[Fmpro] cooperation vs competition

[Christopher Alpiar]

So if the Oscars only go to original scores written *for* that film, 
where will we "library composers" get the training and jobs that equate 
to training to be eloquent writing score *to* film, not just writing 
compelling music for a scene we create in our head?

Mark Northam wrote:
> Hi Bob -
>
> Great question! In a nutshell, my answer: libraries.
>
> More and more shows, especially cable, but even some network shows are being
> "scored" by choosing library cuts from the massively expanding world of
> music libraries. These days, library cuts use live musicians, the sync fees
> are very, very low (or free), and the libraries seem to be largely in
> business as far as film/TV goes to collect the back-end royalties. The cost
> difference between custom score and using cheap library cuts is huge, and
> sadly, these days "music quality" doesn't seem to rank very high on the
> priority list at many production companies, especially when it comes to TV.
>
> What to do about it? Start your own library and be competitive for shows
> that have chosen that business model for music.
>
> Best,
>
> Mark Northam
>
>
> On 2/10/08 11:58 AM, "Bob Safir" <bsafir at socal.rr.com> wrote:
>
>   
>> The real issue is this: why, with
>> so many more possible opportunities, from 500 or more cable stations - to
>> thousands of new independent films - to games, multimedia, and you-name-it,
>> are the opportunities not filtering through to the composer community?
>>     
>
> --------------------------------------------
> Mark Northam, CEO  |  mark at gmocorp.com
> Global Media Online, Inc.
>
> http://www.DemoCheck.com - Get Your Music Heard By The Pros
>
> 1-888-910-7888 ext. 702 / 310-209-8263 ext. 702
> Yahoo/Skype: marknortham  /  AIM: mnortham
>
>
>
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