Friends in #gameaudio, I'd like to expand on this after a conversation with a composer buddy of mine. We talk about the importance of reels constantly without ever acknowledging that most of the best jobs don't actually consider reels whatsoever. (1/7)
https://twitter.com/MasonLieberman/status/1425266721829490691
What do I mean? Well, a reel serves a proof of concept for when you are pitching your services as a way of convincing someone else to hire you. However, many of the highest paying gigs (AAA etc) will tend to originate on the company end AKA they reach out to you. (2/7)
This is relevant because your reputation IS your reel. A lot of your favorite composers don't have video reels, or even audio samples. If asked for one, they'll send a disorganized dropbox link, or tell you to go on spotify; the sorta stuff I often call less than ideal 😅 (3/7)
Why does this work? Well, if someone's already a fan of your work, you don't need to invest as much time in convincing people you'd do a good job. Simple, right? These artists' gigs often involve a different type of auditioning, and it tends to be MUCH more expensive. (4/7)
Live-recorded orchestra for a demo is pricy as a hell. For artists who have never even booked a gig w/ an orch or live ensemble, it probably sounds insane. However, when that's the standard and you compete against folks doing it, suddenly it's the cost of doing business. (5/7)
If a gig is gonna pay you $360,000 on three hours of content, $20,000 in a bidding process (where you might record 5 different demoes for other gigs simultaneously) may seem surprisingly sensible. If it's a dream gig of yours? You see where I'm going. (6/7)
There's always a bigger fish with a different set of rules. Accordingly, as your career grows, you'll constantly have new things to learn as the standards and expectations change. (7/7)
• • •
Missing some Tweet in this thread? You can try to
force a refresh
