Lesson 12 of 21Music BusinessIntermediate

Understanding roles within TV & Film industry

11:43

Jay Mistry breaks down the five people you need to know in TV and film music - producer, director, executive producer, editor and music supervisor - and how to work with each.

Part of the courseA Guide To Music Publishing And Synchronization21 lessons (4h 21m)

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What's in the course

21 lessons (4h 21m) · 1 free
    • 01. Introduction with Harry Leckstein and Jay Mistry

      11:37

    • 02. A short history of Publishing

      6:10

    • 03. Copyright (types of rights) & Royalties

      Free lesson

      11:19

    • 04. Advice for artists - getting paid & working with publishers

      15:35

    • 05. Advances, exclusivity & types of publishing deals

      14:27

    • 06. Getting started on your own

      3:01

    • 07. The Games market

      2:55

    • 08. Understanding Publishing Contracts

      11:51

    • 09. The world of Sync

      8:23

    • 10. Sonic branding & what is a brief. Case study - Ollie Raphael

      3:54

    • 11. Sync jargon decrypter & myth-buster

      8:38

    • 12. Understanding roles within TV & Film industry

      You are here

      11:43

    • 13. Final words of advice

      9:43

Lesson transcript

Understanding the Roles in Music for Media

In addition to understanding and developing your techniques for style and different range, it's essential to know the various roles in the TV and film industry that connect with the music side of things.

Key Roles in Production

  1. Producer
  2. Director
  3. EP (Executive Producer)
  4. Editor
  5. Music Supervisor

These are the primary roles you will likely encounter when dealing with music for media.

The Music Supervisor's Role

Let's focus on the Music Supervisor, the first logical connection point in production.

Responsibilities:

  • Find the right piece of music from a library.
  • Work with a composer to create bespoke music.
  • Review the film script while considering budget possibilities.

Types of Music Supervisors:

  • In film, they license existing music and arrange for original compositions.
  • In TV, they typically curate tracks from libraries for placement.

The Producer and Director Dynamics

The Director:

  • Holds the creative vision for the entire film or show.
  • Looks for music that seamlessly fits the project's aesthetic.

The Producer:

  • Focuses on the production aspect, budget, feasibility, and overall organization.
  • Collaborates closely with the director but from a more practical standpoint.

Music in Advertising

In the advertising world, the dynamics change slightly:

  • Music Advisors: Agencies often employ music advisors.
  • Focus is on rapid, impactful branding.
  • Ads require music that is quick to license and often involves commercial tunes or unique cover versions of iconic songs, as seen in campaigns like John Lewis ads.

The Role of Music in Digital and In-store Spaces

Music is also used strategically in the digital realm and in retail environments:

  • Websites: Music can promote websites or enhance a brand's digital presence.
  • In-store Displays: High-end stores, like Harrods, may use music to complement product displays.
  • Events: Companies creating holograms for events will often incorporate music to enhance the audience experience.

The Opportunities in Music and Sync

With so many aspects of media touched by music and sync, there's significant potential for those starting out or looking to grow their careers.

The Importance of Networking

A crucial step for newcomers is networking, which connects you to opportunities. Many aspiring professionals ask about starting costs, but:

  • 30% will go toward running the company.
  • 70% should be allocated to marketing.

Building Connections:

  • Attend industry lunches and dinners.
  • Join clubs like The Groucho or The Hospital Club to meet media professionals.
  • Engage in events that promote networking with key figures in production.

Practical Steps for Newcomers

  1. Create a Showreel:

    • Keep it concise: 3 to 5 minutes.
    • Feature clips of 10 to 20 seconds from various projects (adverts, dramas, trailers).
    • Ensure smooth transitions between clips for a cohesive flow.
  2. Maximize Your Time:

    • If possible, spend at least two weeks to a month in LA, the heart of film and advertising.
    • Attend events like the SYNC mission funded by organizations promoting UK composers.
  3. Consider Local Opportunities:

    • If LA isn't feasible, research local broadcasters.
    • Look for internships or volunteer positions to gain insider experience.
  4. Do Your Research:

    • Identify suitable companies for your music style.
    • Tailor your approach, don't send a ballad demo to a rock label.
  5. Network Strategically:

    • Find and attend relevant industry events.
    • Build relationships with individuals who are likely to be interested in your music.

Conclusion

Success in music for media relies on understanding the industry's dynamics, actively networking, and being prepared with a strong portfolio. Connect, promote, and position yourself where opportunities arise!

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Meet your guru

Jay Mistry

Jay Mistry

Jay Mistry is a music industry veteran of 30 years and is fluent in most aspects of the music business.

Jay began his career at the Performing Right Society before joining BMG Music Publishing, where he was asked to set up the income tracking department from scratch. In 2003, he incorporated Musical Sleuth Ltd, the first independent royalty tracking service of its kind, which counted clients such as Eric Clapton and The Beatles.

Having mastered the intricacies of copyright and royalties, Jay was asked to become Director of Music Services at The Discovery Channel in 2009. His success at Discovery led New York entrepreneurs Jingle Punks to bring him in to set up and stabilise their US publishing operation while building their global collection network. Jay currently consults for a range of high-end composers, music libraries, film producers, publishers and tech platforms.

In A Guide To Music Publishing And Synchronization, Jay distils three decades on the inside of the business into clear, practical guidance, showing you how publishing, copyright, royalties and sync deals really work - and how to make them work for you.

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