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making money with tv and movies ect

so basically I'm looking to make some extra cash on the side
i have been working in my local radio station and was making jingles for them and found it to b fairly easy to do.

i was told you can make money from it and tv now here is my problem the software i have installed on my pc is not mine mainly freeware and samples from the net.

so do i have to go and buy all my samples and software before i can make a few bucks or is it a to higher risk?

Equipment doesn't really matter, although you probably want a very decent symphonic product.

It's a very crowded market - every other producer in FM mentions trying to do this. I'd imagine you'd need to intensely network.

quote:

Originally posted by Richard Butler Equipment doesn't really matter, although you probably want a very decent symphonic product. It's a very crowded market - every other producer in FM mentions trying to do this. I'd imagine you'd need to intensely network.

yeah been doing my home work and as you rightly say plenty of people out there all ready doing the same thing.

networking seems a tricky thing to get my head round but was more worried about being screwed over not owning my software.

sounds bad from my side i know but it is how most people start.

thanks for the advice

quote:

Originally posted by stewart.m networking seems a tricky thing to get my head round

There was a BBC documentary about our top art School, Goldsmiths college, and at the end the head was interviewed and asked what he thought about the low proportion that actualy go on to make a living from art.

He said, in terms that less than 2% would make really good money, and they were always the ones who netwroked and hussled the best, and definitely not the ones with the most talent per see.

An old American saying comes to mind;

'He who whispers down a well will never make as many dollars as he who climbs a tree and hollars'.

Re: making money with tv and movies ect

quote:

Originally posted by stewart.m i was told you can make money from it and tv now here is my problem the software i have installed on my pc is not mine mainly freeware and samples from the net. so do i have to go and buy all my samples and software before i can make a few bucks or is it a to higher risk?

For starters, let's get some clarification because the answer will depend on your meaning of "freeware" - if you are actually talking freeware and samples that were made freely available by the developer, it's as simple as checking their websites or emailing the developer for any use restrictions. If you're talking cracked software, then, yes, you'd better get legit before trying to make money from your clients. This would be particularly true with samples, because if someone recognizes the sample in a commercial and checks it, your clients aren't going to be too happy.

Re: Re: making money with tv and movies ect

quote:

Originally posted by cryophonik For starters, let's get some clarification because the answer will depend on your meaning of "freeware" - if you are actually talking freeware and samples that were made freely available by the developer, it's as simple as checking their websites or emailing the developer for any use restrictions. If you're talking cracked software, then, yes, you'd better get legit before trying to make money from your clients. This would be particularly true with samples, because if someone recognizes the sample in a commercial and checks it, your clients aren't going to be too happy.

well yeah i agree it's not something i want to do on a professional level.
in my mind i was thinking my style of making music was better suited to tv advertising and movies and radio.

i dont really use cracked software anymore i mainly use samples and midi plus soundfonts.

in a nutshell I'm looking to make 10 or so tunes and use them to show case my work on web sites youtube ect ect is this something that's deemed not the way to go or completely dodgy.

ie can you still get fucked for it event tho no money has been passed ect?

As someone who works in the industry with a lot of major big name composers, I can tell you now, it's a long hard slog to get anywhere near the point you could pay your rent from it.

I know some seriously talented guys, who studied and graduated from the best music schools in the world (Juiliard, Berklee Boston, Royal Conserv. etc) and they barely scratch a living, with maybe one or two of them getting lucky through years of making contacts and being in the right place at the right time.

Because of this, even small paying gigs like local TV commercials can have 200 composers all competing for the same job. To give you an idea of how the big commercials are: One of my mates was of the "lucky" 150 composers selected with a chance of doing 4 x 30 second superbowl ads. He was given 48 hours to compose 4 completely different pieces of music
(and I mean totally diverse from each other). He managed to do it and submitted. Got chosen for the final 10 in which he had to tweak (to new video edit) 3 of them and write one completely new one due to a change of theme. Another 2 days work.

He made it to the final 5 for submissions but didn't get the gig meaning at least 4 days hard work completely unpaid, and on to the next project.

Now bear in mind, this guy went to those schools, top of his class, clasically trained since 4 years old, sub composed for 3 years for one of the biggest names in film score and has even has done medium budget film scores, is incredible at marketing and networking, yet he still just scratches a living out of the dirt.

Not trying to put you off, but every so often, someone comes on to TA with a post like "Hey, I've heard the money is great in film/TV/commercials etc and I'm going to get me some of that pie".

