Sync 101: Back To Basics- Ep. 8 скачать в хорошем качестве

Sync 101: Back To Basics- Ep. 8

We've gotten so many new members, it's a good time to revisit some of the basics. In this talk, we review some of the first things you need to know to place your music in film/tv/ads etc (sync licensing). We've got a great panel of experienced sync professionals on hand to help you. Moderators: Eric Campbell, Stef Fink, Jennifer Smith, Jess Gramuglia, Koichi Sanchez Major Themes Sync 101 Back to Basics Key Notes/Interview Q&A: Q: Be a human. [5:00] Q: Follow aggressively, DM cautiously. [8:38] Q: What are some of the other reasons, aside from a musical moment, that songs get removed in sync? [14:40] Q: Koichi, I wanted to get your take in on this. Where’s your thought on how you approach relationships? [31:01] Q: If you are affiliated with a PRO (Performing Rights Organization), that is a great way to get introduced to other people that you aspire to work with [52:30] Q: How do we know what is syncable music? [1:01:29] Q: Once the song is finished, did you have any type of inner circle or community or any other way that you validated that you knew it was ready or that it holds up to bar?[1:18:50] Audience Q&A: Q: How do you follow up with a music supervisor without being overbearing? [25:47] Q: I’m starting to notice that music supervisors tend to work with music libraries that they’ve already established a relationship with. Do the same rules apply when reaching out to music supervisors as a brand new music library that would apply if I’m just trying to establish a relationship directly as a composer or as an artist? [39:00] Q: When trying to reach out to certain supervisors who are directed by someone, are there any best practices when dealing with that person in between? [41:00] -Important information about the music coordinator/assistant [42:50] Q: I heard someone say earlier that you shouldn’t send unsolicited music. When you say unsolicited music, did they mean music that doesn’t have representation behind it? [1:28:35-1:33:15] Q: When it comes to actual clearance in music licensing, what do you guys use to clear the music? [1:34:28] Q: How important is branding and the look of the artist when it comes to sync licensing? [1:36:35] Q: When contacting a music supervisor, at what point of the production of the film are they looking for music? At what point is it too late? [1:46:54] Q: If I’m sending a playlist, is it helpful if I include the split sheet that has one stop clearance as part of our split agreement? [1:55:20] For more resources and talks subscribe to our Patreon: Patreon.com/ctrlcamp Follow us: CTRLCamp.com Instagram.com/ctrlcamp Facebook.com/ctrlcamp