Posts filed under Education

3 Tips for Running Your Creative Project Like a Boss

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Imagine managing a project and never running into snags or roadblocks — everyone takes ownership of their roles and every process runs smoothly all the way up to the finish line. Such a world exists! Teaming up with our friends at Wipster, we’re bringing you three important tips for streamlining communication and collaboration.

Just like how we know how to support our clients find music for videos, our friends at Wipster know a thing or two about getting everyone on the same page. Here are their three tips for working with clients on video and creative projects.


Every filmmaker strives to make their videos both creative and unique while also fulfilling the business goals of their client. The balance, however, between creativity and goals can be a fine line to walk when there are many cooks in the kitchen. So what are the best ways to set up your video for the ultimate success without losing your creative touch?

Let’s dive into the three ways to best manage your communication with your clients so everyone is happy!

The Creative Brief and Pitch Deck

When your client comes to you with a project idea, it’s best to work with a representative from  your client’s organization to draft a creative brief. A creative brief should include these three core components: the target audience, call-to-action, an overview of the video’s goals and objectives, and the production schedule or any hard deadlines.

The creative brief then becomes the backbone of the project and the starting point from which you can make your pitch deck.  

A compelling pitch deck should include the following:

  • An intriguing tagline the summarize the video (this is also known as a log line)

  • The Technical Style: How will the video be made? In what style? Animation? Live Action?

  • Voiceover Script (if any)

  • Reference and/or Inspiration videos and music

  • And mood images

Pro Tip: Include musical links or samples in your brief as well! Music is such a key component for the mood of your project and it will help your client understand the tone of the video.

Once the client approves the pitch deck, then formalize the agreement.

Formalize the Agreement

If you’re a freelance or agency, I’d highly recommend creating an agreement template that includes the production fee, deadline, and has your creative brief and pitch deck attached to it.  

Before the agreement is signed, it’s important to make sure all stakeholders approve the brief and the pitch deck. This means asking your client, “who is the person at the top of your organization that must approve the video before it goes out?” Make sure their bosses’ boss is involved so that way there are no surprises when the final edited video reaches their desk for approval.

Of course, as production carries on things might shift or change slightly in the production. That’s the nature of production! But at least you can use the agreement as leverage to go back to hold both yourself and the client accountable.
In your agreement you can list out the number of feedback cycles included in the cost production. Typically two rounds of edits is the norm unless there are any outstanding typos.

Then send it out for signature!

Use Wipster for Review and Approval

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Once your video is ready for review, there are a lot of ways to share with your team for feedback. If ever in the face of a tight deadline or pesky varying timezones, getting quick revision notes can seem challenging. But the workflow can keep flowing even in the collaborative process when using Wipster to send your video for feedback.

The creative feedback and collaboration features of Wipster allow your client to leave secure and private notes directly on the video, rather than feedback via an email chain which usually consists of a list of time-coded comments.  

From Wipster, you will get notified when your client has viewed and finished commenting on the video, making the process seamless. And all feedback will be time-coded and nicely fit into one place.

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Pro Tip: Before you send your client a Wipster link to review remember to inform them what Wipster is — so they understand what the tool is for. Remember, no surprises!

You can also send your client this list on how to give constructive feedback. More communication is better than none! Keeping everyone on the same page will not only ensure that your project succeeds, but also make your video client happy.

Once the video is approved, Wipster can also be the file delivery method. You can enable the client to download the original and approved video file.

The Wipster team is constantly working to improve feedback loops. If you’re interested in trying it out, sign up for a 14-day free trial. Happy video making!

The Art of Getting Paid Through Sync Licensing

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Finding music for licensing isn’t something that occurs in a vacuum. The search, the process and results greatly impact those working behind the scenes to generate the art itself — the musicians.

In an industry of supporting artists to garner another revenue stream through commercial music, sync licensing ensures artists get paid for their work whenever their songs are put to use. That’s right, when a song plays over an ad campaign or in the background of a movie, a sync license is what grants someone the music rights for that film.

