Explaining Hollywood: How to get a job as a music supervisor (2023)

No one says a word in the opening sequence of “The Sopranos,” but you’d never think to watch it with the sound off.

It’s not that the vistas of industrial and working-class New Jersey are particularly evocative. It’s the song that plays as mobster Tony Soprano drives through them — Alabama 3’s “Woke Up This Morning,” a propulsive, bluesy number about loss and unfulfilled promise — that transforms the sequence into something tense and menacing, hinting at the violence that will eventually erupt on screen.

The crew member who’s responsible for marrying the right recorded music to scenes in a film or TV show is called the music supervisor. Most projects also have a composer who handles the musical score written for them. The music supervisor and the composer, along with other top creatives on a project, decide which scenes will have recorded songs, original music or both.


Yet the creative aspect is just one part of the music supervisor’s job. Supervisors also have to make sure the production has permission to use the music that’s playing, whether it’s a full song or just a snippet heard in the background when a character walks through a room.

They also have to contend with last-minute changes and tough deadlines. Oh, and yes, they’ll have to try to please the multiple people — producers, showrunners, directors, editors, writers — who have ideas for which songs should play when.

“Everyone who works on the movie knows two things,” says music supervisor George Drakoulias. “They know how to do their job, and they know what the music should be — because everyone has a visceral reaction to music.”

To find out which sorts of people become music supervisors and how they get those jobs, The Times talked to Drakoulias and six other current and former music supervisors — Gary Calamar, Thomas Golubić, Jen Malone, Morgan Rhodes, Robin Urdang and Dan Carlin — as well as Dan Koplowitz and Danny Benair, two “sync agents” who try to get their clients’ songs placed in films, TV shows, advertisements and video games. Here’s what they had to say.

Who becomes a music supervisor?

One thing that most of the pros interviewed have in common is a history in or around the music industry. That reflects a common, deep-seated love of music.

Drakoulias still produces records. Calamar, Golubić and Rhodes are current or former DJs at KCRW-FM. Malone was a publicist for garage rock bands in Boston. Urdang worked for the vocal group Manhattan Transfer. Koplowitz ran a record label. Benair played drums for indie bands, including the Quick and the Three O’Clock.

But when asked what interests or skills makes a person a good fit for this job, they started by rattling off a number of more practical qualities that characterize a music supervisor.

They’re highly organized, detail-oriented and capable of managing the flow of a lot of information, because they may be working on multiple projects at the same time.

They’re diplomatic, skilled at reading a room and forming consensus, because the songs have to work not for them, but for the people in charge of the storytelling. Half joking, Urdang put it this way: “You have to have a minor or a major in psychology, because it’s so political. You have to be able to read and deal with a lot of personalities.”

Remember, a music supervisor can’t just dictate a show’s soundtrack as if it were a Spotify playlist. “Our job is not to pick the song,” Malone said. “Our job is to supply options, given the creative direction from the showrunners.”

The process can be “kind of heartbreaking,” Calamar said. “Sometimes I will come in with a song that I think is so perfect, and I can’t believe I’ve nailed it. And they’ll say, ‘That’s pretty good. What else you got?’”

They love to do research, because they’re called on to suggest songs from across the landscape of times, genres and regions. They may also like being ahead of the curve and unearthing little-known gems. “To me, that’s the most thrilling part,” Rhodes said. “And looking for the song is sometimes more fun to me than finding it.”

They are something of a detective too, because they have to track down the songwriters, typically represented by music publishers, and recording artists (or their record labels) who hold the copyrights to the songs their project wants to use. Older tracks may belong to rights holders who have fallen off the grid. Newer tracks may include samples, or snippets of earlier recordings, and each snippet has to be cleared as well.

For help on that front, supervisors can draw on the expertise of people like Koplowitz and Benair who represent large groups of copyright holders. “What we do and what music supervisors do, it’s a deeply symbiotic relationship,” Koplowitz said.

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They are adept at negotiating and understanding contracts, because they have only so much money to spend on licensing. “A rights holder can say no for any reason,” said Koplowitz, who runs Friendly Fire Licensing. “The reason doesn’t have to be a good one. They can say no because it’s not enough money. They can say no because it’s not a good look for them.”

There are many different ways a song can be used in a project, and there’s no price list — “It’s all negotiable,” Calamar said.

Generally speaking, the bigger the artist and the more prominent the use, the higher the fee will be.

