# Scorerelief 2022



## Markrs

Score Relief 2022.

*If you have any questions you can ask them on the Discord server Score relief 2022 section.*









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Download the full competition details and videos for rescoring here: https://metapop.com/pages/promos/score-relief

Your challenge, should you choose to accept it, is to download the two shorts and make your score. There are two categories:

*You can only enter one of the competitions, not both!

'Sprite Fright'* - The orchestral composition category

*'I Catch You'* - The general composition category (feel free to get synthy for this one).

The CueTube team will be judging the scores and picking the winners:

Sprite Fright (orchestral composition) category:
Mychael Danna
Jan Morgenstern
Nainita Desai
Ben J Lee (the original composer for this short)
Hendrik Schwarzer
Tristan Noon

I Catch You (general composition) category:
Colette Brown (the writer and director of the short)
Christian Henson
Mike Ladouceur
Archie Jennings (the original composer for this short)
Dan Keen
David Logan

SUBMITTING YOUR ENTRY

You will need to upload your entry to YouTube/Vimeo and then share on Metapop and The Cue Tube.

Register for free on The Cue Tube here - https://thecuetube.com/app/signup
Share your video on The Cue Tube here - https://thecuetube.com/app/add-video

*The deadline is 8pm GMT on 31/1/22 *

We will post a video on YouTube today showing how to register and how to post your video on The Cue Tube once you've created your score 




OUR FUNDRAISER FOR IN PLACE OF WAR
Please support our fundraiser at - https://www.crowdfunder.co.uk/p/scorerelief2022
All donations VERY gratefully received! You can also help a lot by sharing our fundraiser


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## Robin Thompson

This looks awesome.

But I'd like clarification if we're allowed to submit for both videos, or if "one entry per person" means we have to pick one category or the other.


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## Leslie Fuller

Here’s a link to the registration video mentioned above:


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## Markrs

Grand Prize ('Sprite Fight' Orchestral Composition) ($$$$)​
A full orchestra performance of your score by the Northern Film Orchestra
Carlos Rafael Rivera score review session
A library from Spitfire Audio

Runner Up ('Sprite Fight' Orchestral Composition) ($$$$)​
A half orchestra performance of your score by the Northern Film Orchestra
Native Instruments KOMPLETE 13 ULTIMATE
A library from Spitfire Audio

Third Place ('Sprite Fight' Orchestral Composition) ($$$)​
Orchestral Tools Metropolis Ark 4
Everything bundle of all TSE short courses

Fourth Place ('Sprite Fight' Orchestral Composition) ($$$$)​
ProjectSAM Symphobia 4: Pandora
A short TSE course

Fifth Place ('Sprite Fight' Orchestral Composition) ($$$)​
ProjectSAM Symphobia 4: Pandora
A short TSE course

Grand Prize ('I Catch You' general composition) ($$$$)​
Native Instruments https://www.native-instruments.com/en/products/komplete/bundles/komplete-13-ultimate-collectors-edition/ (KOMPLETE 13 ULTIMATE COLLECTOR'S EDITION)
One-to-one virtual studio session with Mike Ladouceur
Mike Ladouceur Film Academy placement
One year Output Arcade subscription
Output Portal license

Runner Up ('I Catch You' general composition) ($$$$)​
Heavyocity Symphonic Destruction
Mike Ladouceur Film Academy placement
One year Output Arcade subscription
Output Portal license

Third Place ('I Catch You' general composition) ($$$)​
Heavyocity DAMAGE 2
Mike Ladouceur Film Academy placement
One year Output Arcade subscription
Output Portal license

Fourth Place ('I Catch You' general composition) ($$$$)​
Sontronics STC-3X pack
One year Output Arcade subscription
Output Portal license
A short TSE course

Fifth Place ('I Catch You' general composition) ($$$$)​
Sontronics STC-1S
One year Output Arcade subscription
Output Portal license
A short TSE course


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## Markrs

Robin Thompson said:


> This looks awesome.
> 
> But I'd like clarification if we're allowed to submit for both videos, or if "one entry per person" means we have to pick one category or the other.


 From reading the details it looks like you can enter both competitions

EDIT:
You can only enter one of the competitions.


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## Peter Walker

Markrs said:


> From reading the details it looks like you can enter both competitions


Where do you see that? I can only see "A choice of two clips! You can choose which to enter. One entry per person" which to me suggests you can only enter one


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## Markrs

Peter Walker said:


> Where do you see that? I can only see "A choice of two clips! You can choose which to enter. One entry per person" which to me suggests you can only enter one


Decided to look on the Discord area and you are right, you have to pick which competition you want to enter.

*Q*: Are you allowed to compete in both categories? Both the sprite fight and the I catch you?

*A*: One entry only per person this year. You don't have to donate at all, to take part or to win! 🙂


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## J-M

CueTube is pretty darn awesome, highly recommend checking them out if you want to practice scoring to footage!


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## Peter Walker

Markrs said:


> Decided to look on the Discord area and you are right, you have to pick which competition you want to enter.
> 
> *Q*: Are you allowed to compete in both categories? Both the sprite fight and the I catch you?
> 
> *A*: One entry only per person this year. You don't have to donate at all, to take part or to win! 🙂


Great, thanks for clarifying 🙂


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## RogiervG

prices.. not really someting i want  
so .. not going to enter.

Good luck to the ones who do


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## Mr Sakitumi

I really enjoyed last year’s score relief competition, so I am keen to get involved again.I look forward to seeing the new vid and entries.


