it would be much easier to see how this music would work with the scene if we could see a mock-up that is at least roughly in sync with the planned motion of the shot. Decide what camera-angles you’re going to use, and (perhaps dub-in some scratch audio) how long the camera is going to hold each setup. If the camera is going to zoom in as the dialogue between the two characters intensifies, indicate this if only by a simple crop-tighter and-blow-up … or even a hand-drawn sketch. (Don’t burn computer-time on this …)
Right now, I don’t see the music changing or developing at all, and I don’t see how the scene is going to last anywhere close to 02:50. Because nothing is happening, musically or shot-wise, and there’s no dialogue to help visualize what you have in mind, I can’t quite believe that this duration is accurate.
You have a good “bed track” going here, but on top of it you will need various “stabs” (violin cuts, brass blasts, percussion hits and so-forth) that build the intensity as the shot and the scene moves forward, and that might be synchronized to “punctuate” precise points-of-action (“ka-POW!”). The bed-track itself usually also builds, although more slowly: the players “dig in” to their instruments a little harder (dynamics), the volume rises, the tempo perhaps increases slightly, the string-players don’t quite finish their notes, and so on.
Consider what you want the progression of the viewer’s emotions to be in this and every scene. When do you want them to stop eating their popcorn. When do you want them to choke on their Coke. When do you want them to breathe a sigh of relief. Musical notes are connected directly to the heartstrings.
But first – mock-out the scene including a timeline. Record dialogue … who cares what your voice sounds like, just get the timing right … establish where the “story beats” are; where an actor must “hit a mark.”
Work out the progression of the choreography and the cinematography … to a believable, reliable, second-by-second timing chart on a spreadsheet … and (only) then you can start planning the music. (“At frame #476 …”)
I will use natural sounding text to speech programs for the dialogue and decrease the bg music volume a little.
Add some camera pan and zoom for the final film.
Anything with a realistic speech pattern and cadence will do equally well. Just record your own voice doing what you think is a reasonable performance, so that you can get the timing right.
For functional-music like this, it’s more important to know where the “scene beats” are, than exactly what they are. And, that you are prepared to change the music at a moment’s notice without the result sounding like it’s been hacked-up. Don’t fall in love with your music and lavish attention on it 'cuz changes will happen real quick. Thus, a really flexible bed-track (which, IMHO, you basically now have), and a pocketful of useful musical ideas (motifs …) that you can shuffle in a DAW program, is a good place to be-prepared.
In the end, you’ll get “the scene” and you’ll have to (quickly) “fit” your music to it. You’ve probably got a better shot with a “pure-CG” feature because all of the production cycles in those projects are much longer.
Point taken. Thanks.