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1:00, $17 (3)
1:00, $22 (?)
:19, $3 (1)Others mostly in that range.
Amazon VOD was new. Several pages of very small payments. I wish Netflix could show the number of streams/downloads like Hulu and Amazon.
My international royalties were pretty good. This is what I would go back and tell myself 5 years ago about international: Many placements generate nothing internationally. For other placements it takes a while for the international royalties to show up, but then some placements generate international royalties quarter after quarter for years. Sometimes the payments are very small, sometimes not.
If you have many detections on many shows on one network in quick succession, it could be a network promo.
Here’s an explanation of the review from the DOJ website: http://www.justice.gov/atr/antitrust-consent-decree-review-ascap-and-bmi-2015
From that information: The Antitrust Division previously solicited public comments regarding several potential modifications to the Consent Decrees (http://www.justice.gov/atr/ascap-bmi-decree-review). In the course of this process, industry stakeholders recommended additional modifications regarding ASCAP’s and BMI’s licensing practices related to jointly owned works.
I understand the potential problems, as explained on the BMI website (and in a Billboard article, et. al.), but I’m not sure I understand why the DOJ is proposing these changes. What’s the upside?
As long as each model truly is selling primarily to different clients, and big Networks don’t start shopping RF, that would hurt us all, but I hope there will be some laws in place to protect that? I wouldn’t want to undercut my NE libraries who get both sync fees and back end.
I don’t know whether network music supervisors shop RF or not. However, I can’t imagine there are any laws preventing this. (If anyone is aware of this, please inform.) As composers, I think all we can do is to sell our tracks through sites that charge what we believe to be an appropriate amount for network use.
I attended the one-day PMA event last fall and thought it was great. Recommended.
I can’t confirm that they do or do not pay royalties. But I have had some Crackle placements up to 2 years ago, and have not received any royalty money for the placements.
I’m starting to see results from reconciling our Tunesat detections with our statements.
I had many, many Tunesat detections that didn’t show up on this statement. (I know there’s a separate thread discussing how long to wait before following up on missed/late cue sheets.)
Good for you, Art, for using Tunesat to your advantage!Sort of a watershed moment for me @composer.
I’ve had 150,000 to 200,000 annual performances of a small number of TV themes for almost 15 years. Despite doubling the number of themes and doubling my ownership shares, I’ve seen a steady decline in the value of performance royalties down to literally $.01.
Today, I realized that at that rate, I can probably generate more money from direct licensing, especially of cues are not PRO registered.
Other’s MMV.
Sorry to hear this, Michael. That’s a stunning number of performances.
A sharp decline in performance royalties is terrifying. For this to work as a business model, that long tail of royalties is, obviously, essential.
Statement is not pretty for me either.
More pages, less money.
Have you guys been seeing an increase in the web / PPV section of your PRO statement? I’ve started to see a bit more from the Netflix, Hulu, YouTube etc pages. Not huge money but it seems to be on the rise.
Yes. For me, those royalties are rising quite sharply over the last 3-4 statements. This still represents a small percentage of the overall amount.
It’s difficult for me to gauge the difference “per viewer” between the Netflix/Hulu views and the broadcast views.
Got it – so you’re seeing that just the total number of titles/works registered (displayed at the top of the page) increases but you see no additional new titles, cue sheet titles or TV show names with episode names?
Just wondering – has your count continued to increase but not dropped to a previous lower number?
This is my situation exactly.
I have also wondered about this. My works count has increased by around 100 over the last couple of weeks, but I only see a handful of new titles and cue sheets.
Paul, I have never noticed titles disappearing as you describe.
Thanks.
It’s OK to walk away.
It’s also OK to ask for what you want – a fair(er) deal, in this case – and then politely walk away if you don’t get it.
Thanks composer. That makes sense.
One follow-up question: If I don’t have a lot of tracks that could be signed exclusively right away, would it still be okay to submit to an exclusive library on the basis that I would be providing new tracks to them moving forward? Or should I wait until I have at least a certain amount of tracks that are ready to sign before submitting? (If so, what’s a reasonable amount?)
Thanks!
There are many types of deals. But it’s common for a library to commission tracks. So you can pitch yourself as a capable composer (you’ll be one of thousands!), and they can commission you to create the types of tracks they are looking for. So, you don’t necessarily need to have lots of tracks available. You need to be able to create what they want, to their specs, on their timeline.