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## Jotto

Can anyone explain what the second video is about?


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## Billy05

The orchestra category:
Is it for the virtual orchestra? where must there be a score with the music?
Thank you


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## Germain B

Billy05 said:


> The orchestra category:
> Is it for the virtual orchestra? where must there be a score with the music?
> Thank you


During the previous competition, Jack Hugues said that they would contact the winner and work out the way to translate the mock up to the orchestra.
They seemed to be very flexible. I think you can just provide a midi file and they will work with an orchestrator with some back and forth with the composer to write the session's scores.

(But you can still check their Discord to have an input from the guys themself.)


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## Billy05

ok thank you!


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## Loïc D

I confirm what @Germain B wrote : if you’re picked up as winner or runner up, they’ll work with you on an orchestra transcription.

Also, they replied me that it’s ok to write parts for instruments not featured in the list : piccolo flute, contrabassoon, bass trombone, cabassas, etc. provided it stays in the range of classical instruments.


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## Robin Thompson

Loïc D said:


> Also, they replied me that it’s ok to write parts for instruments not featured in the list : piccolo flute, contrabassoon, bass trombone, cabassas, etc. provided it stays in the range of classical instruments.


List? Oh dear. First thing I did after watching that Sprite short was to assemble the weirdest, most deranged sounding sample instruments I could find. I may need to rethink my approach...

Actually this is a bit frustrating. There are lots of interesting sounds that skilled musicians can produce with traditional instruments - but if there are any sample libraries that capture that stuff, I don't own them. Hmm.


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## Remnant

So I went to check out this competition and in the course of doing so, came across last year's competition film Spring, which I really liked so ended up scoring that one instead. Not really sure why I put all those hours into an expired competition film, but I really liked the film and loved the practice. In any event, sharing here because I have to share it with somebody for goodness sake. It was a lot of work!


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## Marcos Gouvea

I think they really should clarify the orchestra specifications. I suppose the "orchestra" should fit the 53-piece orchestra composition (or the 27-piece?) of Northern Film Orchestra. But maybe not.


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## Germain B

In the pdf, you can find the instrumentation for the full orchestra and for the reduced orchestra.


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## Loïc D

Grab the pdf featured on the competition page. 

Plenty of useful info inside including both orchestra layouts (full / half).
And yes, scoring Sprite requires orchestra only, no other source.

There’s the other movie that has no requirement if you want to score something weird


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## Marcos Gouvea

Germain B said:


> In the pdf, you can find the instrumentation for the full orchestra and for the reduced orchestra.


I saw, Germain, thank you. But it says those are the camera orchestras that will perform the winning pieces as a prize. I didn't find anywhere saying that those are the binding orchestra formations for the entries. Even if they were, the 53-piece would allow (for instance) more than one voice per woodwind instrument, but not the 27-piece. :-/


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## JackNFO

Hey guys it's Jack from NFO here. Please hit me with any queries you may have about the orchestral side of things and I'd be happy to answer them for you!


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## Loïc D

Hi Jack, thanks for joining.
I actually have questions :
- Can you confirm if players can also use “extended range” instruments: bass trombone, piccolo flute, contrabassoon,etc.?
- What are the possible tunes and untuned percussions?
- Is there a celeste in addition of the piano?

Thanks a lot.


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## Robin Thompson

Loïc D said:


> There’s the other movie that has no requirement if you want to score something weird


That's very true, and of course I understand the requirement - it has to be something NFO can play. But I can't help but feel they may have gotten it backward. I can easily imagine I Catch You scored with a traditional orchestra. Sparse and modern, yes, but traditional instruments. But Sprite Fright is so... _deranged_ I just want to get weird with it. It could be scored by 27-piece kazoo band or something, lol.


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## JackNFO

Loïc D said:


> Hi Jack, thanks for joining.
> I actually have questions :
> - Can you confirm if players can also use “extended range” instruments: bass trombone, piccolo flute, contrabassoon,etc.?
> - What are the possible tunes and untuned percussions?
> - Is there a celeste in addition of the piano?
> 
> Thanks a lot.


In all cases we would prefer for you to work with the ensembles as they are listed, but if you are the winner and you want to use extended range instruments specifically then we can work to make that happen.

We have access to the full range of concert percussion so its totally up to you. The main thing to remember is that there are only x2 percussionist so I wouldn't recommend going above 4 perc instruments in total, to save them having to move all over the stage between different instruments.

If the winning entry wanted to use celesta instead of the piano that would be fine.

I hope that answers everything!


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## ghostine

Thanks Cue Tube for organizing this, it is a good chance for me to practice scoring. Here is my entry:


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## PeteH

I'm really grateful for the Cue Tube for providing so many videos. My entry:


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## Baronvonheadless

So just finished my first entry (you are now allowed to enter in both, but you can only win one)
I went for a real minimalist, texture piece. Wanted to have a surrealist, almost David Lynch quality to it.


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## Baronvonheadless

Well ^^ today was productive for me. 
Started and finished my second entry


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## TonalDynamics

The "Sprite Flight" short is hilarious

I really love this claymation-esque style of animation, hard to think of something more fun to make a cue for!


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## blaggins

Very impressed that you did that in one day @Baronvonheadless... I would not like to admit how long I took on mine.

