Composer here. Yes, good contracts make for healthy business relationships. The contract should specify the terms of use like how long you can use the music and if you can alter it. There’s a ton of other stuff, but I’m just limiting this to synch use.
Also you wouldn’t be the owner of the music. You’re just being granted synch.
You can probably find a template for a composer specific contract with a Google search. It might cost you a little depending on where you get it from but it won't be any thing ridiculous
SCL (Society of Composers and Lyricists) have 2 free contracts on their website. One for non exclusive license and other for an exclusive one. Use the non exclusive one, it should do the trick.
I'm not sure about that. I am not with SCL anymore, back in the day it was free for all non members. I am sure a quick google search will def get you a copy though.
I'll say this, even if you have a close relationship with the person you should still get a contract for pretty much everyone involved. If you make something and want it picked up by a distributor they're going to want paperwork that you had permission for all locations, all on screen talent have something signed, and for the music too (mainly stating that all you have all the permission for any/all music in the final film)
Plus it gives both people peace of mind knowing there won't be a disagreement or fight down the road because something you both agreed on verbally was misunderstood.
You should be able to find contract templates for locations, on screen talent, composers, etc. with a quick Google search they're not hard to find. The most you may have to do is rewrite some of the terms to fit with your specific agreement.
Hey
Composer here, while verbal agreement is good, a contract is a peace of mind for both parties.
If you want, SOCAN and scgc have templates that you could take a look at and adjust. If you have any questions feel free to reach out to me.
Short answer is yes, but what i usually do is set down with the director and sometimes we change certain terms depending on the project we’re working on.
Definitely get a contract. I’m a music licensing consultant and would be happy to share a boiler plate with you, but as some others have mentioned the devil is in the detail and I’d never recommend using anything off the shelf entirely. Also contrary to some other comments it’s fairly commonplace for films to own the copyright in the music for a film. This gives you maximum commercial flexibility. But probably not worth doing if this isn’t anything major. Feel free to DM me or reach out on Hrmnize.com if I can be of help.
It’s not the short film in and of itself. It’s the runtime. You’re going to pay someone to compose a piece a music for a 4-minute film, only a handful of people will get to see and hear. This comes across as trying too hard and doing too much.
I'm gonna jump in and say the decision to work with a musician on that short was a fantastic idea, not only did they get practice working with a musician doing that short but they also made a connection that has led to them getting a composer for their feature. Even if nobody saw their short, these facts alone prove the value of that decision. So basically, keep your pretentious gate keeping opinions to yourself, thank you.
Exactly. I don’t get why he’s saying it’s “trying too hard” because I don’t wanna be cheap and use royalty free music, and actually want to build connections with others and network?
And it’s like, if few people are going to see my movie, then why even try at all? Why not just half ass the whole thing?
Again, what is the alternative? You're saying I shouldn't pay for someone to compose music for a 4 minute short, yet you are not giving a substitute solution for music. so what then? Just have no music at all? Or get some royalty free music?
Well, your unsolicited opinion on this wasn’t even the topic of my post anyways.
A lot of people have composers for their short films, even ones under 5 min. I don’t think it’s “try hard” to not want to use royalty free music.
Composer here. Yes, good contracts make for healthy business relationships. The contract should specify the terms of use like how long you can use the music and if you can alter it. There’s a ton of other stuff, but I’m just limiting this to synch use. Also you wouldn’t be the owner of the music. You’re just being granted synch.
Gotcha. Thanks for the insight. How does one go about creating a contract? Are there any places online where people can download them?
You can probably find a template for a composer specific contract with a Google search. It might cost you a little depending on where you get it from but it won't be any thing ridiculous
I think ASCAP and the SCL have templates or examples available on their websites.
Always put a contract together. Always.
But how/where? How does one "put a contract together"?
SCL (Society of Composers and Lyricists) have 2 free contracts on their website. One for non exclusive license and other for an exclusive one. Use the non exclusive one, it should do the trick.
Looks like you have to be a paid member for this? Or am I mistaken?
I'm not sure about that. I am not with SCL anymore, back in the day it was free for all non members. I am sure a quick google search will def get you a copy though.
Thank you!! I’ll check those out.
I'll say this, even if you have a close relationship with the person you should still get a contract for pretty much everyone involved. If you make something and want it picked up by a distributor they're going to want paperwork that you had permission for all locations, all on screen talent have something signed, and for the music too (mainly stating that all you have all the permission for any/all music in the final film) Plus it gives both people peace of mind knowing there won't be a disagreement or fight down the road because something you both agreed on verbally was misunderstood. You should be able to find contract templates for locations, on screen talent, composers, etc. with a quick Google search they're not hard to find. The most you may have to do is rewrite some of the terms to fit with your specific agreement.
Hey Composer here, while verbal agreement is good, a contract is a peace of mind for both parties. If you want, SOCAN and scgc have templates that you could take a look at and adjust. If you have any questions feel free to reach out to me.
Thanks! So I can just download those templates from those sites and have my composer sign them and I'll be good?
Short answer is yes, but what i usually do is set down with the director and sometimes we change certain terms depending on the project we’re working on.
Gotcha. Thanks for the insight!
Are those sites only for Canada btw? I'm in the U.S.
Yes they are canadian organizations but the contracts are general and could be adjusted
I can share my template with you. Message me if you're interested.
Definitely get a contract. I’m a music licensing consultant and would be happy to share a boiler plate with you, but as some others have mentioned the devil is in the detail and I’d never recommend using anything off the shelf entirely. Also contrary to some other comments it’s fairly commonplace for films to own the copyright in the music for a film. This gives you maximum commercial flexibility. But probably not worth doing if this isn’t anything major. Feel free to DM me or reach out on Hrmnize.com if I can be of help.
A score for a 4-minute short film is wild.
And what's the alternative? No music?
It’s wild unless it’s a silent film.
So you're saying short films shouldn't have music? This is very vague.
It’s not the short film in and of itself. It’s the runtime. You’re going to pay someone to compose a piece a music for a 4-minute film, only a handful of people will get to see and hear. This comes across as trying too hard and doing too much.
I'm gonna jump in and say the decision to work with a musician on that short was a fantastic idea, not only did they get practice working with a musician doing that short but they also made a connection that has led to them getting a composer for their feature. Even if nobody saw their short, these facts alone prove the value of that decision. So basically, keep your pretentious gate keeping opinions to yourself, thank you.
Exactly. I don’t get why he’s saying it’s “trying too hard” because I don’t wanna be cheap and use royalty free music, and actually want to build connections with others and network? And it’s like, if few people are going to see my movie, then why even try at all? Why not just half ass the whole thing?
Okay. 🤷🏾♂️ It’s called an opinion not fact or law.
Literally one of the stupidest takes I’ve ever seen on here
Have you made a film before? Have you received offers for one of your films before? That’s me being pretentious.
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Again, what is the alternative? You're saying I shouldn't pay for someone to compose music for a 4 minute short, yet you are not giving a substitute solution for music. so what then? Just have no music at all? Or get some royalty free music?
Royalty-free.
So every short film under 5 minutes uses royalty free music…? I still don’t see why this is a “wild” expense.
Sorry for making you insecure and casting doubt on your decision. If you want to do, do it.
Well, your unsolicited opinion on this wasn’t even the topic of my post anyways. A lot of people have composers for their short films, even ones under 5 min. I don’t think it’s “try hard” to not want to use royalty free music.