Le marché du jeu vidéo

Jay Mistry
Jay Mistry

Lesson time: (2min 55sec)

Les jeux vidéo sont devenus véritablement cinématographiques et la musique en est de plus en plus un élément central. Découvre comment les jeux vidéo pourraient devenir une source de revenus lucrative pour toi.

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This lesson is part of the course Un guide de l'édition musicale et de la synchronisation
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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 est un vétéran de l'industrie musicale fort de 30 ans d'expérience et maîtrise la plupart des aspects du business de la musique. Jay a débuté sa carrière à la Performing Right Society avant de rejoindre BMG Music Publishing, où on lui a demandé de créer de toutes pièces le département de suivi des revenus. En 2003, il a fondé Musical Sleuth Ltd, le premier service indépendant de suivi des royalties de ce type, qui comptait parmi ses clients Eric Clapton et The Beatles. Ayant maîtrisé les subtilités du copyright et des royalties, Jay s'est vu proposer de devenir Director of Music Services chez The Discovery Channel en 2009. Son succès chez Discovery a conduit les entrepreneurs new-yorkais Jingle Punks à le recruter pour mettre en place et stabiliser leur activité d'édition aux États-Unis tout en développant leur réseau de collecte mondial. Jay conseille aujourd'hui toute une gamme de compositeurs de haut vol, de librairies musicales, de producteurs de cinéma, d'éditeurs et de plateformes technologiques. Dans A Guide To Music Publishing And Synchronization, Jay distille trois décennies passées au cœur du métier en conseils clairs et pratiques, te montrant comment fonctionnent réellement l'édition, le copyright, les royalties et les accords de sync — et comment les faire travailler pour toi. read more

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21 lessons (4h 21m)
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