WHAT IS “EXPOSURE” FOR A MEDIA COMPOSER?
Among the ways a media composer can have “exposure” are:
Drawing attention to your work
Creating an association with a project
Generating opportunities to meet others
Becoming better known
Publicizing and promoting yourself, your music and your message.
WHY DO I NEED EXPOSURE?
Presuming you want to expand your business, your career, your opportunities and your earnings, exposure shines light on you in ways that can increase awareness of you and what you have to offer. It can attract and encourage the relations you need to build a more successful career. It can put your business more in the spotlight.
Imagine the life of a singer, a standup, a novelist, a painter or an actor without “exposure”. So much of their success hinges on being seen and discovered by their audiences.
Media composing is no different.
HOW MUCH IS EXPOSURE WORTH?
How long is a piece of string?
There is no one answer.
So much depends on the source and quality of the exposure, the need for the exposure, the type of exposure, the desired result of the exposure and the probabilities of achieving the exposure you are seeking.
Exposure via a credit on a student short probably isn’t the same as getting it on a Marvel movie.
Getting an interview in Vanity Fair would probably be more valuable than in your home town newspaper.
Exposing yourself to active filmmakers could probably yield more than being exposed to more fellow composers.
Getting your piece performed at Carnegie Hall is probably better exposure than having it done in a friend’s basement.
Weighing these extremes (and more likely, the vast range of types of exposure in between) is an art, not a science.
The “value” of some exposure is fairly worthless, and in other cases worth investing large amounts of your own money to achieve.
Top publicists are paid quite handsomely to help generate and manage exposure for their clients.
EXPOSURE VS. CASH
Weighing the value of exposure and weighing the value of financial aspects of a deal are among the many considerations when deciding to take on a project just as are the quality of the project, the caliber of the people associated with it and the artistic opportunities that are presented.
And rarely is every component an “all-or- nothing” proposition.
Added into this are personal considerations. Who you are? Where are you at? Where do you want to go? How do you want to get there?
What you want to achieve definitely factors into weighing the various pros and cons of an opportunity.
The value of exposure can and does mean so many things.
But dismiss it out of hand at your own peril.
WHAT ARE YOUR THOUGHTS ON THIS TOPIC?