Thanks for watching today! If you want to try scoring the scene, I'm sharing a version with no music on my Patreon: patreon.com/andrewhuang If you need more Spacetime in your life... Full series in one video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m-aSLB_cshE.html Behind the scenes: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m1IFGLwOTRk.html Album: fanlink.to/AndrewHuangSpacetime
As a composer who's been watching your channel for years it was such an honor to be part of this, among such good company on top of that! Thank you for having me Andrew, and amazing job everyone!
I grew up watching Alex Moukala in high school because of his trailer music style definitely looked up to you. It's so awesome to see you make it in here!
I love how Homay took the emotion of the scenes fully seriously and, despite having a doge in a crystal, it fully works and doesn't clash with the tone of the scene at all. It makes it only better!
Homay's score is like the most professional score that can reliably win a film score competition. There is not a single mistake in the knowledge and experience of film score. It maximizes the service of scene and story. Both the atmosphere needed for the scene, but also has a rather pleasant musicality.
It should not be understated how Tennyson keeping it minimal during the dialogue scene takes the focus off the music and puts it on the characters, which is what any great film composer should do in moments like that
Thank you for saying that. I get that it's really tempting to fill the score with synths upon sweeps upon emotional strings, but if you don't let the scene itself brew the emotion first, you're not gonna build up a big punch when the music actually comes in. It's fine in purely cinematic scenes, but when characters are talking I want the score to actually emphasize what they are saying or doing. The sound mat is okay, but if they're purely texture without any sort of involvement with what people are conveying, they can be either distracting or ignored. The first one (IMO) wouldn't let the scene breathe even a second, so I can't imagine a whole film being like this, both for the spectator and composer themselves' sake. Tennyson was the exact opposite: he let the scenes run their course with as much of a minimal supplement as possible, but at the same time exponentially increasing their memorability by being so parsimonious with his interventions. When Huang woke up, he didn't add anything, the breath became the focus of attention, thus becoming part of the score itself. When walking up to the crystal box, he didn't introduce a grand orchestra, just an ambiguous and alien audio stem to represent their nature. We're in space, not at an Opera house lol I can be nothing but jealous of everybody's talent and experience, but Tennyson is simply just a great composer 🔥
Damn this was amazing. The analysis from Homay, the reuse of Space and Time by Alex almost made me cry, the horror feeling that Tennyson gave it, and Andrew microfreaking out. I love this, and great idea Andrew for a 4 composers episode!
IMHO Oscar definately goes to Homay Schmitz 😊 Super impressive score. Felt so empathetic to the whole structure and arc of all the clips. Like the most “wise” and “mature” approach if that makes any sense.
11:33 Alex's version seriously captured the God-like powers of the alien. Chills for sure! That vocal bed and reintroduction of Andrew's theme was so Hollywood. What a cool video!
Andrew, kudos for editing this differently from other _Composers Series_ videos - keeping the composers’ comments to a minimum to not distract from the visuals and audio makes total sense, along with having those reaction play in that small bubble… Very smart!
I got goosebumps from ALL of these when Andrew was floating in space, but all at a slightly different point in the score: Homay: on Horus's synth slide (6:09) Alex: when Andrew's Space and Time comes in (11:35) Tennyson: at the piano bit when we see Andrew close-up & upside-down (17:09) Andrew: specifically at the lyric "crystal light" (22:57) I loved everyone's version. Such a good addition to the 4 Producers series!!
I love Homay's. Especially the space section. It really feels cinematic. Consistently good and no one section stands out, which is possibly a down side. Alex's crash is impactful. It has a lot of tension. This version feels a lot more like a music video and less like cinema. The emotion is excellent while he's talking to the alien. Tennyson also took a more cinematic approach. Its really beautiful and creepy. He has an excellent use of silence/pauses/volume which the first two didn't use anywhere near as much or as well. He has the best ground scene with the alien. Adds so much to the visuals. Andrew also has the music video feel in the first half. But also has cinematic touches. Feels more like TV rather than a movie. Another great use of volume and silence in this one. They're all so cool and different!
