SCORE IT!

Score IT! Plus – CAUGHT!

When a deep bond flourishes between two boys, a hairy secret and a devoted mother unknowingly stands between them.

To download the film, click here.

 

KEY DATES

Score IT! Opens
Tue 29 January 2019

Score IT! Closes
Fri 24 May 2019

Awards Ceremony
Thurs 25 July 2019

Cameron Patrick Public Lecture (ticketed)
Fri 26 July 2019

For any enquiries please email scoreit@qmf.org.au

HOW TO ENTER

  • Step 1 – Register for Score IT! to receive regular updates regarding the Score IT! competition
  • Step 2 – Watch the Score IT! Plus film Caught!
  • Step 3 -Read the Criteria and Director’s Musical Brief
  • Step 4 – Read Cam’s Composing Tips
  • Step 5 – Download the film and create a musical composition to accompany the film
  • Step 6 – Create a PDF of your final score (no instrumental parts – just the full score)
  • Step 7 – Create a music notation file of your score (in Sibelius, Finale or similar)*
  • Step 8 – Render the film with a synthesised version of your score synced and embedded as a Quicktime file
  • Step 9 – Complete the Score IT! Entry Form online and attach the file-sharing link to your composition.
  • OR Download and complete the Entry Form and post or email your final composition to Queensland Music Festival;
    • Post – Send your composition on DVD and a copy of your score with your completed Entry Form to: Score IT!, Queensland Music Festival, PO Box 1060, Fortitude Valley, QLD, 4006
    • Email – Send your composition, copy of your score and completed Entry Form to scoreit@qmf.org.au. We recommend sending your file via a file sharing service** such as Dropbox Vimeo, YouTube, Viddler or Google Drive etc.

Please save your file using your first name, surname and category eg. John.Smith.Plus

*your Score IT! Plus submission will not be eligible for judging without the PDF of the final score and music notation file of the score to accompany the rendered film.

**when using publicly accessed video sharing sites, please ensure you keep the file private and allow scoreit@qmf.org.au viewing and downloading rights.

FILM CREDITS

Run time: 04:30

Pre-Production
Corey Morgan

Producer
Ashleigh Gauld

Director
Corey Morgan

Writer
Corey Morgan

Animators
Corey Morgan
Caitlin O’Brien
Iona Murray
Joyce Mekonnen
Matthew Simonds
Xena Achilleos
Leon Warren

Colourists
Ashleigh Stuhmcke
Leon Warren

Background Artists
Olivia Rea
Naomi Hurrey
Corey Morgan

Post Production
Ashleigh Gauld
Claire Brooks

Music
Emma Thompson

Music Producer
Josh Hartridge

Supervisor
Peter Moyes

DIRECTOR'S MUSICAL BRIEF

CAUGHT! is a film about the bond two boys make under the watchful gaze of an upset mother, and the score should reflect this. With a very organic flow, and a focus on montages, CAUGHT! relies on the music to tie the flow of the plot together neatly. There is no foley, dialogue, or sound effects, so the composition should enrapture the audience and connect them to the bonds being tightly formed and heartbreakingly broken. Music can convey more emotions than words ever can, so it’s important that the tone is appropriate to the primary plot points.

The music should be organic to suit the focus on natural environments. Stringed instruments would especially fit the aesthetic well!

The beginning should start slowly and cautiously, infusing the story with a sense of growing curiosity as the two boys meet. Their hands connecting is a major recurring visual symbol in the film, one that represents trust and compassion, so try to score that gesture consistently every time it happens to help knit the film together.

When the boys meet Eddie’s mother for the first time, there should be hesitation within the score as Liam (the wolf boy) meets her. Keep it anxious but still light, and wipe away the anxiety as Eddie takes Liam’s hand to drag him into the house. Have something ominous looming around the mother as it focuses on her before cutting to the montage.

A note from Cam:
Occasionally there are brief flashes of images that are black silhouettes on a red background. The first time this happens is in this scene at 1:06. These images represent the mother seeing things differently to how they are in reality … usually in a darker and more disturbing way … and the Director refers to them as the “seeing red” aspects of the film. He wants these images to be scored consistently throughout the film, building to the main conflict scene where they play a big part.

Back to the Director’s Musical Brief:
The montage is about connecting with the boys and their friendship, so make it fun! They’re having a ball getting to know each other, so having the audience feel that too would be fantastic. Some anxiety should creep in as the storm clouds come closer, but as the hands connect the feeling of trust and compassion should sweep in and wash it out.

As the rain fades in, keep the atmosphere calm. The tension should only rise as the mother is introduced into the scene. Once she’s there, build the tension quickly and to a high level. It should continue to grow until the screen cuts to black, where Liam is then thrown against the wall. The tension should turn into blistering disappointment as Eddie turns to his mother.

When the field comes into view, keep the music sad, slow, and quiet. The boys reuniting is THE BIG MOMENT! As the emotional climax of the film, this is the exact place where you want the audience to start crying, and it’s the music’s job to make them feel it. When those boys connect for the hug, that’s where the trust, compassion, and love for each other should be musically exploited. Please make it beautiful!

As the mother enters the scene, there should be hesitation as the boys consider what to do before Liam steps forward. The music should fall away as Liam runs over and stands before her. The audience should be holding their breath at this point waiting to see what happens so perhaps complete quiet here would be most effective. When Liam sticks his hand out, hold the tension until it pans up to his face before relaxing. The relief felt by the mother should be emphasised with the score. The rest should be a pleasant wrap-up of the plot!

