The session was then thrown open to the audience for questions.
Q 1. As students we use music from existing films/albums. We have no knowledge of music composition. What is your advice to us?
A 1. When you are making your film, you know your genre, the outline of the project. Before you start work, download or gather your music of choice first and then animate. Tap your feet to the rhythm of the music piece – that is your bpm. As an animator, you need to know your music. Take the effort, read up about music, learn. There are lots of softwares available to calculate the ‘bpm’ of a track.
Q 2. Is there a case where the ‘bpm’ changes during animation?
A 2. Yes. Several. That is why I give a tempo track or tempo chart to the animator to use as a guideline.
Q 3. Are transitions also handled in the same way?
A 3. I would cite Amaron as an example, but there were no transitions in the ad. What is important is that in a scene from point A to B, the 2 transition points should not change, you are free to do anything in between. This helps the composer.
Q 4. What is your creative thought process while composing music?
A 4. As far as background music is concerned, it depends on whether the film is live or animated. In live-action, you can even have long silences but it is not so in animation. Especially if the animation is of poor quality! Hanuman 1 had wall-wall music. Hanuman 2 had better animation and better performances by the voice artists. Besides that, it is a healthy discussion between the director and music director. In animation there is a big risk of the music overpowering the animation. As a composer, you have to be careful.
Q 5. If you know beforehand that the 60 seconds ad will also be shown in 45, 30 and 15 seconds, can you plan for it?
A 5. Yes. It needs to be planned at the time of composing itself, not if the client suddenly wakes up and decides he wants to edit the ad. In the case of Amaron, it was well planned. The Amaron ad is fairly linear in terms of tempo, but at times you might need to change the tempo in the middle of a bar. Then it becomes tough. If the key action points are on the beat it is far simpler. If they are not, it might sound out of sync.
Q 6. How would you use sound to create a mood?
(Tapas played a fight sequence from Hanuman 2 without sound)
A 6. This was one of the toughest scenes to compose for. Hanuman has gone to retrieve his friend’s bag which the school bully has thrown over the wall. Once there, he spots luscious mangoes and decides to gather them. The goon and his henchmen arrive just then and want to kill him. A fight ensues. How do you compose for a scene like this? Here perspectives come into play. If you look at it from Hanuman’s perspective, it is ‘masti’ for him. He doesn’t realize that he is trespassing. From the goons’ perspective, they are thinking, “Yeh kaun aa gaya, hatao ise!”
But I have to keep in mind the audience’s perspective, “Ab kya hoga?” They are aware that he is Hanuman, no harm will come to him but yet there is ‘tension’. That has to be highlighted by the music.
Tapas showed Sample 1 with the sound muted. There is no impact. There were self-imposed technical limitations in this project. Hanuman is a Superhero, so I had decided to use only orchestral instruments, nothing electronic like drums.
Sample 2 was played next with only music
Hanuman initially takes it lightly – it is ‘masti’ for him, but later, when they fire at him, Hanuman gets angry. So the mood has been set up by the narrative itself.
Sample 3 had only effects (Tapas made it a point to mention that this was not arranged by him)
When all three were put together, it sounded like a cacophony. In the final mix, because the effects couldn’t be chopped off, some of the music had to be sacrificed!
Q 7. What happens when you get an animation where you cannot match the beats? Do you get away with it?
A 7. Yes, we do have to cheat at times. We try our best to match the important scenes atleast. In the software, we need to align the visuals to a grid. There is a lot of trial and error. For the “Agdam bagdam” song in Hanuman, I spent half a day doing it. Another thing, you will notice that there is a difference in the audio and video version of the songs. Without visuals when you listen to the songs, the adjustments that have been made are glaring and so for Hanuman, we had to create a different version for the audio CD. There is no exact formula, it is mostly trial and error. It also differs from composer to composer.
Q 8. Does the director come with the genre/sample fixed in his mind or is it your call?
A 8. It depends. Most directors come with a more or less clear idea. He is, after all, the director who has envisioned the entire movie. In Hanuman 1, the director – V G Samant came to my studio and said “Just give me good music”. That was it! That was the only input that I got from the director who probably had no inclination towards music. “Good music” is a subjective phrase so this kind of brief does not help the music composer. It was a different experience from working with Anurag Kashyap, director of Hanuman Returns, who came with his own vision of what he wanted me to do.
