[Fmpro] broadcasting rates and rights

[GIORGOS KOLIAS]

Dear Chris, 

Thanx for the advice. This IS a history channel kind of thing and I am doing this all by myself using samples and I plan to work on it for 2-3 weeks because of my rough estimate based on previous similar projects. The negotiation started at 13k and it closed to 8.5k. I still feel that I am underpaid since I am doing all the recordings for the narration -it is narration driven- but it's better than all the previous projects that I did (some of them were no pay, just like everybody in this industry did in the very beginning of their career) - I believe.

I will make sure that I keep the publishing and the writer's share of the performing rights before the tracks begin to become smaller with the editing and the final shape of the product, and that's where I grant them a
sync license, I guess.

I hopefully by the time I will be closer to the completion of the project I will acquire more knowledge on the subject and maybe I will need some more advice.

I appreciate another respond that was given to me, regarding a lawyer but if a portion goes to a lawyer then it will be even less worth it.  


Giorgos D. Kolias

--- On Sun, 6/1/08, Merritt Music Productions <chris at merrittmusic.com> wrote:

> From: Merritt Music Productions <chris at merrittmusic.com>
> Subject: Re: [Fmpro] broadcasting rates and rights
> To: fmpro at nxport.com
> Date: Sunday, June 1, 2008, 4:50 PM
> Hello Giorgos,
> 
> I think you are wanting some hard facts, so here goes.
> 
> You should keep the publishing and the writer's share
> of the performing
> rights.  Own the copyright to the music and grant them a
> sync license for a
> fee.  This should be non-negotiable, unless they will pay
> you MORE up front.
> 
> If it is a history channel kind of thing and you are doing
> it all yourself,
> using samples and the music will be done very quickly (one
> week or less,)
> then you can go as low as $7k.  You should ask for $20k and
> be willing to
> negotiate down.
> 
> If they want any REAL instruments, then THEY will pay for
> them.  If they
> laugh at your price, then they are not real producers. 
> Especially not
> producers you would want to work with.
> 
> Hope this helps!
> 
> Chris
> 
> 
> Merritt Music Productions LLC
> 
> merrittmusic.com
> 
> (323) 306-3057 (Los Angeles)
> 
> (347) 767-2952 (New York)
> 
> (865) 686-6388 (Knoxville)
> 
> (865) 300-5473 (Mobile)
> 
> (323) 306-3058 (Fax)
> 
> 
> -----Original Message-----
> From: fmpro-bounces+chris=merrittmusic.com at nxport.com
> [mailto:fmpro-bounces+chris=merrittmusic.com at nxport.com] On
> Behalf Of
> GIORGOS KOLIAS
> Sent: Sunday, June 01, 2008 1:36 AM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] broadcasting rates and rights
> 
> Hello everybody,
> 
> Although I never posted anything on this
> "mechanism" before, I 've done some
> reading on previous issues discussed here but this is my
> first posting. 
> 
> I've been composing music for the past 7 years, for
> small productions
> especially theater, off and off off Broadway. Recently I
> have received an
> offer to write the music for a documentary. The project is
> a low budget
> production yet it has potential to go big. My question is
> what should I do
> to get  a cut from the earnings in case this project goes
> really well, that
> is, better than expected. I am not union, and I haven't
> signed a contract
> with the production company yet. What is usually the
> procedure and how does
> a composer usually gets paid (and how much) from
> broadcasting if he is not
> in a union.
> 
> I hope any of you could help me.
> 
> Thanx in advance,
> Giorgos D. Kolias
> 
> 
> 
> 
> 
>       
> 
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> Best of FMPRO: http://www.fmproquotes.com - Quotes site  by
> Billy Hale Music
> 
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