It's so unbelievably more difficult than you could imagine unless your best mate is a film producer or owns a music library, and even then, you need to be fucking talented to get anything out there.

...Or have a publisher that can throw in a good word for you (somehow I mixed up this topic with another one and posted this in the wrong topic earlier). The good publishers have access to important people in other industries in need of music. Not just film.

Some random dutch band ended up in the latest FIFA game that way. It's a long shot and requires a bit of luck of course, but if you're on the right track getting access to these publishers won't be that hard. It can open a new world full of opportunities or get you in one of those battle royales RANN posted about.

Curiously I've had 3 different people ask me to do some 'small' movie soundtrack work recently.

I strongly suspect it'll come to nothing and involve no money whatsoever.

I'd guess you'd probably make more money if you can get local gigs frequently and regularly.

quote:

Originally posted by DJ RANN As someone who works in the industry with a lot of major big name composers, I can tell you now, it's a long hard slog to get anywhere near the point you could pay your rent from it. I know some seriously talented guys, who studied and graduated from the best music schools in the world (Juiliard, Berklee Boston, Royal Conserv. etc) and they barely scratch a living, with maybe one or two of them getting lucky through years of making contacts and being in the right place at the right time. Because of this, even small paying gigs like local TV commercials can have 200 composers all competing for the same job. To give you an idea of how the big commercials are: One of my mates was of the "lucky" 150 composers selected with a chance of doing 4 x 30 second superbowl ads. He was given 48 hours to compose 4 completely different pieces of music (and I mean totally diverse from each other). He managed to do it and submitted. Got chosen for the final 10 in which he had to tweak (to new video edit) 3 of them and write one completely new one due to a change of theme. Another 2 days work. He made it to the final 5 for submissions but didn't get the gig meaning at least 4 days hard work completely unpaid, and on to the next project. Now bear in mind, this guy went to those schools, top of his class, clasically trained since 4 years old, sub composed for 3 years for one of the biggest names in film score and has even has done medium budget film scores, is incredible at marketing and networking, yet he still just scratches a living out of the dirt. Not trying to put you off, but every so often, someone comes on to TA with a post like "Hey, I've heard the money is great in film/TV/commercials etc and I'm going to get me some of that pie". It's so unbelievably more difficult than you could imagine unless your best mate is a film producer or owns a music library, and even then, you need to be fucking talented to get anything out there.

thanks for the reply rann it seems like a hard nut to crack tho i dont see myself as a fully fleged composer not by a long shot.

i was inspired by friends working at my local radio station some of them have gone on to making a living from there music and efforts.

to me it's more of a project wile maybe earning a few buck to play with on the side.

im more about this guy

quote:

Originally posted by Storyteller ...Or have a publisher that can throw in a good word for you (somehow I mixed up this topic with another one and posted this in the wrong topic earlier). The good publishers have access to important people in other industries in need of music. Not just film. Some random dutch band ended up in the latest FIFA game that way. It's a long shot and requires a bit of luck of course, but if you're on the right track getting access to these publishers won't be that hard. It can open a new world full of opportunities or get you in one of those battle royales RANN posted about.

interesting now trying not to sound dumb what publishers are we talking about do you mean news papers ect or something totally different?

quote:

Originally posted by tehlord Curiously I've had 3 different people ask me to do some 'small' movie soundtrack work recently. I strongly suspect it'll come to nothing and involve no money whatsoever.

still maybe worth doing mate be nice to have under your belt

quote:

Originally posted by stewart.m still maybe worth doing mate be nice to have under your belt

I haven't really got the inclination to work with people who don't know what they're doing, or the skill to work with those that do.

Rock and a hard place really!

quote:

Originally posted by CalvP "He who asks is a fool for five minutes, but he who does not ask remains a fool forever." Chinese Proverb Music Publishing:Everything You Wanted To Know (But Were Afraid To Ask)

i like the cut of ya jib there lad and so im thanks for the link

quote:

Originally posted by tehlord I haven't really got the inclination to work with people who don't know what they're doing, or the skill to work with those that do. Rock and a hard place really!

ah i see said the blind man you can but only try i guess.

lol.

as far as time spent and money made, this industry is not what you are looking for. Looking for a fast buck, play the stock market.

Most composers do not start making a living until their 40s. That is when your career starts.

But if you are a somewhat known pop act or EDM act, you can license a track and if the show is syndicated, it will make your beatport revenue make you go jesus titty christ.

I get it but here lies the problem.

it's not really even about being able to create some atmospheric piece of music that sounds vaguely like film score.

