How to Choose a Composer for Your Indie Film

By Ninichi | Contact | Follow

Are you thinking about hiring a composer for your film? If so, this can be a really fun and exciting process, but it can also be a little tricky. It’s important to take the time to get it right and to find a film music composer that you’re comfortable and confident working with. It’s not always easy to determine who might be a good or bad fit for your film, and so that’s why I’ve put together a few pointers to hopefully help with that.

I’m a freelance composer and have worked with numerous indie filmmakers on the film music soundtracks, for their amazing creations (get to know me & my music!). It is always an honour for me to work on an indie film and with such talented artists, and knowing that those who work with me trust me with their film music soundtracks means a great deal to me. However, I also know that they’ve taken the time to do their due diligence and to get clearer about what they want and need, before deciding to work with me. So – you must do the same when thinking about which film composer is right for your project.

Here are a few things to think about:

1. What do you need?

This may sound simple and perhaps obvious but really – what do you need music-wise for your film? Do you know how much music you need, where it would go, when you need it by etc. etc.? Also is it a one-off project or are you looking for a composer that you can turn to for on-going projects?

Knowing the answer to these types of questions will help you to narrow down your search when looking for a suitable composer – since it means that you need someone who can do all of these things for you.

If you’d like someone that you can rely on for future projects, it will definitely be worthwhile to spend a bit longer finding the best person for the job.

2. Credibility & Experience

Now that you have some idea of what you need, think about the type of person you want to work with and what sort of experience and track record you would like to see from them. Check out the composer’ portfolio to get a sense of who they are, what they’ve done and generally if they are credible and reliable or not.

Having a strong track record can be important since it is often a sign of their capabilities and knowledge of the industry and the process. The more experience they have, the less hand-holding should be needed and the more you can trust their ability to deliver great music for your film. See what others say about them i.e. if they have any testimonials. 

They’ll also be seen as part of your overall team, and so you must choose someone that you can proudly say is a part of your production. Everyone that’s been involved in the making of your film will be associated with each other at least on paper if not in real-life and so it’s important to feel confident that everyone who you work with is a good representative of you and your project.

3. Style / Moods / Emotions

Think about what kind of music you need for your film in terms of the moods, the tone, the emotions and the styles. Music is an incredibly important component in films and it is often used to enhance key moments and to bring out the emotions onscreen. Making sure that the composer you decide to work with can handle this well and compose in the style or styles of music that you like and are hoping for, is really key.

Take the time to listen to their work and to explore their music. Can they compose in the styles of music that you need? Do they have range and versatility? Are the melodies they compose memorable? Does the music suit the films they compose for or is the music distracting?

For some ideas, feel free to check out some of the music I've created for films - see my film music. Listen to the different styles and imagine what kind of music might work well for your film.

4. Personality

Just as you will be hiring for other roles for your film – like the cast & crew, your composer is part of that team. You need to like, trust and respect who you hire. Think about the kind of personality you’re looking for and what traits you feel are important to you and to this project.

Don’t be afraid to ask questions, to interview potential composers and to make sure that you feel comfortable with who you are about to work with. Communication is key for any kind of work relationship but especially so for the composer to filmmaker relationship.  If you can’t communicate easily, get on the same wavelength and discuss your ideas together, it won’t work. 

5. Budgeting

Ok, so you’re an indie filmmaker and thus, your budget (or lack of budget) may make things challenging. However, don’t skimp on the music to your film! You’ve put your time, energy and money into creating your awesome film – don’t let the lack of attention and investment in music, bring the whole thing down.

If you want to hire a composer, then you must budget for them. They will be creating custom music to fit your film and to help bring your vision to life. This takes time, talent, thought & care, skills & equipment. Your composer deserves the opportunity to give you the best of their talents and that will almost definitely come at some cost. However, don’t be scared. Most composers will have some flexibility with their rates and if they like you and your film, will be willing to negotiate with you. They want to work with great people and on great projects too, so don’t be afraid to open up a conversation and to explore what’s possible! 

So there you have my 5 tips on how to choose a music composer for your project.

Still feeling  a bit stuck? Want more help with the music for your film? 

Let's chat! I'd be happy to talk through the process in a bit more detail, answer any questions you have and to explore working with you if you think there could be a good fit!

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About the Author: Ninichi is a freelance film music composer and game music composer, who's music has featured in numerous films, tv shows, games & more. She has worked on a variety of indie films & would be delighted to help you with your film project. Check out examples of her film music here & contact her to explore working with her.