Q 9. Most of us students are going to work on short animation films. What advice do you have for us?
A 9. I believe, to each his own. The important thing is that nothing should be over and above the narrative. If your animation is kick-ass, you don’t even need music. Let your story choose its music.
Q 10. Indian animation is heavily influenced by the Disney style. Are you influenced by anything or anybody?
A 10. As far as composition goes, there is no such thing for me because Indian sensibilities are different from the Western world. I may look at several film compositions for reference but it is not for the kind of music or genre. I look for how the music is matching with the film, the use of silence, where is the music loud or soft, whether it is wall to wall, and for expressions. Ultimately, you don’t want a soundtrack that either overpowers or, on the other hand, does nothing.
Q 11. Some of us have been making films for a long time, so we think of the music but not in terms of working out the ‘bpm’. It is more of an intuitive kind of music running inside our heads. What do you think about that?
A 11. See, your intuitive music may not even be close to what the composer thinks is music! You need to work out atleast the important parts you want me to highlight. Not many people are using this technique but I am saying this in the hope that you animators will hopefully go on to incorporate this when you become directors. If as a composer I have knowledge of animation then why not vice versa? Why can’t animators learn too?
Q 12. In Hollywood, many films include chapters on Sound Design in the ‘making of’ videos. Why doesn’t that happen in India? Don’t we take our sound design seriously?
A 12. If a film has any sound effects at all, it means that it has gone through the sound design process. It is done for each and every film. There are 3 aspects to Sound Design:
(i) Stock effects from a CD or library
(ii) Folley – live, tailor-made sound effects
(iii) Ambience
Q 13. Could you explain the role of a Sound Engineer?
A 13. (Gaurav Chopra answered this question) I would call it a sensitive issue. We are not called engineers anymore but sound ‘designers’. It is not about music and effects alone but a very important aspect which Tapas earlier touched upon briefly, which is expressions, the mood. No one can teach you music. You learn. Music is about feelings.
The technical part is that sound designer sits and puts together everything. He must be sensitive to music and effects.
I agree that in the current scenario people do not want to work as a team. The visuals support the action. And the sound must also do so but subtly. But nowadays, most soundtracks are glaringly loud, which is unnecessary. These are tools. Look at John Williams’ score.
Watch Jurassic park without the sound – it doesn’t make an impact. Listen to it without the visuals, and you will walk out of the room scared. That is the impact that music can have!
Tapas added, again stressing that the primary reason for not getting great results is that the directors might not be involved in the last and most critical stage because it is a tedious part of music. The director needs to conduct, or else there will be fights.
Gaurav said, sound designing is becoming increasingly important, people are getting credits. I have been developing my own library for a long time now.
Q 14. When we learnt editing, we were told strictly to shut sound and see if the film still works without any sort of sound. Young people these days seem to cover up there mistakes with overpowering music. What do you feel?
A 14. When I get short films, almost every film has reference track. It really doesn’t help me. I prefer not listening to reference. My advice to editors is that they should not shut the music
My purpose is different. References are completely wrong sometimes and they anyway come with conditions
A Director can come with his idea but he must first let me see it without sound and let me decide for myself. Then he can show me what he feels is appropriate. Then we can discuss.
All RGV’s films have references from his own films and that is why they all sound the same. Bhoot is an example of using too much sound.
Gaurav added, In my personal view , the sounds in Hanuman Returns were very scary. The film was meant for kids not adults. They shouldn’t have gone overboard with the sounds.
Q 15. Are you given a target audience?
A 15. Of course.
Q 16. Please elaborate on the components.
A 16. As a composer, when you are talking about cinema where story drives everything, I prefer having all the voices and sound effects in place first. Only then things look real. Sound effects creates the mood, voices create the expression for the character. I need effects, ambient sounds, voices in place or else we are taking a risk. This practice is followed everywhere unless there is a time constraint.
In animation, after scripting, the voices are recorded and only then does the animation process begin.
Q 17. I am learning many things, including drawing. I have often been told ‘creativity can’t be learnt’. Is it true? How do I learn?
A 17. It is correct that creativity cannot be learnt, but then, all of us are musicians in some way. It is about how we pursue it. I came to Mumbai 10-12 years ago and knew nothing about music composition. I took lessons and learnt the skills. Learning music is a misleading phrase. You don’t learn music, you learn an instrument, or you learn singing.
