I kind of did tip number 3 unconsciously months before this video. lol. I literally asked the person who approved my first submission on a library “based on the styles I make, what is it that you need on your library? What are your clients licensing? Is there something you need that I might need specialize in but I can compose for you?” They sent some requests and Im currently working on 3 EP’s of 5 tracks each. This same library got me my first placement on Netflix.
I just git my first sync contract, but believe i have spotted a few red flags. Could do with a second opinion. They state in the royalties section that i am to keep %100 of the writers share of performance royalties. But under the grants of right section it states that they are to recieve 100% of all right, title and interest of the composition. They also say that all promotional/marketing cost connected to the compositions is to be recuped from my split of royalties? Which sounds very dodgy.
All sounds like very good questions you should ask the Library or agent that gave you the contract. I can't advise you on specific contractual terms and I certainly wouldn't want to wrongly interpret something.
Are the songs for sync are chosen through connections and acquaintances of the producer with the supervisor? I notice more examples that what is in the picture does not match the music in any way!
@@nikolastojanovskinikola8668 sometimes, but in my experience most times it’s just a choice of what the supervisors or director/editor judges as the “right” track for the scene.
I kind of did tip number 3 unconsciously months before this video. lol.
I literally asked the person who approved my first submission on a library “based on the styles I make, what is it that you need on your library? What are your clients licensing? Is there something you need that I might need specialize in but I can compose for you?”
They sent some requests and Im currently working on 3 EP’s of 5 tracks each.
This same library got me my first placement on Netflix.
@@miguelsandremusic smart approach!
Brilliant advice. What you discuss has been my experience too
Another superb presentation 👍👍
Wow 😮 really appreciate your insight. Sir
I just git my first sync contract, but believe i have spotted a few red flags. Could do with a second opinion.
They state in the royalties section that i am to keep %100 of the writers share of performance royalties. But under the grants of right section it states that they are to recieve 100% of all right, title and interest of the composition.
They also say that all promotional/marketing cost connected to the compositions is to be recuped from my split of royalties? Which sounds very dodgy.
There is also no term section, so am I right to assume the contract is for life??
All sounds like very good questions you should ask the Library or agent that gave you the contract. I can't advise you on specific contractual terms and I certainly wouldn't want to wrongly interpret something.
Are the songs for sync are chosen through connections and acquaintances of the producer with the supervisor? I notice more examples that what is in the picture does not match the music in any way!
@@nikolastojanovskinikola8668 sometimes, but in my experience most times it’s just a choice of what the supervisors or director/editor judges as the “right” track for the scene.