Tips for Button Endings?

[edteja]

Take your 30 second spot, loop it to make a 60 second piece, then speed it up to make a 45 second piece. Then throw the whole thing away and write a decent 45 second piece.

[ibanez468]

[hummingbird]

Jun 21, 2008, 8:56am, edteja wrote:Take your 30 second spot, loop it to make a 60 second piece, then speed it up to make a 45 second piece. Then throw the whole thing away and write a decent 45 second piece. ha ha

[mojobone]

[I was going to type, "munches popcorn", here-but also, the tempo doesn't have to remain static when you're adjusting a cue for time]

[ggalen]

mojobone,GREAT point!

[mazz]

Jun 19, 2008, 12:32pm, aubreyz wrote:It's hard to continue seriously after a button ending like that... but,There is some excellent insight here. My experience over the past 5 years has changed the way I compose for video. I think much more modular than before. By way of explanation, my "day job" involves producing audio for an ad agency-- commercials, tv shows, corporate videos, etc. Composing to the edited video is the way to go, but you don't always have that luxury. Many times i have to start composing even before the storyboards or timeline is set, and everything has to be as flexible as possible... so I find myself writing sections that can naturally be cut/lengthened or moved as needed. I make sure the chord transitions between sections will work even if they are in a different order. The reason I'm bringing all this up is that when a track is produced like that it is a breeze to make just about any length edit of it. Within the same composition it would be possible to edit a 60 that begins big, drops to a dramatic quieter section and builds to the end--- or a 60 that starts quite and builds, etc, etc.In addition just being able to edit certain lengths from a 2-3 minute piece, I think being able to compose in a modular way is very important. One of the most popular libraries that is used by many editors I know (and i hear their stuff on about every network) really understands what an editor is looking for. They need more than a cut that is the right length, but one that makes for easy editing and natural dynamic transitions. The thing about this library is that you can take the downbeat from about any section and with nothing less than maybe a crossfade, edit it to just about any other downbeat in the track.I won't mention their name, but I will include a masked link to a description of the anatomy of their tracks. From my experience, this is the best technical explanation of what a video editor is really looking for in a track. I don't always compose by this template of course, but do try to keep that mindset. And by the way, these guys have a demented sense of humor that I love too.Editable Track AnatomyAubAub, this is priceless information, I've saved it to my desktop, thanks so much for sharing!Mazz

[ibanez468]

Yeah Aub!This is quite useful information. I even navigated to the whole website to see exactly what the deal was. A nice production music library. COOL! I'll be checkin' it out in finer detail. Thanx!I-468

[oroboros]

Love the concept of modular writing, Aub. Thanks for this insight, I've been thinking about this kind of thing for awhile and your post helped put into words what I've been toying around with writing wise.