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Submit Your Films
1.4 is the international online magazine about brilliant short-form filmmaking - showcasing the very best in emerging new directing talent. Entries to the 1.4 Awards Show - with a special category for students - close this week.
Get your fabulous films and personal projects in front of the world’s leading producers and commissioners of music videos, short films, commercials and branded content. Winners and shortlisted films will be shown full-length in an interactive online showcase with interviews and cool content. There are medals to be won at the cyber ceremony as well.
Submit films here
Overcome the Challenges of Working with Temp Scores
"To Temp or Not to Temp."
By Oscar Jasso
Temp scores (as in temporary music) have been used more and more in recent decades, thanks to the amazing evolution of technology that allows music and film editors to borrow music from sources, such as songs or other films, and insert it into their edit reels. Often, it works very well. This helps the editor and director get a view of their scenes with music, giving them an idea of how it would all work together. Unfortunately, this does not always provide us with a good, original product. In fact, some music editors have referred to temp music as chains to the composer's creativity. But most modern film composers have learned to work with temp music,...
Networking in Quarantimes
By Justin Matley
As a busy freelance Re-Recording Mixer / Sound Designer and college educator, I get asked a lot about starting out, or making an upward move, in the industry. The answers to these questions are not so different than they were seventeen years ago when I was asking them, but there are some new wrinkles updated for the rapidly changing world we are in; particularly 2020 itself. It's a scary, lonely time. And while I'm particularly applying this advice for budding production or post-production professionals, I think the crux of it is appropriate for any serious student...
David Bowles Discussed 3D Audio and Shares Audio Tips for Students
3D audio captures the Z axis – height – in addition to width (L-R) and depth (Ls-Rs) layers. Because of our ears, heads and bodies, our ability to localise sound direction is fuzzy behind and directly overhead. My challenge is to capture this height layer with specificity, in order that it can be perceived accurately in the mix.
Brad Meyer, MPSE Talks Foley and Sound Design
Can you share with us a Challenge and Solution?
Brad Meyer, MPSE: The most common challenge I usually come across during any sound edit is not having the right sounds or materials that I need readily available. When this happens, I break out the recording equipment and do it myself. From monster vocals, foley elements, or even custom vehicle recordings, we do a lot of our own recordings to make sure we get the entire sound palette for each series sounding one-of-a-kind...
Audio Tips for Student Film Directors
from Mark Sarisky
What is the relationship between music and image in motion pictures? What is important?
Mark Sarisky: Just as images can deepen our emotional response to music and expand the storytelling impact of songs, sound (not just music to most people) can supercharge the emotional impact of images and the stories they tell. Music can heighten our emotional reaction to images and intensify our understanding of visuals in a completely symbiotic way...
How to Find and Work with a Composer
By Alison Plante
As a film student, you probably learned something about directing, cinematography, screenwriting, editing, maybe even sound. But there's one area of filmmaking which, though often central to the storytelling, is not taught in film school: Music. This is for a good reason, since years of music study are required before a composer can write a credible film score, so that one area is taught in music schools...
...Once you have found a composer to work with, there are several steps you can follow, often but not always in this order. Here are the 5 Important Steps...
Music in Film:
What is Important?
A Conversation with
Stephen B. Ward
As a musician, I've been recording and working professionally with audio technology since the late 1970s. Over that career, I've seen first-hand how the music industry moved from analog 24-track tape recorders, to digital recorders, to software-based recording on the computer. Over that same period, I've seen film soundtracks move from sprocketed "mag" tape, physically synchronized to the film stock on a Moviola editing bed, to multitrack tape decks synchronized to video via SMPTE time code, to hard disk nonlinear-editing systems like Final Cut. That's all be spurred by two innovations, a move to digital audio and video media and the personal computer...
Audio Production Tips from
Be proactive, not reactive. Often in recording sessions, you pick up on little signs of what the artists need. Take action on these, so that you are prepared for anything. If the artist mentions they think the record would sound cool with an acoustic guitar part, have one miked up and standing by. These simple things can make a great impression, and it is surprising the amount of people that don't do it...