Most filmmakers skip these until it's too late — after the budget is set, the contract is signed, and the music is already wrong. Ask them first.
Get specific dates, not estimates. A composer who says "it depends" is telling you they haven't scoped the project yet — which means any timeline they give you is a guess. You need: when does first-pass music land in your inbox? What's the final delivery date assuming one revision round?
Not just a demo reel — work that's similar in genre, tone, and placement to your project. A reel of orchestral cues doesn't tell you anything if you're making a horror short. Ask for music that's been cut to picture, not composed for a portfolio.
The number a composer quotes you is not always the number you pay. Find out: does the price include stems? Cue sheets? Music editor fees? Sync licensing for festival screenings? Some composers quote for composition only and bill separately for everything else. Know the line items before you sign.
There are two standard structures: work-for-hire (you own the composition outright after payment) and licensing (the composer retains ownership and grants you specific usage rights). Both are legitimate — but they have very different implications for distribution, streaming, and future use. Get the structure in writing before work starts. Changing it after delivery is expensive.
Every project needs revisions. The question is how many are included and what counts as a revision versus a new direction. Some composers include 2 rounds; others charge per pass. A single "this isn't what I wanted" can cost you $500 if the policy isn't clear upfront. Know the policy, build it into your timeline.
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