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At the moment I am also looking for indie filmmakers to include my music for free
Giving away music for free is not going to jump start your career. You are basically saying your hard work has no value. And once the bar is set to free, these filmmakers will always expect your music to be free. When it isn’t, they’ll just move on to the next guy giving away music. Don’t start out this way.
I recently posted here about my first well known brand commercial placement. Mark is correct, It did pay well upfront, considering the placement was through a non-exclusive company actually, and only 15 seconds long. A number in the lower five figures, split with the company placing it of course. Too early to report here about royalties.
I also just got my first infomercial placement a few days ago, so thanks for the information on that Mark!
Well, that’s a typical American Pickers/Pawn Stars ASCAP payout. Maybe it’ll be different for your two hour prime-time special.
An example of a few prime time from last statement:
:24 $1.10
:22 $1.00
:32 $1.47It’s interesting they’re suing the end user and not the library that provided the track. I guess the National Party has deeper pockets. Maybe that’s why it went to trial. The defendant could be saying, “hey it’s not our fault, we paid for a license for the right to use the track. How were we to know…”
Hi, the player works well, was able to hear your music. The header “welcome to squish music” as seen on the home page is missing on all the subsequent pages. There a space for it, but it’s not there. Also, it took me a few minutes to determine what the closeup photo of lips to a microphone was.
Good luck!
I think ASCAP will send you any amount, as long as you are setup for direct deposit.
I post only links to videos publicly available, usually hosted on youtube.
No, not necessarily foolish. If you’re more comfortable holding on to them for a while then you should. You’ll know when it’s right to submit them.
About the holy grail of a movie placement, I’ve had a few. Remember there are no royalties for domestic theater performances. And once the movie gets to streaming on Netflix or where ever the payout is minimal. Of course a movie placement is something to be proud of, but getting a decent upfront fee is your best bet at compensation.
It just seemed like something to consider, because you were paid for the re-run but not the initial live broadcast. While you and I wouldn’t consider your placement “ephemeral”, the broadcaster may and is only reporting cue sheets for re-runs or “non-live” broadcasts.
NO record of the live NBC network placements.
Could be the whole live broadcast, ephemeral use thing again. Broadcasters claiming an ephemeral use don’t pay sync fees. I’m not sure if that also means no performance royalties. Maybe someone else here knows for sure. Check out this video:
If you’re actually getting responses to your inquiries via social media, phone, email or where ever, I say stay with it until you get a definitive yes or no. If emails and phone calls go unanswered and you never get responses to your inquiries I say move on.
My “rule” for writing to exclusive briefs is to only create simple, fast to produce tracks.
I’ve been trying to do two different tracks per submission, one for them, and one for me to keep non-exclusive.
It’s just another reason why I stay away from exclusives.
So Art, does that leave you mostly contributing only to RF libraries?
If I had to do this, I would load all the files into my batch editing software and set the Metadata tab to overwrite all the fields. Would just take a few minutes to process them all.