At Marmoset, there’s intentionality that goes into ensuring our artists’ music go from being catalogued on our roster to being placed to picture. Because securing a sync license means getting our artists paid for their work. Like that never-ending train standing in the way of you and a timely arrival (a plea to spot its caboose for signifying its final departure), when it comes to pitching music our team is in it for the long haul; from ensuring music is easily searchable on the Marmoset site to staying knowledgeable on updates to the continually evolving music catalog.

So what can artists do on their end to ensure they’re not holding anything up with a promising sync license? Marmoset’s Marissa Hernandez, Music Licensing Creative chats with Kill Rock Stars’ Portia Sabin on the final installment of The Future of What’s Get Paid series — follow the link below to listen.

Marmoset presents Music Placement in Media

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For Portland Design Week, Marmoset opened its doors to the music and film community, delving into the world of music placement in media. An expert panel of music supervisors including Morgan Rhodes, Megan Barbour and Brooke Wentz, the discussion revolved around the epicenter of music supervision — from their favorite upcoming artists to common misconceptions about what their day to day looks like (no it’s not all just pitching one song then kicking back over beers with the film crew).

While getting music rights is imperative for any music supervisor working in the TV & film industry, the panel echoed a core music supervision responsibility they all share: it’s not merely about finding music that brings the visuals to life but searching for songs that punctuate the director’s overall message without interference.

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“My interest is always about serving the story,” says Morgan Rhodes, LA-based music supervisor. “I come from an indie film background, this is sort of how I got into the game; I don’t know what it took for that filmmaker to get to the point of having their film in festivals, so the last thing I want to do is throw my own agenda on it. Sometimes it’s a great song, but it might not be a great song for that moment. But if it is a great song while serving and carrying the moment, then that’s what I’m about.”

The topic of jumping through hoops of approval processes and music clearances inevitably come up, but there’s a larger pain point that each panel speaker has encountered too many times to count. Music supervisor, Brook Wentz echoes a passionate plea to the audience, specifically addressing the musical artists keen to explore the world of music licensing.

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“If you want us to use your music, the number one thing you need to have is contact information that you actually respond to,” says Wentz. “If you’re not reachable, you’re not going to get the gig.”

Music supervisors unarguably are at the forefront of music discovery, their roles so closely entwined with how quickly an emerging artist’s can enter the spotlight of recognition. Apart from the hurdles of negotiating with copyright holders for bigger named artists, there’s a resounding commitment for finding and helping artists catch a break. It’s something that aligns with Marmoset’s mission when helping clients license music for video (or creating original music) — it’s the consciousness effort to do right by artists first and foremost, before all else.

“One of the things I really like about indie artists is they get placement,” Rhodes says. “They understand that it is sort of the new A&R — sync is a way to get noticed. You can get discovered in the blink of an episode.”


Missed this special community education event? Head over to our Facebook page to watch the recorded steam (learn about a music supervisors tool belt and how they search for new music) — don’t forget to subscribe to our newsletters for future community events like this one and we’ll catch you next time!

Marmoset's Music Community Education Event One Week Away

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Design Week Portland is approaching quickly, which means we’re only a week away from opening our doors and kicking off the first Community Education Event of the year.

The event Sound Perspectives (learn more here), brings together a panel of industry experienced music supervisors and an audience full with musicians, filmmakers and creatives into one room. The discussion will revolve around the art of music placement in media, the panelists sharing their insider knowledge and experiences with those participating on this special evening.

Still need to RSVP? We got you covered. Head over to the Design Week Portland site to get moving — and don’t forget to peruse the rest of the week’s lineup.

Find Music for Videos Like a Pro

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From iconic film soundtracks — to the catchy song derailing your plans of skipping that ad on YouTube — it’s quintessential proof that music can either grab or lose someone’s attention quicker than you reaching the end of this sentence.

And just like your next big idea or project taking the right amount of forethought, so should your plan for finding the right music. Lucky for you, Marmoset’s roster of music has something for every project’s creative (and technical) demands. We’ve got three tips to keep in mind when when you are trying to find music for videos.