Alex Moukala's idea to use the Space Time vocal theme worked so well, almost seemed like that was the way it was always meant to be! Props to everyone, all of them gave me chills!
every single one sounds beautiful.. but Tennyson's sounds professional,, like actual scoring for a movie instead of a music video, he knows how to fit the music with the mood and accentuate it. He knows when to not add any music at all and he's not afraid to use simple composition to help the mood instead of making a beautiful ambience or melody. Love it very much
All were excellent, but Tennyson's simplistic choices during the dialogue part fits the scene better so you can hear the conversation. Really, it's a part that doesn't need much music.
the thing about Homay's composition though, for a second I forgot that this is a show until the commentary came in, same with when it was ending...you know that's conveying a story, don't have words
"Sometimes, you don't need music for dialogue" Let it breathe. Got teary eyed from the Awesome Piano part. Really captures the beauty of Space. Dope from Tennyson! All others good too...
I love that each approach was very different but ultimately knitted so well with the scenes. It demonstrates the importance of music/sound to film. I am disappointed often by Hollywood scoring films with existing songs, rather than scoring something for the scene itself.
Luke did what I thought was required. Textural and minimal, creating space but not distracting you or pushing you with explicit melodies, etc. Brilliant interaction with the visual narration.
Homay's version is absolutely incredible, the genius idea to have the score playthrough the blackout scene, omg, master stroke!! its a complete cinematic score.
Homney’s felt like a beautiful and mysterious that felt modern in its soundscapes, Alex has this cinematic track that mixed the styles of new music producers and old composers and felt more thoughtful in how he thought of melodic structures, Tenyson felt like a new age producer in his approach and felt minimiliast in how he used lots of samples
The perfect score is a combination of the 4, The emotions of Tennyson, the aggression of Alex, the tension of Homay, and the futuristic feeling that Andrew gave to the film, GREAT WORK
AMAZING! MAGNIFICENT! UNBELIEVABLE! Every musical aspect was just epic! I loved especially Alex's Moukala and Andrew's rendition! The piano melody from Tennyson was also mesmerizing!
Tennyson's is clearly the best one. In a scene like that there most likely wouldn't be a bunch of music but subtle reverbs mixed with ominous silence. The glitch effects are really good too.
Loooved Alex's first, I felt such a real connection to the personality through wavelengths, even from the beginning, but the optimistic tone in such a specific place really made me understand why I had sensed anything. And then Tennyson's.... whooo wee! It absolutely hit me like a truck that rather than a cinematic explanation of how I'm probably feeling, I could be shown, still beautiful and vague but clear. Exactly. How a character feels. An unconcious one!
All were good, but Tennyson's was sublime. One reason (of many) why his score worked so well, is that he knew exactly at which points to let the scenes breathe, dial back on the music, so that when it came back in, there was so much more impact. Also, I just felt that it served the visuals far better than the others.
No one talking about how innovative the concept of Hwang is , thats really interesting bravo !! Everyone went for a classic approach to space chords and instruments, you no, you did it really different ahah
These are all so good!! It's remarkable how much the scene changes with the different compositions. And I got literal chills when Moukala brought the bass in. That was just **chef's kiss**
Tennyson will probably never know, but a big part of the reason I didn't commit suicide in freshman year of college is because of his song Beautiful World. It gave me an anchor to hold on to at the end of my rope. I'm thankful for that.
When the replay analytic line appears on this video the drop Alex made with the layered voiced theme is going to be a giant spike. It's seriously incredible. It gave me goosebumps.
It amazes me how each perception and skill turns one story into variety of beautiful variations. Its hard for me to like one over the other. Thank you for the inspiration.
Amazing work and such a goldmine for composers to learn from. Homay's score practically brought me to tears, expressing the most relatable of human emotion and experience, how nuanced it all is. Like bringing out the beauty of a tragic accident for example.
Homay's felt the most natural, like what the actual sounds in the movie would/"should" be like. Alex's sounded more like a teaser clip for the upcoming movie, so the score is more dramatic and designed for that to be the whole product with it cutting off there at the end, rather than the next scene then taking place during the actual movie. Within that context, it was very nice, otherwise a little too much for the actual movie score. Tennyson's was a little peculiar. Oh Andrew. That sounded like a clip from a music video lol. "produce a mini music track to go with this visual" or something (rather than it being a film). Sounded like a very different overall project going on there (at least the first half).