For example, Drakoulias said, you may have a tiny music budget for an indie film but the director really wants to use a Rolling Stones song. So you have to think creatively about what you can offer as compensation. “First, you go to the Rolling Stones [and ask], ‘How would you like to own a piece of a heartbreaking indie coming-of-age drama that has your songs?’”

They’re also good at helping people translate their musical ideas into words. “Sometimes directors need someone to help them explain what they’re hearing or not hearing,” Drakoulias said. “If someone says, ‘I want it more purple,’ you have to be able to figure out what that means.”

And finally, they stay calm under the pressure of production deadlines, because songs can fall through at the last minute and they have to scramble to replace them.

Yes, having good taste in music matters, the pros said, but taste is subjective. More important is knowing many different types of music, being familiar with labels and music publishers, and having an open mind. And besides, as Malone put it, “You can have the best taste in music in the entire world, but if you can’t clear those songs, you can’t use them.”

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How do you get started?

The good news is that there are so many hours of TV shows and films being made these days that the demand for music supervision is enormous.

To develop the necessary skills, you have several options. Some colleges and film schools offer classes in music supervision taught by people who are active in the field (Malone, for instance, took a class at UCLA Extension taught by Golubić). That’s a way to learn key aspects of the job and make connections.

Another path is to intern for a music supervisor or for a studio or label executive who works with supervisors. Some internships are available through college film programs, where you’ll earn credits toward a degree but possibly no pay. Others are offered by freelance supervisors who want to train the next generation and could use the help.

“When people work for me, it’s hands-on. They’re seeing and learning everything,” Urdang said. “I want them to learn. I want the next group of music supervisors to succeed.”

One way to hear about internships is to join or volunteer at the Guild of Music Supervisors, an organization that Calamar, Golubić and Urdang helped to establish in order to raise the profession’s profile, improve collaboration, honor exceptional work and “put out a ladder of opportunity,” Golubić said. The guild offers DIY training materials and networking opportunities, which is a good way to find the supervisors looking for help.

The guild is also trying to help the profession diversify, launching a mentorship program last year, though it hasn’t announced a new round of openings yet. It has also been holding events in East Los Angeles and South L.A., Golubić said, promoting the profession to people who “didn’t know it was an option” for them.

Drakoulias suggested an additional possibility for would-be supervisors still in school. “I would just kind of gravitate toward the filmmakers in your class and offer to work on their movies,” teaching yourself about copyrights and licenses in the process, he said. “If you love music and you love films, make yourself available to people who are doing it.”

This being the entertainment industry, the relationships you make will be the keys that open doors for you. Most of the supervisors interviewed spoke of mentors they’d found who taught them the ins and outs of clearing songs, managing budgets and navigating a production’s egos.

What are the career paths?

There are two rungs on the ladder below music supervisor — assistant music supervisor and music coordinator — that you may find on larger-budget productions. According to Golubić, an assistant music supervisor provides support while gaining experience and learning the ropes. A music coordinator is capable of performing many of the supervisor’s functions, he said, but isn’t ready to lead the conversations about the choices being made.

Then there are the jobs that focus on just a portion of the music supervisor’s work. There are music consultants who specialize in the creative aspects of the job — for example, helping filmmakers make their music choices historically accurate. And there are people who specialize in obtaining licenses to the songs.

Beyond that, some supervisors opt to leave the freelance world in favor of a job at a Hollywood studio, overseeing music budgets for their productions, among other duties. Or they join a record label or a sync agency, working to get songs placed in films. Or they take a music supervising post at a company that produces trailers for movies and TV series. And some shift into film or TV production.

“I think the financial instability of the job of music supervision leads many people to essentially view it as a pathway to somewhere else,” Golubić said.

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How do you make money? (And what kind of money?)

There is no hourly or weekly pay scale because there is no union, although some guild members have talked of trying to form one. Nor do supervisors earn residuals or royalties.

Instead, they receive a flat fee per episode or per film. If you’re on a shoot for a year, Urdang said, the fee amounts to a couple of hundred dollars a week.

“What you get paid is informed by the budget for either the show or the film,” Rhodes said. “That will vary. Some films that are indie have very small budgets, and that may impact your fee.”

“If you want to make a living at this,” Calamar said, “you have to have multiple projects going at the same time, which can make you a little bit crazy.” People just starting out “should definitely have a backup plan and some side hustles, because there are some quiet periods.”

Urdang agreed, saying, “I’m used to it and I can handle five projects at a time or six, but if you’ve just started out, you can’t.”

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How is this career different than it was 10 or 25 years ago?

