|Documentary Music Virtual Symposium|
ALL YOUR DOC FILM MUSIC QUESTIONS ANSWERED!
We covered Doc Music A to Z with the top people
in the Doc Music Industry!
Did you miss the Music Symposium? No worries!
WE RECORDED IT AND YOU CAN NOW PURCHASE A PASS TO
hear all of the interviews and download the sample agreements!
(The Symposium is FREE to DocuMentors members, Read more...)
Listen to the Doc Music Virtual Symposium and get informed and inspired! Plan on saving yourself tons of grief and money with what you will learn, and set yourself up for a really great time with one of your most important collaborators. Here's what's on tap:
•How To Find the Best Composer for Your Project
•When to Bring on Your Composer
•How to Use Temp Music in the Most Effective Manner
•How to Collaborate with Your Composer for a Superior Score
•How to Negotiate a Win-Win Contract with a Composer
•How to Budget for an Original Score
•How to Budget for Stock Music
•When You Need a Music Supervisor
•How to Work with a Music Supervisor
•What kind of Licenses You'll Need to Secure (Master, Sync, etc...)
•What Essential Rights You Need to Negotiate when Licensing
•Where & How to Get the Best Royalty Free Music
•PLUS: SAMPLE AGREEMENTS!
MIRIAM CUTLER: One of the most renowned documentary composers in the business today, Miriam has scored such doc hits as Lost in La Mancha, Ghosts of Abu Ghraib, and Thin. Her newest film which she also co-produced, One Lucky Elephant, is premiering at the LA Film Fest in June. Miriam is talented, amiable, forthright and highly experienced and provided us all with essential information about how to successfully find and collaborate with the right composer for your film.
JAMES WESLEY STEMPLE: Jim is a truly gifted and versatile artist, with whom we've had the great pleasure of collaborating on our film Shakespeare Behind Bars. He has extensive experience in feature films, documentaries, television and live performance and is well versed in a wide range of styles. He feels fortunate to have had the opportunity to move comfortably between recording live acoustic ensembles and cutting edge digital technology and sound generation. Always one to go the extra distance for excellence, on his latest film, Walt and El Grupo, he traveled extensively in South America, absorbing the flavors of the culture and music and infusing those into the score. For this Symposium, James dialogued with filmmaker Ted Thomas, director of Walt and El Grupo in a case study about the collaborative process between filmmaker and composer.
TED THOMAS: Ted was the Director/Writer of Walt and El Grupo (Kuniko Okubo produced). Working with Jim Stemple, he guided the score for Walt and El Grupo which embodies musical styles from Brazil, Argentina, the Andes and vintage American Swing. The original soundtrack was recorded in several locations with 35 musicians.
BROOKE WENTZ: Brooke is an award-winning music supervisor and seasoned intellectual property rights executive with more than 20 years experience working in the television, cable, film and recording industries. She has a diverse and extensive list of credits, including work in television (ESPN, HBO, Discovery) and film (The Devil and Daniel Johnston, American Hardcore, Ballets Russes, and Academy Awards®-nominated documentary The Weather Underground). Brooke is also the author of the book "Hey, That's My Music: Music Supervision, Licensing and Content Acquisition", a guide to music licensing and copyright issues.
MUSIC DEALERS.COM: A full-service global music licensing website that connects independent artists and music producers to clients and brands. Staff includes music licensing and publishing veterans, qualified and musically-literate in-house cataloging experts, and a team of A&R reps. Artists have the ability to upload and manage their music in our catalog, create a simple profile for themselves, as well as stay informed of all new licensing job opportunities. Clients have the ability to quickly and efficiently find the perfect track for their purposes using a fully-optimized searchable database.
Here is the Symposium line up:
Segment 1 (60 minutes) - Miriam Cutler - The Creative and Business Aspects of Working with a Composer
Segment 2 (50 minutes) - James Wesley Stemple and Ted Thomas -Case Study with the Director and Composer for "Walt & El Grupo"
10 min BREAK
Segment 3 (30 minutes) - Sean Sirkin and Mike Sandoval of Music Dealers - Licensing Music Online with Independent Musicians
Segment 4 (30 minutes) - Brooke Wentz, The Rights Workshop - Working with a Music Supervisor and Licensing Scenarios
FREE TO DocuMentors MEMBERS
A small investment in this Symposium will save you many headaches and a lot of money. Creating the music for your Doc can be one of the most enjoyable aspects of the filmmaking process, but over the course of 20 years in this business, it seems we've heard the most horror stories involving music! So many expensive mistakes can be made when choosing, licensing or just plain "borrowing" music for your documentary. Simple errors and misjudgments can cost you thousands. This is one area where you really want to know the score before you dive in.
PURCHASE A PASS for all you'll ever need to know about Documentary Music!