For what it is worth, here's what I came up with. I approached it kinda traditionally (I guess) in that I did a full piano sketch and then went into orchestrating it. I even wrote the motifs out on paper for the first time ever, mainly b/c I was getting confused about what the chord progression was looking like while working out the overall harmonic structure (a bit ridiculous since I wrote the stupid chords myself, but I find it difficult to keep everything in my head at once). Putting some stuff on paper helped a lot though, I do believe I will adopt this technique going forward.

This was also the first time I took a deliberate and intentional approach to the instrumentation. In the past I always just sort of threw lines at various instruments or combos somewhat haphazardly, but lately I've been reading up on orchestration and listening to a lot of classical music and in this piece I tried to carefully choose instrument combinations that supported the musical ideas and moods I was shooting for. I’m 100% sure it could have been much more effectively done than what I managed, still, I'm reasonably proud of what I came up with. Thoughts on this are very welcome as I am looking to improve!

The weirdest thing for me though was how little I touched the effects. I can't shake the feeling like I've done something horribly wrong here because I used almost no EQ, very little extra reverb, hardly a fart of compression, no panning, no stereo widening, nothing. Really flies in the face of every other track I've done (which aren't many mind you). My mixing/mastering chain is basically just a limiter. I kept messing with the track and trying different things but it sounded more natural out of the box so in the end I just left it. I realize this might just be b/c I got used to the sound of it and attached to the way it was... hopeful not though?

Also can I just say, the dialog and FX are f'ing loud, especially during the chase scene. Had a really hard time trying to figure out exactly what level to put the music but ultimately I decided to let the dialog/FX shine as much as possible... I figure that is what a director would want.



Almost forgot to mention, I got some good use out of @PhilipJohnston's Orchestration Recipes. The "Release the Hounds" recipe was pretty instrumental as inspiration and instrumentation guidelines for my chase motif.


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## jazzman7

This is my 2nd year doing this. Last year I spent so much time meticulously composing themes, making sure it fit NFO etc. Obsessed over and over. This year I just decided to write whatever occurred to me as I watched the action. Just spent time getting everything to fit right, but otherwise, I let er rip.

As I hit the "horror" section it got awful big, but truth be told, I let that rip too! The level of experience for me is small, but 3 times more than last time around. The instrumentation? I got lots Now!

Main Strings CSS
Brass BBCSO Core AROOF CC+
Winds BBCSO
Perc AROOF BBCSO CC+

Special mention for SUNSET STRINGS for several effects. Love those release bends and the morphing!

AR2 for accents. Elder Sprite etc.

Finished in 4 or 5 days, but let it sit for a while. Re-listened, Made a few minor changes and here we are!

Fun stuff! Thanks to Cue tube and Blender for a fun animation for me to make a hash of!


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## pranic

I ended up finalizing my entry for "I Catch You" yesterday, so I figured I'd share here too  It initially presented as a difficult film to interpret and I ended up scoring it a few different ways before I settled on this. A bit of nykelharpas, sul tasto strings, and synth textures. I hope it did it justice.


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## Baronvonheadless

pranic said:


> I ended up finalizing my entry for "I Catch You" yesterday, so I figured I'd share here too  It initially presented as a difficult film to interpret and I ended up scoring it a few different ways before I settled on this. A bit of nykelharpas, sul tasto strings, and synth textures. I hope it did it justice.



Nice! I really enjoy this take on it. It was a difficult one for sure.


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## liquidlino

jazzman7 said:


> This is my 2nd year doing this. Last year I spent so much time meticulously composing themes, making sure it fit NFO etc. Obsessed over and over. This year I just decided to write whatever occurred to me as I watched the action. Just spent time getting everything to fit right, but otherwise, I let er rip.
> 
> As I hit the "horror" section it got awful big, but truth be told, I let that rip too! The level of experience for me is small, but 3 times more that last time around. The instrumentation? I got lots Now!
> 
> Main Strings CSS
> Brass BBCSO Core AROOF CC+
> Winds BBCSO
> Perc AROOF BBCSO CC+
> 
> Special mention for SUNSET STRINGS for several effects. Love those release bends and the morphing!
> 
> AR2 for accents. Elder Sprite etc.
> 
> Finished in 4 or 5 days, but let it sit for a while. Re-listened, Made a few minor changes and here we are!
> 
> Fun stuff! Thanks to Cue tube and Blender for a fun animation for me to make a hash of!



Really great! Hit all the cues etc. Except maybe one - where we see the bloody shoe, the music stays happy for a few seconds longer, I feel it should immediately change to sinister and foreboding to indicate to the viewer that this is not a good thing they are looking at. What a great score! Literally felt like I was watching a finished product.


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## jazzman7

liquidlino said:


> Really great! Hit all the cues etc. Except maybe one - where we see the bloody shoe, the music stays happy for a few seconds longer, I feel it should immediately change to sinister and foreboding to indicate to the viewer that this is not a good thing they are looking at. What a great score! Literally felt like I was watching a finished product.


Thanks! Yes, I did go back and forth on that cue. You are probably right, but I also know the first time I watched it, in the first moment... I really didn't fully comprehend...

Momentarily quizzical, turned to creepy. I was also thinking, "Happy foreground / What the hell?" Background. I hit the cue at the point of her reaction instead. Perhaps I was best off not trying to get too _Artiste_!

I think your interpretation fits the visual cue better. Damn, there goes first prize!


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## Haakond

To those who has applied; Are you able to automate the volume of the dialogue and sound design?


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## Loïc D

Haakond said:


> To those who has applied; Are you able to automate the volume of the dialogue and sound design?


I didn’t.
I worked around the fx & dialogue by arranging and a bit of music volume automation.