Tony commented, “I guess it is more about how do you learn to appreciate music. You either have it in you or you don’t. It can’t be acquired.”
Tapas continued, “If you are serious about this, I recommend you spend a lot of time in recording studios, read lots of books on the subject.”
Q 18. What are the common mistakes?
A 18. Thats tough to say, but I guess it would be the ‘film rate’. Animation has a frame rate of 25 fps while film has 24 fps. So during telecine and reverse telecine, the frame rate might get messed up and won’t match the composition.
Q 19. We are all animators here. You have explained the technical stuff. Tell us more about the creative aspect, when you get a piece to compose for.
A 19. Creativity is directly proportional to experience. My simple rule is – if I am not satisfied, the music piece will not leave the studio. Do not send it to the producers/director till you are completely satisfied with what you have created. Always try something new. I set up challenges for myself. For example, in Hanuman Returns, I deliberately restricted myself to orchestral instruments.
For songs, I need the lyrics first – for the mood, for the genre. Many composers work the other way round as well but that makes the songs sound like jingles. I cannot compose without lyrics. Creatively speaking it has an advantage. If I create music the lyricist will later write to, it ends up sounding like a nursery rhyme because the meter is uniform. If he writes first, I can set my own meter so the music can be non-uniform.
Q 20. Please throw some light on the instrumentation, on what basis do you select the instruments for a particular piece of music?
A 20. That is a very good question. You do not need to stick to the typical co-relation of instruments, what I would call musical stereotypes. Try something new. The whole approach to a song changes with the instrument and technology makes it easy to try it out. At the same time, I have to do so responsibly.
Gaurav added, “The Dhol is typically used to depict romance, but it can be very powerful too, or even used to depict rage. Creative License is a serious thing. It is very easy to make an album with all the technology at hand.
Both Tapas and Gaurav said that there are no hard and fast rules. You cannot be taught creativity. You can only be taught how to execute.
Tapas then gave a quick demo of the software that he uses and the set up of the ‘workspace’. He also listed the various software that can be used for composing and arranging music.
– Apple Logic Pro, Cubase, Nuendo and Reason
“It is very easy, import the video, move it around and you have a detailed view of every frame in the sequence.The Midi keyboard is only box, there is no music in it. When it is connected to the computer, the sound is triggered from there.
Each track is separate because while editing, if we want to edit just one instrument, it is easy, we have more control. The same applies to mixing as well.
Logic Pro 7.2 is available for Rs.60,000/- and Logic Pro 8 costs Rs.25,000/-
Q 21. Do you get Windows version of it?
A 21. Yes. ProTools is used in audio production and post-production in Hollywood and most of Bollywood and Indian Advertising studios, the reason being – compatibility.
Q 22. What is highest number of tracks that you have ever used?
A 22. 128 – for the Mahabali song. The number of voices used can make the number go up. But the advantage of technology is that you can get four singers and make them sound like 40 by repeating and layering the tracks.
Q 23. What is your take on the eternal debate of ‘Digital’ versus ‘Analog’ sound? eg. Midi versus Acoustic recording. As a composer what is your personal preference?
A 23. In terms of convenience, cost-effectiveness and time-effectiveness, digital is great. But for quality, it is no comparison to live instruments. Specially in instruments like the Flute, the midi keyboard is restricted. Besides, the player can add much more value through his creative inputs. I can use the midi keyboard but I may not know the intricacies of the instrument.
Q 24. Does any class of instruments lend itself better to digital creation?
A 24. Wind and string instruments are tough to replicate, for example – violin, flute but percussion has been more or less mastered digitally and has replaced the use of live percussion instruments. Live recording has better quality. There is more emotion. On the other hand, digital ‘artists’ or ‘music’ you can own for life.
In advertising a lot of digital sound is used. In film, live is still preferred.
Tony commented that in Indian music, it is tougher to capture the soul of the music through digital sound.
Tapas did not seem to agree. “It is not about Indian or Western but about the instrumentation. As a composer I want creative inputs from the musicians and singers. I have learnt to play the Piano but executing a flute is different, so I need a flautist.”
The session ended with Tony thanking Tapas and Gaurav for the wonderful presentation and Shilpa of IDC for making the venue available for the session.
—————————————————————————
About Tapas Relia – (click here)