The flip side of the explosion in content and opportunities caused by the rise in streaming video is that there are far more music supervisors competing for work. “I often say it’s harder to get the job than to do the job,” Calamar said. “Even though I’ve had some success over the years, I’m still hustling.”

Meanwhile, streaming music services have vastly simplified the task of researching songs. In the old days, Golubić said, he would have to track down physical copies of the records put out by the artists he thought might be appropriate for a project. Now, “I can do an internet search ... and potentially find some interesting options, and potentially find the people who can license them to me, in half an hour.”

Music publishers are far easier to find too. In pre-internet days, Urdang said, you’d have to get the publisher information from ASCAP and BMI, the two largest performance rights organizations, whose phones were always busy. And when you finally got through, she said, you could ask for only three songs at a time. “I had to hire people just to wait on the phone line.”

What advice do pros always hear that is wrong?

“Be dogged and persistent is, to me, a terrible piece of advice,” Golubić said. He drew a bright line between going to great lengths to find rights holders and badgering them if they decline to license their tracks. “A polite no,” he said, “is a clear no.”

Another bad technique, he said, is to send in every potentially usable song and let other people figure out what works. “If somebody values my time, I value their time,” he said.

Malone said it’s a bad idea to “just make cool playlists” and wait for things to come to you. “You have to want it, and you have to figure out a way to get it,” she said. “That goes for clearing a song or getting a gig.”

Sometimes a new producer, showrunner or director will contend that rights holders will license their songs for peanuts “because the exposure will help the artist more than money,” Calamar said. “That is just old-time thinking.” Or as Koplowitz wryly put it, “You can die from exposure. No one is asking the craft services team or the camera crew to donate their work for free.”

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What’s some good advice?

People who are just starting out “should know that it’s literally not just picking songs” that match their taste, Urdang said. “It’s having a knowledge of what works in a scene and why, and understanding what it is the director is trying to say, what you want the audience to feel.”

Speaking for many of her colleagues, Rhodes advised would-be supervisors, “Learn clearance. If you like a song, start looking up who wrote that song. Who’s got the publishing?”

Urdang tells the cautionary tale of how she spent less than her budget during the first season of “Burn Notice,” only to have her budget cut for Season 2. “Do not come in under budget,” she said. “It does not do any good for anybody.”

“You’re never going to make it if you’re not passionate about it,” Urdang warned. “Because it’s a lot of hard work. And it’s a lot of politics. You have to please a lot of people. ... You have to be open. You can’t take things personally. You can’t have an ego.”

Drakoulias offered one last pro tip: Don’t promise you can get a song by the Beatles.

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Explaining Hollywood: How to get a job as a music supervisor? ›

You'll need

Bachelor's degrees in music business or music management focus on the business aspects of the role. Then, applying for internships for record, film, TV, radio or video game companies would be beneficial for those looking to gain more experience as a music supervisor.

How do you become a music supervisor in film? ›

Aspiring music supervisors might consider doing an internship at a music publisher, possibly in the licensing department.
  1. Encyclopedic music knowledge (different genres, periods, etc.)
  2. Film knowledge.
  3. Music licensing laws.
  4. Connections in the music recording and publishing industries.
  5. Negotiation.
  6. Deadlines.
  7. Research.

What qualifications do you need to be a music supervisor? ›

You'll need

Bachelor's degrees in music business or music management focus on the business aspects of the role. Then, applying for internships for record, film, TV, radio or video game companies would be beneficial for those looking to gain more experience as a music supervisor.

How much does a music supervisor earn in Hollywood? ›

Music Supervisor Salary in Los Angeles, CA
Annual SalaryWeekly Pay
Top Earners$109,776$2,111
75th Percentile$109,251$2,100
25th Percentile$42,019$808

How much does a music supervisor make on a film? ›

How much does a Film Tv Music Supervisor make in Los Angeles, California? As of May 23, 2023, the average annual pay for a Film Tv Music Supervisor in Los Angeles is $61,725 a year. Just in case you need a simple salary calculator, that works out to be approximately $29.68 an hour.

How do music supervisors find music? ›

They start the search with the songs they have tagged and filed on their computers - searching keywords such as 'home', 'female' and 'singer-songwriter'. They find several songs that fit, which were songs sent to them by an artist manager, indie label and an artist they saw at a local show 12 months ago.

What is the difference between a music supervisor and a music coordinator? ›

According to Golubić, an assistant music supervisor provides support while gaining experience and learning the ropes. A music coordinator is capable of performing many of the supervisor's functions, he said, but isn't ready to lead the conversations about the choices being made.

