Commissioned music for video
Why library music makes a good film feel ordinary, what an original track changes, and how a video cut to the song differs from a song laid under the video.
Most company videos use library music, and most of them sound like company videos. That is not a coincidence: the same few hundred tracks are on every library, so the audience has heard your film's music before, under somebody else's film.
What an original track changes
It is yours, so nobody else's video sounds like it. It can be about the thing the video is about, which library music by definition cannot. And it can be cut to, which is the part people underestimate.
Cut to the song, not under it
There is a real difference between a video with music underneath it and a music video.
A track laid under a finished edit fights it. The cuts land wherever they landed and the music arrives as wallpaper. When the edit is cut to the record, every cut lands on something: the shot changes when the line changes, and the one moment where the beat stops is the one moment the picture stops with it.
We build the edit from the vocal. Each shot is timed to the line it illustrates, measured against the recording rather than eyeballed, which is why the words and the pictures stay together for the whole run rather than drifting apart after thirty seconds.
What you get
A finished master, and a vertical cut with the lyrics burned in and timed to the vocal. Horizontal on request. Cover artwork if it is also going out as a record.
What it costs
From $8,000 for a track cleared for digital and social use. From $20,000 with a video cut to it and clearance for paid advertising and broadcast, which is where a stock licence stops covering you. The music page has the shape of it.
Start
hello@nity.io, with the video's length and what it is for.