El mercado de los videojuegos

Jay Mistry
Jay Mistry

Lesson time: (2min 55sec)

Los videojuegos se han vuelto verdaderamente cinematográficos y la música es cada vez más un componente esencial de ellos. Descubre cómo los videojuegos podrían ser una lucrativa fuente de ingresos para ti.

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This lesson is part of the course Una guía sobre edición musical y sincronización
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Lesson transcript:

Music in the Games Market

I know we're just going to take a little aside here, but we've spoken a lot about film, TV, and ads.

The Importance of Music in Gaming

Music and Its Evolution

Tell me about the games market. A lot of music goes into the games market. How important is that?

Good publishers are connecting with game manufacturers.

  • Historical Context:

    • About 15 years ago, they stopped paying royalties on sales because:
      • Sales were minimal at first.
      • Then, they skyrocketed into the millions and tens of millions.
      • Popular titles like PS4 games and Grand Theft Auto changed the landscape.
  • Shift in Compensation:

    • Suddenly, manufacturers thought, "Oops, we can't keep paying royalties."
    • It shifted to more of an upfront payment model.

Cinematic Music

The music within games is becoming more cinematic due to advancements in technology:

  • Visuals are nearing lifelike quality.
  • The music must reflect this high standard.
  • There is significant financial opportunity if you can get in.

The Volume of Music Needed

In terms of volume, video games require far more music than other mediums:

  • Music Duration:

    • Advertisements might last a few seconds.
    • TV programs are typically much shorter.
    • Video games can go on for hours.
  • Production Time:

    • Some games have minimal music loops, while others need unique pieces for different scenes.
    • I've known people to work on one Hollywood trailer for three months.

Licensing vs. Bespoke Music

But, you know, I've always been aware of games like Grand Theft Auto that had a radio station in the car. This introduced opportunities to play artist-based music, which is licensed.

  • Key Differences:
    • This is different than bespoke music.
    • In licensing scenarios, game manufacturers hold all the cards.

Market Dynamics

  • They were going to sell millions of these games.
  • They acted as gatekeepers in this market.
  • Consequently, they could even ask for payment from artists because of the expected massive audience.

Conclusion

It's a bit like YouTube now; the focus is on exploitation and reaching as many eyes and ears as possible with your music. That's what games do nowadays.

About the instructor

Jay Mistry
Jay Mistry

Jay Mistry es un veterano de la industria musical con 30 años de trayectoria y domina la mayoría de los aspectos del negocio de la música. Jay comenzó su carrera en la Performing Right Society antes de incorporarse a BMG Music Publishing, donde se le pidió que montara el departamento de seguimiento de ingresos desde cero. En 2003 constituyó Musical Sleuth Ltd, el primer servicio independiente de seguimiento de royalties de su clase, que tuvo entre sus clientes a Eric Clapton y The Beatles. Tras dominar las complejidades del copyright y los royalties, se pidió a Jay que se convirtiera en Director of Music Services en The Discovery Channel en 2009. Su éxito en Discovery llevó a los emprendedores neoyorquinos Jingle Punks a incorporarlo para montar y estabilizar su operación de edición en EE. UU. mientras construían su red global de recaudación. Jay asesora actualmente a una variedad de compositores de alto nivel, bibliotecas musicales, productores de cine, editoriales y plataformas tecnológicas. En A Guide To Music Publishing And Synchronization, Jay destila tres décadas desde dentro del negocio en una orientación clara y práctica, mostrándote cómo funcionan realmente la edición, el copyright, los royalties y los acuerdos de sync, y cómo hacer que trabajen a tu favor. read more

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