What do composers/writers/performers get for....

[Timeline]

Film music Cues...
Film themes...
TV show cues
TV Themes...
Open song usage and credit roll usage...
Etc
Etc
Etc???????

Thanks

[monkey man]

May I sit in, Gary?
For me this is the $64,000 question...

[Timeline]

A friend emailed some figures based on unknown independent artists work leases. If anyone can advise on these I would appreciate"

[quote]If it••™s for TV, and it••™s going to be aired, you can receive ASCAP or BMI checks.

If it••™s a Movie, when it goes to TV you can get checks.
If it••™s for DVD, or Direct to DVD, you may never get a check...SO:

1. For TV: No less than $500.00 per song, per drop. More if possible...Maybe up to $1500.00.

2. For a Movie: $1000.00 to $1500.00 (for unknowns) is all right...I did a song for a Film once for $50.00, and ended up making thousands in residuals from ASCAP (Writer & Publishing)...so there••™s no hard & fast rule.

3. For DVD: You••™d like to make your money up front, if possible, because it may never be aired...SO, again, $1000.00 to $1500.00 would be nice.

4. internet or future forms of delivery, so far I••™ve seen around $200.00 extra, should it reach the internet (separate part of the deal), and, Documentaries, you go for the TV deal...sometimes they••™re pretty low budget...but go for at least the $500.00 or more, per drop.

Of course, all these contracts, are non-exclusive. They are only buying the rights & clearance for this ••œone time deal••

[mhschmieder]

Thanks for posting that. I never know what to charge (if anything, considering I'm an unknown). For my recent audio work to support web design, I charged $10/hour. I figure web design is a special category as it involves so many iterations on everyone's part, and so should be hourly.

As it happens, by serendipity I came upon an opportunity to do some production work for an upcoming film involving a live concert with additional materials to be added later, and as it is to raise consciousness of a particular refugee problem, I will deliberately use a low end figure, so these numbers are a good way to judge how to appropriately cut my take as a matter of generosity to the non-profit's needs (well, I may even do it pro bono).

[killerpineapple]

Here's some random figures I've heard from various professionals...

Hollywood film score (average): $200,000 or $1,000,000 if you take charge of everything (hiring, recording, mixing, etc.)

Low budget film: $5000 for score produced in your own studio + royalties (this figure comes from over ten years ago) This guy said he made way more from the residuals.

Video Game: $500-$3000 per minute of music. The guy who supposedly got 3k per minute did big budget game trailer music. Video game guys like work-for-hire agreements which essentially buy your authorship rights along with the actual music.

Music copyist: $25-$50 per full score page

In my first two paying jobs at the beginning of this decade I got $125 for every 1-2 minute piece for a public school district video. And later $100 per minute of music for a start-up computer game company.

[Timeline]

WOW!

[monkey man]

Crikey.

[MIDI Life Crisis]

This is the hardest thing for composers to figure out. What DO you charge and what CAN you demand for your work?

The answer is simpler than it might seem.

Urhe eo ortjjn kj, thir ornsky fnd egke? ORNSKY!!!

Ask ANY working composer and you'll get the same answer. It's called a trade secret and would be like a magician telling you how a trick was done by another magician. But I will give you a big hint:

What is your music worth TO YOU?

[Timeline]

Yes but will they pay that?

[MIDI Life Crisis]

Yes but will they pay that?

That's another question and speaks to who your collaborators are, who your clients are, how much experience you have and (hate to say it this way) how good your music is. (That last part is very objective and one producer's dream score is another producer's nightmare.)

Also, how proficient you are, how fast your ideas go from ideas to demos and other considerations like how well you can produce a great score, how well you play with others (both in meetings and on tracks), your ability to talk to directors and producers on their level - intelligently and artistically, etc. You see, it's not just about making music and setting a price - it's all about relationships.

Finally there is the matter of politics and connections. If all the ducks don't line up you don't have much of a shot in the shootin' gallery. But one powerful ally in the upper level production team can make all the difference.

[Timeline]

Man your sure right about that! I should retire.

[MIDI Life Crisis]

Man your sure right about that! I should retire.

Well, there is a truism in show business that I have never seen proven wrong: the people who make it are the one's who don't give up.

Rather simplistic, but true. Of course, that may mean times when nothing is coming in and everything has gone out. What to do then? SURVIVE! But if it's in your blood, you CAN'T do anything else - even if it means starving. Not everyone has that kind of commitment but I think you'll find most high end pros have that kind of passion for their work. The money is secondary - maybe completely unimportant. Ask Mozart, or Vivaldi or Van Gogh.

Nobody said it would be easy (did they?) and nobody promised a pot of gold. But it's there and if you don't reach for it, you'll never reach it.

[Timeline]

I admit I love it but Mozart I will never be. Just an old rocker with VSL patches.

[Timeline]

I did visit his gravesite last year though. Mozart vienna

[MIDI Life Crisis]

I did visit his gravesite last year though. Mozart vienna

You were hoodwinked. He was buried in an unmarked grave (pauper's grave) and the actual site, while suspected, is not known for sure.

I'll avoid all the decomposing and composer last movement jokes here... save 'em for the Cornie LA Blowout!