Paul Mills

CWVFF Speaker2018

Paul Mills is an award winning film composer, music producer and music mixer best known for his score composing and score mixing work on The Erwin Brothers’ October Baby and Woodlawn, and The Kendrick Brothers’ #1 box office movie War Room. He has always wanted to compose for film, and his ongoing desire is to collaborate with filmmakers to find just the right music to enhance their vision whether epic, heartwarming, contemplative or redemptive.

He is composing the music for Chris Dowling’s Run The Race and served as music producer and music & score mixer for the Erwin’s I Can Only Imagine. Most recently he will be composing the music for the new David Evans directed Provident Film Indivisible.

In addition to composing for film, Paul has also had a career as a Christian music producer and engineer. He has produced and/or mixed for Christian artists like Phillips, Craig & Dean, Newsboys, Third Day, Newsong, Twila Paris, The Imperials, Bluetree, Don Moen, Paul Wilbur and others.

He graduated from The University Of Houston School Of Music with a degree in Music Composition, Magna Cum Laude. He recently moved to Spring Hill, TN just south of Nashville, with his wife Cathy, son Riley and a couple of Chinese Hairless Crested dogs. He’s currently building his third home studio (RTC Studio III) in the new house.

Connect with Paul Mills: Official Website / Twitter / Facebook / IMDb

2018 Workshops by Paul Mills

  • Composer Panel

  • Making Connections I

    The composer’s space and composing rig are tools that will be used every day to create music that will enhance a director’s vision for their film. What might a minimal starting rig be? First we’ll cover the composer’s space: room, room acoustics and acoustic treatments. Then we’ll cover the composer’s rig: digital audio workstations, orchestral templates, orchestral and other software libraries, mixing plugins, etc.

  • Making Connections II

    As a working composer, you must consider both your process and your team. We'll go over what movie and audio files to ask for, setting up your first cue, being on the same page as your film editor with technical specs, sharing mockups via online collaboration, getting criticism and doing revisions. Then, a discussion of your potential team: orchestrators, engineers, studios, and players, and what you must deliver to them in order to have a successful score recording session.

  • Making Connections III

    Developing relationships with directors, producers, film editors etc. can lead to working on their films. Where should you go to network with these film makers? What makes a good reel that you can send to potential clients? We’ll also talk about other work you can be doing related to the music business while you’re waiting for film work. Finally, we’ll discuss what our ultimate purpose is as Christian film composers, and as Christ followers.