One

Steer clear of creative sabotage by budgeting for a project’s music needs way before beginning the song searching phase. Trying to find music for videos and then license a song you’ve fallen in love with while working with a few pennies remaining is heartbreaking for everyone involved.

While Marmoset’s music licensing team can work their magic on projects with the tightest of budgets, our aim is to ensure the artist — who’s ultimately providing the song of choice — walks away with a fair share for the song’s use.

Understanding the project’s terms (where it’s being shared/distributed and details like its timeline) is a good start toward finding and securing your dream music. Questions? Get in touch with our team and we’ll walk you through some options.

Two

While the Marmoset music catalog is curated by an expert team who understands music trends (especially when it comes to licensing), you might still need a little extra creative support when considering which music to license.

If you’re trying to find music for videos, utilizing the search tool and filters on the Marmoset search page is step in the right direction, but if you’re still feeling slightly overwhelmed, head over to the Marmoset mixtapes section.

Created by Marmoset’s music licensing coordinators, creatives and A&R team, these mixtapes are music collection gold. They’re compiled and curated with you in mind. From electro funk, vintage soul to songs with a lot of bass — you’ll find music collections for videos that we think will catch your attention too.

Three

Music that packs an emotional punch at all the right moments is half the battle when choosing music in your video. Sure, a song in its standalone state might sound amazing but it has to pair perfectly to picture once edited together with the actual video content. If you’re running into roadblocks after finding an almost perfect song but can’t get it to seamlessly fit with your video, you’re not out of luck; Marmoset offers a wide variety of customizable music that we can further tailor to your needs.

When searching for a song on the search page, select “customizable” in the filter settings and type in your song search keywords — all the shown results will be customizable friendly!

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Or if you’re contacting our creative licensing team to find music for videos, simply mention you’re interested in options that support customizability and we’ll get to work!

Learn more about customization here to get started.

Posted on April 3, 2019 and filed under Marmoset, Music, Music Licensing, Education.

Teaming up with Music Supervisor Experts for Design Week

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There's an art in getting people to pay attention. Whether this be getting audiences captivated by your film trailer or the brand campaign you’re crossing your fingers in hopes it’ll go viral.

For music supervisors, they understand there’s a strategic technique in getting content noticed — it’s part of their jobs when it comes to placing compelling music to picture. But every wonder how they approach searching for and licensing the music they find for film, TV and other media? There’s a story or two (or three) behind it.

Join us at Marmoset headquarters for this Design Week Portland special event where three industry Supervisors take us through the intricacies of placing music and how they connect & support their music community. 

Sound Perspectives: the Art of Music Placement takes place on Wednesday, April 10th at Marmoset Headquarters. 

Doors at 5:30pm

Event begins at 6:30pm

Space is limited — RSVP below before it's too late


About the panel

Morgan Rhodes is an LA-based music supervisor who is known for her work on projects such as Selma, Queen Sugar, and Dear White People which has allowed her to collaborate with filmmakers like Ava DuVernay, Oprah Winfrey and Justin Simien. Since the early days of cutting her teeth as an on-air personality at influential independent radio station KCRW, Morgan has spent the last several years as a music programmer with shows on Philadelphia’s WURD 900AM and LA’s KPFK. Her blend of avant-garde R&B, left-field soul, electropop, beats, dance and world music has won listeners both domestically and globally.

Brooke Wentz is CEO and co-founder of the new international music discovery site Seven Seas Music.  As the former Music Director of ESPN she founded the music supervision and licensing firm The Rights Workshop. She has authored numerous articles about music and published the book Hey, That’s My Music!: Music Supervision, Licensing and Content Acquisition and most recently Music Rights Unveiled. She is a Billboard Award winning producer for one of the best selling world music recordings, and a former NYC radio host. A graduate of Barnard College and Columbia Business School, Brooke resides in her native city, San Francisco.

Megan Barbour is a music supervisor at Buddha Jones in Hollywood CA. For the past four and a half years she has worked on numerous theatrical, broadcast, and video game trailer marketing campaigns for major studios including HBO, Netflix, Paramount, Amazon, Focus, and Warner Brothers. She is honored to be a part of the amazing Buddha Jones team.