Introducing Animated Short Film: Warmth

By Ninichi | Contact | Follow

If you like animations, touching stories and short films, you will absolutely love Warmth! I was so pleased to connect with Erik Boismier, a super talented animator, when he commissioned me to work on the music to his wonderful animated short Warmth. He's been so kind as to let me interview him and to give us all a bit more insight into the creation and thinking behind Warmth. So, let's get to it...

Who are you and how did you get into animation?

'My name is Erik Boismier. I was born in Chatham, Ontario and grew up watching just about every animated series I had the time and capacity for.  When I was 8-years-old, I had something of a revelation when I realized that making cartoons was a job, and ever since then, it was what I wanted to do for a living. I went to St. Clair College in Windsor, Ontario for their “Tradigital Animation” program; it was a great program for learning several forms of animation (hand-drawn, stop-motion, 3D, etc.).

Some time after graduating, I made an impulsive decision to move to Vancouver, BC and look for work in the animation industry there. A former college classmate was already working in the area and introduced me to a number of her colleagues. In 2013, I got my first job in the animation industry, at Bardel Entertainment as a builder* on the show “Mother Up!”.

I've since gone to work for Atomic Cartoons and have been taking contracts from them exclusively for a few years now.'

*The job of taking finalized designs of characters and props and turning them into animate-able digital “puppets” for lack of a better term.

Where did the idea for Warmth come from?

'A long time ago, in part thanks to an online discussion about animation I was lurking on, I got the idea to do something where I could animate two characters with different animation styles interacting with each other. Clara, the girl in the short, is entirely hand-drawn frame-by-frame. Meanwhile, the robot Aleph is a build; digital cut-out puppet with the pieces pre-drawn and then manipulated to create motion.

Certain elements of the story were definitely influenced, whether subconsciously or deliberately, by Big Hero 6 (a robot with health care abilities) and The Little Match Girl; another short story and animated short(s) about a young orphan struggling in the winter.
Visually, Disney's Renaissance-era movies had a heavy influence on me. Additionally, the new servant robot model seen briefly in the beginning of Warmth is very similar in both design and concept to Robot-1X from Futurama.'

What is Warmth about?

'Warmth is set in a nondescript distant future where robot servants are a household item.  When the newest model of robot servant is released, people begin throwing away their old ones.  Clara, a young orphan who lives in a junkyard, one morning finds one of the discarded robots at her doorstep and quickly establishes a bond with it.  The robot seems to have some malfunctions however, and Clara wants to keep her new and only friend running.'

Were there any challenges in the making of it? Also what are you most proud of from all of this?

'Like a lot of things, the first major challenge was getting started. I had certain story beats worked out very early on but could never figure out a way to tie them together. I began discussing the idea with a friend, and he brought up the idea of a junkyard setting. Once I had that piece, everything else started to fall in place and I began writing the original story treatment.

The next big challenge was the background painting. My skill set is primarily that of a character animator; environments have never been my strong suit, and painting is something I have never excelled at. I took some time to look up and learn painting techniques I was unfamiliar with. There are backgrounds in the short I'm quite proud of, but there are some others that I still sort of wish I could have done a better job on.

Using coloured line work proved to be the most time-consuming part of the animation. For Aleph, it wasn't much of an issue since the nature of his animation meant there weren't too many unique drawings. For Clara however, it meant breaking up the lines around every specific colour fill (skin, hair, scarf, etc.) and then filling those lines with the correct line colour; and doing that for every single drawing of her. I don't regret doing it because I love the look of coloured line work, but it was enough to make me decide against it for whatever my next personal animation will be.

I would say I'm most proud of finishing the short. I've always had a bad habit of starting personal projects with a lot of ambition that end up going nowhere. That, and there are a couple shots I laid out as a deliberate challenge to myself.

When Clara first walks up to Aleph, you see her reflection in his eyes. The moment I got the idea for that shot, I knew I had to do it, but expected it to be complicated to put together. Honestly, that one really wasn't that bad in the end.
The shot of Clara setting up a new TV, on the other hand, was probably the most difficult to animate. I feel like it looks deceptively simple, but there were a lot of layering challenges to work with (her arms and the TV having to go behind and in front of the table in the foreground for example).'

Who was involved in the creation of Warmth?

