, too.

Ultimately, it's your competition, so you should structure it in a way that makes it the most fun and easy to judge! We appreciate the opportunity to participate no matter what


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## storyteller

Westwood said:


> Potentially there could be one film with two different entry types and two different winners:
> 
> 1. Director's notes - watch the spotting session and write what's in the director's head.
> 2. Free creative - Do what you like. The most creative and individual wins.
> 
> Would love to hear people's opinions on this . . .
> 
> Thanks,
> 
> Rob


Thanks for putting on the contest! It has been fun. The short was really powerful and well done. I like the idea of two categories in the future. That way people can decide if they want to take a shot at "what they hear" or "what the director wants." But for the creative one, I would focus that more on the "oh I wasn't thinking that, but I really liked it!" approach to judging rather than "this was very creative." I'd make people hashtag their entry target as well... eg #directorsnotes or #roguecomposer (ha!)

Multiple paths to winning might make some people decide to enter twice though... so there is the possibility of watching more entries...


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## Peter Satera

Westwood said:


> Really great feedback and thanks for taking the time to write such a great summary of these competitions! I think we've learnt so much from doing this one that we can take into the next one. It's clear that there have been dozens of approaches and that makes the all the entries really diverse and has made listening to all the entries so far really fun.
> 
> I love what you think about real-world scenarios and potentially that's what we'll aim to do with the next one. Make it as close to the real thing as possible with a spotting session included and notes on what beats and emotions should be hit.
> 
> Saying that, I love the idea that people can express themselves freely and take what they want from the script and be free to create whatever they like.
> 
> Potentially there could be one film with two different entry types and two different winners:
> 
> 1. Director's notes - watch the spotting session and write what's in the director's head.
> 2. Free creative - Do what you like. The most creative and individual wins.
> 
> Would love to hear people's opinions on this . . .
> 
> Thanks,
> 
> Rob


I love how you are open to this discussion!

Personally, I'm all for directors notes or some form of guidance to what criteria it should adhere to. My interpretation can be completely the opposite of the directors, but I feel like it's _their _film, it's _their _vision we should be trying to portray.

Without any supporting notes, I'm using what I can comprehend from my understanding of filmmaking, not just a composer, and for those that have never explored creative film or dove into cinematic storytelling to understand it I think it's twice as hard. I think these sorts of challenges can be somewhat judged on two forms of criteria; a person's ability to guesstimate, to tell the story they _think _the director wishes to see through the film, whether it's an evolution of a emotion, pacing, intensity, and then a composers ability to execute it effectively when producing music.

I think, it also would make it easier for judging. The simple answer to questions such as "does the film adequately portray sadness, tension, happiness, morality, expedition, acceptance"..._whatever_ it is at whatever point in the film, it will be easier to identify who did it better; does the track adhere to the notes?

I've only done a few short films, every time though I've had a conversation with director/producer/etc to really dig deep into what the films intent is. So yeah, I'd be all for it, and would wish others that run competitions too would do the same. It might not suit everyone, but I was the type of child to get a Lego set and then use the instructions to build it, unlike some other kids which just built whatever came to their head. 

Thank you for running the competition, it was a beautiful film.


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## Gian Luca Zucchelli

Hello everyone, this is my entry for the "The lost piano" Scoring Competition, a wonderful short film which I am proud to have tried to compose, I hope you like it ...


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## tkmusic

Hello,
Here is my entry (mixing is not perfect)


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## scentline

tkmusic said:


> Hello,
> Here is my entry (mixing is not perfect)



I thought about using the reverse sound, too. Great interpretation, @tkmusic! Yours makes sense for the film's narrative and it is also musically flowing!


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## tkmusic

scentline said:


> I thought about using the reverse sound, too. Great interpretation, @tkmusic! Yours makes sense for the film's narrative and it is also musically flowing!


Thank you a lot!
I really like yours too. very intimate, sweet, western drama


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## Inherently

AkashicBird said:


> Well, I overestimated my upload speed and didn't make it in time.
> Not a big loss tho, it's really messy despite my efforts. (didn't have enough time for proper mixing, or fixing the improvised takes)
> But yeah. Fun and learning. Thanks to Westwood for the opportunity and good job everyone!
> 
> 
> 
> As a total beginner, any piece of advice is welcome.
> I worked on Reaper and mostly used BBC core, along Superior drummer 3, and a bit of Cineperc, Strezov's Freyja and Rhodope.



