I spotted UPIA, a London based music outfit via a Facebook group. If you are in the TV or Video biz I recommend you do a search of groups on FB as there is loads of industry networking going on there.
UPIA have got a great track record, and a cool website, Jacqueline McBeth from the Business Development team, was good enough to do a quick Q and A for Jules.tv:
JTV: Outline who you are and what you do?
UPIA: UPIA Music is a London based production team specialising in composing original score for TV and film. We’ve worked with the BBC, SKY, MTV, C4, UKTV, Nat Geo, Discovery, Objective, Outline and IWC on a broad range of programme genres; drama, wildlife, documentary, animation and sports. We use a combination of live musicians, electronic and sound design techniques to create a unique contemporary sound with an edge.
JTV: What trends are you spotting in current commissions for music for Video and TV?
UPIA: In the current climate, budgets are shrinking and Producers are being very cautious before they spend any cash. People are tending to use more library tracks. It’s up to the composers to remind their clients the benefits of bespoke music, tailor made for their film, hoping that the clients care about the quality of the end product not just the budget.
JTV: It’s sometimes hard for non-musicians to describe what they want to composers, what advice would you give to clients who need to brief you?
UPIA: We try to get the clients to come up with an emotional cue sheet – i.e. what emotion would they like to convey in each scene, what vibe they are trying to create. Style references and temp music can be helpful and the client can say “I want something like this”.
Temp music can however be a double edged sword. If the client used Beethoven’s 9th or a Beatles track, that might be tough to match.
JTV: What makes a great track for TV or Video. Is there a formula?
UPIA: As with any piece of music it has to be good! Push yourself to the limit every time and strive for originality and freshness. No matter what the brief is, at the end of the day, Producers and Directors select tracks that excite them. When it’s good, it’s good and it’s easily recognisable as good. If it’s a theme (for instance – opening titles for a show) make sure it’s a memorable tune. A producer once said to me “ I want a tune that lets you know that your favourite show is starting even if the telly is in the lounge and you’re in the kitchen making the tea”.
If it’s an underscore score track that needs to be played under dialogue, make sure that there is nothing in the arrangement that would fight with dialogue – i.e. no screaming guitars, no over present brass, synths, or anything that has a heavy mid range content. If your track fights with the dialogue it will be pulled down to oblivion when the show is mixed. In terms of the mix, make sure your music sounds great on tiny TV speakers as well as on your big studio speakers as home viewing conditions may vary greatly.
JTV: What advice would you give to wanabee composers trying to get into your market?
UPIA: Get as much experience as possible. Write as much music as possible. Give yourself mock briefs and write to them. Download video in the genre you wish to work on and practice writing to picture. Network as much as possible. Work on your people skills. Attend film festivals, seminars and any event where you think you might meet filmmakers. Students are the future. Establish good relationships with film students. They are the filmmakers of tomorrow. Never despair! It’s tough game and in order to succeed you need to be not only talented but also very very persistent!
