# Just completed my first TV series - some thoughts



## Atardecer (Sep 19, 2019)

Hi all,

I've just finished work on the score for a 6-part drama series for a commercial network station here In Australia. I felt compelled to talk about it a bit because it has been a wonderful experience, but the most challenging of my life. There are no doubt lots of seasoned TV composers around these here parts and the respect I have for them is through the roof. This might be ho-hum and 'well, duh' to many but would like to hear your thoughts. I've done plenty of additional music in films, worked with other composers. I've scored enough films by myself now and under very tight deadlines (like 2 weeks). But this was first time doing TV, and network TV to boot. I'm used to working under pressure, but this was different. Wall of text incoming:

THE DEADLINES

Yeah they're crazy. I wouldn't say I'm the fastest composer around (or the best!). I've dealt with pretty difficult deadlines on films but this was next level. One certain episode was down to about 7 days. I tried to stick to outputting at least 3 minutes of music a day. Cue numbers ranged from anywhere between 20 to 35 per episode for a hour long episode. The first two being more involved as the title sequence needed to be scored and the recap sequence from episode 2 onwards. Basically I worked for 70 days straight, minimum 12 hours a day, 7 days a week. I got to the final deadline of the last episode with 3 days to spare. The original plan was to record orchestra for all episodes but in the end, it proved too costly and not really worth it so only one episode was scored with real orchestra. It also put extra pressure on delivery dates as it necessitated everything being ready that bit earlier. IF anything, TV makes you sharp. You think you couldn't possibly write that much. Then you just do it. Don't feel like working? Got nothing? Too bad. Find something. I had to kick my own ass so many times.

PRODUCERS NEEDS

I found this really interesting compared to working on films. I had very little contact with the directors (there were multiple). Every week time was slotted for a review of the music for the just completed episode, followed by a spotting session for the next. Only half the episodes were actually temped with music. Was extremely fortunate to be working with amazing and understanding producers who were very open and knew what they wanted. There was only 1 cue from the whole series that was a rewrite from scratch. At most maybe a couple of minor revision on cues here and there or (my least favorite) adding additional cues upon viewing the review. They didn't look at things the same way directors I've worked with had. It was more broad strokes, general feelings. I'm used to going through the minutiae of a cue with directors over and over. This bit was refreshing and quite enjoyable. Does it work? Great, approved. I'd be sitting there thinking that string part isn't right, piano too quiet. Keep your mouth shut. If they're happy, don't go there. I'm not sure what I would've done had this relationship not really connected. That would be hell. Almost always, revisions happened for cues leading into ad breaks. It was always about the ad break. I've done so many cliffhanger stings that I feel stung to death. It's either a 'what happens next' question mark, or a 'it's all gone to shit' moment.

ACCEPT HELP/LETTING GO OF CONTROL

I tend to be fairly self-sufficient in the studio. I used to be a sound engineer to another composer and have no problem with the technical side of things. It was clear early on that I just wouldn't have any time to fuss over mixes. I was fortunate enough to be able to take on someone else to mix the project. It was very liberating, both time-wise and psychologically. You just don't have the time or inclination to get into both headspaces. And I appreciated a more objective interpretation of what i was doing rather than my own mix bias (always do drums too loud, even though I know I do that). Also I need time to accept something I've written. But time you don't have. You want everything you do to be the best thing you've written, but it's not going to be. Accepting that is difficult. You could always do better but that's not the point. Does it serve the picture? If yes, then job well done. Letting go of cues started to happen more quickly as I went. If you can afford assistants, technical or otherwise. Do it. You need all the help you can get, at least to begin with.

MUSIC EDITORS

Which brings me to music editors. Insist you have a music editor if there isn't one (they came out of our budget). These people are potential life-savers. I've worked with a few on films before but perhaps didn't get the full gamut of what they were doing. They are you're best friend. They provide temp when there is none. They cut your cues around the series and save you a crap-tonne of work. It took me awhile to come to grips with this particular point. It was very hard to allow someone else to just do that but you really have to where you can. They also provide producers with quicktimes of the cues for viewing. They know the picture. They know how to get the best from you and are a shoulder to cry on when you think things aren't working. Bless them.

MENTAL HEALTH

I learnt a lot about what to do and what not to do if I am to work on these sort of projects again (hell it was only 6 episodes). Look after yourself. You might be being worked to the bone but try to look after yourself and engage with things outside the studio. You need that sustenance. See your friends, family, loved ones. Know when you can call an early night and start early the next day. Get your sleep. Mental health is a huge issue for composers given the stresses and demands of their job. I think I learned the hard way, but I learned. Remember at the end of the day, it is just music and there's more to life.

TL;DR
TV composers - you are Gods among Men & Women.

Cheers,
James


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## CGR (Sep 19, 2019)

Wow - I'm exhausted just reading that! Congratulations on seeing it through, and ensure you catch up on some R&R before the silly season kicks into gear.


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## I like music (Sep 19, 2019)

Fuck me. Glad I don't have the talent for music that would even tempt me to make a profession of it. I can just buy libraries knowing I'll never be tested on using them properly.

Well done, and I hope you get more jobs out of it (but with far less stress!)


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## Ivan M. (Sep 19, 2019)

Well done!
Btw, that's the exact reason why I don't feel like working in the industry. It seems all entertainment jobs (tv, film, music, games etc) are bloody...


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## Tim_Wells (Sep 19, 2019)

Thanks for sharing that! Great insights, very well articulated. And congratulations on successfully completing an extraordinarily challenging project. Something to be very proud of!


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## Jeremy Spencer (Sep 19, 2019)

Atardecer said:


> Basically I worked for 70 days straight, minimum 12 hours a day, 7 days a week. I got to the final deadline of the last episode with 3 days to spare.