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## Germain B

Haakond said:


> To those who has applied; Are you able to automate the volume of the dialogue and sound design?


I don't think we are supposed to do that. Music has to fit within what's already there.
I used a bit of side-chain compression on my music to duck it a bit when there are dialogues and SFX.
And after listening to other entries, I find my music quite low in volume but I couldn't push it more without feeling that I was stepping on the movie.


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## blaggins

@Germain B I think you did a great job! For what it's worth I don't think your music is too quiet. I think the levels on yours are quite good!


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## pranic

The first thing I make sure I do when scoring, is to route all my audio to a submix bus, and let the dialogue/fx from the original clip route to the stereo output. That allows me to control my own mix of instrumentation, reverbs independently of the film audio. Not sure if that's a helpful hint for others, but it does allow independent automation of your own work without affecting the audio from the original clips.

I hadn't thought about sidechaining to the original clip as a good way to duck, tbh. I enjoyed your entry @Germain B and agree that your music isn't too quiet. Lots of people mix their music too loud!


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## blaggins

I did the same this time @pranic (for the first time) and really liked the setup and flow. I did put a limiter on the Stereo Out which effects the audio and dialog together but i tried hard not to push into that limiter much at all. I have a separate compressor and limiter on the music track that sees a lot more action.


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## Germain B

Thanks @pranic @tpoots , that's encouraging ! I was really not sure, especially after my entry for the previous Score Relief, which was too quiet.
I do the same, Pranic : all my music routed to a "master" bus, going to the Stereo Bus, where I also route the Dialogues & SFX.
From Cubase, I only export the "master" bus, then do my mastering in WaveLab, and then mix the music and the video and its sounds in Premiere. I'm pretty sure I could optimize that but I like to separate those stages.


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## Haakond

Just finished my entry


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## HAKKO

Hello all;

its my entry for "i catch you".


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## mallux

Well, it took me at least three times longer than last year, but I think I'm finally ready to release it to the world... fly free my little motacilla flava:


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## wahey73

Hello everyone, here's the walkthrough of my try (not taking part of the competition) scoring the whole monologue only using the Cello Untamed from Westwood.


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## Joseph Brown

This was my first try at composing to video. If anyone has any thoughts or advice I would be glad to hear it.


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## Codetronx

Well, here's mine. Oh what fun that is to do this !!! Thank everybody involved.


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## Wedge

I struggled with the mix and getting volumes right. But here's my entry, any feedback is appreciated.


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## DSorah

Somehow I found time to complete both Score Relief projects. I didn’t think I would even be able to complete one this year, but life deals you unexpected surprises in ways you would prefer not to receive them.

Here’s my score for Sprite Fright. I used Berlin Orchestra primarily for this score and pushed my MacBook M1 with 16GB Ram to its limits. The good news is a new maxed out M1 (other than only 2TB SSD) is on it’s way. 

This project was a lot of fun, but was challenging because of the change of moods as the clip progresses. I hope you enjoy!


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## Olympum

Guys, guys ... well, despite a crazy month with everyone and her aunt getting COVID, I managed to get on with this over the past couple of days and quite enjoyed it. Good luck everybody.


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## omux

Enjoying all the entries!

Here's mine - opinions on the levels? As with all of these things, it's a toss-up between

a) It's a film scoring competition, so the levels should be low enough not to distract from the film, or..

b) It's a film scoring competition, so the music needs to be actually audible in order for it to be judged




A very fun clip to score and thanks to the Cue Tube!


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## mallux

omux said:


> Here's mine - opinions on the levels? As with all of these things, it's a toss-up between
> 
> a) It's a film scoring competition, so the levels should be low enough not to distract from the film, or..
> 
> b) It's a film scoring competition, so the music needs to be actually audible in order for it to be judged


Nice work... that was exactly my thought process as well, and deliberately mixed the music a little louder than you probably would in real life (if for no other reason than to compete with the noise floor in the original audio track that we're not allowed to fiddle with). Your level sounds fine to me, you can hear everything that's going on... though I'm not a judge so who knows what criteria they will use!


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## CyrilBellem

Here is my entry (yet another one!) Good luck to everybody  Looking forward to hear the winner and runners-up.


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## cleverr1

Here's my entry for Sprite Fright. I found this quite challenging  Good luck all!


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## mallux

Markrs said:


> Score Relief 2022.
> 
> OUR FUNDRAISER FOR IN PLACE OF WAR
> Please support our fundraiser at - https://www.crowdfunder.co.uk/p/scorerelief2022
> All donations VERY gratefully received! You can also help a lot by sharing our fundraiser


Just a gentle reminder… over 700 entries on YouTube so far, but only 140 supporters on the crowdfunder page… if anyone hasn’t donated yet, please consider it. These competitions take a lot of time and effort to organise, the least we can do is support their chosen charity.


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## Olympum

mallux said:


> Just a gentle reminder… over 700 entries on YouTube so far, but only 140 supporters on the crowdfunder page… if anyone hasn’t donated yet, please consider it. These competitions take a lot of time and effort to organise, the least we can do is support their chosen charity.


Taking into consideration that most competitions with much, much, lower prize pools cost tens of dollars/pounds/euros to enter, I think a donation north of £10~20 is totally justified, with the added benefit that it helps the charity.


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## Matt78

Just uploaded my entry. Good luck all!


