Entender los roles dentro de la industria de la TV y el cine

Con
Jay MistryJay Mistry desglosa las cinco personas que necesitas conocer en la música para TV y cine - productor, director, productor ejecutivo, montador y supervisor musical - y cómo trabajar con cada uno.
Qué incluye el curso
21 lecciones (4h 21m) · 1 gratis
01. Introducción con Harry Leckstein y Jay Mistry
11:37

02. Una breve historia de la edición musical
6:10

03. Copyright (tipos de derechos) y royalties
Lección gratis11:19

04. Consejos para artistas: cobrar y trabajar con editoriales
15:35

05. Anticipos, exclusividad y tipos de contratos editoriales
14:27

06. Empezar por tu cuenta
3:01

07. El mercado de los videojuegos
2:55

08. Entender los contratos de edición musical
11:51

09. El mundo del Sync
8:23

10. Branding sonoro y qué es un brief. Caso práctico: Ollie Raphael
3:54

11. Descifrador de la jerga del Sync y desmontador de mitos
8:38

12. Entender los roles dentro de la industria de la TV y el cine
Estás aquí11:43

13. Últimos consejos
9:43

01. Entrevista con Ollie Raphael: Delicious Digital y el trabajo con la radio
11:38

02. Entrevista con Dan Mallender (Phase Music) - Música, promos y tráilers para las industrias de TV, radio, cine y videojuegos
16:04

03. Entrevista con Rachel Menzies - Supervisión musical
11:19

04. Entrevista con Richard Ford (Anger Music) - Trabajar con compositores
16:23

05. Entrevista con Stuart Belsham - Descubre la PRS
37:15

06. Entrevista con Alessio Nanni (vía Skype) - Pianista y compositor
15:02

07. Entrevista con Rob Manning (por Skype) - Compositor de cine y TV
15:23

08. Entrevista con Xiaotian Shi (por Skype) - Compositor de cine y TV
18:40
Transcripción de la lección
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
- Producer
- Director
- EP (Executive Producer)
- Editor
- 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
-
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.
-
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.
-
Consider Local Opportunities:
- If LA isn't feasible, research local broadcasters.
- Look for internships or volunteer positions to gain insider experience.
-
Do Your Research:
- Identify suitable companies for your music style.
- Tailor your approach, don't send a ballad demo to a rock label.
-
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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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.












