Editing Orchestration (section)

==Film orchestration==
Due to the enormous time constraints of film scoring schedules, most film composers employ orchestrators rather than doing the work themselves, although these orchestrators work under the close supervision of the composer. Some [[Film score|film composers]] have made the time to orchestrate their own music, including [[Bernard Herrmann]] (1911–1975), [[Georges Delerue]] (1925–1992), [[Ennio Morricone]] (1928–2020), [[John Williams]] (born 1932) (his very detailed sketches are 99% orchestrated),<ref>{{Cite web |title=John Williams Orchestration - Gearspace.com |url=https://gearspace.com/board/music-for-picture/1144975-john-williams-orchestration.html |access-date=2022-07-31 |website=gearspace.com |language=en}}</ref> [[Howard Shore]] (born 1946), [[James Horner]] (1953–2015) (on Braveheart), [[Bruno Coulais]] (born 1954), [[Rachel Portman]] (born 1960), [[Philippe Rombi]] (born 1968) and [[Abel Korzeniowski]] (born 1972).

Some staff composers at the Walt Disney studios during the 1930s and 1940s (except for [[Frank Churchill]]) had orchestrated their own music, such as [[Paul J. Smith (composer)|Paul J. Smith]] (on ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White and the Seven Dwarfs]]'', ''[[Pinocchio (1940 film)|Pinocchio]]'', ''[[The Three Caballeros]]'', and ''[[Fun and Fancy Free]]''.
[[Leigh Harline]] (on ''Snow White'' and ''Pinocchio''), [[Oliver Wallace]] (on ''[[Dumbo (1941 film)|Dumbo]]'') and [[Edward H. Plumb]] (on ''[[Bambi]]''). These composers also [[development (music)|developed]] themes and songs that Churchill had written. Plumb continued to provide numerous film orchestrations at the Disney studios until his death in 1958.

Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century were [[Jack Hayes (composer)|Jack Hayes]], [[Herbert W. Spencer]], [[Edward B. Powell (orchestrator)|Edward Powell]] (who worked almost exclusively with [[Alfred Newman (composer)|Alfred Newman]]), [[Arthur Morton (composer)|Arthur Morton]], Greig McRitchie, and [[Alexander Courage]].  Some of the most in-demand orchestrators today (and of the past 30 years) include [[Jeff Atmajian]], [[Pete Anthony]], [[Brad Dechter]] (James Newton Howard, Christopher Young, Theodore Shapiro, Teddy Castellucci, Danny Elfman, John Powell, Marco Beltrami, John Debney, Marc Shaiman, Michael Giacchino, Ludwig Göransson), [[Conrad Pope]] (John Williams, Alexandre Desplat, Jerry Goldsmith, James Newton Howard, Alan Silvestri, James Horner, Mark Isham, John Powell, Michael Convertino, Danny Elfman, Howard Shore), [[Eddie Karam]] (John Williams, James Horner), [[Bruce Fowler]] (Hans Zimmer, Klaus Badelt, Harry Gregson-Williams, Steve Jablonsky, Mark Mancina, John Powell), [[John Ashton Thomas]] (John Powell, John Debney, Alan Silvestri, James Newton Howard, Henry Jackman, Lyle Workman, Theodore Shapiro, John Ottman, John Paesano, Alex Heffes, Christophe Beck, Carter Burwell), [[Robert Elhai]] (Elliot Goldenthal, Michael Kamen, Ed Shearmur, Brian Tyler, Klaus Badelt, Ilan Eshkeri) and [[J.A.C. Redford]] (James Horner, Thomas Newman).

[[Conrad Salinger]] was the most prominent orchestrator of MGM musicals from the 1940s to 1962, orchestrating such famous films as ''[[Singin' in the Rain (film)|Singin' in the Rain]]'', ''[[An American in Paris (film)|An American in Paris]]'', and ''[[Gigi (1958 film)|Gigi]]''. In the 1950s, film composer [[John Williams]] frequently spent time with Salinger informally learning the craft of orchestration. [[Robert Russell Bennett]] (George Gershwin, Rodgers and Hammerstein) was one of America's most prolific orchestrators (particularly of Broadway shows) of the 20th century, sometimes scoring over 80 pages a day.

===Process===
Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in Hollywood today compose their music using sequencing software (e.g. [[Digital Performer]], [[Logic Pro]], or [[Cubase]]). A sketch score can be generated through the use of a [[MIDI]] file which is then imported into a [[scorewriter|music notation program]] such as [[Finale (software)|Finale]] or [[Sibelius (software)|Sibelius]]. Thus begins the job of the orchestrator.

Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a MIDI sketch score and a synthesized recording of the cue. The sketch score only contains the musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in).  They then accurately try to represent these elements in the orchestra. However some voicings on a synthesizer ([[synthestration]]) will not work in the same way when orchestrated for the live orchestra.

The sound samples are often doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film.

The orchestrator is told in advance the number of instruments he has to work with and has to abide by what is available. A big-budget film may be able to afford a [[Romantic music era]]-orchestra with over 100 musicians. In contrast, a low-budget [[independent film]] may only be able to afford a 20 performer [[chamber orchestra]] or a [[jazz quartet]]. Sometimes a composer will write a three-part chord for three flutes, although only two flutes have been hired. The orchestrator decides where to put the third note. For example, the orchestrator could have the clarinet (a woodwind that blends well with flute) play the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing it on a computer server) so that each instrument of the orchestra can be electronically extracted, printed, and delivered to the scoring stage.

The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration. At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator [[conducting]] and the composer producing from the booth.