The ultimate journey to StudioFest begins now. As we make the trek from Portland, Oregon to the Catskill Mountains of Phoenicia, the upcoming weekend will be filled with non-stop music to the multifaceted sides to filmmaking (need to catch up on what StudioFest is, check it out here).
Our Creative Licensing Team assembled the ultimate playlist to get you amped up. Follow the link below to get listening and stay tuned for more information about the winning filmmakers & screenwriters!
The trailer to a film can be the fingerprint to an entire project — it’s what tells your viewers just enough engaging information without giving away the best parts (c’mon, no one likes spoilers). It’s an art-form to master and can influence just how many viewers will be hooked enough to seek out the rest of the story.
Similar to commercials, the film’s sneak peek can be cut down and edited around the right music to tug on the heartstrings of the audience — from the lighthearted pop rock that lulls behind dialogue of a comedic romance to the rhythmic percussions guiding an action sequence. But what’s the right kind of music for your trailer and how does one even begin searching for the best fit?
We have three tips to help nail down the best music for any trailer or short video.
Considering Song Length
This is it, the first impression. And you have to do it typically in under two minutes. While the visuals and dialogue will help create a compelling exposition for the film, music is a surefire method evoking emotional investment from the audience.
This is why it’s not uncommon to see a range (one to two, or even three songs) with the first song defining the vibrancy and tone, the last song as the catalyst.
In the “Sorry For Your Loss” movie trailer, two songs were licensed for the project: “Possible Deaths” by Typhoon and “Golden October" by Ryan Stively.
The songs, while emotively different, still compliment each other through their reflective qualities. While it’s clear neither song plays from start to finish in the video, there’s an intentional shift and purpose for the music’s placement. When “Golden October” trails off, “Possible Deaths” illustrates a heavier mood, hitting home a somewhat mysterious quality to the film (remember the mentioning of hooking your audience, this is that moment).
When a project needs succinct music to perfectly fit within a timeline the Length setting aids editors in finding music to appease such time constraints. Get searching and check it out here.
It’s All About the Mood
We hinted at this above but the emotional qualities of a trailer can be what intensifies or lessens the trailer’s message. If the film is a dark drama set in the 1800s, the music should similarly help complete this palette. Will there be swelling moments of inspiration? Or is the audience meant to feel alienated? These are the kind of factors to consider when placing music to picture.
On the Marmoset browse page, there are two key settings to filter a song’s search. Toggle the Mood and Energy settings to find music that compliments the overall atmospheric tone.
A Certain Kind of Subtext
In deciding between lyrics and instrumental versions of a song, the lyrical version can offer subtext to a trailer — all without the audience even realizing it’s happening. Call it subconscious persuasion but it can help hit all the right points quickly and effectively.
In the “Sorry For Your Loss” trailer, “Golden October” alludes to the idea of missing someone or wishing to be reunited with them. This aligns with the trailer’s unfolding narrative as this also centers around the main character struggling with the death of her spouse.
To utilize a song’s lyrics to their fullest music searchers can check out the song’s lyrics from the Marmoset music search page. Simply play a song and if the artist submitted lyrics to Marmoset, an “open book” icon will appear on the bottom of the window. Click this icon and a pop-up window will appear with lyrics.
Check back next time as we continue offering more tips on how to find the music for every project.
As active members of our community, Marmoset isn't only focused on making advances in the music world — instead, we see the world as just that, a big place with an array of opportunities waiting for others to step in to make a difference. Being socially responsible and aware of our physical impact (hello, carbon footprint) means doing our part, not just twiddling our thumbs as others lead the way.
After all, we are an office of 50 or so employees of whom are operating busily from electronic devices; whether that means our onsite original music studio (guess how many electronic fueled instruments and gadgets are in there) or the everyday computers plugged into an outlet.
Being responsibly energy-wise means a lot of things for Marmoset, it's not an easy feat as we continue to grow but it's something we can't choose to ignore. Doing our own part, like composting, using office lights sparingly in summertime (with great natural light, we really can't complain) and installing hand dryers in the bathroom to replace paper towel usage.
These elements pieced together in conjunction with our efforts toward creating a remarkable workplace for each Marmoset employee means looking at our mission from all angles. It's one of the many reasons we've decided to participate and speak at the upcoming Shades of Green forum (produced by Prism Point) on Wednesday, September 12th, 2018. Marmoset CEO and co-founder, Ryan Wines and other keynotes will dive into the topic of inclusivity and spotlighting hiring practices toward underrepresented individuals.
