Nowadays, when I score for animation, I look for the most important hit points first, as opposed to looking for every cut, character movement, or piece of dialogue as a musical pivot point.ДЄ really effective way to do this is to first watch the animation without any temp music, and pay strong attention to your reactions during your first viewing. The trick is that not every hit point is equal. Most composers (including me) tend to get so caught up in those sync points that their music can feel rushed, non-cohesive, or half-baked.

It can be really easy to get overwhelmed by all of the hit points that happen in an animation. How do you deal with all the audio/visual sync points in animation?

It makes each score vastly unique to the project itвЂ™s composed for! 3. I love how every animation IвЂ™ve scored has its own unique color palette, pacing, and rules for the world thatвЂ™s been imagined. That makes the creative process of scoring for animation a great responsibility, as well as an exciting challenge. In other words, we need music to speak to the authenticity of the characters, much more so than in live action, where we can literally see the emotions on an actorвЂ™s face. As a result, animation relies heavily on music to convey both the realism of what viewers are seeing, as well as the emotional depth of the characters. What IвЂ™ve always found so exciting about writing music for animation is that-much like music-making-animations start off with a completely blank canvas. What is different about music for animation vs other types of projects? Since then, IвЂ™ve had the privilege of writing music for Marvel Ultimate webcomics, a Kerbal Space Program trailer, and several other animations and projects IвЂ™m proud of рџ™‚ 2. Frank and I have created nearly 50 piano arrangements of music for games, animation, and film on our YouTube channel, Frank & Zach Piano Duets.ДЄfter college, I moved to Nashville for several years, doing copyist work and composing for various clients before making the move to Los Angeles in 2019. I graduated from the Hartt School of Music in 2015, where I met my longtime collaborator Frank Tedesco. I was completely hooked on the emotional power of his music (particularly as an angsty teen), and IвЂ™ve committed myself to studying the craft of musical storytelling ever since. Truthfully, I never really knew there was a difference between being a performer versus a composer until I was about 13! I was about ready to quit piano, until my piano teacher introduced me to Rachmaninov. I started composing when I was about 7 years old, writing music each year for a local composing competition. When they went downstairs to turn off the TV, they instead found me playing the theme on a toy xylophone! My parents told me that when I was three years old, they thought they heard the Flintstones theme playing in the playroom. MusicвЂ™s pretty much been a part of my life for as long as I can remember. Hello Zach, what is your background & story as a composer? Zach Heyde is an amazing composer, who have experience in this particular niche of music composition, and he kindly agreed to this interview where he shares great insights on writing music for animation. Do you want to write music for animation, which can be anything from cartoons to 3D animated movies.

Animation composer 2 forum