How do music supervisors make money? ›

Most Music Supervisors work as freelancers on a per-project basis. They may have their own company, but they are still getting paid by the project. They receive a set fee for film projects and if they work in television, a fee per episode.

Do you have to be qualified to be a supervisor? ›

Yes, you need qualifications to be a supervisor, such as relevant experience and skills. Furthermore, many training supervisors have postsecondary education. Although many have an associate's or bachelor's degree in business, you can still become one with just a high school diploma.

Can you be a music manager without a degree? ›

While some music managers can find work without a college degree, many candidates choose to pursue one. This is because earning a bachelor's degree can allow candidates to learn about the high-level concepts they might use as a music manager, such as business practices, music industry expertise and negotiation tactics.

What is Hollywood scale pay? ›

Scale is the general term for the minimum daily or weekly rates established by the Screen Actor's Guild. SAG-AFTRA has spent decades carefully forming and negotiating contracts, compensation packages, and pay scales for its members.

What do music supervisors major in? ›

Music supervisors usually study music, entertainment business or photography. 72% of music supervisors hold a bachelor's degree and 10% hold a associate degree. We found these by analyzing 388 music supervisor resumes to investigate the topic of music supervisor education more precisely.

What is the highest salary for a music manager? ›

How Much Do Music Manager Jobs Pay per Year? $40,000 is the 25th percentile. Salaries below this are outliers. $134,500 is the 75th percentile.

Who is the music supervisor for Netflix? ›

Autumn Prouty - Music Supervisor - Netflix | LinkedIn.

What is the highest salary of production supervisor? ›

Highest salary that a Production Supervisor can earn is ₹4.7 Lakhs per year (₹39.2k per month).

What is the job of a cinema supervisor? ›

The Cinema Manager oversees the management and operations of the cinema outlet, including the food and beverage counter. He/She recruits, trains and guides staff on day-to-day operational activities.

How do you get recognition in the music industry? ›

How to get noticed as a singer or artist
  1. Be an amazing singer or instrumentalist.
  2. Put yourself out there.
  3. Create a press pack (EPK)
  4. Play anywhere.
  5. Convey maturity.
  6. Practice well.
  7. Get yourself motivated.
  8. Use Facebook, Instagram, and Twitter.

How do music managers find artists? ›

Artists find managers a hundred different ways, whether through a mutual friend or fellow artist, by approaching someone from a distance, or by catching their eye with your music or live shows.

How do I meet people who work in the music industry? ›

How To Make Friends In The Music Industry
  • Look to connect, not to sell. Focus on forming a genuine connection with people. ...
  • Social media. Social media is a great way to connect with people, even before meeting them physically. ...
  • Go out. ...
  • Be approachable. ...
  • Research and practice. ...
  • Follow up. ...
  • Give and receive.
Mar 15, 2023

What are the three types of music manager? ›

The diverse roles of the Manager can be broken down into the following categories: Gatekeeper and spokesman. Team Architect. Artistic director.

What is another word for music supervisor? ›

conductor; director; musician.

Is A supervisor higher than a Coordinator? ›

Supervisor is appointed to ensure timely and satisfactory completion of some task and the supervised has to follow his instructions whereas a coordinator is not an authority but a facilitator who aims at succesful condct of some activity through better internal communication and division of work.

Do supervisors get paid more? ›

It doesn't happen often, but from time to time a supervisor may make less money than an employee who reports to him or her. When an employee earns more than his or her supervisor, it is normally because the employee's technical skills are worth more than those of the supervisor.

What percentage do music managers get paid? ›

Managers' commissions are typically between 15 to 20% of an artist's gross income. Whether it's 15% or 20% really depends on the level of the band and the bargaining power of each party. I've seen some net deals, but they are extremely rare. That being said, I always push for a net commission on merchandise.

Do music managers pay for everything? ›

Music managers receive a commission (a fee that a music manager charges for their services). This fee is typically a percentage of the artist's earnings, and it can vary depending on the manager's experience and the level of success of the artist.

Can you get hired as a supervisor with no experience? ›

If you're interested in making key decisions, leading people and organizing projects, you might consider becoming a manager. With strong interpersonal and leadership skills, it's possible to become a manager even without direct experience.

How do I get hired as a supervisor? ›

  1. Become an expert in your field. The more you know about your line of work, the better qualified you will become for a supervisory position. ...
  2. Become a leader. ...
  3. Assist the current supervisor. ...
  4. Ask for more responsibility. ...
  5. Continue your education. ...
  6. Act professional. ...
  7. Learn more about your company. ...
  8. Take initiative.