'Visually, Warmth was basically a solo effort; I wrote the plot, drew the storyboards, painted the backgrounds and animated the characters and effects; but I did have help and support from friends. My friend and roommate Grant, as alluded to earlier, helped me put the story together with the idea of the junkyard setting. He also assisted in updating some of the backgrounds (adding a little more scrap and junk).

Another friend, Rachel, was consistently supportive while I was regularly showing progress updates to her. She also named her daughter “Claira” after I suggested the name (albeit spelled differently) based on the character in the short.

My on-going employment at Atomic Cartoons was also extremely helpful. The experience they've given me has improved the quality of my animation and my proficiency with software like Toon Boom Harmony dramatically.

What part does music play in it?

'While I believe that good animation can sell its mood with or without sound, music is a great tool to emphasize that intended mood. A good balance of music and silence is important too. I'm not a fan of wall-to-wall music placement that some shows use and made a conscious choice early on not to do that with Warmth.

The nice thing about a fully produced piece of media is that each element can compliment the others and elevate them; for instance, good music can often carry an otherwise weak scene. Pacing is something I agonized over throughout the production, often extending or shortening scenes, even by a factor of 3 or 4 frames sometimes. The final timing still had some bits I was unsure of, but your music pulled them together really well.

So the music's role in Warmth was to highlight the moods of the scenes whilst also helping along some of the moments that were maybe a bit weaker on my part.'

Why did you decide to work with me and how was that whole process for you? What do you think of the music now?

'When doing any kind of self-funded production, it's incredibly tempting to use as many free resources as you can to keep the cost down. While I didn't have too many qualms with using public domain sound effects, music was a different matter. The name Kevin Macleod springs to mind as probably the most popular source for free background music. His music is great, but it presents a problem if you want your material to stand out: Everyone uses it.

I watch a lot of YouTube content, and I've noticed a lot of different content producers using the same music. A friend of mine even described the phenomenon as, “the sound of having no audio budget.”

And because I really wanted Warmth to have an individual identity, I decided it needed to have an original (or at the very least, less ever-present) soundtrack. So I began searching for a composer to commission.

I encountered a couple of dead ends along the way, but a Google search did eventually lead me to your website. I listened to a number of the tracks you have available and was impressed by the range I was hearing. While the music on the site is great, I had trouble envisioning the tracks I was listening to as music to use in Warmth, so I opted to contact you directly.
Working with you was fantastic. You composed the soundtrack much faster than I expected and I only ever felt the need to call for a couple minor changes.

I'm quite satisfied with the music too. All the right moods were hit. The “Saving Clara” theme even gets me involuntarily clenching my teeth with worry during the final scene.  Exactly the feeling I want the audience to experience.'

Let's take a look at your wonderful creation Warmth...

What are your plans for the short animation?

In my final year of college, I attended the Ottawa International Animation Festival (OIAF), which features several screenings of independent animated shorts. I would really like it if Warmth could be included in one of those screenings, so I'll absolutely be making an effort for that to happen. I'll be looking into other festivals as well.

I'd also like to spread it around online. I'll likely be dropping in on a number of animation communities across Facebook, Reddit, etc. to share the YouTube link.

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About the author: Ninichi is a UK-based freelance music composer. She has composed the soundtracks to various games, films, shows and more. Contact her: to commission music for your project now.

Follow her @ninichimusic

Introducing the Short Film: The Waiting Room

Interview by Ninichi | Contact | Follow 

Towards the end of last year, I had the pleasure of working on the music to an inspiring short film called The Waiting Room. I connected with experienced filmmaker Dexter Goad, who runs ShadowDogProductions, and am now excited to share with you a short interview with him, which offers some insight into the thinking behind this production...

Who are you and how did you get into film production? 

'My name is Dexter Goad and I've been writing, producing, and Directing films for 15 years.  I got into filmmaking because I tried getting my novels published for 10 years to no avail.  So I looked into getting one self published.  What I discovered is that if you finance your own novel you're considered a hack, pathetic, a loser.  Your novel isn't good enough so you had to pay for it yourself.  However, if you finance your own music album, your own paintings, your own movies, you're respected as an artist MAKING IT HAPPEN!  I've never figured out why this hypocrisy exists, but its a real thing.  So, at the time, I was young and I cared what people thought of me & I didn't want to look like a loser.  So, I decided to finance a film based on one of my short stories instead of finance the publication of one of my novels.  The film turned out horribly, but I discovered I loved filmmaking way more than I'd ever loved novel writing and I've never looked back.'

