- October 10, 2017 at 4:21 pm #28576
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%.October 10, 2017 at 6:45 pm #28579
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 consider
1) 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!