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## Noland

This is my entry for the competition, had a great time working on this and really loved the animation!
Good luck to everyone! Thanks to all involved in giving us this amazing opportunity


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## cleverr1

Germain B said:


> Thanks @pranic @tpoots , that's encouraging ! I was really not sure, especially after my entry for the previous Score Relief, which was too quiet.
> I do the same, Pranic : all my music routed to a "master" bus, going to the Stereo Bus, where I also route the Dialogues & SFX.
> From Cubase, I only export the "master" bus, then do my mastering in WaveLab, and then mix the music and the video and its sounds in Premiere. I'm pretty sure I could optimize that but I like to separate those stages.


Still learning here as this is only my 2nd go at scoring video. I've arrived at a similar approach where I export each of the cues individually applying gentle mastering. I then create a new Cubase project by deleting the original VSTi tracks and import the cues back in, giving each cue channel a master buss template which is tweaked for each one, and finally remixing these with the original untouched soundtrack, using very moderate fx on the stereo out, (basically a brickwall limiter). The downside of doing it this way is the time it takes to load and unload the projects created for each cue, as the mix / mastering is usually different for each. I think the solution to save time may be to buy a new slave DAW and recreate a template using remotely hosted libraries using Vienna Ensemble.


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## Loïc D

And here is mine (plus some details below).

I hope you'll enjoy it, and congratulations to everyone, this was a little nasty tricky movie to score indeed.



So, my inspiration was based on :
- English/celtic music (opening and ending)
- Sabbatical music such as "Night on a bald mountain" ; there's a 4 notes motive that I'm using across the movie

Libraries used :
- AV Infinite Brass & Infinite Woodwinds, and a tiny bit of OT JXL Brass
- ISW Tokyo Scoring Strings mainly, with support of good old SCS
- Spitfire Percussions / Ricotti Mallets, ISW Rhapsody, 8Dio frame drum

I've tried to stick strictly to the 53 pieces orchestra, with some exceptions (3rd percussionist).

It took me an awful lot of time since I had to rescore parts I was not happy with. Far more than anticipated - my wife was getting quite mad at how much time it's taking.


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## chrisav

Very last minute submission here from me:



Libraries used: CSS + CineWinds + CineBrass + CinePiano + CinePerc + Herring Clarinet + Popelka Bassoon + a dash of Metropolis Ark 1

It was a blast, just like last year. Best of luck to everyone!


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## DSorah

Hello fellow composers! I humbly submit my score to “I Catch You.” I typically compose with the orchestra in mind so this was approach was a bit different for me but it was nice to work with you sounds outside of my normal palette. 

When I first saw that there were two options for scoring in Score Relief 2022, I didn’t think I would even find time to finish one. However, the challenges of caring for a very sick mother faded away when she passed away after nearly a year battling leukemia on December 31. I’ve had to find a way to deal with this and my music and The Cue Tube came to the rescue. I’m grateful for the opportunity.


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## Manfred

My entry...now…time for some peppermint tea!


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## Ricgus3

Phew ! Just finished my entry in time last night. A full time job and a 3 month old baby gave me a lot less time than I am used to but it also became a great lesson for me to work more effective, realising I was working way to slow earlier and sometimes I abandoned projects/competition because I wasn’t please with the results or ideas I had in the process. I challenged myself to stick with my ideas and not delve too much if it is “good enough”, instead accept my writing and keep progressing forward. Happy I finished this


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## Galoubet

My entry, written strictly for the 53 pieces orchestra. Composed in 31 equal divisions of the octave with Dorico software, but transposable in 12 equal temperament since it is basically meantone harmony (with an exception for 1 bar featuring 7-odd-limit harmonies).


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## aeliron

My first try at scoring ... hard to imagine doing this for a 2-hour movie! Those composers sure have stamina ... or little sprite helpers! Luckily my wife was very supportive ... anything to keep me out of jail, I guess!

I'm coming from songwriting - mainly adding some strings and brass to my pop/country arrangements - to orchestration, so this was a challenge to figure out instruments and combinations to get the sounds that seemed right.



Huh. It seemed OK last night but listening to it again on YouTube I can barely hear my score ...

Ah. Sounds better on the MBP than on the iMac. Probably all the stuff beside/around the iMac.


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## Robin Thompson

Well I said I wanted to use kazoos, and I've done it. Along with toy piano and slide whistles. But I figure those things are easily obtainable and I've left room in the orchestration for idle musicians to play them, so hopefully it doesn't break the rules too badly.

On the whole I'm rather proud, but unfortunately a major motif is dangerously close to ripping off Zimmer's Wonder Woman, something I didn't realize till I was too deep in the weeds to properly change it. Whenever I tried it either turned to mush or became a ripoff of Ant-Man, haha. That's what I get for waiting so long to get started I guess.

All samples are CineSymphony, except Kazoo and Kinderklavier from SoundIron.


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## tristancappel

Hey Friends, finished my submission. Very excited about it! If you feel like checking it out, it's linked below, and I'm open to all thoughts and critiques!

I was pumped to be able to write for Orchestra, and record clarinets and flutes myself


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## Remnant

Really enjoyed this one. I focused mostly on the cadence of his voice and went with a subtle textural and shifting hybrid score. I also have really enjoyed listening to everyone else's entries. What a talented community. 

Please also remember to support the fundraiser In Place of War at https://www.crowdfunder.co.uk/p/scorerelief2022


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## Instrugramm

I actually only realized a few days back there's still time to enter, so I quickly wrote this rather frantic score.