I loved the choice of instrumentation, the musical choices, and the feel of this, especially where the character is reflecting upon mortality. I might have preferred something other than the drums; although I found them more agreeable with a second listen. Good job!


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## pranic

tkmusic said:


> Hello,
> Here is my entry (mixing is not perfect)



The reverse piano samples are really carrying forward the mood in your piece. Cello bends were really nice during the transition into the section where he thinks about his Mom. There's just a bit too much volume on the cello there. The vocals as you carried your piece to the end are awesome, and loved the ending! Congrats @tkmusic on a well executed piece.


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## tkmusic

pranic said:


> The reverse piano samples are really carrying forward the mood in your piece. Cello bends were really nice during the transition into the section where he thinks about his Mom. There's just a bit too much volume on the cello there. The vocals as you carried your piece to the end are awesome, and loved the ending! Congrats @tkmusic on a well executed piece.


Thank you a lot


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## AkashicBird

Inherently said:


> I loved the choice of instrumentation, the musical choices, and the feel of this, especially where the character is reflecting upon mortality. I might have preferred something other than the drums; although I found them more agreeable with a second listen. Good job!


Thanks! The drums was definitely something out there for this type of score. It might have worked better but it was poorly executed (one -bad- take with the intent of being messy/not caring too much to reflect some of the feelings of the character...). Lack of time to have more steps back and see how wonky the result was 😅
But glad you liked it, means a lot to me as a beginner to hear some feedback and to hear that people appreciated their listen.


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## HAKKO

Whatever it feels.

It's nice to participate.


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## Mr Sakitumi

HAKKO said:


> Whatever it feels.
> 
> It's nice to participate.



A fresh approach, felt like a crime drama, with him investigating the clues 
to the lost piano 🎹


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## Mr Sakitumi

“It’s this way…or Norway 🇳🇴 “ 
…
(now all of you won’t be able to unhear it 🙃)


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## scentline

Mr Sakitumi said:


> “It’s this way…or Norway 🇳🇴 “
> …
> (now all of you won’t be able to unhear it 🙃)


Actually, I have been always amused to see Norweigian websites have *.no* at the end on their addresses : ) (How independent they are!) 

You created a great Jason Bourn style thriller score, HAKKO 👏🏼👏🏼👏🏼


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## HAKKO

scentline said:


> Actually, I have been always amused to see Norway websites have *.no* at the end on their addresses : )
> 
> You created a great Jason Bourn style thriller score, HAKKO 👏🏼👏🏼👏🏼


thank you. You are so kind.


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## Westwood

The Winner’s announcement.

Premiere’s at 8pm GMT on YouTube!


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## kclements

Not sure how YouTube Premieres work: if I come in a bit after it starts, do I see it start at the beginning or pick up where it is in real time?


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## Westwood

kclements said:


> Not sure how YouTube Premieres work: if I come in a bit after it starts, do I see it start at the beginning or pick up where it is in real time?


Not entirely sure ourselves! It’s our first one 😅 I believe you can only watch it real-time whilst it’s happening, and then once it’s over it just turns into a regular YouTube video like any other.


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## kclements

Ok. I’ll try to be on as soon as I can.


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## kclements

Congrats to the winners!! Excellent experience all the way around! Nice job on the announcement video as well. Looking forward to the next one.


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## Lo28

Westwood said:


> The Winner’s announcement.
> 
> Premiere’s at 8pm GMT on YouTube!



Well done and big thank you to Rob and Westwood Instruments for this very nice film and competition. Big congratulations to the runners up and winner! Really wonderful work. Love how you gave a lot of attention in the announcement to many good entries. And the comments of the jury are really valuable. Looking forward to next year's competition!


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## pranic

I just wanted to say a huge thank you to @Westwood, Rob and all the judges for making this one of the most enjoyable competitions to enter this year. It was accessible to everyone, and was a lovely film to work with. Taking that one step further, I really liked the way the runners-up and winning entry was announced, and the feedback from judges was very helpful. Thank you for helping build community around the competitions amongst the composers' community!


