more than 10 years of experience
writing music for different media including film, commercial and installations. I’ve gained a substantial amount of experience and proficiency in the art and craft of composing to undertake a variety of projects, both in scale and in format
in-dpeth knowledge of composition
art and craft: instrumentation, harmony, form, music styles and more
pro in audio software and hardware tools
including audio sequencers, plugins, notations software, mixing desks, external effects
great communication skills
to quickly and precisely understand director’s and producers vision
proficiency in sound recording
techniques and postproduction process, including location recording on the film sets, classical music multi-mic recording, VO recording, spatial (ambisonic) recording and postproduction for VR
multifaceted approach for music style
I am able to compose in a variety of music styles, from orchestral to electronic. l like to combine interesting sonic textures with orchestral and analog sounds. These juxtapositions create novel and unique sonic worlds.
WHAT I PAY SPECIAL ATTENTION DURING COMPOSING
CAREFUL LISTENING AND UNDERSTANDING DIRECTOR’S OR PRODUCER NEEDS
FLEXIBILITY IN APPROACH TO EVER-CHANGING EDIT VERSIONS
BRING ORIGINALITY OF COMPOSITION AND SOUND PALLET
FOCUSING ON EVOKING EMOTIONS
ATTENTION TO DETAILS
QUALITY
TIMELY DELIVERY OF CUES
CREATIVE AND POSITIVE ATTITUDE TO SOLVING PROBLEMS
Writing for film, or most of the visual art for that matter, is a constant balance between different forces. Directors vision, producers needs, time and budget constraints, self-identity and being able to the ego go. At the same time, it is a collaborative work where lots of interdependencies exist. Proper collaboration with editors, sound designers and mixers. And in the case of museum installations – museum directors, curators and designers.
It’s easy to see how refined and complicated network of creatives and powers filmmaking process is. It’s also plain to see how little space there is for one’s ego.
We all serve the one – film (or other visual work) itself.
At the end, we all should feel what it wants and what rejects. This kind of awareness helps to maneuver and making decisions during writing a score.
At the end, we all should feel what it wants and what rejects. This kind of awareness helps to maneuver and making decisions during writing a score.
Another crucial aspect is good communication. It’s vital to understand directors’ and producers’ idea as quickly as possible. It is also one of the most difficult tasks. To describe what one would like to hear is sometimes tough and daunting. Therefore we use metaphors, explaining emotions, reasons for character behavior, telling stories and of course examples of music. Having experience working with directors and producers I can understand those mechanisms and always try to grasp directors vision as precisely and quickly as possible. Find myself in his/her imaginary world.
And then it is music composing itself. Surprisingly contrasting job if one compares it to the whole collaborative process of filmmaking – very solitary one.
Where bliss of creation meets frustration of being stuck. Where sometimes you sail directly where you want and sometimes the current pushes you in its own directions.
Where free unbound creative mind has to coexist with a serious pressure of time constraints and stress.
Where we strive to make music original and each time different yet often clearly defined and commonly understood.
When every single time you start the project, you start from the blank page – that is equally exciting as a bit scary.
But if done right – greatly fulfilling experience