Overview
Mission Statement
Our mission is to preserve and promote the role of the Music Supervisor as a valuable resource with specific knowledge and unique skill-sets that elevate the creative use of music within the entertainment and media industries and their respective products.
Composition
The committee is comprised of film, television and multi-media music professionals dedicated to establishing and promoting the highest performance standards which exemplify and enhance the value of their specialized services within the entertainment and media industries.
Goal
The collective goal of our committee is to take a leadership position with one galvanized voice in the entertainment industry and act as a valuable, highly specialized resource to further the understanding of the constant evolution of music in media and for related guilds who benefit from our expertise including Academy of Motion Picture Arts and Sciences, Academy of Television Arts and Sciences, Directors Guild, Producers Guild, The National Academy of Recording Arts and Sciences, The Screen Actors Guild, AFTRA, The Editors Guild, IATSE, Choreographers Guild, Casting Guild, American Federation of Musicians, The Society of Composers, ASCAP, BMI, SESAC, PRS, as well as
film studios, broadcast networks, web networks, music industry groups, and related organizations for the mutual benefit of all music in media stakeholders. The committee will provide an environment in which the knowledge, resources and skills specific to the field of Music Supervisors are expanded, preserved and shared internally with it’s membership. The committee will monitor, support and educate its membership to technical innovations that improve the acquisition, application or delivery of music components to the existing and emerging platforms of the entertainment and media industries. Members of the committee will represent the guild and the craft of music supervision by sharing their unique expertise and perspective by participating in educational seminars and forums in which issues confronting the film and music industries are addressed and deliberated. By sharing opportunities among the Members and Associate Members, the committee will create an educational resource for other professionals who wish to benefit both creativity and financially by gaining a greater understanding of the role of a music supervisor including those seeking a career as a Music Supervisor. The committee will endeavor to improve the working conditions of music supervisors in the media workplace as a means to sustain the highest level of professionalism, and seek to support committee members with significant professional and personal benefits. The committee will be a strong philanthropic organization with an emphasis on working with charities related to music and the arts. Definition/Role of Music Supervisor A qualified professional who oversees all music related aspects of film, television, advertising, video games and any other existing or emerging visual media platforms as required. In addition: 1. The Music Supervisor must possess a comprehensive knowledge of how music impacts the visual medium. The Music Supervisor works with the key decision makers and/or designated creative team to collectively determine the musical vision, tone and style that best suits the project. 2. The Music Supervisor provides professional quality service that combines creative, technical and management expertise with relevant proven experience. This specialized combination of diversified knowledge and unique skills is integrated into all stages of development, pre-production, production, post-production, delivery and strategic marketing of the project with regard to all music related elements. Music Supervisor Responsibilities include but are not limited to: 1. Identify, secure and supervise any and all music related talent, which includes composers, songwriters, recording artists, on-camera performers, musicians, orchestrators, arrangers, copyists, contractors, music producers, engineers, etc.: liaise and negotiate with talent representation, including legal, label, talent management, agency, business management, etc. 2. Liaise and effectively communicate with other related and involved professionals & support staff, i.e. directorial, production, editorial, sound (production & post), camera, choreography, studio & network executives, advertising agencies, clients, label executives, game designers, distributors and cross-promotional marketing partners. 3. Possess and accurate knowledge of all costs associated with delivery of music elements. Determine and advise on financial needs of project and generate realistic budget with respect to all music related costs. Deliver all required music elements within the established budgetary parameters. 4. Advise on feasibility of schedule based on release, broadcast, campaign or product delivery. Deliver all music elements consistent with specific technical requirements. Manage and/or secure legal rights of new and existing recordings, clearances of Synchronization and Master use licenses of pre-existing music, credits, cue sheets, etc. within scheduling parameters. 5. Determine the viability of, creation of and securing exposure or distribution of any music related ancillary product, i.e. soundtrack, single, video, internet downloads, etc. for the purpose of promotion or additional revenue streams.
film studios, broadcast networks, web networks, music industry groups, and related organizations for the mutual benefit of all music in media stakeholders. The committee will provide an environment in which the knowledge, resources and skills specific to the field of Music Supervisors are expanded, preserved and shared internally with it’s membership. The committee will monitor, support and educate its membership to technical innovations that improve the acquisition, application or delivery of music components to the existing and emerging platforms of the entertainment and media industries. Members of the committee will represent the guild and the craft of music supervision by sharing their unique expertise and perspective by participating in educational seminars and forums in which issues confronting the film and music industries are addressed and deliberated. By sharing opportunities among the Members and Associate Members, the committee will create an educational resource for other professionals who wish to benefit both creativity and financially by gaining a greater understanding of the role of a music supervisor including those seeking a career as a Music Supervisor. The committee will endeavor to improve the working conditions of music supervisors in the media workplace as a means to sustain the highest level of professionalism, and seek to support committee members with significant professional and personal benefits. The committee will be a strong philanthropic organization with an emphasis on working with charities related to music and the arts. Definition/Role of Music Supervisor A qualified professional who oversees all music related aspects of film, television, advertising, video games and any other existing or emerging visual media platforms as required. In addition: 1. The Music Supervisor must possess a comprehensive knowledge of how music impacts the visual medium. The Music Supervisor works with the key decision makers and/or designated creative team to collectively determine the musical vision, tone and style that best suits the project. 2. The Music Supervisor provides professional quality service that combines creative, technical and management expertise with relevant proven experience. This specialized combination of diversified knowledge and unique skills is integrated into all stages of development, pre-production, production, post-production, delivery and strategic marketing of the project with regard to all music related elements. Music Supervisor Responsibilities include but are not limited to: 1. Identify, secure and supervise any and all music related talent, which includes composers, songwriters, recording artists, on-camera performers, musicians, orchestrators, arrangers, copyists, contractors, music producers, engineers, etc.: liaise and negotiate with talent representation, including legal, label, talent management, agency, business management, etc. 2. Liaise and effectively communicate with other related and involved professionals & support staff, i.e. directorial, production, editorial, sound (production & post), camera, choreography, studio & network executives, advertising agencies, clients, label executives, game designers, distributors and cross-promotional marketing partners. 3. Possess and accurate knowledge of all costs associated with delivery of music elements. Determine and advise on financial needs of project and generate realistic budget with respect to all music related costs. Deliver all required music elements within the established budgetary parameters. 4. Advise on feasibility of schedule based on release, broadcast, campaign or product delivery. Deliver all music elements consistent with specific technical requirements. Manage and/or secure legal rights of new and existing recordings, clearances of Synchronization and Master use licenses of pre-existing music, credits, cue sheets, etc. within scheduling parameters. 5. Determine the viability of, creation of and securing exposure or distribution of any music related ancillary product, i.e. soundtrack, single, video, internet downloads, etc. for the purpose of promotion or additional revenue streams.
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I want to learn everything about being a music supervisor! I want to talk to one and learn the tricks of the trade. Is the person that I’m going to skype for the mentoring a music supervisor?
Hello TEAM Elite,
Skype sessions will be conducted by HMMA principals. We’ll be able to point you in the right direction and provide valuable tips to becoming a working supervisor.