The initiative is a somewhat unique for Shades of Green as the program typically invites companies that contribute to the energy industry more directly. However, with Marmoset's initiatives toward building a progressive workplace (through how we impact our environment and workforce), the conversation will be anything but lackluster.
"The mission of Shades of Green is to bring awareness to some of the actions that are needed to build diversity in the energy industry," says Linda Woodley, Principal and Senior Director. "This is the inaugural year for Forum and outreach has been extended throughout the industry to include energy regulators, HR professionals, program designers and implementers, marketing professionals, legal professionals and industry executives and legal professionals to name a few."
With attendees traveling from across 20 different states, the event is expected to stir up a conversation for Portland's growing and evolving industries. And the conversation while tough, is overdue for Portland, a city where gentrification and urban changes are happening right now.
We'll be showing up for our community, ready to speak on the topics we do understand while also seeking out knowledge for the areas we can do better.
Residing in the Pacific Northwest, Oatmello’s mellow instrumental beats mirror the city’s lowkey demeanor and climate — laid back, relaxed, with a sort of cozy, chill atmosphere. With roots in Portland, Oregon, Oatmello mixes instrumental beats in layers that sometimes feel texturally unexpected but always engaging.
The moniker Oatmello came to be when the artist and his wife were strolling across Mississippi Avenue in Portland one morning. With no particular context and almost out of the blue, his wife encouraged him to call his new music project to be “Oatmello.” Being an impactful supporter to his musical career, he still looks to her for offering constructive criticism on the work he produces.
“She has a great sense of humor and gives me all sorts of great ideas for things; I always consult her on new songs,” says Oatmello. “She’s brutally honest and dislikes 90% of what I make, but when she likes something, it's a really good sign.”
Of the moniker coined that day, the artist notes how the name resonates with his creative endeavors and his work, capturing the vibes and mood of his music — there's a sense of irreverence and something that feels hearty while remaining classic.
Even before the name “Oatmello” was realized, the artist knew he’d pursue music at a very young age, recalling his first albums being Magical Mystery Tour and Raffi’s singable songs. As a child he became enamored with the small Fisher-Price portable record player that his parents gifted him, hauling the gadget around from place to place. Growing up, he became a fan of hip-hop in the ‘90s, listening to the likes of Wu Tang and G Funk — he would later draw inspiration from such pioneering artists using their work as a benchmark for the hip-hop infused beats he would create as Oatmello.
While classically trained in piano, it was an activity Oatmello secretly hated practicing. It was a telltale sign to continue searching for his niche in music, to find and secure the creative channel that resonated with his creative mission.
“I wanted to jam and make my own music, not just learn how to recite others works perfectly. It really frustrated me. When I was a teenager I discovered beat making and became captured by it. I remember the moment in that first year of making beats where I thought to myself, ‘this is something I could be happy doing for the rest of my life’.”
Oatmello’s listeners will identify the genre as instrumental hip-hop, a genre he’s proud to categorize his music and influences under. “A lot of producers conceptualize their music as something new which doesn't conform to any genre,” says Oatmello. “Personally, I take a lot of comfort and inspiration seeing my music as part of a lineage of music and recognizing the giants whose shoulders I’m standing on.”
Like many can expect to face in the music industry, there’s a resounding pressure to invent the newest latest hit. It’s something Oatmello side steps gracefully, wanting to explore within the sound in novel and interesting ways. With his song “Push Up,” he opts to use unconventional sound samples to construct the layers, using the sounds of writing on a chalkboard for the high hat pattern.
When it comes to composing, Oatmello mulls over the beat in his head, visualizing or hearing the sound even before sitting down to work on the song. Once conceptualized, he experiments in his studio to begin constructing the preimagined piece; the key to his creative process is avoiding overly edited by polishing every song he creates, but instead focusing on the initial creation and experimenting with the moving variables.
“I watched a documentary on Sumi-e once, which is a form of Japanese brush painting. The idea is that the brush stroke is quick to make but it takes hundreds, sometimes thousands, of tries to get the right stroke. That somehow stuck with me, and I have a similar attitude about making music.”
While the creative process prior leading up to that experimental stage can take time to unfold, it’s Oatmello’s approach and techniques that contribute to his music feeling fresh and forward thinking. While the artist believes in making music for the right reasons, striving beyond external validation from society, he hopes his work strikes a positive impact on those who listen.
“I would just hope that when listening [to my music], it gives people a feeling of peace, introspection, comfort, and perhaps freedom.”