How do I become a supervisor with no experience? ›

How to Become a Manager (Without Experience)
  1. 1) Ask to lead a project. ...
  2. 2) Train, coach and mentor a teammate. ...
  3. 3) Take initiatives and support your supervisor. ...
  4. 4) Identify and highlight your transferable skills. ...
  5. 5) Invest in Upskilling with a Professional Qualification.
Feb 28, 2023

What jobs can you get in the music industry without a degree? ›

9 jobs in the music industry that don't require a degree
  • Recording studio intern.
  • Singer.
  • Music manager.
  • Musician.
  • Disc jockey.
  • Freelance writer.
  • Instrument technician.
  • Music teacher.
Jun 24, 2022

What degree do you need to manage an artist? ›

The education needed to be an artist manager is normally a bachelor's degree. Artist managers usually study business, entertainment business or communication. 72% of artist managers hold a bachelor's degree and 12% hold a associate degree.

Is it easy to become a music manager? ›

At first, you might end up having to do a lot of grunt work for very little or no money, but eventually you will be trusted with more. It's very hard to get a job as a music manager without experience, so don't be afraid to work hard to move yourself up the corporate ladder.

Is it easy to get a role in Hollywood? ›

Unfortunately, becoming an actor in Hollywood is a long journey that requires patience, hard work, and sacrifice. Some actors never make it out of commercials and small parts, but they continue because they love their work. Your big break can come at any time, but only if you're working hard enough to make it possible.

How to get a job working in Hollywood? ›

How to get into the film industry
  1. Consider getting a bachelor's degree. ...
  2. Craft your resume. ...
  3. Compile your portfolio. ...
  4. Maintain a professional website. ...
  5. Search for shoots in your area. ...
  6. Contact local camera rental shops. ...
  7. Get involved in local productions. ...
  8. Consider searching for work in a film production hub.
Dec 12, 2022

How do you get a role in Hollywood? ›

Steps to becoming an actor
  1. Seek acting training. ...
  2. Build experience. ...
  3. Prepare your headshot, acting résumé, and demo reel. ...
  4. Submit to auditions and casting calls. ...
  5. Keep updating your résumé and reel as you gain experience. ...
  6. Get signed by an agent.
Apr 13, 2023

What are the five careers in music? ›

Top 10 Careers in the Music Business (and How Much Money You Can Make)
  • Music Producer.
  • Recording Engineer.
  • Artist Manager.
  • Tour Manager.
  • Booking Agent.
  • Music Publicist.
  • Composer.
  • Music Arranger.

What is the best degree for supervisor? ›

Some employers accept applicants with only a high school diploma for Supervisor positions. However, most prefer candidates with a bachelor's degree or higher in business management or office administration, depending on the scope of the role and organization.

Can anyone be a music manager? ›

Considering music managers are responsible for all the legal and business aspects of an artist's career, they usually must have a bachelor's degree in the music business (or business in general). Several schools offer music management or business management degrees.

What music company pays the most? ›

TIDAL ranks higher than both Spotify and Apple Music in terms of royalty rate and the direct artist payouts available on the platform. It's definitely worth weighing up your options when deciding which DSP(s) to upload your music to.

Do managers make more than artists? ›

While there is no set typical payment or commission rate for a manager, most managers earn anywhere from 10-25% of the artist's total income, typically the rate is between 15-20%.

Does music pay well? ›

The average salary of a musician in the United States is $44,624 per year . Based on where you live, your salary as a musician may be higher than the national average. Here are some cities where you may earn more as a musician: New York, New York: $54,381 per year.

Who is the music supervisor at Disney? ›

Matt Mugford - VP, Music - The Walt Disney Studios | LinkedIn.

Why music supervisors are clashing with Netflix? ›

Studios are reluctant to voluntarily accept music supervisors as part of a union in part because they view them as independent contractors. A source close to Netflix said the music supervisors it contracts with run their own businesses and some have their own employees.

How do I submit music to Netflix? ›

How do I submit my music to Netflix? You can't submit your music directly to Netflix for licensing. Music supervisors are the people in charge of choosing the music for shows, like those on Netflix. And music supervisors get their music from licensing companies and agents.

Do supervisors get paid more than managers? ›

Employees with a managerial job title tend to have a higher salary than a supervisor at a company. Managers have more responsibilities than supervisors, so they earn higher wages for their work.

