For corporate or commercial shooters, price might not be much of a sticking point, but it is for me and for readers of this site. I work primarily in the indie film and solo creator spaces, which means tiny budgets. The pricing must be flexible and reasonable. There's nothing more annoying than scrolling endlessly through a bunch of irrelevant songs. The interface must be clean and intuitive and help me find what I'm looking for. It has to be sourced from musicians who clearly care about their craft just as much as I care about mine. The quality of the music has to be excellent. This post explores my favorite platforms, what I like about them, and some of the shortfalls that have bugged me.īefore we get into my picks, here are the criteria needed for a company to make the list. And it feels like there’s at least one new platform popping up every month.Īnd though I haven't used all of them, I have used quite a few-for everything from personal film projects to corporate shoots, and from YouTube channels to podcasts. Luckily, in 2022, there are more licensing companies than you could count on five hands. So if you’re serious about creating work that resonates, the last thing you want is generic stock music. It’s an emotional amplifier, and one of the most powerful tools in our creative arsenal. Music is responsible for much of what an audience feels when they watch a film or video.
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