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## TimCox

Boy I had a blast working on this one, I think I ended up with something like 48 markers 🥵

Loved every second, I hope the NFO will forgive my doubling players, I really wanted the piccolo, and English horn, and bass clarinet, AND contrabassoon 😅


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## J-M

Well then, here's what I managed to scrape up. I've been working on a rather large project since December and finished it yesterday, so energy levels and time were not on my side. Bit rough around the edges, but hey, it is what it is!


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## prasad_v

I'd like to share my entry for the contest. Let me know what you think! 
Written for Orchestra with Staffpad


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## Mr Sakitumi

Aaaaaand I finally made it in for my entry.
Luckily the cutoff is midnight PST, so still with 5 hours to spare.

It was a super late start, but worked fast and mixed fast.
Goodluck everyone!


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## LudvigGhoul4

I know it's not as good as the others but this is my humble entry


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## liquidlino

LudvigGhoul4 said:


> I know it's not as good as the others but this is my humble entry



Personally, I like yours a lot! Different to most others interpretation, with a darker, more bernardesque take on things. Less staccato, more sustains, and I felt it supported the on screen action and story really well. No need to be so humble IMHO.


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## SteveC

Very funny entries!  Here is mine:
(Noteperformer only)


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## aeliron

Robin Thompson said:


> Well I said I wanted to use kazoos, and I've done it. Along with toy piano and slide whistles. But I figure those things are easily obtainable and I've left room in the orchestration for idle musicians to play them, so hopefully it doesn't break the rules too badly.
> 
> On the whole I'm rather proud, but unfortunately a major motif is dangerously close to ripping off Zimmer's Wonder Woman, something I didn't realize till I was too deep in the weeds to properly change it. Whenever I tried it either turned to mush or became a ripoff of Ant-Man, haha. That's what I get for waiting so long to get started I guess.
> 
> All samples are CineSymphony, except Kazoo and Kinderklavier from SoundIron.



Wait. SoundIron has kazoos?


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## Robin Thompson

aeliron said:


> Wait. SoundIron has kazoos?


They do indeed - https://soundiron.com/products/kazoo

My one issue is that I couldn't find a way to lock the round robins, which vary quite a bit (as they would), so the performance on every playthrough was noticeably different. But then... kazoos demand a little chaos, don't they?


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## jazzman7

liquidlino said:


> Personally, I like yours a lot! Different to most others interpretation, with a darker, more bernardesque take on things. Less staccato, more sustains, and I felt it supported the on screen action and story really well. No need to be so humble IMHO.


I agree. I like the little melodic theme for the Bird and the recall at the last appearance. Her kindness came back to her when it counted. Nice.


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## aeliron

Robin Thompson said:


> They do indeed - https://soundiron.com/products/kazoo
> 
> My one issue is that I couldn't find a way to lock the round robins, which vary quite a bit (as they would), so the performance on every playthrough was noticeably different. But then... kazoos demand a little chaos, don't they?


Yes, even the decision to actually use them is deeply rooted in chaos. Of the Lovecraftian variety.


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## cleverr1

Having gone through this video many many times I still don't understand what the little green chap said before "you picked the wrong camping spot". Could anyone enlighten me to put me out of my misery?


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## Mr Sakitumi

cleverr1 said:


> Having gone through this video many many times I still don't understand what the little green chap said before "you picked the wrong camping spot". Could anyone enlighten me to put me out of my misery?


I think he may be saying "right foot, left foot, leaf and stone...."


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## cleverr1

Mr Sakitumi said:


> I think he may be saying "right foot, left foot, leaf and stone...."


Thank you!  The end of "stone" sounds a bit odd but that all makes sense!


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## mallux

cleverr1 said:


> Thank you!  The end of "stone" sounds a bit odd but that all makes sense!


I understood that bit, it's what the other sprite says I couldn't work out, when she tips salt on it during the chase?


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## Robin Thompson

mallux said:


> I understood that bit, it's what the other sprite says I couldn't work out, when she tips salt on it during the chase?


I took that to be a bit of "yub nub" babble, like it's supposed to be sprite-language. It kind of sounds like "son of a sprite berry" or something, which maybe is sprite for "son-of-a-bitch."


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## Mr Sakitumi

Has anyone tallied up the number of entries for this and the ratio of Sprite Fright to I Catch You?
Btw, pls don’t forget to donate.


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## wahey73

Mr Sakitumi said:


> Has anyone tallied up the number of entries for this and the ratio of Sprite Fright to I Catch You?
> Btw, pls don’t forget to donate.


Should be app. 800 for Sprite Fright and app. 450 for I Catch You


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## stigc56

I joined the other 800! A wonderful animation with a scary ending!


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## clintowenellis

Wow, I had heaps of fun with this competition. I really loved having the choice of the two films. I chose I Catch You. My entry is below. I tried to nail the sound of dread going down a Dark Drone Ambient vibe. Would love to know your thoughts, thanks


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## Olympum

Does anybody know the status of this or have heard back? I believe Bryan posted about him going to help in UA; but I wonder if the contest continued ahead or it’s a bit delayed because of that.


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## wahey73

Olympum said:


> Does anybody know the status of this or have heard back? I believe Bryan posted about him going to help in UA; but I wonder if the contest continued or head or it’s a bit delayed because of that.


yes, Bryan has been in the Ucraine to help people and did an amazing job. He recently went back to the UK and will post some updates regarding Score Relief 2022 these days


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## tristancappel

I guess they quietly announced the winners? I saw on instagram that Northern Film Orchestra started recording the winner's piece as of today. Why wouldn't they announce this publicly?


