User
Write something
Pinned
Welcome! Introduce yourself + share a pic of your workspace 🎉
👇 START HERE (read the whole thing) 👇 🎬 Welcome to The Composer’s Pipeline: how to write music for film, games and animation, and how to actually get paid for it. Your first move (60 seconds): 👉 Post a quick intro in [👋 Introduce Yourself]: - Where you’re at: how long you’ve been composing, what you write, any paid work so far - The #1 thing you’re stuck on right now A specific question gets a specific answer, fast. Then follow the Classroom in this order 👇 Level 1: Finish music 1. How I Build a Film Cue in 30 Minutes 2. Song to Soundtrack Level 2: Make it fit (picture and clients) 3. Scoring to the Picture 4. Onboarding: The Call, Start to Finish Level 3: Get paid 5. Building Your Portfolio 6. Should You Take The Job 🆕 Brand new to composing? Start with lesson 1 and make one short cue. Don’t worry about getting it perfect. Post it here and I’ll give you feedback. House rules: keep it useful and kind. No spam, no drive-by self-promo, no hate or politics. 🆙 Every like on your posts and comments earns points toward levelling up. Welcome in 🎬 Joshua | Composer, Wind Goes On (Gold Award, HK Animation Support Program 2024)
Should You Take This Job? — new lesson is live
🎬 New lesson's up — Level 3 - Should You Take This Job? Every job you say yes to costs you something. Time, energy, sometimes money. So the question was never can I do this? You can. The question is should I — and I've answered that one with a gut feeling at 11pm more times than I'd like to admit. [← your real cost goes here: the job you said yes to that you shouldn't have, and what it actually cost you] This lesson is three questions instead. Project. People. Pay. 💰 Each one is a yes or a no. The job has to hit two out of three — not three, because you'd never work, and not one, because one reason holding up a whole job is a job waiting to fall over. The part that took me longest to notice: which two you've got tells you what kind of job it is, and the missing one tells you exactly where it's going to go wrong. I put two of my own jobs in the resource — what the client said, how I scored it, and what happened. 📄 Two things to download: - The Job Scorecard — fill it in after your next call - Score It: What Clients Say — the things clients actually say, and how I'd score each one 👇 Run the scorecard on the last job you said yes to. Then tell me below which of the three you always skip — I skip the same one every time, and it's not the one you'd guess.
1
0
Onboarding: The First Client Meeting — new lesson is live
🎬 New lesson's up — Level 2 - Onboarding: The First Client Meeting. This is the one I wish someone had handed me three years ago. I've lost jobs before writing a single note. Not because the music was bad — because of the first conversation. One client went quiet and never came back. Another ended with nine and a half hours of work I never got paid for. Both were decided in that first chat, before I opened a session. So this lesson is me walking through that conversation properly. What to ask, the half most people rush, when to bring up money 💰, and the summary I send afterwards that would have saved both of those jobs. I put both jobs in there too — the actual messages, what I said wrong, and what it cost me. Not fun to look at. Probably the most useful part. 📄 Three things to download: - The worksheet you fill in during the call - The summary template to send after - The recap, if you just want the short version 👇 If you've got a first meeting coming up, run the worksheet on it. Then tell me below what question you always forget to ask — I forget the same one every time.
3
0
1-3 of 3
The Composer's Pipeline
skool.com/the-composers-pipeline-2166
Learn real composing technique through real examples — plus the client side nobody teaches: communication, revisions, getting paid.
Powered by