Composers Read This! Value your music!

[Value Yourself]

Hello everyone,

I just wanted to post something after having a read through the forums and particularly the composer section. This is important information, please consider reading this as it affects all of us (I am also a composer, scoring by hand and manuscript).

Many of you, infact the majority, seem to be offering free music not taking into account the distribution of mechanical (reproduction) and synchronization (the use of music in conjunction with audio-visuals) issues or the issue of licensing fees.

Whilst I perfectly understand that this are student films and the money is not a lot (this is fine), I would strongly suggest that you value yourself and your product rather more than you are at the moment. The MCPS-PRS alliance (UK based) states:

How much do you pay?
Charges for the use of Commercial music in feature films are negotiable. They are generally set in relation to the budget of the film.

Charges for a film primarily for festival exhibition or for a student film are usually based on affordability.

Exposure is an understandable factor and this is also perfectly fine. However, even a minimal fee should be applied when working with these people. They expect music for free and in some cases even suggest that you work under a 'work-for-hire' agreement (mainly American bullshit agreements) where not only they retain all rights to intellectual property, but moreover do not offer the contractually standard 'flat rate' fee required.

So what you are doing is, you are putting time and effort into crafting something and all you are promised is something which most often never materialises (a 'ghost' percentage or exposure when the exploitation of your work mostly goes in their favour).

So next time you post 'Music for free here!', have a think and value yourself better, everytime you are doing this you are undercutting the rest of us and raising the expectations of the indipendent producers/directors, where they demand a quality product for free.

Also understand that music to picture is simply a craft, you are not creating a masterpiece but rather providing something which is functional.

I hope at least some people read and the situation improves somewhat.

All the best.

 

[Krzysztof A. Janczak]

Reply

Reply

Hi,
I can afford to work for free for Projects that I like and I consider worthy of my time and commitment.
That's my choice so, don't tell me what to do or how much should I get for the score for great student or independent film. You can always say NO and do commercials or TV music $$$


Krzysztof A. Janczak

www.kajanczak.com

www.janczak.art.pl

 

[LNeighbors]

getting paid

getting paid

I would agree with the original poster. You should get paid for your work. If the filmmaker has no music budget then they can fool around with garageband or something but if you are seriously going to give your time writing music then you should be compensated. The person who pumps your gas is getting paid, the checkout clerk at the grocery is paid - so hang tough, demand to be paid something. At least, never give your music rights away (the publishing rights) without compensation.

It's part of the learning experience for filmmakers too. If they want music they have to think about that as a budget item. By asking for payment you are making the filmmaker and the whole project that much more professional.

 

[Aston (Film Composer)]

Would you direct my film for free?

Would you direct my film for free?

Hi, and thank you for posting this.

...everytime you are doing this you are undercutting the rest of us and raising the expectations of the independent producers/directors, where they demand a quality product for free.

As a film composer, I would totally agree. Look at it this way, you're getting paid for folding clothes, for exchanging money in a nice office and also for typing business documents at home while listening to your favorite music and singing out loud, then why wouldn't you get paid for scoring films with blood, sweat and tears? (and there's a lot of it).

Film directing and film scoring are both very similar, mainly because both the director and composer have the tools to ruin the entire movie. As long as I discovered, no one else, except of the director, lead actors and composer, has that ability. No one else has the ability to reach to the audience, tell them what to think, plant fully-subliminal hint-seeds in their minds and as a result, control them. The story can be brilliant, the acting can be authentic and touching, the lighting can be well done, and these are all top important, each. But when having music besides them, either it joins that party and make it one, unforgettable film, or it overpowers each of them and break it all to smithereens. Yes, if done poorly, it is most likely to overpower even the thrilling acting you worked so hard to get out of your actors, guaranteed.

To sum it up, would you please please please direct my film for free?