OMG Andrew you have to write the rest of that track, that was epic and you essentially just cut it off right before the drop. That was just like proper late 90s classic trance. I will give you all of the money!!!
I love this series. Sound is so under appreciated and this really sheds light on how much sound design can impact a scene. More of this series! Also really appreciate the different producers and composers you mix together, from classic to dubstep it is fun to see how each thinks about the emotions, design, and beats of a scene.
In my electronic music class in high school, the teacher had us all score the Jurassic Park trailer. It was awful lmao. Great video, fun to see the pros doing the same thing!
There is a point at which a video stops being content and becomes art. It's been like that for years since I found your channel. I can see every second of effort, passion and detail that you put into your format. Congratulations!
I love this series mostly to see the awesome composers' takes in the same context, and pretty much everyone is highly skilled and has a unique take. I'm starting to see a theme though of vapid reactions. I would imagine a group of highly skilled composers could be more descriptive than the "nice sound design" or "interesting" responses we keep seeing. I know Andrew's channel is not about being super critical of each other, but even the compliments are shallow.
I'm a really big fan of how Tennyson's score plays with subtlety when Andrew wakes up after the crash. Everyone's scores sounded incredible (Alex's in particular actually gave me chills during the crash scene) but the one thing I felt a bit off about is either how quickly the music would come back in or the amount that lingered over during that scene in the other three. In my mind, the crash and that feeling of dread and emotion is so powerful, and while of course music can amplify these and set the scene, I think having nothing but the original audio and ambience to sit on really allows those emotions garnered previously to not only process, but to linger as well, letting the viewer really sit and fully take in what just happened before beginning to process and realize what's coming next (the low oxygen, lost communication and lack of resources) which in a way replicates a similar thought process that Drew's character most likely went through. In a sense, it almost feels as if the music and the score has already spoken for itself, and in the moments after, allowing the scene to portray what it needs to creates a really nice balance that makes it all that much more powerful imo. Andrew's score played into a similar direction as well that I really liked as well, but structurally speaking Tennyson's score really resonated with me the most. Regardless, while I really love the 4 composers taking on samples and making songs from them, there's something about this concept of creating a score over a scene and seeing the thought process of others that I _really_ really enjoyed. There were so many things big and small that varied a lot more than I had initially anticipated, and seeing all these different concepts and perspectives put into play is super cool and heavily inspiring. Super dope video, definitely gonna come back to it and watch it over several times lmao
I love the fact that I could watch the same scene 4 times and enjoy it in 4 different ways. You ever hear a song and get upset that you can't listen to it for the first time ever again? Well, I was sorta able to do that today 😊 amazing ❤️
I was really glad to see Alex Moukala as I've been following him for more than 3 years now and his scoring skills are really great and he just gives more than what is expected his score reminds me artists like hans zimmer and john williams just epic!!!!!
Yo, this was such a crazy episode! Unique concept and the execution was propably the best thing I saw on youtube this entire year! I'd love some more similar things with scores for particular scenes in whatever
Crazy just how much they all changed emotion of the scene and even how your ear interprets dialogue. For instance 'andrew awaken' Seems almost urgent / angry in homays score while otherwise it felt more calm and assertive in others. The subtlety of homays dialogue and the power and intensity of Alex crash score really stood out to me
Lovely to see such great producers doing their own take on a scene. It shows how nothing is wrong, as long as there's quality in the execution. Everyone displays their styles in different ways, and it's a pleasure to watch and listen. Great job everyone.
this was so much fun. I love doing scores...!!!!!!!!!!! and have no idea how to get into that professionally since it's so niche but i see you doing this & it's a cool way to DIY. I love filling blank space with the perfect mood, intention & sound
During Andrew's score of him looking at the oxygen meter, I would have loved an additional loop of fast triplets falling down in pitch, on top of the droning note, to sort of represent him internally spiraling with anxiety.
First one was etheral-y beautiful. Second one gave me goosebumps, using a lotta brass sounds always sounds so large and epic and was so fitting for endless space. Third one was cold and crisp, and gave space to the scene. Fourth one's retro vibe was cool, and the sound design for the second part of the scene I felt fit the best.
