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PRODUCERS NEED A FULLY FILLED M&E
FOR A SUCCESSFUL FOREIGN SALE
ATTENTION TO DETAIL
Successful,
creative sound editing requires taste, a strong
attention to detail and the ability to know when something is right.
It certainly helps to
know when something is not working, but not knowing when something is really right is a worse fate.
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WITHOUT A FULLY FILLED M&E, ONE'S
CHANCES FOR A SUCCESSFUL FOREIGN SALE ARE ZERO.
I have been creating these tracks for over
15 years and they consistently pass every foreign tribunal. (For more
on M&E's, go to "What is a Fully Filled M&E?")
I also specialize in creating fully filled
M&E's from a composite source only. (more info.)
A proper, fully filled M&E contains all music and effects, plus all
the production effects, including all feet, cloth and prop sounds.
Most countries will reject a track if any of these
sounds are missing, so I make sure everything is there.
No red flags means no rejections
Let me help you sell your show.
Professional Sound Tracks for Amateur and Student Videos
Editorials on Dialogue in Movies Today: "What Did he say?"
and, "What is ADR?"
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IF YOU ARE TRACKING A SHOW FROM LIBRARY AND THE PIECE OF
MUSIC YOU HAVE FOUND IS EXACTLY THE SAME LENGTH AS THE SCENE YOU ARE
SCORING, IT IS THE WRONG PIECE.
THE DEGREE OF DIFFICULTY IN EDITING A PIECE OF MUSIC TO FIT A
SEQUENCE IS INVERSELY PROPORTIONAL TO THE LENGTH OF THE SEQUENCE. IN
OTHER WORDS, THE SHORTER THE SEQUENCE, THE TOUGHER IT WILL BE TO
EDIT THE MUSIC.
IF IT IS TAKING YOU A REALLY, REALLY LONG TIME TO FIND THE
RIGHT PIECE OF MUSIC, THEN YOU DON'T KNOW WHAT YOU ARE
LOOKING FOR, AND PROBABLY WOULDN'T KNOW IT IF YOU HEARD IT.
WITHOUT TASTE, WHICH IS NOT EASILY LEARNED,
CREATIVE MUSIC EDITING IS SIMPLY NOT POSSIBLE. WHAT IS
TASTE? KNOWING WHEN SOMETHING IS REALLY RIGHT. THIS MEANS
GENERAL AGREEMENT FROM YOUR PEERS, YOUR CLIENT AND YOUR LOVED ONES,
INCLUDING YOUR PETS.
FINALLY, ALWAYS REMEMBER IT IS THE ROMANCE AND
GLAMOUR OF SHOW BUSINESS THAT MOTIVATES YOU. HOWEVER, WHEN
SOMETHING GOES WRONG, IT CAN ALWAYS BE DISMISSED BY SAYING,
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I graduated from USC with a degree in cinema and a minor in music.
My first job was in the music library of a major post sound house, where I tracked hundreds of short industrials, travel, educational and government documentaries. I also did lots of music and effects editing and, after several years in which I had a lot of fun, decided it was finally time to go off on my own.
Then, about 15 years ago, I had a major epiphany.It became clear to me that world wide interest in American movies, as big as it was, was about to explode. Furthermore, it became more and more clear that most countries no longer wanted to add sub-titles to a composite English track. Major markets in Europe and Asia were now preferring to dub in their own language, instead. Thus, the need for the 'fully filled M&E' market was born and I was determined to be there to help fill that need.
In tough cases where the only audio source is a composite track, every bit of my background and expertise in film and music is called on in order to create a final M&E product. Years ago, when I first started out in a little music library, I could not have imagined in my wildest dreams that I would one day be a very happy camper, repairing and building fully filled M&E's today. In fact, at that time, I didn't even know what an M&E was!
....Most library music is first rate and well recorded, with the best libraries being those with lots of depth ( good variety and a great quantity of music, sometimes thousands of cues, or pieces) and a high quality of writing. A first rate library always has great depth (thousands of selections) and never sounds chintzy.
(Click for More Information)