 

[ELISCHUMANN]

Hi, I’m one of the composers who offer free music. I’m embarrassed about it because I know how it is when somebody do some work without any value and others get money for the work they do, I had a recording studio on Dominican Republic (where I came from 1 year and 7 month ago) and I was really mad when I saw people trying to do the same work than me for a cheaper price. So I hardly agree with you! I just thought that that’s the only way for me to get hire for making original music for films. A few days ago, one music supervisor was looking for a composer he didn’t hire me because his client was looking for someone with more experience. I have no films to show with my music, I allowed a young filmmaker to use one of my demos on her first short film, but he told me that’s not enough. Repeat, I totally agree with you, but I need suggestions, help. I don’t even know anybody around me working with music! I have been working with music for about 9 years, making soundtrack for lyrics and composing just for myself because on my country there is no much opportunity for a film music composer. What should I do on my situation? I’ll appreciate any advice from anyone!

 

[Reddiesel]

Reply

Reply

I agree with the original post, im a student at the moment and i have posted on the forums to do some free work but i am only doing this because i am just wanting material to practice with, im just starting out and its no good if i offer my services at a price but have nothing to show my clients, so im only offering to do music for free because at the moment my music is'nt that suphisticated and i dont think many people would want to pay for it lol i need the practice but as soon as i feel i have a decent thing going il be charging

 

[ralck]

I'm a filmmaker and not a composer here. Personally, I don't expect free music. If someone offers free music or they are willing to work for cheap for the exposure, I wouldn't turn them away (hey, most of the stuff I do now is bawsically for exposure). I don't really know how many filmmakers actually expect free stuff like you imply, but I'd like to hope more are like me and are not just looking for a free ride (though I fear this is not the case).

And just for the record, I believe everyone involved with film should charge others for quality services they provide (if they so choose). This includes directors, composers, DP's, actors, special effects personel, etc. However, they don't have to charge if they don't want to (I'm planning on making music videos for local bands, and I'll be not charging anything for my services for at least the first couple).

 

[Andy1044]

(I'm planning on making music videos for local bands, and I'll be not charging anything for my services for at least the first couple).

Thats exactly what everyone's outlook should be. For the first few times you work on films, don't charge anything. However, once you've got a couple of films under your belt you should absolutely start charging. You are offering a service which takes hours of planning, effort, and execution; not charging for this is a discredit to all the work you put into your music. Personally, I am rather wary of filmmakers who do not offer payment. The fact that they don't want to pay you for your work speaks something of their dedication to their project. If they are not willing to invest something in one of the most important aspects of their film, who's to say that they are actually dedicated to their own final project? You might spend a hundred or more hours writing the best music you've ever written only to have the filmmaker come back to you saying that he's abandoning the film.

You don't have to charge an arm and a leg, just some amount deemed appropriate by you to show the dedication of your client. Always remember to charge some amount up front and the remainder upon the completion of the project. So neither you nor the filmmaker/producer gets shorted on the deal, always sign a contract. This way both of you can prove you have something invested in the project and both of you can sue if the other party doesn't come through. A helpful Composer's Agreement contract I use for most of my scores is here: http://www.versusmedia.com/downloads/Composer_Agreement.htm . Also, if you are expecting royalties from your scores, join ASCAP or BMI. They take care of the collection and distribution of your royalties and can help you out if you need to take legal action.

A simple rule of thumb for filmmakers is that the music budget should be between 2% and 5% of your total budget.

 

[MichaelD]

Free music offers are a response......

Free music offers are a response......

To the fact that most filmmakers simply don't place a high priority on the music. Even if they are prioritizing the music, it is mis-guided. This is an interesting topic. I am a composer myself. So far, I've got no credits to speak of, but I'm looking for some. Currently working on a videogame. For the first few film credits, I'm perfectly willing to do a few shorts for free. I've been in forums, and myspace, and craigslist advertising that I will do a score for free. So far, I haven't had any responses. That by itself doesn't mean much I suppose.

The funny thing is that there some indie filmmakers and student filmmakers that not only ask for free music....they insist that you have a list of credits.

Also, I get the feeling that most filmmakers just don't have an understanding of the purpose of music in film, and it is not a priority for them. Most filmmakers making a sad movie would rather have a band play a little sad song than have an orchestra draw the audience into that emotion on a very powerful subconsious level. Think about it...you're watching a movie and getting drawn into the emotions that the composer wants you to hear, and then you hear the latest hit that has been playing on the radio..it jars you out of the moment right there.

The industry is full of catch 22's.

