- This topic has 34 replies, 11 voices, and was last updated 7 years, 1 month ago by .
-
Posts
-
but in Art’s case in a 50/50 writers deal he would of got $1250 rather than $2500 which is still pretty good. the deal is not to give 100% writers its 50%.
Congrats Art! Now imagine how disappointing it would have been if you sold the rights to a publisher for $500 and they sold a sync license for $2500 and did not have to share that with you because you sold the cue to them. And as you said, the same cue is marching on, remaining eternally “for rent” generating all kinds of income for you.
ownership = flexibility = surprise 4 figure sync fees = happiness = long term success
Once again, more Jewels!
It is obvious that there are really 2 major things to consider1) The flexibility to move, and maneuver. Being able to control your product, so you don’t have to depend on any one source, or stream for each cues income.
2) If you are an Exclusive that is offering very little, to no upfront; or even a buyout. Are you large enough, or have enough “Back-End Clients/Licensors to make it worth the composers while?”
Understanding that “The Guillotine has not exactly dropped yet; and there IS still plenty of opportunities to make great income”. This thread brings some really great information for brainstorming; and/or devising a Blueprint to have a more successful, and more lucrative production music career!
How do you go up against the biggies, like Getty Images? They take 35% of writers and 100% of publishers. If not for them I would have nothing.
How do you go up against the biggies, like Getty Images? They take 35% of writers and 100% of publishers. If not for them I would have nothing.
How do you go up against the biggies? Why go up against them; just bypass them, and work with Libraries & Catalogs that are doing MUCH better business!!
You are part of a “Very Candid Community here” and simply by doing your research, and watching the comments. You should be able to set yourself up quite nicely!!
I wish I would have known about this forum earlier, but better late than never.
How do you go up against the biggies, like Getty Images? They take 35% of writers and 100% of publishers. If not for them I would have nothing.
Hello Mountain Girl, Getty gives 35% of licensing fees, the composer keeps all (100%) of the writers share. They also give 50% of publishing (called Administration Receipts in the contract) which can sometimes make up for the unfavorable licensing split.
- You must be logged in to reply to this topic.