I understand everyones' concern. Learning from experience, I've done the Taxi thing for example and you submit music for vague posts. With TCC I'm actually working on the film and I get feedback from not only the Project Managers but the Directors as well. I guess the only I can say is guaranteed is your opportunities to have a chance....You'll definitely jump right in and work on films not just get vague postings about what a music publishing house is looking for, you'll actually work on the film and write to the film and get feedback from the director him or herself who makes the final decision. Not only that, you'll get detailed cue sheets with the director's input to help guide you as you're writing. I guess compared to what I was spending over at taxi yearly for example, this is much better because not only do you get unlimited submissions, you get to go back and make changes for the director to get your cue in. - Compositeur .org - Forum des Compositeurs : Musique et Composition
Hi firstsoundent,
That's very cool to get feedback directly from the director but did you work for free?
I think my son can not eat with some comments...
So what about money, contracts, rights? - Compositeur .org - Forum des Compositeurs : Musique et Composition
I guess the only I can say is guaranteed is your opportunities to have a chance...
When I play the lottery I buy a ticket to have the opportunity to have a chance to get a huge amount of money. It's the same thing. It's like gambling. We are not sure about anything. The national lottery is a game, but I don't think business is a game. What TCC demands from the composers is to pay to get the chance to get work!
In your message you deal with the way you work with directors. Nobody was worried about that. I think that's not the point - Compositeur .org - Forum des Compositeurs : Musique et Composition
I guess the only I can say is guaranteed is your opportunities to have a chance...
When I play the lottery I buy a ticket to have the opportunity to have a chance to get a huge amount of money. It's the same thing. It's like gambling. We are not sure about anything. The national lottery is a game, but I don't think business is a game. What TCC demands from the composers is to pay to get the chance to get work!
In your message you deal with the way you work with directors. Nobody was worried about that. I think that's not the point
The difference between this and the lottery is your ability. If you are a great composer with talent and ability to translate the music to picture then you "win". If you're not you'll still have a chance to grow and win. But at the end of the day you win, because you've been awarded a chance to to work on these films and you haven't had to leave your home. I guess the bottom line is, you will work on films the moment you sign up, thats "guaranteed". Whether or not you music gets accepted into the final cut is up to you and your abilities. - Compositeur .org - Forum des Compositeurs : Musique et Composition
The difference between this and the lottery is your ability. If you are a great composer with talent and ability to translate the music to picture then you "win". If you're not you'll still have a chance to grow and win. But at the end of the day you win, because you've been awarded a chance to to work on these films and you haven't had to leave your home. I guess the bottom line is, you will work on films the moment you sign up, thats "guaranteed". Whether or not you music gets accepted into the final cut is up to you and your abilities.
That's not the point TCC asks the composers to pay to work, it's the main issue!!! To get your music accepted into the final cut of the film you worked for or not, it's the film music rules: it's not shoking.
But as far as I'm concerned, I think it is not the usual way to pay to have "the chance to get the opportunity" to work for a film (from the beginning of the film music production) , I'm sorry. I may be wrong to think like that, but I think it's not reasonable. TCC could rather deduct some percentage from the composer profits when the composer is successful! Instead of practicing like any agencies in the world, TCC (like some other companies) seems to take shamefully advantage of the difficulties the composers meet when they look for a work, by offering them to pay to get better unidentified opportunities. It's just selling a dream without giving any guarantee to work. It's like a trap.
Maybe I didn't understand what TCC wants to do. - Compositeur .org - Forum des Compositeurs : Musique et Composition
TCC could rather deduct some percentage from the composer profits when the composer is successful! Instead of practicing like any agencies in the world, TCC (like some other companies) seems to take shamefully advantage of the difficulties the composers meet when they look for a work, by offering them to pay to get better unidentified opportunities. It's just selling a dream without giving any guarantee to work. It's like a trap.
+1
Maybe I didn't understand what TCC wants to do.
Perhaps me too. - Compositeur .org - Forum des Compositeurs : Musique et Composition
The .ORG domain was designated as an "open, unrestricted" domain, one in which anyone could register. It has evolved into the domain used primarily for noncommercial endeavors around the world. It is the place where people build Web sites encompassing a wide range of noncommercial activity, including education, philanthropy, personal projects, arts and culture, community and civic activities, social and fraternal organizations, and much much more.