Everyone gives new composers the advice to be different and have a unique approach. "Don't try to be the next John Williams". Meanwhile, John Williams continues to get many great jobs, because that is what the Directors actually want. It is not just "Star Wars" (before someone says, "But his music is too much for a student film"). He has scored romantic comedies too, and done it very well. When someone does come along and they are unique, it is not received well, even though it is what was asked for, case in point; Max Richter being scrapped from a movie so Clint Eastwood can write the score. I mean, I know that he writes for his own movies....but is there no other composer in LA qualified to do it?Afterall, Max Richter is known for that unique style... that is probably why he was hired in the first place.

Just look at this post....all composers, except one. Thanks to that one non-composer who bothered to take a look at a music forum. The music sections of "Filmmaker" type forums are full of solid composers who want a crack at some business, so they go into a forum, post links to their demos and enthusiastically offer to work for free...and the only people (with precious few exceptions) who bother to look at that forum are other composers who say..."Hey man, nice demo. Let's keep truckin'". Try to post in another section of the forum, and filmmakers will be quick to let you know that your in the wrong store.

I recently approached a guy who is making a film in my town, and making it known that he needs help for free. Many people are jumping on the bandwagon to help this guy get his movie made. Quite honestly, he is a nice guy and very enthusiastic about his project. I'm sure that he would be happy to have me carry cables on the set, but when I offered to contribute and do some scoring for free, he mentioned that he had already decided to throw "The Olympic Fanfare" in there. If it is the one by John Williams, it is going to cost thousands of dollars to get the rights to use that piece, thousands more for either hiring the brass to record it again, or thousands more for the rights to use an existing recording.

Are filmmakers in the mood to be educated about music for film? Or is it their "baby" and they are going to micro-manage every aspect of it, regardless of the effect this will have on the outcome of the film? When you are a composer anxious to break into the business and are lucky enough to find or be found by a filmmaker who understands the substantial power of music in film AND they are willing to hand you reigns...well I can't speak for anyone else...but I'll do the first few for free.

I don't want to seem too negative here. But I think I'm just pointing out what most composers already know, but nobody is saying it. I'll probably be banished from the forum. Hey, I think composers should just team up learn how to make movies...I mean how hard can it be? Why should I let that USC film school grad make my movie, when I've got a freakin handycam right here at home? Yes that was a joke.....hmmm.....but maybe...

Cheers,
Michael

 

[MichaelD]

Whoops

Whoops

Whoosh, I went on a mini-rant there. Sorry about that.

Well, I feel sort of obligated to post links to my demos now. So here goes.

Do you need original music for your movie? Composer available. I have demos posted at

http://www.euphonicsoundlab.com
AND
http://www.myspace.com/euphonicsoundlab

Please feel free to contact me regarding your project.

 

[eepyikes]

Quite simply: You get what you pay for.

 

[Kaatza_Music]

I agree with the original poster. I have done some work on student films and small budget Indie films for no upfront money, but I always keep the publishing rights and only give them a one time license, and have an agreement whereby I get featured credits and if the work is successful, I will get points down the road. But keep in mind, the chance of making anything down the road on a low budget Indie film is practically nil. If you keep the ownership of the music and only give a one time license, you can use that music again in the future, hopefully for a paying gig.

So no one gets the ownership to my music unless they pay me first. I have lost quite a bit of work because of this approach, but so be it. I always offer the producer the option of purchasing the publishing later if the film if a success (with a time limit of course). Most of the time, they just pass and look for somebody else who will give it all away.

If you work for free, you will be known as the composer who works for nothing and that will be what directors and producers will expect from you. When they finally get a film with a decent music budget, they will hire a "real" composer and pay them. They won't call you as they have already decided that you are an only an amateur because you work for free.

I also do construction work. Do you think I can find carpenters to work for free if I promise them that someday when I have a big successful construction company, I might pay them? I don't think so. Why should music be any different? If I walk into a grocery store and tell them that someday I will be a rich and famous film composer, so can I take a cart full of groceries home now and pay you later, do you think I will get out the door without getting arrested? They will probably find a nice warm padded cell for me.

Your music has value . . . the work will come.