Wow amazing! Thanks for sharing your story with us. Let's now take a look at your short film The Waiting Room. What can you tell us about it? 

'Waiting Room is about how we lie to our loved ones to "protect" them.  How that can be good or bad, and how our loved ones can often figure out that we're hiding something despite our best efforts.  In my experience, people who lie to protect their loved ones are almost always doing so to protect themselves as well.'

Who's involved in the film?

'The only nationally known actor in this is Lilianna Ketchman, from the reality show "Dance Moms."  She's only ten years old and her background is in dance, but she has an innate ability to act that I think people are going to be impressed by and enjoy.  She was impressive enough to me that I shot another short film with her right after Waiting Room and she will be my lead in a mid sized budget horror film we're shooting this summer called "Death's Delay."'

Where did the inspiration for The Waiting Room come from? 

'I thought it would be interesting to explore the concept that everybody in a medical waiting room has their own story and in most cases they're going through something stressful or they wouldn't be there.  Even if you're just there for a routine checkup, you're always afraid that they'll find something bad.  If you could see stress as a visible thing, I'd imagine a hospital waiting room would be the most thick with it.  After this I added in the layer about lying and protecting people with your lies.'

What do you hope people will take away from it? 

'I don't approach my work in this way.  My approach is always to pour as much of myself into the writing and production of a work, then get out of the way and see what happens when people experience it.  Because what invariably happens is people will take things from you'd never imagine or expect.  That's a really fun part of the process for me.'

Awesome. Thanks for sharing your thoughts on this. Now let's talk about music! What part does the music play in a film do you think?  

'Music in film is like clothes:

1. Absolutely vital part of the process
2. Can't imagine it absent
3. When it's working properly, it accentuates what's there, hides what's necessary, reveals what's desired to be revealed, but doesn't get in the way.
4. You should never be conscious of it being present

I often talk about why filmmaking is the best creative field because its the ONLY creative field that uses all other creative fields.  You have writing, acting, music (writing and performing, including singing), photography, sculpture (set building and props), architecture (set building), painting, makeup, hair dressing, clothes making, dance (straight or as stunt choreography), and technically creative fields such as computer graphics and design, editing, and color correction.  Literally any creative field you can imagine has been used in film somewhere at some time.  I love collaborating with creative people in all these different fields, but I must admit that musicians are some of my favorite people to work with.  Probably because I don't have a lick of musical talent myself but wish I did.  I'll be producing a musical short film this year and I can't wait.'

How about in Waiting Room? 

'For Waiting Room I needed music specifically composed to the footage because it's such an intimate, personal story - (sometimes you can buy precomposed tracks and drop them in and it's fine for certain types of projects, but this is a character driven piece, so it was important that the music be specific.)  Which is why I sought out a professional like Ninichi and I'm very glad I did.'

It's been amazing working with you on the music to the film. Thanks for trusting me with it. Here's a sneak preview (on the right) of some for the music for those wanting to have a little listen. 

Now onto other things. What were the biggest challenges in creating Waiting Room? 

'This was actually a very smooth, easy shoot.  I've been doing this a long time and there used to be some major struggles getting the days shot, but since about 2014 the accumulation of experience and adding really good crew members to the team have combined to streamline the process.  For instance, it was nothing in early years to start at 8am and not finish until midnight and that with having had to forgo several shots we really wanted.  In the past few years we've been able to start at 9am and finish around 7pm.  So it was with Waiting Room.  Experience really can be the best time saver there is.

It all starts with the writing.  I knew I wanted to shoot this in a single day, so I wrote what I knew we could get within that time frame.

Even the post production has been without drama because the music came together really fast and our color correctionist is somebody I've known a long time and is really good.'

Where can watch it?

'We'll be doing a special internet premiere within the next couple months.  Stay tuned.'

How exciting! We'll definitely keep a look out for that. Also, are you working on any other films and if so, where can find out more?

'We've always got something going on.  You can follow me on Instagram or Twitter at ShadowDogProd'

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About the Author:

Ninichi is a freelance composer, creating music for film, games and other media. She has worked on a wide range of projects and is available to commission now. She creates custom music for films, commercials, tv shows and more, and also have a catalog of music available to license.

Discover more of her film music or explore her royalty free music now.