Scoring With Opus: Epic Action
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- čas přidán 15. 07. 2024
- Watch Scoring With Opus: Epic Action, the first in our series of videos where we show you how to use the brand new Hollywood Orchestra Opus Edition, along with all of the instruments in ComposerCloud, to score scenes complete with sound design and dialog.
In this first video, resident EastWest composer Ryan Thomas will show you how he scored an Epic Action scene using orchestra, epic percussion, vocals, and world instruments. You can find a complete list of all the instruments used in this video here: media.soundsonline.com/docs/s...
And of course, all of these instruments are available as part of a ComposerCloud subscription. Sign up today: www.soundsonline.com/composerc...
Got specific questions about Scoring With Opus: Epic Action? Feel free to ask them in the comments and we'll get back to you as soon as we can.
Explore more videos in our Scoring With Opus Series:
Scoring With Opus: Nature Documentary - • Scoring With Opus: Nat...
Scoring With Opus: Video Game - • Scoring With Opus: Vid...
Scoring With Opus: Supernatural Thriller - • Scoring With Opus: Sup...
Chapters:
00:00 Demo Video
01:15 Introduction
02:36 Soundtrack Analysis: Part 1
06:59 Soundtrack Analysis: Part 2
10:54 Soundtrack Analysis: Part 3
15:42 Soundtrack Analysis: Part 4
21:02 Soundtrack Analysis: Part 5
25:55 Soundtrack Analysis: Part 6
29:38 Reverb Breakdown
31:10 Outtro
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Finally some useful tutorials for scoring with Opus. Thank you.
Amazing!!!!! Thank you for this beautiful sequence and breakdowns!!! Looking forward to more from you!
Congratulations, and thank you for yet another terrific and valuable demonstration of your workflow. IMO your entire series of EW tutorials is essential content for any of us wanting to dive deeper into EWCC. Thanks again!
Thanks for the kind words Steve! We've got ALOT more of this kind of content in the works; can't wait to share it with y'all!
It would be nice if EastWest published at least one project for all popular DAWs in order to be able to study in more detail how to work with these libraries.
My hat is off to you, sir! My only complaint is that you have revealed to me that I am not nearly as accomplished a composer as I would like to think. Your scoring for this demo/tutorial was incredibly complex and powerful--AND CREATIVE!! I would also like to see tutorials that 1) demonstrate/teach how to more effectively use elements from Orchestrator; 2) demonstrate/teach the tips and tricks for working with other DAWs; and 3) allow us to study firsthand the score. But overall, this is very impressive!! I can't wait to find the time to delve into the other tutorials for OPUS! Well done!!
Valuable walkthrough thank you! I'd love to see a little more on some of the mixing details for pieces like this! The mix compliments the composition very well.
I can't express how valuable these are, and Ryan's killing it! Awesome stuff EW - _definitely_ considering a HOOPUS purchase.
Great demonstration of the capabilities of various EW libraries, and also really clear explanation of compositional choices. Thanks - very informative. Hope you do lots more of these - really helpful and enjoyable.
This is awesome, i need to explore the entire series👍⭐️⭐️⭐️⭐️⭐️
Wow!!i added also Opus to my Libraries love it,but very nice work keep this up
Great, well done.
Amazing video! Thank you for sharing it!
I just finished scoring an entire feature almost exclusively using OPUS/Composer Cloud, and I had a blast. (I was upgrading from the older Symphonic Orchestra w/ PLAY.)
The old Symphonic Orchestra still holds up great and has some unique, unrivaled patches for sure, but the Hollywood Orchestra with OPUS was a real pleasure to work with.
There were a few bugs here and there with the OPUS engine (which I suppose is to be expected with something so new) but overall I really dig it.
Just found your video demo, absolutely amazing very professional. Thank you. Any more similar to this?
bravo Mr Ryan and Eastwest! i am hoping to get the project file for study
Same here
Excellent!
I honestly love opus. Had a bit of a problem with multi routing for some reason, something messing up with how many outs a bus channel has, but I set it to stereo per bus and seems fine now. Other than that I absolutely love it. Also, really nice arrangement. Worth taking a deeper dive to up your skill!
