The Dangers Of Advertising For ‘Exposure’; Exercising Caution And What You Can Do Instead

Here is an example of what we frequently see:

[it isn’t limited to composers but widespread throughout all departments in the low budget independent film market]

‘’Seeking a Film Composer

We are seeking a talented film composer to create the original score for our exciting new short film. This is an opportunity to collaborate on a compelling independent project and help bring its emotional depth to life through music. This is a great opportunity for exposure and we will credit your for your part in the film.

Please contact for details, samples of your work, and availability. We look forward to hearing from you.’’

Now you might be thinking this is the norm, what is wrong with that? But there is a big issue and it is damaging your credibility as a filmmaker.

We get it, sourcing all the required departments and funding for your film whilst trying to produce a great quality piece of work is hard… especially when starting out.

The project itself may be genuine and rewarding, it may have great potential but to the crew you are trying to recruit it raises concerns bordering on exploitation, and nobody wants this!

‘Exposure’ is a buzz word with negative connotations that is often thrown about as a substitute for no payment rather than as a genuine benefit. If you are offering exposure you need to be able to answer:

• Exposure to whom?

• How many people?

• Which festivals or distributors?

• Which producers or studios?

• Will there be any direct introductions or wide spread marketing?

• Will there be any follow on work?

You need to be able to say exactly what this is and how it will benefit the person you are offering it to, or risk losing respect not just from the applicants but the community you are promoting yourself within.

The issue is not necessarily that independent filmmakers have small budgets, or in some cases zero budgets. Many do and get by. The concern is that the adverts present compensation as credit and exposure as the primary form of compensation for work. And if you need work completed it needs to be fairly compensated.

The workload can easily reach dozens of hours for the smallest of projects. When someone says "we can offer exposure," composers often hear, "we recognize this work has value, but we're not willing or able to pay for it."

Risk

As a producer you are the one taking the risk and in the end will get the biggest reward. In these types of advertisements recruiting crew, the risk is being put onto people it shouldn’t belong to.

In the example advert, the filmmaker receives:

• A completed score.

• Increased production value.

• A finished film ready for festivals or distribution.

• The composer receives:

• A credit.

• The possibility of exposure.

• The rewards are uneven. One side gets a guaranteed asset; the other gets a potential future benefit.

In doing this you rule out any professional working on your film, and as a result it suffers.

What To Offer Instead

Here is a rewording of the same example:

‘’Seeking a Film Composer

We are seeking a talented film composer to create the original score for our exciting new short film. The film is a [insert genre] and follows the plot [insert plot].

This is an opportunity to collaborate on a compelling independent project targeting [insert festivals] and [insert goals]. You will be able to help bring its emotional depth to life through music.

Whilst we cannot offer financial payment we understand this is an important element of any film so will work with you to offer fair compensation.

Post-production to start: [date estimation]

Delivery Deadline: [xx.xx.xxxx}

Please contact us for submissions of interest and further details along with your showreel. We look forward to hearing from you.’’

A small change and already the perception is worlds apart. It shows integrity and the importance of the role. It defines the genre so they will get more focused applicants from the sub-specialty whilst at the same time showing what exposure the film will have.

Clear deadlines eliminate scheduling conflicts before any contact and the offer of fair compensation shows you value your crew. You could offer service for service, composers always need things like headshots, videoreels for their music/website. Festival submissions for the score specifically.

A composer may benefit from an introduction to your director/producer friends, or a shout out/testimonial. In the early years there are so many non-financial ways to fairly compensate your crew.

As the lead in the production if you give your cast and crew value you will get value in return. Everybody wins!