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## Loïc D

Because they’re recording first and then the performance will be played at the online award ceremony. So I guess it’s coming soon.


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## Baronvonheadless

So I guess that means the winners have been privately contacted already then ya? Because if they’re recording already they had needed to have the daw project to be translated by the orchestrater


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## wahey73

Baronvonheadless said:


> So I guess that means the winners have been privately contacted already then ya?


Guess so, was the same last year and Northern Film Orchestra published something today regarding Scorerelief 2022. This weekend we should get some news from Bryan


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## Ricgus3

Happy to hear some news! It has been quit for some time now, understandably ofcourse with all that happens in the world


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## mallux

Some news from Bryan below. He asks that if anyone has any questions the best place to have them answered is over on The Cue Tube discord server, which Mark shared in post #1.



> Hi everyone! Thanks so much for your support and understanding!
> 
> So last year we announced the winner and presented the performance of the winning score by NFO at the same time in our 'Grand Finale' live video. It seemed to work in making it an exciting way to announce and conclude the whole thing. So kinda wanted to do it the same way this year. However, the whole Ukrainian situation alongside my travel and co-incidentally moving house have all combined to make my ability to 'stage manage' the whole process rather worse than last year and worse than I would like, and I apologise for this.
> 
> So, yes, we have now carried out the recordings with NFO and the mixing and video editing is taking place. We'll have some news and updates in very short order and we will also be running something LIVE to give other participants in Score Relief a chance to win more great prizes...it'll be exciting, I hope, and go some way to compensating for the delays and slight confusion/complication of the whole process this year. All I can do is rest assure you that it'll be worth the wait, that it will definitely be worth tuning in to our announcement and that we've learnt A LOT from this - it's only our second Score Relief after all - and it'll be running like a well-oiled machine next year!
> 
> Thanks, folks, and stay safe, sane and sanguine!
> 
> I have to say that this year it was AMAZING to actually attend the NFO session in person, to see them at work and to see the performance/recording of the winning pieces...mind blowing stuff!
> 
> I apologise to anyone who's disappointed about the order in which things have been done and, as always, I'm very interested to hear your opinions on how you'd run things if you were in my hot seat! My main disappointment this year is that the whole process has taken WAY longer than it should but that's really nobody's fault but mine...next year we'll put things in place to conclude by early March at the very latest.
> 
> Oh and next year we have plans for an AMAZING twist on the idea of Score Relief...you're gonna love it!


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## Leslie Fuller

Score Relief 2022 Grand Finale video linked below:



Winners are announced at about 23 mins into the stream.


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## cleverr1

It's my own fault for not reading the small print, but I'm very disappointed with the output from this competition - You're either in the top 5 or you get nothing at all back, not even something like which 10% bracket you finished in. If they marked this with points per their criteria they'd surely have this data.


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## Loïc D

cleverr1 said:


> It's my own fault for not reading the small print, but I'm very disappointed with the output from this competition - You're either in the top 5 or you get nothing at all back, not even something like which 10% bracket you finished in. If they marked this with points per their criteria they'd surely have this data.


Well ranking doesn’t mean much anyway.
But given the heaps of prizes they had, they could have extended to a top 10 and reduce the lottery draw.
Anyway the movie was fun and the guys are nice, for zero entrance fee.

The 2 winners are outstanding and there’s lot to learn from these entries.


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## blaggins

The prize per entry ratio was crazy good. I didn't win anything in the raffle but I appreciate the way they did it, and that they didn't try to rank very deeply. Judging any artistic endeavor is essentially arbitrary (beyond a certain minimum bar of competency) so i don't believe there is much to be gained from knowing your ranking. Lots to be gotten from analyzing the top 5 entrees though...


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## cleverr1

Loïc D said:


> Well ranking doesn’t mean much anyway.
> But given the heaps of prizes they had, they could have extended to a top 10 and reduce the lottery draw.
> Anyway the movie was fun and the guys are nice, for zero entrance fee.
> 
> The 2 winners are outstanding and there’s lot to learn from these entries.


I think ranking helps a newcomer to film scoring like me. Whilst the absolute position doesn't mean much, you get a broad validation of your approach, production values etc. especially if near the top or the bottom. I guess it depends how the entries were marked, but if it was done on a points per criteria basis they'd already have everyone's marks in the system.

I thought the draw thing was bizarre for a competition with so many high quality entries, but I suspect there are many who'd disagree.

Yes the film was fun, and a massive effort from the organisers to give up so much of their time to raise funds for charity.


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## cleverr1

tpoots said:


> (beyond a certain minimum bar of competency)


That's the thing - I suspect I'm not alone in asking myself if I sound like a composer or just some bloke that owns a computer and a few libraries. Competition rankings help with that or at least in the latter case encourage us to take up something like gardening instead.


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## blaggins

cleverr1 said:


> That's the thing - I suspect I'm not alone in asking myself if I sound like a composer or just some bloke that owns a computer and a few libraries. Competition rankings help with that or at least in the latter case encourage us to take up something like gardening instead.


LOL "some bloke with a computer and a few libraries". I struggle with the same thing to be honest. Plus I like gardening, so it's a real existential conundrum.

I think what both you and I would benefit from is honest, constructive, direct feedback by a professional who can also point us towards the right resources to improve in the places where we are most deficient (I mean to be honest, who wouldn't benefit from something like this...). 