Hi Vae. I'm also having problems on audio routing to Pro Tools 12.3. It doesn't work when opening the project but it gets fixed after a bounce, so I always do a 1sec bounce after opening the project. I have a ticket opened with EW... hope they fix it soon.
very good walkthrough thank you !
Very insightful and skilled presentation! Thanks
Fantastic video Ryan … thank you so much
So glad I subscribed to the Channel and EW ComposerCloud.
Spot on!
Any chance you could make your Logic session available for download for further study??
Seconding this request.
third request
Fourth request!
Fifth request
Sixth!
Wao! Bravo!!!!!!!
Nice! Very good.
Very nice 👌🏻👌🏻
It was a pleasure and an honor to watch you work. I learned about some virtual instrument packs that I haven't used. Every time I orchestrate a new song, I run across things I never heard before.
You made my sifting job a little easier with this video. Primitive and violent; we're all one week of lights out away from becoming the actors in this video.
Thank you.
EastWest has such a great Hollywood sound. More aptly names than a lot of libraries lol
Brilliant Ryan! when are we going to see a "from scratch composing" with OPUS? 😉 I think it'll be the best way to learn what's behind those naughty midi notes :)
Congratulations on both your knowledge of EW, and the quality of your composition. I've been on the cloud since January, and I can vouch that it's a godsend for creativity.
Wonderful. All the FX sounds are also in Opus ?
19:07 that choir is awesome
Great demo thanks ! Just wondering if anyone has experienced slow (minutes ) save times when using Hollywood orchestra Opus edition - about 25 instruments. Playback in fine though.
Excellent tutorial as always concerning the use of libraries and the orchestration,, however, I'd like to ask some more composing focused questions too:
1. How do you select the tempo for a given phrase? Do you try to maintain a set number of bars between two hit points?
2. How do you find the cue points?
3. Is there any guideline you use for chord voicing, especially for brass?
Hi Laszlo! So, 1) tempo is sometimes just based on the reference I/the director chooses. Otherwise, I just go with whatever feels right. I can't say there's much of a science to it (at least not for me). 2) Cue points are just going to be significant changes in visuals. If something big changes in the visuals, something needs to change in the music. 3) Avoid closed voicing, especially in low brass.
That's just the short answer; I'll try to address these questions more in depth in later videos :)
I want the fantasy/magical score!
I would love to see a downloadable template for the EW products. Spitfire has templates for their BBCSO. This would be great for EW!
Fabulous work. I use OPUS but I have a question, how many Opus instances open with you for such a project? What is your CPU hardware configuration? Thank you for enlightening me a little to be able to improve my system. And congratulations again.
Always thankful for your work Ryan! Thank you and EW. 🤍🙏🏾
Incredible! @dafingaz
Ryan! Great tutorial, big EW fan and user here. As we all know EW is a very demanding mistress in terms of pc capabilities. It would be of great help to many of us lesser mortals if you could share with us your computer specs. If you are on a mac then that would be useful too in terms of upgrading as I am thinking about at this time. Thanks in advance.
Ryan, do you turn off the reverb effects on the Opus instruments and just use EW Spaces, or do you leave them switched on?
I almost never use baked in reverb, so yeah, the signal is dry coming out of Opus.
Curious about the routings on the reverb settings - are instruments hitting their main reverb plus the digital hall, or are some hitting their main, the digital hall, and the Abandoned Abbey as well? Thanks.
All instrument groups (I mostly do bus level processing) hit their individual reverb in addition to the digital hall. So two sends. The abandoned abbey is reserved for instruments that just need a really long reverb tail, but those instruments are also sent to the digital verb as well.
I see a knob next to the interface- what is that for? (or what brand/model is that?)
The only thing that would make this better is if the Viking video clip had been produced by Viva la Dirt League. Otherwise, great content!
Ryan Thomas, great demonstration and presentation of these libs! 👍 👏 Everything in practice, as always should be shown while presenting new virtual instruments and effects 🎹 👍
What MIDI keyboard is that you are using?
at 7:13 I noticed an answer to the deep horn.
ok, you also mentioned it :D the french horn :)
First again!