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## scentline

Westwood said:


> The Winner’s announcement.
> 
> Premiere’s at 8pm GMT on YouTube!



Thanks for creating this amazing film and offering an incredible scoring experience for us, @Westwood, Rob, and all the judges!

I was impressed to see how you presented the announcement with detailed comments! I’ve never seen such things much in other competitons except for the winners!

Super congrats on your achievements, all the runner-ups and winner! Wow, you all really raised up the bar so high!

I can’t wait for the competition next year. Kudos to the Westwood Instruments team!

JC Score
Jinho Choi


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## Taron

This was my favorite competition, yet, while I've only started with all of this less than half a year ago. With this one, though, it felt most motivating to me to learn more, really recognizing my own scoring-naivety and just how much I never knew, but wish to catch up on.
Westwood's handling of it was absolutely lovely and really took the edge of the deflation, which I'm sure 700+ of us are all too familiar with after these things. The winners were not only worthy and beautiful, but great examples to learn from in various ways, especially with the judges feedback attached in such a tasteful way. I would say, if anything, other vendors could learn from Westwood when it comes to hosting these! 

I'm working on shaking-off that awful feeling of running in races. Ironically I did feel like this one was much more relaxed and freed me to focus on the film. But after a bunch of trailer like competitions and the feeling of battling in an arena, seeing how artists work on punching each other out with the most sensational this or that, it's still riding on my back... while, in absolutely all sincere honesty, I literally just want to love you all for the true joy we all feel for the same creative endeavor. And I just want to hold on to the excitement of listening to everyone's ideas, spirit and skills.

Well, it's time to let the air back in and enjoy what we all love to do for what it is and hopefully come even more together. I wished, I had more knowledge and understanding to share, but I feel like I have just about gone through half of 101, when it comes to all of this.

Anyway, thanks @Westwood , again, for an enlightening experience with damn near a sweet aftertaste and I'm excited for the next round in your care!


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## Westwood

Taron said:


> This was my favorite competition, yet, while I've only started with all of this less than half a year ago. With this one, though, it felt most motivating to me to learn more, really recognizing my own scoring-naivety and just how much I never knew, but wish to catch up on.
> Westwood's handling of it was absolutely lovely and really took the edge of the deflation, which I'm sure 700+ of us are all too familiar with after these things. The winners were not only worthy and beautiful, but great examples to learn from in various ways, especially with the judges feedback attached in such a tasteful way. I would say, if anything, other vendors could learn from Westwood when it comes to hosting these!
> 
> I'm working on shaking-off that awful feeling of running in races. Ironically I did feel like this one was much more relaxed and freed me to focus on the film. But after a bunch of trailer like competitions and the feeling of battling in an arena, seeing how artists work on punching each other out with the most sensational this or that, it's still riding on my back... while, in absolutely all sincere honesty, I literally just want to love you all for the true joy we all feel for the same creative endeavor. And I just want to hold on to the excitement of listening to everyone's ideas, spirit and skills.
> 
> Well, it's time to let the air back in and enjoy what we all love to do for what it is and hopefully come even more together. I wished, I had more knowledge and understanding to share, but I feel like I have just about gone through half of 101, when it comes to all of this.
> 
> Anyway, thanks @Westwood , again, for an enlightening experience with damn near a sweet aftertaste and I'm excited for the next round in your care!


Love this and thank you so much for the comment - makes us really want to try even harder with the next one. Appreciate what you've said about the announcement as we wanted to try and make this as inclusive as possible and whilst it's impossible to showcase all the hard work that's been put in, the least we could do was highlight a few entries to show the range we had!


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## RudyS

I'm a total beginner. I just finished my first real score. Too late to participate of course, but did it for the learning experience. I know there is still a lot wrong with it, but it took already quite long so I just finished it to get some feedback to get better. I used SStS, soft Piano from LABS and my Take 5 synth.


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## Paul Merkus

I am also too late to participate of course, but I enjoyed the learning experience of scoring this fascinating short film. I did the scoring entirely by using StaffPad


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