This page contains a Flash digital edition of a book.
www.musicweek.com


02.08.13 MusicWeek 29


clients [in sync].” Kobalt’s Stoddart has witnessed the difference


between landing a sync come down to being able to get full approval “in a matter of hours or minutes.” “As such, it is critical that the publisher and


master owner be in sync with one another,” she explains. “It is equivalent to the old adage, ‘the left hand talking to right hand.’ “Music supervisors perk up when they hear the


term ‘one stop shop’, so if we can't provide that, the next best thing is to make sure that the master and publisher(s) are on the same page and have a great working relationship.” The working relationship isn’t just important


when it comes to clearance, Imagem’s head of UK Creative Services Rosie Hill points out that a united label and publishing effort is also a key part of


making sure that the placement opportunity is fully exploited as mentioned earlier. “It’s not just about teaming up on the cut-and-thrust of the actual pitch negotiations,” she says. “What’s key is working together in the run up to releases or tours; utilising the sales and marketing resources on each side to open up as many opportunities as possible.” Despite direct sync revenue dipping slightly in the


UK over the past few years, there’s a consensus that labels and publishers’ focus on the sector has increased. Sony Music’s Ian Neil says that focus on sync has grown significantly over the last decade. “It’s there for all to see across labels and publishers and will remain as strong in the future. It is now a key part of the industry.” Globe’s Marc Robinson anticipates “an incredibly exciting time for sync” over the next 5-10 years.


“That’s partly because of how the landscape of the music industry has changed recently, but also because we are working closer and more creatively than ever with agencies, film and TV companies and in all different areas of content,” he says. “Technology will also enable us to become more


sophisticated and strategic in sync. Currently Shazam is sync’s best friend and ally!” he adds. Imagem’s UK sync team also reflects added focus,


having grown from a two-person effort to a seven- strong workforce, and it anticipates further growth in the future. “The line between private and corporate music


usage are becoming more blurred by the day,” says Rosie Hill. “There may be challenges in terms of how we protect our writers, but the fact it’s such a huge part of pop culture should be seen as positive.”


IN SYNC WITH MUSIC SUPERVISORS: WE ASK SYNC’S GATEKEEPERS HOW MUSIC EXECS CAN MAKE THEIR LIFE AS EASY AS POSSIBLE TO INCREASE THEIR CHANCES OF SCORING PLACEMENTS


Will Quiney Recently worked on: Kick-Ass 2 (film) “I rarely have time to listen properly to drives full of music or even whole albums. So I ask people to just send me some hand-picked,


brilliant songs - tell me what you think they would be suitable for too. Make sure you have mastered instrumentals of every track ready to send if requested. Be realistic and flexible with fees. If clients can’t afford the track, I’m often just instructed to find something else that is within budget.”


Kle Savidge Recently worked on: The Harry Hill Movie (film) “Have instrumental versions readily available as they are often helpful. Also, having deals in place with counterparts in other territories


would make clearances faster and more straightforward - so for example, any UK enquiries for a US artist would be cleared out of the UK by the label internally/directly with management instead of having to first go to their US office.”


Sergio Pimentel


Recently worked on: Lyroke (video game) “Don't pitch songs that are unlikely to clear. Although one can never tell whether a song will clear or not, you do see artists and bands


that never clear being pitched for projects only then to deny the use. If an artist or writer declines, find out why. It’s amazing the number of denials I have seen where no one has asked why the request has been denied – this will save a lot of time going forward. If an artist is anti-war for example, it's unlikely they will clear a song for a war-based first person shooter!”


Nick Angel Recently worked on: The World’s End (film) “Don’t make false promises. Don’t tell me I can get the track when I can’t, or I can have the song for nothing - as the publishers will


have something to say about that! Also do what you say you will, when you say you will.”


Sophie Urquhart Recently worked on: Stone Roses: Made of Stone (documentary) “I encourage copyright-owners to be fairly specific with what they send out: key releases,


new signings, top sync tracks and instrumentals rather than full catalogues. I use these to build playlists which act as an inspiration guide before I begin a search. I’'s very time consuming sending briefs out and often we don't get the chance as deadlines are so tight. So, when we do, we encourage copyright owners to send back a handful of tracks that fit the brief using simple [digital] delivery systems.”


Alex Hancock Recently worked on: Skins (TV) “Realise that we tend to get sent more music than there are hours in the day! Pointing out key tracks or even just sending


me releases they expect me to like/find useful is always appreciated.”


REVENUE STREAM OR PROMOTIONAL AID? LABELS AND PUBLISHERS HAVE THEIR SAY ON THE VALUE OF SYNC


Marc Robinson MD Globe, Creative & Commercial, Universal Music UK “There should always be a cost for sync, firstly to represent how the power of a song and artist can alter the position of content and hence its reach but, on top of that, once a song is selected we don’t control its distribution or push. Until it’s out in the market you can’t guarantee how people will respond. ”


Dave Philpot


Head of Sync, Believe Digital “It should be thought of as a direct revenue stream, it’s your music being used in multi-million pound advertising campaigns that sell multi-million pound a year turnover products. It sells products for companies so make sure you are compensated.”


Rosie Hill


Senior Synchronisation Manager, Imagem “It’s definitely beneficial as an additional way to promote writers/artists to a wider audience and can of course generate incremental revenue as a result through record sales. However, sync has to be seen and managed as a direct


revenue stream. A&R don’t sit back and wait for one of our artists to have a surprise hit off the back of a successful ad campaign, nor do we wait for A&R to sign the next number one hit that will ‘effortlessly’ get itself synced.”


Michelle Stoddart


Senior Vice President, Synchronisation & Digital Media, Kobalt Music Group “At times it is more advantageous to secure a sync for a lesser fee because the promotional value could potentially benefit more so than the fee. However, at other times when assessing a production’s budget and music budget, it is in the best interest of our writers that we be paid accordingly. Music is never free, nor should it be, but there are times when tangential considerations should be taken into account.”


Mark Fried Founder and President, Spirit Music Group “The revenue benefits are clear, as sync fees have generally held up while other streams have taken hits, they’re paid through fast and they tend to grow algorithmically thanks to renewals, options and perpetual global broadcast. At the same time, the potential promotional benefits are limitless. We have some confidence that mutual need and respect will keep sync values reasonably high.”


Gareth Smith VP of Marketing and Sync BMG Chrysalis UK “It’s obviously both and we think of it as both. No two sync deals are the same and as much as precedent dictates how we make certain decisions, every opportunity is approached differently.”


Ian Neil Director of Music for Film, TV, Advertising and Games, Sony Music


“It can be either or both, depending on what music gets placed and when.”


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60