Just curious how many here have used Film Music Network services before, and if they were helpful in finding work?
I\'m done with school and getting ready to move, spending the free time now making as impressive a batch of demos as I can muster with new sample-sets, and basically just starting to seriously seek work for the first time.
There are a few months before I\'ll have to start working a straight job to pay the bills again, so I\'m trying to make the best of the time. I suppose I\'m sort of looking for the music employment section of a newspaper that doesn\'t exist, so I\'m wondering what is used instead for the lower-budget projects that agents wouldn\'t handle? I\'m proud of the college of music I hail from, but sadly, it is not nearly so forward thinking a place as Berklee, with their career-minded music courses. So there is alot I don\'t know. I\'ve read standards like Rona\'s The Reel World, endlessly searched online, and it all helps. But even still, I find myself standing here with a tape (not really a tape, just go with the metaphor) in hand wondering which direction the people I should play it for are in.
I was a member for a while, but aside from a few cool seminars from composers that had lots of interesting anecdotes but little to no lead generation potential, I didn\'t get as much as I expected. The job listing thing was hot and cold, and sending out demos to those folks is a longshot. Everything I\'ve ever read, heard, or experienced said that personal contact is worth 1000 demo reels.
A better idea would be to start working the indie film, commercial spot, and other markets in your area. You\'ll get a lot more mileage from spending money on networking to the other groups you want to work with. I joined The Exchange, which started locally in L.A., but is now looking to branch out into other media markets. I\'ve gotten more leads and met more potential collaborators and clients in two meetings there than I got from a year or more from TAXI or FMN. This is just my personal experience.
Find out what\'s going on in film and video in your area and crash the party.
Thanks Houston, I appreciate that information. I wasn\'t really expecting FMN to be the answer, and your reply seems to indicate that I\'d do better focusing my attentions locally. I went ahead and paid the $12 to check it out, and have to say that there really is a great deal of information to be obtained. They certainly do focus on aspects of which I know very little, regarding royalties and such. But as far as getting a paying job, well, maybe I\'ll get lucky, but I won\'t count on it.
Ned - that\'s a pretty nice compilation of material ya got there, thanks for sharing it!
Locally, I\'ve scored a professional (albeit low-budget) play here in Dallas that ran at the MAC for a while (it got horrible reviews in the papers but was FUN to do... thankfully the critics made no mention of the music, which it was pointed out, ended up being just about the only thing that wasn\'t knocked! [img]/ubbthreads/images/graemlins/wink.gif[/img] ) I was later contacted by the producer of that play who paired me with a different director and producer for an hour long short film. They\'re all wonderful people and a pleasure to work with, but there is little money and doubtful potential for recognition. I will work with this production team again (they have a feature-length that is in editing right now that I\'ve been told looks and feels like something produced with a much larger budget, so that gives me some hope...) The reality is it will probably be a fun project, but nothing that would make the film circuits. I will score it for the experience, practice, and certainly the pleasure. Other than that, I will be working for a friend\'s 5-minute-ish film project, which will almost certainly look very well done and is LOADED with special effects (which is the intent of the project, the story is secondary) so I\'ll probably get a really good film + music demo, full of scary/startling/playful/exciting music. So that will get me something to send with picture, which I needed badly...
Still not sure exactly where to send stuff, but I\'ll start with FMN listings that seem appropriate and just kinda go from there.
I am thinking about putting a DVD case, complete with some tastefully simple cover design work, a small brochoure of sorts containing pertinent information about me, and a CD of various demo tracks together for a package to send out, and maybe include a DVD as well if I have less distracting footage to include later. But I\'m not doing any of this until I finsih some music, which I need to get back to.
Who\'d you do the play for, Kitchen Dog? Which one was it? I do one every couple of years or so for them...about all I can afford.
In this market (Dallas) the way you\'re approaching it is pretty much how to do it. I have a feeling that\'s the way it is everywhere, ultimately. The best hookups are people who were impressed with your work, who get you other work.
i dumped them after i realized 99 % of the \"jobs\" posted were either no budget
or student projects. and i never have heard of a composer getting work through
it. 10 bucks a month can go for better things
Hi Bruce, the company is PXArts productions, run by a real character and good guy, Vikas Adam. The play was called Blood Bondage, and other than one brief nude scene, was actually nothing like what you would have expected from a title like that!
I sort of got a trial by fire almost 5 years ago, when I was approached by Vik through a mutual friend of ours to see if I\'d be interested in scoring a play. All he knew was that I\'d recently quit the arts (visual) and had just barely started working towards being a composer. I had a better than average background in music (concert pianist mom and clarinet player dad) but hadn\'t had any college music courses yet, and really... I mean really... I had NO idea where to begin! I owned Cakewalk back then, knew nothing about midi (was so terrified of the whackiness that is MIDI, that I actually did over an hour\'s worth of music for 30ish cues, track by track, line by line, without midi notes... simply recording from the outputs of a yamaha synthesizer! My god, I can be monumentally stupid sometimes. I found all kinds of ways around the many problems, and even during that last week of rehearsal, when the director decided to cut entire scenes and add material to existing ones, which had already been scored... that was a hoot without the ability to go back in and change notes... I stayed awake for 104 hours (my room-mate at the time clocked me with this creepy, morbid fascination...) and finished the changes in time to arrive at the show with the discs and updated cue sheets only about an hour before the thing opened. Thankfully, it all went off without a hitch.
I slept through my very first public performance... which, all things considered... [img]/ubbthreads/images/graemlins/wink.gif[/img]
Actually, it really did turn out better than it sounds like it should have. I still don\'t know how that happened.
Shortly after, I discovered gigasampler, this forum, went to college, and have been trapped in Denton ever since... until next month in any case. Thanks for the reassurance, too! Next time you do some theatre work I would definitley like to check it out. Seem to recall you posting something regarding a show a while back, now that I think about it, but there was some function or something and I couldn\'t make it. Mind dropping a line here again next time \'round?
Mike - go figure, huh? Well, thanks for the tip. I\'ve paid for a month, and don\'t feel bad about that. Perhaps I\'ll go a little while longer just to check things out and be certain I\'ve given it a fair shot, but will probably cancel shortly. Thanks for the experience, muchly appreciated.