What is the salary difference between a supervisor and a manager? ›

The salary difference between a supervisor and a manager is about $26,000 annually. Of course, this is in many ways just an estimate, as your salary will hugely depend on what you're managing or supervising, your level of experience, and the field you're working in.

What is the difference between Production Manager and supervisor? ›

Managers focus on determining 'what' it is their unit does (i.e., purpose, function and roles) and in doing so in a manner that furthers the organization's larger goals. Supervisors are focused on day-to-day operations of 'how' to implement management's decisions in their unit through the work of subordinates.

Is Supervisor a good role? ›

While being a supervisor has its challenges, it's also a rewarding position where you can help individuals achieve personal career goals. Here's some background information to help you better understand what this role entails.

How much does a cinematic Supervisor make? ›

Production Supervisor Film Salary
Annual SalaryWeekly Pay
Top Earners$96,000$1,846
75th Percentile$79,500$1,528
25th Percentile$55,000$1,057

How much do script supervisors make per movie? ›

According to Ziprecruiter, Script Supervisors make a national average of $67,055 or $32.24 an hour (as of March 2022). Entry-level supervisors make around $41,000 annually, with senior-level supervisors making $85,000 a year. This wide range also depends on skill, seniority, company, and location.

How do you get into film music? ›

How to become a film composer
  1. Gain practical and theoretical musical experience. Before attempting to find work as a film composer, it's important to gain the skills required for the role. ...
  2. Learn about the film industry. ...
  3. Prepare a resume and portfolio. ...
  4. Gain relevant experience. ...
  5. Persevere through networking.
Sep 30, 2022

How do you become a film script supervisor? ›

A common route in is to spend a few years working in the industry at a junior level like a production assistant or assistant production coordinator in a production company. From there you can build contacts, get to to know the industry and step up to assist an experienced script supervisor.

How do I get a job in music video production? ›

How to become a music video producer
  1. Build your portfolio. To become a music video producer, it's important to have a passion for filmmaking. ...
  2. Develop your skills. ...
  3. Gain experience. ...
  4. Grow your network. ...
  5. Apply for projects or positions. ...
  6. Find opportunities working with larger companies and artists.
Jun 24, 2022

How do you get into the Hollywood film industry? ›

How to get into the film industry
  1. Consider getting a bachelor's degree. ...
  2. Craft your resume. ...
  3. Compile your portfolio. ...
  4. Maintain a professional website. ...
  5. Search for shoots in your area. ...
  6. Contact local camera rental shops. ...
  7. Get involved in local productions. ...
  8. Consider searching for work in a film production hub.
Dec 12, 2022

How do I sell my music to the film industry? ›

Sync deal options
  1. Get a publisher that will find, negotiate and sign licensing opportunities for you. ...
  2. Place your catalogue in music libraries and benefit from the traffic these platforms get.
  3. Build relationships yourself, bypass publishers and libraries to license your music directly to customers.
Feb 27, 2018

How much does a film musician get paid? ›

Film Composer Salary
Annual SalaryHourly Wage
Top Earners$104,000$50
75th Percentile$57,500$28
25th Percentile$43,500$21

What skills does a script supervisor need? ›

To be a successful Script Supervisor, you need to have an eye that can pick up even the most minor changes, superb note-taking skills to comprehensively detail any changes in the script for each take, and strong communication skills to convey to cast and crew what must be altered to maintain consistency during the ...

Are script supervisors in demand? ›

Are Script Supervisor Jobs In Demand? Yes, script supervisor jobs are in demand.

What is the highest paid script supervisor? ›

While ZipRecruiter is seeing annual salaries as high as $133,500 and as low as $18,000, the majority of Script Supervisor salaries currently range between $42,000 (25th percentile) to $85,000 (75th percentile) with top earners (90th percentile) making $112,000 annually across the United States.

How to get a job in music production without a degree? ›

Consider getting an internship. Music industry internships often provide individuals with practical experience working in their desired field and also sometimes lead to full-time job positions. Consider looking for internship opportunities through local organizations and on online job boards.

Can I make a living from music production? ›

Producers who put in a small amount of work may earn around $100 per month from beat sales where others who focus their strategy on these platforms can earn $1000+, some even making a six figure salary each year on beat sales alone. And this is just one revenue stream.

Is it easy to get a job in video production? ›

Video production is a relatively niche career field that requires a college degree, years of experience, and additional internships and certifications to be competitive. Working and networking with other industry professionals is a good way to get your foot in the door in video production.

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