Cómo puede un compositor encontrar trabajo

#106 por hollenius el 01/04/2017
A ver, si hay tantos anuncios es que necesitan composers a punta pala...

Y hasta los que hacen sounds library les llaman porque quieren hacer demos sonoras... ya podían pedirlo directamente, no llamando a esa web
#107 por hollenius el 01/04/2017

vangelion, tu has pagado muchas subidas? y te han llamado de alguna? cual es la proporcion? porque el negocio esta por medio
#108 por Vangelion el 02/04/2017

Vangelion escribió:
yo hasta el momento por fortuna mantengo mucho trabajo y no he tenido que escribir a alguna de estas ofertas, así que hasta allá no se si serán efectivas

Como ya comentaba Hollenius, nunca he tenido que recurrir a estos sitios, por lo tanto no tengo argumentos para poder asegurar que funcionan o si es un negocio detrás de otro negocio, es muy probable que sea así como nos comparte Kamikase, este es un negocio un tanto agresivo, al ser un sector tan difícil, es probable que muchos hagan negocio de esto, son pocos los que realmente ofrecen consejos o información de manera desinteresada, a mi me ha pasado que alguien me dice que tienen un contacto muy bueno para ofrecerme y que no me cobrara por brindarme el teléfono, o que me dan un teléfono y si cierro negocio debo compartir un porcentaje y el otro tal como lo describe de nuevo Kamikase, sentado, es por eso que yo prefiero el trabajo duro, las citas, los festivales, las relaciones publicas, depender de mi y mi capacidad para relacionarme, es lo que hago y es lo que me funciona, y como dice el dicho, si funciona, no lo cambies.
#109 por Vangelion el 02/04/2017
Leyendo la publicación me encontré con este comentario que explica con mas detalle de que se trata ese sitio, aunque es igual de viejo a la publicación de Kamikase, no se si estará vigente esa dinámica de trabajo con ellos.


Mark Northam
Film Music Network

Film Music Network

Q: What is SubmitDIRECT?
A: It's an automated delivery technology for Film Music Jobs (see http://www.filmmusic.net) that allows those interesting in submitting for job postings to upload their music directly into a special review area that job posters use to listen to submissions and make contact with those they are interested in discussing licensing, hiring, etc with. Submitters can upload music, their website and bio/credits info, etc and reviewers with a single click can directly contact the submitter to learn more about their music or discuss a deal.

Q: What does it cost?
A: $1.99 per track for Film Music Network members, $5.99 per track for non-members.

Q: Where does the money go?
A: It pays for the development and maintenance of the technology we use to maintain SubmitDIRECT, and pays for the people who we hire to go out and find job opportunities to post.

Q: Do the job posters get any of the money?
A: Absolutely not. The per-track fees go to maintain the system and pay for our job researchers who locate new job listings every week. In essence, it pays for delivery technology, just like you'd pay FedEx or the Post Office to send a CD in the mail.

Q: Does every job you post use SubmitDIRECT?
A: No. It's up to the job poster - while many posters choose to use SubmitDIRECT due to the ease of use and ability for anyone to upload tracks quickly without paying high postage and delivery costs (FedEx, etc), some job posters prefer to receive CDs in the mail, etc.

Q: How many submissions do you get for a job?
A: The average is between 50 and 75. For very popular jobs that either are for "big name" companies or offer a very high rate of pay, the number of submissions can be over 100. Most submissions are from members.

Q: Who listens to the music that is submitted?
A: Unlike other services that employ anonymous "screeners" that decide whether your music is "good enough," our job posters are the only ones who listen to the music you submit. We believe that only those who actually post the job are in the best position to judge the value of the music submitted.

Q: Why do you accept only MP3 files?
A: Since the intent of the SubmitDIRECT system is to *audition* your music, not provide ready-to-use full resolution master copies, we decided on MP3 as the standard we'd use since it's so easy to create. Job posters also appreciate this as it's the most transportable and compatible cross-platform file standard. Once your music is selected, the job poster will usually request a high quality AIFF or WAV file for actual use.

Q: Suppose somebody steals my music and uses it in a film without my permission?
A: That's rare, given the fact that it would likely be an open-and-shut copyright case that would cost the music user far, far more in penalties and legal fees than it would simply to pay you for a license.

Q: Why can't I use copy protection software on my tracks?
A: Because job posters don't want the hassle of having to download a special plug-in or other type of decoder/decrypter. People are very, very reluctant to download and install anything on their computer that they don't really need.

Q: Is my music being forwarded?
A: We don't listen to and forward music like other services (like TAXI) - the client (music supervisor, filmmaker, music library exec, etc) is the one actually listening to your music and deciding whether they have interest in doing a deal with you. We don't listen to your music, and we don't have any role, we aren't involved, and we don't take any commissions, etc from any deal that you may make with someone who posts a job with us. The deal is completely between you and the person or company hiring you or licensing your music.

Q: Do I have to give up my publishing?
A: Not unless the job poster clearly spells that out in their proposed deal with you. The majority of job postings are for licensing music for film and television, which does not typically entail giving up any publishing interest. Some music libraries who post with us rename your music and use the new name for any placements they generate. In this case, they receive the publisher's share of performance royalties but only for placements they generate. They own no copyright, there is no transfer of copyright, they simply have a license from you to place the music and put themselves down as "publisher" on the film and television cue sheets in order to receive the publisher's peformance royalties from only those placements. You retain your copyright, you retain your publishing for all other usages, period.