CRITERIA

  1. The composer has presented a full score for the specified instrumentation with ALL metronome marks and tempo changes clearly indicated throughout the score and the score written in concert pitch, with nothing transposed. For a more full explanation of concert pitch and transposing instruments, see Cam’s Composing Tips (include link).Note: When exporting your score to PDF format, please double check and make sure the music for the transposing instruments is not transposed during the conversion process.  Remember, the score is to be in concert pitch!
  2. The composer has provided a digital PDF of the final score in either portrait or landscape orientation. (NO instrumental parts … just the score). A suggested score layout is available in downloadable PDF format here (include link).
  3. The composer has provided a music notation file of the score (in Sibelius, Finale, MuseScore or similar).
    The composer has provided a digital Quicktime version of the film with a synthesized/sampled mock-up of the score synched and embedded.
  4. The score effectively and convincingly realises the dramatic intent of the Film as specified by the Director’s Musical Brief.
  5. The composer has presented an original, creative and imaginative composition that demonstrates a comprehensive understanding of film music composition.
  6. The composer has scored the film from the opening frame of the film (after the countdown leader and 2-pip) through to the final card of the end credits: “QMF.ORG.AU/SCORE-IT.”

Note: Under NO circumstances are students to replace the current music credits on CAUGHT! with their own name as composer. Doing so destroys the “blind” judging aspect of the competition. Tampering with the credits will immediately disqualify your entry.

INSTRUMENTATION

Note: It is a requirement that students write for all 4 woodwind players and their instruments; all 3 brass players and their instruments; and all 5 string players and their instruments as listed in the ensemble below. The student must also write for at least one (1) percussionist. If necessary, the student may write for a second percussionist. There is to be no more than two (2) percussionists.

  • 1 x flute
  • 1 x oboe
  • 1 x b-flat clarinet
  • 1 x bassoon
  • 1 x b-flat trumpet
  • 1 x French horn
  • 1 x trombone (tenor)
  • 2 x violins (1 x first violin, 1 x second violin)
  • 1 x viola
  • 1 x cello
  • 1 x double bass
  • 1 or 2 x percussion (no large keyboard percussion instruments, only instruments from the list below)

PERCUSSION
Students can choose from the following list of percussion instruments:

  • snare drum
  • bass drum
  • timpani (maximum of 3 drums: 1×32”, 1×29”, 1×26”)
  • tam-tam
  • suspended cymbal
  • tambourine
  • small shaker
  • wood block
  • temple blocks
  • castanets
  • cow bell
  • triangle
  • mark tree
  • bell tree
  • glockenspiel
  • chimes (tubular bells)

You are not required to write for all the percussion instruments listed above. You may select a manageable number of percussion instruments from the list to use in the score.

Keep in mind the time it takes for a player to move from instrument to instrument, and to change mallets and sticks. You must allow a few beats rest – or sometimes a few bars rest – for the player to move to a new instrument and to pick up a new set of sticks or mallets if necessary.

If you write for two (2) percussionists, the players must not swap instruments. For example, if Percussionist #1 plays the snare drum, then they must always play the snare drum, and Percussionist #2 cannot. The snare drum becomes part of Percussionist #1’s instrument setup and will not be played at any point by Percussionist #2.

NOTE: It is helpful if all parts for each percussionist are consolidated onto one staff. Click here to download the PDF of the score layout.

CAM'S COMPOSING TIPS

JUDGING

Score It! Plus will be judged by award-winning screen composer and orchestrator, Cameron Patrick, who will select three semi-finalists for the Plus category, from which one finalist will be awarded as the winner. The winner of Score IT! Plus will see their orchestration come to life, live at the Award Ceremony on Wednesday 24 July 2019.

FAQ

CAN I ENTER MORE THAN ONE CATEGORY?
Yes, you can enter more than one category depending on your year level. For example, students can enter Junior and Plus or Senior and Plus.

WHAT CAN I WIN?

  • Two return airfares and accommodation to Brisbane, for finalist and supervising adult to attend the Award Ceremony on Thursday 25 July 2019
  • Masterclass with Cameron Patrick
  • Two tickets to the Cameron Patrick public lecture on Friday 26 July 2019
  • Winning composition will be recorded with the Queensland Conservatorium Griffith University ensemble
  • Winning composition will be performed live by musicians from the Queensland Conservatorium Griffith University ensemble
  • The winner’s name will appear on a special title card as Composer (replacing the film’s original composer) in the end credits of the version of ‘Caught!’ screened at the Score It! Awards Ceremony/performance and on the version of the film provided to the winner.
  • The winner will have a meeting with the Director and Producer of Caught! to discuss the film and it’s newly-composed winning score and the possibility of future collaborations. (TBC)
  • The winner will have a chance to conduct their score through a couple of times (using a click track under the Conductor’s supervision) with the Queensland Conservatorium Ensemble at their first rehearsal.
  • + RØDE  AI-1 Complete Studio Kit

WHAT DOES IT COST?

Score IT! is free to enter and does not have any registration or other fees.

If you chose to mail in your composition and score all costs including DVD and mailing charges are the responsibility of each entrant.

Should airfares and accommodation not be required by the finalist, other travel allowances may be made available. All food, incidentals and personal costs related to the Brisbane trip are at the cost of finalist.

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