I'm coming around to the idea that the best way to get this is probably via a private coaching/lesson session with an established composer/educator that I admire and respect. There seem to be quite a few folks that do this (Ryan for one, Mattia Chiappa, there are many others too). I'm planning on doing exactly this myself... eventually... For now I feel like there is so much potential for learning fundamentals through courses (ScoreClub, filmmusicnotes, ThinkSpace, etc.) that I'm going at it solo until I have a small body of work together that I'm reasonably proud of, and can use to gather feedback and critique. At least that is the current plan.


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## Markrs

tpoots said:


> LOL "some bloke with a computer and a few libraries". I struggle with the same thing to be honest. Plus I like gardening, so it's a real existential conundrum.
> 
> I think what both you and I would benefit from is honest, constructive, direct feedback by a professional who can also point us towards the right resources to improve in the places where we are most deficient (I mean to be honest, who wouldn't benefit from something like this...).
> 
> I'm coming around to the idea that the best way to get this is probably via a private coaching/lesson session with an established composer/educator that I admire and respect. There seem to be quite a few folks that do this (Ryan for one, Mattia Chiappa, there are many others too). I'm planning on doing exactly this myself... eventually... For now I feel like there is so much potential for learning fundamentals through courses (ScoreClub, filmmusicnotes, ThinkSpace, etc.) that I'm going at it solo until I have a small body of work together that I'm reasonably proud of, and can use to gather feedback and critique. At least that is the current plan.


This is the exact approach I am taking. I am self studying using some of the many courses I have along with YouTube, to build up some tracks/cues and then work with a teacher/composer to improve through feedback and advice.


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## clintowenellis

cleverr1 said:


> That's the thing - I suspect I'm not alone in asking myself if I sound like a composer or just some bloke that owns a computer and a few libraries. Competition rankings help with that or at least in the latter case encourage us to take up something like gardening instead.


Yeah same here. I come from a performer/songwriter background and am struggling to know if I’m scoring films or just writing songs over the top. I know there’s a fine line there but some feedback would help heaps!


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## Haakond

Feel free to post them here on VI (on one of the right channels), if you want feedback. I will try to give some, at least @clintowenellis @cleverr1


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## cleverr1

tpoots said:


> LOL "some bloke with a computer and a few libraries". I struggle with the same thing to be honest. Plus I like gardening, so it's a real existential conundrum.
> 
> I think what both you and I would benefit from is honest, constructive, direct feedback by a professional who can also point us towards the right resources to improve in the places where we are most deficient (I mean to be honest, who wouldn't benefit from something like this...).
> 
> I'm coming around to the idea that the best way to get this is probably via a private coaching/lesson session with an established composer/educator that I admire and respect. There seem to be quite a few folks that do this (Ryan for one, Mattia Chiappa, there are many others too). I'm planning on doing exactly this myself... eventually... For now I feel like there is so much potential for learning fundamentals through courses (ScoreClub, filmmusicnotes, ThinkSpace, etc.) that I'm going at it solo until I have a small body of work together that I'm reasonably proud of, and can use to gather feedback and critique. At least that is the current plan.





Markrs said:


> This is the exact approach I am taking. I am self studying using some of the many courses I have along with YouTube, to build up some tracks/cues and then work with a teacher/composer to improve through feedback and advice.


"existential conundrum" 🤣
This looks like a solid approach. Whilst there are many great resources out there for learning online nothing I've done has been professionally evaluated with the exception of some good feedback from STW earlier this year. I've got a long way to go before I'll have covered enough material to fully benefit from appraisal and tuition. So many courses to do, so little time here. I find competitions with their deadlines far more motivating. I've signed up for the Indie Film Music Contest and I'm looking forward to learning the basics of film noir for their animated short.


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## cleverr1

Haakond said:


> Feel free to post them here on VI (on one of the right channels), if you want feedback. I will try to give some, at least @clintowenellis @cleverr1


Thanks - that'd be very much appreciated!!
links at:




__





Work for which I'd appreciate some feedback


Hi, Posting these links here inviting some honest feedback :)




vi-control.net


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## clintowenellis

Haakond said:


> Feel free to post them here on VI (on one of the right channels), if you want feedback. I will try to give some, at least @clintowenellis @cleverr1


That'd be amazing, thank you. I posted my entry for this comp on page 5 of this thread. Any feedback would be amazing, thank you. Will post a link but not sure how that works, let's see 

https://vi-control.net/community/threads/scorerelief-2022.119553/post-5043612


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## Haakond

cleverr1 said:


> Thanks - that'd be very much appreciated!!
> links at:
> 
> 
> 
> 
> __
> 
> 
> 
> 
> 
> Work for which I'd appreciate some feedback
> 
> 
> Hi, Posting these links here inviting some honest feedback :)
> 
> 
> 
> 
> vi-control.net





clintowenellis said:


> That'd be amazing, thank you. I posted my entry for this comp on page 5 of this thread. Any feedback would be amazing, thank you. Will post a link but not sure how that works, let's see
> 
> https://vi-control.net/community/threads/scorerelief-2022.119553/post-5043612


Going to have a look in the coming days!


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## cleverr1

A *MASSIVE* thank you to Haakon for an incredibly detailed review of my Sprite Fright score!!!

So much detail in there I'm going to treat this like directors notes and revisit the score later.

@Haakond this was incredibly generous of you - If there's anything I can do in return please shout.


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## VTX Rudy

I know I am late for the party but I did it anyway just because it is so much fun.


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