Q: I submitted for a job but never got the automatic email that says the job poster listened to my submission. What gives?
A: In most cases, most or all submissions are listened to by the job poster. We've identified some issues with the auto email sending function that can occur when more than one poster are listening to music at the same time. We're upgrading our server array to attempt to solve these problems, which should be complete in about 30 days. We check in with our job posters for all open jobs every week or so to make sure they don't have any questions or issues listening to music. In some cases, however, a job poster will get partially through listening to submissions and find what he or she considers is "the" music for the job, and won't listen to the remainder of the submissions. In our talks with the job posters, however, we find these cases to be relatively rare.

Q: Are your job posters legit?
A: We contact each poster, whether we're reaching out to them or we receive an incoming job posting, in an effort to determine two things: 1) Are they legit? and 2) Is the job posting exploitative of the composer or writer they are looking to hire or the music they are looking to license. We turn down about 50% of the incoming job postings every week because we determine they are either not legit or the job posting is exploitative. You'd be surprised at some of the lousy deals some comapnies want composers to live with!

Q: I'm not happy with the deal that was proposed by one of your job posters who wants to use my music.
A: That's of course your right to decline any deal offered. Different people have different requirements and standards in this industry - it's a diverse group of people! It would be impossible for us to check every deal point on every contract that our job posters might offer composers, hence why any composer should have a competent and experienced music attorney check every contract or license thye are asked to sign.

Q: Are job postings all you do?
A: No, we have a comprehensive package of products and services designed to benefit those who work in the film and television music business. Check out our online store at http://www.filmmusicstore.com for books, guides, directories, and more about the business, and don't forget to get a free subscription to Film Music Weekly at http://www.filmmusicweekly.com and take out a free directory listing in Muse411.com, our online music industry directory.

Q: Somebody told me your company is a scam, Nigerian email scheme, etc!
A: We've been in business for 11 years, and our single goal is to provide job opportunities and open them up to people who may not have otherwise heard about them. Any questions, give us a call! You can reach us at 1-888-910-7888 and feel free to speak to Robyn Young, our customer service manager at ext. 1 or founder Mark Northam at extension 702. You can also email admin@gmocorp.com to reach Robyn or mark@gmocorp.com to reach Mark Northam. We welcome all questions, comments and feedback about our products and services.
Danilo Sante
#110 por Danilo Sante el 02/04/2017
Pues para mi es interesante, lo veo como cualquier bolsa de empleo pero con la ventaja que esta es enfocada en oportunidades de trabajo dentro del medio, por supuesto deben cobrar, una base de datos y una plataforma de esta magnitud no se sostiene sola, yo si lo veo como un buen recurso, sin embargo, creo que hay que estar en un nivel ya muy bueno y tener un portafolio muy decente para poder competir junto a otros aspirantes.
Danilo Sante
#111 por Danilo Sante el 02/04/2017
miangaco escribió:
..... Y yo me pregunto una cosa: con la de talento que hay en este taller ¿por qué no hacemos algo serio?.
Y no me refiero a hacer unas versiones y subirlas aquí como hobby.

Vamos miangaco, que no se pierda el impulso, que propones? :comer:
#112 por hollenius el 02/04/2017
Quiere montar un Holding hispa Enterprise, nos vamos rotando los trabajos, el problema es que cuando le toque al teniente a los demás nos borran de la lista, lo bueno, que cuando le toque a karpin y les diga que se lio con las librerías y que aun no pudo subir nada... y nos volverán a llamar... :desdentado: :plasplas: :plasplas: :platano: :bananaguit: :fiesta:
Cornelius Robespierre
#114 por Cornelius Robespierre el 02/04/2017
#113 pues anda que no molaría liarse la manta a la cabeza
#111 voy también a hacerme unas :comer:

hollenius escribió:
cuando le toque a karpin y les diga que se lio con las librerías y que aun no pudo subir nada... y nos volverán a llamar...

:mrgreen: :campeon:
#115 por hollenius el 02/04/2017
Los de TSFH hacen trailers de pelis? Pero de forma oficial? O como Ashton?
#116 por miangaco el 02/04/2017
La mayoría de los trailers de las mejores pelis llevan musica suya.
Es un pedazo de negocio.
#117 por Vangelion el 02/04/2017
#116 Es correcto miangacom, es un pedazo de negocio, Chromamusic, la otra empresa de Lucas Vidal, es relativamente nueva y ya se lleva una gran porción del pastel justo por la falta de empresas dedicadas de forma seria a este servicio, hay muchas que venden música prefabricada para montar las imágenes para trailer, pero la de Lucas es a medida, con todas las condiciones de un trabajo 100% Pro, así que es una muy buena idea de negocio y un campo de acción interesante con aun bastante posibilidades, no solo se limita a la música para un trailer de cine, también de productos, book trailers y todo tipo de promoción de servicios y productos que puedan ser acompañados de música con gran impacto.

Esta empresa por ejemplo ofrece las licencias de obras ya compuestas, también un gran negocio.

#118 por hollenius el 02/04/2017
Coño, pero si usan librerias.... Pues los cortes son como los de nuestro Taller, asi que solo nos faltanla web pa publicitarnos...Fortuna y gloria, que diria Indy...
#119 por Vangelion el 02/04/2017
Danilo Sante
#120 por Danilo Sante el 03/04/2017
Seria esa prácticamente la única inversión importante? La de contratar para una buena sesión y un buen vídeo para publicitarnos, que mas haría falta para poder montar un sitio así?
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