Congrats! 

I've only done two series, but I admit it was not as fulfilling as I thought it would be....would not want to do it for a living unless it was a major production. When you look at your 840+ hours worked, you were probably working at minimum wage (or lower).


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## Atardecer (Sep 19, 2019)

Thanks all.

@Wolfie2112
It was a very well funded series, at least by Australian standards, which is part of the reason why I really wanted to undertake it and it was worth the effort (it's also a really good show IMHO). I knew, at least, that I could afford to take some time off afterwards. And i guess that's just the nature of any project-based work. Go in hard for a short time. Plenty of time to fall in a heap afterwards


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## chillbot (Sep 19, 2019)

Wolfie2112 said:


> When you look at your 840+ hours worked, you were probably working at minimum wage (or lower).


I would seriously doubt this, especially when factoring total royalties over the next five years, both domestic and international.

EDIT: Whoops well there's your answer anyway.


Atardecer said:


> It was a very well funded series


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## Jeremy Spencer (Sep 19, 2019)

chillbot said:


> I would seriously doubt this, especially when factoring total royalties over the next five years, both domestic and international.



Good point! In my case, both series flopped.


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## Jimmy Hellfire (Sep 19, 2019)

It sounds like something custom-designed to beat every last inch of excitement for music out of a person, AND make their life miserable financially as well as in terms of work-life balance, which is why it always surprises me that many people really, really strongly wish to do this type of work. Props for pulling through.


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## Jeremy Spencer (Sep 19, 2019)

Jimmy Hellfire said:


> It sounds like something custom-designed to beat every last inch of excitement for music out of a person, AND make their life miserable financially as well as in terms of work-life balance, which is why it always surprises me that many people really, really strongly wish to do this type of work. Props for pulling through.



Exactly. I used to do a lot of work this way (and for free), but eventually I realized it wasn't worth the time invested; not only from a financial standpoint, but also artistic fulfillment. But from a financial POV, look at the numbers. If you base your hourly rate at say $20, then 840~ hours would equate to $23,000 Australian Dollars. Not too bad! 

Anyways, sorry to sidetrack. I just hate seeing fellow composers working their asses off for peanuts. Not that this is the case here, but in general.


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## AlexRuger (Sep 19, 2019)

Absolutely matches all my experiences in TV (and bigger budget film as well — particularly the music editor part). Congrats on getting through it!

Next, the real trick: how to keep it going next season, and claw back some of your time/health, without sacrificing quality or (too much) money...all while building upon it to more/even better jobs.


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## borisb2 (Sep 19, 2019)

Wolfie2112 said:


> If you base your hourly rate at say $20


just wondering - would that be reasonable rate in that case?


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## Jimmy Hellfire (Sep 19, 2019)

Wolfie2112 said:


> Exactly. I used to do a lot of work this way (and for free), but eventually I realized it wasn't worth the time invested; not only from a financial standpoint, but also artistic fulfillment.
> 
> ...
> 
> I just hate seeing fellow composers working their asses off for peanuts. Not that this is the case here, but in general.



Exactly. It just kind of hurts to hear about this stuff. I'm doing music on the side and I gotta be honest, often I catch myself thinking, thank God this is not my main gig. It's so stressful on many different levels, and turning it into fulltime thing - the payoff just isn't there unless you REALLY make it, and how many can truly make that claim? People talk about turning your passion into a career because regular jobs are so "soul crushing", but Jesus. Freaking out about music on a daily basis would crush me more than anything else.


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## borisb2 (Sep 19, 2019)

Jimmy Hellfire said:


> Freaking out about music on a daily basis would crush me more than anything else.


I've been through this (in EDM sector) - changed then gears years ago. Now I'm thinking of coming back - it's helpless


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## chillbot (Sep 19, 2019)

Jimmy Hellfire said:


> thank God this is not my main gig


I think you made the correct choice. Some of us love it though.


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## dzilizzi (Sep 19, 2019)

This is one of those do the pluses outweigh the negatives questions. For me, it might not. But then, I am not good enough at it (yet) to have plusses outweigh the negatives. As in, I couldn't do it in the time required, which would mean more stress and less joy. I think the easier the job is for you, skill-wise, the less stress there is. This came up with my boss recently when I told him my job was easy and I may be overpaid, but he pointed out that it was only easy because I knew what I was doing. 

It sounds like you did really well. I hope the show continues.


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## Jeremy Spencer (Sep 19, 2019)

borisb2 said:


> just wondering - would that be reasonable rate in that case?



Whatever you feel you’re worth. But if we charged every hour that we actually spent on such projects (and actually got compensated for it), we’d all be millionaires.

It’s just the nature of this industry. I’m guilty myself, but I don’t rely on it as my primary career....it’s just too inconsistent. I now only take on projects that I know won’t kill my social life for weeks, and that I will enjoy working on.

I think the OP pulled off a successful gig, and I hope it leads to more work. I always love hearing about composer successes.


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## Wai-Yi Wong (Sep 19, 2019)

Congratulations of getting it done! Thank you for sharing, especially how to deal with our mental health. I am recently working on the 2nd TV series in Hong Kong and I feel I'm being dried out from the workload, plus I have to do the music editing part and music premix by myself. I would say doing exercise is very essential for maintaining our mental health too.


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## Snarf (Oct 6, 2019)

Thank you for this genuinely insughtful read!


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## JohnG (Oct 7, 2019)

Congratulations! TV is pretty hard, I agree. Sounds as though you did very well surviving it. You are right that we all should hope for experienced producers who know what they want, and what they don't want.


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