Student composers at the University of Wisconsin–River Falls are gaining hands-on experience in film and video game scoring through the university’s annual Screen Scoring Recording Session, a program designed to replicate the demands of the professional industry.
Directed by music faculty member Dr. Casey Palbicki, the event allows composition students to have their original scores performed live by a full orchestra while synchronized to visual media. The initiative is part of UWRF’s Screen Scoring program and aims to bridge the gap between academic study and professional practice.
“This recording session has been carefully designed to mimic a Hollywood film or game recording session,” Palbicki said. “The goal is to give the students a real-world opportunity and experience to prepare them for a career in the field.”
The process spans about a year. Students select film or video game clips during the summer and begin composing in the fall, working closely with faculty through weekly lessons. Completed scores are due to performers by early February, giving musicians time to prepare independently.
In keeping with industry standards, the session does not include a traditional rehearsal period. Performers are expected to arrive fully prepared and sight-read the music.
“The musicians are given the music and prep materials three months in advance to prepare on their own,” Palbicki said. “This is how it typically happens in Hollywood—professional musicians are brought into the studio and expected to be prepared and sight-read the music perfectly. It is a high-pressure situation.”
Participating composers this year included Wyatt Hanson, Landon Zientara, Brady O’Brien, Jack Esselman and alumnus Ben Garcia. While most participants are upper-level students, the program is open to composers at all stages of their academic careers.
The orchestra, known as the UWRF Cinema Symphony, includes selected musicians from across the St. Croix Valley and Twin Cities region, including educators, alumni, faculty and students.
For student composer Jack Esselman, the experience highlighted both the challenges and rewards of professional-level work.
“I was horribly terrified,” Esselman said of conducting the string session. “I’m timid and afraid of large groups. I wanted the strings to go well—it did. It set the stage for the rest. I felt better during choir and brass. Not as nervous, but always terrified.”
He described the session as emotionally intense.
“I’m one of those guys who are terrified of heights, spiders and being in front of people,” he said. “No matter how scared I am, I will always force myself to do it. I made myself confident today.”
Despite the nerves, Esselman pushed through the challenges of conducting under pressure.
“I’d be lying if I said there were no challenges today,” he said. “I had to rush through the brass section. I got everything that was really great.”
Each composer received 43 minutes with each ensemble—strings, choir and winds. Each section spent about four hours on warmups and recordings, leaving limited time for revisions.
Students are given considerable creative autonomy, selecting their own visual material and composing primarily for full orchestra, with the option to incorporate digital instrumentation.
“The students choose their own movie or video game clips and are tasked with scoring for a full orchestra,” Palbicki said. “They are allowed to use MIDI instruments for synthetic sounds and for orchestral instruments not covered in the session, such as harp and organ. They are given full creative freedom.”
Esselman said one project stood out as especially meaningful.
“These are my first three orchestral scores,” he said. “I think my Minecraft rescore was my favorite because I had the most fun making it. I was able to mess around and create some unique stuff.”
The completed recordings will be published on the UWRF Screen Scoring YouTube channel and used by students in their professional portfolios.
Palbicki said the program’s continuation depends on sustained funding and participation, but interest remains strong.
“We want to continue this event annually,” he said. “As long as we can secure funding, personnel and have enough student composers, we will be able to do it annually.”
For Esselman, the session marked a personal milestone.
“It was a surreal experience,” he said. “Very fortunate.” As the program continues to grow, it offers students a rare opportunity to gain professional-level experience while building portfolios that support future careers in screen scoring.