By:
Juliette Squair
Date::
17 Mar 2011
It was great to be a panel member at a recent Women in Film and Television (WFTV) event - 'Everything you need to know about Music for Film and Television'.
Alongside me was composer Philip Sheppard, Becky Bentham, director of award winning Hot House Music and Dina Eaton, music editor whose credits include the James Bond films amongst others.
Mediated by independent film maker Liz Tucker from Verve Productions, the debate largely focused on when choosing music for film or television – which is better - library/pre-recorded or composer?
Personally, I felt it wasn’t a question of ‘either/ or’ – I firmly believe it’s a good idea to have both.
Producers are in a strong place nowadays, they have lots of high quality music choices to suit their budgets. They need to look at each production individually, bearing in mind they need to think carefully about music rights. Do they need global clearance? Do they need clearance for multiplatform distribution etc.? These issues can then affect choices.
We also distributed an Audio Network Music Rights Made Simple handout which I’m sure everyone will find really useful. A great evening and I felt, a really worthwhile debate.
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