There's so many components to it; being able to conceptualise an idea to picture that other people understand/feel/get etc, being able to sell that idea to whoever is paying, being able to turn on creativity like a tap, being able deliver on time (way more difficult than you think), being able to completely adjust your ideas and composition when the director decides to make a new cut at the 11th hour (I've never been on even a small project where this didn't happen at least 3 times), being able to create various different ethnicities and themese of music.....

And these are just the main creative aspects, not to mention all the technical facets.

Again, I'm not trying to put anyone off, just that I've seen the industry chew up and spit out so many wide eyed producers and msuicans who listened to some Andy Blueman and thought "I could do that!".

Storyteller is right - you're actually way more likely to get in to through a super lucky connection, than you are if you're not at the top of your game.

the problem is that people that think they want to score don't understand what it actually is. And all those people trying to be hanz zimmer 15 years ago , well first off, umm fuck it i don't even know where to start.

And yes, your music means nothing depending on the route you take. For legal reasons, nobody will admit to listening to it, and if it is really that great, you start as a runner or if you have an education an orchestrator. there is no shortcuts. everyone starts the same way. You have to live in LA for film, NYC or LA for video games and TV. So if you don't plan to move, forget it.

goos luck .


And the jingle racket they have going, that is music for librairies. well unless are with the top companies, I can think of 2, you are getting 200$ a track. IF they like it. That isn't a route to a career. And those companies won't talk to you if you aren't represented. So it isn't really that easy. EDM is really the most simple way to make a name for your self. Branch out then.

quote:

Originally posted by Looney4Clooney lol. as far as time spent and money made, this industry is not what you are looking for. Looking for a fast buck, play the stock market. Most composers do not start making a living until their 40s. That is when your career starts. But if you are a somewhat known pop act or EDM act, you can license a track and if the show is syndicated, it will make your beatport revenue make you go jesus titty christ.

ha ha but edm to me is boring to produce and so i dont ever plan on playing the marketing game or writting the next big hit for lady gaga.

i have taken on Bord what you guys have been saying it has been a eye opener so thanks.

There's a guy I know on Soundcloud who allegedly has a few relatively high profile placements (Swamp Wars, Americas Next Model etc). I'm generally fairly interested in score stuff anyway as it's part of my remit for this little hobby of mine.

One thing I've noticed, is that the score scene seems to be equally as formulaic as any form of EDM, at least at the small fry level. I mean this guy is technically excellent, but so boring it hurts.

On the flipside, Inception still ain't getting old.

quote:

Originally posted by tehlord There's a guy I know on Soundcloud who allegedly has a few relatively high profile placements (Swamp Wars, Americas Next Model etc). I'm generally fairly interested in score stuff anyway as it's part of my remit for this little hobby of mine. One thing I've noticed, is that the score scene seems to be equally as formulaic as any form of EDM, at least at the small fry level. I mean this guy is technically excellent, but so boring it hurts. On the flipside, Inception still ain't getting old.

TIME great track i like to think if people want need music for somthing and you are making them type of tracks/songs you have catered to there needs.

quote:

Originally posted by stewart.m ha ha but edm to me is boring to produce and so i dont ever plan on playing the marketing game or writting the next big hit for lady gaga. i have taken on Bord what you guys have been saying it has been a eye opener so thanks.

to succeed in that business, you will have to market yourself as well. Everything just gets harder. BaSically I would say if you can't make it in EDM and you gave it a very serious go, you won't really make it anywhere else. It is the easiest niche to get into and succeed.

quote:

Originally posted by tehlord There's a guy I know on Soundcloud who allegedly has a few relatively high profile placements (Swamp Wars, Americas Next Model etc). I'm generally fairly interested in score stuff anyway as it's part of my remit for this little hobby of mine. One thing I've noticed, is that the score scene seems to be equally as formulaic as any form of EDM, at least at the small fry level. I mean this guy is technically excellent, but so boring it hurts. On the flipside, Inception still ain't getting old.

those types of underscores are the worst kind of music to ever have cursed this planet. Just awful. Hollywood churns out some shit but some of the stuff on TV. Yikes.

quote:

Originally posted by Looney4Clooney those types of underscores are the worst kind of music to ever have cursed this planet. Just awful. Hollywood churns out some shit but some of the stuff on TV. Yikes.

True that. You have no idea how difficult it was working on three seasons of a popular TV show about women living in a cul de sac. I get uncontrollably violent if I just hear the first bar of that theme.

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